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Sutton Foster

André Watts

Krzysztof Urbański Jun Märkl

Conrad Jones Dejan Lazić

Jordan Donica Jordan Donica

Cirque Goes to the Movies • Andrew Bird with the ISO Jazzy Shostakovich • Percussion & Prokofiev An Evening with Sutton Foster • André Watts Returns! Volume 1 • September/October • Hilbert Circle Theatre


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JACK EVERLY, CONDUCTOR

ANGELA BROWN & JOSH KAUFMAN, HOSTS

DECEMBER 2018 YULETIDE PERFORMANCES

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NOVEMBER 30 DECEMBER 23 Indiana’s best holiday tradition for families returns! Ring in the holidays with Jack Everly, Angela Brown, and Josh Kaufman as they bring to life the magic of tap dancing Santas, festive carols, and larger-than-life puppetry alongside the ISO.

TICKETS ON SALE NOW! BUY AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG


Table of Contents Programs 14 Cirque Goes to the Movies September 21–22 20 Andrew Bird September 26 24 Jazzy Shostakovich October 4–6 40 Percussion & Prokofiev October 12–13 54 An Evening with Sutton Foster October 19–20 58 André Watts Returns October 25–27

The Indianapolis Symphony Orchestra

78 Annual Fund 81 Tribute Gifts 82 Lynn Society 84 Arts in Indy 86 Why We Give 88 Administration and Staff 89 Hilbert Circle Theatre Information 90 Corporate Sponsors

Artists 15 Jack Everly 17 Jordan Donica 18 Troupe Vertigo 19 Tiffany Gilliam

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Board of Directors

19 Christina Nicastro

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Musicians of the ISO

21 Steve Hackman

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New Musicians of the ISO

23 Andrew Bird

10 Music in My Life

25 Krzysztof Urbański

11 Musicians Around Town

27 Dejan Lazić

13 Inside the Usher Corps

29 Susie Park

61 Indianapolis Symphony Orchestra Association

41 Matthew Halls

75 Endowment

43 Jeremy Black

42 Colin Currie 55 Sutton Foster 59 Jun Märkl 63 André Watts

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Welcome Dear Friends, I am thrilled to welcome you back to the historic Hilbert Circle Theatre as we begin the 2018–19 season. This year is packed with superstar guest artists, engaging programming, and many opportunities for us to gather as a community to celebrate our shared love of music in its many forms.

James M. Johnson Chief Executive Officer

Our 89th season opens with a variety of the world’s new and established voices. To start the Printing Partners Pops Series, Indianapolis native Jordan Donica joins Troupe Vertigo for Cirque Goes to the Movies under the baton of Principal Pops Conductor Jack Everly, while Music Director Krzysztof Urbański leads featured artists Dejan Lazić and ISO Principal Trumpet Conrad Jones in Jazzy Shostakovich to begin the Lilly Classical Series.

I am delighted to be a member of the Indianapolis Symphony Orchestra family, dedicated to meeting patrons exactly where they are in their musical journey. Whether your passion draws you to Broadway’s best, classical masterworks, film scores, or anything in between, we have something for you this season. Our musicians, for example, will take you to a galaxy far, far away in Star Wars Episodes IV & V: In Concert. In November and March, experience the movies that launched a global phenomenon. Maestro Urbański leads the ISO in a season-long exploration of all four of Brahms Symphonies, culminating with Brilliance of Brahms in June. Our two-week Paris Festival in January highlights works from the Classical and Pops realms, celebrating the City of Light. Two of Indiana’s favorites return to our stage to host the 33rd year of our treasured IPL Yuletide Celebration: Indy’s unmistakable opera star Angela Brown and 2014 winner of The Voice, Josh Kaufman. We look forward to a magical holiday season with these Hoosier legends at the helm! On behalf of our musicians, staff, Principal Pops Conductor Jack Everly, and Music Director Krzysztof Urbański, we sincerely hope that you have an enjoyable start to the 2018–19 ISO season. Thank you for your continued support of our orchestra, and I look forward to seeing you at a concert very soon.

Sincerely,

James M. Johnson Chief Executive Officer

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Board of Directors Founded by Ferdinand Schaefer in 1930 Maintained and Operated by the Indiana Symphony Society, Inc.

Officers Yvonne H. Shaheen, Chair Michael Becher, Vice-Chair James M. Johnson, Chief Executive Officer Charlene Barnette, Secretary Greg Loewen, Treasurer Yvonne H. Shaheen, Chair

Board of Directors Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D. John A. Bratt Bryan Brenner Vincent Caponi* Kiamesha Colom Trent Cowles* Andrea Davis Cheryl J. Dick Craig Fenneman Peter W. Howard, Ph.D. Ann Hampton Hunt James M. Johnson*

Phil Kenney* Liz Kyzr Sarah L. Lechleiter Mable Lewis Greg Loewen* Emily M. Mahurin Karen Mangia Scott Martin Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Jackie Nytes* Michael P. O’Neil*

Eloise Paul Jennifer D. Pressley Brandon Russell Alice K. Schloss Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* C. Daniel Yates James C. Zink Sr. Jennifer Zinn *Executive Committee

Board of Trustees John M. Mutz, Chair Robert A. Anker Stephen E. DeVoe Rollin M. Dick Carolyn S. Hardman

Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Henry C. Ryder

Fred E. Schlegel Martha Anne Varnes Dr. Charles H. Webb Jr. Richard D. Wood

Mission of the Indianapolis Symphony Orchestra: To inspire, entertain, educate, and challenge through innovative programs and symphonic music performed at the highest artistic level. 6


Musicians of the ISO Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate First Violin Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster, The Meditch Chair Michelle Kang, Assistant Concertmaster, The Wilcox Chair Barbara Fisher Agresti Michelle Black Sophia Cho Sherry Hong Vladimir Krakovich Vincent Meklis Wei Wei Han Xie Second Violin Peiming Lin Acting Principal Mary Anne Dell’Aquila, Acting Associate Principal Jennifer Greenlee, Acting Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Victoria Griswold Patrick Dalton-Holmes Hua Jin Jayna Park Lisa Scott Oleg Zukin Viola Yu Jin, Principal, The Schlegel Chair Mike Chen, Associate Principal † Zachary Collins Emilee Drumm ** Amy Kniffen Terry E. Langdon Li Li Eva Lieberman Emily Owsinski** Beverly Scott

Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair Oboe Jennifer Christen, Principal, The Frank C. Springer Jr. Chair † Roger Roe, Acting Principal Sharon Possick-Lange Tim Clinch, Acting Assistant Principal English Horn Tim Clinch, Acting English Horn The Ann Hampton Hunt Chair Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair Cathryn Gross, The Huffington Chair Samuel Rothstein, Assistant Principal Bass Clarinet Samuel Rothstein Bassoon Mark Ortwein, Acting Principal Michael Muszynski, Acting Assistant Principal Nate Hale

Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Robert Wood Trombone K. Blake Schlabach, Acting Principal Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal Timpani Jack Brennan, Principal The Thomas N. Akins Chair Craig A. Hetrick, Assistant Principal Percussion Braham Dembar, Principal Craig A. Hetrick Pedro Fernandez Harp Diane Evans, Principal The Walter Myers Jr. Chair Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian William Shotton, Bowing Assistant

Contrabassoon Cello Nate Hale** Austin Huntington, Principal Horn Perry Scott, Associate Principal Chair Anonymously Endowed Robert Danforth, Principal, The Stage Jung-Hsuan (Rachel) Ko Robert L. Mann and Family Chair Assistant Principal Kenneth Bandy, Technician Richard Graef, Assistant Principal Sarah Boyer P. Alan Alford, Technician Alison Dresser, Assistant Principal ** Ingrid Fischer-Bellman Steven A. Martin, Technician Julie Beckel Yager The Randall L. Tobias Chair Jill Boaz Mark Maryanovsky Zachary Mowitz** *The Fifth Chair in the Second Violin Section is seated using revolving seating. Jian-Wen Tong String sections use revolving seating. ** One-year position † On leave

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New Musicians of the ISO Vincent Meklis, Violin Meklis is a prizewinner of several national and international competitions. He has performed as a soloist all over the world. This summer, Meklis was a fellow at the Tanglewood Music Center. As a recipient of a Dorothy Richard Starling Fellowship in Violin, Meklis received a bachelor of arts degree from the Thornton School of Music at the University of Southern California. When not playing the violin, he enjoys cooking, baking, reading, and watching baseball and hockey.

Wei Wei, Violin Wei was the associate concertmaster of the Wheeling Symphony Orchestra and a member of the Pittsburgh Opera Orchestra. She also substitutes with the Pittsburgh Symphony Orchestra. Wei was the guest concertmaster of Xi An Symphony Orchestra in China in 2013 and 2014. Wei began playing violin at age 7 and won the Young Artist’s competition in Mudanjiang, China, at age 11. She attended Tianjin Conservatory of Music and Duquesne University. This summer, Wei performed chamber and orchestra music at the Sunflower Music Festival in Kansas.

Peiming Lin, Violin Lin was a member of the New World Symphony and has been a substitute with the Pittsburgh Symphony Orchestra, Minnesota Orchestra, and Atlanta Symphony. In addition to serving as concertmaster of New England Conservatory’s Philharmonia Orchestra and its self-conducted Chamber Orchestra, he was also Principal Second Violinist of the Atlantic Symphony Orchestra. Lin has been part of many festivals. He studied at the University of Michigan and the New England Conservatory.

Li Li, Viola Li was a member of the Syracuse Symphony Orchestra, with whom she appeared as concerto soloist. She performed for the past two seasons with the Cincinnati Symphony Orchestra and is a seasoned chamber player. Li has been adjunct faculty at Syracuse University and was appointed Honorary Guest Professor of Shenyang Conservatory. She also taught at Anderson University. Li was a participant in the Tanglewood Music Festival for three summers. She studied at Boston Conservatory and Boston University.

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New Musicians of the ISO Emily Owsinski, Viola Owsinski grew up in Lititz, Pa., and studied violin with Rebecca Henry at the Johns Hopkins Peabody Preparatory in Baltimore, Md. After switching to the viola, she attended the Indiana University Jacobs School of Music, earning a bachelor’s and master’s degree in viola performance under the tutelage of professors Stephen Wyrczynski and Edward Gazouleas. In addition to her passion for music, Owsinski enjoys traveling, reading, and spending time with her cat, Wolfgang.

Alison Dresser, Assistant Principal Horn A native of Ashland, Ore., Dresser earned her bachelor’s degree from Northwestern University and attended the Curtis Institute of Music. In 2018, she attended the Tanglewood Music Center. She has been in the Norfolk Chamber Music Festival and the American Institute for Musical Studies in Graz, Austria, in addition to performing with the Britt Festival Orchestra, the Civic Orchestra of Chicago, the New World Symphony, the Orlando Philharmonic, the Oregon Shakespeare Festival, and the Rogue Valley Symphony. Dresser enjoys cooking, running, and reading. Additional new musicians include: Zachary Mowitz, Cello Jung-Hsuan (Rachel) Ko, Assistant Principal Cello (3rd chair) Nate Hale, Bassoon

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Special Spring Event: Sunday, May 5, at 4:00 PM Indiana History Center

Our 53rd Summer Series features GRAMMY winners Suzie LeBlanc and Estelí Gomez and many other terrific musicians.

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Music in My Life: David Bellman, Clarinet David A. Bellman was born in New York City. He studied at the Eastman School of Music with D. Stanley Hasty, former principal clarinet of several American orchestras, including Indianapolis, and at Northwestern University with Larry Combs of the Chicago Symphony Orchestra. Before coming to the ISO in 1981, Bellman was principal clarinet of the Oklahoma Symphony Orchestra and played as an extra musician with the Chicago Symphony Orchestra, the Lyric Opera of Chicago, and the Rochester Philharmonic. In 1984 and 1985 he also played in the Marlboro Festival. With his wife, ISO cellist Ingrid Fischer-Bellman, he is co-founder and director of the Ronen Chamber Ensemble since 1983. He is on the faculty of the University of Indianapolis and has been a soloist with the ISO numerous times. He enjoys bicycling, traveling with his family, teaching the clarinet, and collecting die-cast miniature cars. They have one daughter, LIlly, who is a pediatric doctor in the San Francisco Bay area. What was your first musical instrument, and how old were you when you started playing? My first musical instrument was the autoharp. I accompanied the school chorus. At age 9, I began the clarinet (in 4th grade in California). Who is your favorite composer and why? Johannes Brahms. His music encompasses so many moods from deep autumnal emotions to warm expressiveness to great exuberance and brilliance. I remember being captivated by the amazing energy coming from the violins in my youth orchestra while playing Brahms’ First Symphony. I’m looking forward to playing all four of Brahms’ symphonies this season with the ISO! What’s your favorite memory with the Symphony? Going on the ISO’s first European tour with our then nine-month old daughter was very exciting! Certainly our recent performance at the Kennedy Center for the SHIFT Festival was a highlight. Playing Berlioz’s Symphonie Fantastique in the marvelous acoustics of Carnegie Hall was a performance that I’ll never forget. Why did you get interested in being part of an orchestra? I wanted to be a school band director. But the more I heard and played in orchestras, the more I desired to be part of this magical ensemble with such a variety of instruments and a range of color, power, and expression! Most of all, I wanted to learn and experience the great music written for orchestra. Any advice for a young person considering a career in the orchestra? Anyone desiring to pursue a career in music must have first and foremost a true passion for making music and for her/his chosen instrument. One must be prepared to work very hard and remember to enjoy and cherish the journey of learning. Patience is such an important virtue in music, as well as in life in general. Cultivating a strong spirit of collaboration with colleagues is also an essential skill in preparing for an orchestral career. Tell me something about you that most people don’t know and wouldn’t expect. I very much enjoy all varieties of animals and have had numerous pets including cats, dogs, lizards, turtles, tropical fish, and birds. (Our parakeet, Eddie, could say, “Play the clarinet!” as well as a number of other amusing phrases). Had I not pursued music as a career, perhaps I would have chosen a vocation involving animals. 10


Musicians Around Town Anthony Kniffen, principal tuba, has been appointed adjunct instructor of tuba at Butler University in Indianapolis. He and Robert Danforth, principal horn, played Alec Wilder’s Suite for Horn, Tuba and Piano during the opening evening recital at the International Horn Society’s International Horn Conference on July 30, 2018, at Ball State University in Muncie, Ind. Mark Ortwein, acting principal bassoon, will be a soloist with the Butler University Wind Ensemble for their September 27, 2018, concert at the Schrott Center. With Michael Colburn conducting, Ortwein will be playing the world premiere of Ecstatic Cling for amplified bassoon, live electronics, and wind ensemble, written for Ortwein by composer Frank Felice.

This season, the Indianapolis Symphony Orchestra welcomes you to experience our brand new Brunch Series! Enjoy the classical repertoire by the ISO on a leisurely Sunday afternoon. Subscription packages to all three full-length performances are only $120!

Zukerman Leads the ISO

Michael Francis Conducts Elgar

Rachmaninoff Piano Concertos

Sunday, February 10, 2PM

Sunday, April 7, 2PM

Sunday, June 2, 2PM

Add a pre-concert brunch to each concert for only $30! Overlook Monument Circle in the Hilbert Circle Theatre’s Wood Room while enjoying a delicious meal and sipping mimosas. Brunch is served from 12PM to 1:30PM. Brunch is $30 per concert plus tax.

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG/SEASON/BRUNCH

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FAMILY become a VOLUNTEER

join a

FAMILY

ISO V O L U N T E E R

Learn more about how to join our ISO volunteer family by contacting Volunteer Services Manager Donna Finney at dfinney@indianapolisymphony.org or 317.231.6792

Live the way you want to live. Independent Living, Assisted Living, Skilled Nursing, Short-term Rehabilitation and Memory Care a continuing care retirement community 1 1 0 5 0 Pre s by t e r i a n D r. • I n d i a n a p o l i s , I N 4 6 2 3 6 • 3 1 7 . 8 2 3 . 6 8 4 1 • We s t m i n s t e r V i l l a ge. c om


Inside the Usher Corps: Bob Cedoz Ushers are Indianapolis Symphony Orchestra ambassadors and an integral part of our success! These volunteers are responsible for providing outstanding customer service to Hilbert Circle Theatre and Kroger Symphony on the Prairie patrons. Read the experience first-hand from one of our dedicated ISO volunteers, Bob Cedoz, who has volunteered almost 600 hours with the ISO! He is loved by fellow volunteers and front-of-house management and is greatly appreciated as an usher. Tell us about yourself and your background. I grew up in a small town in Ohio. I studied engineering at Ohio State and then at Notre Dame. I have worked as an engineer the last 32 years at Allison/Rolls-Royce helping to design and build airplane engines. What motivated you to become an ISO volunteer? I retired in December 2014 and knew I wanted to be involved with nonprofits and the arts. I now volunteer for a number of great organizations, including ushering at theaters around the city. My favorite place is the ISO. Have you ever played an instrument? I tried as a child and took piano lessons for several years. I guess I could hit all the right keys, but it just didn’t sound right. Who is your favorite composer? Steven Sondheim. I like that he writes complex music with adult themes. What has been your favorite experience with the ISO so far? Not one experience in particular, but I like Yuletide and movies where we have first-time patrons to the Hilbert Circle Theatre and we can help them to have a good first experience. Some of the new patrons would like information about the Symphony or the theatre, and we like to help them to enjoy their visit. Why is volunteering for the ISO important to you? The ISO is the premiere performing arts organization in Indiana. It is important to Indiana that it be successful, and the volunteers help make the theatre an enjoyable place to go. What would you tell someone who is considering volunteering with the ISO? Since retiring, many of my friends and associates are people who volunteer at one or more organizations. Conversations will be about the enjoyment of where we work. The Symphony is such an enjoyable place to spend your time. The theatre is beautiful and the music is great and of such wide variety. Until I started ushering at the ISO, I did not know the broad variety of music the Symphony plays. Concerts like the movies or special events make this the best theatre around.

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SEPT 21-22

Cirque Goes to the Movies Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Anthem Coffee Pops Series/Program One Friday, September 21, at 11 a.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | TROUPE VERTIGO | JORDAN DONICA, Special Guest Vocalist TIFFANY GILLIAM, Vocalist | CHRISTINA NICASTRO, Vocalist CENTER GROVE SOUND SYSTEM AND CG SINGERS, Jennifer Dice, Director Benj Pasek & Justin Paul

“The Greatest Show” from The Greatest Showman

John Barry, Leslie Bricusse

“Goldfinger” from Goldfinger

& Anthony Newley

Henry Mancini, Franco Migliacci

“It Had Better Be Tonight” from The Pink Panther

& Johnny Mercer

Alan Menken & Howard Ashman

“Beauty and the Beast” from Beauty and the Beast

Lalo Schifrin

“Mission: Impossible” from Mission: Impossible

Harold Arlen & Yip Harburg

“Over the Rainbow” from The Wizard of Oz

Alan Jay Lerner & Frederick Loewe

“On the Street Where You Live” from My Fair Lady

John Williams

“Devil’s Dance” from The Witches of Eastwick

Richard Whiting

Hooray for Hollywood

Leslie Bricusse & Anthony Newley

“Pure Imagination” from Willy Wonka &

the Chocolate Factory Danny Elfman

“Batman Theme” from Batman

Williams

“Can You Read My Mind?” from Superman

Pasek & Paul

“A Million Dreams” from The Greatest Showman

Williams

“Duel of the Fates” from Star Wars Episode I:

The Phantom Menace Hans Zimmer

Highlights from Pirates of the Caribbean:

Dead Man’s Chest

The Coffee Concert is an abbreviated performance. There is no intermission. 14

Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited.


Jack Everly, Conductor Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall, and appears regularly with the Cleveland Orchestra at Blossom Music Center. Everly will conduct more than 90 performances in more than 22 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the West Lawn of the U.S. Capitol. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers, making them some of the highest-rated programs on PBS.

SEPT 21-22

Everly is also the Music Director of the IPL Yuletide Celebration, now a 33-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own orchestrations. Some of his other recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez; Sandi Patty’s Broadway Stories; the soundtrack to Disney’s The Hunchback of Notre Dame; and Everything’s Coming Up Roses: The Overtures of Jule Styne. Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he teamed with Marvin Hamlisch on Broadway shows that Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Everly, a graduate of the Jacobs School of Music at Indiana University, is a recipient of the 2015 Indiana Historical Society Living Legends Award and holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. He is a proud resident of the Indianapolis community for more than 16 years, and when not on the podium, you can find him at home with his family, which includes Max the wonder dog.

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SEPT 21-22

Cirque Goes to the Movies Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program One Friday, September 21, at 8 p.m. Saturday, September 22, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | TROUPE VERTIGO | JORDAN DONICA, Special Guest Vocalist TIFFANY GILLIAM, Vocalist | CHRISTINA NICASTRO, Vocalist CENTER GROVE SOUND SYSTEM AND CG SINGERS, Jennifer Dice, Director Benj Pasek & Justin Paul John Barry, Leslie Bricusse & Anthony Newley Henry Mancini, Franco Migliacci & Johnny Mercer Alan Menken & Howard Ashman Lalo Schifrin Harold Arlen & Yip Harburg Alan Jay Lerner & Frederick Loewe John Williams

“The Greatest Show” from The Greatest Showman “Goldfinger” from Goldfinger “It Had Better Be Tonight” from The Pink Panther “Beauty and the Beast” from Beauty and the Beast “Mission: Impossible” from Mission: Impossible “Over the Rainbow” from The Wizard of Oz “On the Street Where You Live” from My Fair Lady “Devil’s Dance” from The Witches of Eastwick

INTERMISSION—Twenty Minutes Richard Whiting Hooray for Hollywood Alexandre Desplat “The Shape of Water” Suite from The Shape of Water Leslie Bricusse & Anthony Newley “Pure Imagination” from Willy Wonka & the Chocolate Factory Elmer Bernstein “The Magnificent Seven” from The Magnificent Seven Danny Elfman “Batman Theme” from Batman Williams “Can You Read My Mind?” from Superman Pasek & Paul “A Million Dreams” from The Greatest Showman Williams “Duel of the Fates” from Star Wars Episode I: The Phantom Menace Hans Zimmer Highlights from Pirates of the Caribbean: Dead Man’s Chest Premier Sponsor

btlaw.com

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Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited.


Jordan Donica, Special Guest Vocalist Jordan Donica is starring as Freddy Eynsford-Hill in Lincoln Center Theaters productions of My Fair Lady. Donica recently starred as Marquis de Lafayette and Thomas Jefferson in the Los Angeles and San Francisco-company of Hamilton. A native of Indianapolis, Donica made his debut starring as the leading man, Raoul, Vicomte de Chagny, in the historic Broadway production of The Phantom of the Opera. Donica recently made his debut at the Kennedy Center at the 2017 Washington National Opera gala. He was invited by Michael Feinstein to be the featured performer with the Pasadena Symphony. Donica is a 2016 graduate of Otterbein University, where he graduated cum laude with a BFA in musical theatre. While at Otterbein, Donica was seen as Valjean in Les Misérables,

SEPT 21-22

JP Finch in How to Succeed in Business Without Really Trying, Algernon Moncrieff in The Importance of Being Earnest, the Wolf/Cinderella’s Prince in Into the Woods, and Benedick in Much Ado About Nothing. Donica also directed the 2015 Festival Play Little Prints, a new student work that he is working on with playwright Anna Mulhall. Regional credits include: Jesus in Jesus Christ Superstar (Weathervane Playhouse); Ensemble in South Pacific (Utah Shakespeare Festival); Featured Performer in The Greenshow (USF); Captain/Hennessy in Dames at Sea (Otterbein Summer Theatre); and Romeo in Romeo and Juliet (Noblesville Shakespeare in the Park, Indianapolis Mitty Most Impressive Actor award 2013). Donica’s film credits include Coda: An Independent Film by Abe Purvis. Donica was featured at the American Songbook Hall of Fame celebration with Michael Feinstein. Family is everything to Jordan, because without the “little village” of women who raised him, he would not be where he is today. “Every day is a gift.”

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SEPT 21–22

Troupe Vertigo Working in collaboration with national symphonies, Troupe Vertigo’s high-caliber cirque acts are seamlessly woven together with each symphony’s unique music selections— creating an evening of stunning physical feats choreographed into works of art.

Los Angeles-based Troupe Vertigo was founded in 2009 by wife and husband team Aloysia Gavre and Rex Camphuis. With an eclectic mix of circus, dance, and theater, Troupe Vertigo shows ignite the imagination in mentally and physically spellbinding ways.

Among these creations are Cirque-Cracker (Phoenix Symphony), Cirque Broadway (Baltimore Symphony), and Cirque Cinema (Philly Pops and Indianapolis Symphony). Troupe Vertigo Performance highlights include Nighthawks: a Film Noir Circus at LA’s Ford Amphitheater, Tableaux featuring an allfemale cast, Taylor Mac’s A 24-Decade History of Popular Music at UCLA’s Center for the Art of Performance, and TEDx at USC. Troupe Vertigo’s facility is also home to Cirque School, LA’s premier circus training space committed to inspiring an appreciation for the circus arts “for Anybody with Any Body.”

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Tiffany Gilliam, Vocalist

SEPT 21-22

Indianapolis native Tiffany Gilliam is a singer and actress. As a child, she was a member of the Indianapolis Children’s Choir and later graduated from Indiana University, where she was a member of the I.U. Soul Revue. Tiffany is active in local theater, and her recent roles include Lorrell Robinson in Dreamgirls (Footlite Musicals), Mother Caroline in Til Death Do Us Part (Katydid Productions), and For Colored Girls (Demarco Plays). Gilliam will be singing in her second IPL Yuletide Celebration this season.

Christina Nicastro, Vocalist Christina Nicastro is a native of Dunellen, N.J. She recently completed her master’s studies at the Indiana University Jacobs School of Music where she sang the role of Ellen Orford in Peter Grimes. Her performance credits include Vivaldi’s Gloria and Mozart’s Coronation Mass, Requiem, and Vesperae solennes de confessore with the Choral Art Society of New Jersey, as well as selections from Bizet’s Carmen and Villa-Lobos’s Bachianas Brasileiras No. 5 as the Hershey Symphony Orchestra’s guest soloist in Hershey, Pa. Nicastro will be joining the talented singers for her first IPL Yuletide Celebration this season.

Christina Nicastro

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SEPT 26

Andrew Bird Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Specials and Presentations Wednesday, September 26, at 7:30 p.m. Hilbert Circle Theatre

STEVE HACKMAN, Conductor | ANDREW BIRD, Vocals and Violin Selections to be announced from stage.

Supported by the Efroymson Family Fund

There will be one 20-minute intermission. Recording or photographing any part of this performance is strictly prohibited.

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Steve Hackman, Conductor

A musical visionary of incomparable gifts, Steve Hackman is a daring voice leading the charge among a new generation of classical musicians intent on redefining the genre. Equally adept in classical and popular forms, his breadth of musical fluency and technique is uncanny. He is at once a composer, conductor, producer, DJ, arranger, songwriter, singer, pianist, and even rapper. He uses those wide-ranging abilities to create ingenious hybrid compositions that blur the lines between high and pop art and challenge our very definitions thereof.

WE

STUDEN TS

SEPT 26 Hackman’s unique style of musical metamorphosis, branded as Stereo Hideout, sees modern musical techniques applied to the classical repertoire and vice versa. The result is evocative, hybrid works that are both derivative, yet wholly original. He synthesizes Brahms and Radiohead; Bartók and Björk; and Tchaikovsky and Drake into epic orchestral tone-poems. He re-imagines Stravinsky and Shostakovich into original orchestralelectronic concept albums, samples Verdi and Debussy and interpolates them into hip-hop tracks, and writes songs with hidden melodies of Beethoven embedded. His performances of these pieces have surprised and thrilled diverse sellout audiences across the country, including with the orchestras of Pittsburgh, the Boston Pops, Nashville, Oregon, Indianapolis, Columbus, Charlotte, Florida, Alabama, and the Colorado Music Festival. Hackman is active on social media under the handle @stereohideout, and many of his pieces can be watched in their entirety on YouTube via the @stereohideout channel.

$10 Hilbert Circle Theatre! FromTICKETS Beethoven to Broadway and

Student tickets are availaSTUDENT ble for most ISO concerts at the

From Beethoven to Broadway, student tickets are available for most performances for only $10!

even our popular Happy Hours, student tickets are just $10! New this year: Print at home tickets! See website for details. Select seats only–while supplies last

For more information, call the ISO Box Office at 317.639.4300, or visit IndianapolisSymphony.org

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Andrew Bird, Vocals and Violin

Andrew Bird is an internationally acclaimed multi-instrumentalist, vocalist, whistler, and songwriter who picked up his first violin at the age of four and spent his formative years soaking up classical repertoire completely by ear. As a teen, Bird became interested in a variety of styles including early jazz, country blues, and folk music, synthesizing them into his unique brand of pop. Since beginning his recording career in 1997, Bird has released 14 albums and performed several hundred concerts worldwide. He has recorded with the Preservation Hall Jazz Band, appeared as “Dr. Stringz” on “Jack’s Big Music Show,” and headlined concerts

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at Carnegie Hall, Sydney Opera House, and festivals worldwide. Mojo Magazine declared him “simply incredible live.” In recent years, he performed as the Whistling Caruso in Disney’s The Muppets movie, scored the FX series Baskets, and collaborated with inventor Ian Schneller on Sonic Arboretum, an installation that exhibited at New York’s Guggenheim Museum, Boston’s ICA, and the MCA Chicago. Bird has been a featured Ted Talk presenter, a New York Times op-ed contributor, and is an advocate for Everytown for Gun Safety. Additionally, Bird hosts an ongoing Facebook Live series of performances called Live From The Great Room, putting the creative process on display for fans as he performs and converses with friends and collaborators in a candid, intimate setting. Bird is currently working on a series of site-specific improvisational short films and recordings called Echolocations, recorded in remote and acoustically interesting spaces: a remote Utah canyon, an abandoned seaside bunker, the middle of the Los Angeles River, and a reverberant tile-covered aqueduct in Lisbon.

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OCT 4–6

Jazzy Shostakovich Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program One

Thursday, October 4, at 11 a.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | DEJAN LAZIĆ, Piano | CONRAD JONES, Trumpet Dmitri Shostakovich | 1906–1975 Piano Quintet in G Minor, Op. 57 Prelude: Lento - Poco più mosso - Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento - Appassionato Finale: Allegretto Dejan Lazić, Piano Susie Park, Violin Peiming Lin, Violin Yu Jin, Viola Austin Huntington, Cello Concerto No. 1 in C Minor for Piano, Trumpet, and String Orchestra, Op. 35 Allegro moderato Lento Moderato Allegro brio Dejan Lazić, Piano Featuring Conrad Jones, Trumpet

Festive Overture, Op. 96

This performance is endowed by Francis W. and Florence Goodrich Dunn

† The Coffee Concert is an abbreviated performance. There is no intermission.

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Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited.


Krzysztof Urbański, Conductor

In September 2018, Krzysztof Urbański entered the eighth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. In 2015, Urbański became Principal Guest Conductor of the NDR Elbphilharmonie Orchestra succeeding Alan Gilbert. In addition to concerts in Hamburg last season, they toured Japan and Europe. Alongside these performances, they released for Alpha Classics “wholly excellent renderings” (Gramophone) of Lutosławski works, Dvořák’s Symphony No. 9 and A Hero’s Song, and Stravinsky’s Rite of Spring. His discography also includes Chopin’s small pieces for piano and orchestra with Jan Lisiecki and the NDR Elbphilharmonie Orchestra for Deutsche Grammophon, and Martinu’s Cello Concerto No.1, recorded for Sony with Sol Gabetta and the Berliner Philharmoniker.

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Urbański simultaneously maintains an international presence by appearing as guest conductor for numerous orchestras around the world, including the Münchner Philharmoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, Philharmonia Orchestra, Tonhalle Orchestra Zurich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra Washington, and Pittsburgh Symphony Orchestra, among others. This season sees him debut with the Leipzig Gewandhaus Orchestra, Orchestre de Paris, and Chamber Orchestra of Europe. Urbański served as Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra from 2010 until 2017 and embarked on a concurrent four-season tenure as Principal Guest Conductor of Tokyo Symphony Orchestra in 2012. In 2017 he was appointed Honorary Guest Conductor of the Trondheim Symfoniorkester & Opera. In June 2015 Urbański received the prestigious Leonard Bernstein Award at the SchleswigHolstein Musik Festival; notably, he is the first conductor to have ever received this award.

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OCT 4–6

Jazzy Shostakovich Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program One Friday, October 5, at 8 p.m. Saturday, October 6, at 5:30 p.m. Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | DEJAN LAZIĆ, Piano | CONRAD JONES, Trumpet Dmitri Shostakovich | 1906–1975 Festive Overture, Op. 96 Concerto No. 1 in C Minor for Piano, Trumpet, and String Orchestra, Op. 35 Allegro moderato Lento Moderato Allegro brio Dejan Lazić, Piano Featuring Conrad Jones, Trumpet INTERMISSION—Twenty Minutes Johannes Brahms | 1833–1897 Symphony No. 1 in C Minor, Op. 68 Un poco sostenuto - Allegro Andante sostenuto Un poco allegretto e grazioso Adagio - Più andante - Allegro non troppo, ma con brio

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Associate Sponsor

This performance is endowed by Frank C. Springer, Jr., as the Frank and Irving Springer Piano Performance Length of performance is approximately one hour and thirty-five minutes. Recording or photographing any part of this performance is strictly prohibited. Please refer to Maestro Urbański’s biography on page 25.

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Dejan Lazić, Piano

OCT 4–6 2017 he performed on tour and recorded Beethoven’s own arrangement of his Violin Concerto as Piano Concerto in D major, Op. 61a, with Netherlands Chamber Orchestra and Gordan Nikolić. This CD was released earlier this year on Onyx Classics.

Dejan Lazić’s fresh interpretations of the repertoire have established him as one of the most unique and unusual soloists of his generation. He appears with orchestras across the U.S. and around the world. Lazić enjoys a significant following in the Far East touring China with Budapest Festival Orchestra and Iván Fischer, and appearing with NHK Symphony, Yomiuri Nippon, and Sapporo Symphony as well as Seoul and Hong Kong Philharmonic Orchestras. He has built close collaborations with many prominent conductors. Following the release of his recent recording Life, Love & Afterlife —A Liszt Recital, Lazić’s 2017–18 season took him on tour starting at the Menuhin Festival Gstaad and concluding at the Teatro Colón, Buenos Aires. Other highlights included returning to Atlanta Symphony Orchestra with Robert Spano. Further collaborations in 2018 included returns to the Budapest Festival Orchestra, City of Birmingham Symphony Orchestra, Het Residentie Orkest, MDR Sinfonieorchester Leipzig, and the debut with Melbourne Symphony Orchestra under Jukka-Pekka Saraste. Lazić has previously released many recordings with Channel Classics, including a critically acclaimed Liaisons series; the latest of which couples together C. P. E. Bach and Britten. His live recording of Rachmaninoff’s Piano Concerto No. 2 with London Philharmonic Orchestra and Kirill Petrenko received the German “Echo Klassik” Award. A recording of the Beethoven Triple Concerto was released for Sony Music in 2015. In autumn

Lazić’s compositions receive increased recognition. He was recently signed as a composer by Sikorski Music Publishing Group. He is the latest composer to join a list of respected names in the Sikorski catalogue, including Shostakovich, Prokofiev, Khachaturian, and Shchedrin. His arrangement of Brahms’ Violin Concerto as a piano concerto was premiered with Atlanta Symphony Orchestra and Robert Spano in 2009 and has enjoyed much ongoing success at BBC Proms, Concertgebouw Amsterdam, Hamburg Easter Festival, Chopin Festival Warsaw, in both Americas, and in Japan. Lazić has performed his Piano Concerto in Istrian Style, Op. 18, many times since its premiere in 2014. His first major orchestral work, a tone poem titled Mozart and Salieri (inspired by Alexander Pushkin’s eponymous drama), Op. 21, was commissioned and premiered by the Indianapolis Symphony in April 2017; his Cadenzas for Beethoven’s Piano Concertos Nos. 1–4 were published recently. Lazić’s new Mozart arrangement Rondo Concertante for piano and orchestra (after the 3rd movement from Mozart’s Piano Sonata in B-flat major, K. 333) premiered in June 2018 at the Mainly Mozart Festival in San Diego, with the Mainly Mozart Festival Orchestra conducted by Michael Francis. Lazić is working on his Chinese Fantasy for Violin and Orchestra, Op. 22. Born into a musical family in Zagreb, Croatia, Lazić grew up in Salzburg, Austria, where he studied at the Mozarteum. He now lives in Amsterdam.

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Susie Park, Guest Concertmaster Hailed as “prodigiously talented” (Washington Post) and praised for her “freedom, mastery and fantasy” (La Libre, Belgium), Sydney native Susie Park first picked up a violin at age three, made her solo debut at five, and, by 15, had performed with every major orchestra in her country. Today she performs internationally as an orchestral, chamber, and solo artist. Park’s international career was launched at age 16, when she took first place in the Yehudi Menuhin International Competition in France. This led to performances and re-engagements throughout the U.S., Europe, and her native Australia. Park went on to receive additional top honors at the International Violin Competition of Indianapolis and the Wieniawski Competition in Poland. Park has since concertized around the world. She has served as guest concertmaster of the

OCT 4–6

St. Paul Chamber Orchestra and the Seattle Symphony. Park was the violinist of the Eroica Trio from 2006 to 2012. She was also a member of the Chamber Music Society of Lincoln Center Two. For three summers she attended the Marlboro Music Festival and has been on numerous tours with Musicians from Marlboro in addition to many festival engagements. She has performed as a guest of Accordo, a chamber music ensemble composed of principal string players from the Minnesota Orchestra and Saint Paul Chamber Orchestra. Park was appointed first associate concertmaster of the Minnesota Orchestra in 2015. She is also a founding member of ECCO, the East Coast Chamber Orchestra. Park’s diverse musical interests have also led to collaborations with artists such as trumpeter Chris Botti, with whom she performed 41 consecutive shows at the Blue Note jazz club in New York. Park holds degrees from the Curtis Institute and the New England Conservatory. She performs on a J.B. Guadagnini violin made in 1740.

A look into the concertmaster search process

With the start of the 2018–19 season, the Indianapolis Symphony is embarking on a search for a new concertmaster. A search committee that comprises Krzysztof Urbański, Jack Everly, and representatives of musicians and staff will invite violinists from all around the world to join the orchestra as guest concertmasters throughout the season. While some of these violinists will be considered for the concertmaster position, others will appear simply as guests of the orchestra. In addition to inviting these violinists, the ISO will hold a formal audition for the concertmaster position, which may yield further candidates who will also be invited to perform with the orchestra. Identifying a gifted musician, strong leader, and community-minded representative of the orchestra to serve as concertmaster will not be a quick process. However, this deliberate approach will undoubtedly bring the best possible candidates for the position to Indianapolis. We hope you enjoy this season of musicmaking from some of today’s most talented violinists.

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OCT 4–6

Jazzy Shostakovich

Lilly Classical Series Program Notes By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Piano Quintet in G Minor, Op. 57 Dmitri Shostakovich Born: September 25, 1906, St. Petersburg, Russia Died: August 9, 1975, Moscow, Russia Year Composed: 1940 Length: c. 34 minutes World Premiere: November 1940, Moscow, Russia Last ISO Performance: This is the first performance with the ISO Instrumentation: 2 violins, viola, cello, and piano Shostakovich’s Piano Quintet is one of his most popular chamber works. It was written in 1940 for the Beethoven Quartet, founded in 1923 and 1924 by graduates of the Moscow Conservatory. Starting in 1938, they collaborated closely with Shostakovich over many years, and eventually premiered thirteen of the composer’s fifteen string quartets. After hearing his First String Quartet, they asked the composer for a quintet, and Opus 57 emerged. Artistic atmosphere When the Stalinist regime began in the 1930s, music became controlled by the state,

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dictating content and format, cleansing art music from westernization, complexity, and intellectualism. Music became a propaganda mechanism, a powerful force for emotional, intellectual, political, and social influence. Adherence to “Soviet Realism,” as defined and sanctioned by the state in 1932, was mandated in the arts, and those who did not comply suffered expulsion, prison, and possibly death. The sole purpose of the serious music composer was to exalt the state, serve the state, enchant the working class, and most of all, to produce accessible, tuneful, and thrilling music. Thus Stalin applied Soviet Realism to classical music. Levon Hakobian wrote, “The stillborn art of Socialist Realism was favored by the communist government and intended to serve the ideological necessities of the regime.” They wanted cheerful, ascending melodies, perhaps some folk music tossed in, and lively marches. Anything less was sabotage. All the rest was “decadent bourgeois art.” Homo sovieticus was going to be a new kind of human being, and those who practiced the tenets of Soviet Realism were, in Stalin’s words, “engineers of souls.” This was not a new idea. Lenin had written in Culture and Art, “Every artist, everyone who considers himself an artist, has the right to create freely according to his idea. However, we are Communists, and we must not stand with folded hands and let chaos develop as it pleases. We must systematically guide this process and form its result.” Writing the Quintet After the premiere of the Quintet on November 23, 1940, it won the coveted Stalin Prize in 1941 in Category One. The Stalin Prize was given by the state between 1940 and 1954 for excellence in the arts and sciences as determined in this case by a Committee for Music. Shostakovich also received 100,000 rubles. It is particularly interesting that the Piano Quintet, a chamber music piece, was selected.


Lilly Classical Series | Program Notes Chamber music was not one of the “approved” forms of serious music in the USSR. It smacked of elitism and Western culture and “bourgeois principles,” certainly not something that would appeal to the masses. Shostakovich probably got away with it because Russia was spending a lot of energy and time on WWII and finally forming a U.S.-Soviet Alliance in 1941–45. As the government was focusing on other matters, the Soviet Union relaxed surveillance on artistic expression. The Russians were keenly aware of the dangers of Germany and a possible invasion, which occurred in June 1941. Since Russia was allied with Western powers; anti-Western rhetoric was foolish. Chamber music, a genre that had fallen out of favor in the previous decade, was possible and benefitted. 20th century content Throughout his compositions, Shostakovich had demonstrated extraordinary talent in writing fugues, and even wrote a set of twenty-four Preludes and Fugues for piano, inspired by J.S. Bach. He begins his Quintet with an introductory prelude, followed by a fugue, typical of baroque architecture. The Prelude opens slowly with an assertive piano solo. Soon the spotlight features the strings combined with occasional piano gestures. The speed increases, featuring the viola and piano with contrasting articulations. Gradually, the strings sing beautiful melodies over gentle, repetitive keyboard accompaniment. The slower section resumes with dramatic stature with increasing dynamics. The full group joins for a closing chord. At the close, Shostakovich marks attaca, which immediately introduces the slowly paced four-voiced fugue. The subject is played carefully by muted first violin. In order of appearance, second violin, cello, and viola each take a turn at the theme in a soft exposition. The piano enters quietly in the lower register, in a two-voiced texture

OCT 4–6

that later expands to four voices. The fugue moves gently with absolute clarity in immaculate counterpoint to a brilliant climax before sinking back to the quietude of the beginning material. The movement drifts thoughtfully to a pianissimo closure with the piano echoing the predominate three-note motif. The brisk Scherzo, marked Allegretto, begins with jocular momentum announced by a fierce statement from first violin, joined immediately by the other three strings. When the piano joins in the celebration, it bounces in with enormous zest and activity. Notice the unquenchable rhythmic accents, swift dynamic changes, and split-second exchanges among the instruments. This movement has often been extracted as an encore on concert programs. In various recordings, you will hear many versions of tempi, some choosing a presto and others with more deliberate rather than headlong presentations. A relaxed Lento intermezzo opens the fourth movement with first violin and cello pizzicato. When the viola enters, it aligns itself with the lines of the first violin for a tender episode before the piano enters quietly in a high register, eventually playing gently under a high, almost inaudible sustained note in the first violin. At the close, the piano assumes a steady octave motion prodding the music into a crescendo before moving back to quietude. The close is marked morendo (dying) with the piano having the last word.

The fifth movement, Allegretto, features an opening conversation between the two forces, each sharing the main idea. In this, Shostakovich adapts a classical sonata format. The mood is sprightly, but held firmly, with controlled march-like rhythms. A notable crescendo forces the single expansive section with fortissimo piano chords and repeated octaves under vigorous strings. 31


OCT 4–6

Jazzy Shostakovich

Notice the alternating structure that characterizes this movement. Rarely are all instruments playing simultaneously. At the close, the piano retreats, speaking in a rocking style accompaniment in open fifths and open octaves as the quartet assumes the featured role, moving to a quiet close in G major. Festive Overture, Op. 96 Dmitri Shostakovich Born: September 25, 1906, St. Petersburg, Russia Died: August 9, 1975, Moscow, Russia Year Composed: 1954 Length: c. 6 minutes World Premiere: November 1954, Moscow, Russia Last ISO Performance: January 2012 with conductor Rossen Milanov Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings Russia in 1917 Young Dmitri Shostakovich was only 11 years old when a pair of revolutions took place that dismantled the Tsarist autocracy and helped bring about the Soviet Union. The October Revolution of 1917 in Russia followed a series of uprisings that began in February and continued over the summer. An armed insurrection overthrew the Kerensky Provisional Government in St. Petersburg and gave power to the Bolsheviks, who captured the Winter Palace on October 24. At the time of this revolution, Russia was 80 percent agricultural, and the peasant masses were impoverished.

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Accounts of this uprising have varied tremendously, depending on the source: the Soviet-Marxist viewpoint, the WesternTotalitarian viewpoint, and the Revisionist viewpoint, the latter being determined post-Stalin by Russian historians and assorted Western historians. The basic outcome was the defeat of a parliamentary state and the establishment of a socialist state. “It was this revolution which caused a chain reaction leading to Communist governance of Russia,” said historian Edward Skinner in 1951. The event was pivotal in the establishment of the new government, and consequently was a much-celebrated event in Communist Russia. A frenzy of composition On November 3, 1954, Shostakovich received a rush commission from the Bolshoi Theater Orchestra to write an overture to commemorate the 37th anniversary of the October event, taking place in three days on November 6. At that time, Shostakovich was an advisor to that orchestra. The courier was no less than the conductor Vasilli Nebolsin, who arrived unannounced at Shostakovich’s apartment with the request. On that day, the musicologist Lev Lebedinsky happened to be visiting the composer, and he recalled that after accepting the commission, the composer said to him: “Lev Nikolayevich, sit down here beside me and I’ll write the overture in no time at all.” Then he started composing. “The speed with which he wrote was truly astounding,” recalled Lebedinsky. Moreover, when he wrote light music, he was able to talk, make jokes, and compose simultaneously. About an hour later, Nebolsin telephoned to ask, “Have you got anything ready for the copyist? Should we send a courier?” A short pause and then Shostakovich answered, “Send him.” Two days later the dress rehearsal took place.


Lilly Classical Series | Program Notes Musical insight The Festive Overture is thoroughly celebratory. It opens with stately fanfares followed by an allegretto, filled with buoyant, optimistic music, based in large part on material used in Shostakovich’s “Birthday Piece” in his Piano Suite of 1945. Mid-section offers a release from the frenzy with a song from solo French horn. Shortly thereafter, the bustling restarts. Signaling the conclusion, the opening fanfares return, prefacing a noisy, busy, blazing, presto coda. The government was thrilled and delighted with The Festive Overture. After all of his trouble with the government throughout his life, Shostakovich was relieved and happy. Stalin had died in 1953, and during “The Thaw” that year, artists were receiving more opportunity for personal expression: for Shostakovich, there was cause to celebrate more than the October Revolution.

Concerto No. 1 in C Minor for Piano, Trumpet, and String Orchestra, Op. 35 Dmitri Shostakovich Born: September 25, 1906, St. Petersburg, Russia Died: August 9, 1975, Moscow, Russia Year Composed: 1933 Length: c. 21 minutes World Premiere: October 1933, Leningrad, Russia Last ISO Performance: March 2001 with conductor Dmitry Sitkovetsky and soloist Ignat Solzhenitsyn Instrumentation: Strings, trumpet, and solo piano A strong start By age 27 in 1933, Shostakovich was already a highly acclaimed composer, credited with three symphonies, two ballets, four film scores, the satirical opera The Nose, and incidental music for the stage. He was an

OCT 4–6

excellent pianist, and had graduated from the Petrograd Conservatory in June 1923. Despite his grounding in classical studies, he frequently earned extra money in the 1920s by playing for silent movies in order to support his mother and sister after his father died in 1922. Eventually, there would be fifteen film scores to his credit. Between March and July of 1933, Shostakovich wrote his first piano concerto, primarily for his own use, since he was thinking about changing from composition to a concert career. He was soloist at the successful premiere of the relatively short and compact piece with the Leningrad Philharmonic Orchestra on October 15 of that year. At that time, he had the trumpet player sit next to the piano because of its significant role. The concerto began as a trumpet concerto, then morphed into a concerto for trumpet and piano, and finally stabilized as the Concerto in C Minor for Piano, Trumpet, and String Orchestra, Op. 35. Four movements are marked Allegretto, Lento, Moderato, and Allegro con brio. The composer’s teacher at the Leningrad Conservatory, Maximilian Steinberg (sonin-law of Rimsky-Korsakov), was shocked by the concerto’s “brashness and the irreverent hodge-podge of styles with paraphrases of Beethoven and snippets of Haydn and Mahler, undercurrents of jazz, and a saucy Odessan song.” For years, Steinberg had tried to guide Shostakovich into the path of the established great Russian composers, and felt that his student was wasting his talent by “imitating Stravinsky and Prokofiev.” On his side, Shostakovich noted that the Conservatory composition courses were “an unavoidable evil, which in part I submitted to passively. . . .” When Steinberg ordered him to correct his Suite for Two Pianos, he noted, “I did not do it.”

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OCT 4–6

Jazzy Shostakovich

Inside the piece The first movement begins with two quick flourishes from the piano, accented by the trumpet landing with the piano on the top note. Immediately thereafter, the piano presents a beautiful first idea echoed by the strings. The second theme is allocated to the trumpet, now moving more quickly in good contrast to the first. At the marking vivace, the piano leads the music into a quickly paced section featuring fast octave passages with collaborative trumpet commentary. Moving into a slower allegro section, the piano produces a jaunty tune sung in a high register eventually to be calmed by the strings. A recall of the opening closes the scene. A slow second movement, in ABA form, opens quietly with a waltz-like tune from the strings. After their introduction, a solo trill spins from the piano, and it begins in a poignant, reflective mood. Gradually, the pianist gains strength in expansive behavior moving into a large climax. Afterwards, strings and trumpet move into a pianissimo zone, featuring the trumpet singing slowly over gentle accompaniment. Thus, the waltz returns to its original wistful, relaxed mood, shared by piano and strings closing with a thoughtful dialogue in a thinly orchestrated texture. The tiny third movement, moderato, is sometimes considered as an introduction to the finale. Note the deep heartfelt playing by the strings and lush piano integration. The piano introduces the movement with rippling configuration. Midway through, the strings sing an impassioned theme with subtle decorative figuration from the piano: a sudden ignition from the piano glides directly into the last movement. The fourth movement could be summarized by a quote from an old French cabaret song,

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“Il faut s’amuser, danser, et rire” (It is necessary to have fun, dance, and laugh). This allegro con brio dazzles with sizzling technical feats from piano and trumpet, which finally gains more prominence and recognition than in all the other movements. A particularly special section allows the trumpet to share the limelight in a contrasting tempo change, sung over delicate string underscoring. A quick piano solo restores the opening zest, with the trumpet goading the pianist into ever increasing virtuosic display. Herein lies the witty hodgepodge of styles with references to Haydn, Mahler, folk tunes, and a brilliant cadenza for piano stemming from Beethoven’s “Rage Over a Lost Penny.” The music jumps headlong into an unstoppable joie de vivre and we are treated to a giant free-for-all. Especially notable are the rapidly repeated iterations from the trumpet, which consistently encourages wildness and intensity. The concerto enters a glittering last section before a highly accented, snappy conclusion.

More about 1930s life in the USSR Stalin had been head of the USSR since 1929, and in 1933, Shostakovich was in favor with the government. In only three years, however, the Great Terror began and many of the composer’s friends and relatives would be imprisoned or killed. Although Shostakovich received a mild rebuke for his “Tahiti Trot” and a bit of criticism for The Nose, he fell from official favor at this time. This was more serious. He saved himself from certain violent punishment by withdrawing his Fourth Symphony from the public. His Fifth Symphony, completed in November of 1937, was prefaced by the composer’s note that it was, “A Soviet artist’s reply to just criticism,” referencing the 1936 rebuke. He was wisely trying to make amends: Shostakovich was clearly aware of the danger in which he lived.


Lilly Classical Series | Program Notes Symphony No. 1 in C Minor, Op. 68 Johannes Brahms May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria Years Composed: 1862–1876 Length: c. 45 minutes World Premiere: November 1876, Karlsruhe, Germany Last ISO Performance: March 2015 with conductor Ludovic Morlot Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings Midlife success When Johannes Brahms was 43, he finally succeeded in writing a symphony. Music critic Eduard Hanslick commented, “Seldom, if ever, has the entire musical world awaited a composer’s first symphony with such tense anticipation.” For years, Brahms had what could be called writer’s block and anxiety regarding symphonic writing, even though Robert Schumann in the Neue Zeitschrift für Musik in 1853 described Brahms as “the savior of German music and the rightful heir to the mantle of Beethoven.” Other famous composers had plunged into the symphonic format earlier in their lives: Mozart at age 9, Mendelssohn at age 12, Schubert at age 16, Haydn at age 25, Clementi at age 35, Donizetti at age 21, Rossini at age 17, Carl Maria von Weber at age 26, and Glazunov at age 15. At this time, a symphony was the popular orchestral form, and to many, the final test of a composer’s control, prowess, imagination, and talent. A lengthy process In Brahms’ case, Beethoven was the problem. “You have no idea how it feels to hear behind you the tramp of a giant like Beethoven,” explained Brahms. In addition to Beethoven, perhaps, was the power of the great

OCT 4–6

tradition of the symphony, which was daunting. Brahms had been tempted before to enter the field: an early attempt to write a symphony morphed into his First Piano Concerto in 1854. None of those ideas herein were considered to have symphonic potential. Sketches for Symphony No. 1 date from 1862 (ideas for the main theme of the first movement were sent to Clara Schumann on July 1) and 1868 (more ideas were created), but not until 1876 did the Symphony No. 1 coalesce. Its gestation lasted fourteen years. After a successful premiere on November 4, 1876, in Karlsruhe, Germany, and several more performances, Brahms revised Opus 68, particularly in the second and third movements. Critics, however, offered different perspectives. On one hand it was criticized for lacking melody and for being “stern.” One critic thought that it would be suitable to erect warning signs in a concert hall that would read “Exit in case of Brahms.” However, Hans von Bülow summarized, “a more fitting tribute to the Beethovenian ideal of the symphony as struggle and resolution is difficult to imagine.” Brahms remained tough and resilient. When audiences commented that the big finale reminded them of Beethoven’s Ninth, the composer snapped “Any fool (donkey) can see that!” About the piece Symphony No. 1 is cast in C minor, a key that for Brahms signified “hard pitiless struggle, demoniac supernatural shapes, sinister defiance, steely energy, and dramatic intensity of passion.” The composer commented, “My symphony is long and not exactly loveable.” It opens with a dignified 37-measure introduction before the vast canvas unfolds. Timpani beat steadily in 6/8 meter while pieces of melody sound throughout the orchestra.

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OCT 4–6

Lilly Classical Series | Program Notes

A buoyant first main theme is announced by violins in a faster tempo as the body proper arrives. This idea grows into high passion before a poignant second theme surfaces in the winds. A large development, filled with the conflict associated with C minor, reflects Brahms’ expertise in contrapuntal texture. He had long been a student of Bach’s compositions and had even been invited to serve on a board editing the first edition of Bach’s completed works. The recapitulation follows standard sonata-allegro format with the recall of the two main ideas and an elaborate coda closes the movement. The second movement, marked andante sostenuto, provides welcome serenity. The composer places this music in E major, a distant tonal site from the first movement, effecting a refreshing context. Several themes are presented: the first from violins, which is followed by a second idea from the oboe. The mood remains contemplative as strings and winds engage in unhurried dialogues. A broad climax from the strings emerges before a quiet ending. A playful scherzo pops up in the third movement. The clarinet dances for ten bars with an informal theme above pizzicato accompaniment. Clarinets, flutes, and bassoon introduce a cheerful response as a second idea. A middle trio section in 6/8 meter offers a

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nice contrast before the strings are summoned for the close with the clarinet leading the way. Timpani are silent throughout. His massive finale was written years after his first ideas for movements one, two, and three were sketched. It was as if Brahms were starting over. A grand opening introduces the main subjects. Low pizzicato generate agitation with tidbits of the first theme, before a solo horn comes in, singing a melody Brahms derived from an alpenhorn tune on a Swiss vacation. The flute calms the activity. Trombones and bassoons singing a dramatic chorale close the introduction. The finale moves to a new tempo and promulgation of a sturdy, hymn-like melody (perhaps the reason for the comments about Beethoven’s Ninth). Turbulence resumes, alternating with quiet episodes. Finally, Brahms allows that melody to grow into gigantic proportions before culminating in a stunning climax. Moving into C major, the music dashes to the finish in a joyous stretto (compression). His first symphonic experience ignited Brahms’ courage in the genre: one year later, his Second Symphony appeared. Brahms would write four symphonies. Numbers three and four were written in 1883 and 1885.


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SPECIAL EVENTS WEDDINGS MEETINGS For more information visit IndianapolisSymphony.org or call 317.231.6798. Photo by Danielle Harris | danielleharrisphotography.com

At the ISO, we love to tell stories, especially those of our patrons and fans like you. After all, we couldn't do what we love – playing beautiful music – without your support and patronage. We want to know: when was your very first ISO concert? Did you meet your spouse at the Hilbert Circle Theatre? Did a Teddy Bear Concert or SymFUNy Sunday inspire your child to become a musician? Every member of our ISO family has a story, and we want to share yours!

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OCT 12–13

Percussion & Prokofiev Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Two Friday, October 12, at 8 p.m. Saturday, October 13, at 7 p.m. Hilbert Circle Theatre

MATTHEW HALLS, Conductor | COLIN CURRIE, Percussion Aaron Jay Kernis | b. 1960

Musica Celestis

Andrew Norman | b. 1979 Switch for solo percussion and orchestra Colin Currie, Percussion INTERMISSION—Twenty Minutes Sergei Prokofiev | 1891–1953 Symphony No. 5 in B-flat Major, Op. 100 Andante Allegro marcato Adagio Allegro giocoso

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Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited.


Matthew Halls, Conductor

OCT 12–13 Dallas, and Indianapolis Symphonies, along with the Los Angeles Chamber Orchestra. In addition, Halls conducts the San Diego and Jacksonville Symphonies, as well as the Handel and Haydn Society in Boston. Last season, he made his New York debut with Lincoln Center’s Mostly Mozart Festival in a performance with violinist Joshua Bell.

The word “versatile” is an apt description for British conductor Matthew Halls. He first came to prominence as a keyboard player and early music conductor, but Halls is now better known for his dynamic and intelligent work with major symphony orchestras and opera companies, and for his probing and vibrant interpretations of music of all periods. Increasingly in demand by North American symphony orchestras, Halls has performed with the Cleveland and Philadelphia Orchestras; Dallas, Pittsburgh, Houston, Seattle, Indianapolis, and Utah Symphonies; Los Angeles Chamber Orchestra; and National Arts Centre Orchestra. His debut with the Toronto Symphony, in which he led Beethoven’s Ninth Symphony, “captured much of the energy and excitement that its first audience must have felt at its premiere nearly 200 years ago” (Toronto Star). Having served as Artistic Director of the Oregon Bach Festival for five years, Halls is equally at home conducting baroque and contemporary repertoire. In 2018–19, Halls’ North American guest appearances include his debut with the Chicago Symphony and returns to the St. Louis,

In recent seasons, Halls has performed in Australia with the Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, and with the Auckland Philharmonia. He is a regular with the Iceland Symphony Orchestra, recently having presented a series of five performances traversing all of Beethoven’s piano concerti with Paul Lewis. Recent European appearances include Bournemouth Symphony Orchestra, Warsaw Philharmonic, Mozarteum Salzburg, Philharmonie Zuidenderland, and Capriccio Barockorchester. Halls is represented on disc with Handel’s Parnasso in Festa, winner of the Stanley Sadie Handel Recording Prize, released by Hyperion. On Linn Records, he has recorded a set of four Bach Harpsichord Concertos conducted from the keyboard, which Gramophone welcomed as “joyful and invigorating,” and Bach’s Easter and Ascension oratorios, as well as award-winning discs of Purcell’s Sonatas in Three and Four Parts. Visit Matthew Halls on the web at www.schwalbeandpartners.com.

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OCT 12–13

Colin Currie, Percussion work for piano and percussion by Sir Harrison Birtwistle with Nicolas Hodges at the Library of Congress and London’s Southbank Centre. Currie also premiered new works by Brett Dean and Joe Duddell with Håkan Hardenberger at Malmo Chamber Festival in September 2017 and Aldeburgh Music in November 2017, along with a new work for percussion and electronics by Dave Maric with the Scottish Ensemble.

Hailed as “the world’s finest and most daring percussionist” (Spectator), Colin Currie is a solo and chamber artist at the peak of his powers. Championing new music at the highest level, Currie is the soloist of choice for many of today’s foremost composers, and he performs regularly with the world’s leading orchestras and conductors. A dynamic and adventurous soloist, Currie’s commitment to commissioning and creating new music was recognized in 2015 by the Royal Philharmonic Society, who awarded him the Instrumentalist Award. From his earliest years, Currie forged a pioneering path in creating new music for percussion, winning the Royal Philharmonic Society Young Artist Award in 2000 and receiving a Borletti-Buitoni Trust Award in 2005. Currie has premiered works by many composers, and will soon premiere new works by Andy Akiho, Helen Grime, and Simon Holt. Currie is Artist in Association at London’s Southbank Centre, where he was the focus of the major percussion festival Metal Wood Skin in 2014. He continues to perform there every season. Currie is also Artist in Residence with Oregon Symphony Orchestra Currie’s 2017–18 season was marked by a number of other premieres, including a new

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Currie’s orchestral engagements included Houston Symphony, Antwerp Symphony, BBC Philharmonic, Scottish Chamber Orchestra, Het Gelders Orkest, National Youth Orchestra of Scotland, and Brno Contemporary Orchestra. Currie’s dynamic ensemble, the Colin Currie Group, was formed in 2006 to celebrate the music of Steve Reich, and made its five-star debut at the BBC Proms. Since then, Currie and his ensemble have taken on the role of ambassadors of Drumming, and they have performed at many venues and festivals internationally. Currie has recorded many concerto, recital, and chamber works, including Elliott Carter’s Two Controversies and a Conversation with Pierre-Laurent Aimard and Oliver Knussen (Ondine) and Simon Holt’s a table of noises with The Hallé Orchestra/Collon (NMC). His recording of Rautavaara’s Incantations with the Helsinki Philharmonic/Storgårds (Ondine) won a 2012 Gramophone Award. Previous releases by Currie include MacMillan’s Veni, Veni, Emmanuel with the Netherlands Radio Chamber Philharmonic/MacMillan on Challenge Classics, Jennifer Higdon’s Percussion Concerto with the London Philharmonic/Alsop, which won a 2010 Grammy Award, and the recital disc Borrowed Time, featuring music by Dave Maric (Onyx). Currie recently recorded Steve Reich’s Quartet with the Colin Currie Group.


Jeremy Black, Guest Concertmaster Violinist Jeremy Black was applauded for his “musical fire� and “effortless technique� by the Chicago Tribune for his debut performance with the Chicago Symphony Orchestra at age 12. Principal Second Violin of the Pittsburgh Symphony Orchestra beginning in 2017, Black joined the PSO’s First Violin section in 2002. Since 2005 he has also served as Concertmaster of the Grant Park Symphony Orchestra in Chicago each summer. He is a frequent soloist with both the PSO and GPSO and has performed

OCT 12–13

as guest Concertmaster with the Pittsburgh Symphony, Minnesota Orchestra, National Symphony, Buffalo Philharmonic, and Chicago Philharmonic. A native of Evanston, Ill., Black was a student of the late Mark Zinger, former professor at DePaul University and a student and colleague of David Oistrakh. Black also studied with Linda Cerone at Case Western Reserve University and Paul Kantor at the University of Michigan. In addition to maintaining a private teaching studio, Black coaches chamber music and leads sectionals for several youth orchestras in Pittsburgh. He lives in Pittsburgh with his wife and their two sons, and plays a violin made by Lorenzo and Tommaso Carcassi, dated 1783.

September 23 Jazz Pizzazz at Indiana Landmarks Center September 29 Kenny Banks Jr. at Jazz Kitchen November 3 Billy Test at Jazz Kitchen

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OCT 12–13

Percussion & Prokofiev

Lilly Classical Series Program Notes By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Musica Celestis Aaron Jay Kernis Born: January 15, 1960, Bensalem Township, Pennsylvania Year Composed: 1990 Length: c. 12 minutes World Premiere: November 1990, New York City Last ISO Performance: November 2011 with conductor Christoph Campestrini Instrumentation: Strings only Beyond earth Since ancient times, mankind has looked at the sky and speculated about what was up there. As time went on, continuing scientific investigations have revealed planets, moons, black holes, the Milky Way, other galaxies, stellar remnants, and much more as we continue to look into space and even consider that other forms of life could exist. But there was also something else in space besides what we could see. Mankind often postulated that there were special sounds in space, closely akin to music. Plato and Aristotle both recognized this “music of the spheres,” creating a Greek philosophical concept that not only described proportions

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in the movements of celestial bodies, but included the idea that in those movements, tones were generated within a harmonic context. Plato stated, “Music is moral law. It gives soul to the universe, winds to the mind, flight to the imagination, and charm and gaiety to life and to everything.” Aristotle wrote about the “harmony of the spheres” (a term initiated by Pythagorus), and that “we should see evidently, after all that proceeds, about a harmony resultant of the movement of those bodies, same as the harmony of sounds that are entwined.” Musica Celestis can be translated as music of the sky or music of the heavens, often the singing of angels. The concept was discussed around the year 840 by the Frankish writer and music theorist Aurelian of Réôme, who referred to space music in his Musica Disciplina as consisting of twenty-four angels and elders, and mentioned people hearing angelic choirs on earth. Two more significant considerations of celestial music were discussed by Giorgio Anselmi in Dialogue on harmonia celestis written in 1434 and Speculum musicae by the music theorist Jacques de Liege. Liege wrote, “Heavenly or divine music is music that comprehends the numerical order of the transcendental things . . . the things which I have said to pertain to this kind of music are metaphysical and transcendental things, without movement and sensible matter.” The Declaratio musice discipline of Ugolino of Orvieto was completed around 1430, and this work explained that, “This music of the heavens is the beginning and origin of all cosmic, human, and instrumental music: from it flows the proportion of all melodies, the conjunction of all consonances . . . in which there is no discord or asperity, no break in smoothness, no disproportion. All this harmony imitates celestial music.”


OCT 12–13

Lilly Classical Series | Program Notes Music of the heavens Fast-forward to the twentieth century, where the acclaimed American composer Aaron Jay Kernis has been inspired by the concept of “heavenly music.” Kernis selected the slow movement of his First String Quartet, written in 1990, and recast it (adding a double bass line) into a concert piece for string orchestra in 1991, titled Musica Celestis. This has become possibly his most well-known and popular work, often compared to Samuel Barber’s Adagio for Strings. The composer wrote these notes: “The second movement of musica celestis, is inspired by the medieval conception of that phrase that refers to the singing of the angels in heaven in praise of God without end. The office of singing pleases God if it is performed with an attentive mind, when in this way we imitate the choirs of angels who are said to sing the Lord’s praises without ceasing” (Aurelian of Réôme, translated by Barbara Newman). I don’t particularly believe in angels, but found this to be a potent image that has been reinforced by listening to a good deal of medieval music, especially the soaring work of Hildegard of Bingen (1098–1179). This movement follows a simple, spacious melody and harmonic pattern through a number of variations (like a passacaglia) and modulations, and is framed by an introduction and codas. “ Musica Celestis for string orchestra is cast in a simple ABA structure, beginning softly with slowly moving, shimmering chords cast in a high register (representing heaven) in a relatively static presentation. A deeper section follows, echoing and enhancing the initial texture before underscoring a high violin solo. The mood remains peaceful, calm, and reflective. Gradually, the composer allows a gentle crescendo to surge and then to relax, coloring the strings with mixing of muted and non-muted strings. His writing is sensitive and imaginative throughout,

reflecting his original training as a violinist and knowledge of string capabilities. A sudden silence prefaces the “B section,” which introduces a faster-moving part that steadily gains complex intensity and fervor. This zone is strengthened by double basses that eventually trade off their prominence by yielding to soaring, frenzied violins. With a surging chord, the composer steadily reins in the pace and recalls the opening stasis while drifting into a closing section. Dramatically, Kernis seals the final moments with a breathtaking solo violin, reaching quietly into a beckoning stratosphere.

Switch Andrew Norman Born: October 31, 1979, Grand Rapids, Michigan Years Composed: 2014–15 Length: c. 28 minutes World Premiere: November 2015, Salt Lake City, Utah Last ISO Performance: This is the first performance with the ISO Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, strings, and solo percussion Andrew Norman is one of the most innovative and talented American composers. He was trained at the University of Southern California and Yale University, and writes in the genres of opera, chamber music, orchestra, and vocal. In his compositions, he draws on contemporary, avant-garde practices, as well as classical traditions. He said, “I draw inspiration from out in the world, and lately how we tell stories. I love the idea that our

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OCT 12–13

Percussion & Prokofiev

stories are chopped up, not in chronological order. I love that complex sense of narrative, and that is what has inspired Switch. The piece has been in my head for a couple years or more, and now to hear it live, it is shocking. The sounds interact in ways I could never predict.” For twenty-eight minutes you will be treated to a musical experience that is unique, captivating, imaginative, and full of surprises. Maestro Thierry Fischer reflected on conducting Switch, saying, “I felt like a Formula One driver. I cannot show or do any hesitation or make any mistake. The level of concentration [for me] is immense. I feel caught in a pinball machine . . . . ” In its presentation, the percussion group is placed at the front of the stage: this is the “control center” for Switch. They give the cues to turn on various parts of the orchestra. Norman has provided the following explanation: “Switch is cast as a single movement. Switch takes over where my orchestral cycle Play left off in exploring non-linear narrative structures and video game logic. The percussionist’s many instruments act as triggers, turning other players on and off, making them play forward and backward, and causing them to jump to entirely different musical worlds.” “Switch is a game of control. Each percussion instrument (both in front of and behind the orchestra) is a switch that controls other instruments in specific ways, making them play louder or softer, higher or lower, freezing them in place and setting them in motion again. The soloist, dropped into this complex contraction of causes and effects like the unwitting protagonist of a video game, must figure out the rules of this universe on the fly, all while trying to avoid the rewind-inducing missteps that prevent

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their progress from one side of the stage to the other.” Instead of being broken into traditional movements, Switch exists as a system of different “channels,” each with its own unique sound world, that are flipped between by the playful (and devious) snaps of the channel-surfing slapsticks at the back of the stage. The work was written for Colin Currie and the Utah Symphony Orchestra. His recording of Switch was released on Reference Recordings. Concerto Net reviewed the work in April 2016, saying, “Soloist Colin Currie has a heyday with the solo part, dashing off riffs on every drum, keyboard, and accessory percussion toy you can think of. His prowess spreads across the orchestra, who switch gears fearlessly as they negotiate Norman’s vertiginous labyrinth.” Symphony No. 5 in B-flat Major, Op. 100

Sergei Prokofiev

Born: April 23, 1891, Sontsivka, Ukraine Died: March 5, 1953, Moscow, Russia Year Composed: 1944 Length: c. 46 minutes World Premiere: January 1945, Moscow, Russia Last ISO Performance: September 2013 with conductor Krzysztof Urbański Instrumentation: 3 flutes, 3 oboes, 4 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings Sergei Prokofiev completed his Fifth Symphony in a single month during the summer of 1944, using new material and earlier sketches, dating from 1937. At this time, he was living about eighty miles east of Mos-


Lilly Classical Series | Program Notes cow in Ivanovo, a safe place known as the House of Creative Work, which was a government-sponsored refuge for composers. The goal was to remove the composers from the dangers of World War II. Khachaturian, who was also at the safe house, noted that “the regularity with which Prokofiev worked amazed us all.” Rise and fall At the January 13, 1945, premiere with the Moscow State Philharmonic Orchestra, pianist Sviatoslav Richter remembered that, “The Great Hall was illuminated, no doubt, the same way it always was. But when Prokofiev stood up, the light seemed to pour straight down on him from somewhere up above. He stood like a monument on a pedestal. And then, when Prokofiev had taken his place on the podium and silence reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited, and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us—including Prokofiev—had reached some kind of shared turning point.” That celebratory gunfire came from cannons paying tribute to the Red Army, which had just crossed the Vistula. It would be the last work Prokofiev would conduct: he fell shortly thereafter and suffered a terrible concussion from which he never recovered. The composer explained that this is music “glorifying the human spirit, praising the free and happy man—his strength, his generosity, and the purity of his soul. I cannot say I chose this theme: it was born in me, and had to express itself.” His Fifth Symphony was such a success that Prokofiev was featured on the cover of Time magazine, one week after the American premiere in Carnegie Hall on November 14, 1945, with the Boston Symphony Orchestra conducted by Serge Koussevitzky. In 1946

OCT 12–13

Prokofiev received the Stalin Prize, first class, for Opus 100 and his Piano Sonata Number 8. Only two years later, Prokofiev was condemned during the brutal Andrei Zhdanov purge, denounced (along with others) for his “decadent formalism” and “cerebralism . . . his passion for confused, neuropathic combinations, which transform into cacophony, into a chaotic piling up of sounds . . . limiting (the music) to a satisfaction of the distorted tastes of aesthetic individualists.” Prokofiev rushed to “admit fault” in a letter to the Tikhon Khrennikov, First Secretary of the Soviet Composers Union, stating that he “saw the error of his ways, and it has become clear what type of music is needed by our people, and the ways of the eradication of the formalist disease have also become clear.” About the piece Opus 100 is the largest of Prokofiev’s symphonies, far different from the terse Classical Symphony, which he had composed in 1917. “The Fifth Symphony is the culmination of an entire period in my work,” wrote Prokofiev. The first movement, Andante, is cast in sonata allegro format. An expansive first theme emerges in B-flat, sung by winds in octaves over soft bass accompaniment, eventually flowing into a sinister counter-melody. Violins follow, repeating the opening theme, colored by timpani and cymbals. The second main idea offers high contrast from flutes and oboes, in a rather jocular mood, supported by arpeggiated strings. Two small, new motives close the exposition. The development, however, allows for no playfulness. The mood remains serious, gloomy, and the section closes with horns and trumpets stridently affirming the first subject. A traditional recapitulation follows with a large coda focusing on the first theme. Prokofiev’s biographer, Israel Nestyev, wrote, “This is

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OCT 12–13

Percussion & Prokofiev perhaps the most impressive episode of the entire Symphony for it embodies with the greatest clarity the work’s highest purpose-glorification of the strength and beauty of the human spirit.”

A second movement, Scherzo, moves into a dance-like mood with a bright theme from solo clarinet, sung over a motoric ostinato (repeated pattern) in eighth notes. A middle section invokes oboe and violas in a high-spirited new idea before bridging in the final section, in which the opening idea is transformed into a grotesque version of its initial self. The third movement, cast in a three-part structure, is long, filled with angst and pathos, clearly related to the war. Dynamics are confined to mezzo-piano level. A central funereal section focuses on a theme intro-

duced by the tuba. In this part, the general sadness grows into an intense, emotional, heart-wrenching climax. The last section features a poignant tune placed in high strings. The closing is marked by the piccolo, supported by strings. Strings and winds open the final movement, engaged in a tiny, quiet conversation. Its first theme reappearing from the first movement returns for a final bow in divided celli. And then, the hoped-for human indomitable spirit triumphs. The music becomes buoyant and peppy. Winds and strings actively collaborate in the overall frolic. A small pause shifts momentarily into a thoughtful section introduced by celli. Steadily, Prokofiev turns up the heat, invoking heavy brass, brisk rhythms, and releasing all the stops in percussion, catapulting the listener into a brilliant, optimistic conclusion.  

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Star Wars: Episode IV – A New Hope November 15, 16, 17, 18, and 20, 2018 Star Wars: Episode V – The Empire Strikes Back March 14, 15, 16 and 17, 2019 Witness Star Wars: Episode IV - A New Hope and Star Wars: Episode V - The Empire Strikes Back on screen like never before—with the Indianapolis Symphony Orchestra performing live accompaniment of the iconic John Williams score! In Episode IV, Luke Skywalker begins a journey that will change the galaxy, as he leaves his home planet, battles the evil Empire, and learns the ways of the Force. This all leads to Episode V, which takes place after the destruction of the Death Star. The Empire has regrouped—with Darth Vader leading the hunt for Luke Skywalker.

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OCT 19–20

Sutton Foster Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Anthem Coffee Pops Series/Program Two Friday, October 19, at 11 a.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | SUTTON FOSTER, Vocalist Selections to be announced from stage.

Special support for An Evening with Sutton Foster provided by Rick and Tara Skiles.

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Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited. See Maestro Everly’s biography on page 15.


Sutton Foster, Vocalist

OCT 19–20 Annie, The Scarlet Pimpernel, and Grease. Off-Broadway, Foster has been in Sweet Charity (The Pershing Square Signature Center), The Wild Party (City Center Encores!), Trust (Second Stage), and Anyone Can Whistle (City Center Encores!).

Sutton Foster can currently be seen starring as the lead of Darren Star’s hit TV Land series Younger. On Broadway, she performed as Violet in Anything Goes (Tony Award), and has been seen in Shrek, Young Frankenstein, The Drowsy Chaperone, Little Women, Thoroughly Modern Millie (Tony Award), Les Misérables,

Her albums include Wish and An Evening with Sutton Foster: Live at the Café Carlyle. Foster has appeared on television in Gilmore Girls: A Year in the Life, Bunheads, Elementary, Psych, Royal Pains, Law & Order: SVU, Flight of the Conchords, and Sesame Street. She holds an honorary doctorate from Ball State University, where she also teaches.

Friday, January 18, 8PM

Thursday, January 10, 11AM

Saturday, January 19, 8PM

Friday, January 11, 8PM Saturday, January 12, 7PM

Jack Everly, Conductor

Mozart Symphony No. 31 “Paris” Guillaume Connesson Les Cités de Lovecraft Gershwin An American in Paris Krzysztof Urbański, Conductor

Louise Pitre, Vocalist

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OCT 19–20

An Evening with Sutton Foster Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Two Friday, October 19, at 8 p.m. Saturday, October 20, at 8 p.m. Hilbert Circle Theatre

JACK EVERLY, Conductor | SUTTON FOSTER, Vocalist Selections to be announced from stage.

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Special support for An Evening with Sutton Foster provided by Rick and Tara Skiles.

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Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited. See Maestro Everly’s biography on page 15.


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PICK 3 SUBSCRIPTION PACKAGES Save up to 25% off single ticket prices! CLASSICAL PICK 3 Choose three evening Lilly Classical Series performances to get this subscription package! (Excludes the Sunday and Thursday series)

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OCT 25–27

André Watts Returns! Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program Two

Thursday, October 25, at 11 a.m. Hilbert Circle Theatre JUN MÄRKL, Conductor | ANDRÉ WATTS, Piano Wolfgang Amadeus Mozart | 1756–1791

Overture to Don Giovanni, K. 527

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 (“Jenamy”) Allegro Andantino Rondo: Presto André Watts, Piano

† The Coffee Concert is an abbreviated performance. There is no intermission. This performance of the Frank E. McKinney, Jr. Guest Conductor Chair is endowed by Marianne Williams Tobias Length of performance is approximately one hour. Recording or photographing any part of this performance is strictly prohibited.

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Jun Märkl, Conductor

Conductor Jun Märkl is recognized as a devoted advocate of both symphonic and operatic Germanic repertoire, and as a rare specialist for his idiomatic explorations of the French impressionist composers. His long-standing relationships with the Vienna State Opera, the Bavarian State Opera Munich, and the Semperoper Dresden led to his being offered the Music Director posts of the Orchestre National de Lyon, the MDR Symphony Orchestra Leipzig, and the Basque National Orchestra. He appears as a regular guest with the world’s leading orchestras, having conducted the Czech Philharmonic, the Bavarian Radio Symphony Orchestra, the Tonhalle Orchester Zurich, the Philadelphia Orchestra, the Cleveland Orchestra, the Boston Symphony, the Chicago Symphony, the NHK Symphony Orchestra Tokyo, and many others. This season, Märkl appears with the Minnesota Orchestra and returns to the St. Louis, Dallas, Atlanta, Indianapolis, Milwaukee, and Vancouver symphonies in North America. In Europe, he returns to the Brussels Philharmonic, the Helsinki Philharmonic, the Netherlands Radio Philharmonic, and the Tonkuenstler Orchestra Vienna. He also returns to the Hong Kong Philharmonic and the Melbourne Symphony (Australia), and debuts with the Malaysian Philharmonic Orchestra, the Seoul Philharmonic, and the National Symphony Orchestra of Taiwan in Asia.

OCT 25–27 As opera conductor, Märkl was a regular guest at the state operas of Vienna, Munich, and the Semperoper Dresden, and was permanent conductor of the Bavarian State Opera for many seasons. He made his Royal Opera House debut with Götterdämmerung in 1996 and with Il Trovatore at the Metropolitan Opera in 1998. He conducted complete Ring cycles at the Deutsche Oper Berlin and at the New National Theatre in Tokyo, and toured Japan in 2007. In 2016, he conducted Fidelio in Cincinnati and Die Liebe der Danae in Tokyo, and in 2017, Der fliegende Holländer in Copenhagen and Lohengrin in Tokyo in 2018. Märkl has released over 50 recordings. His nine CD recordings of the complete orchestral works of Claude Debussy on the Naxos label brought him the coveted award from the French Ministry of Culture in 2012— the “Chevalier de l’Ordre des Arts et des Lettres.” He recorded three CDs with works of Japanese composer Toshio Hosokawa, the complete Schumann symphonies with the NHK Symphony Tokyo, Mendelssohn, D’Albert, and Wagner with the MDR Leipzig and Ravel and Messiaen discs with the Orchestre National de Lyon. Recordings of works by Saint-Saëns and Strauss are to be released in 2018. Born in Munich, Märkl’s father was a distinguished concertmaster and his mother a solo pianist. Märkl studied at the Musikhochschule in Hannover, and with Sergiu Celibidache in Munich, and Gustav Meier in Michigan. In 1986, he won the conducting competition of the Deutsche Musikrat, and a year later won a scholarship from the Boston Symphony Orchestra to study at Tanglewood with Leonard Bernstein and Seiji Ozawa. Soon after, he had his first appointments in European opera houses followed by music directorships at the Staatstheater in Saarbrücken (1991–94) and at the Nationaltheater Mannheim (1994–2000).

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INDIANAPOLIS

SYMPHONY ORCHESTRA

FOR STUDENTS The Indianapolis Symphony Orchestra is proud to provide engagement and educational opportunities to students of all ages.

The ISO Learning Community engages with over 25,000 students each year. High school musicians from across Indiana will perform alongside their professional counterparts at our annual Side-by-Side Concert. Auditions will be held on October 23 & 24, 2018.

The ISO’s Metropolitan Youth Orchestra teaches lifeskills through music instruction to

Student musicians who compete in the

from ages 5 to 18. MYO’s annual Classical Concert is Sunday, February 3, 2019.

playing for their chance to be a featured soloist on an ISO concert. The deadline to submit a recording is Friday, November 30, 2018.

Maurer Young Musicians Contest are

over 200 string-players

Did you know?

Q&A

All student groups who attend concerts at the Hilbert Circle Theatre are given the opportunity to have a post-concert Q&A with ISO Musicians.

Through our student ticket program, nearly

10,000 students of all ages attend ISO concerts each year.

FOR MORE STUDENT ENGAGEMENT OPPORTUNITIES AND TO REGISTER FOR THESE PROGRAMS AT THE ISO, VISIT INDIANAPOLISSYMPHONY.ORG/EDUCATION OR EMAIL US AT LEARNINGCOMMUNITY@INDIANAPOLISSYMPHONY.ORG.


ISO Association

Mable Lewis ISOA President, 2018–20

The ISOA has been an integral part of the Indianapolis Symphony Orchestra and will continue to lend our time and talents. Our volunteers work very hard to make sure that the support for the Symphony in the community grows through the services that we provide to the ISO. We serve as the ambassadors for the ISO not only in the community, but also before each concert and during intermission at the information table in the lobby. As we pursue another great year of the arts, we hope to gain even more support from the community by inviting everyone to become a part of this great organization. Please consider joining us!

Upcoming Events October 7 ISO Musicians Asian Buffet October 14 Scott Chamber Players Party October 20 Secrets, Spies, and Sleuths November 14 Holiday Sparkle (East Group) December 5 Yuletide Luncheon

News & Updates The Symphony Store During most performances during the 2018–19 season, the Symphony Store will be open in the lobby. Come see what we have in store for you!

SATURDAY, OCTOBER 2018 SATURDAY, OCTOBER 20,20, 5:30PM Indianapolis Symphony Orchestra Association

Presents

Featuring: Gene Coyle, former CIA agent, international spy and author will share stories of his 30 year experience as an agent .

SECRETS, SPIES AND

SLEUTHS

Metropolitan Youth Orchestra Silent Auction Book Signing Gourmet Dinner SLEUTH $100 | SPY $85 | SECRET KEEPER $65 5:30 pm, The Ballroom, Ivy Tech, 2820 North Meridian Street, Indpls, IN

FOR MORE INFORMATION ON UPCOMING EVENTS, CONTACT RON BLACKGRAVE AT 317.231.6726

FOR MORE INFORMATION CONTACT RON BLACKGRAVE 317 231-6726

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OCT 25–27

André Watts Returns! Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Three Friday, October 26, at 8 p.m. Saturday, October 27, at 7 p.m. Hilbert Circle Theatre

JUN MÄRKL, Conductor | ANDRÉ WATTS, Piano Wolfgang Amadeus Mozart | 1756–1791 Overture to Don Giovanni, K. 527

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 (“Jenamy”) Allegro Andantino Rondo: Presto André Watts, Piano INTERMISSION—Twenty Minutes Richard Wagner | 1813–1883 Arr. Jun Märkl

Orchestral Selections from Der Ring des Nibelungen

Premier Sponsor

Associate Sponsor

This performance of the Frank E. McKinney, Jr. Guest Conductor Chair is endowed by Marianne Williams Tobias

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Length of performance is approximately one hour and forty-five minutes. Recording or photographing any part of this performance is strictly prohibited.


André Watts, Piano

OCT 25–27 television appearances are with the Philadelphia Orchestra for the orchestra’s 100th anniversary gala and a performance of the Brahms Concerto No. 2 with the Seattle Symphony for PBS.

André Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic on one of the orchestra’s Young People’s Concerts, a concert that was broadcast nationwide on CBS-TV. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion. More than half a century later, André Watts remains one of America’s most distinguished and celebrated performing artists. A perennial favorite with orchestras throughout the U.S., Watts is also a regular guest at the major summer music festivals. In celebration of the Liszt anniversary in 2011, Watts played all-Liszt recitals throughout the U.S., while recent international engagements include concerto and recital appearances in Japan, Hong Kong, Germany, and Spain. In the fall of 2017, he toured with the Orpheus Chamber Orchestra. In September 2018, he returned to the Philadelphia Orchestra as the featured soloist for the opening concerts of the orchestra’s 2018–19 season. Watts has had a long and frequent association with television, having appeared on numerous programs. His 1976 New York recital for Live From Lincoln Center was the first full-length recital broadcast in the history of television, while his performance at the 38th Casals Festival in Puerto Rico was nominated for an Emmy Award in the category of Outstanding Individual Achievement in Cultural Programming. Watts’ recent

Watts’ extensive discography includes recordings of works by Gershwin, Chopin, Liszt, and Tchaikovsky for CBS Masterworks; recital CDs of works by Beethoven, Schubert, Liszt, and Chopin for Angel/EMI; and recordings featuring the concertos of Liszt, MacDowell, Tchaikovsky, and Saint-Saëns on the Telarc label. He is also included in the Great Pianists of the 20th Century series for Philips. In May 2016, Sony Classical released the 12-CD set André Watts— The Complete Columbia Album Collection, which features the concerto and solo recordings that Watts made for Columbia Masterworks. A much-honored artist who has played before royalty in Europe and heads of government in nations all over the world, Watts received a 2011 National Medal of Arts, given by the president of the United States. In June 2006, he was inducted into the Hollywood Bowl of Fame to celebrate the 50th anniversary of his debut (with the Philadelphia Orchestra at the age of 10). He also is the recipient of the 1988 Avery Fisher Prize. At age 26, Watts was the youngest person to receive an Honorary Doctorate from Yale University, and he has since received numerous honors from highly respected schools including the University of Pennsylvania, Brandeis University, The Juilliard School of Music, and the Peabody Conservatory of Johns Hopkins University, his alma mater. Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the Jacobs School of Music at Indiana University in May 2004, and in 2017 was named a Distinguished Professor, the highest academic rank the university bestows upon its faculty.

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OCT 25–27

André Watts Returns! more patronage and possible employment in the Imperial musical establishment after the death of Gluck in 1787. He succeeded.

Lilly Classical Series Program Notes By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Title of Song Overture to Don Giovanni, K. 527 Wolfgang Amadeus Mozart Born: January 27, 1756, Salzburg, Austria Died: December 5, 1791, Vienna, Austria Year Composed: 1787 Length: c. 6 minutes World Premiere: October 1787, Prague, Czech Republic Last ISO Performance: January 2011 with conductor Gilbert Varga Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings After the success of his Marriage of Figaro in 1786, Mozart quickly received a commission from the impresario of National Theater in Prague for another opera. The librettist of both operas, Lorenzo Da Ponte, wrote, “It is not easy to convey an adequate conception of the enthusiasm of the Bohemians for [Mozart’s] music. The pieces that were admired least of all in other countries were regarded by those people as things divine . . . . “ Mozart provided another hit. Despite his great successes in Prague, he returned to Vienna where he felt that he could receive

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A new opera On October 28, 1787, Mozart added The Rake Punished, or Don Giovanni (Il dissoluto punito ossia il Don Giovanni), an opera buffa in two acts, to his list of compositions. There was, however, something missing. Twenty-four hours before the scheduled premiere at the National Theater (now the Estates Theater) in Prague on October 29, 1787, there was no overture. Georg Nikolaus von Nissen, a Danish diplomat and music historian, said, “The evening before the production of Don Giovanni at Prague, the dress rehearsal having already taken place, [Mozart] said to his wife that he would write the overture during the night if she would sit with him and make him some punch to keep his spirits up. This she did, and told him tales about Aladdin’s lamp, Cinderella, etc., which made him laugh until the tears came. But the punch made him sleepy, so that he dozed when she left off, and only worked as long as she told tales. At last the excitement, sleepiness, and frequent efforts not to doze off were too much for him, and his wife persuaded him to go to sleep on the sofa promising to wake him in an hour. But he slept so soundly that she could not find it in her heart to wake him until two hours had passed. It was then five o’clock. At seven o’clock the overture was finished and in the hands of the copyist.” Nissen’s recollection is an astonishing description, but obviously Mozart had the “notes” in his head and was ready to write them down. At the premiere, the performance of the Overture “allowed a few notes to fall under the desk,” as Mozart recalled, but basically he considered the musicians’ sight reading to be “a fine performance.”


Lilly Classical Series | Program Notes The story of Don Giovanni Punishment and a comeuppance were on hand for the protagonist Don Giovanni who had bedded no less than 2,000 women, or so the story goes. Mozart’s designated “comic opera” actually had a grim story to tell. With this in mind, he begins his Overture in D minor, which later in the opera becomes the “punishment key for murder.” Opening chords in the strings and a syncopated melody ominously generate a warning, forecasting Don Giovanni’s fate (the gates of Hell open up and swallow him alive in front of the audience) for having killed the father of one of his conquests. Thus, despite being a “comic opera,” we receive a moral judgment about the rake’s depraved life and a lesson on unstoppable depravity within a comedic setting. The incongruity is stunning. The Overture has a strange beginning for a so-called “comic opera.” Huge fortissimo chords separated by ominous silences provide a dramatic beginning. The Overture continues solemnly into quiet utterances, sudden “blasts of orchestral tuttis,” limber scale passages, dramatic crescendi, and snippets of melody. After the serious beginning, an allegro section in D major scurries into the scene, and the music frolics in a lighthearted, excited mood. Such blending of comedy and tragedy was unusual for operas of that time. Clearly, Mozart was forging a new path for classical operas. This second, fast section depicts the rollicking nature of Don Giovanni’s life and his seemingly unquenchable energy. A buoyant development section reworks the ideas before a recapitulation invites the themes to return, closing with high spirits and a joie de vivre. For the concert version of the Overture, the composer and music publisher Johann Anton André, with the permission of Mozart’s wife, Constanze, added thirteen measures to securely close the Overture. In the opera, Mozart’s Overture moves directly into the opening of Act I, Scene I.

OCT 25–27

Concerto No. 9 in E-flat Major for Piano and Orchestra, K. 271 (“Jenamy”) Wolfgang Amadeus Mozart Born: January 27, 1756, Salzburg, Austria Died: December 5, 1791, Vienna, Austria Year Composed: 1777 Length: c. 31 minutes World Premiere: Unknown Last ISO Performance: July 2011 with conductor Eugene Tzigane and soloist Grace Fong Instrumentation: 2 oboes, 2 horns, strings, and solo piano It is not unusual in classical music of the eighteenth and nineteenth century to find sobriquets and nicknames appended to the official titles of a work. In Haydn’s case, we find the “Clock,” the “Drum Roll,” the “London,” the “Surprise,” and the “Farewell” appended to symphonies. In Mendelssohn’s case we find the “Scottish,” the “Italian,” and the “Reformation” attached to specific works. Mozart symphonies carry names such as the “Prague,” the “Linz,” and the “Jupiter.” The names became such a part of the work that they often were simply substituted in place of the full title. Such was the fate of Mozart’s early Salzburg Piano Concerto No. 9 in E-flat Major, K. 271. “Jeunehomme,” meaning young man, was attached to this important work, revealing important changes in Mozart’s style that would carry into his mature compositions. Alfred Einstein called this concerto “Mozart’s Eroica,” and described it as “one of Mozart’s monumental works that he never surpassed.” In 2008 Alfred Brendel wrote that “’Jenamy’ can be described as a miracle of musical originality. In the mastership of its orchestration, its stupendous innovative energy

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Jazz at Lincoln Center Orchestra with Wynton Marsalis jazz.org | Photo credit: Piper Ferguson

Saturday, October 13, 7 and 9 p.m.

Roman Kosyakov, piano hastingsconcertocompetition.co.uk Photo credit: Bob Mazzer

Thursday, November 8, 7:30 p.m.

All performances are in Sursa Performance Hall. Series subscriptions and individual tickets available through the Emens Auditorium Box Office at 765-285-1539.

bsu.edu/music/events

Berlin Philharmonic Wind Quintet windquintet.com | Photo credit: Peter Adamik

Tuesday, February 12, 7:30 p.m. For the fourth consecutive year, one of the world’s most prestigious piano competitions is holding its North American preliminary round auditions at Ball State University in Muncie, IN. Last year’s preliminary round attracted 39 distinguished young pianists from around the country with 13 advancing to Hastings, England for the final rounds. With a £15,000 first prize, the competition is a major source of exposure for its top prizewinners. Dates: November 9–11 Times: All Day (exact times will be announced closer to the auditions) Free and open to the public

bsu.edu/music/hastings


A SYM P H O N I C C E L E B R AT I O N O F P R I N C E W I T H A FU L L SYM P H O N Y O R C H ES T R A

AN EVENING OF PRINCE’S BI GGEST HITS PLUS GEMS FROM HIS EXTENSIVE CO LLECTI ON PERFORMED LIVE!

*8 TICKET LIMIT ON SELECT SEATS. NOT VALID DAY OF SHOW

A season of

BRAHMS

The Indianapolis Symphony Orchestra is excited to present in its 2018-19 season all four symphonies of famed composer, Johannes Brahms. Many consider these symphonies among the greatest of the Austro-German tradition. The season will conclude with a celebration Brahms’ brilliance with his fourth and final symphony.

Brahms Symphony No. 1 October 4-6

Brahms Symphony No. 3 May 10-11

Brahms Symphony No. 2 November 2-3

Brahms Symphony No. 4 June 7-8

All performances featuring Brahms symphonies will be conducted by Krzysztof Urbański.

TITLE SPONSOR:

PREMIER SPONSOR:

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG/SEASON


OCT 25–27

André Watts Returns! and its effect, despite limited instrumental means, this piece has absolutely no precedent. It is Mozart’s first great composition.”

However, herein was a mistake: and it was not until our century that the mistake was not only corrected, but the mystery of its attachment explained. Suddenly, one of the most important Mozart piano concerti had a new name and identity. There never was a Mademoiselle Jeunehomme. Naming conventions Regarding the “Jeunehomme Concerto,” the nickname was actually a misspelling of Mozart’s intended dedicatee, Louise Victoire Jenamy. She was the eldest daughter of one of the composer’s friends, Jean-Georges Noverre, a famous dancer and choreographer, who had choreographed a 1772 Milan production of Mozart’s opera Lucio Silla. Louise Victoire was a virtuoso pianist whom Mozart admired and had first met in 1768. In 1776, she visited Salzburg; they chatted at a dinner party and possibly discussed his ninth piano concerto, which was completed in January 1777. It was the same year that Mozart would leave the employment of the Archbishop of Salzburg, where he was concertmaster to the orchestra, and with his mother would seek his fortune elsewhere. Only eighteen months later he would return, having failed in his quest, which had led him to Munich, Augsburg, Mannheim, Nancy, Strasbourg, Kaisheim, and Paris. With great dejection, he accepted the position of court organist to the Archbishop upon his return. The name “Jeunehomme” For 92 years, the nickname “Jeunehomme” stuck on K. 271 until the research of musicologist Michael Lorenz in 2004 caught

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the error and changed the “title.” Further research has discovered that “jeunehomme” was actually coined by French scholars Théodore de Wyzewa and Georges de SaintFoix, who often referred to Mozart as “jeune homme,” and were jointly working on W.A. Mozart: Sa Vie Musicale et Son Oeuvre, published in 1912. It is likely that they attached the sobriquet to his Ninth Piano Concerto. Mozart was indeed a “jeune homme,” or young man, of twenty-one years when he wrote one of his most important piano concerti that marked a major turning point in his composition. The manuscript indicates that K. 271 was specified for the harpsichord, but it is probable that Mozart performed it on the piano. In the two years following the completion, he performed it several times and throughout the 1780s. Exploring the piece The first movement, Allegro, eschews the traditional introduction (ritornello) and the piano immediately responds to the orchestra’s opening fanfare. This was a totally new idea for its time, a practice virtually unheard of in 1777. Immediately, Mozart was on a new track. And to emphasize the novelty, the behavior is repeated before the orchestra moves ahead in the exposition to present the first theme. But again, Mozart adds a new dimension: in place of the usual two contrasting themes, the composer presents four. In the recapitulation, Mozart experiments with new surprising harmonies. You will notice that throughout this movement, the piano behaves in a new manner: for example, not waiting its turn, but entering before the end of the opening tutti, and as the movement continues, interrupting what would have been dedicated orchestral sections. At the conclusion, orchestra and piano reverse roles, with the pianist iterating the original orchestral motif and the orchestra answering with the keyboard response. Mozart left us two versions of his cadenza.


Lilly Classical Series | Program Notes But the novelties are not quite finished: in place of an orchestral close, the piano reappears, sneaking in on a trill and driving to the end with glamorous arpeggios. The second movement is the first that Mozart wrote in a minor key. A soft, gentle, poignant mood pervades the andantino via dynamics and consistently muted violins. This middle section is operatic, but also has a heightened emotional quality. The lamenting atmosphere is lifted when a brief episode moves to the major mode, but C minor returns as the movement closes quietly with another cadenza. Jollity and joie de vivre return in the final Rondo. The pianist takes the lead in presenting the first exuberant idea, which is echoed by the orchestra. Occasional small cadenzas are included, which are called eingang (an introduction, preface, or prelude). Spirited episodes fill in the rondo form, a sparkling, elegant minuet suddenly appears out of the blue, and Mozart’s zippy fundamental idea returns for the final curtain.

Title of Song Selections from Orchestral Der Ring des Nibelungen Richard Wagner, arr. Jun Märkl Born: May 22, 1813, Leipzig, Germany Died: February 13, 1883, Venice, Italy Years Composed: 1848–1874 Length: c. 45 minutes (arr. Märkl) World Premiere: August 1876, Bayreuth, Germany Last ISO Performance: This is the ISO’s first performance of Märkl’s arrangement Instrumentation: 4 flutes, 4 oboes, 4 clarinets, 3 bassoons, 8 horns, 3 trumpets, bass trumpet, 3 trombones, contrabass trombone, tuba, 2 timpani, percussion, 2 harps, and strings

OCT 25–27

Maestro Jun Märkl’s version of Wagner’s Ring Cycle has received consistent acclaim and respect. He has not changed Wagner’s scores, but has judiciously knitted specific orchestral sections together to make an orchestral concert setting that highlights and maintains the gigantic narrative. His daunting project of condensing a 15-hour Ring Cycle into a forty-five minute coherent encapsulation of the Ring Cycle is a spectacular, daring achievement. Wagner’s full opera cycle was first presented at the Bayreuth Festival in August 1876 and lasted four days. Undaunted by the 15-hour experience, thousands of stalwart listeners and devotees have flocked to various venues to hear the Ring Cycle in its entirety and to experience the four operas in order. Sometimes these international and enthusiastic fans have been nicknamed “Ringheads” akin to the Deadheads who followed the Grateful Dead band. Wagner’s place in music history Richard Wagner liked to do things on a grand scale: his orchestra and orchestration, the scale of his lifestyle (“the artist should live in a grand manner,” he insisted), his music dramas, his writing and criticism published over four decades, his revolutionary musical aesthetic (defined in Oper und Drama, 1850) and his profound influence on contemporaries and future composers. In his quest for a synthesis of the arts in one gigantic presentation, a gesamtkunstwerk, he created a tidal wave of proponents and adversaries. W.H. Hadow summarized, “For vastness of artistic concept, for newness of musical language, for independence of musical thought, Wagner dominated the closing of the nineteenth century like a Colossus. He might be hated or worshipped: but to ignore him was impossible. The spell of Wagner was inescapable.” For Wagner, the “music of the future” would be in a gigantic synthesis, a process of musical evolution in a Darwinian sense.

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OCT 25–27

André Watts Returns!

Music as narrator Wagner considered music to be the best vehicle of emotion (rather than words) and the dramatic action was represented musically. Thus, the music of his operas played a significant part in the development of the story. “Words float like a ship on the sea of orchestral harmony,” he stated. In Music of the Future, he wrote, “If differences of language prevent literature from attaining universality, music—that great language all men understand—should have the power by dissolving verbal concept into feeling, to communicate the innermost secrets of the artists vision—especially when it is raised through the medium of a dramatic performance to that clarity of expression hitherto reserved to painting alone.” Wagner’s views—and their realization in complex music dramas—were controversial. To many, his ideas placed him as a man very much ahead of his time. The publisher G. Schirmer published a cartoon in 1869 displaying an orchestra of crazed animals led by a conductor at whose feet lies a paper that says, “Wagner—not to be played much until 1995.” Wagner’s leitmotivs Understanding the leitmotif, or recurring theme, is essential for gaining access to Wagner’s musical logic. Simply put, a leitmotif is a musical idea (a small melody or group of notes or a particular harmony that depicts or symbolizes a person, object, or idea that are part of the story). This “idea” or “motif” reappears in the music, subject to all kinds of transformations and combinations as the story unfolds. The elaboration of this concept was a significant feature of Wagner’s music, and he developed the use of the leitmotif concept to incredible complexity. In writing the text for the Ring Cycle, he drew extensively from twelfth-century Norse and

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Germanic sources, such as the prose and verse Edda, Siegfried, Völsunga Saga, Thidrekssaga for Siegfried, and the Nibelungenlied for Götterdämmerung. Additionally, he drew ideas from his knowledge of Greek tragedies. He fully embraced the Athenian ideal that theatre would, through drama, show human beings to themselves. Also influential was Arthur Schopenhauer’s The World as Will and Representation, a work that the composer said made him decide to change the main figure to Wotan, not Siegfried. Predictably, Wagner’s ideas in The Ring have been mined over and over again for explanations and meaning. One of the most interesting is the work of psychiatrist Carl Jung and his insight that herein, Wagner (unknowingly) identified and utilized the “collective unconscious.” Therefore, Wagner’s idea of “motifs of memory” coming from special musical themes that address memories that the characters possibly do not know they have exist in The Ring. In 1871 with the publishing of The Destiny of Opera, Wagner stated that music was a full, not subservient partner to the story, inextricably bound to the words, saying, “My dramas are acts of music become visible.” The four dramas are: Das Rheingold (1853), Die Walküre (1856), Siegfried (1857), and Götterdämmerung (1876). Incredibly, he worked on this project for approximately 26 years. Since the entire Ring Cycle requires four days to perform, it can be seen as testament to all the ideals that Wagner held for his fusion of the arts in the perfect music drama. Wagner’s intent According to Wagner, “the myth of The Ring presents, in its most inclusive and most concentrated form, the interplay of eternal forces affecting the relation of human beings to God, to nature, and to each other.” These issues are set before us by means of symbols in the four operas (the Gold, Valhalla, the


Lilly Classical Series | Program Notes Sword) or persons (Wotan, Siegfried, Brünhilde). The set is usually called a tetralogy, but Wagner thought of it as a “trilogy with a preliminary evening.” The first opera Das Rheingold premiered at the National Theater Munich on September 22, 1869. Three Rhinemaidens, swimming in the depths of the Rhine River guard and protect the treasure of Rheingold: the promise is that whoever wins this gold and forges it into a ring will gain power over the world. But the person who gains it must renounce love. Alberich, an evil dwarf (Nibelung), does so and gets the gold. And he makes a ring from part of it. Scene 2: Set in the home of the gods, Valhalla, Wotan (the chief god), and Loge (the god of fire), plan to steal the gold from Alberich, and set out to find the Nibelungen, who live underground. Scene 3: Set in the Nibelungen home. Alberich has enslaved most of the dwarves to work for him. Wotan and Loge trick Alberich into transforming himself into a frog by putting on the special “Tarn helmet.” Since they are larger, Wotan and Loge steal the gold from him and return to Valhalla. Scene 4: Wotan sees the golden ring on Alberich’s finger and tears it off for himself: but the power that it gives has been compromised. Alberich has cursed the ring: whoever has it will surely die. Wotan eventually puts the ring in the earth and rescues his wife from kidnapping giants. But he keeps the gold, in spite of Rhinemaidens urging him to return the gold too. He refuses. The god of Thunder (Donner) enters at the close of this scene, and after a crash of thunder, a rainbow bridge emerges showing the way to a cloudless Valhalla.

OCT 25–27

The second opera Wagner remembered a dream in which he was sinking into a flood. He said, “The rush and road soon took musical shape within my brain as the chord of E-flat major, surging incessantly in broken chords: these declared themselves as melodic figurations of increasing motion, yet the pure triad of E-flat major never changed. I at once recognized that the orchestral prelude to the Rheingold, a long time I must have carried about within me, had at last come into being . . . the stream of life was not to flow to me from without, but from within.“ Die Walküre (The Valkyrie) premiered on June 26, 1870, in Munich. It was composed between 1851 and 1856. The Valkyrie are nine daughters (by different wives) fathered by Wotan. Their job was to bring the souls of fallen warriors to Valhalla. In this opera, Wagner presents the lovers (who turn out to be brother and sister) Siegmund and Sieglinde, and Brünhilde, a Valkyrie who is the favorite daughter of Wotan, and the sword that is called Notung, which means “child born of need.” It is a symbol of strength and the burning force of life, making it a life force. Siegmund succeeds in pulling it out of the tree, although many have tried and failed. It is used in a vicious fight with Sieglinde’s bullying husband. Wagner’s depiction of romantic love between brother and sister was extremely controversial, and he added another shocking layer to the complexity: Sieglinde was married when she fell in love with Siegmund. Thus incest and infidelity combined. Sieglinde then becomes pregnant. Eventually Brünhilde became supportive of the couple, but undergoes punishment from her father Wotan. She is cast into a deep sleep, left on a rock surrounded by fire. And Wotan takes away her status as a god.

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OCT 25–27

André Watts Returns!

A stormy and violent prelude opens Die Walküre, forecasting dangerous liaisons and decisions (Wotan’s punishment of his beloved daughter, for example), which will ensue. Within this opera there will also be beautiful romantic music describing the love affair between Siegmund and Sieglinde. The prelude to the third act presents the very famous “Ride of the Valkyrie” as they roar through the sky just before the curtain rises on a mountain peak. Wagner wrote of this opera, “I find the subject of Die Walküre too painful by far: there is really not one of the world’s sorrows that the work does not express, and in the most painful form; playing artistic games with that pain is taking its revenge on me; it has made me really ill . . . . ” Wagner wrote: “Following his farewell to Brünhilde, Wotan is in truth no more than a departed spirit: true to his supreme resolve he must allow events to take their own course, leave things as they are, and nowhere interfere in any decisive way; that is why he has not become the wanderer. Observe him closely. He resembles us to a tee: he is the sum total of present-day intelligence, whereas Siegfried is the man of the future.” By 1857 Wagner had completed the first two operas: a twelve-year hiatus occurred before he turned to the third opera, Siegfried. The third opera Siegfried premiered on August 16, 1876, at the Bayreuth Festspielhaus. Wagner drew on three sources for his libretto: the fairy tale “The Story of the Youth Who went Forth to Learn What Fear Was,” a street theatre version of Faust, and the legends of Sigurd (Volsunga Saga and Thidrekssaga). Wagner wrote in a May 1857 letter to Julie Ritter, “I am con-

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vinced that young Siegfried [grandson of Wotan and son of Siegmund and Sieglinde] will be my most popular work, spreading quickly and successfully and drawing all the other dramas after it.” He also wrote to Franz Liszt, “Only in the course of composing the music does the essential meaning of my poem dawn on me: secrets are continually being revealed to me that had previously been hidden from me. In this way everything becomes much more passionate and urgent.” Siegfried grew up in the cave of Mime (a Nibelung), who found the newborn in the woods after Sieglinde died giving birth. The opening music begins slowly in a deep register of the orchestra, setting a dark and ominous tone. Fast-paced eighth notes and growing crescendi increase the tension of the story at hand. Since his father, Sigmund, died in combat, Siegfried, raised by Mime, was an orphan. One of the tasks of Mime was to forge swords for Siegfried, but they were inadequate (the striking sounds of an anvil). Secretly, however, in his back pocket, he has kept remnants of the broken Nothung. Siegfried is able to put the pieces together successfully. He goes running off for adventures accompanied by jaunty music. After wandering through an enchanted forest, Siegfried rests under a linden tree. At this point, Wagner writes an evocative, impressionist section describing the forest and the slowly moving tree branches. This section has often been extracted from the opera titled “Forest Murmurs.” A forest bird sings a beautiful song (flute and glockenspiel), which Siegfried tries to imitate on a reed. This awakens a dragon, whom Siegfried kills, and after touching the blood to his lips, is enabled to understand the birdsong. Its information is critical: the bird was singing about a woman who sleeps on a fire-encircled rock and the dangers of the Nibelung. She can only be saved by a man who knows


OCT 25–27

Lilly Classical Series | Program Notes no fear. Siegfried kills the Nibelung, throws his body into the cave, and sets off to find Brünhilde and the music becomes animated. At the close of Act II, Siegfried follows the bird. ”Fluttering overhead, you guide me . . . and where you flutter, there I shall go!” Act III is set on the mountaintop where Brünhilde is sleeping. Siegfried discovers her, removes the Valkyrie shield, helmet, and breastplate, to discover the first woman he has ever seen. His kiss awakens her. Immediately they fall in love, and she abandons herself to human form. The music becomes joyous in praise of love. The final opera Götterdämmerung (Twilight of the Gods) was premiered on August 17, 1876, at Bayreuth Festspielhaus. In this final opera of The Ring, we arrive not only at a conclusion, but at the complete destruction of heroes, gods, and the world. The plot is confusing, complicated, and the music is massive. Several years after the 1876 performance of The Ring, Cosima Wagner wrote in her diary, “In the

evening before supper [Richard] glanced through the conclusion of Götterdämmerung and said that never again will he write anything as complicated as that.” Two of the extraordinary musical elements, Siegfried’s “Rhine Journey” and Siegfried’s “Funeral” have been frequently excerpted as stand-alone concert pieces. In this last opera, a formidable new character will appear: Hagen, who is a half-brother to Siegfried, and who is after the ring. The narrative offers non-stop violence. There is a murder plot to kill Siegfried. Brünhilde thinks she has been betrayed and seeks revenge, eventually riding her horse into a raging fire (flaming on Siegfried’s funeral pyre in the Immolation Scene). Hagen jumps into the overflowing Rhine with the ring and is drowned by the Rhinemaidens. Valhalla is consumed by flames and the gods within it. The Hall of the Gibichungs collapses and is consumed as well. In short, there is total and absolute destruction.

LASTING IMPACT, LIFELONG FRIENDS JOIN THE JUNIOR LEAGUE OF INDIANAPOLIS Known as the premier training organization for women, the Junior League of Indianapolis has been developing community leaders and improving Indy for 97 years. Through successful fundraisers and dynamic community partnerships, the JLI reaches new heights year after year through effective action. Join our membership in January 2019 by applying online at jlindy.org by December 1, 2018.

#JOINJLI JLINDY.ORG 73


reater indianapolis is our only stage.

The largest locally-owned national bank is proud to be a major supporter of the Arts.

317-261-9000 Š2018 The National Bank of Indianapolis

www.nbofi.com

Member FDIC


Endowment Endowed Orchestra Chairs, Performances, and Special Endowments Endowed orchestra chairs, performances, and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund.

Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West

The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn

The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian, and Boris Meditch Peter Vickery, Assistant Concertmaster

The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet

The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox Michelle Kang, Assistant Concertmaster

The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet

The Taurel Assistant Principal Second Violin Chair Endowed by Kathy and Sidney Taurel Mary Anne Dell’Aquila, Assistant Principal Second Violin The Dick Dennis Fifth Chair Endowed in memory of Richard F. Dennis by Carol Richardson Dennis This Second Violin Section Chair is Seated Using Revolving Seating The Jane and Fred Schlegel Principal Viola Chair Endowed by Jane and Fred Schlegel The Assistant Principal Cello Chair Endowed anonymously The Randall L. Tobias Cello Chair Endowed by Randall L. Tobias Ingrid Fischer-Bellman, Cello The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by Dr. and Mrs. Robert L. Rudesill The Sidney and Kathy Taurel Principal Flute Chair Endowed by Sidney and Kathy Taurel Karen Evans Moratz, Principal Flute The Janet F. and Dr. Richard E. Barb Piccolo Chair Endowed by Janet F. and Dr. Richard E. Barb Rebecca Price Arrensen, Piccolo

The Robert L. Mann and Family Principal Horn Chair Endowed by Robert L. Mann and Family Robert Danforth, Principal Horn The Bakken Family Horn Chair Endowed by a gift from Dawn, Ruth, and Darrell Bakken The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune Conrad Jones, Principal Trumpet The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test Riley Giampaolo, Trombone The Thomas N. Akins Principal Timpani Chair Endowed anonymously Jack Brennan, Principal Timpani The Walter Myers Jr. Principal Harp Chair Endowed anonymously in honor of Walter Myers Jr. Diane Evans, Principal Harp The Dorothy Munger Principal Keyboard Chair Endowed by the Women’s Committee of the Indianapolis Symphony Orchestra

The Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe

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Endowment Endowed Performances Classical Season Opening Concerts Endowed by Francis W. and Florence Goodrich Dunn October 4, 2018 Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. October 5–6, 2018 The Frank E. McKinney Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias October 25–27, 2018 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 9–10, 2018 IPL Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias November 30, 2018—Opening Night IPL Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 23, 2018—Closing Night The Performance of New Music Endowed by LDI, Ltd. January 10–12, 2019 The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously January 25–26, 2019 The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund February 9, 2019 The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund February 28–March 2, 2019 The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen April 5, 2019

The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund April 25–27, 2019 The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 2 and 4, 2019 The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune May 31–June 1, 2019 The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman June 7–8, 2019

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society Dr. John C. Bloom, Mr. Raymond Leppard, Dr. and Mrs. Gordon E. Mallett, Mrs. Walter Myers Jr., Marianne Williams Tobias, Randall L. Tobias, August and Margaret Watanabe, Jack Weldon (Maestro Society Founder) given by Penny Ogle Weldon, Mr. and Mrs. Richard D. Wood Edna Woodard-Van Riper The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist-in-Residence Endowment Endowed in memory of Hortense and Marvin Lasky The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett

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Endowment The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by the Tobias Family Foundation First Monday Music Club Endowed anonymously The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund The J.K. Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984 The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991

Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra. October 1984 Stage Terrace Seating Endowed anonymously

Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers

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Annual Fund The Indianapolis Symphony Orchestra depends on contributed income for about 36 percent of its annual budget. This Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to perform year-round in central Indiana. Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.

Annual Fund Donor Honor Roll It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach and education programming. This listing reflects the gifts received as of August 1, 2018. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions.

$100,000 and Above Anonymous Ms. Christel DeHaan Phil & Colleen Kenney Sarah & John Lechleiter Mel & Joan Perelman Yvonne H. Shaheen Marianne Williams Tobias Anonymous Barnes & Thornburg LLP The Christel DeHaan Family Foundation Eli Lilly and Company Indianapolis Power & Light Company The Kroger Co. Lilly Endowment, Inc. Roche Diagnostics The Margot L. and Robert S. Eccles Fund, a fund of CICF

Founders’ Society, Music Director ($50,000+) Anonymous Mr. & Mrs. Michael Becher Rollin & Cheri Dick Kay F. Koch Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Arts Council of Indianapolis and the City of Indianapolis Efroymson Family Fund The Glick Fund, a fund of Central Indiana Community Foundation The Indianapolis Foundation, a CICF Affiliate Indianapolis Symphony Orchestra Association Nicholas H. Noyes Jr. Memorial Foundation Printing Partners Ruth Lilly Philanthropic Foundation

Founders’ Society, Concertmaster ($20,000-$49,999) Anonymous Christina Bodurow Charles & Joyce Boxman

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Mr. & Mrs. Trent Cowles Dawn M. Fazli Craig & Mary Fenneman John C. Gray James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Dr. Gordon & Carole Mallett Mary Frances Rubly & Jerry Hummer Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Kathy & Ralph Wilhelm Roberta & Bill Witchger Arthur Jordan Foundation Bank of America BMO Harris Bank Budweiser Zink Distributing Co, LLC The Clowes Fund Duke Energy Erie Insurance Fenneman Family Foundation Fifth Third Bank Ice Miller Indiana Arts Commission Indiana Members Credit Union Indianapolis Colts JPMorgan Chase & Co. MacAllister Machinery Company, Inc. Macy’s The Martin D. & Mary J. Walker Charitable Foundation OneAmerica Financial Partners, Inc. Pacers Foundation R.B. Annis Educational Foundation Raymond James & Associates, Inc. Salesforce Tobias Family Foundation

Founders’ Society, First Chair ($10,000-$19,999) Anonymous (2) Mr. & Mrs. Robert Bader Deborah & Douglas Balogh Charlene & Joe Barnette Mr. & Mrs. Barry J. Bentley Dr. & Mrs. Thomas A. Broadie Charles W. Brown Mr. & Mrs. Daniel P. Carmichael Mr. Daniel Corrigan

Mr. & Mrs. Levi Garraway Emily & Peter Howard Bob & Rhonda Kaspar Joseph & Kathy Kessler Mr. & Mrs. Charles Kivett Mr. Walter Koenig Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff Mr. & Mrs. Bruce McCaw Mrs. Nancy Ann Morris John & Carolyn Mutz / Lumina Foundation Donald & Karen Perez Walt & Mary Prouty Phyllis & Gary Schahet Mr. & Mrs. Richard Skiles Christopher A. Slapak & Michael J. Robertson Ann M. & Chris Stack Diana & Dan Yates Sara & Mike Zeckel Jim & Rita Zink Anonymous Fund of Central Indiana Community Foundation Telamon Corporation Care Institute Group, Inc. City of Carmel Community Health Network Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. The Glick Family Foundation The Frenzel Family Charitable Lead Trust Indiana Society South Group ISOA Members Mallor Grodner LLP Market District National Endowment for the Arts Reis-Nichols Jewelers Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana Shaheen Family Foundation St. Vincent Health/Ascension Anthem Blue Cross and Blue Shield Vectren Corporation

Founders’ Society ($5,000-$9,999) Anonymous (6) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Bob & Pat Anker

Trudy W. Banta Ms. Sarah Barney Suzanne B. Blakeman Terry & Robert L Bowen Mr. & Mrs. John Bratt Donald & Barbara Broadlick Mr. & Mrs. Walter P. Bruen, Jr. Dr. & Mrs. John T. Callaghan Vincent & Robyn Caponi Ms. Jane Conley Dexter & Rosemary Cooley Andrea Davis David & Consuelo Davis Jack Everly & Ty A. Johnson Dr. & Mrs. Richard W. Garrett Charles & Susan Golden Nancy and Frank Gootee Mr. & Mrs. Thomas W. Grein John & Chichi Guy Robert E. Hallam Steve L. Hamilton & Keith O. Norwalk Don & Carolyn Hardman P. Kent Hawryluk Gregory Henneke & Martha O’Connor Mr. & Mrs. Richard W Holmes Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Carlyn Johnson James M. Johnson & Jennifer B. Katz Kimra Kidd & Thomas Buehner Drs. Sandra & Charles Kinsella Ned & Wendy Kirby Mrs. James L. Kittle, Sr. Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Dr. Richard E. Lindseth Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Emily & Joe Mahurin Mr. & Mrs. David Malson Ms. Karen Mangia Mr. & Mrs. Morris Maurer Doris & John McCollough Boris E. Meditch Karen Mersereau & Dr. Michael Helms Jim Miller Jerry & Anne Moss Carl Nelson & Loui Lord Nelson Marc Nichols & Jamie Collins Jackie Nytes Michael P. & Leanne M. O’Neil Jennifer Pressley


Annual Fund Scott & Susan Putney Steve & Margaret Russell Mr. & Mrs. William N. Salin William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Joanne & Gerald Solomon Dr. Pamela A. Steed & Dr. Peter Furno Pete & Lena Ward Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Dr. Christian Wolf & Elaine Holden-Wolf Barrie & Margaret Zimmerman John & Linda Zimmermann Jennifer & Michael Zinn Crowe, LLP Faegre Baker Daniels Haddad Foundation Heritage Group Honda Huntington Bank Indiana American Water Co., Inc. Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom James O. & Alice F. Cole Foundation The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Merrill Lynch Market District The National Bank of Indianapolis Navient NextGear Capital PNC Regions Bank The Rock Island Refining Foundation Rose Senior Living Salin Foundation Senior Home Companions The Spears Family Foundation WGU Indiana Witham Health Services Conductor’s Circle ($2,500-$4,999) Anonymous (2) Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael J Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Frank & Katrina Basile Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Mr. & Mrs. Laurens Beyland Douglas & Angela Braly Mary Clare & George Broadbent Mr. & Mrs. John Campbell Nancy Christy Bill & Angela Corley Mr. & Mrs. James M. Cornelius James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline

Steve & Mary DeVoe Dr. & Mrs. Thomas Elam Dorothy Schultz Englehart Ms. Carol J. Feeney Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Mr. Jerome Gassen & Ms. Nicole Weaver Michael & Beth Gastineau Mr. Scott & Ms. Amy Goldsmith Christian & June Gries Ms. Julie Griffith Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. Sharon Hoog Bill & Nancy Hunt Larry & Annette Hutchison Mr. & Mrs. John C. Jenkins & Family Dr. Louis N Jungheim & Dr. Thalia I. Nicas Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Don & Jen Knebel Dr. Elisabeth Krug & Roland Schaffer Andrew & Lynn Lewis Nancy Lilly Mr. & Mrs. Allan Litz Malcolm & Joyce Mallette Mary & Charles Matsumoto Dr. & Mrs. Douglas R. Maxwell Flip & Cindy Miller Milton & Margaret Miller Elizabeth & William Murphy Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Eloise Paul & Bill Lee Dorit & Gerald Paul Ray & Jim Luther-Pfeil George & Christine Plews Myrta J. Pulliam Mr. Alan & Mrs. Deborah Rasper Mr. & Mrs. Thomas Roberts Nancy Ray Ross Dr. & Mrs. Randall G. Rowland Mrs. Robert L. Rudesill Fred & Bev Ruebeck Mr. Gilva F. Sallee & Ms. Wanda L. Shafer Dr. & Mrs. John F. Schaefer James & Mary Beth Schafer Anne & Rod Scheele Jane & Fred Schlegel Klaus & Joel Schmiegel Drs. Lei Shen & Soomin Park Eric Siemers & Peggy Edwards Dick & Susan Simon Tom & Dee Spencer Drs. Randall & Bonnie Strate James Sweeney Mrs. David Thiel Dr. James & Linda Trippi Dr. Pantila Vanichakarn & Dr. Daniel Bateman Jane & Hugh Watson Diane K. Werth & Allan S. Manalan Emily A. West Dr. & Mrs. William J. Wheeler James & Joyce Winner Terence & Margaret Yen

Bingham Greenebaum Doll LLP Canvas Bright Sheet Metal Co., Inc. CarDon & Associates Cornelius Family Foundation, Inc. Douglas & Angela Braly Family Foundation Franklin Symphonic Council, Inc. The Indianapolis Recorder ParkIndy, LLC St. Richard’s Episcopal School President’s Club ($1,500-$2,499) Anonymous (3) Kate & Dan Appel Nicholas Barbaro & Sue Ellen Scheppke Mr. & Mrs. Jay Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Kirk & Sharon Boller— Bottom-Line Performance Inc Gordon & Celia Bruder Lorene M. Burkhart Pam & Jack Burks Dr. David & Judith Chadwick Mr. Joseph & Mrs. Helena Chan Casey Chell & Daniel Duarte Mr. & Mrs. Randall Christie Chris W. & Lesley J. Conrad Mr. & Mrs. Gregory C. Davis Dennis K. Dickos, M.D. Mr. & Mrs. Dan Dumbauld Andrew & Irene Engel Linda Felton Mr. & Mrs. Michael A. Fleetwood Dr. Norm & Adrienne Fogle Dr. & Mrs. Mark Foglesong Dick & Brenda Freije Dr. Lawrence I. Goldblatt Mr. Ray E. Gotshall Joe & Kathy Grahn Mr. Berl J. Grant Mr. & Mrs. Robert Gregory Dr. & Dr. Paul K. Halverson James & Paula Hancock Richard & Karen Harrison Ms. Lisa Heid Mr. & Mrs. Gerald V. Hinchman Jill Hoyle Carolyn Humke Ms. Kristine Isenberg Mr. Gerald R. Jenn Wayne & Deborah Johnson Dr. & Mrs. Philip E. Johnston Dr. Charles E. Jordan Michael & Linda Jordan Dana & Marc Katz Richard & Susan Kent Mr. Doug Klitzke Col. A. D. Kneessy Dr. Gwen & Mr. Robert Krivi Mr. & Mrs. Jeffrey Larson Jonathan & Lisa LeCrone Robert E. Lee Deborah & Joe Loughrey Drs. John & Ingrid Mail Michael & Jill Margetts Ann & John McGrath

Dr. John McKenna Nancy L McMillan David & Andrea Miller & Family Mr. & Mrs. Robert E. Miller Dr. & Mrs. Phillip G. Mosbaugh Sarah Myer Peggy & Byron Myers Mr. & Mrs. Daniel Mytelka Mr. & Mrs. Guido Neels Mr. & Mrs. John S. Null Allen H. Pekar Patricia Perkinson Marian Pettengill Barbara Poulsen Sue & David Powers Christine & Ken Price Roger & Anna Radue Dr. & Mrs. George F. Rapp Jean & Lamar Richcreek Mr. & Mrs. Randall Riggs Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Mr. & Mrs. John & Vicky Ruhl Mr. & Mrs. David Sapp Roger & Barbara Schmenner Steven A. Spaulding & Jennifer C. Hendrian Judy A. Springmire John & Barb Stang Rita & Larry Steinberg Jim & Cheryl Strain T.S. Sun Richard & Lois Surber Mr. John Tan Sidney Taurel Rod & Ann Taylor Jerry & Linda Toomer Stephen L. Tracy John & Kathy Vahle Joe & Diane Vande Bosche Dr. Kara R. Vonderau Don & Coleen Walker Terry & Cheryl Walker Paul & Gretchen Watson Mrs. Mary Whalin Mrs. Irene Yacko Mr. & Mrs. Leslie R. Zimmerman Sue & John Zinser The Ackerman Foundation CTI Construction LLC First Monday Music Club The Humke Foundation, Inc. Indiana Farm Bureau Insurance The Jenn Foundation Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation Jungclaus-Campbell Co., Inc. Medella Naturals The Penrod Society Pointer Management Quinn & Ali Shepherd Giving Fund Sun King Brewing Co. The Toomer Family Foundation

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Annual Fund Symphony Club ($1,000-$1,499) Anonymous (9) Mr. Walter H. Bartz Dr. & Mrs. H. W. Berner Mr. Michael L Blankenship Mr. Robert L. Bly Mrs. Sydney Jean Book Erv & Priscilla Boschmann Charles & Cary Boswell Marsha Bragg Stephanie & Craig Brater Dr. Harry D. Brickley Kenneth & Patricia Burow Mr. & Mrs. E. M. Cavalier Ray & Lisa Childers Mr. & Mrs. Douglas Church John & Ulla Connor Mr. & Mrs. Tom Cooper Gordon & Harriet Coppoc Mr. & Mrs. Larry Cranfill Patrick & Jennifer Cross Mr. & Mrs. Bert Curry Kristin Cutler & Sarah Harrell Rebecca & Larry Davis Mr. Douglas B. Day Frank & Noreen Deane Ken & Kitty Decker Ann Dettwiler Ms. Joyce Dwulet Constance C. Earle Dr. & Mrs. Christopher Eddy Dr. Carmel Egan & Mr. Gerard Carthy Tom & Judy Eggers Catherine Ehlhardt Dr. & Mrs. William J. Ehlhardt Julia & W. Adam Ehret Mr. & Mrs. Theodore Engel Dr. & Mrs. Harvey Feigenbaum Dean & Beth Flaris Gracia & Jim Floyd Dr. & Mrs. Bruce Frank Mr. & Mrs. James F. Gallagher Mr. & Mrs. Jerry Gershman Steven M. Giovangelo & Gerald J. Bedard Mr. Jonathan Gottlieb & Valerie Omicioli Charles & Lori Grandy Thomas & Nancy Grembowicz Mr. C. Perry Griffith Kenneth & Barbara Hamilton Mr. & Mrs. Eugene E. Henn Mr. & Mrs. Jerome T. Henning Mr. Ronald N. Hermeling Patricia & William Hirsch Mrs. Sue Hirschman Ms. Ginny Hodowal & Mr. J. Douglas Madeley Jack & Ruth Hoover Clarena Huffington Drs. Meredith & Kathleen Hull Mr & Mrs. Thomas Huntington Mr. & Mrs. Needham S. Hurst Mrs. Ninalou Isaacson Ethan & Joyce Jackson Larry & Marianne Jacobi

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Sue Johnson William Bailey Jones III MD Donn & Dot Kaupke Freddie & Anne Kelvin Richard & Roxanne Kovacs Mr. Jeffrey S. Lahr Mrs. Carl F. Lesher Dr. Erik L. Lindseth Grace Long Lowell & Penelope Lumley Ralph & Nancy Lundgren Alex & Bridget MacAllister Mary Lynn Mancinelli Jeffrey & Christine Marks James R. & Rita E. Martin Stacy A. Maurer Michael & Patricia McCrory Mark & Mary McDaniel Mr. & Mrs. Thomas McGinley Alan & Ann McKenzie Marni McKinney Mr. & Mrs. Robert B. McNamara Mr. & Mrs. Robert H. Medsker Mr. Allen & Mrs. Deborah Miller Earl Miller & Ek-Leng Chua-Miller Nathanael D. Miller Dr. William A. Mirola Jim & Jackie Morris Dr. & Mrs. Patrick J. Murphy Thomas P. Murphy Ann & Jim Murtlow F. Timothy & Nancy Nagler Don Nead & Caryl Matthews Lara Noren Thomas & Stacy O’Leary Sarah Otte Mrs. Karen L. Parrish Sally & Jay Peacock Linda Pence Bill & LeyAnne Perkins Gayle L. Phillips Bob & Lillian Potts Larry & Nancy Pugh Jeff & Clare Quinn Rosemary & Charles A. Rader, Jr. Mrs. Patricia L. Ragan Mr. & Mrs. Robert D. Ramsey III Rich & Betty Lou Reasoner Bob & Carol Reynolds, Barnes & Thornburg William R. & Gloria Riggs N. Clay & Amy McCorkey Robbins Gordon & Patsy Roe Mrs. Richard H. Rowland Mr. & Mrs. Billy P. Schaming Mr. & Mrs. David G. Sease Carson Shadowen Armen & Marie Claude-Shanafelt Evan & Samantha Shinbaum Nancy C. & James W. Smith Mary Solada Christy & Jeff Soldatis Mr. & Mrs. Richard Spaulding Dale & Kathy St. Louis Betty Stevens Mrs. Lynn Stocksill L. Gene & Rosie Tanner M. C. Tanner Phillip A. Terry

Douglas L. Tillman John & Judy Tomke Ms. Jane Tomlin Kenneth L. Turchi Mr. & Mrs. Mark C. Whitmore Meg Williams Mr. & Mrs. Meredith L. Wilson Doug & Jayne Ann Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Anonymous The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Cavalier Family Foundation Gracia E. Johnson Foundation Gregory & Appel Insurance Griffith Family Foundation Indy Eleven J. Solotken & Company, Inc. Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Marni McKinney Foundation Myron McKee Charitable Fund Thorne Family Trust of Morgan Stanley GIFT The Blake Lee & Carolyn Lytle Neubauer Charitable Fund, a fund of the Legacy Fund O’Ryan Law Firm Lyman A. & Corbalou A. Snyder Family Fund/Johnson County Community Foundation The Ruth E. Stilwell Endowment Fund, a fund of CICF

Virtuoso ($750-$999) Anonymous (2) Mr. Wilbur L. Appel, Jr. Mr. & Mrs. Roy & Jan Applegate David Armstrong Mr. & Mrs. James Babb Mrs. Taylor L. Baker David & Etta Biloon Justin Bird Stephanie Boughton Randall Trowbridge & Alice Brown Steve & Carol Christenberry Audrey E. Corne RN, EdD Mr. & Mrs. George Cullinan Bill & Ann Cummings Peter & Carol Czajkowski Zachary De Pue Col. & Mrs. Frank Dillard Daniel & Virginia Dolezal Jack & Connie Douglas Hillary C. Egan Dr. & Mrs. Jeremy Eltz Ms. Audeen Fentiman Mr. Kenneth Fraza Ms. Patricia Garrity Mr. Ned Derhammer Brian & Claudia Grant Lauretta Gray The Greenfield Family Dr. Shelly & Mr. Steve Harkness Burt & Sue Harris Mary Hauser Mike & Noel Heymann

Patrick F. Jessee Sheryl M. King, MD Richard & Gwen Knipstein Robbie & Emily Kusz Dennis & Karen Licht Reverend Doctor Joan B. Malick Dan McKinney Mrs. Sandy McLean Mr. & Mrs. Richard Menke Jean S. Patton Beverley & Bill Pitts Charlie, Zoey & Luci Roth Brandon Russell Michael & Pricilla Shaw Dr. & Mrs. James E. Shields The Nathaniel Shobe Family Dr. & Mrs. Robert K. Silbert Greg & Linda Sykes Mr. & Mrs. Jay Taylor Kirk & Jo Taylor Dr. Herbert Tesser Teresa P. Youngen Mark V. Bromund Fund, a fund of Central Indiana Community Foundation Circle City Athletics, Inc F.A. Wilhelm Construction Co. I Contributed Goods

& Services

DCG: Digital Color Graphics Enflora Flowers for Business Indianapolis Star Kinetico Quality Water Systems Maggiano’s Printing Partners Ruth’s Chris


Tribute Gifts Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully acknowledge the following tribute gifts received from May 1, 2018, to August 1, 2018. Memorial Gifts In Memory of Lonn Bayha Roberta Witchger In Memory of Martha Benedict Virginia Melin In Memory of Carl A. Dawson Mr. & Mrs. James Dawson In Memory of Carolyn Humke Mr. Walter C. Gross Jr. Carolyn Hardman Elaine S. Stitle In Memory of Joseph L Kivett Jr. Mr. & Mrs. Charles Kivett In Memory of Fran MacAllister Mary Jane Schubert

Honor Gifts In Memory of Michael B. & Illene K. Maurer Thomas F. & Elizabeth W. O’Gara In Memory of Joseph Quinn Indianapolis Musicians Local 3 Ted Jonas

In Honor of Anne Duthie McCafferty Dawn M. Fazli George and Muriel Mikelsons In Honor of Yvonne Shaheen Erik Johnson & Kristie Hill

In Memory of Lamar Richcreek KAR Auction Services, Inc. Thomas P. Murphy In Memory of Dr. Edward Ross Mrs. Catherine Ross In Memory of Mr. Steve St. Pierre Deb St. Pierre In Memory of Clara Toplis Mr. Michael & Dr. Wendy Byers

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The Lynn Society The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity. “Our continued contributions to the Annual Fund and our legacy gift to the Lynn Society allow us to simultaneously support a city treasure, enhance the education of the city’s youth, and personally experience the joy of great music.” — Rollie and Cheri Dick

Lynn Society Members Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans. Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell* Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dale & Barb Benson Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Dento Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Andrea Davis Edgar* & Joanne Davis Carol Richardson Dennis Rollin & Cheri Dick Mr. & Mrs. Richard A. & Helen J. Dickinson Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune Marilyn K. Fourman Dr. & Mrs. Larry C. Franks

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Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett David* & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington* Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. John A. Mainella & Michael Pettry Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch Clayton C. Miller William F. Murphy, CPA

John & Carolyn Mutz Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley David Rodgers Dr.* & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Carol E. Taylor Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Dan & Doris Weisman Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Richard D. & Billie Lou* Wood Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (16) *Deceased


The Lynn Society The Indianapolis Symphony Orchestra graciously acknowledges gifts received from the estates of: Anna Ross Alexander Mrs. Raymond A. Basso Dr. John E. Batchelder Miss Helen F. Bernheisel Florence Bien Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak Edgar L. Conn Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Gail H. & Robert H. Hall Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings

Emma Stutz Horn Mr. David A. Jacobs Frances M. Johnson Mr. E. Patrick Kane Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure H. Richard & Sarah Forney McFarland Mrs. Judd R. McKay Alice & Kirk McKinney Martha Means Mr. & Mrs. J. Irwin Miller Robert H. & Ina Mohlman Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mrs. Joseph D. Pierce Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn

Miss Sally Reahard Mr. Vernley R. Rehnstrom Peter C. & Dr. Jeanette P. Reilly George T. & Olive Rhodes Mary Ann Roman Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr. Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White Lorain C. Will Clara M. Wilmeth Ms. Mary Wratten Mildred R. Young Wilma K. Young Steven J. Zellman Karl & Barbara Zimmer Anonymous (5)

Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

For more information about the Lynn Society and membership, please contact the Associate Director of Foundation and Planned Giving, Sally Meyer Chapman, at 317.231.6770 or smeyer@IndiannapolisSymphony.org. 83


Arts in Indy Indianapolis Symphonic Choir The Indianapolis Symphonic Choir’s 82nd season begins with Haydn’s oratorio The Creation on Sunday, October 7, at 6 p.m., at Hilbert Circle Theatre. This choral-orchestral masterwork vividly depicts the creation story through music, beginning with the notorious orchestral painting of void and chaos followed by the chorus’ dramatic proclamation of light. Buy tickets online at indychoir.org. Group rates are also available. Call 317-940-9057 for more information.

Footlite Musicals Footlite Musicals is Indianapolis’ oldest continually operating all-volunteer community theatre, presenting the best of Broadway musical theatre. Now starting their 63rd season! Brigadoon: September 8 through October 14 Legally Blonde the Musical: November 30 through December 16 Shows on Thursday, Friday, and Saturday at 7:30 p.m.; Sunday at 2:30 p.m. Prices: Adults $25, Youth $15. Discounted $10 tickets on Thursdays and the first Sunday. ISO discount: Save $2 off regular-priced adult tickets using discount code “ISO2018.”

Dance Kaleidoscope Dance Kaleidoscope presents “Music of the Night,” October 25– 28, at Indiana Repertory Theatre. In collaboration with American Pianists Association, this show will include live music for Fascinatin’ Rhythm, Gershwin Preludes, Clair de Lune, and Gershwin Songs. Act two will be David Hochoy’s Sophisticated Ellington. Sponsored by The National Bank of Indianapolis and Printing Partners. Tickets available at DanceKal.org or 317-635-5252.

Indianapolis Children’s Choir Season tickets are now on sale for the Indianapolis Children’s Choir wonderful 2018–19 concert season, which will be full of surprises, special guests, and of course, fantastic choral artistry. Pick at least three concerts and get the best prices of the season: only $11 per ticket! Purchase by November 15 at icchoir.org/tix. The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317-940-9640.

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To advertise within this book, contact Patrick@PrintingPartners.net or 317-664-7835


Arts in Indy Indianapolis Suzuki Academy Now enrolling! Build a strong relationship with your child through the study of music. The Indianapolis Suzuki Academy nurtures beautiful character in every child through excellence in music. We emphasize building a strong relationship between the student, parent, and teacher for every child to realize his or her potential. Enrollment in the Academy for violin, cello, piano, and harp; includes weekly private lessons and regular group classes. Baby/toddler classes are now enrolling for newborn to 4 years. Visit us online at www.IndySuzukiAcademy.org

Indianapolis Opera Since 1975, Indianapolis Opera, the only professional opera company in Indiana, has delivered the passion, excitement, and art of opera through its musical performances, compelling educational programs and entertaining events. Experience Indianapolis Opera’s production of Camelot, March 22, 23, 24, 2019, at the Schrott Center for the Arts on the campus of Butler University. For tickets and more information, visit www.indyopera.org or call 317-940-6444.

Indianapolis Chamber Orchestra The Indianapolis Chamber Orchestra, under the direction of Matthew Kraemer, performs music composed for the small orchestra—from classical masterworks, world premieres, and music from the theater and silent film genres. The 2018–19 season celebrates the spirit of cultural exchange with “Leonard Bernstein at 100” on Oct. 13–14; “East Meets West” on Jan. 26, 2019; and “Down Home” on April 6, 2019. Join us at the Schrott Center for the Arts at Butler University. For more information and to purchase tickets, visit icomusic.org or call 317-940-9607.

New World Youth Orchestra Join New World Youth Orchestra for their season premiere concert on Sunday, November 4, at 5 p.m., in the Hilbert Circle Theatre. This concert will feature the Philharmonic and Symphony Orchestras and 2018 Young Artist Competition winner Sage Hamm. Tickets are available through the ISO box office. For more information, visit www.nwyso.org.

To advertise within this book, contact Patrick@PrintingPartners.net or 317-664-7835

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Why We Give: Mary Ellen & Bernie Weitekamp Have you always lived in Indiana? We have lived in Indiana since we were married in 1970. Prior to moving to Indianapolis, we lived in South Bend for three years. Do either of you play an instrument? Mary Ellen played the clarinet in the high school band and took piano, organ, and voice lessons during grade school, high school, and college. She has started taking piano lessons again during retirement. What was the first ISO concert you attended? We started attending the ISO concerts after purchasing Pops season tickets in 2006. If we cannot attend a Pops concert, we exchange our tickets for one of the classical concerts. We especially enjoy the classical concerts that include the Indianapolis Symphonic Choir. What has been your favorite musical experience with the ISO so far? This is a difficult question to answer since the ISO plays so many different kinds of music. We feel very fortunate to have conductors of the highest quality. John Williams conducting the ISO in February was also memorable and moving. One of our favorite Pops concerts was the Doo Wop Project, and we are looking forward to them returning in May. Michael Cavanaugh is another favorite. Summertime takes us to Conner Prairie, and the Star-Spangled Symphony nights around the fourth of July are definitely a highlight. How is your life better with music? We both enjoy a variety of music, including classical, pops, soft jazz, and a little bit of country. We look forward to each new ISO concert season. Yuletide has become a family tradition with our two sons’ families. The first time we took our granddaughters, they wanted to know when they could go to the next one! A majority of the time, there is music being played in our home. What would you tell someone who is considering becoming a subscriber to the ISO? There is a wonderful variety of concerts to choose from. It provides an opportunity to experience very talented guest artists performing with an exceptional orchestra. With so many different types of programs, there is something for everyone, and that includes young audiences. Why is an orchestra important to a community? To have a first-class community, it is essential to have a world-class symphony orchestra. For a community to grow, having cultural attractions is a necessity to bring in new businesses and to be an attractive place to live. What led you to donate to the ISO through the Forever Sound Society? Participating in the Indianapolis Symphony Orchestra Association (ISOA) has provided us with an opportunity to learn more about the Orchestra and the costs of maintaining the caliber of orchestra that we want to keep in our city. Purchasing season tickets are only a portion of the budget. Being donors and volunteers, we feel we are doing more to retain the excellent musicians and staff that we presently have.

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THANK YOU 2018 MAESTRO OPEN SPONSORS! Presenting

Premier

Baton

Matthews / Snyder Wealth Advisory Team

INTEGRATED BRAND COMMUNICATIONSSM

Heather Willey Lunch

Dinner

Beverage Station Robert Enlow

In-Kind Contributors Bear Slide Golf Club Chatham Hills Golf Course Centaur Gaming Coke Cunningham Restaurant Group Enflora Fox Prairie Golf Course Garmong Construction Jim Beam

Giordano’s Golf Club of Indiana Golf Galaxy Golf Tech Hickory Stick Golf Club Hilliard Lyons Ice Miller Indiana Grand Casino IPL ISO Musicians

Jeptha Creed Maple Creek McNamara Florists Meridian Music Mystic Hills Golf Course Nucklehead! Old Oakland Golf Club Pacers Sports & Entertainment Pebble Brook Golf Club

Prairie View Golf Club Provision Purgatory Golf Club Reis Nichols River Glenn Golf Course Rolex Star Financial Stella Artois Stony Creek Golf Course Tesla

The Fort Golf Resort The Winner's Circle Titleist TopGolf Trophy Club Two Deep Brewery Winding Ridge Golf Club Wood Wind Golf Club Zink Distributing


Administration Executive Office

Marketing and Communications

James M. Johnson, Chief Executive Officer Laura Irmer, Assistant to the CEO

Sarah Myer, Vice President of Marketing Joshua Shuck, Director of Sales Mary Ferguson, Audience Development Manager Jennifer Welch, Art Director Bennett Sanders, Graphic Designer Kristin Cutler, Director of Communications Jen Huber, Communications Content Manager Teresa Mazzini, Digital Marketing & Communications Manager Marianne Williams Tobias, Program Book Annotator

Operations Danny Beckley, Vice President and General Manager David Armstrong, Director of Audience Services Amy Sheaffer, Director of Operations Kalyn Smith, House Manager Donna Finney, Volunteer Services Manager Philomena Duffy, Manager of General Operations & Facilities Frances Heavrin, Event Coordinator Roberto Tapia, Day Porter Rodney Gray, Food & Beverage Manager Orchestra Personnel K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Artistic Administration Katie McGuinness, Director of Artistic Planning Hannah Reffett, Manager of Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Senior Manager of Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Manager of Guest Artist & Pops Coordination Development Casey Chell, Vice President of Development Brogan Drumm, Executive Assistant Missy Eltz, Director of Development Operations Rita Steinberg, Senior Major Gift Officer Sally Meyer Chapman, Director of Development, Institutional Giving Catherine Lockhart, Associate Director of Corporate Giving Allison Gehl, Associate Director of Individual Giving Carol Ann Arnell, Senior Manager of Special Events and Corporate Partnerships Tom McTamney, Gift Processing Manager Susan Lutterbach-Nestor, Institutional Giving Manager Tori Ramsay, Gift Officer Jacob Thompson, Donor Stewardship Associate Ron Blackgrave, ISOA Assistant

Patron Services David Storms, Box Office Manager Elizabeth Whipkey, Senior Customer Care Representative Anita Blackwell, Customer Care Representative Janine Knuutila, Customer Care Representative Erin Demo, Customer Care Representative Erin Jeffrey, Customer Care Representative Nick Neukom, Customer Care Representative McKenzie Witherell, Customer Care Representative Kim McManus, Customer Care Representative Mara Lefler, Customer Care Representative Learning Community Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Betty Perry, Metropolitan Youth Orchestra Founder and Artistic Director Emeritus, ISO Community Ambassador Ruth Wolff, Director, ISO Learning Community Krystle Ford, Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager Andrea Fjelde, Learning Community Coordinator Finance Steve L. Hamilton, Vice President of Finance and Chief Financial Officer Adam White, Controller Teaka Vest, Staff Accountant Jennifer Morrell, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Vice President of Human Resources Melissa Sanders, Human Resources Generalist & Wellness Advocate

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Hilbert Circle Theatre Information Welcome to the Hilbert Circle Theatre, home of the Indianapolis Symphony Orchestra. We are delighted you are with us and hope you enjoy the performance. Box Office

Beyond the Concert

For questions about parking, tickets, subscriber benefits, and will call, visit our Box Office at the main entrance to the theatre (off of Monument Circle) or the satellite Box Office at the east entrance (off Scioto Street, open before performances only).

Attend The J. K. Family Foundation Words on Music one hour before every Lilly Classical Series concert to hear from classical music experts. Grab a drink and mingle with friends before and after the concert in the Encore Lounge.

Subscriber Hotline

Also, join us for a behind-the-scenes discussion with special guests during the First Mondays: Backstage Pass to the ISO! Visit www.IndianapolisSymphony.org/firstmondays for more information.

If you are a subscriber and have any ticketing needs, please call the Subscriber Hotline at 317.236.2040, or email the ISO at subscriber@ IndianapolisSymphony.org. This dedicated hotline is staffed during normal business hours by our Customer Care Representatives. You may also leave a message after hours, and a representative will respond promptly. Coat Checks and Restrooms Coat checks are located on the main floor and on the Oval Promenade on the second floor. The second floor can be reached by staircases on the east and west end of the theater or elevators near the main entrance. Accessible restrooms are located on both floors. Ushers For questions about Hilbert Circle Theatre accessibility, first aid, and lost and found, please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.

Parking EZ Park Garage is open on the west side of Pennsylvania Street between Market and Washington Streets. A canopy connects the garage to the Hilbert Circle Theatre lobby, giving you a close and convenient parking option. For evening concerts, pay on your way in to save the time and trouble of waiting in line to pay after the concert. Other parking options include: •

Emergency

In the event of an emergency, please use the nearest exit (marked by lighted signs). This is your shortest route out of the theater.

Valet Service is offered for of the Lilly Classical Series, Printing Partners Pops Series, and select IPL Yuletide Celebration performances. Available one hour before the performance begins. Circle Centre Mall Parking Garages (recommended for Coffee Concert patrons because of limited parking). Meter parking is availble downtown near the theatre. Visit parkindy.net for details. Visit downtownindy.org for addtional parking options.

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at 317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100. We welcome your comments at iso@IndianapolisSymphony.org!

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Corporate Sponsors The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact Catherine Lockhart, Associate Director of Corporate Giving at 317.231.6723.

btlaw.com

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It begins with a promise to give back to the world around us.

The Lilly family set a precedent for service from the company’s earliest days, rushing medicines to victims of natural disasters and supporting civic organizations such as the Red Cross and YMCA. Today, we continue to find creative ways to give back to our communities. In our own neighborhoods and across the globe, we work hand-in-hand with governments and civic organizations to improve the health and well-being of the people we serve. This work is part of our living heritage and our enduring promise to make life better for people around the world.

To find out more about how we share our strength, visit www.lilly.com/responsibility. 2016 CA Approved for External Use PRINTED IN USA Š2016, Eli Lilly and Company. ALL RIGHTS RESERVED.


Oxford proudly supports the Indianapolis Symphony Orchestra.

Oxford is independent and unbiased — and always will be. We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions.

CHICAGO F CINCINNATI F GRAND RAPIDS F INDIANAPOLIS F TWIN CITIES 317.843.5678 F WWW.OFGLTD.COM/ISO

Sept/Oct 2018 Indianapolis Symphony Orchestra Program Book  
Sept/Oct 2018 Indianapolis Symphony Orchestra Program Book  
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