ISO March/April Program Book

Jack Everly

JoAnn Falletta

Ben Crawford

Michael Francis

Sounds of Spain • Tony DeSare: I Love a Piano Star Wars: The Empire Strikes Back—In Concert Sibelius Violin Concerto • Michael Francis Conducts Elgar Ben Crawford: Broadway & Beyond • Tchaikovsky’s Violin Concerto Volume 5 • March/April • Hilbert Circle Theatre

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Table of Contents Programs

100 Administration and Staff

12 Sounds of Spain

February 28, March 1–2

101 Hilbert Circle Theatre Information

26 Discovery Concerts

103 Indianapolis Symphony Orchestra Association

28 Rachmaninoff’s Symphonic Dances: Side-by-Side Concert

March 6 32 Tony DeSare: I Love a Piano

March 8–9 38 Star Wars: The Empire Strikes Back

In Concert

March 14–17

102 Corporate Sponsors

Artists 13 Jacob Joyce 15 Caroline Goulding 17 Svetlin Roussev 29 Jacob Joyce

42 Sibelius Violin Concerto

March 29–30

31 Rachael Shaver

54 Michael Francis Conducts Elgar

April 5

35 Tony DeSare

70 Ben Crawford: Broadway & Beyond

April 12–13

43 Peter Oundjian

74 Tchaikovsky’s Violin Concerto

April 25–27

55 Michael Francis

The Indianapolis Symphony Orchestra

57 Anthony Dean Griffey

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Board of Directors

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Musicians of the ISO

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Music in My Life

9

Musicians Around Town

11 Inside the Usher Corps 87 Endowment 90 Annual Fund 93 Tribute Gifts 95 Why We Give 96 Lynn Society 98 Arts in Indy

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33 Jack Everly 39 Jessica Linnebach 44 James Ehnes 56 Michelle DeYoung 58 Matthew Brook 60 Indianapolis Symphonic Choir 62 Eric Stark 63 Steven Moeckel 71 Ben Crawford 73 Charles Morey 75 JoAnn Falletta 77 Kevin Lin 79 David Lakirovich Cover: Photo of Ben Crawford by Caitlin McNaney

Welcome Dear Friends, As winter makes way for spring, the excitement is blooming here at the Indianapolis Symphony Orchestra. February not only brought us amazing performances, but also a pair of long-anticipated announcements.

With the announcement of the 2019 Kroger Symphony on the Prairie season, we’re looking forward to bringing you #AWholeNewSummer. A star-studded lineup and enhancements to the concert experience will bring a new energy to our treasured summer series.

Our recently announced 2019–20 season here in the Hilbert Circle Theatre has highlights for every musical taste. In the Chief Executive Officer Lilly Classical Series, we’re celebrating 250 years of a master in the year-long Beethoven festival, which features commissions by a diverse group of contemporary composers inspired by Beethoven’s nine symphonies. Our Printing Partners Pops Series offers the best of Broadway with Lea Salonga, Mandy Gonzalez, and Leslie Odom, Jr., plus a concert presentation of West Side Story. The IPL Yuletide Celebration returns with high-energy showman Frankie Moreno serving as host.

James M. Johnson

This spring in the hall, we offer a variety of concert experiences. The next generation of classical musicians will be showcased at the Side-by-Side concert on March 6, while on May 5, the Metropolitan Youth Orchestra will perform its annual pops concert. We celebrate a decade of musical partnership as our April 10 Happy Hour at the Symphony marks the final performance of Time for Three’s tenure as artists-in-residence. Maestro Urbański’s exploration of the Brahms symphony cycle continues in May with the composer’s third symphony—considered by some to be Brahms’ most perfect work.

Thank you for sharing your time with us today, and I look forward to seeing you at another concert soon!

Sincerely,

James M. Johnson Chief Executive Officer

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

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

Board of Directors Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D. John A. Bratt Bryan Brenner Kiamesha Colom Trent Cowles* Cheryl J. Dick Craig Fenneman Levi Garraway Peter W. Howard, Ph.D. Liz Huldin Ann Hampton Hunt 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. Gerald L. Moss Jackie Nytes* Michael P. O’Neil* Eloise Paul

Jennifer D. Pressley Brandon Russell 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. Jennifer Zinn

Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles O’Drobinak Fred E. Schlegel

Martha Anne Varnes 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 Carolyn S. Hardman

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 Peiming Lin, Acting Principal Mary Anne Dell’Aquila, Acting Associate Principal Jennifer Greenlee, Acting Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Victoria Griswold Patrick Dalton-Holmes Hua Jin Joseph Ohkubo** Jayna Park Lisa Scott Oleg Zukin Viola Yu Jin, Principal, The Schlegel Chair Mike Chen, Associate Principal † Amy Kniffen, Acting Associate Principal Zachary Collins, Acting Assistant Principal Susan Chan** Yu-Fang Chen** Emilee Drumm ** Terry E. Langdon Li Li Emily Owsinski** 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

Zachary Mowitz** Jian-Wen Tong Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Bert Witzel Flute Karen Evans Moratz, Principal, The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal Piccolo Rebecca Price Arrensen The Janet F. and Dr. Richard E. Barb Chair

Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Robert Wood Trombone K. Blake Schlabach, Acting Principal Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal Timpani Jack Brennan, Principal The Thomas N. Akins Chair Craig A. Hetrick, Assistant Principal

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

English Horn Diane Evans, Principal

Roger Roe, English Horn The Walter Myers Jr. Chair The Ann Hampton Hunt Chair Keyboard Clarinet The Women’s Committee Chair Endowed in honor of Dorothy David A. Bellman, Principal Munger The Robert H. Mohlman Chair Cathryn Gross, The Huffington Chair Personnel Samuel Rothstein, Assistant Principal K. Blake Schlabach, Manager Bass Clarinet L. Bennett Crantford, Assistant Manager Samuel Rothstein Library Bassoon James Norman, Principal Librarian Mark Ortwein, Acting Principal Laura Cones, Assistant Principal Michael Muszynski, Acting Librarian Assistant Principal Susan Grymonpré, Nate Hale** Assistant Librarian Contrabassoon William Shotton, Bowing Assistant Nate Hale** Stage Horn Robert Danforth, Principal, The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Alison Dresser, Assistant Principal ** Julie Beckel Yager Jill Boaz

Kit Williams, Stage Manager Kenneth Bandy, Technician P. Alan Alford, 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 † On leave

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Music in My Life: Conrad Jones, Trumpet Conrad Jones is the principal trumpet of the Indianapolis Symphony Orchestra. Prior to this position, he served as principal trumpet of the Tucson Symphony Orchestra. During the summer season, he is principal trumpet of the Britt Festival Orchestra in Jacksonville, Ore., under Music Director Teddy Abrams. A native of Long Island, NY, Jones received his bachelor’s of music in trumpet performance at the Cleveland Institute of Music before continuing on to the professional studies program at the Colburn School Conservatory of Music in Los Angeles. Jones has performed as guest principal trumpet with the Detroit Symphony, Phoenix Symphony, Malaysian Philharmonic, and CityMusic Cleveland. He was acting 2nd trumpet with the San Francisco Ballet Orchestra during the 15–16 season.

Tell us about your family.

I come from a family of many musicians. My parents were both band directors and my brothers are professional brass players. Gary is a trombonist in the AirForce Band of the Golden West in San Francisco and Doug is a tubaist with the AirForce Heritage Band of America in Norfolk, Va. We also have a family brass quintet, which is a ton of fun!

What was your first musical instrument, and how old were you when you started?

I started on Suzuki cello at age 4, and then switched to trumpet at age 9. I wasn’t super into trumpet until I was about 15, so spent a lot of time playing guitar in middle school.

Who is your favorite composer and why?

I don’t have one particular favorite composer, but some of my favorites are Bach, Handel, Barber, Bruckner, Philip Glass, Sibelius, Copland, and Michael Gordon.

What do you enjoy doing when you are not performing?

My main hobby is to eat and drink good stuff—especially spicy food—and I also spend a lot of time at LiftLab Co. in downtown Indy.

What’s your favorite memory with the ISO and your favorite performance thus far?

I’ve had a lot of really fun performances with the ISO, but my favorite so far are the shows we did with Byron Stripling during the 17–18 season. I sat in the back row smiling ear to ear like a goober because I was enjoying it so much!

Any advice for a young person considering a career in the orchestra?

Carefully listen to at least two hours of music every single day.

If you could perform anywhere, where would it be?

The TANK Center for the Sonic Arts in Rangely, Colo.

Tell me something about you that most people don’t know and wouldn’t expect.

My left arm is 2.5 inches shorter than my right arm.

What is your favorite piece or performance during this season with the ISO? I really enjoy Strauss’ Suite from Der Rosenkavalier and Elgar’s In the South.

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Musicians Around Town In March violist Terry Langdon will work for the seventh consecutive year with the violists at the Indianapolis-based Music for All National Festival. Langdon creates challenging yet fun masterclasses for the students who come from around the country, taking them this year through a workshop she calls “Viola Olympics” and helping them to understand what creates distinguished viola playing. She also enjoys coaching the five students in the viola section for the ISO’s Side-by-Side concert, which will be held on March 6.

On February 1 Mark Ortwein, Acting Principal Bassoon, performed with The Dopacetics at their Radio Radio debut, a concert venue in historic Fountain Square. The Dopacetics are a soul-funk-rock band made up of Indianapolis music veterans playing original songs and classic cover tunes. The group recently released their their first album, Time to Move, in 2018.

Whether it makes you smile, makes you think, makes you relax, or challenges you, don’t shy away from the experience of live music. And don’t be afraid to share it.

This season, we truly have something for everyone!

FAMILY become a VOLUNTEER

join a

FAMILY

ISO V O L U N T E E R

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

Live the way you want to live.

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

Inside the Usher Corps: Kathy Seitz 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, Kathy Seitz. Since joining the ISO volunteer family, Kathy has volunteered over 300 hours and can be seen at both Hilbert Circle Theatre and at Kroger Symphony on the Prairie. We are grateful for all that she does for the ISO!

Tell us about yourself and your background.

I am a retired Wellness teacher (health/physical education) of 28 years from Hamilton Southeastern schools. I have been married for 47 years to my blue-eyed sweetie, Ken, and we have a son and a daughter and three grandchildren. Volunteering and traveling with an emphasis on hiking are my favorite things to do. Last year, I was able to vacation every month and visit 38 different places. Hiking the Camino in Spain and hiking in the national parks of Cuba have been highlights. I love visiting the national parks, state parks, military academies, and museums. I love learning and meeting new people.

Why do you volunteer with the ISO? I volunteer because I love helping people and I also get to see the great performances here in my hometown. I tell people that you really don’t have to go to New York City to see a great performance because they come to us to perform with the amazing ISO. Have you ever played an instrument?

I played the piano as a child and my favorite piece was Moonlight Sonata. I would play it over and over. If I could do it again, I would have stuck with the piano as I am in awe of the talented musicians who perform at the ISO. Who is your favorite composer?

My favorite composers are Rodgers and Hammerstein and Gershwin because I love musicals.

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

There have been so many memorable performances, but one that comes to my mind is when we had Kelli O’Hara and Ben Crawford here performing Broadway show tunes. I cried all the way through it as I went down memory lane back to high school. I played Nellie Forbush in our high school musical of South Pacific, so I was overcome with emotion hearing O’Hara sing it.

Crawford also sang songs from Carousel, and his powerful voice just blew me away.

What would you tell someone who is considering volunteering with the ISO? I often recommend to my retired friends to come join me in volunteering as it is a great opportunity to meet new friends and serve others and our fantastic orchestra. As a bonus, you get to see excellent entertainment.

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FEB 28MAR 2

Sounds of Spain Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program Six

Thursday, February 28, at 11 a.m.

Hilbert Circle Theatre JACOB JOYCE, Conductor Joaquin Turina | 1882–1949

Danzas fantásticas, Op. 22 Exaltación Ensueño Orgía

Maurice Ravel | 1875–1937

Rapsodie espagnole

Prélude à la nuit Malagueña Habañera Feria Manuel de Falla | 1876–1946

Three Dances (Suite No. 2) from The Three-Cornered Hat The Neighbor’s Dance

The Miller’s Dance (Farruca) Final Dance

“Interlude and Spanish Dance” from La vida breve

† The Coffee Concert is an abbreviated performance.

There is no intermission.

The Performance of Classical Music is endowed by the Paul and Roseann Pitz Fund Length of performance is approximately one hour.

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

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Jacob Joyce, Conductor Jacob Joyce, was appointed as the Associate Conductor of the Indianapolis Symphony in 2018 and is quickly gaining recognition as an innovative and dynamic presence on the podium. He will appear several times with the orchestra in the 2018–19 season, conducting Family Series, Happy Hour, and Discovery concerts.

Joyce served as the Conducting Fellow for the Fort Worth Symphony Orchestra, and has previously held positions as Associate Conductor of the Yale Symphony Orchestra, Music Director of the Berkeley College Orchestra, Music Director of Opera Theatre of Yale College, and Cover Conductor for the Handel and Haydn Society of Boston.

An avid promoter of contemporary music, Joyce has conducted several premieres of orchestral and operatic works. He has worked extensively with the NEC Contemporary Ensemble, and has performed with Hub New Music, Cantata Profana, and the Yalebased group SicInc. As an opera conductor, Joyce has recently conducted fully staged performances of Hansel and Gretel and the newly-composed Swann’s Way.

FEB 28MAR 2

Joyce studied Orchestral Conducting with Hugh Wolff at the New England Conservatory.

He has also been taught by Larry Rachleff, Toshiyuki Shimada, Kenneth Kiesler, Patrick Summers, and Nicholas McGegan. Joyce attended the Tanglewood Music Center and the American Academy of Conducting at Aspen, where he was awarded the Robert Spano Conducting Prize. He was also recently given the award of Semi-Finalist in the Solti International Conducting Competition, where he conducted the Frankfurt Radio Symphony Orchestra and the Frankfurt Museumsorchester. Joyce graduated from Yale College in 2014, with a B.A. in Music and Economics.

He received a M.M. in Violin Performance from the Yale School of Music in 2015, studying with Syoko Aki. Joyce is also an accomplished violinist.

He has performed with several orchestras nationwide, and was awarded the Broadus Erle Prize for an Outstanding Violinist at the Yale School of Music. He served as the concertmaster of the Yale Symphony Orchestra, and performed regularly with the Boston Philharmonic and the Atlantic Symphony. He has previously attended the Tanglewood Music Center, the Bowdoin International Music Festival, and Encore School for Strings.

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Caroline Goulding, Guest Concertmaster For nearly a decade, the virtuoso violinist Caroline Goulding has performed with the world’s premier orchestras, in recital and on record, and has blossomed from a “precociously gifted” (Gramophone) 13-yearold soloist with the Cleveland Orchestra to “a skilled violinist well on her way to an important career” (Washington Post).

Goulding opened her 2018 season with the release of her third album on Clives Records; this marks her first record since her Grammynominated and chart-topping debut recording on Telarc in 2009. A winner of the Sommets Musicaux De Gstadd’s Prix Thierry Scherz, this recording embodies Korngold’s luscious Violin Concerto and Mozart’s exuberant A Major Concerto with the Berner Symphonieorchester. Last season’s release of Goulding’s album with pianist Danae Dörken, on the ARS label, including works by Schumann, Enescu, and Dvorák, celebrated a nomination for the prestigious Preis der deutschen Schallplattenkritik in the Chamber Music category.

Since her 2006 Cleveland Orchestra debut, Goulding has appeared as soloist with the symphony orchestras of Toronto, Detroit,

FEB 28MAR 2

Dallas, Denver, Houston, Nashville, Indianapolis, Phoenix, Boise, Victoria, Milwaukee, Stamford, Portland, and Pasadena. She has performed with the symphony orchestras of Alabama and Florida, the National Symphony, and the Orchestra of St. Luke’s in North America. She has also appeared extensively in Europe and Asia. She has appeared in recital at Carnegie Hall, Lincoln Center, the Kennedy Center, Beijing’s Forbidden City Concert Hall, the Tonhalle-Zurich, the Louvre Museum, KKLLucerne, Beethoven-Saal Stuttgart, and the Isabella Stewart Gardner Museum.

Widely recognized by the classical music world’s most distinguished artists and institutions for her “vibrant and intensely musical” playing (Cleveland Plain Dealer), Goulding was a recipient of the Avery Fisher Career Grant in 2011, and in 2009 she won the Young Concert Artists International Auditions and was the recipient of the Helen Armstrong Violin Fellowship. She has also garnered significant attention from music and mainstream press. Goulding has been heard on NPR’s Performance Today, From the Top, and SiriusXM Satellite Radio.

A past student of Christian Tetzlaff, Donald Weilerstein, Paul Kantor, and Julia Kuryka, Goulding enjoys learning immensely. She plays a Giovanni Battista Rogeri (1675), courtesy of Peter and Cathy Halstead.

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 will invite violinists from all around the world to join the orchestra as guest concertmasters throughout the season. While some of these violinists will be considered for the concertmaster position, others will appear simply as guests of the orchestra. In addition to inviting these violinists, the ISO held a formal audition for the concertmaster 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 musicmaking from some of today’s most talented violinists.

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FEB 28MAR 2

Sounds of Spain Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Eleven Friday, March 1, at 8 p.m.

Saturday, March 2, at 5:30 p.m.

Hilbert Circle Theatre

JACOB JOYCE, Conductor | SVETLIN ROUSSEV, Violin Joaquin Turina | 1882–1949

Danzas fantásticas, Op. 22 Exaltación Ensueño Orgía Edouard Lalo | 1823–1892

Symphonie espagnole for Violin and Orchestra, Op. 21 Allegro non troppo

Scherzando: Allegro molto

Intermezzo: Allegretto non troppo Andante Rondo

Svetlin Roussev, Violin INTERMISSION—Twenty Minutes

Maurice Ravel | 1875–1937

Rapsodie espagnole

Prélude à la nuit Malagueña Habañera Feria Manuel de Falla | 1876–1946

Three Dances (Suite No. 2) from The Three-Cornered Hat The Neighbor’s Dance

The Miller’s Dance Final Dance

“Interlude and Spanish Dance” from La vida breve Premier Sponsor

Associate Sponsor

The Performance of Classical Music is endowed by the Paul and Roseann Pitz Fund

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Length of performance is approximately one hour and fifty minutes.

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

Svetlin Roussev, Violin Since winning first prize at the widely acclaimed first Sendai International Competition in May 2001, the charismatic violin virtuoso Svetlin Roussev has enjoyed a prestigious international career in many of the world’s major concert halls.

Roussev is a regular guest soloist with various orchestras such as the Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande, Orchestre National de Belgique, Tokyo Philharmonic Orchestra, George Enescu Philharmonic Orchestra, Romanian National Radio Orchestra, and Bulgarian National Radio among others. Roussev has been leading and conducting various ensembles and orchestras since 2000.

Roussev shares his love for music with an ever-widening public through his chamber music performances, playing with partners such as Myung-Whun Chung, Jean-Yves Thibaudet, Yeol-Eum Son, Peter Frankl, Ralph Gothoni, and more. He is a founding member of the Roussev-Salque-Rozanova Trio.

Roussev performs a broad repertoire ranging from the baroque to the contemporary.

He is renowned for his renditions of Slavic compositions and promotes Bulgarian music. Acclaimed Bulgarian Musician of the Year in 2006, his home country honoured him again in 2007 and 2016 with the Cristal Lyra distinction awarded by the Ministry of Culture. In 2018, Roussev became an Honorary Citizen of his hometown Ruse, along with the Nobel Prize of literature Elias Canetti.

Following his successful CD recording of pieces by Pancho Vladigerov with the pianist Elena Rozanova, Roussev brought

FEB 28MAR 2

out his recording of Karl Amadeus Hartmann’s Concerto funèbre with the Orchestre d’Auvergne, sonatas

by Grieg and Medtner with pianist Frédéric D’Oria-Nicolas, Fire & Ice with the Sibelius and Vladigerov no. 1 violin concertos conducted

by Emil Tabakov and the Bulgarian National Radio Symphony Orchestra under the French labels Integral and Fondamenta. In 2016 DECCA released the piano trios by Mendelssohn no. 1 and Dvořák‘s Dumky with Elena Rozanova and François Salque followed by works by Ysaÿe for violin and orchestra and Lalo’s Symphonie Espagnole.

Roussev is a professor at his alma mater at the prestigious Haute École de Musique in Geneva after 10 years being a professor at the Conservatoire National Supérieur de Musique et de Danse de Paris. He has been giving violin and chamber music masterclasses around the world. He is also the artistic advisor and artist in residence of the March Music Days International Festival in his hometown Ruse after serving as artistic director and artist-in-residence of the Sofia Philharmonic Orchestra.

Roussev has won prizes at many international competitions, including Indianapolis, Long-Thibaud, and Melbourne. At the Sendai International Music Competition, he garnered the audience prize and the Best Bach concerto performance. He began his musical education at a very young age, studying under his mother, a professor at the music school in his home town of Ruse, Bulgaria.

At the age of 15, he was accepted to the Conservatoire National Supérieur de Musique et de Danse de Paris where he studied under Gérard Poulet, Devy Erlih and JeanJacques Kantorow. Three years later, the jury unanimously awarded him the first prize for violin and chamber music. Subsequently he entered the postgraduate program. Roussev performs on the Stradivarius 1710 Camposelice violin kindly loaned by the Nippon Music Foundation.

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FEB 28MAR 2

Sounds of Spain fantasy Ritmos, La procesion del Rocio, Rapsodia Sinfónica, and his Danzas fantásticas.

However, he wrote over a hundred pieces for piano (usually in the form of miniatures), two operas, a lute quartet, chamber music, songs, and guitar pieces written for Andrés Segovia.

Lilly Classical Series Program Notes

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

Danzas fantásticas, Op. 22 Joaquín Turina Born: December 9, 1882, Seville, Spain Died: January 14, 1949, Madrid, Spain Year Composed: 1919 Length: c. 17 minutes World Premiere: February 1920, Madrid, Spain Last ISO Performance: January 2000 with conductor Raymond Leppard Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings Joaquín Turina was one of the most attracting and gifted Spanish composers of the twentieth century along with de Falla, Albéniz, and Granados. In comparison, music critics have frequently noted his “more European style,” which possibly stemmed from his strong friendships with Ravel and Debussy when he lived and studied in Paris from 1905 to 1914. In 1915 he returned to Madrid permanently.

Turina’s work for full orchestra was relatively small: Sinfonia Sevillana, the choreographic

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Justo Romero, musicologist and critic of the current periodical/newspaper Levante-EMV (El Mercantil Valenciano), has quoted the composer in liner notes from the Naxos recording of Danzas fantásticas: “I have lived part of my life dreaming, because I, as a musician, love melody. There tragedy loses its heart-rending edge. Dance becomes purer and wine is the only perfume. I cannot sit at the piano with a transcendental melody I sing what pleases me, and I feel a response.” Turino’s interest in dance was further exemplified in three later works: Danzas gitanas, Opus 84 and Opus 55, and his Bailete Opus 79.

Danzas fantásticas is Turina’s best-known work. It was written originally for solo piano and was later orchestrated. Some have said that the orchestration came first, but the composer gave a speech in Havana on March 31, 1929, and said, “The Danzas fantásticas were originally for piano. It later occurred to me to orchestrate them . . . having created them with a sufficiently broad range of color to use the full instrumental palette.” The title of the work is sometimes translated as Fantasy Dances, but more often as Fantastic Dances. Opus 22 was dedicated to Turina’s wife, Obdulia Garzon.

Inspiration Opus 22 was inspired by the novel La orgía

by José Mas, and quotations from the novel were printed on the score at the start of each dance. The composer explained, “this does not mean that the literary theme has anything to do with the music. The three epigraphs simply relate in some way to the musical and in a way, the choreographic

FEB 28MAR 2

Lilly Classical Series | Program Notes essence of the three dances. They are states of mind expressed in rhythm in accordance with the eternal law of contrast.”

Exaltación, (Exaltation) The preface reads: “Parecía como si las figuras de aquel cuadro incomparable se movieran dentro del cáliz de uno flor,” which means “It seemed as though the figures in that incomparable picture were moving inside the calyx of a flower.“ Turina was from Andalusia and he wrote, “The enduring parameters I felt to be guiding my work actually correspond to something very informal: the Andalusian landscape. I have been able to move freely within them because of my in-depth Schola training. . . I want to sing of love and sadness, searching out that little corner of the Andalusian spirit that looks out to the wider world.” The piece presents a traditional jota and a second theme in multiple sections before the jota is recalled in the last section.

Ensueño, (Daydream) is based on the rhythm of a Basque zorico (zortziko) in 5/8 time, formatted in three parts. The middle section is written in contrasting 6/8 meter.

The preface reads: “Las cuerdas de la guitarra, al sonar, eran como lamentos de un alma que no pudiera más con el peso de la amargura,” which means “The guitar’s strings sounded the lament of a soul helpless under the weight of bitterness.”

Orgía, (the Orgy) features an Andalusian farruca, which Torina described as “a kind of hymn to manzanilla, the perfumed wine of Sanlúcar de Barrameda, that city of silver that stands at the mouth of the Guadalquivir, wonderful mixture of sea and vineyards, beach and bars, little white houses and ribbon-like streets.” The farruca is a men’s dance cast in Flamenco style. A flashing introduction precedes the lighter dance, but the

opening idea keeps interrupting the dance. At the close, a poignant cello solo sings for a moment before the brass seal Orgia with a brilliant close.

The preface reads: “El perfume de las flores se confundía con el olor de la manzanilla, y del fondo de las estrechas copas, llenas del vino incomparable, como un incienso, se elevaba la alegría.,” which means “The perfume of the flowers merged with the odor of manzanilla, and from the bottom of raised glasses, full of the incomparable wine, like an incense, rose joy.”

Symphonie espagnole for Violin and Orchestra, Op. 21 Édouard Lalo Born: January 27, 1823, Lille, France Died: April 22, 1892, Paris, France Year Composed: 1874 Length: c. 34 minutes World Premiere: February 1875, Paris, France Last ISO Performance: November 2008 with conductor Carlos Miguel Prieto and violinist Karen Gomyo Instrumentation: 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, and strings The Romantic period was in love with the sound and capabilities of the violin: it spoke tenderly, soared to rhapsodic heights, sang lyrically, spoke in deep intimate tones, was a vehicle for fabulous virtuosic displays, and was a perfect match for audiences and

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Sounds of Spain

composers who sought to create and receive rich, transporting music. The Romantic period was also in love with Spain. South of the Pyrenees, major composers found a treasure house of rhythms, instruments, dances, and songs that seduced their passions. The Romantic period was in love with the exotic. Spain was just foreign enough to offer spectacular, unique sounds to color music and to offer newness without revolution.

In the nineteenth century, the charm and exuberance of Spanish folk music cast a spell on many visitors. Lalo, Bizet, Chabrier, Debussy, and Ravel visited Spain and all responded to the seductive rhythms, harmonies, and melodic contours which were undeniably and uniquely Spanish.

Such aesthetic values blended in a potent Spanish/French connection between longtime friends Édouard Lalo and the ever-dashing (onstage and off ) violinist Pablo de Sarasate. Both were trained in France, and both were of Spanish origin (Lalo through ancestry; Sarasate through citizenship). Paul Dukas explained, “Lalo seems to us above all an artist of Mediterranean sensibility whose music, in its wonderfully spontaneous outpouring, naturally takes on the aspect of an ideal dance. In this connection, great emphasis has been put on his Spanish origins . . . . ” Édouard Lalo’s designation of “symphony” for Opus 21 is curious and problematic. Perhaps the word referred to the importance of the orchestra as collaborator with the soloist.

Opus 21 is obviously a concerto reflecting the composer’s fascination with Spain, and great admiration for Sarasate, for whom it was written on commission in 1874. “One could quibble over the quality of its ‘Hispanicisms’ and declare them more or less authentic as was done in Bizet’s case the

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same year. Nevertheless, Lalo was the first to transform a series of folk melodies brought to him from beyond the mountains by Sarasate into a magnificent orchestra suite.”

(Pitrou) In the end, we have a work which “combines the characteristics of the symphony, the concerto, and the suite.” Regardless of what one might call the piece, its beauty and “the freshness of its melodic and orchestral language is imperishable.” (Grove) Symphonie espagnole’s five movements impose a Spanish veneer on music, which is fundamentally anchored in 19th century practice. Significantly, Lalo’s “concerto” is one of the few concerti in the repertoire with a deliberate point of national orientation. In Lalo’s Symphonie espagnole, we never lose sight of Iberia.

On February 7, 1875, Sarasate wowed a Parisian audience at a Colonne Concert at the Châtelet with Symphonie espagnole. It became an instant success as well as the major musical calling card of Édouard Lalo.

On August 20, 1879, Lalo wrote to Sarasate’s accompanist, saying, “I kept the title Symphonie espagnole contrary to and in spite of everybody, first because it conveyed my thoughts—that is to say a violin solo soaring above the rigid form of an old symphony— and then because the title was less banal than those that were proposed to me.”

Inside the music The first movement, marked Allegro non troppo, opens with a marching, brusque theme presented by the orchestra. After four measures, the soloist quickly seizes its turn at the idea. After this echo, the orchestra proceeds with the thematic statement in larger format.

The violin again echoes the theme and then moves persuasively into a more lyrical section. Moving into a sonata-allegro format, the development proffers a scene of brilliant turbulence. Wild plunges, leaps, frenzied intensity, incredibly fast scales and arpeggio, and rhythmic verve whip the solo violin into

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Lilly Classical Series | Program Notes greater and greater virtuosic displays. From time to time, the violin moves forward with lyrical presentations to calm the mood, but the opening tension and rhythms always seem to be lying in wait, re-appearing and coaxing the violin into extended dramatic passages. Inclusion of a malagueña validates the Spanish association implied in the title.

The second movement, Scherzando, is infused with the traditional Spanish seguidilla rhythm. (The seguidilla is a flamenco dance from southern Spain.) The orchestra plays pizzicato accompaniment, a guitar-like element, underscoring a sensual melody sung by the violin. From time to time, the violin arches its theme into a 3/4 meter over the underlying 3/8, lending a curious stretching effect in the melodic contour of a waltz.

The Intermezzo used to be omitted, and Yehudi Menuhin was the first violinist to restore it. The music strides forward with a bold, rhythmic statement from the strings alternating with tiny responses in the winds.

The soloist enters with a theme based on a habanera rhythm. The orchestra falls back into a gentle supporting role. The form is tripartite with a virtuosic mid-section and a soft reprise of the opening. Frequently, this movement is omitted from performance.

The fourth movement is an Andante in three parts. An orchestral prelude and solo recitative lead into a lyrical first section. This Andante is reminiscent of the cante jondo, speaking in low tones through the brass.

The tune is sad, sung with deep melancholia from the violin. A small centerpiece offers more embellishment, but the angst returns for the close over quiet kettledrums. A richly textured mid-section gives way to a recall of the opening in the third section stated over tympanic pulses.

The finale, a Rondo, surges forth with the soloist playing a dance-like tune over an ostinato figure in the orchestra. A recall of the malagueña heard in the first movement

and habanera rhythms consistently infuse a Spanish atmosphere. Midstream, a languorous malagueña takes the state (forecast earlier in the first movement), but now dancing in its entirety. The fiery coda offers one of the most brilliant and exciting codas in the violin repertoire with left-hand pizzicati and pizzicati glissandi included in the extensive virtuosic demands. This movement has often been extracted as a single concert piece.

Rapsodie espagnole Maurice Ravel Born: March 7, 1875, Ciboure, France Died: December 28, 1937, Paris, France Years Composed: 1907–1908 Length: c. 16 minutes World Premiere: March 1908, Paris, France Last ISO Performance: February 2015 with conductor Miguel Harth-Bedoya Instrumentation: 4 flutes, 3 oboes, 3 clarinets, 4 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, and strings In 1905, Ravel tried one last time to receive a coveted Prix de Rome—he was almost thirty years old, which was the age limit. His failures to win in three previous attempts were public knowledge, and when the fourth attempt also failed, the public sniffed a scandal in the judging and was incensed.

The furor paid off for the composer, and his music was suddenly seen as part of a new generation, forward-looking and not locked up in the stuffiness of the Conservatory.

Spurred on and stimulated by sympathetic publicity as the injured underdog, Ravel entered a period of heightened activity, producing two of his most famous works in 1907: L’Heure Espagnole and the orchestral suite Rapsodie espagnole.

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Sounds of Spain

Ravel’s association with Spain began early in life. His home had been near the Spanish border, where the Basque culture consistently seeped into France.

His mother was Spanish and had often sung Spanish folksongs to the youngster. Spanish music, the language, and its inflections were embedded deeply within the French composer. One of his most significant early works was Habanera (1895), which became the basis of the third movement of Rapsodie.

Inside the piece Rapsodie consists of a soft introductory Prélude, followed by three Spanish dances: Malagueña, Habanera, and Feria. Prélude à la nuit begins with a soft, four-note descending motif in muted violins and violas spaced two octaves apart. This motif pervades the entire movement. Placing the strings two octaves apart creates a magical effect: serene, clear, and delicate. Gradually, different sections of the orchestra share the motif before a cadenza for clarinets moves us into a second episode, introducing a new theme from the double basses, bassoons, and muted trumpets. The misty atmosphere is enhanced by arpeggiated harmonics for solo violin.

A Malagueña is a dance originating in Malaga, often grouped with the Fandango and Rondeña. It is usually in 3/8 meter and accompanied by guitar and castanets. Ravel’s Malagueña begins with a small ostinato (repeated) pattern, plucked by the basses.

Assorted ideas fly around the orchestra over this popping undercurrent before a trumpet emerges with a fully developed tune. The section closes quietly, as if evaporating into the air.

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The second movement, Habanera is a dance that originated in Africa, emigrating to Spain and on to Cuba. It has also been called a Contradanza criolla. The hypnotic rhythm of the base and swaying melody creates a winning sensuality. “This section, with its ostinato pedal point and its chords with multiple appoggiaturas, contains the germ of several elements which were to predominate in my later compositions,” Ravel commented.

Ravel’s Feria is the longest of the movements, occupying more than half of the total suite. The composer releases a full palette in this section, displaying his knowledge and control of the features of Spanish musical identity. Music critic Olin Downes wrote that in this section, “Ravel emptied his whole box of paints. It is a brilliantly fantastic hurly-burly, a medley of gorgeous and delicate hues, grotesque humor, ingenious and enchanting arabesques.” The main sections are constructed from three ideas: a repetitive flute figure, a castanet-like twirl from the trumpets, and a perpetual motion figure in the winds. The three smaller sections of the entire movement consist of two roaring outside parts, separated by a contrasting middle area featuring the English horn and clarinet, recalling the principal theme of the first movement.

Rapsodie is one of the meticulously polished jewels of Ravel’s repertoire, successfully transporting audiences from then to now in an enchanting journey to Spain.

Lilly Classical Series | Program Notes Three Dances (Suite No. 2) from The Three-Cornered Hat Manuel de Falla Born: November 23, 1876, Cádiz, Spain Died: November 14, 1946, Alta Grazia, Argentina Year Composed: 1919 Length: c. 12 minutes World Premiere: July 1919, London, England Last ISO Performance: January 2000 with conductor Raymond Leppard Instrumentation: 3 flutes, 3 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings “Music is not and should not be made to be understood, rather it is made to be experienced.” —Manuel de Falla In the late nineteenth and early twentieth century, Spanish music was awakened by a notable trio: Enrique Granados, Isaac Albéniz, and Manuel de Falla. Determined to give Spain a distinguished and singular voice on the international stage, the group devoted themselves very successfully to their task, and in the process created works of extraordinary beauty and originality.

Before going to Paris in 1907, de Falla was studying composition with Felipe Pedrell during the 1890s. Pedrell introduced him to native Spanish sources, some of which stemmed from the Renaissance and others from folk legends and stories. One of these that captured the composer’s imagination was El Corregidor y la Molinera (The Magistrate and the Miller’s Wife), a pantomime adapted from a short story written in 1874 by the cheeky Spanish author Pedro de Alarcón. The author’s work follows the Span-

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ish picaresque tradition, a genre in which a roguish, lower class character, who lives by his wits, tricks, buffoonery, and occasional corruption, is set in a comedic, satiric, narrative.

During 1917, de Falla wrote music for a pantomime ballet for Alarcón’s work, scored for a small chamber orchestra.

De Falla shared that music with Russian critic Serge Diaghilev, who then commissioned him to create a full ballet with large orchestra, which was re-titled El Sombrero de Tres Picos. The result was an all-star cast with choreography by Léonide Massine and set/ costume design by Pablo Picasso. Between 1919 and 1921, the composer extracted two suites for orchestra from the ballet score. The Second Suite, composed in 1921, contains The Neighbor’s Dance, The Miller’s Dance, and the Final Dance.

The story of the piece El Sombrero de Tres Picos is set in a small town in Andalusia, featuring a young miller and his beautiful wife, who are pitted against the sexual desires of the Corregidor (the town magistrate.) His three-cornered hat symbolizes his importance and power. The couple is happy together, and The Dance of the Miller’s Wife reflects their love as she dances a fandango for her husband.

While she dances the Corregidor arrives at their modest home for a visit. His advances reveal his true intent, to bed the miller’s wife.

The miller takes offense, humiliating the magistrate who leaves in shame. That night, the couple hosts a party, which features two dances: The Neighbors’ Dance (a seguidilla) and The Miller’s Dance (a farruca), which celebrates the victory over the Corregidor.

The revelry is interrupted by the police who arrest the miller and take him to jail for his lack of respect.

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Sounds of Spain

Aware of the husband’s absence, the Corregidor seizes his opportunity, races to the miller’s home, and in his haste, falls into a river. Upon his arrival, he lays his clothes out to dry, and hops naked into the marital bed to await the wife’s return. When he awakens, he finds his clothing missing, and he dresses in the miller’s clothing. When the young wife returns, she mistakes him for her husband, and tries to protect him from the police who arrive amid the uproar.

Meanwhile, the miller escapes from jail, and dresses in the Corregidor’s clothing. His intent was to have a revenge dalliance with the Corregidor’s wife! Confusion reigns, and finally the truth bubbles to the top. Peace is restored and an effigy of the Corregidor is bounced up and down on a blanket amid general merriment (The Final Dance, a jota).

“Interlude and Spanish Dance” from La vida breve Manuel de Falla Born: November 23, 1876, Cádiz, Spain Died: November 14, 1946, Alta Grazia, Argentina Year Composed: 1905 Length: c. 8 minutes World Premiere: April 1913, Nice, France Last ISO Performance: July 1983 with conductor Raymond Harvey Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, and strings Between August 1904 and March 1905, de Falla wrote a small opera titled La vida breve (Life is short.) Like the title, the opera (in two acts and four scenes) is also short, lasting only about an hour. Although the opera has not stood the test of time, its music has been

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very popular, especially the “Interlude and Spanish Dance” (which are actually reversed in the opera score).

Although the composer won an opera competition by unanimous vote in 1904 with La vida breve, a promised Madrid performance did not occur. De Falla, thoroughly disappointed, set out for Paris in the summer of 1907, where he met Claude Debussy, Isaac Albéniz, and Paul Dukas. The score of La vida breve came along with de Falla, and to the composer’s delight, Debussy and others praised his work. Debussy even helped with a revision in 1913.

La vida breve premiered April 1, 1913, and was performed again to great acclaim in January 1914 at the Opéra-Comique. French music critic Pierre Lalo stated, “The score has qualities of charm and beauty; it is one of the most pleasing things of its kind that we have heard at the Opéra-Comique for many years “Interlude and Spanish Dance” appear after the ending of the first act. Its melancholy music (marked andante molto tranquillo, misterioso e mesto), depicts sunset over Granada in a continuously brooding atmosphere, combined with hints of the celebratory ensuing dance embedded in its structure.

In stark contrast, an energetic jota emerges from the sadness. It is part of a betrothal celebration for Paco and Carmela, a fiancée of his own social class whom he must marry, instead of Salud, a lower- class gypsy girl whom he loves. At this fiesta, she falls dead at his feet in despair and from a self-inflicted stabbing.

The dance features a repeating theme that shimmers and flickers throughout. Happiness and joy are unstoppable, which musicologist David Ewen described as “the very heart of Spanish song and dance. . . the poignancy and passion, subtle and complex rhythms, and warm blood of oriental melody.”

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2019

Discovery Concerts

For more than 75 years, children from throughout Indiana have participated in the Indianapolis Symphony Orchestra’s Discovery Concerts. The tradition of providing outstanding education concerts for elementary school students continues this year when Jacob Joyce leads the ISO in 12 performances of From the Earth to the Moon and Beyond! Paired with specially curated curriculum and teacher workshops, this year’s concerts also feature connections to STEM with students exploring the link between art and science during this concert of great orchestral repertoire. For more information, visit IndianapolisSymphony.org/Education

2019 Discovery Concerts—From the Earth to the Moon and Beyond!

February 5, 6, 13 | March 1 | May 7, 28 JACOB JOYCE, Conductor SCOTT HOKE, Narrator Richard Strauss 1864–1949

Introduction from Also sprach Zarathustra

John Adams b. 1947

Short Ride in a Fast Machine

Claude Debussy 1862–1918

Clair de Lune

James Beckel From the Earth to the Moon and Beyond b. 1948 Scott Hoke, Narrator Felix Mendelssohn 1809–1847

“Scherzo” from A Midsummer Night’s Dream

Gustav Holst 1874–1934

“Jupiter, the Bringer of Jollity” from The Planets

John Williams b. 1932

“Main Title” from Star Wars

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Discovery Concerts

2019

Student Testimonial

THANKS TO ALL OF OUR SPONSORS Title Sponsor

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Please see Conductor Jacob Joyce’s bio on page 29.

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MAR 6

Rachmaninoff’s Symphonic Dances: Side-by-Side Concert Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Rachmaninoff’s Symphonic Dances: Side-by-Side Concert Wednesday, March 6, at 7 p.m.

Hilbert Circle Theatre

JACOB JOYCE, Conductor | RACHAEL SHAVER, Flute Jean Sibelius | 1865–1957

En Saga, Op. 9

Charles Tomlinson Griffes | 1884–1920

Poem for Flute and Orchestra Rachael Shaver, Flute INTERMISSION—Twenty Minutes Sergei Rachmaninoff | 1873–1943

Symphonic Dances, Op. 45

Non allegro

Andante con moto (Tempo di valse)

Lento assai - Allegro vivace

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There will be one 20-minute intermission.

Length of performance is approximately one hour and thirty minutes.

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

Jacob Joyce, Conductor Jacob Joyce, was appointed as the Associate Conductor of the Indianapolis Symphony in 2018 and is quickly gaining recognition as an innovative and dynamic presence on the podium. He will appear several times with the orchestra in the 2018–19 season, conducting Family Series, Happy Hour, and Discovery concerts.

Joyce served as the Conducting Fellow for the Fort Worth Symphony Orchestra, and has previously held positions as Associate Conductor of the Yale Symphony Orchestra, Music Director of the Berkeley College Orchestra, Music Director of Opera Theatre of Yale College, and Cover Conductor for the Handel and Haydn Society of Boston.

An avid promoter of contemporary music, Joyce has conducted several premieres of orchestral and operatic works. He has worked extensively with the NEC Contemporary Ensemble, and has performed with Hub New Music, Cantata Profana, and the Yalebased group SicInc. As an opera conductor, Joyce has recently conducted fully staged performances of Hansel and Gretel and the newly-composed Swann’s Way.

MAR 6 Joyce studied Orchestral Conducting with Hugh Wolff at the New England Conservatory.

He has also been taught by Larry Rachleff, Toshiyuki Shimada, Kenneth Kiesler, Patrick Summers, and Nicholas McGegan. Joyce attended the Tanglewood Music Center and the American Academy of Conducting at Aspen, where he was awarded the Robert Spano Conducting Prize. He was also recently given the award of Semi-Finalist in the Solti International Conducting Competition, where he conducted the Frankfurt Radio Symphony Orchestra and the Frankfurt Museumsorchester. Joyce graduated from Yale College in 2014, with a B.A. in Music and Economics.

He received a M.M. in Violin Performance from the Yale School of Music in 2015, studying with Syoko Aki. Joyce is also an accomplished violinist.

He has performed with several orchestras nationwide, and was awarded the Broadus Erle Prize for an Outstanding Violinist at the Yale School of Music. He served as the concertmaster of the Yale Symphony Orchestra, and performed regularly with the Boston Philharmonic and the Atlantic Symphony. He has previously attended the Tanglewood Music Center, the Bowdoin International Music Festival, and Encore School for Strings.

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MAR 6

Side-by-Side Concert Roster

First Violin Angela Li, Concertmaster Carmel High School Natsume Wu Carmel High School Addison Hightower

Home Schooled Hannah Chung Hamilton Southeastern High School Erin Jeffrey Home Schooled

Sam Kpedi Lawrence North High School Sidney Scott Warren Central High School

Second Violin Justin Kinchen, Principal Park Tudor School Nadine Templeton Brebeuf Jesuit Preparatory School Sophie Buselli North Central High School Alivia Gaskins Carmel High School Jessie Miller Lawrence North High School

Oboe Alexander Pearson Alani, Principal Bloomington High School North Lauren Smith Fishers High School

Viola Jalynn Chang, Principal Carmel High School Sarah Cummings North Central High School Lydia McGinness North Central High School Stephen Massey Lawrence Central High School Sahib Singh Avon High School

Bass Clarinet Cameron Hofbauer Avon High School

Cello Woojin Chung, Principal Fishers High School Selin Oh Carmel High School Sheridan Eggers Zionsville Community High School Sarah Richardson Zionsville Community High School Fiona Keith Herron High School Bass Tyler Benson, Principal Zionsville Community High School Carter Wemhoff Carmel High School

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Flute Rachael Shaver, Principal Home Schooled Nathan Rakes Center Grove High School Olivia Bradford Avon High School

Clarinet Paul Yoo, Co-Principal Bloomington High School North Adam Bowman, Co-Principal Zionsville Community High School

Bassoon Katie Mills, Principal Bloomington High School North Sam Sanchez Fishers High School Horn Sydney Ballensky, Co-Principal Fishers High School Ana-Elizabeth Cook, Co-Principal Center Grove High School Claire Fisher Carmel High School Jaden Parsons Hamilton Southeastern High School Trumpet Griffen Koch, Co-Principal Whiteland Community High School Nolan Lehman, Co-Principal Fishers High School Zach Schulz Fishers High School Nolan Shirley Fishers High School

Trombone Bryce Carroll, Principal Shelbyville High School Jackson Kirkwood Fishers High School DJ Rhodes Avon High School Tuba Zach Peycha, Principal Lebanon Senior High School Timpani/Percussion Julian Anderson Bloomington High School North Michael Sears Perry Meridian High School Gabriel Glover Fishers High School Luke Crabiel North Central High School Aria Eudaimond Westfield High School

Rachael Shaver, Flute

MAR 6

Rachael Shaver, 17, of Alexandria, Ind., is a member of the White River Christian Homeschool Band.

She began music studies at the age of 5, taking piano lessons from her father.

In fifth grade she started flute lessons with Emily Stanek.

She has also studied with Andrea Raes and Suzanne Farley, and is currently studying with Alistair Howlett.

In 2014 Shaver was awarded first prize in the Sandra Graef Middle School Flute Competition of Indianapolis. In 2017, she and her sister Angela, who plays oboe, won first prize together playing a double concerto in

the Benefic Chamber Music Summer Camp concerto competition at Ball State University. She has been a member of three Indiana Junior All-State Bands and four Indiana All-State Honor Bands, earning first chair two times. This is her third year in the ISO’s Side-by-Side program. In addition to playing flute, Rachael is an 11-year member of the Anderson Area Children’s Choir/Youth Chorale; she is the piano accompanist for the Tipton Middle School Choirs; and she has been in numerous community drama productions as a cast member or music director.

Shaver is planning to attend Anderson University in Anderson, Ind., to study flute performance, with a minor in Event Planning and Management.

This season, the Indianapolis Symphony Orchestra welcomes you to experience our brand new Brunch Series!

Enjoy the classical repertoire by the ISO on a leisurely Sunday afternoon. Tickets start at just $15 per concert!

Michael Francis Conducts Elgar Sunday, April 7, 2PM

Rachmaninoff’s Piano Concertos Sunday, June 2, 2PM

Add a pre-concert brunch to each concert for only $30! Overlook Monument Circle in the Hilbert Circle Theatre’s Wood Room while enjoying a delicious meal and sipping mimosas.

Brunch is served from 12:30 to 2PM. Tickets start at $15 and brunch is an additional $30 per concert.

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG/BRUNCH 31

MAR 8–9

Tony DeSare: I Love a Piano Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Anthem Coffee Pops Series/Program Four Friday, March 8, at 11 a.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | TONY DESARE, Vocals & Piano EDWARD DECKER, Guitar & Banjo | DYLAN SHAMAT, Bass | MICHAEL KLOPP, Drums Evolution of the Piano Overture I Love A Piano New Orleans Tango Faithfully Just In Time Imagine Hallelujah I Love Her So How I Will Say I Love You Rhapsody In Blue

† The Coffee Pops is an abbreviated performance.

There is no intermission.

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

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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 appears regularly with the Cleveland Orchestra at Blossom Music Center. Everly will conduct more than 90 performances in more than 22 North American cities this season.

As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the West Lawn of the U.S. Capitol. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers, making them some of the highest-rated programs on PBS.

MAR 8–9 Everly is also the Music Director of the IPL Yuletide Celebration, now a 33-year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One. 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 17 years, and when not on the podium, you can find him at home with his family, which includes Max the wonder dog.

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MAR 8–9

Tony DeSare: I Love a Piano Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Six Friday, March 8, at 8 p.m.

Saturday, March 9, at 8 p.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | TONY DESARE, Vocals & Piano EDWARD DECKER, Guitar & Banjo | DYLAN SHAMAT, Bass | MICHAEL KLOPP, Drums Evolution of the Piano Overture I Love A Piano New Orleans Tango Faithfully Sabre Dance Boogie How Deep Is Your Love Just In Time INTERMISSION­—Twenty Minutes Imagine Hallelujah I Love Her So How I Will Say I Love You Clair de Lune Rhapsody In Blue Premier Sponsor

There will be one 20-minute intermission.

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

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Tony DeSare, Vocals & Piano Tony DeSare performs with infectious joy, wry playfulness, and robust musicality.

Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on oldschool class around the globe.

DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, the Today Show and his music has been posted by social media celebrity juggernaut, George Takei. DeSare has also collaborated with YouTube icons Postmodern Jukebox.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer.

MAR 8–9

He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel’s Love Always, Santa, and Lifetime’s Nanny Nightmare. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook.

His compositions include a wide-range of romantic, funny, and soulful sounds that can be found on his top-selling recordings.

DeSare’s forthcoming appearances include the Milwaukee Symphony Orchestra, Seattle Symphony, Grand Rapids Symphony, Baltimore Symphony Orchestra, and the Smith Center in Las Vegas.

DeSare releases new recordings, videos of standards, and new originals every few weeks on his YouTube channel, iTunes, and Spotify.

Follow Tony on Facebook, Twitter, and subscribe on YouTube to stay connected.

Tony DeSare is a Yamaha Artist.

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MAR 14–17

Star Wars: The Empire Strikes Back In Concert Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Bank of America Film Series Thursday, March 14, at 7:30 p.m.

Friday, March 15, at 8 p.m.

Saturday, March 16, at 8 p.m.

Sunday, March 17, at 3 p.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | JOHN WILLIAMS, Composer

STAR WARS: THE EMPIRE STRIKES BACK IN CONCERT © 2018 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © DISNEY. Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd. and Warner/Chappell Music

38

There will be one 20-minute intermission.

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

See Maestro Everly’s biography on page 33.

Jessica Linnebach, Guest Concertmaster

MAR 14–17

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.

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.

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.

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.

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

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 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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2019

MAESTRO OPEN Monday, June 10, The Fort Golf Course

INDIANA’S PREMIER GOLF OUTING EXPERIENCE! Teams are selling fast! Register by contacting Carol Ann Arnell at 317.262.5225 or carnell@IndianapolisSymphony.org

27, 8PM For more details about the 2019 Maestro Open, visit our website at: www.IndianapolisSymphony.org ER 28, 8PM Must be 21+ to play.

29, 3PM

INDIANAPOLIS SYMPHONY ORCHESTRA

Your favorite films with live orchestra are now available to purchase as a subscription!

Enjoy the best ticket prices and access to prime seats before they go on sale to the public.

See you at the movies!

STAR WARS: RETURN OF THE JEDI Sept. 27-29

PSYCHO IN CONCERT Oct. 31

IN ASSOCIATION WITH 20TH CENTURY FOX, LUCASFILM AND WARNER /CHAPPELL MUSIC. © 2019 & TM LUCASFILM LTD. ALL RIGHTS RESERVED

© DISNEY

CASABLANCA FILM WITH ORCHESTRA Feb. 14 & 15, 2020

MARY POPPINS IN CONCERT LIVE TO FILM May 2 & 3, 2020

All performances at the Hilbert Circle Theatre Programs, dates, and artists are subject to change

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG/SUBSCRIBE 40

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MAR 29–30

Sibelius Violin Concerto Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Twelve Friday, March 29, at 8 p.m.

Saturday, March 30, at 7 p.m.

Hilbert Circle Theatre

PETER OUNDJIAN, Conductor | JAMES EHNES, Violin Jean Sibelius | 1865–1957 Concerto in D Minor for Violin and Orchestra, Op. 47 Allegro moderato Adagio di molto Allegro, ma non tanto

James Ehnes, Violin

INTERMISSION—Twenty Minutes William Walton | 1902–1983 Symphony No. 1 in B-flat Minor

Allegro assai Presto, con malizia Andante con malinconia Maestoso - Briozo ed ardamente - Vivacissimo

Premier Sponsor

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Associate Sponsor

There will be one 20-minute intermission.

Length of performance is approximately one hour and forty minutes.

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

See Guest Concertmaster Kevin Lin’s biography on page 77.

Peter Oundjian, Conductor A dynamic presence in the conducting world, Peter Oundjian is renowned for his probing musicality, collaborative spirit, and engaging personality.

The 2017–18 season marked Oundjian’s fourteenth and final season as Music Director of the Toronto Symphony Orchestra. His appointment in 2004 reinvigorated the Orchestra with recordings, tours, and acclaimed innovative programming, as well as extensive audience growth, significantly strengthening the ensemble’s presence in the world. In 2014, he led the TSO on a tour of Europe, which included a sold-out performance at Amsterdam’s Concertgebouw and the first performance of a North American orchestra at Reykjavík’s Harpa Hall.

Last season, Oundjian led the TSO on a major tour of Israel and Europe.

Oundjian was appointed Music Director of the Royal Scottish National Orchestra in 2012.

Under his baton, the orchestra has enjoyed

MAR 29–30 several successful tours including one to China, and has continued its relationship with Chandos Records.

Oundjian concluded his six-year tenure with the RSNO at the end of the 17–18 season.

Oundjian was also named Artistic Advisor for the Colorado Music Festival, and returned to the Baltimore, Atlanta, and NHK Symphonies, and the Los Angeles Chamber Orchestra.

Few conductors bring such musicianship and engagement to the world’s great podiums—from Berlin, Amsterdam, and Tel Aviv, to New York, Chicago, and Sydney. He has appeared at some of the great annual gatherings of music and music-lovers: from the BBC Proms and the Prague Spring Festival, to the Edinburgh Festival and The Philadelphia Orchestra’s Mozart Festival, where he was Artistic Director from 2003 to 2005.

Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from 2006 to 2010 and Artistic Director of the Caramoor International Music Festival in New York between 1997 and 2007. Since 1981, he has been a visiting professor at the Yale School of Music, and was awarded the university’s Sanford Medal for distinguished service to music in 2013.

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MAR 29–30

James Ehnes, Violin

James Ehnes has established himself as one of the most sought-after violinists on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favorite guest of many of the world’s most respected conductors.

Alongside his concerto work, Ehnes maintains a busy recital schedule. In 2016, Ehnes undertook a cross-Canada recital tour to celebrate his 40th birthday.

Ehnes’ long list of orchestras includes, amongst others, the Boston, Chicago, London, NHK and Vienna Symphony Orchestras, the Los Angeles, New York, Munich and Czech Philharmonic Orchestras, and the Cleveland, Philadelphia, Philharmonia, and DSO Berlin orchestras.

Ehnes has an extensive discography and has won many awards for his recordings including a Gramophone Award for his live recording of the Elgar Concerto with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the Korngold, Barber and Walton violin concertos won a Grammy Award for ‘Best Instrumental Soloist Performance’ and a JUNO award for ‘Best Classical Album of the Year’. Ehnes’s recording of the Bartók Concerti was nominated for a Gramophone Award in the Concerto category. Recent releases include sonatas by Beethoven, Debussy, Elgar and Respighi, and concertos by Britten, Shostakovich, Prokofiev and Walton, as well as the Beethoven Violin Concerto with the Royal Liverpool Philharmonic Orchestra and Andrew Manze, which was released in October 2017 (Onyx Classics).

Recent and future orchestral highlights include the MET Orchestra at Carnegie Hall with Noseda, Gewandhausorchester Leipzig with Shelley, Orchestre National de France with Gardner, San Francisco Symphony with Janowski, Frankfurt Radio Symphony with Orozco-Estrada, Hong Kong Philharmonic with van Zweden and Gothenburg Symphony with Nagano, as well as his debut with the London Philharmonic Orchestra at the Lincoln Center in spring 2019 and a residency with the Minnesota Orchestra throughout 2017–18.

In 2017, Ehnes premiered the Aaron Jay Kernis Violin Concerto with the Toronto, Seattle and Dallas Symphony Orchestras, and gave further performances of the piece with the Deutsches Symphonie-Orchester and Melbourne Symphony Orchestra. Ehnes was awarded the 2017 Royal Philharmonic Society Award in the Instrumentalist category.

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As a chamber musician, he has collaborated with leading artists such as Andsnes, Capucon, Lortie, Lugansky, Yo-Yo Ma, Tamestit, Vogler, and Yuja Wang. In 2010 he formally established the Ehnes Quartet, with whom he has performed across Europe.

Ehnes is the Artistic Director of the Seattle Chamber Music Society.

Ehnes began violin studies at the age of four, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, made his orchestral debut with Orchestre Symphonique de Montréal aged 13 and graduated from The Juilliard School in 1997, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music. He is a Fellow of the Royal Society of Canada and in 2010 was appointed a Member of the Order of Canada.

Ehnes plays the “Marsick” Stradivarius of 1715.

by

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MAR 29–30

Sibelius Violin Concerto for such a career. The Violin Concerto is imbued (both) with his wish and his painful farewell to his ambition.” A painful shoulder injury in his twenties sealed any further notions of a violin career. The composer was thirty-eight when he completed the first version of his concerto, described by critic Michael Steinberg as being “written for a kind of ghostly self.”

Lilly Classical Series Program Notes

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

Concerto in D Minor for Violin and Orchestra, Op. 47 Jean Sibelius Born: December 8, 1865, Hämeenlinna, Finland Died: September 20, 1957, Järvenpää, Finland Year Composed: 1903–1904 Length: c. 31 minutes World Premiere: February 1904, Helsinki, Finland Last ISO Performance: June 2014 with conductor Krzysztof Urbański and violinist Joshua Bell Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo violin At age fourteen, just starting violin lessons, Sibelius wrote, “The violin took me by storm, and for the next ten years, it was my dearest wish, my overriding ambition, to become a great virtuoso.” But he was late to the game and had mediocre teachers. Composer David Evan Thomas said, “He had neither the physical coordination nor the temperament

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The first performance of Opus 47 occurred with the violin teacher Victor Novacek as soloist and Sibelius conducting. Predictably, this event was a failure. “Yet that was the plan that the self-destructive and, in this instance, also sadistic Sibelius chose” (Steinberg). The composer was busy drinking heavily, contending with psychological demons, and dealing with anger.

After extensive revisions, a second premiere in Berlin with violinist Karel Halíř and conductor Richard Strauss had a far better outcome. Sibelius dedicated his only concerto to the child prodigy Franz von Vecsey, who eagerly performed the work when he was thirteen, but “could not adequately meet the technical demands of the concerto” (Festspielhaus: Baden-Baden, April 8, 2010 program notes).

Exploring the music The first movement, marked Allegro moderato, opens quietly, without a hint of the difficulties lurking on the horizon.

Strings provide a soft background while the soloist sings a melancholy theme, then comes further commentary from low winds. Gaining tremendous volume, the theme stops on a high note. Violins move to the forefront, presenting a second theme. Afterward, a tender third theme is introduced by the soloist. The division between soloist and orchestra is clearly defined in this movement: no conversations or interactions. Critic Karl Flodin wrote, “He wrote to let the soloist remain the sovereign ruler the entire time.”

MAR 29–30

Lilly Classical Series | Program Notes As the focus shifts to the violinist’s “first cadenza,” the soloist plays arpeggios and scales, adds double stops (two notes at once), and at one point, the soloist must produce a trill with fingers one and two while simultaneously playing a lyrical theme on another string.

Difficulty increases with “dangerous” doublestopped major sixths, octaves, dangerous position shifts, and more passaggi including double-stopped glissandi (slides).

Low winds calm the scene and provide support while the soloist slows into a marchlike episode, which gains in high drama assigned to the orchestra. An oboe solo introduces a recall of the third theme sung by the soloist. The orchestral part shrinks to almost nothing. Then the fireworks begin again: another cadenza-like episode with the soloist soaring high above the scene before a sudden chord ends the movement.

Wind duets open the radiant second movement, marked Adagio di molto. The soloist enters with a deeply emotional theme, marked sonoro ed espressivo, highlighting the singing capabilities of the instrument. The orchestra gets a turn at romanticism as well in presenting another glowing idea, embellished by the soloist. Again, as in the first movement, the music is allowed to soar rhapsodically and unfettered. Wisps of regret and sadness from the soloist fill the exquisite, quiet close.

Some musicologists have suggested that this movement comprises the sad “farewell” to the violin and Sibelius’ personal hopes.

His third movement, in ¾ meter, is marked Energico and puts the soloist to a massive test. A short, rhythmic introduction generates a strong pulse before the soloist begins a ferociously difficult theme. Sir Donald Tovey called this a “polonaise for polar bears!” because of its lumbering, heavy motion, activated by the orchestra.

A syncopated second theme is presented by the orchestra, again complicated by the

soloist “firing across the bow” and seizing the spotlight.

For many listeners, the highlight of the movement lies in Sibelius’ emphatic technical demands using “every trick in the book.” Extensive string crossings, harmonics, rapid passagi (placed in the high and low registers of the violin), octaves, double stops, and cross accents, create a whirlwind of showstopping dazzle. There is no mercy and no slowing as the music courses headlong into high turbulence. Within the last section, the soloist embellishes a recall of the major themes, and the ending produces a brilliant fire cascade of scales and arpeggios, snapping closed with a final high note from the soloist, who clearly has the last word.

Symphony No. 1 in B-flat Minor William Walton Born: March 29, 1902, Oldham, United Kingdom Died: March 8, 1983, Ischia, Italy Years Composed: 1932–1935 Length: c. 43 minutes World Premiere: November 1935, London, England Last ISO Performance: This is the first performance with the ISO Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 2 timpani, percussion, and strings “[Music] irritates me to madness, especially my own.” — William Walton Shortly before his death, William Walton reflected on his musical legacy, commenting, “I’m all right, now and then, but I bet I go down in history as one of those miserable

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MAR 29–30

Sibelius Violin Concerto

English composers.” History has proved him wrong. He was one of the best English composers of the twentieth century, achieving great success with his most famous work, Façade, written in 1923. He continued to achieve success throughout his career in many genres. Sometimes he was criticized for not being modern, that he was “too traditional,” “too romantic,” and “too nostalgic.” He countered by saying, “I like being out of date so long as there is nothing going on I do not know about.”

Walton’s formative years Walton was born into humble circumstances, but managed to receive a scholarship to Oxford University, where he did not graduate, having failed to produce a required work for graduation. However, all was not lost: at the university, he had the good fortune to meet Sacheverell Sitwell (who also did not graduate from Oxford), who invited him to visit his family in London.

The Sitwell family was unique. Sacheverell’s sister, Edith, was an eccentric poet, whose poems were sometimes set to music by notable composers such as Benjamin Britten and Peter Pears, and whose public readings attracted large audiences. Her brother, Osbert, was a controversial writer who had a fascination with the paranormal and was a member of the Georgian Group. He stayed with the prominent, wealthy Sitwell family for fifteen years, and during those years, set some of Edith’s poetry to music in his famous Façade, and used Osbert’s libretto for Belshazzar’s Feast.

The family’s loyalty, financial support, and incredible hospitality were critical to Walton’s future success. During those times, which he described as “scrounging and living off of my friends,” he met and received music lessons from the Swiss conductor Ernest Ansermet, Italian composer and conductor Ferruccio Busoni, and English musicologist Edward J.

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Dent, all of whom Walton met via the Sitwell family. Walton began his First Symphony in 1932 while living with this group, stating, “I may be able to manage to knock [Arnold] Bax off the map!” His Second Symphony would not appear until 1960.

Walton’s writing style Walton was a slow and careful composer.

His first two movements were finished by early 1933, and later in that year, he finished the third movement. But it was not until 1935 that his First Symphony was finally completed, although a premiere of its first three movements had premiered at Queen’s Hall on December 3, 1934. The full four-movement symphony premiered in its completed state on November 6, 1935. Critical and audience reactions were enthusiastic. At that time, the daily British newspaper The News Chronicle (taken over into the Daily Mail in 1960) wrote, “Applause at the close was overwhelming, and when Mr. Walton, a slim, shy young man came on to the platform, he was cheered continuously for five minutes.” The musicologist Michael Steinberg wrote in his book, The Symphony: A Listener’s Guide, “Not many would wish to call Walton one of the great twentieth-century composers, but the claim that his First Symphony is one of the great twentieth-century symphonies is not excessive.”

Two dramatic love affairs influenced the First Symphony, and Walton admitted that the symphony “reflected his own emotional experiences at the time” (Edward Greenfield, “The Walton I Knew,” The Guardian, January 24, 2002). His comment will be understood as the symphony unfolds. A broken love affair is singularly painful, sorrowful, and disastrous to the soul. The first three movements reflect this terrible experience and the composer’s suffering. When these effects are finally subjugated, Walton’s joy and freedom in his new existence move the symphony into a jubilant finale.

Lilly Classical Series | Program Notes The volcanic rage, bitterness, violence, and sadness erupting in the first three movements of Walton’s First Symphony stemmed largely from his failed relationship with Baroness Imma von Doernberg, a wealthy Swiss widow who left him after a passionate six-year love affair with a Hungarian doctor. The composer was devastated. It was a subsequent love affair that explains the radical change in the fourth movement.

Walton had met another woman, twentytwo years his senior, Alice Wimborne, who not only brought him happiness, but also inspiration to complete the symphony.

Since Osbert Sitwell did not like her, he moved out of the Sitwell home and bought a home in Belgravia. The first premiere on December 3, 1934, presented by the London Symphony Orchestra, offered only the first three movements. The full symphony premiered on November 6, 1935, with the BBC Symphony Orchestra.

Inside the piece The first movement, marked Allegro assai, sometimes has been described as a tragic psychodrama. It opens quietly, as single tones emerge to build the “Ur chord” (meaning original chord), which will appear throughout the work. The chord’s reveal is slowly presented, each added tone occupying a full measure in the opening measures. Underneath, second violins begin a nervous ostinato (marked leggiero e ritmico), focused on an open fifth, which was the first building block of the chord. An oboe caps the scene with a winsome tune.

But gentleness gives way, pushed by the rest of the orchestra and increasing ostinato volume, into the direction of a ferocious, orchestral climax. Low, powerful strings then offer jagged melodic ideas and rhythm. The mood seethes with an ominous portent and anger growing into an inferno. The ostinato’s rhythm is shared throughout the orchestra again, prodding the tension until a second

MAR 29–30

modest subject enters, singing quietly. Inevitably, it is swallowed by the dominant beginning content and power.

A quiet wind section moves forward to calm the turbulence, but once again, the original mood crashes and subsumes the gentleness. Notice the significant brass control and leadership at this point.

The movement continues in its surging dynamics, accelerations, and fragmented melodies piling on top of one another.

Layers of violence grow without stopping. In the closing section, a recall of the opening chord is proclaimed assertively and it moves heavily, combined with timpani accents and sharp dissonances, magnifying the implied tension of the opening material, until an explosive close.

The second movement presents a spikey, fast-moving opening, introducing threenote cells of ideas that constitute the main topic. As these race around, the timpani adds depth above the scampering strings.

A rough second theme enters and is tossed about amid violins, horns, and trumpets, while subjected to massive contortions.

The speed is unrelenting and exhausting.

Dynamics are high except for small moments to catch a breath. The ending is marked by a high, savage trill, and snapping chords.

The third movement, marked andante con malincolia, opens quietly with a mournful flute singing a tender, slow-moving theme.

This becomes subject to variations, all contained within a single atmosphere of deep regret, pain, darkness, and loss. Violins provide restrained, consistent support before moving forward with their own commentary in a central section. At one point, they dissolve into soft tremolos to support a ponderous melodic reflection from low strings. Walton’s anguish is palpable, severe, and unending. Emotions

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MAR 29–30

Sibelius Violin Concerto remain strained, fueled by highsustained notes, large intervals, and passion. Suddenly the tiny flute returns for a singular reminiscent farewell.

The fourth movement, marked Maestoso, Brioso ed Ardemente, is astonishingly different from the other three. Gone is the instability, fury, and lamentation: we are in a happy, invigorating world of zesty themes and reliable rhythms. The brass add elegant flourishes and rich coloration throughout.

A first theme is lighthearted and charming, but the highlight is a jazzy second theme that coils itself into a brisk fugue. At the ending of the fugue, a poised third subject

is introduced by oboes. The orchestra takes its cue and momentarily relaxes as well, but gradually the pace re-ignites growing into a sturdy, climactic brass statement.

Immediately thereafter, the sprinting happiness of the opening resumes with a jaunty theme shared throughout the orchestra. Walton then unleashes all orchestral forces in a dazzling final section.

For a moment in the tumult, a tiny recall of the original first subject sounds from solo trumpet and winds join in another reflection of earlier ideas before the timpani insists on renewed exultation, joining rhapsodic strings singing fortissimo into a formidable spectacular closure.

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A family-friendly series presented by:

Premier Sponsor:

From the Earth to the Moon and Beyond!

Sunday, March 31, 3PM at Hilbert Circle Theatre Pre-concert activities begin at 2PM.

Jacob Joyce, Conductor

Scott Hoke, Narrator

Get ready to blast off with a concert that celebrates space exploration and the 50th anniversary of the moon landing. Former principal trombone of the ISO, James Beckel, has written a special piece to celebrate the occasion and to honor his retirement from the Symphony after 49 years of service.

Making Magical Music Sunday, April 28, 3PM at Hilbert Circle Theatre Pre-concert activities begin at 2PM.

Keitaro Harada, Conductor

David Ranalli, Magician

Take your family on an adventure to discover the magic of music with the Indianapolis Symphony Orchestra! The ISO will perform music recognizable to many children from movies such as Fantasia, compositions by John Williams, and others during a delightful afternoon of music.

Want more family-friendly performances?

The upcoming 2019-20 SymFUNy Sundays Series will be announced March 18!

Order Now! Call 317.639.4300 or visit IndianapolisSymphony.org/education/families

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APR 5, 7

Michael Francis Conducts Elgar Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Thirteen Friday, April 5, at 8 p.m.

Sunday, April 7, at 2 p.m.

Hilbert Circle Theatre

MICHAEL FRANCIS, Conductor | MICHELLE DEYOUNG, Mezzo-Soprano ANTHONY DEAN GRIFFEY, Tenor | MATTHEW BROOK, Bass-Baritone INDIANAPOLIS SYMPHONIC CHOIR, Eric Stark, Artistic Director Edward Elgar | 1857–1934 The Dream of Gerontius, Op. 38

Part I

Part II

Michelle DeYoung, Mezzo-soprano

Anthony Dean Griffey, Tenor

Matthew Brook, Bass

Indianapolis Symphonic Choir

Premier Sponsor

Associate Sponsor

The Performance of Classical Music including Major Liturgical and Choral Music is endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen There will be no intermission.

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

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

54

Michael Francis, Conductor

APR 5, 7

Conductor Michael Francis has quickly established himself internationally.

Known for maintaining a diverse repertoire while paying particular homage to the composers of his native Britain, Francis enjoys great reception throughout North America, Europe, and Far East Asia.

Working with young musicians has always been a priority for Maestro Francis. Aside from a six-city Canadian tour with the National Youth Orchestra of Canada, Francis has made frequent visits to Miami’s New World Symphony and recently returned to the National Youth Orchestra of Scotland.

This season, Francis debuts with Berlin Radio Symphony, Philharmonia, Minnesota, and Pacific Symphony orchestras. He returns to Komische Oper Berlin, Seoul Philharmonic, Milwaukee, and Indianapolis Symphony orchestras. Furthermore, he will conduct the international ARD competition with Bavarian Radio Symphony.

Other guest and return appearances in North America have included Cleveland Orchestra, New York, Cincinnati, Houston, Atlanta and Pittsburgh, as well as the symphonies of Montreal, Toronto, and Ottawa. His European engagements have included Dresden Philharmonic, MDR Leipzig, Deutsche Staatsphilharmonie Rheinland-Pflaz, Helsinki Philharmonic, Orquesta Sinfónica de RTVE Madrid, and Mariinsky Orchestra. In the UK, his has worked with London Symphony, Royal Philharmonic, BBC Philharmonic, BBC National Orchestra of Wales, and BBC Scottish Symphony. In Asia, Maestro Francis has conducted the NHK Symphony and the National Symphony Orchestra of Taiwan as well as Hong Kong and Japan Philharmonics along with a return to Malaysia and Seoul Philharmonics.

After several years as a tenured double-bass player in the London Symphony Orchestra, he came to prominence as a conductor in January 2007, replacing an indisposed Valery Gergiev for concerts with the LSO during the BBC’s Gubaidulina festival at the Barbican Centre. Just one month later, Francis was asked, this time with only two hours’ notice, to replace the composer/conductor John Adams in a performance of his own works with the LSO with the Philharmonie Luxembourg. Soon after in January 2009, he replaced André Previn leading a German tour of the Stuttgart Radio Symphony with Anne-Sophie Mutter.

Soloists that he works with include Lang Lang, Arcadi Volodos, Itzhak Perlman, Christian Tetzlaff, Vadim Gluzman, Emanuel Ax, Ian Bostridge, James Ehnes, and Rufus Wainwright.

Francis’ discography includes the Rachmaninoff piano concertos with Valentina Lisitsa and the London Symphony Orchestra, Wolfgang Rihm’s Lichtes Spiel with Anne-Sophie Mutter and the New York Philharmonic, and the Ravel and Gershwin piano concertos with Ian Parker.

Now entering his third season as Music Director of the Florida Orchestra, Michael Francis’ contract has already been extended to 2021. He is also Music Director of the Mainly Mozart Festival in San Diego, where he has launched an ambitious multi-year exploration of Mozart’s life. He was recently Chief Conductor and Artistic Advisor of the Norrköping Symphony Orchestra from 2012 to 2016.

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APR 5, 7

Michelle DeYoung, Mezzo-Soprano

Mezzo-soprano Michelle DeYoung has already established herself as one of the most exciting artists of her generation. She continues to be in demand throughout the world, appearing regularly with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, The Met Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Concertgebouworkest. She has also performed at the prestigious festivals of Ravinia, Tanglewood, Saito Kinen, Edinburgh, and Lucerne. In Australia she has appeared multiple times with Sydney Symphony, and most recently sang Kundry in concert performances of Parsifal at Opera Australia.

Equally at home on the opera stage, DeYoung has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Bayreuth Festival, Berliner Staatsoper, Paris Opera, Theater Basel, and the Tokyo Opera. Her many roles include the title roles

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in Samson et Dalilah and The Rape of Lucretia, Fricka, Sieglinde, and Waltraute in The Ring Cycle; Kundry in Parsifal, Venus in Tannhäuser, Brangäne in Tristan und Isolde, Eboli in Don Carlos, Amneris in Aida, Santuzza in Cavellaria Rusticana, Marguerite in Le Damnation de Faust, Dido in Les Troyens, Judith in Bluebeard’s Castle, and Jocaste in Oedipus Rex. She also created the role of the Shaman in Tan Dun’s The First Emperor at the Metropolitan Opera.

A multi Grammy Award-winning recording artist, DeYoung’s impressive discography includes Kindertotenlieder, Mahler’s Symphony No. 3, and Das Klagende Lied with Michael Tilson Thomas and the San Francisco Symphony (SFS Media), Les Troyens with Sir Colin Davis and the London Symphony Orchestra (LSO Live!), and Mahler Symphony No. 3 with both the Chicago Symphony Orchestra and Bernard Haitink (CSO Resound) and the Pittsburgh Symphony and Manfred Honeck (Challenge Records International). Her first solo disc was released on the EMI label.

In the current season, DeYoung makes her debut at the English National Opera as Amneris in a new production of Aida. She also appears in concert with the Sydney Symphony, Philharmonia Orchestra, London Philharmonic, Hong Kong Philharmonic, and the Dallas Symphony Orchestra.

Anthony Dean Griffey, Tenor American tenor Anthony Dean Griffey has captured critical and popular acclaim on opera, concert, and recital stages around the world. The combination of his beautiful and powerful lyric tenor voice, gift of dramatic interpretation, and superb musicianship have earned him the highest praise from critics and audiences alike.

During the 2018–2019 season Griffey returns to the Metropolitan Opera for the Met premiere of Nico Muhly’s Marnie conducted by Robert Spano. Other appearances include Das Lied von der Erde with the Nashville Symphony led by Giancarlo Guerrero. He will be heard in recital with pianist Warren Jones at the University of Notre Dame, and at New York City’s Morgan Library for the George London Foundation for Singers.

Last season he sang the Dream of Gerontius with the Vancouver Symphony and Bramwell Tovey, the Britten Serenade for Tenor and Horn with the Rhode Island Philharmonic and Ken-David Masur, the Verdi Requiem at the Brevard Music Festival led by JoAnn Falletta, Das Lied von der Erde with the Orquesta Sinfónica de Minería led by Carlos Miguel Prieto, Beethoven Symphony No. 9 with the Omaha Symphony and Thomas Wilkins, and for a return to the Milwaukee Symphony led

by Jun Märkl. He appeared in recital with pianist Warren Jones at the Eastman School of Music and Manhattan School of Music, and

APR 5, 7 in a special recital with Frederica von Stade at Eastman.

Anthony Dean Griffey has appeared in the world’s most prestigious opera houses including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Houston Grand Opera, Paris Opera, Teatro Comunale di Firenze, Teatro dell’Opera in Rome, and the Saito Kinen Festival in Japan. His many roles include the title roles in Peter Grimes, Idomeneo, Oedipus Rex, and Kurka’s The Good Soldier Schweik; Florestan in Fidelio, Erik in Die Fliegende Holländer, Male Chorus in The Rape of Lucretia, Alfred in Die Fledermaus, and Jim Mahoney in The Rise and Fall of the City of Mahagonny.

A four-time Grammy winner, Griffey’s extensive audio and video discography includes the Metropolitan Opera’s Peter Grimes (Warner Classics), the Los Angeles Opera’s The Rise and Fall of the City of Mahagonny (Euroarts), Mahler’s Symphony No. 8 with the San Francisco Symphony (SFS Media), Tonhalle Orchestra Zurich (RCA) and Orquesta Nacional de Espana (Deutsche Grammophon), Britten’s War Requiem with the London Philharmonic Orchestra (LPO) and Netherlands Radio Philharmonic (Challenge Classics), and Carlisle Floyd’s Of Mice and Men with the Houston Grand Opera (Albany Records).

Griffey holds degrees from Wingate University, the Eastman School of Music, and the Juilliard School, and is an alumnus of the Metropolitan Opera’s Lindemann Young Artists Program. Since 2015 Griffey has held the position of Professor of Voice at the Eastman School of Music–University of Rochester.

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Matthew Brook, Bass-Baritone

Matthew Brook has appeared widely as a soloist and has worked extensively with conductors such as Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, Paul McCreesh, and Sir Mark Elder, and many ensembles including the Philharmonia, LSO, the St Petersburg Philharmonic, the RPO, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, the English Baroque Soloists, the Gabrieli Consort & Players, the Sixteen, the Royal Northern Sinfonia, and Orchestre National de Lille.

Brook’s recordings include Counsel Trial By Jury and Friar Tuck in Sullivan’s Ivanhoe with the BBC National Orchestra of Wales for

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

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Chandos records; a Gramophone Award-winning recording of Handel’s Dublin score of Messiah, Acis and Galatea and Bach’s St. Matthew Passion, and most recently, Handel’s Esther, all with the Dunedin Consort for Linn Records; and Il Re di Scozia in Handel’s Ariodante with Il Complesso Barocco and Alan Curtis for EMI/Virgin.

Recent and future highlights include Haydn’s Creation with the City of Birmingham Symphony Orchestra, Handel’s Messiah with the Danish National Symphony Orchestra, Bach’s Magnificat and Brahms’ Triumphlied with the Cincinnati Symphony Orchestra, Il Re di Scozia in Ariodante with the Staatstheater Stuttgart, Bach’s B minor Mass at the Al Bustan Festival in Beirut, Fauré’s Requiem with the Orchestre de Chambre de Paris, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, a tour of Bach cantatas with the Monteverdi Choir and Sir John Eliot Gardiner, and Herod and Father in Berlioz’s L’Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis.

Bruckner’s

Symphony No. 3

Thursday, May 2, 6:30PM Hilbert Circle Theatre Matthias Pintscher, Conductor We're breaking down all barriers to some of classical music's greatest scores!

Hear from experienced conductor Matthias Pintscher and the ISO’s new associate conductor Jacob Joyce as they explore what makes this piece masterful. Then sit back and enjoy as the Indianapolis Symphony Orchestra brings Bruckner’s Symphony No. 3 to life!

Adult Ticket: $20 Student Ticket: $10

Enjoy a drink with the performance—drinks are allowed to be taken into the hall.

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

APR 5, 7

Indianapolis Symphonic Choir The Indianapolis Symphonic Choir is proud to be one of the nation’s most established and dynamic musical institutions and 2018–19 marks its 82nd season.

Among the most active symphonic choruses in the United States, this organization reaches over 25,000 people each season through more than 25 performances and education/community engagement programs. The approximately 200 volunteer singers demonstrate the Choir’s commitment to musical excellence through their talent and dedication during each 11-month season. The Symphonic Choir is led by a professional staff and governed by a volunteer Board of Directors.

Founded in 1937 at the Orchestra’s request to perform the great choral-orchestral repertoire, the Indianapolis Symphonic Choir continues to be the choral partner of the Indianapolis Symphony Orchestra. In 2018, the Choir joined the ISO at The Kennedy Center (Washington, D.C.) for the SHIFT: A Festival of American Orchestras. In 2015, the Symphonic Choir commissioned and premiered Mohammed Fairouz’s newest oratorio, Zabur, which was released internationally by Naxos Records (2016) and also featured the Indianapolis Symphony Orchestra and the Indianapolis Children’s Choir.

Staff

Eric Stark, Artistic Director Michael Davis, Assistant Artistic Director & General Manager David Duncan, Keyboard Artist Patrick Pauloski, Conducting Fellow Liam Bonner, Executive Director Andrea Yovanovich, Development Director James Plenty, Educational Specialist Joan Boyer, Patron Relations Dan Deno, Administrative Support

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Indianapolis Symphonic Choir Soprano 1 Shallen Atkins Marilyn Baumgardt Emily Christine Carson Michelle Cohen Cindy Colter* Suzie Dodds Shannon Gardner Deborah MongoldHabing Danielle Hartman Kathy L. Jensen* Patricia K. Johnson* Quay Kester Heather Lapham Kuhn Erin Quandt Lauren Richmond Jennfer Ryan Olesya Savinkova Stephanie Shaw Pamela Walters Bethany Watson Faedra Weiss* Suellen Williams Mary Jo Wright Soprano 2 Deborah E. Anderson Ala Antibus Laura Brueckmann Emily Cline Isabella Ferrari Diane Hall Ann Hill* Karen Jacobs Jessica Johnson Debbie Jones Kennedy Luton Christina Merriott Mary Jo Moss* Lynn Murray Laura Nagle Emily Nickels Diana Pannell Joanna Luisi Reinhardt Micci Richardson* Ingrid E. Rockstrom* Deborah Smith*

Brynn Tyszka Coleen Walker Judith Ann Wilson* Alto 1 Carole S. Arthur* Deana Beecher Katherine Bolinger Kara Bougher Marie Butz* Cynthia L. Carr Rachel DeMuth Kimberly DiCamilla Holly Erickson Dana Goot Jane E. Gosling Mary Gosling* Ruth Smith Green Molly DuMontelle Harris Janet Hock Laura Howie-Walters Faith Justiniano Julia Keller-Welter Susan Kniola Maayan LeroyMelamed Mary Leslie Jaclyn Martin Phyllis McCormack* Julie L. Paavola Carol Love Selby Margaret Strodtbeck Leeann H. Vrabel Renee Wargel* Lydia Wells Terran Williams Alto 2 Reba Baker Janice Bilby* Ann Carlson Kathy Dean* Ann M. Gerritsen* Kristin Ingersoll Jan Kennicutt Beth Kurth Katherine T. Landschulz Suzanne Lodato Claudia J. MacRae

Mujinga Rose Massela Shari L. Morey Rose M. Mullen* Kathy Martin O’Neil Becky Peterson Judy Roudebush* Sydney Schafer Katherine Sinclair Gwen Swart Carol Gossett Thorne* Emily Thornton Dana L. Voigt Elaine Weiss Donna K. WhiteDaniel Dixie L. Williams Sandy Winter* Tenor 1 Brad Arthur* Joseph Brown Robert C. Campbell Sean Coughlin Michael R. Davis Robbie Foote Brett Habing Loran Hill* Josh Mannix Andrew Miller Tom Nichols Cameron Oehler Roland Schaffer Larry Stout* Daniel Scott Watson Tenor 2 Jeff Braun Jordan Brewer Terion Cooper David Doty Rob Holmes Steve Levy Donald Mains, Jr. Eric Oehler Ian Paul Oehler Daniel Rains David Rose* Nate Shadday David Shaff Patrick Siscoe Karl E. Snider

APR 5, 7 Gregg A. Sweeney James R. Toombs* Barrie Zimmerman Bass 1 Robert Bolyard Joshua R. Bowman Wes Colter* Franklin R. Drumwright* Dale E. Gwin* Philip E. Johnston Ian Justiniano Nicholas Kohne Timothy S. Kroeker* David Lewis Mark Lund Greg McGowan Duane S. Nickell Patrick Pauloski David Rosenfield Charles Schafer Bass 2 Brett Deery Daniel Dixon Nate Foley Dennis Hardin* Redmond P. Hogan* Dave Hollander Lee Kingery Bennett C. Laguzza, PhD Kristopher Landmeier Jon E. Lewis* Rodney Martin* Bob Massie Bill Paraskevas* James Anthony Plenty Tom Woo *STEFFEN SINGER 20+ years of service; named in honor of Symphonic Choir’s founding conductor, Elmer Steffen.

APR 5, 7

Eric Stark, Indianapolis Symphonic Choir Artistic Director

As Artistic Director for the Indianapolis Symphonic Choir since 2002, Dr. Eric Stark has established himself as a choralorchestral specialist combining performance, scholarship, education, and collaborative leadership. In 2012, Stark led over 300 musicians in an acclaimed performance of the massive Grande Messe des Morts (Requiem) by Hector Berlioz with the Indianapolis Symphony Orchestra, the Indianapolis Symphonic Choir and the Butler University Chorale (“The discipline of the choir’s preparation was evident from the start…. the ‘Dies irae’…is one of the most thrilling episodes in the chorus-orchestra literature, and Stark managed it with aplomb” Indianapolis Star).

WE

STUDEN TS

Referencing a performance with the Washington Chorus in 2007, the Washington Post proclaimed, “Eric Stark had the chorus singing crisply and brightly . . . its rich, close harmonies shimmering.” He has conducted concerts in some of the world’s most distinguished performance venues, including the Oriental Art Center (Shanghai), Carnegie Hall (NYC), the Kennedy Center for the Performing Arts (Washington D.C.), Strathmore (Bethesda, Md.), and the Forbidden City Concert Hall (Beijing).

When Indianapolis hosted Super Bowl XLVI at Lucas Oil Stadium, Stark served as chorus master for the halftime show featuring Madonna, Cee Lo Green, Nicki Minaj, and LMFAO. In addition to his duties as Artistic Director of the Indianapolis Symphonic Choir, Stark is Professor of Music, Director of Graduate Studies, and Assistant Chair of the School of Music at Butler University’s Jordan College of Fine Arts. He is also a volunteer pilot for Angel Flight, a nonprofit network of pilots providing free air transportation for those with medical needs.

$10 Hilbert Circle Theatre! FromTICKETS Beethoven to Broadway and

Student tickets are availaSTUDENT ble for most ISO concerts at the

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

even our popular Happy Hours, student tickets are just $10!

New this year: Print at home tickets! See website for details.

Select seats only–while supplies last

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

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Steven Moeckel, Guest Concertmaster Violinist Steven Moeckel’s effortless virtuosity, vivid characterization, and uncanny ability to capture the very essence of a work have been hailed by critics worldwide.

As concerto soloist, recitalist and chamber musician, his ability to engage audiences in an astounding range of repertoire distinguishes him as one of the most versatile young musicians of today.

A seasoned performer since childhood, Moeckel began his career as a violinist in the United States, and then, from the age of eleven, toured as principal soprano soloist of the renowned Vienna Boys Choir. Resuming his violin studies, he graduated with honors from the Mozarteum in Salzburg at the age of nineteen and immediately assumed the position of Co-Concertmaster of Germany’s Ulm Philharmonic. Since his return to the United States, Moeckel has continued to combine a career as concertmaster with that of soloist and chamber artist.

APR 5, 7

He has performed with Leon Fleisher and Menachem Pressler at Chicago’s Ravinia Festival and frequently appears in concert with William Wolfram. He is a much sought-after concerto soloist, his repertoire encompassing everything from the standard classical and romantic masterpieces to the visceral virtuosity of the Shostakovich Concerto and Corigliano’s Red Violin.

Invited to China under the auspices of the newly formed Ling Tung Foundation, he was the first Western violinist to perform the beloved violin concerto, The Butterfly Lovers, with a Chinese orchestra. At home in a myriad of styles, with pianist Paula Fan he performed a 12-hour marathon charity concert featuring masterworks of the classical literature interspersed with intermezzi featuring country, tango, and jazz.

Currently concertmaster of the Phoenix Symphony Orchestra, Steven Moeckel performs on a violin crafted c. 1840 by the celebrated French maker Jean-Baptiste Vuillaume.

NEED VOLUNTEERS? Are you a nonprofit in need of volunteers? The Junior League of Indianapolis can help!

By becoming a Community Impact Project partner, the JLI will provide trained volunteers for your organization’s single-day event or ongoing community service opportunity.

Apply online and learn more at JLINDY.ORG

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APR 5, 7

Michael Francis Conducts Elgar This is the promise and process described in The Dream of Gerontius. In this setting, music and words trace the path of a soul accompanied by a guardian angel as it moves through Purgatory, through regions of demons and angels and the expiation of mortal sin on its way to heaven . . . the afterlife.

Lilly Classical Series Program Notes

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

The Dream of Gerontius, Op. 38 Edward Elgar Born: June 2, 1857, Broadheath, England Died: February 23, 1934, Worcester, England Year Composed: 1899–1900 Length: c. 95 minutes World Premiere: October 1900, Birmingham, England Last ISO Performance: September 2000 with conductor Raymond Leppard and soloists Margaret Lattimore, John Aler, and David Pittman-Jennings Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, organ, strings, and vocal soloists Knowing that death is inevitable and mysterious, humans have speculated, wondered, anticipated, feared, and accepted this collective destiny. Responses to this inevitability have taken many forms throughout history.

Ancient Egyptians, Greeks, and Romans had elaborate death rituals and funeral practices. As hundreds of years passed, one of the commonly shared and most vivid beliefs was the idea of an afterlife, and that this afterlife would be exquisitely beautiful and unending.

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The concept has survived and endured. In a letter to his father in 1787, Mozart reflected, “As death, when we come to consider it closely, is the true goal of our existence . . .

I thank my God for graciously granting me the opportunity of learning that death is the key which unlocks the door to our true happiness.” In his 2006 book Historical Perspectives on Attitudes Concerning Death and Dying, David San Filippo summarized, “To date there has been no empirical evidence for the claim that there is life after death. Inversely, there also has been no scientific evidence to disprove the existence of an afterlife.” Thus, even in our secularized, scientific times, this persistent conviction survives, though unprovable, rendering hope and possibility of eternal life.

The Dream of Gerontius describes one man’s experience of death from a Christian perspective. In Christianity, the study of eschatology refers not only to a cessation of life on earth, but also speaks to afterlife, heaven and hell, resurrection, rapture, tribulation, Satan, sin, and the last judgment based on biblical writings, especially the Book of Revelation. Elgar was born into a Catholic family, and it was natural that his belief would correlate with Cardinal Newman’s poem. Cardinal John Henry Newman was a firm believer in an afterlife, and considered mortal life to be a “serious dream.” In his sermon “On the Greatness and the Littleness of Human Life,” Newman wrote, “We should remember that this life is scarcely more than an accident of our being . . . and life is a sort of dream as detached and as different from

Lilly Classical Series | Program Notes our real external existence as a dream differs from waking.”

The first ISO performance In the history of ISO performances, it is an interesting coincidence that two English conductors bring The Dream of Gerontius to us. ISO’s Artistic Director Katie McGuinness commented in June 2018 that Elgar’s masterpiece is better known in England and perhaps more often performed there than in the United States as a result.

There were many extraordinary concerts within the deep legacy of the fourteen “Raymond Leppard Years” while he was Music Director at the Indianapolis Symphony Orchestra. One of these occurred on September 15 and 16, 2000, when Maestro Leppard conducted Elgar’s The Dream of Gerontius. Conductor and composer were a perfect match. The Elgar Society Journal, September 1992, had quoted in Stereo Review, “British-born Raymond Leppard, now music director of the Indianapolis Symphony, has the Elgar style in his bones.” Maestro Leppard explained in an interview in June 2014, “I feel close to Elgar emotionally, and always have.

My admiration has grown over the years.

He needs space and time in his music. . . it is the shear quality of his mind and taste that distinguishes him from all others. The power of Elgar and Newman’s work lies in the way death is shown to us as part of a hopeful process, something we may understand, even partially experience in our own lives, and thence emerges more fulfilled to make our way, more open-hearted, to whatever comes next here and hereafter.”

In June 2018, Maestro Leppard added these insights, “Elgar, growing up amid a world of choral societies in mid-nineteenth century England, had several early forages into that choral world. Eventually, he read Cardinal Newman’s poem about the passing of a dying believer who passes through the

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shadows under the guidance of a guardian angel—through all the earthly, then celestial, trials with a passing vision of God on the way to paradise. This moved Elgar greatly and he composed his first masterpiece.”

Elgar and Newman Edward Elgar made his way slowly to his success. He came from quite humble beginnings and musically was self-educated. He lived in the provincial, musical world of Malvern, where he was an organist, and taught violin, singing, and anything that would provide sufficient income for him to continue composing. For all his local success in Worcestershire, he never belonged to the Musical Establishment of England, which wasn’t particularly welcoming to him, even when he was beginning to have a wider public presence and showing his remarkable individual voice. He was fortunate to have married Alice, a member of the minor aristocracy, who supported him artistically and financially throughout his life. Eventually, he would become the musical voice of England in the Edwardian Era.

John Henry Newman was cut from a different cloth. He came from a wealthy Anglican family from the Industrial North of England.

In his early years, he prided himself on being an intellectual agnostic, but while an undergraduate at Oxford, he accepted the Anglican faith, in which he was ordained. In 1845, he embraced the Catholic Church, eventually becoming a Cardinal.

Doubtless, the Catholic imagery of death, purgatory, and the glimpsed hope of paradise greatly appealed to Elgar. On the manuscript, the composer quoted John Ruskin from Sesame and Lilies with these words: “This is the best of me. . . this, if anything of mine, is worth your memory.” He also wrote that this work came from “deep inside”

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Michael Francis Conducts Elgar

and his intimacy, emotion, and heartfelt sincerity is present in every aspect. The term oratorio was never used by Elgar. In fact, he disapproved of it. On the title page, he simply wrote, “The Dream of Gerontius, by Cardinal Newman, set to music for mezzo-soprano, tenor, and bass soli, chorus, and orchestra, by Edward Elgar.”

On November 17, 1898, Elgar wrote to the publisher Alfred Littleton that he had been verbally commissioned to write a work for the prestigious Birmingham Festival in 1900.

“I have the principal place in the Birmingham Festival,” the composer reported. At first, he considered writing on the life of St. Augustine, but the festival committee rejected that topic. Next he considered a scriptural oratorio on the life of Jesus, but this was eventually dismissed as well. Almost desperate to find a topic, in 1899, Elgar was finally guided by G. H. Johnstone to consider setting a special poem that had been given to him on the occasion of his wedding in 1889.

The providential wedding present was a copy of The Dream of Gerontius by Cardinal Newman, written upon the death of his dearest friend, Father Gordan. This provided the launching point for Elgar’s commission.

It is possible that Elgar might have already known about the poem since it had been published in 1865, appearing in the Jesuit periodical The Month. Over the years, it had been translated into French and German, and it had a strong impact on Victorian England. The author stated simply that the poem “was written by accident [on fifty-two pages of scrap paper] and it was published by accident.” Divided into seven sections, Newman’s poem was twice the length of the libretto, and Elgar made small cuts in Part One and significant cuts in in Part Two.

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Exploring the music Elgar’s The Dream of Gerontius was completed on June 6, 1900. The first performance, on October 3, 1900, at the Birmingham Triennial festival, was a disaster. Some have called the premiere “the biggest failure in the entire history of British music.” Soloists could not sing their roles, the chorus found the music beyond their capabilities, and Elgar noted that they “floundered pitifully.” At the dress rehearsal, Elgar yelled that they “were singing no better than a drawing-room ballad.”

To complete the conclusion of Part One, the chorus sang a half-step below the orchestra in the chorus “Go Forth.” Adding to the misery was the fact that conductor Hans Richter had to be brought in brought in at the last minute because of the sudden death of the beloved choirmaster, Swinnerton Heap. On the night before the performance, Richter spent sleepless hours with the full score stuck on the mantelpiece, studying it until the morning. Richter had been selected because he had been a champion of Elgar’s works, having conducted first performances of the Enigma Variations and the First Symphony.

In the performers’ defense, it should be mentioned that there were only a few weeks before the premiere for the score to be printed and for the musicians and choir to learn the music. Elgar was predictably depressed at the premiere and said, “I have worked hard for forty years and at the last, Providence denies me a decent hearing of my work. So I submit: I always said God was against art. I have allowed my heart to open once and it is now shut against every religious feeling and every soft, gentle impulse forever.”

One year later, after a performance in Dusseldorf, Germany, The Dream of Gerontius was redeemed by an enthusiastic audience of 2,500 and the inspiration of the conductorJulius Buths, who had made a German translation of the text. After this, The Dream of Gerontius was launched successfully and

Lilly Classical Series | Program Notes eventually landed permanently within the masterpieces of international repertoire.

For many years the Catholic orientation dogged its success. Elgar was sensitive to that orientation and Rosa Burley wrote that “Elgar was afraid that the strong Catholic flavor of the poem and its insistence on the doctrine of Purgatory would be prejudicial to success in a Protestant community.” Charles Stanford went so far as to say “it stank of incense.” The work rose far above such a stamp.

It rose strongly against such limiting characterization. As Elgar had predicted, “I do not know what fate has in store for this work but this much I can tell you, it is GOOD.” It is of its time, yet timeless. Mercy and tenderness continue throughout. Elgar has confronted death for us and given us his answer. Fate in this case has been kind and just: The Dream of Gerontius occupies a permanent segment in the most significant and treasured works in the musical and spiritual heritage of the Western world.

Part One The music begins with a Prelude, which is filled with romantic musical traditions and includes leitmotiven (small musical themes) representing various feelings, situations, characters and ideas derived from the Newman poem. The opening theme featuring hushed strings representing judgment, followed by uneasy motifs of fears (emerging in different keys), a chant-like prayer motif, a chromatic descending sequence that was labeled “despair” in the score, and finally a beautiful, expansive melody emerges representing committal, which leads to the prelude’s climax. The orchestra will continue to play an important part throughout the work as commentator, or accompanist, with rhythms closely allied to the text.

After the Prelude, Gerontius (translated as Old Man) prays quietly to Mary from his deathbed, saying, “I am near to death

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and Thou art calling me.” He is frightened and says, “a visitant is knocking his dire summons at my door, the like of whom [is] to scare me and to daunt, has never never come to me before.” Assistants intercede and ask Mary to pray for Gerontius in the Kyrie. In alternating responses, Gerontius and the Assistants offer their pleas and the first section closes with the priests and assistants marking Gerontius’ transition to purgatory.

Part Two In this section, Gerontius is referred to as “The Soul.” This section occurs in Purgatory, presenting the soul of Gerontius, the accompanying angel (mezzo-soprano), the Angel of Agony (bass) and a chorus of demons, angelicals, and souls. Since his earthly death is completed, Gerontius’ soul speaks, “I went to sleep and now I am refreshed. A strange refreshment, for I feel in me an inexpressive lightness and a sense of freedom . . . I hear no more the busy beat of time.” The Angel then appears to escort his soul on its final journey singing: “and so I come, taking it home, for the crown is won.” Gently the soul is presented to the judgment court, noting “That sullen howl is from the demons who assemble there.” Gerontius responds, “How sour and how uncouth a dissonance!”

In the court, demons, the Angel, and the soul all sing, and choirs of angelicals emerge to speak of God saying, “praise to the holiest in the height. . . Glory to Him who evermore by truth and justice reigns.” The soul is then brought into “the veiled presence of our God” wherein the Angel of Agony asks that the Lord be merciful to the souls “who in prison calm and patient wait for Thee.” The Soul sings, “I go before my Judge. . . Ah. . . There is a glimpse of God!” At this time there is a huge orchestral crash and climax, followed

by Gerontius’ words, “take me away and in the lowest deep, there let me be.” He was not ready at this point for everlasting life.

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Michael Francis Conducts Elgar This decision to have Gerontius pull back from the first glimpse of God was a matter of considerable dispute between Elgar and his friend and publisher August Jaeger, but Elgar refused to change this point.

The Angel continues to sing the praise of God and the souls in purgatory offer hope by saying, “Lord, Thou has been our refuge in every generation. We shall rejoice and be in pleasure all our days.” The guardian angel returns, saying, “Softly and gently dearly ran-

somed soul. In my most loving arms, I now enfold thee.” Additional comfort is offered through the passing in these concluding words, “Swiftly shall pass thy night of trial here, and I will come and wake thee on the morrow.”

In October 1999, a very complete overview and history titled The Best of Me, A Gerontius Centenary Companion was published by Elgar Enterprises in Great Britain. Newman’s complete text of The Dream of Gerontius is printed herein.

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APR 12–13

Ben Crawford: Broadway & Beyond Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Anthem Coffee Pops Series/Program Five

Friday, April 12, at 11 a.m.

Hilbert Circle Theatre JACK EVERLY, Conductor | BEN CRAWFORD, Vocalist Selections to be made from the following: Broadway Leading Men Overture Let’s Face the Music and Dance A Foggy Day New York State of Mind If I Can’t Love Her Tonight at Eight Soliloquy Tschaikowsky If Ever I Would Leave You South Pacific Medley Selections from Phantom of the Opera Lullaby Being Alive

† The Coffee Pops is an abbreviated performance.

There is no intermission.

Song selection subject to change.

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

See Maestro Everly’s biography on page 33.

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Ben Crawford, Vocalist

APR 12–13 Other credits on stage include Evita (Che), 110 in the Shade (Starbuck), Next to Normal (Dr. Madden), Titanic (Frederick Barrett), Chasing Rainbows (Frank Gumm), Guys and Dolls (Sky Masterson), Carousel (Billy Bigelow), A New Brain (Gordon), Oklahoma! (Jud), Oliver! (Bill Sykes), Merrily We Roll Along, 35MM, Jasper in Deadland (Mister Lethe), and Irma La Duce (Persil de Noir). Crawford performs with symphonies throughout North America.

Ben Crawford began his Broadway career when he covered the roles of Javert and Jean Valjean in the original revival of Les Misérables. Crawford is currently playing the Phantom in Broadway’s Phantom of the Opera, which just celebrated its 30th anniversary on Broadway at the Majestic Theatre. His other Broadway credits include Charlie & The Chocolate Factory (Mr. Salt), Shrek the Musical (Shrek), Big Fish (Don Price), and On the Twentieth Century starring Kristin Chenoweth and Peter Gallagher.

Crawford has been featured on many soundtracks including On the Twentieth Century (New Broadway Cast Recording), Big Fish (Original Broadway Cast), Merrily We Roll Along (PS Classics), 35MM: A Musical Exhibition (Original Cast Recording), Writing Kevin Taylor, and Disney’s FROZEN. Crawford also appears in the film The Standbys, a documentary focusing on Broadway swings, standbys and understudies. Follow him on Instagram & Twitter: @crawdady21

PRESENTS

The Garden Symphony Written by ISO Violinist Victoria Kintner Griswold Illustrated by Sharon Vargo The Indianapolis Symphony Orchestra is excited to release Ladybug’s musical adventure! The Garden Symphony follows Ladybug’s search through the garden for her own special song, and features musical recordings played by ISO musicians.

100% of the profits fund ISO educational programs!

Order Now! Call 317.639.4300, visit IndianapolisSymphony.org/ShopISO, or stop by the Hilbert Circle Theatre Box Office Made possible by:

APR 12–13

Ben Crawford: Broadway & Beyond Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Seven Friday, April 12, at 8 p.m.

Saturday, April 13, at 8 p.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | BEN CRAWFORD, Vocalist Broadway Leading Men Overture Let’s Face the Music and Dance A Foggy Day New York State of Mind If I Can’t Love Her Tonight at Eight Waving Through a Window Soliloquy INTERMISSION—Twenty Minutes

Tschaikowsky Cry Me a River If Ever I Would Leave You South Pacific Medley Selections from Phantom of the Opera Lullaby Being Alive

Premier Sponsor

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Associate Sponsor

There will be one 20-minute intermission.

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

See Maestro Everly’s biography on page 33.

Charles Morey, Guest Concertmaster Charles Morey was born in Fayetteville, West Virginia and began playing the violin at age two. Leading a diverse musical life as violinist, composer, arranger, and teacher, he has concertized extensively throughout the USA, Europe, and Asia.

He has performed as soloist with numerous orchestras, including the River Cities Symphony Orchestra, Seneca Chamber Orchestra, International Baroque Soloists, Cleveland Institute of Music Orchestra, Lexington Bach Festival Orchestra, Blue Water Chamber Orchestra, and the West Virginia Symphony Orchestra.

In spring 2009, Morey won CIM’s concerto competition, performing Prokofiev’s Violin Concerto No. 2. He was also a prize winner in the 2009 Annual Milhaud Performance Prize Competition. As concertmaster, he has performed with orchestras such as the Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, Indianapolis Ballet Orchestra, San Antonio Symphony, Omaha Symphony Orchestra, Memphis Symphony, and the Lexington Bach Festival Orchestra.

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Highlights of his career as composer include a Kennedy Center performance of his work Images for violin and piano, a premiere of Circles by students from the Cleveland School of the Arts, and touring performances of his own set of variations on the tune Wondrous Love with the West Virginia Symphony Orchestra (with an orchestral accompaniment composed by Artistic Director Grant Cooper).

Recent honors include collaborations and premieres of works by Augusta Read Thomas, Michael Schelle, James Beckel, and Dolores White, as well as a duo performance for Bronislaw Komorowski, President of the Republic of Poland.

Morey received his bachelor’s and master’s degrees in violin performance from the Cleveland Institute of Music where he was a student of William Preucil. A recipient of the Bock scholarship, he was chosen in 2010 to study in an orchestral leadership program at the Music Academy of the West under San Diego Symphony concertmaster Jeffrey Thayer.

In 2017 Morey signed a one-year contract to serve as Acting First Assistant Concertmaster of the Cincinnati Symphony Orchestra, and holds a permanent section position. Prior to this, he was a tenured member of the Indianapolis Symphony Orchestra’s first violin section and performed frequently as a substitute violinist with the Cleveland Orchestra on domestic and international tours.

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APR 25–27

Tchaikovsky’s Violin Concerto Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Coffee Classical Series/Program Seven

Thursday, April 25, at 11 a.m.

Hilbert Circle Theatre JOANN FALLETTA, Conductor | KEVIN LIN, Violin Piotr Ilyich Tchaikovsky | 1840–1893

Concerto in D Major for Violin and Orchestra, Op. 35

Allegro moderato

Canzonetta: Andante

Finale: Allegro vivacissimo Kevin Lin, Violin Edward Elgar | 1857–1934 In the South, Op. 50 (“Alassio”)

Associate Sponsor

† The Coffee Concert is an abbreviated performance.

There is no intermission.

The performance of a Guest Artist is endowed by the Jean D. Weldon Guest Artist Fund Length of performance is approximately one hour.

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

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JoAnn Falletta, Conductor

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as recordings with the Berlin Radio Symphony Orchestra and the London Symphony.

JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. She serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, and as Principal Guest Conductor of the Brevard Music Center.

Falletta has guest conducted over 100 orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. Her 2017–18 international guest conducting appearances include performances with the Mexico Symphony Philharmonic, RTE Concert Orchestra (Dublin), and the New Japan Philharmonic, among others, as well

She has served as a Member of the National Council on the Arts, was recently elected as a member of the esteemed American Academy of Arts and Sciences, and is the recipient of many of the most prestigious conducting awards. A leading recording artist for Naxos, her discs have won two Grammy Awards and garnered ten Grammy nominations.

In addition to her current posts with the Buffalo Philharmonic, Virginia Symphony, and Brevard Music Center, and Music Advisor to the Hawaii Symphony, Falletta has held the positions of principal conductor of the Ulster Orchestra, principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, and music director of the Denver Chamber Orchestra.

Falletta received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School.

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Vocalise Piano Concerto No. 3 Piano Concerto No. 1

June 2

Rhapsody on a Theme of Paganini Piano Concerto No. 4 Piano Concerto No. 2

June 1

May 31

R a c h m a n i n o ff ’ s P i a n o C o n c e r t o s Vocalise Piano Concerto No. 4 Piano Concerto No. 2

Garrick Ohlsson, Piano

Friday, May 31, 8PM Saturday, June 1, 7PM Sunday, June 2, 2PM Hilbert Circle Theatre

Don't miss this rare opportunity to hear all four of Rachmaninoff's Piano Concertos and his Rhapsody on a Theme of Paganini when Garrick Ohlsson returns to the Hilbert Circle Theatre.

Krzysztof Urbański, Conductor

BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG Title Sponsor:

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Premier Sponsor:

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Kevin Lin, Violin

APR 25–27 International Violin Competition and Menuhin International Violin Competition.

Originally from New York, violinist Kevin Lin has received international recognition for his musicianship and “soulful” playing (The ArtsDesk). Lin was recently appointed co-leader of the London Philharmonic Orchestra.

Lin has performed as a soloist and recitalist in Taiwan, South Korea, Canada, and the United Kingdom, in addition to numerous performances in the United States. In recent years, Lin received prizes from the Irving M. Klein International Competition (4th prize) and the Schmidbauer International Competition (1st prize) and was also a competitor in the George Enescu

As an avid chamber musician, Lin’s recent collaborations include performances with the Tokyo and Ebène Quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss, and Andrew Bain. Lin has been guest concertmaster of the Pittsburgh and Houston Symphonies and in 2015, Lin was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at the Colburn School and the Curtis Institute of Music.

Lin spent his early years studying with Patinka Kopec in New York before going on to study with Robert Lipsett at the Colburn School in Los Angeles, where he received his bachelor of music degree. He then continued his studies at the Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

The 2019 Indianapolis Early Music Festival Weekends June 14 through July 14 Indiana History Center, 450 W. Ohio St. The Rose Ensemble - Final Tour

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

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

www.IEMusic.org ~ 317-577-9731 77

APR 25–27

Tchaikovsky’s Violin Concerto Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Fourteen Friday, April 26, at 8 p.m.

Saturday, April 27, at 7 p.m.

Hilbert Circle Theatre

JOANN FALLETTA, Conductor | KEVIN LIN, Violin Zoltán Kodály | 1882–1967

Dances of Galánta

Piotr Ilyich Tchaikovsky | 1840–1893

Concerto in D Major for Violin and Orchestra, Op. 35

Allegro moderato

Canzonetta: Andante

Finale: Allegro vivacissimo Kevin Lin, Violin INTERMISSION—Twenty Minutes Samuel Barber | 1910–1981

Symphony No. 1, Op. 9

Edward Elgar | 1857–1934

In the South, Op. 50 (“Alassio”) Premier Sponsor

Associate Sponsor

The performance of a Guest Artist is endowed by the Jean D. Weldon Guest Artist Fund There will be one 20-minute intermission.

Length of performance is approximately two hours.

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

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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, Cavani Quartet, and the

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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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Tchaikovsky’s Violin Concerto

Lilly Classical Series Program Notes

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

Dances of Galánta Zoltán Kodály Born: December 16, 1882, Kecskemét, Hungary Died: March 6, 1967, Budapest, Hungary Year Composed: 1933 Length: c. 16 minutes World Premiere: October 1933, Budapest, Hungary Last ISO Performance: February 2003 with conductor Michael Stern Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion, and strings In 1934, Zoltán Kodály wrote Dances of Galánta to celebrate the 80th anniversary of the Budapest Philharmonic Society. He wrote, “Galánta is a small Hungarian market town known to travelers between Vienna and Budapest.” The composer passed through Galánta for seven years of his childhood, from the ages three through ten, and he subsequently described that time as the happiest of his childhood. There existed at that time a gypsy band, which has since disappeared, whose music was the first orchestral sonority that came to the ears of the child. The forebears of these gypsies

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were known more than a hundred years ago. Around 1800, some books of Hungarian dances were published in Vienna, one of which contained music from several gypsies of Galánta, preserving the old Hungarian traditions. In order to continue it, the composer took his principal subjects from these ancient editions. The Viennese books Kodály refers to were published in 1804, consisting of a two-volume set of dances of the genre verbunkos, danced by enlisted soldiers. Dances from this Galánta region date back to the eleventh century.

In 1905 when Dvořák completed his lifelong collection of folk songs, Kodály began in Galánta, garnering 150 folk songs that formed the basis of his Ph.D. dissertation, “The Stanzaic Structure of Hungarian Folk Song.” In only a few years, he had collected between three and four thousand melodies. These were jointly published with Béla Bartók.

“His music is not of the kind described nowadays as modern,” Bartók commented.

“It has nothing to do with the new atonal, bitonal, and polytonal music. His idiom is nevertheless new; he says things that have never been uttered before and demonstrates thereby that the tonal principle has not lost its raison d’être as yet.” Kodály’s Galánta Dances are filled with the freshness Bartók identifies and are genetically Hungarian.

About the piece There are five gypsy-style dances, sharing common material, which are played without pause. Notice the steadily increasing momentum as the dances advance: 1. Andante maestoso: Introduced by celli featuring a traditionally favored dotted rhythm with a clarinet solo 2. Allegro moderato: More rhythmically punctuated than the first, played by flute 3. Allegro con moto: Oboe and winds share a syncopated tune, which is then taken up by the whole orchestra

Lilly Classical Series | Program Notes 4. Allegro: Strings present a small, simple dance 5. Allegro vivace: A vibrant gypsy dance featuring wide leaps, Hungarian scales, and rapid figuration highlighting solo flute 6. Coda: A small recall of the first dance, concluding with a cadenza for solo clarinet.

Concerto in D Major for Violin and Orchestra, Op. 35 Piotr Ilyich Tchaikovsky Born: May 7, 1840, Votkinsk, Russia Died: November 6, 1893, Saint Petersburg, Russia Year Composed: 1878 Length: c. 34 minutes World Premiere: December 1881, Vienna, Austria Last ISO Performance: October 2015 with conductor Michael Francis and violinist Jinjoo Cho Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings and solo violin In early 1878, Tchaikovsky’s patroness, Nadezhda von Meck, gave the composer money to provide for an escape from his recent disastrous three-week marriage. At first, the composer ran to his brother’s home in St. Petersburg, and then, taking both his brother and violinist Yosif Yosifovich Kotek (a former theory student) as companions, Tchaikovsky fled to Clarens, Switzerland, where he remained for several months. While recovering from the shame of his failed marriage to his student Antonina Milyukova, he produced his Fourth Symphony, the opera Eugene Onegin, and his Violin Concerto, which was completed in April of that year.

In its early days, the concerto was frequently deemed “unplayable.” Although it did de-

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mand new violin techniques, it was not impossible. Nonetheless, the first dedicatee, Leopold Auer, head of the violin department of the St. Petersburg conservatory, insisted that it was “unsuitable to the character of the instrument” and refused to play it. The critic Eduard Hanslick wrote that it was “a rare mixture of originality and crudity, of inspiration and wretched refinement, with an audible, odorously Russian stench. In the first movement, vulgarity gains the upper hand. The Adagio is well on the way to reconciling us and winning us over when, all too soon, it breaks off to make way for a finale that transports us to the brutal and wretched jollity of a Russian church festival. We see a host of gross and savage faces, hear crude curses, and smell the booze.”

Gaining momentum and a cause, Hanslick also lobbed personal grenades at Tchaikovsky: “This Russian composer is surely no ordinary talent, but rather an inflated one, obsessed with posturing as a man of genius and lacking of all discrimination and taste.”

His poison was effective; the concerto was not heard in public until three years later.

Predictably, Tchaikovsky became depressed and carried a clipping of the critic’s words in his pocket for months. Mme. von Meck offered stern criticism and Tchaikovsky humbly responded, “I shall not give up hope that in time the piece will give you greater pleasure.”

On December 4, 1881, Adolf Brodsky, the second dedicatee, premiered the work in Vienna with the Vienna Philharmonic and wrote, “One can play the concerto again and again and never be bored. And this (repetition) is one of the most important circumstances for conquering its difficulties.” Only two of ten critics at the premiere had kind things to say, however. The bad karma continued in a terrible hissing reaction from the audience, and the orchestra hated it. They did not know the music and played quite

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Tchaikovsky’s Violin Concerto

softly—only one rehearsal was possible before the performance.

The copyist made multitudinous mistakes that had to be corrected. Eduard Hanslick added more vitriol: “(in the first movement) savagery gains the upper hand and lords it to the end of the first movement. The violin is no longer played: it is yanked about, it is torn asunder . . . I do not know whether it is possible for anyone to conquer these hair-raising difficulties . . . Mr. Brodsky martyrized his hearers as well as himself . . . it stinks to the ear.” The only good outcome was that Brodsky remained loyal to the concerto and continued to program it. “I will play it forever,” he asserted.

As years passed, perspectives changed.

Even Auer relented, encouraging his star students (i.e., Zimbalist, Heifetz, Milstein, and Elman) to play the work, and in the Musical Courier of January 1912, stated, “I have often deeply regretted (my refusal) and before Tchaikovsky’s death, received absolution from him.” Audiences eventually accepted the concerto, thrilled with its fanciful gypsy tunes, colorful Russian orchestration, and virtuosic pyrotechnics which make the concerto a timeless thriller.

Exploring the concerto There are three movements. The first opens with a brief introduction in first violins before an unobtrusive entrance by the soloist with a gentle theme. It gains weight with elaborate orchestration and intensifying color. A second theme (marked Con molto espressione) is similarly suave and supple, but has the capacity to grow. In this growth, we arrive at a virtuosic development that transforms the shy themes into rip-roaring statements, especially the first, and grows into a fiery cadenza. A recapitulation follows the high-wire performance from the soloist and provides its own orchestral extravaganza, culminating in a coda that requires no less than four accelerandi.

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The second movement, Canzonetta, is lyrical and comparatively short, written quickly in only one day. Winds state preparatory chords before the soloist enters. Two elegant themes are presented, accompanied tenderly by violins, violas, and French horns. David Ewen commented that “this slow movement turned out to be one of his most sensitive and ingratiating inspirations.” This part has also been arranged for piano and violin, titled, “Souvenir d’un lieu cher.” In the third section, the woodwinds return with a recall of the chorale style opening.

The finale follows without pause to ignite the music like a firecracker. A short solo cadenza raises the curtain before the concerto launches into a daring rondo, showcasing Tchaikovsky’s orchestral genius. “I never compose in the abstract; I invent the musical idea and its instrumentation simultaneously,” the composer explained. Many of the features described as “unplayable” are revealed herein with dangerous leaps, perilous scales, and treacherous double stops, all produced at lightning speed. Opus 35 ends in a whirlwind of relentless virtuosity. Fate has been kind. The work stands now as a concert favorite, one of the most cherished concerti in the violin repertoire.

Symphony No. 1, Op. 9 Samuel Barber Born: March 9, 1910, West Chester, Pennsylvania Died: January 23, 1981, New York City, New York Years Composed: 1935–1936 Length: c. 20 minutes World Premiere: December 1936, Rome, Italy Last ISO Performance: April 2002 with conductor Jeffrey Kahane Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings

Lilly Classical Series | Program Notes Samuel Barber was one of our most beloved and revered American composers. His independence from trendy genres, “modernism,” and the avant-garde, as well as his fidelity to his own convictions, has insured his individuality and singular place in the history of American composers.

He was fortunate that his family encouraged and recognized his musical talent from an early age. He started piano lessons at age six, began composing at age seven, and at age ten, Barber wrote a prophetic note to his mother: “Dear Mother: I have written to tell you my worrying secret . . . To begin with, I was not meant to be an athlete. I was meant to be a composer and of this I am sure. Don’t ask me to try to forget this unpleasant thing and go play football. Please stop worrying about this so much that it makes me mad (not very).”

One year later, he wrote his first opera. His formal musical training took place at the newly founded Curtis Institute of Music in Philadelphia, which he entered at age fourteen.

Barber grew into a witty, sophisticated, cultured man. It was said that he “loved good gossip,” was a bon vivant, a favorite at parties, and a wonderful host. He was unabashedly enamored with romantic sound and its aesthetic. Far from considering romanticism to be old-fashioned and spent, it remained a source of inspiration. Such was not the case in American society and musical circles of the 1930s, when his First Symphony emerged.

American music in the 1930s At that time, American music was multifaceted; we had a big popular contingent, as well as classical composers. Amid the vibrant growth of pop music were composers such as Hoagy Carmichael, Duke Ellington, George Gershwin, and Johnny Mercer, who were writing for Broadway and the movies. The Big Band Era was flourishing, and big band jazz and jazz combos were very popular; conductors such as Count Basie, Benny Goodman,

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Woody Herman, Harry James, Glen Miller, and Artie Shaw were well known. Classical composers of the 1930s were also active: Aaron Copland, John Carpenter, Wallingford Riegger, Ernst Toch, and Ferde Grofé, among many others, were creating new American sounds and committed to defining the American voice, often via folk tunes and jazz inflections. Paul Wittke has written, “During the heady years of our musical adolescence, in the 1930s and 40s, he [Barber] was virtually ignored in any book of American musical life. Furthermore, he committed the unpardonable sin of being a cosmopolitan when most composers were belligerently American.”

In this matrix, Samuel Barber stood apart for many reasons, though perhaps most prominently for his special ability to write exquisite, emotional melodies. “This alone got him into trouble in certain circles as a stick-in-the-mud or a panderer . . .” It has been said that he “was too conservative to become fashionable.” He was not musically innovative, cool, or adventurous, but he was strong enough not to compromise his musical values.

“While I’m writing for words, then I immerse myself in those words, and I let the music flow out of them. When I write an abstract piano sonata or a concerto, I write what I feel. I’m not a self-conscious composer. It is said I have no style at all, but that doesn’t matter. I just go on doing, as they say, my thing. I believe this takes a certain courage.”

“Doing my thing” meant adherence to a neo-romantic style focusing on lyricism, combined with rich harmonies, rhythmic coherence, and emotional directness. One of his most famous, iconic pieces, Adagio for Strings, derived from the Second Movement of his String Quartet No. 11, encapsulates this distinctive musical fingerprint.

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Tchaikovsky’s Violin Concerto

After winning a Prix de Rome in 1935, Barber began his Symphony No.1 in Rome during the winter of 1935–36. The work premiered there on December 13, 1936, conducted by Bernardino Molinari. Barber revised the score early in 1942, and the new version was introduced by Bruno Walter and the New York Philharmonic on April 16 of that year.

The composer provided the following explanatory notes: “The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro ma non troppo, which retain throughout the work their fundamental character. The Allegro opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme, in diminution, forms the basis of a Scherzo section (Vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by the violoncelli and contra-bassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony.”

Regarding his First Symphony, the English critic Arthur Jacobs, visiting the U.S. in 1951, wrote: “The Symphony is in that Neo-Romantic style, which makes Barber more readily comprehensible to conventionally educated European musicians than many other American composers. This is music that seems appropriate to describe in terms of rhetoric: statement and counterstatement, question and answer, repetition and summarization

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. . . it harnesses modern discords to basically 19th century modes of construction.”

Far from being merely anachronistic (sometimes he referred to himself as “a living dead American composer”), Barber was also sophisticated, imaginative, and innovative.

Referring to one of the tenets of Barber’s values, the composer Roy Harris stated: “(He proved that) conservatism and advanced music could and should live as a harmonious happy couple.” As he blended emotional lyricism with complex modern harmonies, Barber was independent and always marched to his own drummer. John Corigliano identified his sound as “an interesting dichotomy of harmonic procedures employed throughout his career—an alternation between post-Straussian chromaticism and often diatonic typical American simplicity.”

This mixture is deeply affecting, providing intense coloration, surprises, and unmistakable American identity throughout Barber’s extensive musical legacy.

In the South, Op. 50 (“Alassio”) Edward Elgar Born: June 2, 1857, Broadheath, United Kingdom Died: February 23, 1934, Worcester, United Kingdom Years Composed: 1903–1904 Length: c. 22 minutes World Premiere: March 1904, London, England Last ISO Performance: March 2001 with conductor Yan Pascal Tortelier Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings

Lilly Classical Series | Program Notes From November to the end of February 1903–04, Elgar and his wife, Alice, visited Alassio (first called Alaxia)—a small town on the Italian Riviera along the Ligurian coast, stretching along the northwest side of Italy. It was an ancient town founded by the Romans, and had been the site of battles against the Saracens by the Roman armies under the Emperor Ottone I (936–972). In the nineteenth century, it became a very popular destination for the English upper classes and literati, beckoning with sunshine, extensive sandy beaches, dramatic scenery, and historical significance.

Alassio was the perfect spot for Elgar to rest after his oratorio, The Apostles, to avoid the British winter, and (hopefully) to gain inspiration for a new symphony. The symphony was simply not forthcoming and Elgar wrote, “This visit has been—is—artistically a complete failure; I can do nothing; we have been perished with cold, rain, and gales . . . the Symphony will not be written in this sunny land.”

One day, the composer and Alice walked along an ancient trail in nearby Andora named “via Julia Augusta,” honoring the third wife of the Roman Emperor Augustus.

Along with Aurelia, this was one of the most important roads built to strengthen territorial unity for the Empire and trade. On his visit, Elgar came upon a Roman bridge and a ruined hillside chapel, visited simultaneously by a shepherd “dressed in sheepskin who unconcernedly drove his flock along the path and out of sight.”

In an interview in 1907, he explained: “Then, in a flash, it all came to me—the conflict of the armies on that very spot, long ago, where I now stood—the contrast of the ruin and the shepherd and then, all of a sudden I came back to reality. In that time, I had composed the overture—the rest was merely writing it down.” He later explained, “I wove

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this music in the valley of Andora during a long and lovely day al fresco, and it does not attempt to go beyond the impression then received. “

Elgar orchestrated In the South after returning to his home in Malvern. Its premiere occurred in the Royal Opera House on March 16, 1904, as part of an Elgar Festival. At the first performance, he asked his friends Percy Pitt and Alfred Kalisch to include the following in the program book: . . . What hours were thine and mine, In lands of palm and southern pine, In lands of palm, of orange blossom, Of olive, aloe, and maize and vine.

—Tennyson, “The Daisy,” opening stanza . . . a land Which was the mightiest in its old command And is the loveliest. . .

Wherein were cast. . . . . . the men of Rome!

Thou art the garden of the world.

—Byron, “Childe Harold” In the South opens with soaring emotion, rich orchestration, and high energy, which Elgar stated, “. . .may be the exhilarating outof-doors feeling arising from the gloriously beautiful surroundings—streams, flowers, hills, and distant snowy mountains in one direction, and the blue Mediterranean in the other.” Elgar continued his description of the score, noting the beautiful viola solo as stemming from “the shepherd with his flock, straying about the ruins of the old church, piping softly and reedily and occasionally singing, a ‘second theme proper.’” (Later, Elgar set this tune to a poem by Shelley, and titled it “In Moonlight.”) The final section returns to the opening ideas, referencing the little, rustic theme, and is capped by an explosive climax and dazzling coda.

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TM

Endowment Endowed Orchestra Chairs, Performances, and Special Endowments Endowed orchestra chairs, performances, and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others.

We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund.

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

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

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

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

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

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

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

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

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

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Endowment Endowed Performances Classical Season Opening Concerts Endowed by Francis W. and Florence Goodrich Dunn October 4, 2018 Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. October 5–6, 2018 The Frank E. McKinney Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias October 25–27, 2018 The Performance of a Young Professional Artist Endowed by Roche Diagnostics November 2–3, 2018 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 9–10, 2018 IPL Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias November 30, 2018—Opening Night IPL Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 23, 2018—Closing Night The Performance of New Music Endowed by LDI, Ltd. January 10–12, 2019 The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously January 25–26, 2019 The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund February 9, 2019 The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund February 28–March 2, 2019

The Performance of Classical Music including Major Liturgical and Choral Music Endowed in memory of Elmer Andrew and Marguerite Maass Steffen by E. Andrew Steffen April 5, 2019 The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund April 25–27, 2019 The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 2 and 4, 2019 The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune May 31–June 1, 2019 The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman June 7–8, 2019

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society Dr. John C. Bloom, Mr. Raymond Leppard, Dr. and Mrs. Gordon E. Mallett, Mrs. Walter Myers Jr., Marianne Williams Tobias, Randall L. Tobias, August and Margaret Watanabe, Jack Weldon (Maestro Society Founder) given

by Penny Ogle Weldon, Mr. and Mrs. Richard D. Wood Edna Woodard-Van Riper The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist-in-Residence Endowment Endowed in memory of Hortense and Marvin Lasky The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt

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Endowment The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett The Indiana Series Endowed by Mr. and Mrs. J. Irwin Miller The Indianapolis Symphony Orchestra Vice President of Education Endowed by Mr. and Mrs. William L. Fortune The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick The ISO Pre-School Music Education Programs Underwritten by the Tobias Family Foundation First Monday Music Club Endowed anonymously The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund

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

Special Acknowledgements

The J.K. Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation

Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox

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

The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball

by Mrs. Lucina B. Moxley

The Grand Lobby Endowed by Marianne Williams Tobias The Box Office Lobby Named in Honor of Generous Support from Marianne W. and Frank E. McKinney Jr. “The Art and Science of Music are an Enduring Reflection of the Thoughts & Experiences of Humankind,” June 1991

The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers

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Annual Fund The Indianapolis Symphony Orchestra depends on contributed income for about 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 January 15, 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 Phil & Colleen Kenney Sarah & John Lechleiter Mel & Joan Perelman Yvonne H. Shaheen Marianne Williams Tobias Anonymous Anonymous Fund of Central Indiana Community Foundation Barnes & Thornburg LLP The Christel DeHaan Family Foundation Eli Lilly and Company Indianapolis Power & Light Company Indianapolis Symphony Orchestra Association The Kroger Co. Lilly Endowment, Inc. Roche Diagnostics

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

Founders’ Society, Concertmaster ($20,000-$49,999) Anonymous (2) Christina Bodurow

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Charles & Joyce Boxman Erin & Scott Dorsey Craig & Mary Fenneman John C. Gray James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Dr. Gordon & Carole Mallett Mary Frances Rubly & Jerry Hummer Christopher A. Slapak & Michael J. Robertson Randall & Deborah Tobias Dr. & Mrs. Eugene Van Hove Martin & Mary Walker David & Eleanor Wilcox Kathy & Ralph Wilhelm Roberta & Bill Witchger Anonymous Arthur Jordan Foundation BMO Harris Bank Budweiser Zink Distributing Co, LLC The Clowes Fund Dorsey Foundation Duke Energy Erie Insurance Fenneman Family Foundation Fifth Third Bank Ice Miller Indiana Arts Commission Indiana Members Credit Union Indianapolis Colts JPMorgan Chase MacAllister Machinery Company, Inc. Macy’s The Martin D. & Mary J. Walker Charitable Foundation Nicholas H. Noyes Jr. Memorial Foundation OneAmerica Financial Partners, Inc. Pacers Foundation R.B. Annis Educational Foundation Raymond James & Associates, Inc. Salesforce Telamon Corporation Tobias Family Foundation

Founders’ Society, First Chair ($10,000-$19,999) Anonymous (3) Mr. & Mrs. Robert Bader Deborah & Douglas Balogh Charlene & Joe Barnette Ms. Sarah Barney

Mr. & Mrs. Barry J. Bentley Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Charles W. Brown Mr. & Mrs. Daniel P. Carmichael Mr. Daniel Corrigan Mr. & Mrs. Levi Garraway Don & Carolyn Hardman Emily & Peter Howard Ms. Harriet Ivey & Dr. Richard Brashear Bob & Rhonda Kaspar Joseph & Kathy Kessler Mr. & Mrs. Charles Kivett Mr. Walter Koenig Cindy L. & Timothy J. Konich Dr. & Mrs. Eugene P. Kroeff Drs. W.H. & K.T. Landschulz Mr. & Mrs. Bruce McCaw Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris John & Carolyn Mutz / Lumina Foundation Jackie Nytes & Michael O’Brien Donald & Karen Perez Walt & Mary Prouty Phyllis & Gary Schahet Mr. & Mrs. Richard Skiles Ann M. Stack Diana & Dan Yates Sara & Michael Zeckel Jim & Rita Zink Anonymous Fund of Central Indiana Community Foundation Anthem Blue Cross and Blue Shield The Brenner Family Foundation, a fund of Legacy Fund Care Institute Group, Inc. Community Health Network Corteva Agriscience Efroymson Family Fund Elba L. & Gene Portteus Branigin Foundation Inc. The Glick Family Foundation The Frenzel Family Charitable Lead Trust Honda IU Health Indiana Society South Group ISOA Members Mallor Grodner LLP Market District National Endowment for the Arts Navient

Reis-Nichols Jewelers Ronald McDonald House Charities of Central Indiana and McDonald’s of Central Indiana Shaheen Family Foundation St. Vincent Health/Ascension Vectren Corporation Young Presidents Organization

Founders’ Society ($5,000-$9,999) Anonymous (9) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Bob & Pat Anker Trudy W. Banta 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 Dr. & Mrs. John T. Callaghan Vincent & Robyn Caponi Ms. Jane Conley Dexter & Rosemary Cooley Andrea Davis David & Consuelo Davis Dr. & Mrs. Thomas Elam Jack Everly & Ty A. Johnson Mr. Otto N. Frenzel IV Dr. & Mrs. Richard W. Garrett Larry C. & Lee A. Glasscock Charles & Susan Golden Nancy & Frank Gootee Mr. & Mrs. Thomas W. Grein John & Chichi Guy Robert E. Hallam Steve L. Hamilton & Keith O. Norwalk P. Kent Hawryluk Gregory Henneke & Martha O’Connor Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Dr. & Mrs. Raymond V. Ingham Carlyn Johnson James M. Johnson & Jennifer B. Katz Dr. Louis N Jungheim & Dr. Thalia I. Nicas Kimra Kidd & Thomas Buehner

Annual Fund Drs. Sandra & Charles Kinsella Ned & Wendy Kirby Mrs. James L. Kittle, Sr. Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Nancy Lilly Dr. Richard E. Lindseth Karen Ann Lloyd Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Emily & Joe Mahurin Malcolm & Joyce Mallette Mr. & Mrs. David Malson Ms. Karen Mangia Mary & Charles Matsumoto Mr. & Mrs. Morris Maurer Doris & John McCollough Boris E. Meditch Jim Miller Milton & Margaret Miller Ellie, Weber & Emaline Morse Jerry & Anne Moss Dr. Daniel H. Mowrey Carl Nelson & Loui Lord Nelson Marc Nichols & Jamie Collins Michael P. & Leanne M. O’Neil Jack & Katie Patterson Eloise Paul & Bill Lee Jennifer Pressley Scott & Susan Putney Steve & Margaret Russell Mr. & Mrs. William N. Salin Marlyne Sexton Drs. Lei Shen & Soomin Park Eric Siemers, MD & Peggy Edwards William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Joanne & Gerald Solomon Dr. Pamela A. Steed & Dr. Peter Furno Mr. & Mrs. John Thornburgh Don & Coleen Walker Pete & Lena Ward Margaret Watanabe Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Mrs. Lucy Wick Lynn & Andy Wiesman Jacquie & Fred Winters Dr. Christian Wolf & Elaine Holden-Wolf Barrie & Margaret Zimmerman John & Linda Zimmermann Mary Ann & Gene Zink Jennifer & Michael Zinn Bright Sheet Metal Co., Inc. Buckingham Foundation Inc. Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom Deloitte Faegre Baker Daniels Garmong Construction Haddad Foundation Heritage Group Indiana American Water Co., Inc. James O. & Alice F. Cole Foundation The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF

Merrill Lynch The Morgan Family Foundation Senior Home Companions The National Bank of Indianapolis NextGear Capital The Paul F. & Martha L. Benedict Donor Advised Pass-Thru Fund of CICF PNC Regions Bank The Rock Island Refining Foundation Rose Senior Living Salin Foundation The Spears Family Foundation WGU Indiana Witham Health Services Zink Distributing Co. Conductor’s Circle ($2,500-$4,999) Anonymous (2) Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael J Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Nicholas Barbaro & Sue Ellen Scheppke Frank & Katrina Basile Spencer & Marcia Bavender Mr. Brett & Mrs. Shari Bayston Mr. & Mrs. Laurens Beyland Douglas & Angela Braly George, Mary Clare, Josh & Brian Broadbent Mr. & Mrs. John Campbell Connor Caudill Elizabeth A. Chamberlin Mr. & Mrs. Albert Chen Nancy Christy Bill & Angela Corley Mr. & Mrs. James M. Cornelius The Ziegler-Cromer Family 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 Ms. Carol J. Feeney Dr. & Mrs. Michael E. Flaugh Dr. Norm & Adrienne Fogle Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Mr. Jerome Gassen & Ms. Nicole Weaver Michael & Beth Gastineau Dr. Lawrence I. Goldblatt Mr. Scott & Ms. Amy Goldsmith 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 Bill & Nancy Hunt Larry & Annette Hutchison Mr. & Mrs. John C. Jenkins & Family Dr. & Mrs. Philip E. Johnston Mr & Mrs. David Kelly Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Larry & Rose Kleiman Don & Jen Knebel Dr. Gwen & Mr. Robert Krivi The Kroehler Family Dr. Elisabeth Krug & Roland Schaffer Andrew & Lynn Lewis Mr. & Mrs. Allan Litz Dr. & Mrs. Ronald T. Maus Dr. & Mrs. Douglas R. Maxwell David & Andrea Miller & Family Flip & Cindy Miller Elizabeth & William Murphy Mr. & Mrs. Charles J. O’Drobinak Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane Paine Dorit & Gerald Paul Ray & Jim Luther-Pfeil George & Christine Plews Myrta J. Pulliam Quentin & Marilyn Quinn Dr. & Mrs. George F. Rapp Mr. Alan & Mrs. Deborah Rasper Kamya & Bernard Reed Mr. & Mrs. Randall Riggs Mr. & Mrs. Thomas Roberts Mrs. Catherine Ross Nancy Ray Ross Jerry Roush Dr. & Mrs. Randall G. Rowland Mrs. Robert L. Rudesill Fred & Bev Ruebeck Mr. Gilva F. Sallee & Ms. Wanda L. Shafer Dr. & Mrs. John F. Schaefer James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Dick & Susan Simon Tom & Dee Spencer Sydney L. Steele Drs. Randall & Bonnie Strate James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Jeffrey & Benita Thomasson Jerry & Linda Toomer Dr. James & Linda Trippi Dr. Pantila Vanichakarn & Dr. Daniel Bateman Martha Anne Varnes Joe & Sue Vertin Jane & Hugh Watson Diane K. Werth & Allan S. Manalan Emily A. West Dr. & Mrs. William J. Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Bingham Greenebaum Doll LLP Canvas CarDon & Associates

Cornelius Family Foundation, Inc. Douglas & Angela Braly Family Foundation Franklin Symphonic Council, Inc. The Indianapolis Recorder The Indy Star Northview Church ParkIndy, LLC David and Arden Pletzer Endowment Fund, a fund of Legacy Fund St. Richard’s Episcopal School The Toomer Family Foundation President’s Club ($1,500-$2,499) Anonymous (3) Dr. & Mrs. Wayne Ambrous Kate & Dan Appel Laura Walker & Vernon Black Mary Ruth Barnard Mark K. Bear Mr. & Mrs. Jay Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Kirk & Sharon Boller— Bottom-Line Performance Inc Gordon & Celia Bruder Lorene M. Burkhart Pam & Jack Burks Dr. David & Judith Chadwick Mr. Joseph & Mrs. Helena Chan Casey Chell & Daniel Duarte Mr. & Mrs. Randall Christie Ms. Clements & Mr. Barbus Chris W. & Lesley J. Conrad Gordon & Harriet Coppoc Dave & Christie Crockett Mr. & Mrs. Gregory C. Davis Dennis K. Dickos, M.D. Dr. & Mrs. Christopher Eddy Tom & Judy Eggers Dr. & Mrs. William J. Ehlhardt Linda Felton Dean & Beth Flaris Mr. & Mrs. Michael A. Fleetwood Dr. & Mrs. Mark Foglesong Dick & Brenda Freije Marianne Glick Mr. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Dr. Kathleen Hacker & Jerry Hacker Dr. & Dr. Paul K. Halverson Jeffrey Harrison Richard & Karen Harrison Ms. Lisa Heid Mr. Ronald N. Hermeling Mr. & Mrs. Gerald V. Hinchman Ms. Ginny Hodowal & Mr. J. Douglas Madeley Jill Hoyle Alan B. Hubbard Carolyn Humke Ms. Kristine Isenberg

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Annual Fund Mr. Gerald R. Jenn Wayne & Deborah Johnson Dr. Charles E. Jordan Michael & Linda Jordan Dana & Marc Katz Richard & Susan Kent Mr. Doug Klitzke Col. A. D. Kneessy Terrence & Jodi Kunstek Mr. & Mrs. Jeffrey Larson Jonathan & Lisa LeCrone Robert E. Lee Grace Long Jim & Sarah Lootens Deborah & Joe Loughrey Drs. John & Ingrid Mail Michael & Jill Margetts Jon D. Marhenke, M.D. Benton & Sandi Marks Ann & John McGrath Dr. John McKenna Nancy L. McMillan Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. Robert E. Miller Dr. & Mrs. Phillip G. Mosbaugh Sarah Myer Peggy & Byron Myers Mr. & Mrs. Daniel Mytelka Bob & Dale Nagy Mr. & Mrs. Guido Neels David & Diane Nesbitt Mr. & Mrs. John S. Null Jean S. Patton Allen H. Pekar Patricia Perkinson Marian Pettengill Bob & Kathi Postlethwait Barbara Poulsen Sue & David Powers Christine & Ken Price Larry & Nancy Pugh Roger & Anna Radue Jean Richcreek Mark & Susan Ridlen Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Mr. & Mrs. David Sapp Roger & Barbara Schmenner R. Brentson Smith Donald L. & Deborah Farmer Smith Mr. & Mrs. Jeff Smithburn Steven A. Spaulding & Jennifer C. Hendrian Judy A. Springmire John & Barb Stang Rita & Larry Steinberg Ed & Barbara Steward Jim & Cheryl Strain T.S. Sun Richard & Lois Surber Mrs. Bonnie H. Swaim Mr. John Tan Sidney Taurel Rod & Ann Taylor Stephen L. Tracy John & Kathy Vahle Joe & Diane Vande Bosche Dr. Kara R. Vonderau

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Terry & Cheryl Walker Paul & Gretchen Watson Courtenay & Emily Weldon Mrs. Mary Whalin Dr. Jay Wish & Susie Stark Mrs. Irene Yacko Mr. & Mrs. Leslie R. Zimmerman Sue & John Zinser The Ackerman Foundation Batt Family Foundation Conrad Indianapolis First Monday Music Club The Humke Foundation, Inc. Indiana Farm Bureau Insurance The Jenn Foundation Joanne W. Orr Charitable Fund, a fund of The Indianapolis Foundation Jungclaus-Campbell Co., Inc. Medella Naturals The Penrod Society Pointer Management Quinn & Ali Shepherd Giving Fund CTI Construction LLC Sun King Brewing Co. Youth Professionals of Central Indiana Symphony Club ($1,000-$1,499) Anonymous (10) Mr. Konrad Banaszak Charles Bantz & Sandra Petronio Mr. Walter H. Bartz Dale & Barb Benson Dr. & Mrs. H. W. Berner Mr. Michael L Blankenship Mr. Robert L. Bly Mrs. Sydney Jean Book Erv & Priscilla Boschmann Charles & Cary Boswell Mark Bowell & Kris Bowen Marsha Bragg Stephanie & Craig Brater The Bravata Family Dr. Harry D. Brickley Alice Brown & Randy Trowbridge Kenneth & Patricia Burow Mr. & Mrs. E. M. Cavalier Ray & Lisa Childers Mr. & Mrs. Douglas Church Donald & Alice Clapp John & Ulla Connor Mr. & Mrs. Tom Cooper Mr. & Mrs. Larry Cranfill Patrick & Jennifer Cross Mr. & Mrs. Bert Curry Kristin Cutler & Sarah Harrell Peter & Carol Czajkowski Mr. Douglas Davies Rebecca & Larry Davis Mr. Douglas B. Day Frank & Noreen Deane Ken & Kitty Decker Tom & Pat DeCoster Ann Dettwiler Col. & Mrs. Frank Dillard Mr. & Mrs. Erold R. Diller Daniel & Virginia Dolezal

Mr. & Mrs. Dan Dumbauld Ms. Joyce Dwulet Constance C. Earle Dr. Carmel Egan & Mr. Gerard Carthy Julia & W. Adam Ehret Mr. & Mrs. Theodore Engel Judith Erickson Richard J Farmer Dr. & Mrs. Harvey Feigenbaum Gracia & Jim Floyd Dr. & Mrs. Bruce Frank Ann S. & David R. Frick Mr. & Mrs. James F. Gallagher Mr. & Mrs. Jerry Gershman Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Charles & Lori Grandy Thomas & Nancy Grembowicz Mr. C. Perry Griffith John & Mary Ann Grogan Dr. James E. & Particia P. Hamby Kenneth & Barbara Hamilton Dr. Shelly & Mr. Steve Harkness Mr. & Mrs. Eugene E. Henn Mr. & Mrs. Jerome T. Henning Patricia & William Hirsch Mrs. Sue Hirschman Carolyn J. Hodge Howard & Mary Anne Hoffman Jack & Ruth Hoover Clarena Huffington Drs. Meredith & Kathleen Hull Mr. & Mrs. Thomas Huntington Mr. & Mrs. Needham S. Hurst Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ethan & Joyce Jackson Larry & Marianne Jacobi Sue Johnson William Bailey Jones III MD Donn & Dot Kaupke Freddie & Anne Kelvin Sheryl M. King, MD Richard & Roxanne Kovacs Mr. Jeffrey S. Lahr Dr. & Mrs. Richard Lasbury Craig & Kathy Leafgreen Cindy & Rick Leffler Mrs. Carl F. Lesher Dennis & Karen Licht Dr. Erik L. Lindseth Tim & Betty Lonis Lowell & Penelope Lumley Ralph & Nancy Lundgren Alex & Bridget MacAllister Mr. & Mrs. Donald R. MacPherson Mr. Kevin Malley & Mr. Ronald Nobles Mary Lynn Mancinelli Jeffrey & Christine Marks James R. & Rita E. Martin Stacy A. Maurer Michael & Patricia McCrory Mark & Mary McDaniel Mr. & Mrs. Thomas McGinley Alan & Ann McKenzie Marni McKinney Mr. & Mrs. Robert B. McNamara Mr. & Mrs. Robert H. Medsker Earl Miller & Ek-Leng Chua-Miller Nathanael D. Miller

Dr. William A. Mirola Jim & Jackie Morris Dr. & Mrs. Patrick J. Murphy Thomas P. Murphy Ann & Jim Murtlow F. Timothy & Nancy Nagler Don Nead & Caryl Matthews Lara Noren Thomas & Stacy O’Leary Sarah Otte Mrs. Karen L. Parrish Sally & Jay Peacock Linda Pence Bill & LeyAnne Perkins Gayle L. Phillips David & Dorian Poole Bob & Lillian Potts Jeff & Clare Quinn Jeff & Clare Quinn Rosemary & Charles A. Rader, Jr. Mrs. Patricia L. Ragan Mr. & Mrs. Robert D. Ramsey III Rich & Betty Lou Reasoner Scott A. Reef Bob & Carol Reynolds, Barnes & Thornburg William R. & Gloria Riggs N. Clay & Amy McCorkey Robbins Peggy L. Robinson Gordon & Patsy Roe Mrs. Richard H. Rowland Mr. & Mrs. Thomas Sands Dr. & Mrs. Andreas Sashegyi Mr. & Mrs. Billy P. Schaming Anne & Rod Scheele Mr. & Mrs. K. Blake Schlabach Ms. Silvana Schuster Mr. & Mrs. David G. Sease John A. Seest Carson Shadowen Armen & Marie Claude-Shanafelt Evan & Samantha Shinbaum Jackie Simmons & Tom Schnellenberger Denny & Jane Smith Nancy C. & James W. Smith Mary Solada Christy & Jeff Soldatis Dale & Kathy St. Louis Betty Stevens Mrs. Lynn Stocksill L. Gene & Rosie Tanner M. C. Tanner Carol E. Taylor Phillip A. Terry Douglas L. Tillman John & Judy Tomke Ms. Jane Tomlin Ms. Barbara Tully Kenneth L. Turchi Lynn C. Tyler Mark Wagner Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Mark C. Whitmore Meg Williams Mr. & Mrs. Meredith L. Wilson Doug & Jayne Ann Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Doug & Suzanne Young Teresa P. Youngen

Annual Fund The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF The Vincent C. & Robyn A. Caponi Foundation, a fund of The Indianapolis Foundation Cavalier Family Foundation Cook Group Inc Memorial Gifts Gracia E. Johnson Foundation Gregory & Appel Insurance Griffith Family Foundation Indy Eleven J. Solotken & Company, Inc. Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Marni McKinney Foundation Myron McKee Charitable Fund Thorne Family Trust of Morgan Stanley GIFT The Blake Lee & Carolyn Lytle Neubauer Charitable Fund, a fund of the Legacy Fund O’Ryan Law Firm Lyman A. & Corbalou A. Snyder Family Fund/Johnson County Community Foundation The Ruth E. Stilwell Endowment Fund, a fund of CICF Straubinger Flutes

Virtuoso ($750-$999) Anonymous (2) Mr. Wilbur L. Appel, Jr. Mr. & Mrs. Roy & Jan Applegate David Armstrong Mr. & Mrs. James Babb Mrs. Taylor L. Baker David & Etta Biloon Justin Bird Stephanie Boughton Ms. Katherin Chi Steve & Carol Christenberry Audrey E. Corne RN, EdD Bill & Ann Cummings Zachary De Pue Julie & David DeWitt Jack & Connie Douglas Hillary C. Egan Dr. & Mrs. Jeremy Eltz Ms. Audeen Fentiman Mr. Kenneth Fraza Ms. Pat Garrity Mr. Ned Derhammer Brian & Claudia Grant Lauretta Gray The Greenfield Family Burt & Sue Harris Mary Hauser

Mike & Noel Heymann Patrick F. Jessee Richard & Gwen Knipstein Robbie & Emily Kusz Reverend Doctor Joan B. Malick Elaine M. Mattson Mr. & Mrs. Ralph McCormick Dan McKinney Mrs. Sandy McLean Mr. & Mrs. Richard Menke Craig & Diana Moorman Mrs. Delores Muller Dr. & Mrs. Bert O’Neil Dr. John A. & Cinda Overman Beverley & Bill Pitts Susan Porter Charlie, Zoey & Luci Roth Brian & Sabine Quick Brandon Russell Saundra & Tuck Schulhof Michael & Pricilla Shaw Dr. & Mrs. James E. Shields The Nathaniel Shobe Family Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Jon F. Silverberg Vona E. Sinclair Mr. & Mrs. Richard Spaulding Greg & Linda Sykes Mr. & Mrs. Jay Taylor Kirk & Jo Taylor Dr. Herbert Tesser

Mark V. Bromund Fund, a fund of Central Indiana Community Foundation Circle City Athletics, Inc F.A. Wilhelm Construction Co. Contributed Goods and Services ($5,000 and Above) Blue & Co., LLC DCG: Digital Color Graphics Enflora Flowers for Business Global Violins LLC Kinetico Quality Water Systems Maggiano’s Little Italy Neal Brown Hospitality Printing Partners Republic National Distribution Co. Ruth’s Chris Steak House Second Helpings The Indy Star

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 November 15, 2018, to January 15, 2019.

Honor Gifts In Honor of Maestro Jack Everly & Producer Ty Johnson Jack & Ruth Hoover

In Honor of Mr. & Mrs. Lyman Snider Mr. & Mrs. Milton Gilbert

In Honor of John & Ellen Fosnaught Mark & Kathy Acton

In Honor of Jeff & Jennifer Vaughan Charles Benson

In Honor of Ramon & Carolyn Humke Pamela Yates In Honor of Allen Norris & Betty Plunkett Mary Sue & Phil McAlister In Honor of Jackie Nytes on her birthday Christopher & Melinda Ramsey

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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 November 15, 2018, to January 15, 2019.

Memorial Gifts In Memory of Lonn Bayha ISO Association North Group In Memory of Alan Bell Toby Gill In Memory of Dennis & Mary Christine Dennis Christine Jr. In Memory of Mary Margaret (Peggy) Lavagnino Mr. & Mrs. P. Boren In Memory of Andrew J. Paine Mary O. DeVoe In Memory of Lorraine Price Don & Carolyn Hardman Jim & Cheryl Strain In Memory of Helen Rudesill Charlene Barnette, ISOA Past President Blue & Co., LLC Mary O. DeVoe Ruth Durbin Ms. Elizabeth Evans Dagnia Kleinops, ISOA Past President Dennis & Anne Duthie McCafferty Mr. & Mrs. Roger A. Nelson Dr. & Mrs. Carl B. Schmidt Jim & Cheryl Strain Mary Woolling In Memory of Henry Ryder Mary O. DeVoe Nancy L. Frenzel Sara & James Gutting Steve Hamilton & Keith Norwalk Beverly G. Hudnut Sarah & Francois Hugon Dennis & Anne Duthie McCafferty John & Carolyn Mutz James P. White

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In Memory of Mary E. Southwick Jerlyn S. Southwick In Memory of Dan G. Sterner Ms. Sarah Barney George, Mary Clare, Josh & Brian Broadbent Gayle T. Cook Grace M. Dow Rebecca Edelbrock John R. Estridge Stephen Ferfuson Kem & Mary Hawkins Laura Jean King John & Carolyn Mutz Julia Paulsen Elaine Ross The Sogard Family James & Michal Sommor Evan & Suzy Steger In Memory of Nell Warda Lynn & Charles Austin In Memory of Anna White Mary O. DeVoe Don & Carolyn Hardman Indianapolis Symphony Orchestra Players Association Dagnia Kleinops, ISOA Past President Dr. Ned & Martha Lamkin Jim & Cheryl Strain In Memory of Gene E. Wilkins Mary O. DeVoe In Memory of Matthew C. Youngen Teresa P. Youngen

Why We Give: Lynn & Andy Wiesman Have you always lived in Indiana?

We have always lived in Indiana, except for a seven-year residence in San Diego.

Did you ever play an instrument?

Lynn took piano lessons through her senior year in high school and played clarinet in high school.

Do you remember when you first heard classical music?

Both of us have childhood memories of playing records of classical music at home.

What was the first ISO concert you ever attended?

Lynn remembers attending a children’s concert at Tech High School with her mother. This is a personal reminder of the importance of providing enticing opportunities for parents to introduce their children to classical music.

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

Over the years, we have greatly enjoyed so many ISO performances at the Hilbert Circle Theatre, out at Conner Prairie, at the 317 Series venues, and around the city at various performances at the parks during the summer.

How is your life better with music?

Music is like a second language for us, operating in parallel with spoken language. It is immensely relaxing to spend time in that musical language space.

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?

The arts are vital to the community. Music is available to all, with the potential to enrich anyone who experiences it. Music also provides an opportunity for a common experience to connect people from a variety of backgrounds in our community.

What led you to donate to the ISO? Why is that important to you?

Being a donor is a way of giving back. Ticket sales alone will never be sufficient to support the orchestra, so extra income streams are vital. Supporting the orchestra is a way of both “paying for� the wonderful benefits we experience as well as helping to provide those benefits to others in the community. Volunteering is another way to be supportive. We have greatly enjoyed our experiences with the ISOA, providing education and relationship-building opportunities.

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The Lynn Society The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity.

“Our continued contributions to the Annual Fund and our legacy gift to the Lynn Society allow us to simultaneously support a city treasure, enhance the education of the city’s youth, and personally experience the joy of great music.”

— Rollie and Cheri Dick

Lynn Society Members Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans.

Albert & Gail Ammons Earleen M. Ashbrook Ms. Nancy Ayres Dawn, Ruth* & Darrell* Bakken Janet F. & Dr. Richard E. Barb Frank & Katrina Basile Dr.* & Mrs. Paul F. Benedict Dale & Barb Benson Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & 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* Dr.* & Mrs. W. Brooks Fortune Marilyn K. Fourman

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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 & George Harless Mike & Noel Heymann Tom & Nora Hiatt Ann Hampton Hunt Ty A. Johnson Joan* & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. John A. Mainella & Michael Pettry Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch Clayton C. Miller William F. Murphy, CPA

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

The Lynn Society The Indianapolis Symphony Orchestra graciously acknowledges gifts received from the estates of: Anna Ross Alexander Mrs. Raymond A. Basso Dr. John E. Batchelder Miss Helen F. Bernheisel Florence Bien Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak Edgar L. Conn Allen E. & Mary Crum John H. Darlington 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 Mr. & Mrs. E.W. Kelley Mr. Donald M. Kercheval Louise Lage Kirtland Peter B. Krieg Ruth Lilly Mr. & Mrs. Charles J. Lynn Doris L. Lynn Mr. Stuart L. Main Mr. & Mrs. Robert L. Mann Marjorie N. McClure H. Richard & Sarah Forney McFarland Mrs. Judd R. McKay Alice & Kirk McKinney Martha Means Mr. & Mrs. J. Irwin Miller Robert H. & Ina Mohlman Mrs. Walter Myers Jr. Mr. Don Nicholson Louis W. Nie, M.D. Mr. Donald G. Nutter Frieda Nyhart Marcia L. O’Brien Mrs. Joanne W. Orr Lois Heuse Otten Dr. F. Bruce Peck Mrs. Joseph D. Pierce Mr. & Mrs. Paul G. Pitz Dr. Henry Plaschkes Mr. Theodore N. Popoff Patricia A. Quinn

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

Remembering The ISO In Your Will It’s easy to make a bequest to the ISO, and no amount is too small to make a difference.

Here is sample language: “I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”

For more information about the Lynn Society and membership, please contact the Director of Development, Institutional Giving, Sally Meyer Chapman, at 317.231.6770 or smeyer@IndianapolisSymphony.org.

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Arts in Indy Indianapolis Symphonic Choir The Indianapolis Symphonic Choir is looking for talented and dedicated singers to audition for the Choir’s 2019–2020 season. To register and request an audition time, please email auditions@indychoir.org. For more information, please visit www.indychoir.org.

The Indianapolis Symphonic Choir is looking for talented and dedicated singers to audition for the Choir’s 2019-2020 season.

Footlite Musicals

EMAIL AUDITIONS@INDYCHOIR.ORG TO REGISTER

More information at indychoir.org

Footlite Musicals is Indy’s oldest continually operating all-volunteer community theatre, presenting the best of Broadway musical theatre. Join us in our 63rd season including performances of Singin’ in the Rain, March 1–17; and Children of Eden, May 3–19. Performances are Thursday, Friday, and Saturday at 7:30 p.m. and Sunday afternoon at 2:30 p.m. Adult tickets are $25, youth tickets $15, with $10 specials on Thursdays and the first Sunday. Save $2 off adult tickets with the discount code “ISO2018.”

Dance Kaleidoscope Celebrate Dance Kaleidoscope at Silver Stars: the 25th Kaleidoscope of Dance. This gala will be held on March 23 at the Westin Indianapolis downtown. Special guest Angela Brown will serenade, and the Bill Myers Ensemble will provide live music for dancing. DK’s gala is often called the Best Party in Town—come find out why! Learn more and get tickets at DanceKal.org.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir on Sunday, March 3, as we present Sounds of the Pacific! Prepare to be taken on a voyage across the Pacific Ocean as the ICC brings you a variety of music spanning the Pacific Rim. The warm, tropical spirit of these concerts is the perfect way to leave winter behind and welcome spring! Get tickets at www.icchoir.org/tix. The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317.940.9640.

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

Arts in Indy Indianapolis Suzuki Academy Now enrolling! 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, harp, or guitar includes weekly private lessons and regular group classes. Baby/toddler classes are now enrolling for newborn to 4 years. Classes are in the Meridian-Kessler neighborhood.

See our students in concert at Indiana Landmarks Grand Hall March 10 or April 14. For details or tickets, visit www.IndySuzukiAcademy.org.

Indianapolis Opera Since 1975, Indianapolis Opera has been dedicated to delivering passion, excitement an d the art of professional opera throughout Indiana with compelling educational, cultural and community activities. Join us this spring for Lerner and Loewe’s multiple Tony Award-winning production Camelot, March 22, 23 & 24 at The Schrott Center for the Arts on the campus of Butler University. For tickets and more information, visit www.indyopera.org or call 317.283.3531.

Indianapolis Chamber Orchestra Under the direction of maestro Matthew Kraemer, the Indianapolis Chamber Orchestra performs music composed for the small orchestra—from classical masterworks to music from the theater and silent film genres. On March 9, see the silent film classic The General with live orchestra. At home on both classical and bluegrass stages, Tessa Lark returns for the Indiana premiere of Michael Torke’s bluegrass concerto for violin and orchestra, Sky, on April 6.

See both concerts at the Schrott Center for the Arts. For information and tickets, call 317.940.9607 or visit www.icomusic.org.

New World Youth Orchestras New World Youth Orchestras’ mission is to develop and nurture the musical talent of young people through high-quality music education and the rehearsal and performance of orchestral masterworks, both traditional and contemporary. Join us for our season finale concert at Hilbert Circle Theatre on May 12 at 5 p.m., featuring young musicians ages 8-18. The program will include performances by each of the three orchestras and our Young Artist Competition Junior Division winner, Zhe Koh. Tickets range from $8 to $30 and are available through the ISO box office. For more information call 317.912.0547 or visit www.nwyso.org.

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

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Administration Executive Office

Marketing and Communications

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

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

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

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Patron Services David Storms, Box Office Manager Elizabeth Whipkey, Senior Customer Care Representative Janine Knuutila, Customer Care Representative Kim McManus, Customer Care Representative Erin Demo, Customer Care Representative Erin Jeffrey, Customer Care Representative Nick Neukom, 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 Betty Perry, Metropolitan Youth Orchestra Founder and Artistic Director Emeritus, ISO Community Ambassador Ruth Wolff, Director, ISO Learning Community Krystle Ford, Director, Metropolitan Youth Orchestra Perry A. Accetturo, Program and Communications Manager Megan Masterman, Education Program Manager Andrea Fjelde, Learning Community Coordinator Finance Steve L. Hamilton, Vice President of Finance and Chief Financial Officer Adam White, Controller Teaka Vest, Staff Accountant 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

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.

Ushers For questions about Hilbert Circle Theatre accessibility, first aid, and lost and found, please see any usher. Ushers are here to answer your questions and to make your concert experience enjoyable.

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: •

•

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!

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Corporate Sponsors The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support.

To become a corporate partner, please contact Catherine Lockhart, Associate Director of Corporate Giving, at 317.231.6723.

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SAVE THE DATE ASSOC ATION PEOPLE WITH A PASSION FOR MUSIC

The 2019 Let Us Entertain You event

FRIDAY, MAY 3, 610PM The Deer Zink Events Pavilion The Indianapolis Museum of Art at Newfields

Join us for a fabulous evening of dinner, entertainment, and auction.

Proceeds will support the Metropolitan Youth Orchestra.

Presenting Sponsor:

TO MAKE RESERVATIONS OR FOR MORE INFO CALL THE ISOA OFFICE: 317.231.6726

Oxford proudly supports the Indianapolis Symphony Orchestra.

Oxford is independent and unbiased — and always will be.

We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions.

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