Indianapolis Symphony Orchestra November 2019 Program Book

Anna Vinnitskaya

Jean-Yves Thibaudet

Krzysztof Urbański

Jack Everly

Sherry Hong

Cinematic Symphony: A Spotlight on ISO Musicians Debussy’s La Mer: The Symphonic Waves Brahms’ Thundering Piano Concerto

2019-20 S EA S ON

Volume 2 • November • Hilbert Circle Theatre

Here’s to good friends who make you laugh and make life even more enjoyable.

And here’s to living in a place where you can share stories with old friends and get acquainted with new ones – in a convenient tavern just steps from your front door.

Call (317) 875-9700 to see it for yourself.

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Indiana’s greatest holiday tradition returns to the Hilbert Circle Theatre!

November 30 — December 23 Frankie Moreno, Host • Jack Everly, Conductor Great seats still available!

317.639.4300 • IndianapolisSymphony.org

Table of Contents Programs 12 Cinematic Symphony: A Spotlight on ISO Musicians

November 1–2

66 Arts in Indy 68 Administration and Staff 69 Hilbert Circle Theatre Information 70 Corporate Sponsors

20 Debussy’s La Mer: The Symphonic Waves

November 8–9

71 Indianapolis Symphony Orchestra Association

38 Brahms’ Thundering Piano Concerto

November 14–16

Artists 13 Jack Everly 14 Featured ISO Musicians

The Indianapolis Symphony Orchestra

21 Krzysztof Urbański

6

Board of Directors

23 Jean-Yves Thibaudet

7

Musicians of the ISO

8

Music in My Life

9

Musicians Around Town

11 Inside the Usher Corps 53 Endowment 56 Annual Fund 61 Tribute Gifts 63 Why We Give 64 Lynn Society

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25 Jessica Linnebach 39 Anna Vinnitskaya 42 David Lakirovich

Welcome Dear friends, As we prepare for the hustle and bustle of the holiday season, I like to take a moment in November to reflect on gratitude.

We have many things to be thankful for here at the Indianapolis Symphony Orchestra—most notably you, our supporters and community advocates. I appreciate the effort you take to share some of your precious time experiencing concerts with us.

I am also grateful for our musicians, staff, board members, and community partners who are embarking on a collective journey to focus on Diversity, Equity, and Inclusion (DEI) in our organization. Last month, we took the first big steps in engaging our full community on this path, as we hosted a Groundwater James M. Johnson Training Session with the Racial Equity Institute and began a Chief Executive Officer series of conversations with our stakeholders regarding DEI in our industry. I look forward to sharing continued updates with you as we build a stronger organizational culture that values the richness of the vibrant communities we serve.

We have a dynamic lineup of concerts this month, including an incredible highlight of the artistry of our individual musicians in the ISO. Cinematic Symphony is an excellent opportunity to showcase the awe-inspiring talent of the orchestra members you see on stage every week. We also have a pair of epic works on our classical concerts this month, as the expressive Anna Vinnitskaya explores Brahms’ Thundering Second Piano Concerto, and we experience the might and majesty of the sea with Debussy’s La Mer. I hope to see many of you next month as our favorite holiday tradition, IPL Yuletide Celebration, returns with host Frankie Moreno. Maestro Jack Everly and the Pops team have another spectacular Yuletide in the works for us, and I can’t wait to share it with you all!

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 Kiamesha Colom Trent Cowles* Cheryl J. Dick Craig Fenneman Peter W. Howard, Ph.D. Liz Huldin Ann Hampton Hunt Patrick Jessee James M. Johnson*

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

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

Carolyn S. Hardman Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara

Charles O’Drobinak Dr. Charles H. Webb Jr. Richard D. Wood

*Executive Committee

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

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

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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 Hán Xiè Second Violin 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 Joseph Ohkubo** Jayna Park Lisa Scott Viola Yu Jin, Principal, The Schlegel Chair Amy Kniffen, Acting Associate Principal Zachary Collins, Acting Assistant Principal Susan Chan** Yu-Fang Chen** Terry E. Langdon Li Li Cello

Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Jung-Hsuan (Rachel) Ko Assistant Principal Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair C.J. Collins** Mark Maryanovsky Jian-Wen Tong Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal L. Bennett Crantford Gregory Dugan Peter Hansen

Brian Smith Bert Witzel

Ryan Miller** Riley Giampaolo

Flute Karen Evans Moratz, Principal, The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal

Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair

Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

Tuba Anthony Kniffen, Principal Timpani Jack Brennan, Principal The Thomas N. Akins Chair Craig A. Hetrick, Assistant Principal

Oboe Percussion Jennifer Christen, Principal, Braham Dembar, Principal The Frank C. Springer Jr. Chair Craig A. Hetrick Roger Roe, Assistant Principal Pedro Fernandez Sharon Possick-Lange

Harp English Horn Diane Evans, Principal Roger Roe, English Horn The Walter Myers Jr. Chair 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 Ivy Ringel, Principal Michael Muszynski Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein Horn Robert Danforth, Principal, The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Alison Dresser The Bakken Family Chair Julie Beckel Jill Boaz Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Timothy McCarthy, Assistant Principal Robert Wood Trombone K. Blake Schlabach, Acting Principal

Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Bekki Witherell Quinn, Administratrive Assistant Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian William Shotton, Bowing Assistant Stage Kit Williams, Stage Manager P. Alan Alford, Technician Patrick Feeney, Technician Steven A. Martin, Technician

*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating. ** One-year position #Temporary † On leave

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Music in My Life: Amy Kniffen, Viola Amy Kniffen joined the ISO in 1998 and is the Acting Associate Principal Viola. She grew up in Spartanburg, South Carolina. “I am the only musician in my family,” she says. “I remember the day when I was nine and my mother asked me if I wanted to play piano and I said ‘Sure, why not?’” Amy went on to study at Temple University and the Cleveland Institute of Music. Amy and ISO Principal Tuba Tony Kniffen were married on August 12, 2000, and have three children.

When did you become interested in being part of an orchestra?

I decided fairly early on that I wanted to pursue a path as an orchestral violist, but I started too late and was not prodigiously talented enough to be a soloist. The repertoire of the symphony orchestra is wildly varied, the musicians in an orchestra tend to be very active in the community as educators, and an orchestra stays put, which makes having a family a more logistically feasible feat.

What’s your favorite composer and style of music?

My favorite composer is usually the music I happen to be playing at any given moment. If I have played a lot of lusciously romantic music, like Brahms or Mahler, I will want something bright and sparkly, like Mozart or Haydn. Beethoven is always good as an aperitif, a palate cleanser, or a main dish.

What’s your favorite memory with the Indianapolis Symphony Orchestra?

There are a few performances that really stand out in my memory from the last 20ish years of playing in the ISO. We played a concert at SOTP with Jeffrey Kahane years ago. He played and conducted, and the Mozart piano concerto that he played was one of those moments where it seems that time slows down and sound is crystalline; every mote of dust shines in the moonlight.

Or stagelight, as the case may be. It was perfect.

Why should music be an important part of a young person’s life?

Music should be a core facet of any young person’s education for many reasons. It is as important as writing skills and math, science and PE, mostly because it is a combination of all of these things.

Playing music takes fine motor skills, visual and aural coordination, decoding notes, and having a sense of steady beat. Additionally, there is a team-playing feature of ensemble playing that is key.

A young musician will play the melody with humility, and will play the harmony with encouragement for the person who has the melody. The musician will develop a sense of what is beautiful, how to create it for him or herself, and how to create it with others. In my opinion, these are all key elements of an education, all leading to the original meaning of the term “liberal” in the sense that it develops a mind that is free to think. Our society is critically in need of minds that are free to take in information, evaluate from many angles, and work together to produce something as useful as it is beautiful.

What do you like to do for fun?

When not playing music, my time is spent generally thinking about my kids. I love watching them, seeing what they are interested in, analyzing where they are in any given area and how to offer what will further their abilities or interest, and generally enjoying their company. I also enjoy cooking and gardening.

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Musicians Around Town On September 23, the Indianapolis Symphony Orchestra Association and ISO patron and supporter John Seest hosted an afternoon of chamber music performed by ISO musicians. The ISO Association works to promote music education for adults and children and helps support the Indianapolis Symphony Orchestra through creative fundraising projects.

A piano quartet comprising Kate Boyd, Professor of Piano at Butler University; Tarn Travers, Concertmaster of the Indianapolis Chamber Orchestra and Professor at DePauw University; Theresa Langdon, ISO violist; and Adriana Contino, internationally known cellist and pedagogue, dedicated a new Kawai grand piano at St. Christopher’s Episcopal church on September 8. They performed Brahms’ Piano Quartet in G Minor, Op. 25, and other works. On October 22, the same group played Mozart’s E-flat Major Piano Quartet, K. 493 and the Brahms Piano Quartet as part of the Eidson-Duckwall Concert Series at Butler University.

On November 24 at 7:30 p.m., Blake Schlabach, Acting Principal Trombone, and Austin Huntington, Principal Cello, will join the University of Indianapolis Symphonic Wind Ensemble to perform the hauntingly beautiful “Trombone Concerto” by David Maslanka. The concert is free to the public and will be at the Christel DeHaan Performing Arts Center on UIndy’s campus.

On November 25 at 7:30 p.m., ISO musicians Jennifer Christen, Principal Oboe; Austin Huntington, Principal Cello; and Susan Chan, viola; will join Joana Genova, violin; Ariel Rudiakov, viola; Tamara Thweatt, flute; Wendy Muston, harp; Nemanja Ostojić, guitar; Cassius Stein, guitar; and the Art Reiner Trio (Kevin Anker, piano; Jonathan Wood, bass; Art Reiner, drums) for the Faculty Artist Concert Series “Mozart to Motown.” The musicians will explore a diverse musical landscape, from the glories of Mozart to the jazz, blues, and pop inspirations of the Art Reiner Trio. Jennifer Christen will be featured in Mozart’s Oboe Quartet in F Major, K. 370. Tamara Thweatt and Susan Chan welcome guest harpist Wendy Muston for the Elegiac Trio of Sir Arnold Bax. Nemanja Ostojić and Cassius Stein team for Fernando Sor’s elegant L’encouragement for two guitars, Op. 34.

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Become a

VOLUNTEER

& join a

FAMILY Learn more about how to join our ISO volunteer family by contacting Frances Heavrin at fheavrin@IndianapolisSymphony.org or 317.231.6798.

Inside the Usher Corps: Liz Randall 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, Liz Randall. Liz has provided more than 200 hours of volunteer service since she joined the ISO family in 2017. We are grateful for all that she does for the ISO! Tell us about yourself.

My story starts in Plainfield, Indiana, where I graduated a few years back. I currently live in Indianapolis. My greatest blessings are my three sons Markus, Mikhail, and Mitchell. I spend my days caring for the elderly in their homes as an occupational therapist, a job I truly love.

What motivated you to become an ISO volunteer?

Volunteering with the Ben Davis High School marching band inspired me to look into additional ways to give back to my community. After hearing wonderful things about the ISO from my friend, I gave it a try and was hooked instantly by the family-type atmosphere.

What do you like best about being an ISO volunteer?

Volunteering originally started as a way of giving back to the musical community. However, I quickly discovered that I get more out of this experience then I could ever give. I would never have imagined the ISO would be a good fit for me, but the vast range of music has widened my appreciation.

What has been your favorite ISO concert and experience as a volunteer?

My favorite and first concert was a performance of Whitney Houston songs a few years ago.

Patrons were dancing in the aisles and the reviews were so fun. One of my fondest memories was chatting with Maestro Jack Everly after a concert about how music changed my autistic son’s life while performing with the Ben Davis marching band. It’s so very difficult to pick just one favorite time at the ISO as I have so many good memories from having fun with the other volunteers.

Do you play an instrument?

I never played a musical instrument but I come from a extensive musical family.

What would you tell someone who is hesitant to become a volunteer?

I would encourage anyone to try this opportunity to assist with ISO events. Being part of this volunteer family is a great feeling and one I personally treasure. I have experienced so many amazing opportunities as a volunteer. If you have any doubts, I would highly recommend giving it a try and I’m confident you will come back!

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Nov. 1–2

Cinematic Symphony: A Spotlight on ISO Musicians

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Anthem Coffee Pops Series • Program Two

Friday, November 1, at 11 a.m.

Hilbert Circle Theatre JACK EVERLY, Conductor Whiting & Mercer Arr. Williams

Hooray for Hollywood

Rota Waltz and Love Theme from The Godfather

Conrad Jones, Trumpet “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

Williams

Morricone “Gabriel’s Oboe” from The Mission

Jennifer Christen, Oboe

Roger Roe, English horn Rozsa Love Theme from Ben Hur

Philip Palermo, Violin Williams Theme from Far and Away

Anthony Kniffen, Tuba The Avengers

Silvestri

Williams “Sayuri’s Theme” from Memoirs of a Geisha

Austin Huntington, Cello Rimsky-Korsakov “Song of India” from Las Vegas Nights

Blake Schlabach, Trombone Love Theme from Romeo and Juliet Karen Moratz, Flute

Rota

Gardel “Tango” (Por una cabeza) from Scent of a Woman

Sherry Hong, Violin

Yu Jin, Viola Various Composers

Cinematic Symphony Medley † The Coffee Pops is an abbreviated performance.

There is no intermission.

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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 San Francisco Symphony, the New York Pops at Carnegie Hall, and the Seattle Symphony. 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.

Nov. 1–2

Everly is also the Music Director of the IPL Yuletide Celebration, now a 34-year tradition.

He led the ISO in its first Pops recording, Yuletide Celebration, Volume One. 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 has been a proud resident of the Indianapolis community for more than 18 years and would like to thank his colleagues of ISO musicians for their continued commitment to excellence and for filling our community with music all year long.

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Nov. 1–2

Featured ISO Musicians

Jennifer Christen Oboe

Riley Giampaolo Bass Trombone

Sherry Hong Violin

Austin Huntington Cello

Yu Jin Viola

Conrad Jones Trumpet

Anthony Kniffen Tuba

Karen Moratz Flute

Mark Ortwein Saxophone

Philip Palermo Violin

Roger Roe English horn

Blake Schlabach Trombone

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Nov. 1–2

Cinematic Symphony: A Spotlight on ISO Musicians

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series • Program Two Friday, November 1, at 8 p.m.

Saturday, November 2, at 8 p.m.

Hilbert Circle Theatre JACK EVERLY, Conductor Whiting & Mercer Arr. Williams

Hooray for Hollywood

Rota Waltz and Love Theme from The Godfather

Conrad Jones, Trumpet Sondheim

“Comedy Tonight” from A Funny Thing Happened on the Way to the Forum

Williams “Escapades: Reflections” from Catch Me If You Can

Mark Ortwein, Saxophone Morricone Love Theme from Cinema Paradiso

Riley Giampaolo, Bass Trombone Williams

“Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

Morricone “Gabriel’s Oboe” from The Mission

Jennifer Christen, Oboe

Roger Roe, English horn Rozsa Love Theme from Ben Hur

Philip Palermo, Violin Williams Theme from Far and Away

Anthony Kniffen, Tuba INTERMISSION —Twenty Minutes

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Cinematic Symphony: A Spotlight on ISO Musicians

Nov. 1–2

The Avengers

Silvestri

Williams “Sayuri’s Theme” from Memoirs of a Geisha

Austin Huntington, Cello Rimsky-Korsakov “Song of India” from Las Vegas Nights

Blake Schlabach, Trombone Desplat Suite from The Shape of Water

Anthony Kniffen, Whistler Rota Love Theme from Romeo and Juliet

Karen Moratz, Flute Themes from Downton Abbey

Lunn

Gardel “Tango” (Por una cabeza) from Scent of a Woman

Sherry Hong, Violin

Yu Jin, Viola Various Composers

Cinematic Symphony Medley

Premier Sponsor

There will be one 20-minute intermission.

Length of performance is approximately one hour and forty-five minutes.

Recording or photographing any part of this performance is strictly prohibited.

See Maestro Everly’s biography on page 13.

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INDIANAPOLIS

WE

SYMPHONY ORCHESTRA

STUDENTS!

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

Through our $10 student ticket program, nearly 10,000 students of all ages attend ISO concerts each year.

Did you know?

Over 15,000 elementary students come to the Hilbert Circle Theatre each year for the Discovery Concert Series.

ADMIT ONE

TICKET

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.

Thanks to the Next Generation program, over 700 students attend concerts for free each year.

Over 3,000 people attend our Teddy Bear Series, a perfect concert experience for preschool and kindergarten students.

High school musicians from across Indiana perform annually alongside their professional counterparts at our Side-by-Side Concert.

FREE

To book the perfect field trip for your students, contact Perry Accetturo at 317.231.6759 or PAccetturo@IndianapolisSymphony.org

Inspired by Indy’s Waterways In Indy, inspiration runs deep. For Citizens Energy Group, it runs 250 feet deep through the DigIndy Tunnel System. Upon completion, DigIndy will be a 28-mile network of tunnels that will eliminate sewer overflows almost entirely from local waterways.

The DigIndy Art Project is a Citizens partnership with Big Car Collaborative to highlight the major changes taking place under our city. Local artists will bring their art to manhole covers across Downtown, Garfield Park and Broad Ripple with paintings inspired by Indy’s future with cleaner waterways.

Just one more way that Citizens supports the Arts in our community.

DigIndyTunnel.com/Art

#DigIndy @DigIndy 19

Nov. 8–9

Debussy’s La Mer: The Symphonic Waves

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series • Program Five Friday, November 8, at 8 p.m.

Saturday, November 9, at 5:30 p.m.

Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | JEAN-YVES THIBAUDET, Piano

Maurice Ravel | 1875–1937

Concerto in G Major for Piano and Orchestra

Allegramente

Adagio assai Presto

Jean-Yves Thibaudet, Piano

Guillaume Connesson | b. 1970

The Shining One for Piano and Orchestra

Jean-Yves Thibaudet, Piano INTERMISSION—Twenty Minutes

Claude Debussy | 1862–1918

La Mer

De l’aube à midi sur la mer (From Dawn to Noon on the Sea)

Jeux de vagues (Play of the Waves)

Dialogue du vent et de la mer (Dialogue of Wind and the Sea)

Premier Sponsor

Associate Sponsor

The Performance of a Guest Artist is endowed by the Jean D. Weldon Guest Artist Fund

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There will be one 20-minute intermission.

Length of performance is approximately one hour and twenty minutes.

Recording or photographing any part of this performance is strictly prohibited.

Krzysztof Urbański, Conductor

In September 2019 Krzysztof Urbański entered the ninth season of his tenure as Music Director of the Indianapolis Symphony Orchestra.

In 2015 Urbański became Principal Guest Conductor of the NDR Elbphilharmonie Orchestra. In addition to concerts in Hamburg last seasons they toured Japan and Europe.

Alongside performances they released for Alpha Classics ‘wholly excellent renderings’ (Gramophone) of Lutosławski’s works, Dvořák’s Symphony No.9, Stravinsky’s Rite of Spring and Shostakovich’s Symphony No.5. 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.

Nov. 8–9

Krzysztof Urbański has appeared as guest conductor with numerous orchestras around the world, including the Münchner Philharmoniker, Berliner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, London Symphony Orchestra, Philharmonia Orchestra, Tonhalle Orchestra Zürich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre de Paris, Orchestre Philharmonique de Radio France, Chicago Symphony Orchestra, New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic and National Symphony Orchestra Washington, among others.

Urbański served as Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra since 2010 till 2017 and embarked on a concurrent four-season tenure as Principal Guest Conductor of the Tokyo Symphony Orchestra in 2012. In 2017 he was appointed Honorary Guest Conductor of the Trondheim Symfoniorkester & Opera.

In June 2015 Krzysztof Urbański received the prestigious Leonard Bernstein Award at the Schleswig-Holstein Musik Festival. Notably, he is the first conductor to have ever received this award.

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Every step of the way.

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Jean-Yves Thibaudet, Piano For more than three decades, Jean-Yves Thibaudet has performed world-wide, recorded more than 50 albums, and built a reputation as one of today’s finest pianists.

From the start of his career, he delighted in music beyond the standard repertoire, from jazz to opera, which he transcribed himself to play on the piano. His profound professional friendships crisscross the globe and have led to spontaneous and fruitful collaborations in film, fashion, and visual art.

Thibaudet expresses his passion for education and fostering young musical talent as the first-ever Artist-in-Residence at the Colburn School in Los Angeles, where he makes his home. The school has extended the residency for an additional three years and has announced the Jean-Yves Thibaudet Scholarships to provide aid for Music Academy students, whom Thibaudet will select for the meritbased awards, regardless of their instrument choice.

In 2019–20 Thibaudet renews many longstanding musical partnerships. As the St. Louis Symphony’s Artist-in-Residence, he plays a pair of season-opening concerts conducted by long-time friend and collaborator Stéphane Denève. He tours a program of Schumann, Fauré, Debussy, and Enescu with Midori, followed by the complete Beethoven sonatas for piano and violin. Thibaudet gives the world premiere of Aaron Zigman’s Tango Manos concerto for piano and orchestra with the China Philharmonic, and goes on to perform it with the Orchestre Philharmonique de Radio

Nov. 8–9

France and San Francisco Symphony; Zigman composed the score for the 2016 film Wakefield, for which Thibaudet was the soloist. A noted interpreter of French music, Thibaudet performs works by Ravel, Saint-Saëns, Connesson, and Debussy around the world; as one of the premiere interpreters of Messiaen’s Turangalîla-Symphonie, Thibaudet performs the piece in his hometown as Artist-in-Residence of the Orchestre National de Lyon. He also brings along his passion for Gershwin, performing the Concerto for Piano in F Major in Lyon as well as Houston, Los Angeles, Boston, New York, Naples, Tokyo, and at the Bad Kissinger Sommer Festival, where he is Artist-in-Residence.

Thibaudet’s recording catalogue has received two Grammy nominations, the Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, and Gramophone awards. He was the soloist on the Oscar-winning and critically acclaimed film Atonement, as well as Pride and Prejudice, Extremely Loud & Incredibly Close, and Wakefield. His concert wardrobe is designed by Dame Vivienne Westwood. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012.

Thibaudet’s worldwide representation is HarrisonParrott and he records exclusively for Decca Records. More information is online at www.jeanyvesthibaudet.com.

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Thursday, December 19, 7:30PM The Palladium at the Center for the Performing Arts Jacob Joyce, Conductor • Eric Stark, Indianapolis Symphonic Choir Artistic Director • Indianapolis Symphonic Choir Sari Gruber, Soprano • Leah Wool, Mezzo Soprano • Arnold Geis, Tenor • Troy Cook, Bass

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A look into the concertmaster search process

With the start of the 2018–19 season, the Indianapolis Symphony embarked on a search for a new concertmaster. A search committee that comprises Krzysztof Urbański, Jack Everly, and representatives of musicians and staff continues to 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.

Along with the guests invited by the search committee, the ISO held a formal “open call” audition for the position. 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 music making from some of today’s most talented violinists.

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Jessica Linnebach, Guest Concertmaster Violinist Jessica Linnebach has distinguished herself among the next generation of Canadian classical artists being lauded on concert stages nationally and around the world. Since her soloist debut at the age of seven, Linnebach has appeared with major orchestras throughout North America, Europe, and Asia. She has been a member of the National Arts Centre Orchestra since 2003 and was named their Associate Concertmaster in April 2010.

Acknowledging the importance of versatility in today’s world, Linnebach has developed a reputation as one of those rare artists who has successfully built a multi-faceted career that encompasses solo, chamber, and orchestral performances. A passionate chamber musician, Linnebach was a founding member of the Zukerman ChamberPlayers, a string quintet led by Pinchas Zukerman.

During the 8 years they performed together, they toured extensively to international acclaim appearing throughout North America, South America, the Middle East, Europe, and Asia. Their recording of the Mozart Viola Quintet in G minor was nominated for a Juno Award and its fifth release, Quintets by Mozart and Dvořák, is on the Altara Label. Chamber music collaborations have included some of the most illustrious artists of a generation: Emanuel Ax, Yefim Bronfman, James Ehnes,

Nov. 8–9

Leon Fleisher, Lynn Harrell, Yo-Yo Ma, Jon Kimura Parker, Itzhak Perlman, Gil Shaham, and Michael Tree.

In 2014, Linnebach and three of her NACO colleagues formed the Ironwood String Quartet, and they are frequent performers at various chamber music series and festivals, including the WolfGANG and MFASA series, as well as the Pontiac Enchanté, Ritornello, and Classical Unbound festivals.

As her schedule permits, she is also a solo artist in demand across North America.

Over the past couple of years she performed with orchestras in the United States, as well as in Canada, including the Edmonton and Thunder Bay Symphonies, and the National Arts Centre Orchestra.

Linnebach is also the Artistic Director of the ‘Classical Unbound Festival,’ a chamber music festival in Prince Edward County. Accepted to the world-renowned Curtis Institute of Music in Philadelphia at the age of ten, Linnebach remains one of the youngest ever Bachelor of Music graduates in the history of the school.

While there, Linnebach’s primary teachers were Aaron Rosand, Jaime Laredo, and Ida Kavafian. At eighteen, she received her Master of Music degree from the Manhattan School of Music in New York City where she studied with Pinchas Zukerman and Patinka Kopec.

Linnebach plays a circa 1840 Jean-Baptiste Vuillaume (Guarnerius del Gésu 1737) violin.

Her bows are crafted by Ron Forrester and Michael Vann.

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Nov. 8–9

Debussy’s La Mer: The Symphonic Waves

Lilly Classical Series Program Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Concerto in G Major for Piano and Orchestra Maurice Ravel Born: March 7, 1875, Ciboure, France Died: December 28, 1937, Paris, France Years Composed: 1929–1931 Length: c. 22 minutes World Premiere: January 1932, Paris, France Last ISO Performance: May 2012 with conductor Krzysztof Urbański and soloist Simon Trpčeski Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion, harp, strings, and solo piano

At a glance: • The concerto is in three movements and is heavily influenced by jazz.

• Ravel’s two concertos for piano and a song-cycle were his last compositions in any form.

• Igor Stravinsky described Ravel’s attention to detail as “the work of a Swiss watchmaker.”

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In 1927 and 1928 Ravel came for his first and only trip to the United States, touring twenty-five cities in four months. He was greeted as a celebrity and was entertained from coast to coast. One of the most interesting influences for Ravel was his introduction to jazz. He went with Gershwin to hear jazz in the Savoy Ballroom in Harlem and the Cotton Club, and also visited New Orleans. What he heard would be used in future compositions, especially his two piano concerti.

Gershwin and Ravel became fast friends through their mutual fascination with jazz.

They were an odd pair: one “the aristocrat of music” and the other “the man of the streets.”

They met first at Ravel’s fifty-third birthday party in 1928 in New York. Gershwin played “The Man I Love” and part of Rhapsody in Blue and Ravel was mesmerized. According to the hostess, “The thing that astonished Ravel was the facility with which George scaled the most formidable technical difficulties and his genius for weaving complicated rhythms and his great gift of melody.” Gershwin asked for composition lessons from Ravel, but the composer declined, saying, “it would probably cause him to write ‘bad Ravel’ and lose his great gift of melody and spontaneity.”

Ravel declared that the visit to the States was a “crazy trip with enthusiastic audiences, breathtaking scenery, and horrid food.” All in all, Ravel had a wonderful tour, and a couple years later began to contemplate another visit.

For this second trip, he decided to write a piano concerto for himself to play with leading American orchestras. The new concerto began in 1929 and was to be full of bravura, sparkle, and to include jazz inflections. In the Musical Digest of March 1928, Ravel wrote, “Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves.”

Fate intervened. While planning his second trip and the new concerto (his Concerto in G

Lilly Classical Series • Program Notes

Major for Piano), another project deflected the contemplated tour and demanded his attention. His good friend Paul Wittgenstein had lost an arm in the Great War and because of this limitation, he asked Ravel to write a concerto for left hand alone. Ravel began to write both concerti at the same time. Speaking of this experience to his publisher, Ravel said, “It was an interesting experiment to conceive and to realize simultaneously the two concertos.

The first (the G Major), in which I shall figure as executant, is a concerto in the most exact sense of the term, and is written in the spirit of Mozart and Saint-Saëns. I believe that the music of a concerto can be gay and brilliant, and that it need not pretend to depths nor aim at dramatic effects. At the beginning I thought of naming the work a Divertissement; but I reflected that this was not necessary, the title ‘concerto’ explaining the character of the music sufficiently.” Side by side, the two pieces are an astonishing contrast: the G major being light-hearted, frothy, and brilliant; the left-hand concerto being tragic, dignified, and serious.

The sparkling Concerto in G Major did not premiere until January 1932 with Marguerite Long, the dedicatee, as soloist. A growing brain tumor interfered with Ravel’s hand coordination, but he was able to conduct. He died at age 62 of this brain tumor during an operation in Paris.

Public reception The premiere was a success and the critic Emile Vuillermoz summed it up, saying it was “the finest artistic manifestation of the season,” and that “the new concerto is worthy of the other masterpieces that we owe to Ravel. The work is very easy to understand and gives the impression of extreme youth. It is wonderful to see how this master has more freshness of inspiration than the young people of today who flog themselves uselessly in order to try to discover, in laborious comedy or caricature, a humor that is not in their temperament.”

Nov. 8–9

Good humor and speed are essential to Ravel’s mood in the two outer movements of the concerto. Both movements are fun-loving and energetic. Jonathan Kramer once wrote, “The G Major Concerto is a fine instance of Ravel’s delight in the surface of music. He unashamedly embraced superficiality, as he was uneasy with profundity.” Enduring frequent criticism that his music was “superficial” Ravel liked to reply, “How do they know that I am not by nature artificial?” In his biography Bolero, Goss writes, “[This work] has been said to embrace all the essentials of his music: brilliance, clarity, elegance, originality; tenderness and simplicity in the middle part, and, in the last movement, daring vigor and brittle perfection.”

Exploring the music The first movement opens with a colorful bi-tonal passage, which accompanies a rustic sounding, Basque-like theme spun from the piccolo. Soon, a slower second (Spanish-sounding) theme (mp) comes from the piano. These two themes provide most of the material for this movement, although there are three subsidiary themes featuring obvious jazz elements. The trumpet part is also highly virtuosic in this movement. Wood block, syncopated rhythms, and “blue notes” animate and color the presentation. A development section focuses on the opening theme and the jazz material. Then a brief cadenza-style segment precedes the recapitulation. Two more cadenza style passages forecast the traditional one for the soloist: (one for harp and one for woodwinds performing harp-like passages).

The middle movement was difficult for Ravel. The fluidity and ease of the first and third movements did not occur for him. He acknowledged that the theme was hard labor, composing only two bars at a time, taking the slow movement of Mozart’s Clarinet Quintet as a model. The result was a movement of striking contrast not only to those flanking

27

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Nov. 8–9

Debussy’s La Mer: The Symphonic Waves

it, but in the spectrum of Ravel’s work as a whole. Its simplicity, sensitivity, and seriousness are a remarkable glimpse into another side of the composer. The music is remarkably unadorned, showcasing a rather archaic sounding tune, sometimes lapsing into a polyrhythm. The time signature is 3/4 and the accompaniment is in 6/8. There is also a 36-bar single phrase, which is of extraordinary length and challenge to the soloist.

The third movement, Presto, offers a frenzied chase with piano and orchestra in hot pursuit.

An opening drum roll and fanfare opens the movement, in a style reminiscent of Stravinsky’s Petrushka. Structurally the music is a showcase of marches, dances, and folk elements with the piano holding a firm grip on the spotlight. Ravel unleashes jazz syncopations and sophisticated merriment at every turn, never releasing the soloist from disciplined precision, endurance, and accurate control.

The Shining One for Piano and Orchestra Guillaume Connesson Born: May 5, 1970 in BoulogneBillancourt, France Year Composed: 2009 Length: c. 10 minutes World Premiere: March 2009, Glasgow, Scotland Last ISO Performance: This is the ISO’s first performance of this work Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, harp, strings, and solo piano

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At a glance: • The fantasy fiction of Abraham Merritt and his book The Moon Pool served as the catalyst for this concerto.

• Connesson draws influence from composers such as Wagner, Strauss, and Debussy, to the modern inspirations of John Williams and James Brown.

Fantasy novels are a special genre in literature in which magical creatures, surreal events, mythical elements, and supernatural forces are part of the setting or the plot. One of best writers in this field was Abraham Merritt, who published the “lost-world” novel The Moon Pool in 1919. In The Moon Pool, an advanced race lives within the earth’s core. Within this race, the most intelligent create a baby who turns out to be more evil than good, identified as “The Dweller” or “The Shining One.” From time to time The Shining One emerges from the core to capture men and women.

His evilness is perpetuated because it knows nothing of love. Eventually a huge battle between good and evil envelops the entire world, fighting against these creatures from the core, and nothing less than the power of good itself is at stake. In 2002 the novel appeared in The Road to Science Fiction, and it is possible this was the source for Connesson. It was also a source for The Call of Cthulhu by Lovecraft whose works fascinated Connesson and were sources for his major work Les Cités de Lovecraft (2018) performed by the ISO in the Lilly Classical Series Paris Festival.

Collin Anderson has described The Shining One as “a deft nine-minute showpiece composed for Jean-Yves Thibaudet. It is a brilliant confection, as befits the title, and if it’s somewhat overstating the case to term it a concerto, there is a twinkle in the eye on Connesson’s

Lilly Classical Series • Program Notes

part that could make The Shining One a muchplayed and much-loved miniature.” Some have called it a “condensed concerto.” For those who can play it, The Shining One is an audience thriller, hypnotic in its appeal, and with a dramatic future.

Connesson cites his most potent musical influences to be Couperin, Wagner, Richard Strauss, Debussy, Ravel, Messiaen, Dutilleux, and film composers such as Bernard Herrmann and John Williams. You will find all of them in The Shining One. The delicacy of impressionism occurs at the beginning (Debussy) followed by the clarity and balance of Ravel, the bird-like imitations of Messiaen, the massive orchestration of Richard Strauss and Wagner, the crisp, rhythmic style of Couperin, the vast romantic movie-style panoramas of Herrmann and Williams, and the precision and intricacy of Dutilleux. At the same time, this is no pastiche. It is pure, unmistakable Connesson—precise, witty, imaginative, frightening, lush, and original.

So where does Connesson fit into the panoply of contemporary composers? Writer Luke Howard has stated, “His music can shift seamlessly between historical reference, contemporary and avant-garde techniques and the sounds of popular music genres such as disco, techno, and jazz. [He shows] reverence and great affection for both past and present in these wide-ranging musical allusions.”

Connesson is highly promoted and supported by the prominent French conductor Stéphane Denève. In 2017, he said, “I have known Guillaume Connesson since the year 2000. It’s been now seventeen years that I serve his music, and I adore his music because it’s continuing the great tradition of French music. It’s richly orchestrated and very colorful. It also contains a lot of great tunes and a lot of great melodies that I’m singing often by myself, and it’s the music of today. But it has such an accessibility

Nov. 8–9

and an emotional content that I really would like you to discover it. I hope you will like it as much as I do, or even more.”

The Shining One is brilliant from beginning to end. It has continuous vitality, exquisite orchestration, beauty, and a voice all its own.

La Mer Claude Debussy Born: August 22, 1862, Saint-Germainen-Laye, France Died: March 25, 1918, Paris, France Years Composed: 1903–1905 Length: c. 23 minutes World Premiere: October 1905, Paris, France Last ISO Performance: March 2017 with conductor Jun Märkl Instrumentation: 3 flutes, 3 oboes, 2 clarinets, 4 bassoons, 4 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings

At a glance: • When composing La Mer, Debussy mostly drew inspiration from art and childhood memories of the sea.

• La Mer was not well-received initially in 1905. People wanted something bigger and more dramatic, like the wild ocean.

• Today, La Mer is part of the core orchestral repertoire and one of Debussy’s most important orchestral works.

“I loved the sea and have listened to it passionately.” —Debussy 31

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Nov. 8–9

Debussy’s La Mer: The Symphonic Waves

As a child, Debussy was frequently taken to the seashore at Cannes. His father had been a sailor as well as a shopkeeper, and both parents hoped their son would follow in his father’s footsteps. In 1903, he wrote, “You may not know this but I was destined for a sailor’s life.” However, as his life unfolded the composer’s only “ocean voyages” were three passages written when he went to England via the English Channel.

The portrayal of the sea in La Mer was written more from emotional, imaginative responses rather than experience. In fact, it has been said that La Mer was his major seafaring experience. “Instead of seeking to portray storms, waves, and crying birds in an obvious manner, Debussy sought to distill the essence of his seaside memories while composing the piece in landlocked Burgundy and Paris” (Michael Cirigliano II).

On the first printed edition of La Mer, Debussy placed the famous drawing The Great Wave off Kanagawa by Hokusai, emblematic of the japonisme movement that was prominent in France at this time. His print of this painting had hung on the wall of his home for many years, purchased when he was a student in Rome between 1885 and 1887. He also had a lifelong attraction to J.M.W. Turner’s seascapes. But he felt that music would communicate more of the liveliness and drama of the ocean, saying, “Music has this over painting: it can bring together all manner of variations of color and light.”

In a letter to his publisher Jacques Durand, the composer explained, “The sea is always endless and beautiful. It is really the thing in nature which best puts you in your place. The sea has been very good to me. She has shown

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me all her moods. You do not know perhaps that I was intended for the career of a sailor and only the chances of life led me away from it. I have an endless store of memories. Music is a free art, boundless as the elements, the wind, the sky and the sea.”

In 1903, he began work on La Mer, subtitled, “three symphonic sketches for orchestra,” and he completed it in March 1905. After its premiere, French reaction was mixed, sharp, and largely negative. The work seemed “different” from his usual delicacy, nuance, and suggestion. Puccini commented on the textural change saying La Mer was “Debussy’s revolt against Debussyisme.” Others felt more lost in the new experience. “We clung like a drowning man to a few fragments of the tonal wreck, a bit of theme here, a comprehensible figure there, but finally this muted-horn sea overwhelmed us,” wrote Louis Elson in the Boston Daily Advertiser. Parisian critic Louis Schneider, wrote, “The audience seemed rather disappointed: they expected the ocean, something big, something colossal, but they were served instead with some agitated water in a saucer.”

With its thick orchestration (calling for sixteen celli and sometimes dividing the strings into twelve different parts), unusual pentatonic harmonies and extended chords, unique orchestral coloration, and fluctuating rhythms and tonalities, La Mer was indeed a new voice. Although Debussy had written smaller works about the sea and water (such as La Cathédrale engloutie), this was his major orchestral presentation of the sea.

There are three sections, for which Debussy provided evocative titles. The first, “From Dawn to Noon on the Sea,” opens with celli playing a soft, rising motif, slowly announc-

Lilly Classical Series • Program Notes

ing the dawn. Muted trumpet and French horn enter with a small theme that returns in the last movement. Although at rest, the sea seems immensely powerful in the extended lines. Soon, pairs of flutes and clarinets whip up watery splashes, and melodic fragments appear and disappear as the sea becomes more animated. The music and the sea are moving at a quick pace. At noon, brilliant light streaks across the water in a climactic brass chorale as the sun reaches its zenith.

Erik Satie quipped, “I liked the part at quarter to eleven best.”

“Play of the Waves” displays rapid, brilliant figures emanating from all parts of the orchestra in a brilliant, capricious scherzo.

Winds, however are strongly featured, and his writing for them has become a model of spectacular wind-writing (one of the hallmarks of the French school). The waves become vivid in the profusion of a constantly moving flow of brief ideas, thus focusing on voice-leading textures rather than solid architectural constructs. At the close, the sea resumes its mysterious silence.

“Dialogue of the Wind and the Sea” presents a fearsome turbulence, ominously forecast in a fragmented texture by low strings in the opening. As in the first section, the sea is quiet at the beginning, but works itself into seething body: restless, powerful, and massive. Suddenly, Debussy injects a beautiful melody as if “a mermaid were singing” to calm the alarm. Moving into greater orchestral dimensions, the brass theme (now in a chorale style) from the opening reappears, taking on serious proportions, leading to a massive climax. The conclusion expands the drama with full orchestral forces blaring while timpani and bass drum accent the unstoppable power of the shimmering water.

Nov. 8–9

At the premiere, there was an added twist to the musical experience: a sexual scandal was in the air. Debussy unwisely appeared on that occasion with the wife of a Parisian banker, who had not only been the mistress of Fauré, but was also pregnant with Debussy’s daughter (who would be born two weeks later).

Neither had bothered with divorces, and social critics were eager and itching to punish, greeting the pair with hisses and snarls.

In her despair over this situation, Debussy’s wife, Lily, shot herself.

As for the critical opinion, Pierre Lalo, a reviewer for Le Temps, trashed La Mer, commenting, “I neither hear, nor see, nor feel the sea.” However, only two weeks later La Mer was presented in London to an enthusiastic, accepting response. (After a 1908 performance of La Mer, Lalo changed his to be more analytical and embracing.) The initial problem was that audiences initially felt a vagueness, a confusing lack of familiar musical landmarks. Some said it was “bewildering chaos,” a “dissonant jumble,” a “sonic blur,” and one Boston critic titled it Mal de mer (seasickness). Eventually, La Mer triumphed over initial scandals and harsh criticism.

Debussy was consistently strong in the face of the attacks, writing to one critic, “You love and defend traditions that no longer exist for me. The dust of the past is not always to be respected.”

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Nov. 14–16

Brahms’ Thundering Piano Concerto

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series • Program Three

Thursday, November 14, at 11 a.m.

Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | ANNA VINNITSKAYA, Piano

Johannes Brahms | 1833–1897

Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83

Allegro non troppo

Allegro appassionato Andante

Allegretto grazioso

Anna Vinnitskaya, Piano

† The Coffee Concert is an abbreviated performance.

There is no intermission.

The Paul Family Performance of Classical Music is endowed by Dorit, Gerald, Eloise, and Alison Paul

38

Length of performance is approximately one hour.

Recording or photographing any part of this performance is strictly prohibited.

See Maestro Urbański’s biography on page 21.

Anna Vinnitskaya, Piano Whoever witnesses Anna Vinnitskaya in concert is inevitably enthralled by the aura of this artist. Audiences and critics alike celebrate her ability to paint grand canvases, aside from sparking spectacular fireworks. Her technical splendor is not a virtuosic means in itself, but blends with a natural, always colorful sound. Anna Vinnitskaya is a major pianist of our time who tells stories with her music.

Vinnitskaya’s repertoire spans from Johann Sebastian Bach to Sofia Gubaidulina. Her particular emphasis lies on the great Russian piano composers such as Rachmaninov, Prokofiev or Shostakovich, as well as the colorful piano works of Ravel, Debussy and Chopin. In the past years, her readings of Brahms and Bartók have caused a stir.

The first prize at the Concours Reine Elisabeth in Brussels in 2007 marked the beginning of Anna Vinnitskaya’s international career. She is a valued partner of the great orchestras and conductors such as Marek Janowski, Krzysztof Urbański, Kirill Petrenko, Andris Nelsons, Alan Gilbert, or Mirga Gražinytė-Tyla.

Nov. 14–16

In 2019, Anna Vinnitskaya made her spectacular debut with the Sächsische Staatskapelle Dresden. The 2019–20 season sees her debuts with the Berliner Philharmoniker and the Bamberger Symphoniker. As the Artist in Residence at the Philharmonie Dresden she will perform a number of solo, chamber and orchestral concerts. Further, Anna will return to orchestras such as the Indianapolis Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Rundfunk-Sinfonieorchester Berlin, and WDR Sinfonieorchester Köln. She will be on tour across Europe, including orchestral concerts in Trondheim (Norway), Budapest, Lyon, and Aix-en-Provence as well as recitals in Germany, the Netherlands, Belgium, and the United Kingdom.

Anna Vinnitskaya’s recordings have been recognized with numerous awards, such as the Diapason d’Or, the Gramophone Editor’s Choice and the ECHO Klassik. On her latest albums she presents works by Rachmaninov with the NDR Elbphilharmonie Orchester and Krzysztof Urbański, and Bach’s piano concertos with Evgeni Koroliov, Ljupka Hadzi Georgieva, and the Kammerakademie Potsdam (Alpha Classics/Outhere Music).

Anna Vinnitskaya was born in the Russian city of Novorossijsk. She was a student of Sergei Ossipienko in Rostov and Evgenyi Koroliov at the Hamburg conservatoire. Since 2009 she has been a professor there herself—that is, when she is not touring the stages of the wide musical world.

For further information please visit www.annavinnitskaya.com.

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Nov. 14–16

Brahms’ Thundering Piano Concerto

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series • Program Six Friday, November 15, at 8 p.m.

Saturday, November 16, at 5:30 p.m.

Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | ANNA VINNITSKAYA, Piano

Johannes Brahms | 1833–1897

Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83

Allegro non troppo

Allegro appassionato Andante

Allegretto grazioso

Anna Vinnitskaya, Piano INTERMISSION—Twenty Minutes

Mieczyslaw Weinberg | 1919–1996

Symphony No. 3, Op. 45

Allegro Allegro giocoso Adagio Allegro vivace

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40

There will be one 20-minute intermission.

Length of performance is approximately one hour and forty-five minutes.

Recording or photographing any part of this performance is strictly prohibited.

See Maestro Urbański’s biography on page 21.

T

he ISO honors the 250th anniversary of Beethoven’s birth with a year-long celebration, conducted by Music Director Krzysztof Urbański. To recognize Beethoven’s legacy, the ISO commissioned nine composers to write new pieces to be paired with each of the Beethoven symphonies.

The celebration begins in January, continues through the end of the 2019–20 season, and concludes in the fall of 2020.

Beethoven’s First & Second Symphonies Friday, January 10, 8PM Saturday, January 11, 5:30PM Krzysztof Urbański, Conductor BEETHOVEN Symphony No. 1 BEETHOVEN Symphony No. 2 Commissions by Nathaniel Stookey & Hannah Lash

Beethoven’s Third Symphony & Triple Concerto Friday, January 17, 8PM Saturday, January 18, 5:30PM Krzysztof Urbański, Conductor • Benjamin Schmid, Violin Austin Huntington, ISO Principal Cello • Dejan Lazić, Piano BEETHOVEN Triple Concerto Commission by Dejan Lazić

BEETHOVEN Symphony No. 3

Beethoven’s Fourth & Fifth Symphonies Friday, January 24, 8PM Saturday, January 25, 5:30PM Krzysztof Urbański, Conductor BEETHOVEN Symphony No. 4 BEETHOVEN Symphony No. 5 Commissions by Huw Watkins & Katherine Balch

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Nov. 14–16

David Lakirovich, Guest Concertmaster

David Lakirovich was born in Brisbane, Australia, and started his violin studies at age three with his father, Jacob. He has performed across Australia, USA, Canada, Israel, and Europe, including solo performances in Carnegie Hall and Bronfman Auditorium in Tel Aviv, along with performances with the Calgary Philharmonic, Scarborough Symphony, York Symphony, and Chicago College of Performing Arts Symphony Orchestra. He has also performed in Stradivari Society concerts and on Chicago WFMT 98.7 Classical Radio.

He has collaborated and performed with ensembles that include the Pacifica Quartet,

WE

STUDEN TS

Cavani Quartet, and the Vermeer Quartet, and has performed in the Jupiter Chamber Players in New York and the North Shore Chamber Music Festival in Chicago.

Lakirovich completed his undergraduate degree at the Chicago College of Performing Arts in 2013 with Shmuel Ashkenasi and Vadim Gluzman, and his master’s at the Cleveland Institute of Music in 2015 with William Preucil. He previously served as the Assistant Concertmaster of the ProMusica Chamber Orchestra in Columbus, Ohio, as well as the Calgary Philharmonic Orchestra.

He was also invited to perform as guest Associate Concertmaster with the Jalisco Philharmonic during the entire summer of 2015 in Guadalajara, Mexico.

Lakirovich joined the Vancouver Symphony Orchestra as the new Assistant Concertmaster at the beginning of the 2018–19 season.

Thanks to a generous gift by an anonymous donor in Boston, David plays on a 1923 Stefano Scarampella violin.

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Nov. 14–16

Brahms’ Thundering Piano Concerto

Lilly Classical Series Program Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair

Concerto No. 2 in B-flat Major for Piano and Orchestra, Op. 83 Johannes Brahms Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria Years Composed: 1878–1881 Length: c. 52 minutes World Premiere: November 1881, Budapest, Hungary Last ISO Performance: November 2015 with conductor Krzysztof Urbański with soloist Dejan Lazić Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and solo piano

At a glance: • This piano concerto came 22 years after Brahms wrote his first piano concerto.

• The premiere was an immediate success and Brahms went on to perform it across Europe.

• This concerto has been called the most “symphonic” of all concertos because of its unusual four-movement structure.

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“My second one will sound very different.”

—Brahms

After the premiere of his First Piano Concerto, which Brahms called “a brilliant and decisive flop,” he waited twenty-two years before attempting another. Problems with the First made him understandably secretive, both about a Second Piano Concerto’s beginning, and its nature. He intentionally and misleadingly called it a “tiny, tiny little piano concerto with a tiny, tiny wisp of a scherzo” when writing to his friend Elisabeth von Herzogenberg.

Writing to his friend Dr. Theodore Billroth, he continued the initial tease by saying, “I am sending you some little piano pieces.” In truth, Opus 83 required three years for gestation and completion. It is a huge work, expansive in its scope, orchestration, content, and it demands massive technique.

After an opening triumph, Brahms took his conductor friend Hans von Bülow and the concerto on an extensive tour of Germany with the Meiningen Orchestra where it was received not only with great acclaim, but also with similar persistent questions: Why was there a fourth movement? Why were the piano and the orchestra treated equally? And, more frequently, why was the orchestra so dominant?

Such questions were pertinent and valid.

Brahms’ new concerto had different textures, behavior, emphases, and direction. It was indeed different from his other concerto and from the other piano concerti of its time. It was not “little” as the composer had coyly teased his friends. In fact, history has deemed his Second Piano Concerto to be “the most symphonic of all concertos.” Brahms’ biographer Walter Niemann noted certain special features, identifying “the equal footing maintained by the soloist and the orchestra; and the approximation of the concerto to a symphony in intellectual content.” Eduard Hanslick continued the analogy, describing the work as “a symphony with piano obbligato.”

Lilly Classical Series • Program Notes Brahms dedicated Opus 83 to his childhood music teacher, Eduard Marxsen. Although he once said that he “had learned nothing from Marxsen,” later in life he felt differently. At first Brahms had studied with Marxsen’s student Otto Cossel, but after moving on to Marxsen himself, the lessons focused not so much on the piano but on the principles of composition. It was a portentous decision.

Brahms life spanned the great era of German romanticism. He was born into and surrounded by that spectacular time when musical taste embraced ideals of virtuosity, glamor, enormity, personalization, and richness. He stood apart from indulgences. He never succumbed to nostalgia, to showing off, or to uncontrolled exuberance, and instead maintained in his music the values of classical form, baroque counterpoint, and order while speaking within the romantic context. As you will hear in this concerto, emotion was not downplayed or excised: it was mastered.

Opus 83 premiered in Budapest, November 9, 1881, in the Redoutensaal with Brahms as soloist. The audience liked the piece at that time, but success did not last; it took time for the concerto to assume its place as one of the greatest piano concerti in the repertoire.

The Second Piano Concerto begins with a gentle eight-note invitation played by solo horn, which is followed by a gigantic piano cadenza, starting in the lower register.

Three themes emerge in the exposition. The first is strong and assertive, building on the horn idea; the second, in D minor, is lighter, emanating from violins and violas; the third emerges from winds and strings in staccato articulation. When the soloist takes a turn at the ideas, all are inflated and invigorated with deep passion, a new drama. Brahms knits a tightly complex development that works out the potential in these ideas and also references the horn gesture. Michael Steinberg has noted that, “No small part of the drama resides in

Nov. 14–16

the immensely demanding piano writing with its huge leaps, stretches, and what D. F. Tovey calls ‘cataracts of trills.’” All themes inhabit the recapitulation, but are altered. A huge coda, featuring glittering octave trills from the piano in combination with the horn, closes the first movement.

The “tiny, tiny wisp of a scherzo” that Brahms had promised is marked allegro appassionato. The composer explained the addition of this second movement “because the first and third movements were so harmless” (Janet E. Bedell). He also stated to Dr. Billroth that, “the work required something strongly passionate before the equally simple andante.” The piano opens the inferno with a boiling theme. A second theme comes from the strings with the piano providing swirling decorative commentary. But the overall turbulence resumes in full force before yielding to a syncopated trio, momentarily reducing the heat. The concluding section reviews the opening ideas and finishes with an assertive coda.

A solo cello sings a tender, slowly moving eight-measure melody marked andante to open the third movement. The nocturnal sweetness offers a serene contrast to the previous movement. As this idea is passed from celli to violins it expands dynamically, is decorated, and then subsides with wind commentary. The pianist then enters gently singing alone over string accompaniment, moving into its solo presentation. It is joined in an impassioned display with the orchestra, now moving into more grandiose proportions, with piano at the forefront. The drama subsides into solemn memories of the theme; eventually the soloist trills into high registers, decorating the strings’ melodic statements, until the music fades into silence. The composer later used this theme in his song “Immer leiser wird mein Schlummer.”

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Nov. 14–16

Brahms’ Thundering Piano Concerto

The fourth movement, allegretto grazioso has a hybrid rondo/sonata-allegro structure. A jaunty theme, introduced by the soloist, generates the life force and cohesive logic of the movement. Subsequent themes follow one another in profusion, coloring the ideas with echoes of Hungarian styles, tunes, and rhythms. Brahms offers a feast of pianistic virtuosity with wonderful collaboration and alternation between soloist and orchestra. Energy never flags; tempi are fast; dynamics are bold and dramatic. A splendid accelerando, led by the piano, leads to an exultant conclusion.

Symphony No. 3, Op. 45 Mieczysław Weinberg Born: December 8, 1919, Warsaw, Poland Died: February 26, 1996, Moscow, Russia Years Composed: 1949–1950 Length: c. 30 minutes World Premiere: March 1960, Moscow, Russia Last ISO Performance: This is the ISO’s first performance of this work Instrumentation: 3 flutes, 3 oboes, 4 clarinets, 3 bassoons, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, and strings At a glance: • Weinberg’s Symphony No. 3 was written at a time when the Soviet “antiformalism” campaign was in full swing, which commanded composers to create music “for the people.”

• Weinberg cancelled the Moscow premiere and took ten more years to revise the symphony.

•Weinberg wrote more than 20 symphonies, 17 string quartets, numerous sonatas, as well as operas and film scores.

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Mieczysław Weinberg had a turbulent musical career that vacillated between peaks of acclaim and absolute neglect. Because of this consistent vacillation, he lost traction in the twentieth century, sank into obscurity, and only when he had the support of musicians and composers such as Oistrakh, Gilels, Shostakovich, Rostropovich, and the Borodin Quartet was he able to enter what he called his “starry years.”

The fact remains that he was often simply ignored by prominent conductors. In 1996 Martin Anderson wrote, “Weinberg spent his last days confined to bed by ill health, often in considerable pain and afflicted by a deep depression occasioned by the wholesale neglect of his music—an unworthy end to a career the importance of which has yet to be recognized.”

Fortunately, recognition today is in full swing.

In the twenty-first century, he has been reassessed as a powerful, innovative, and talented composer. In 2004, Steven Schwartz on Classical Net Review went so far as to say he was “the third great Soviet composer along with Prokofiev and Shostakovich.” Most of this neglect stemmed not from harsh judgments vis-à-vis his music, but from his own character and world events. He was very modest, never actively searched for a publisher, wanted no self-publicity, and would not engage in pedagogical posts or administrative capacities in conservatories. He was reclusive, yet, energetic and productive, completing 26 symphonies (if one includes the four chamber symphonies), 17 string quartets, 8 violin sonatas, 24 preludes for cello, 6 cello sonatas, 65 film and animation scores, 7 operas, and many assorted pieces for different instruments.

Throughout his oeuvre, the music is distinguished by extended melodic lines, dashes of romantic emotionalism, use of extreme registers, disciplined shaping, and clarity. “His music breathes a beauty and warmth that is seldom found among contemporary classical works. Surely then, Weinberg is a composer of contrasts, a master, like his friend Shostakov-

Lilly Classical Series • Program Notes ich, of expressing the lighter and darker sides of life in a single, unified whole. Harmonically and rhythmically complex, the music often mixes tender, plaintive lyricism and Jewish themes with stark, contrasting dissonances, to create a balance between tradition and modernity” (music-weinberg.net/music.html).

All of this productivity was interrupted by world events. He fled from the Nazis twice and his family suffered greatly during the Holocaust in Poland. He finally went to Russia just when antisemitism was raging under the Zhdanov Doctrine. The timing could not have been worse. There he was attacked for formalism and cosmopolitanism: code words for government-sponsored Jewish persecution.

For a while he was mostly ignored by Russian composers, earning money by writing for the theater and the circus. The government, for a while, did not ban his works: he just did not seem to be important enough. However, obscurity did not suffice to protect him.

In 1953 Weinberg was arrested for “Jewish bourgeois nationalism,” accused of trying to set up a Jewish state in Crimea. Oddly he stated that “It wasn’t a sword of Damocles, because they hardly locked up any composers—well, except me—and they didn’t shoot any either. I really can’t claim, as other composers do, that I have been persecuted?” This consistent attitude, which he held throughout his life, seemed incomprehensible. He clarified his point of view saying “God is everywhere. If God is everywhere then there is still something to say.”

One feature that is prominent above others in many of Weinberg’s works is a certain religious yearning, a soulfulness that makes some works (especially those for solo stringed instruments) resemble the intonation of a prayer, yet one which is approachable to everyone, regardless of background or personal beliefs.

Themes and ideas dwelling on subjects such as suffering, love and faith are not uncommon,

Nov. 14–16

but there is also a characteristic, affirmative joy in life. Ideas centered on suffering feature prominently in so many works, no doubt due to the circumstances of the composer’s difficult life and the hardships he had to endure. In this sense, there is a tremendous edifying quality to the music, combined with a trust and hope in something perennial and eminently human, capable of rising above all unfavorable conditions. It is in this way that Weinberg’s music carries something resonantly Divine.

Exploring the piece Weinberg worked on writing his Third Symphony between March 1949 and June 1950 and revised it in 1959. The Moscow premiere was delayed because Weinberg felt there were some errors he wanted to correct. He deleted various parts, moved the Scherzo into second place, and included more folk elements. His first version had failed to impress Russian authorities and this was a wise and alert decision on the composer’s part. Shostakovich had been officially denunciated by the regime only one year before. The official premiere did not occur for ten more years on March 23, 1960, in the Great Hall of the Moscow Conservatory conducted by Alexander Gauk. One of the early reviews stated that it boasts ease of melodic creation and rhythmic fluidity.

You will notice a generous use of folk tunes from various regions in the entire work: evidence of Weinberg’s obedience to Soviet authorities and their anti-formalist purges. At the same time, it should be noted that quotes of folk material in Russian music were a notable part of the heritage.

The first movement opens in a jolly, easy access, optimistic setting. The opening first theme emerges immediately over bubbling, bustling accompaniment. An appealing Belarusian folksong sung by cellos is presented as a second theme. A slower-paced section soon relieves the hyperactivity of the opening in a

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Lilly Classical Series • Program Notes pastoral style setting. The music is driven into a riveting tense setting goaded on by trumpets and roughly accented accompaniment from strings. Happiness is not continual: it has been torn out of the fabric. A huge violent section roars into the forefront with blasting timpani: subsides into a tiny segment with a lonely wind solo sung over pizzicato strings. Genial strings join in the placidity and the mood is winsome: momentarily. Weinberg moves unexpectedly into a mysterious, bleak world at the close with violins in their highest register playing softly. Two orchestral chords mark the ending.

His second movement, Allegro giocoso, seems to be a logical continuum of the brisk mood in the first movement. It opens in a playful attitude, moving rapidly with pizzicato strokes and a bit of strumming from the celli.

The music dashes in a helter-skelter fashion, endlessly energetic prodded on by an insistent beat which is unstoppable. An Andante mid-section offers a Polish folk tune, in mazurka style concluding with a quiet, plucked string ending. The third movement, Adagio, begins seriously in a soothing, gentle manner, which one reviewer likened to a Scandinavian

suite for strings. Dynamics are steadily held at mid-range, the melodies extend long, lyrical lines that breathe effortlessly. The music slowly gains intensity and anguish (still holding to the determined pace) and increasing dynamics with strings singing stridently above orchestral support. Suddenly, Weinberg releases the dynamic tension, thins the orchestration with assorted solos given to the winds, and moves solemnly toward a shimmering suave closure.

The fourth movement moves stridently to the forefront with an immediate heroic style fanfare and determined martial tune delivered by the violins. Such dramatic zest would surely have pleased the authorities (some have said this is deeply reflective of Shostakovich’s style). Winds calm the turbulence, and again, Weinberg thins the texture to a clarifying single prism. A zany waltz emerges before a sudden interruption by ferocious brass with thunderous timpani and screaming winds. As is his fingerprint, Weinberg drops to a quiet solo segment that shifts back into the martial material for a distinctive closing.

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Bank of America Film Series

Casablanca

Film with Live Orchestra Friday, February 14, 8PM Saturday, February 15, 8PM Hilbert Circle Theatre Jack Everly, Conductor Just in time for Valentine's Day, the ISO invites you to experience the classic romantic film Casablanca. The orchestra performs Max Steiner's glorious score live to the film, enhancing every beat of the movie's noble heart with luscious sound. Humphrey Bogart and Ingrid Bergman head the cast of the film that won three Oscars, including Best Picture.

Title Sponsor: © 2019 Bank of America Corporation, Member FDIC | AR63R55C

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Printing Partners Pops Series

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with the ISO

Symphonie fantastique

Film with Live Orchestra

Friday, February 7, 8PM Saturday, February 8, 5:30PM

Friday, February 14, 8PM Saturday, February 15, 8PM

Marc Albrecht, Conductor • Julia Bullock, Soprano

Jack Everly, Conductor

Leslie Odom, Jr. Friday, January 31, 8PM Saturday, February 1, 8PM Jack Everly, Conductor • Leslie Odom, Jr., Vocalist

Berlioz’s

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RAVEL Le Tombeau de Couperin BRITTEN Les Illuminations BERLIOZ Symphonie fantastique

All performances are held at the Hilbert Circle Theatre

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BUY NOW AT 317.639.4300 • INDIANAPOLISSYMPHONY.ORG Title Sponsors:

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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 September 20–21, 2019 The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias October 10–12, 2019 The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund October 18–19, 2019 The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune October 24–26, 2019 The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund November 8–9, 2019 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 14–16, 2019 IPL Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias November 30, 2019—Opening Night IPL Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 23, 2019—Closing Night The Performance of New Music Endowed by LDI, Ltd. Janaury 10–11, 2020 The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 17–18, 2020 The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund January 24–25, 2020 The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously February 7–8, 2020

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The Performance of a Young Professional Artist Endowed by Roche Diagnostics March 19–21, 2020 The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund April 16–18, 2020 Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. May 30–31, 2020 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 June 5–6, 2020 The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling

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

Endowment The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett 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

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

First Monday Music Club Endowed anonymously

The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra. October 1984

The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund

Stage Terrace Seating Endowed anonymously

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

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 Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984

The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré

The Grand Lobby Endowed by Marianne Williams Tobias

The ISO Association Office Endowed by Peggy & Byron Myers

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

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Annual Fund The Indianapolis Symphony Orchestra depends on contributed income for about 30 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 31, 2019. 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 Sarah & John Lechleiter Yvonne H. Shaheen Susanne & Jack Sogard Marianne Williams Tobias Anonymous Anonymous Fund of Central Indiana Community Foundation The Christel DeHaan Family Foundation Efroymson Family Fund Indianapolis Power & Light Company Indianapolis Symphony Orchestra Association The Kroger Co. Lilly Endowment, Inc. Shaheen Family Foundation

Founders’ Society, Music Director ($50,000+) Anonymous Dawn M. Bennett Phil & Colleen Kenney Kay F. Koch Dr. Kenneth & Mrs. Debra Renkens Anonymous Arts Council of Indianapolis and the City of Indianapolis Bank of America BMO Harris Bank Huntington Bank Printing Partners

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Founders’ Society, Concertmaster ($20,000-$49,999) Anonymous Mr. & Mrs. Michael Becher Christina Bodurow Charles & Joyce Boxman Rollin & Cheri Dick Erin & Scott Dorsey Craig & Mary Fenneman Carlyn Johnson Dr. Ned & Martha Lamkin Dr. Gordon & Carole Mallett Jackie Nytes & Michael O’Brien Robert & Alice Schloss Mr. & Mrs. Richard Skiles Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Kathy & Ralph Wilhelm Roberta & Bill Witchger Barnes & Thornburg LLP Budweiser Zink Distributing Co, LLC Care Institute Group, Inc. The Clowes Fund Community Health Network Dorsey Foundation Duke Energy Fenneman Family Foundation Fifth Third Bank Indiana Arts Commission Indiana Members Credit Union Indianapolis Colts

JPMorgan Chase League of American Orchestras, with support from The Andrew W. Mellon Foundation & The Paul M. Angell Family Foundation Macy’s The Martin D. & Mary J. Walker Charitable Foundation Nicholas H. Noyes Jr. Memorial Foundation Pacers Foundation R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics salesforce Tobias Family Foundation

Founders’ Society, First Chair ($10,000-$19,999) Anonymous 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 Don & Carolyn Hardman Gregory Henneke & Martha O’Connor Emily & Peter Howard Ms. Harriet Ivey & Dr. Richard Brashear Bob & Rhonda Kaspar Peg Kimberlin

Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff James E. & Patricia J. LaCrosse Drs. W.H. & K.T. Landschulz Ms. Karen Mangia Mr. & Mrs. Bruce McCaw Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris John & Carolyn Mutz Jack & Katie Patterson Mrs. F. Bruce Peck, Jr. Mel & Joan Perelman Donald & Karen Perez Walt & Mary Prouty Scott & Susan Putney Mary Frances Rubly & Jerry Hummer Phyllis & Gary Schahet Christopher A. Slapak & Michael J. Robertson Maribeth & Al Smith Ann M. Stack Sara & Michael Zeckel Mary Ann & Gene Zink Jennifer & Michael Zinn Anonymous Fund of Central Indiana Community Foundation Anthem Blue Cross and Blue Shield Arthur Jordan Foundation The Brenner Family Foundation, a fund of Legacy Fund Community Hospital East Corteva Agriscience E&J Gallo Winery Elba L. & Gene Portteus Branigin Foundation Inc.

Annual Fund The Glick Family Foundation Honda IU Health Mallor Grodner LLP Navient OneAmerica Financial Partners, Inc. Telamon Corporation Tom Roush Vectren Corporation Young Presidents Organization

Founders’ Society ($5,000-$9,999) Anonymous (7) Mr. & Mrs. Jeffrey M. Adams Bob & Pat Anker Trudy W. Banta Ms. Sarah Barney Suzanne B. Blakeman Maestro Raymond Leppard & Dr. John C. Bloom Terry & Robert L Bowen Mr. & Mrs. John Bratt Donald & Barbara Broadlick Mr. & Mrs. Walter P. Bruen, Jr. Mike & Pat Byers Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom Ms. Jane Conley Dexter & Rosemary Cooley The Cromer-Ziegler Family David & Consuelo Davis Dr. & Mrs. Thomas Elam Dr. & Mrs. Richard W. Garrett Larry C. & Lee A. Glasscock Charles & Susan Golden Mr. & Mrs. Thomas W. Grein John & Chichi Guy Robert E. Hallam Steve L. Hamilton & Keith O. Norwalk P. Kent Hawryluk Tom & Nora Hiatt Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt

Nelson & Liz Huldin Dr. Ann H. Hunt Larry & Annette Hutchison Dr. & Mrs. Raymond V. Ingham James M. Johnson & Jennifer B. Katz Michael & Peggy Kelley Ned & Wendy Kirby Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Nancy Lilly Dr. Richard E. Lindseth Karen Ann Lloyd Gregory & Alexandra Loewen Emily & Joe Mahurin Malcolm & Joyce Mallette Mr. & Mrs. Morris Maurer Boris E. Meditch David & Andrea Miller & Family Jim Miller Milton & Margaret Miller Ellie, Weber & Emaline Morse Dr. Daniel H. Mowrey Elizabeth & William Murphy Carl Nelson & Loui Lord Nelson Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Eloise Paul & Bill Lee David & Cindy Petratis Jennifer Pressley Jerry Roush Steve & Margaret Russell Mrs. Jane Salin Klaus & Joel Schmiegel Drs. Lei Shen & Soomin Park Chad Slaughter Joanne & Gerald Solomon Sandra & Larry Speers Dr. Pamela A. Steed & Dr. Peter Furno Sydney L. Steele Pete & Lena Ward Mr. & Mrs. Daniel O. Weisman Diane K. Werth & Allan S. Manalan David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters

Dr. Christian Wolf and Elaine Holden-Wolf Diana & Dan Yates Barrie & Margaret Zimmerman John & Linda Zimmermann Jim & Rita Zink Buckingham Foundation Inc. Deloitte First Merchants Bank The Frenzel Family Charitable Lead Trust Haddad Foundation Heritage Group Hoover Family Foundation Indiana American Water Co., Inc. James O. & Alice F. Cole Foundation Jones Lang Lasalle (JLL) MacAllister Machinery Company, Inc. Market District The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Merrill Lynch The Morgan Family Foundation Senior Home Companions Murphy Family Charitable Trust The National Bank of Indianapolis NextGear Capital The Paul F & Martha L Benedict Donor Advised Pass-Through Fund of CICF PNC Regions Bank The Rock Island Refining Foundation Ruth Lilly Philanthropic Foundation Salesforce.org Taft Stettinius & Hollister LLP University of Indianapolis Witham Health Services

Conductor’s Circle ($2,500-$4,999) Anonymous (2) Dr. Albert Allen & Ms. Kathryn Maeglin

Mr. & Mrs. Michael J. Alley Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Shep & Pat Beyland Dr. & Mrs. John T. Callaghan Mr. & Mrs. John Campbell Elizabeth A. Chamberlin Mr. & Mrs. Albert Chen Nancy Christy James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline Steve & Mary DeVoe Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Andrew & Irene Engel Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Mr. Otto N. Frenzel IV Julia & Doug Gard Mr. Jerome Gassen & Ms. Nicole Weaver Mrs. Marilyn Goeke Mr. & Mrs. Alexander Goloschokin Jim & Roberta Graham Christian & June Gries Ms. Julie Griffith James & Paula Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. Sharon Hoog Dr. Louis N Jungheim & Dr. Thalia I. Nicas Mr & Mrs. David Kelly Charles & Rebecca Kendall Mr. & Mrs. Michael J. Kenniff Larry & Rose Kleiman Don & Jen Knebel Col. A. D. Kneessy Dr. Elisabeth Krug & Roland Schaffer Terrence & Jodi Kunstek Jonathan & Lisa LeCrone Andrew & Lynn Lewis Mr. & Mrs. Allan Litz

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Annual Fund Dr. & Mrs. Carlos Lopez Mr. & Mrs. David Malson Mary & Charles Matsumoto Dr. & Mrs. Ronald T. Maus Doris & John McCollough Ann & John McGrath Flip & Cindy Miller David Murphy Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane Paine Dorit & Gerald Paul Barbara Poulsen Christine & Ken Price David and Arden Pletzer Myrta J. Pulliam Dr. & Mrs. George F. Rapp Mr. Alan & Mrs. Deborah Rasper Deborah Rawlings Kamya & Bernard Reed Mr. & Mrs. Randall Riggs Mrs. Catherine Ross Nancy Ray Ross Dr. & Mrs. Randall G. Rowland Fred & Bev Ruebeck Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. & Mrs. John F. Schaefer James & Mary Beth Schafer Jane & Fred Schlegel Eric Siemers & Peggy Edwards Dick & Susan Simon Donald L. & Deborah Farmer Smith Mr. & Mrs. Jeff Smithburn Mary E. Solada Tom & Dee Spencer Drs. Randall & Bonnie Strate James Sweeney Mrs. David Thiel Jeffrey & Benita Thomasson Jerry & Linda Toomer Dr. James & Linda Trippi Kenneth L. Turchi Don & Coleen Walker Jane & Hugh Watson Emily A. West Dr. & Mrs. William J. Wheeler James P. White Bob & Marnie Wilken

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Terence & Margaret Yen Bingham Greenbaum Doll LLP Crowe LLP Franklin Symphonic Council, Inc. Ice Miller The Indianapolis Recorder The Indy Star Indy Podiatry ISO Association North Group Northview Church David and Arden Pletzer Endow. Fund, a fund of The Hamilton County Community Foundation St. Richard’s Episcopal School The Toomer Family Foundation

President’s Club ($1,500-$2,499) Anonymous (3) Dr. & Mrs. Wayne Ambrous Dan & Kate Appel Laura Walker & Vernon Black Nicholas Barbaro & Sue Ellen Scheppke Mark K. Bear Mr. & Mrs. Jay Bishop Kirk & Sharon Boller— Bottom-Line Performance Inc Mark Bowell & Kris Bowen Gordon & Celia Bruder Lorene M. Burkhart Dr. David & Judith Chadwick Casey Chell & Daniel Duarte Mr. & Mrs. Randall Christie Jay Barbus & Catherine Clements Mr. & Mrs. John M. Connor Chris W. & Lesley J. Conrad Gordon & Harriet Coppoc Bill & Angela Corley Pamela G. Corn Dave & Christie Crockett Kristin Cutler & Sarah Harrell

Mr. Douglas Davies Mr. & Mrs. Gregory C. Davis Tom & Pat DeCoster Dennis K. Dickos, M.D. Dr. & Mrs. Christopher Eddy Ms. Carol J. Feeney Linda Felton Dean & Beth Flaris Mr. & Mrs. Michael Fleetwood Mark and Dianne Foglesong Dick & Brenda Freije Dr. Lawrence I. Goldblatt & Mrs. Cassandra Goldstein Mr. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Joe & Kathy Grahn Mr. & Mrs. Robert Gregory Dr. Kathleen Hacker & Jerry Hacker Michael & Judy Harrington Jeffrey Harrison Mr. Jerome T. Henning Mr. & Mrs. Gerald V. Hinchman Ms. Ginny Hodowal & Mr. J. Douglas Madeley Howard & Mary Anne Hoffman Bill & Nancy Hunt Mr. Gerald R. Jenn Wayne & Deborah Johnson Dana & Marc Katz Donn & Dot Kaupke Richard & Susan Kent Kimra Kidd & Thomas Buehner Mr. Robert & Dr. Gwen Krivi Matt Landman Joe & Deborah Loughrey Ralph & Nancy Lundgren Alex & Bridget MacAllister Michael & Jill Margetts Jon D. Marhenke, M.D. Benton & Sandi Marks Dr. & Mrs. Douglas R. Maxwell Dr. & Mrs. Thomas McKaig Mr. Allen & Mrs. Deborah Miller

Mr. & Mrs. Robert E. Miller Jim & Jackie Morris Peggy & Byron Myers Mr. & Mrs. Daniel Mytelka Bob & Dale Nagy Mr. & Mrs. Guido Neels David & Diane Nesbitt Jean S. Patton Allen H. Pekar Marian Pettengill Bob & Kathi Postlethwait Larry & Nancy Pugh Roger & Anna Radue Jean Richcreek N. Clay & Amy McCorkey Robbins Mr. & Mrs. Byron Robinson Mr. & Mrs. John & Vicky Ruhl Roger & Barbara Schmenner Ms. Silvana Schuster R. Brentson Smith Steven A. Spaulding & Jennifer C. Hendrian Judy A. Springmire Rita & Larry Steinberg Betty H. Stevens T.S. Sun Richard & Lois Surber Mrs. Bonnie H. Swaim Mr. John Tan Sidney Taurel Stephen L. Tracy Joe & Diane Vande Bosche Paul & Gretchen Watson Courtenay & Emily Weldon Mrs. Mary Whalin Forrest Williamson Dr. Jay Wish & Susie Stark Mr. & Mrs. Leslie R. Zimmerman The Ackerman Foundation The Amphion Foundation Batt Family Foundation BKD Conrad Indianapolis CTI Construction LLC The Thomas & Arlene Grande Fund, a fund of Hamilton County Community Foundation Indiana Farm Bureau Insurance The Jenn Foundation

Annual Fund Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation The Penrod Society Pointer Management Ruth’s Chris Steak House Youth Professionals of Central Indiana

Symphony Club ($1,000-$1,499) Anonymous (6) J. Dara & Sherry Amlung The Amy Family Mr. & Mrs. James Babb Gerry & Carol Bailey Mr. Konrad Banaszak Mr. Walter H. Bartz Dr. Pantila Vanichakarn & Dr. Daniel Bateman Mr. Robert L. Bly Mr. & Mrs. Jesse L. Bobbitt Erv & Priscilla Boschmann Ms. Marsha Bragg Douglas & Angela Braly Ms. Laura Bramble The Bravata Family George, Mary Clare, Josh & Brian Broadbent Alice Brown & Randy Trowbridge Pam & Jack Burks Kenneth & Patricia Burow Connor Caudill Mr. & Mrs. Douglas Church Dr. & Mrs. John J. Coleman III Mr. & Mrs. Tom Cooper Mr. & Mrs. James M. Cornelius Mr. & Mrs. Larry Cranfill Patrick & Jennifer Cross Rebecca & Larry Davis Mr. Douglas B. Day Frank & Noreen Deane Mr. Ned Derhammer Ann Dettwiler Richard & Helen Dickinson Col. & Mrs. Frank Dillard Mr. & Mrs. Erold R. Diller Daniel & Virginia Dolezal Patty Donnelly & Robert Pozzebon Ms. Joyce Dwulet Constance C. Earle Tom & Judy Eggers

Dr. & Mrs. William J. Ehlhardt Julia & W. Adam Ehret Mr. & Mrs. Theodore Engel John N. & Julia Luros Failey Mr. Edgar E. Fehnel Dr. & Mrs. Harvey Feigenbaum Gracia & Jim Floyd David & Ann Frick Mr. & Mrs. James F. Gallagher Dennis & Leslie Gardner Mr. & Mrs. Jerry Gershman Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Rikki K. Goldstein Charles & Lori Grandy Mr. & Mrs. Berl J. Grant Lauretta Gray Thomas & Nancy Grembowicz Mr. C. Perry Griffith John & Mary Ann Grogan Sandy & Dave Haist Dr. Shelly & Mr. Steve Harkness Mr. & Mrs. Bert M. Harris Ms. Lisa Heid Mr. & Mrs. Eugene E. Henn Mrs. Sue Hirschman Samuel & Adrienne Hodson Jack & Ruth Hoover Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ethan & Joyce Jackson Larry & Marianne Jacobi Mr. & Mrs. John C. Jenkins & Family Sue Johnson Dr. Charles E. Jordan Freddie & Anne Kelvin Sheryl M. King, MD Drs. Sandra & Charles Kinsella David H. Kleiman & Susan Jacobs Mr. Walter Koenig Richard & Roxanne Kovacs The Kroehler Family Robert E. Lee Cindy & Rick Leffler

Mrs. Carl F. Lesher Dominic Li & Aichun Zhang Dennis & Karen Licht Dr. Erik L. Lindseth John & Carol Longfellow Lowell & Penelope Lumley Dean & Deborah Maar Mr. & Mrs. Donald R. MacPherson Mr. Kevin Malley & Mr. Ronald Nobles Jeffrey & Christine Marks James & Cheryl Martin Stacy A. Maurer Michael & Patricia McCrory Frank & Nancy McDonald Alan & Ann McKenzie Marni McKinney Nancy L. McMillan Mr. & Mrs. Robert B. McNamara Tom McTamney & Alan Carmack Darrin & Julia Meacham Mr. & Mrs. Samuel Montgomery F. Timothy & Nancy Nagler Don Nead & Caryl Matthews Lara Noren Sarah Otte Sally & Jay Peacock Gayle L. Phillips Dr. John M. Plewes II David & Dorian Poole Susan Porter The Robert S. Potts Family Jeff & Clare Quinn Mrs. Patricia L. Ragan Rich & Betty Lou Reasoner William R. & Gloria Riggs Mrs. Richard H. Rowland Mr. Henry A. Ryan Mr. & Mrs. Thomas Sands Dr. & Mrs. Andreas Sashegyi Jerry & Rosie Semler Dr. Franklin W. Sequeira & Dr. Deeya Brooks Dr. & Mrs. Reuben Shevitz Dr. & Mrs. James E. Shields Evan & Samantha Shinbaum Jackie Simmons & Tom Schnellenberger Nancy C. & James W. Smith

Christy & Jeff Soldatis Mr. & Mrs. Richard Spaulding John & Barb Stang Mr. Eric Bretzman & Dr. Shelley Stiner Mrs. Lynn Stocksill William Sudkamp Nela Swinehart Gene & Rosie Tanner Dr. & Mrs. Reed Tarwater Carol E. Taylor Phillip A. Terry Mr. & Mrs. Terrence Thompson Douglas L. Tillman John & Judy Tomke Ms. Jane Tomlin Lynn C. Tyler John & Kathy Vahle Mark Wagner Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Dale Weiler Mrs. Phyllis West Mrs. Lucy Wick Mr. & Mrs. Meredith L. Wilson Doug & Jayne Ann Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Doug & Suzanne Young Teresa P. Youngen Steve & Melissa Zabel Anonymous The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Mark V. Bromund Fund, a fund of Central Indiana Community Foundation The Vincent C. & Robyn A. Caponi Foundation, a fund of The Indianapolis Foundation Cook Group Inc Cornelius Family Foundation, Inc. Douglas & Angela Braly Family Foundation Gracia E. Johnson Foundation Gregory & Appel Insurance Griffith Family Foundation J. Solotken & Company, Inc. Jungclaus-Campbell Co., Inc.

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T S E T N O C S N A I C I S U M G N U YO 2010 Winner Spotlight: & el Ben a h c i M urer a M The w o omisar Illene K

Austin Huntington, Principal Cello How was the contest meaningful to you?

The Young Musicians Contest was the first major competition that I had ever participated in, so I was naturally very nervous the first time I competed.

When I arrived to play my first round though, the volunteers and workers made me feel right at home, and my nerves went away. Looking back on the years that I competed, I have nothing but positive memories.

What advice can you give to a musician who is considering participating?

Take the Next Step This contest encourages accomplished young Indiana musicians (through grade 12) to set and achieve goals of technical and artistic excellence by providing an opportunity to perform in a competitive setting.

Come see this year’s winner perform live at our Side-By-Side concert!

March 4, 2020 at 7 PM Hilbert Circle Theatre Tickets go on sale November 18, 2019

Ultimately, just be yourself. Yes, part of the competition is focused on technical proficiency, but the other part that is much easier to forget on stage is personality. It sounds odd to say, but so many times, I have been so focused on nailing this one passage or not missing that one note, that I get off stage and I realize that I hadn't really said anything with my music... once you get on stage to share your music with others, just be yourself and show everyone what's on the inside.

The Maurer Young Musicians Contest was an amazing first step in [my] journey. Once college rolled around, that competitive drive and my love for orchestral and chamber music led me to start taking auditions, which is how I ended up where I am now, in the Indianapolis Symphony.

For more information, visit IndianapolisSymphony.org/education/students/young-musicians-contest or call 317.231.6726

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Annual Fund Myron McKee Charitable Fund O’Ryan Law Firm Amy & Bart Peterson Foundation, a fund of the Indianapolis Foundationn The Ruth E. Stilwell Endowment Fund, a fund of CICF Straubinger Flutes

Virtuoso ($750-$999) Anonymous (3) Mr.& Mrs. Roy & Jan Applegate David Bellman & Ingrid Fischer-Bellman David & Etta Biloon George & Sophie Boguslawski Stephanie Boughton Jean & Kevin Buehner Thomas Casey Ms. Katherin Chi Steve & Carol Christenberry Julie & David DeWitt

Carol Edgar Jeremy & Missy Eltz Mr. & Mrs. David Fee Ms. Audeen Fentiman Mr. Kenneth Fraza Ms. Pat Garrity Thomas Gerber Mr. Scott & Ms. Amy Goldsmith Brian & Claudia Grant Mary Hauser Frances A. Heavrin Fred & Alice Hecker Mike & Noel Heymann Jill Hoyle Patrick F. Jessee Steve & Donna Jones Richard & Gwen Knipstein Robbie & Emily Kusz Reverend Doctor Joan B. Malick John & Kay Mastarone Mr. & Mrs. Ralph McCormick Stephen E. & Josephine A. McGrew Craig & Diana Moorman Mrs. Delores Muller

Dennis & Kristy Murphy Scott and Laura Oosting Dr. John A. & Cinda Overman Janeann M. Pitz & Reinhard Pollach Dr. & Mrs. David Porter Brian & Sabine Quick Dr. Thomas & Tammy Richardson Drs. John Riley & Theresa Treep Sendmeyer Family Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Jon F. Silverberg Vona E. Sinclair Ms. Sarah Studzinski Greg & Linda Sykes Mrs. Joseph F. Thompson Rachel Tomasik Scott & Christy Trometer Bob & Sue True Gareth Vaughan Steve & Judy Young

Contributed Goods and Services ($5,000 and Above) DCG: Digital Color Graphics Enflora Flowers for Business Global Violins LLC The Indy Star Neal Brown Hospitality Republic National Distribution Co. Ruth’s Chris Steak House Carol Sanders

Southern Glazer’s Wine and Spirits

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 July 31, 2019, to August 31, 2019.

Memorial Gifts

Honor Gifts

In Memory of Margot Lacy Eccles Ms. Leslie Donchetz & Mr. Michael Dick

In Honor of Bruce & Jamie McCaw

Dr. & Mrs. Thomas Elam

In Memory of Peter B Hydu Marci Richards

In Honor of Dottie Miller’s Birthday

Shirley Kulwin

In Memory of Fred Schlegel Rollie & Cheri Dick

In Honor of Yvonne Shaheen

Mr. & Mrs. John Elliott

Mr. & Mrs. David G. Sease

In Memory of Carol York Julie Goodman

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The newest book in our Teddy Bear Series.

Perfect for young children and their families!

Call 317.639.4300 or visit IndianapolisSymphony.org/ShopISO Made possible by:

SPECIAL EVENTS WEDDINGS MEETINGS For more information visit IndianapolisSymphony.org or call 317.231.6798.

Photo by Danielle Harris | danielleharrisphotography.com

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Why We Give: John & Chi Chi Guy Have you always lived in Indiana?

I attended DePauw in 1959 and moved to Indianapolis in 1969 after I was in the Peace Corps, where I met my wife, Chi Chi. I came back and worked for an old friend, then went to work as a stockbroker and later transitioned into wealth planning and management.

Did you ever play an instrument?

I played trombone in the band and it was a wonderful experience.

Also played a bit of ukulele after watching my mother play and learning more about it in the 50s. I want to sing “76 Trombones,” but no one has asked me.

Do you remember when you first heard classical music?

No, but perhaps during a music appreciation course at DePauw.

What was one of the most memorable ISO concerts you have attended?

The most powerful concert was the first time I heard a performance of Beethoven’s Ninth in the early 80s. I don’t remember who was conducting and had never heard the piece before, but I couldn’t believe its beauty.

What has been your favorite musical experience with the ISO so far?

Answering this question is next to impossible since there have been so many. A fun/illuminating experience was City Lights with orchestra.

What would you tell someone who is considering becoming a subscriber to the ISO? Just do it!

Why is an orchestra important to a community?

Other than the obvious presentation of fine music is leadership training. A symphony is a continuing lesson in teamwork. This element has been institutionalized through the work of Beth Perdue Outland and her seminar on leadership, teamwork, and motivation.

What types of music do you enjoy besides classical?

At the moment, I cannot think of a style that I do not like. We enjoy easy listening and enjoy listening to music in the car on the radio or in the orchestra hall.

What led you to donate to the ISO and why is that important to you?

The act of giving to ISO—or to any civic/cultural/service organization—provides a connection and sense of personal involvement that is deeply satisfying.

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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.

Leave your mark on the future of the Indianapolis Symphony and generations of musicians to come!

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 Bob & Pat Anker 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 & Denton 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 Joanne Myer Davis Carol Richardson Dennis Steve & Mary DeVoe Rollin & Cheri Dick Mr. & Mrs. Richard A. & Helen J. Dickinson Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer*

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Dr.* & Mrs. W. Brooks Fortune Marilyn K. Fourman Dr. & Mrs. Larry C. Franks 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 Pat Hanson Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Ann Hampton Hunt Ty A. Johnson Joan* & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Dana & Marc Katz 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 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 Kenneth L. Turchi 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 Joanne Meyer Davis 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

Clarena Huffington Mr. David A. Jacobs Frances M. Johnson Mr. E. Patrick Kane Marc & Dana Katz 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 Henry & Vel Ryder 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 Kenneth L. Turchi 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 Are you interested in making a significant gift that will make a lasting impact on the work of the Indianapolis Symphony Orchestra? You can do it today with a legacy gift in your will. This special gift: — Is easy to arrange with a financial advisor or consultant. A simple paragraph added to your will is all it takes.

— Can be changed or revoked as needed.

— Preserves your savings and cash flow.

— Costs you nothing during your lifetime.

Your legacy matters! Contact Casey Chell, Vice President of Development, with questions about The Lynn Society at 317.713.3342 or email cchell@indianapolissymphony.org

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Arts in Indy Indianapolis Symphonic Choir The Indianapolis Symphonic Choir’s annual Festival of Carols returns to the Warren Performing Arts Center and the Palladium this December! We are thrilled to announce our guest artist lineup, which includes the return of acclaimed Phantom of the Opera star Michele McConnell, the Indianapolis Chamber Orchestra, and the choral students of Mt. Vernon High School and Herron High School. A very special addition to this year’s show will include a Christmas Gospel Celebration featuring nationally recognized Gospel recording artist Rodnie Bryant and friends. Festival of Carols will now feature two performances with sign language interpretation. For more information on this new experience, please contact the respective box office directly to reserve your seats. Warren Performing Arts Center (317.532.6280): Saturday, December 7, at 3 p.m. and Sunday, December 8, at 3 p.m.* The Palladium at the Center for the Performing Arts (317.843.3800): Friday, December 20, at 8 p.m., Saturday, December 21, at 3 p.m.*, and Sunday, December 22, at 3 p.m. *denotes performances with ASL interpretation

Dance Kaleidoscope Start the New Year right! Dance Kaleidoscope will take you from the Lights of Broadway to the City of Light in La Vie on Broadway, January 2–12, 2020, at Indiana Repertory Theatre.

This joyful show features all new choreography to contemporary Broadway songs, plus the music from the French singer Edith Piaf. Tickets start at $20. For more information, visit DanceKal.org or call 317.635.5252.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir this holiday season for “Angels Sing Goes to the Movies” on December 13 & 14! Get your popcorn ready, silence your cellphones, and get ready for lights, camera, and action in this showcase of classic holiday film music.

Tickets are on sale now! 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 their 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 onlinewww.IndySuzukiAcademy.org

Indianapolis Chamber Orchestra Join the Indianapolis Chamber Orchestra for Czech Mates, featuring ICO Principal Cello Marjorie Lange Hanna and 1986 IVCI Winner Andres Cardenes in Brahms’ thrilling Double Concerto on Saturday, November 23, at 7:30 p.m., in the Schrott Center for the Arts, Butler Arts Center. The ICO will Stir, Change, and Transform your concert experience.

New this year! With Passport to the ICO, the Indianapolis Chamber Orchestra embarks on a musical adventure designed to provoke thought, exploring both classical and contemporary works through the lens of the orchestra, soloists, and ensembles.

When you purchase tickets to any performance, you can enter to win a season subscription for two to the 2020–21 season!

More information and concert specifics may be found at icomusic.org/passport.

New World Youth Orchestras The New World Youth Orchestras, an ensemble of over 200 young musicians is introducing its new name, the Indianapolis Youth Orchestra, in the 2019–2020 season. Under the direction of Artistic Director Adam Bodony, the Orchestra will begin its season in October 2019 as the New World Youth Orchestras and end its season as the Indianapolis Youth Orchestra. The Orchestra was founded in 1982 by Artistic Director Emeritus Susan Kitterman, and currently performs at the Hilbert Circle Theatre. Join us for the first concert of our season on November 10, 2019, at 5 p.m., at Hilbert Circle Theatre, featuring our Philharmonic and Symphony Orchestras.

Tickets are available through the ISO box office.

To advertise within this book, contact Patrick@PrintingPartners.net or 317.664.7835

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Administration and Staff Executive Office

Marketing and Communications

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

Mary Ferguson, Audience Development Manager Joe Perin, Promotions & Marketing Manager Bennett Sanders, Senior Graphic Designer Mercer Suppiger, 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 David Armstrong, Director of Venue Operations Kalyn Smith, House Manager Philomena Duffy, Associate Director of Operations & Facilities Addy Monger, Event Manager 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 Mallory Essig, Associate Director of Artistic Coordination Brandy Rodgers, Senior Manager of Pops, Yuletide Celebration & Symphonic Pops Consortium Development Casey Chell, Vice President of Development Brogan Drumm, Executive Assistant Missy Eltz, Director of Development Operations Rita Steinberg, Senior Major Gift Officer Catherine Lockhart, Director of Partnerships 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

Patron Services David Storms, Box Office Manager Elizabeth Whipkey, Senior Customer Care Representative Andrea Foster, Customer Care Representative Janine Knuutila, Customer Care Representative Kim Lynch, Customer Care Representative Erin Demo, Customer Care Representative Erin Jeffrey, Customer Care Representative Nick Neukom, Customer Care Representative Lakin Schoen, Customer Care Representative McKenzie Witherell, Customer Care Representative Learning Community Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune 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 Adam White, Controller Teaka Vest, Staff Accountant Lynda Bricker, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Michelle Usadel, 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 the concert in the Encore Lounge.

Subscriber Hotline 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.

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. A family/ gender-neutral restroom is also available; please ask an usher for access.

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.

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: •

Ushers For questions about Hilbert Circle Theatre accessibility, first aid, and lost and found, please see an usher. Hearing enhancement devices are available in the coat room, and larger print programs can be made available upon request.

Ushers are here to answer your questions and to make your concert experience enjoyable.

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 the Lilly Classical Series, Printing Partners Pops Series, Bank of America Film 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 available 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!

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.

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ISO Association Ready or not, here come the holidays! The Indianapolis Symphony Orchestra Association is getting ready for a wonderful IPL Yuletide Celebration. Our Symphony store has unique gifts you will not find anywhere else. Our South group volunteers are ready to help you find the perfect gift for yourself or someone special. We hope you stop and browse the great seasonal accents, novelties, and apparel before the concerts or during intermission. The proceeds from the sales benefit the educational programs of the Indianapolis Symphony Orchestra. Speaking of Yuletide, cookies and wassail sales will be returning! This is one of our favorite holiday activities in support of the Symphony. If you are interested in volunteering with the ISOA to help with Yuletide or any of our events, please contact the ISOA office at 317.262.4068.

Mable Lewis ISOA President, 2018–20

Goals of the ISOA

Upcoming Events

— Increase public awareness of the ISO — Promote music education for children and adults — Encourage audience development and attendance — Create and support fundraising projects — Promote participation in the ISO’s Annual Fund — Attract, train, and retain effective volunteers

November 5: East Group Style Show & Luncheon December 4: Yuletide Luncheon May 1: Spring Jubilee: Champions for Music

If you are interested in becoming a member of the ISOA, please call the office at: 317.232.4068.

We would love to have you as a member of our great organization.

All proceeds go toward supporting your Indianapolis Symphony Orchestra!

Open during most performances.

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