May/June Program Book for the Indianapolis Symphony Orchestra

Krzysztof Urbański

Matthias Pintscher

Garrick Ohlsson

The Doo Wop Project

Kelley O’Connor

Wagner’s Tristan • Trifonov Plays Schumann The Doo Wop Project: Encore!

Rachmaninoff’s Piano Concertos • Brilliance of Brahms Harry Potter and the Deathly Hallows™ Part 2 In Concert Volume 6 • May/June • Hilbert Circle Theatre

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Table of Contents Programs

96 Administration and Staff

12 Wagner’s Tristan

May 2–4

97 Hilbert Circle Theatre Information

26 Trifonov Plays Schumann

May 10–11

99 Indianapolis Symphony Orchestra Association

36 The Doo Wop Project: Encore!

May 17–18 42 Rachmaninoff’s Piano Concertos

May 31–June 2

98 Corporate Sponsors

Artists 13 Matthias Pintscher 15 Ying Fu 17 Michelle DeYoung

60 Brilliance of Brahms

June 7–8

27 Krzysztof Urbański

78 Harry Potter and the Deathly HallowsTM Part 2 In Concert

June 21–22

29 Fabiola Kim

The Indianapolis Symphony Orchestra 6

Board of Directors

7

Musicians of the ISO

8

Music in My Life

11 Inside the Usher Corps 83 Endowment 86 Annual Fund 90 Tribute Gifts 91 Why We Give 92 Lynn Society 94 Arts in Indy

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28 Daniil Trifonov 37 Jack Everly 39 The Doo Wop Project 43 Garrick Ohlsson 47 Robyn Bollinger 61 Sarah Shafer 62 Kelley O’Connor 63 Paul Groves 64 Alexander Elliott 65 Boson Mo 66 Indianapolis Symphonic Choir 68 Eric Stark 80 Nicholas Buc 81 Alexandre Desplat

Welcome Dear friends, As the days grow longer and warm weather returns, we are eager to share the excitement of the change in seasons with you here at the historic Hilbert Circle Theatre.

Music Director Krzysztof Urbański returns to Indianapolis for several riveting concert weekends, including the culmination of our year-long study on Brahms’ symphony cycle.

Maestro Urbański also conducts the legendary Garrick Ohlsson, who joins the Indianapolis Symphony Orchestra to showcase Rachmaninoff’s piano concertos.

Principal Pops Conductor Jack Everly leads the ISO in what is sure to be an energizing weekend, as The Doo Wop Chief Executive Officer Project returns to Indianapolis. If you haven’t experienced the amazing harmonies and fantastic personality of this group, don’t miss this opportunity!

James M. Johnson

In June, we travel to Hogwarts one last time for Harry Potter and the Deathly Hallows™ Part 2 In Concert. I hope you’ll join us for the final installment of our journey through the Wizarding World.

Preparations are underway for summer, and we look forward to joining you in a variety of musical experiences throughout the season. Kroger Symphony on the Prairie is bigger than ever, with more weekends, more concerts, and enhanced amenities throughout the ground­—it truly is #aWholeNewSummer! We’ll also host plenty of excitement here on the Circle, with the return of the popular Fifth Third Lunch Break Series and the continuation of our Bank of America Film Series—I know fans of all ages are getting excited to see Disney’s The Little Mermaid live with the ISO this July!

No matter how you plan to enjoy your time with us this spring and summer, I am so glad to have you all as a part of the ISO family.

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. 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

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

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

*Executive Committee

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

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

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Musicians of the ISO Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate First Violin Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster, The Meditch Chair Michelle Kang, Assistant Concertmaster, The Wilcox Chair Barbara Fisher Agresti Michelle Black Sophia Cho Sherry Hong Vladimir Krakovich Vincent Meklis Wei Wei Hán Xiè Second Violin 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 Ryan Miller** Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal

Timpani Oboe Jack Brennan, Principal The Thomas N. Akins Chair Jennifer Christen, Principal, Craig A. Hetrick, Assistant Principal The Frank C. Springer Jr. Chair Roger Roe, Assistant Principal Percussion Sharon Possick-Lange

Braham Dembar, Principal English Craig A. Hetrick Horn Pedro Fernandez Roger Roe, English Horn The Ann Hampton Hunt Chair Harp Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair † Samuel Rothstein, Acting Principal Cathryn Gross, The Huffington Chair Campbell MacDonald, Acting Assistant Principal/Utility#

Diane Evans, Principal The Walter Myers Jr. Chair

Bass Clarinet Campbell MacDonald#

Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager

Bassoon Mark Ortwein, Acting Principal Michael Muszynski, Acting Assistant Principal Nate Hale** Contrabassoon Nate Hale** Horn Robert Danforth, Principal, The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Alison Dresser, Assistant Principal ** Julie Beckel Yager Jill Boaz

Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger

Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian William Shotton, Bowing Assistant Stage 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 #Temporary † On leave

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Music in My Life: Michelle Kang, Violin Before joining the ISO in 2007, Michelle Kang was a member of the San Diego Symphony. She received her Bachelor of Music from Juilliard School, and studied with Glenn Dicterow, Dorothy Delay, and Dr. Won-Bin Yim. She has won the Eastern Connecticut Young Artist Competition and the Juilliard Pre-College Concerto Competition. Kang has performed solo with the Aspen Young Artist Orchestra, Juilliard Pre-College Symphony, and the Korean Symphony Orchestra.

Tell us about yourself.

I was born in Seoul, South Korea, into a big family. I have two older sisters and one younger brother. Both of my sisters also studied music at Juilliard; one plays the piano and the other plays flute.

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

My mom says I played a melody I heard on the radio on the piano before I could speak. My music lessons on the piano began when I was three years old.

What do you enjoy doing when you are not performing?

I like to spend most of my free time chasing after my active daughter, Emma, who is two years old. I enjoy cooking when I can and going to the art museum.

What has been your favorite performance with the ISO? There are too many to pick one. The concert with John Williams was amazing. It was surreal to see and play with a living legend who is such an inspirational conductor. I think we all had a blast that weekend.

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

Sometimes the journey is difficult but well worth it in the end. Work hard, stay positive, and be happy.

If you could perform anywhere, where would it be?

I love New York and consider it home. If the symphony has an opportunity to play in New York, it would be wonderful.

What has been your favorite piece this season with the ISO? Brahms’ Symphonies No. 3 and 4.

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to our 2 019-2 02 0 s eas on.

S eas on Highlights: BTHVN2020 The ISO will celebrate the 250 anniversary of Beethoven’s birth by performing the first five symphonies in January. Each will be paired with brand-new commissioned pieces. th

West Side Story In Concert

Mary Poppins In Concert

The ISO will bring to life Bernstein’s beloved Broadway score in its entirety and will be among the first orchestras to do so. Principal Pops Conductor Jack Everly will lead the ISO and a diverse cast of singers.

Experience the magic of this Disney classic and winner of five Academy Awards—including Best Original Music Score—with the Indianapolis Symphony Orchestra playing live to film.

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

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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: Kristen Osbourne 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, Kristen Osbourne. Kristen has volunteered over 130 hours since joining the ISO family in September 2018. We are grateful for all that she does for the ISO! Tell us a little about your background.

I am originally from Wise, Virginia, a small town nestled in the Appalachian Mountains. I attended Appalachian State University and graduated with a Bachelor of Music in Music Therapy in 2017. After completing my clinical training in Bar Harbor, Maine, for 6 months, I became a board-certified music therapist early last year. I moved to Indy in April 2018 after accepting a national service-year position with a not-for-profit through the AmeriCorps VISTA program, and also began working as a parttime music therapist soon after relocating. I am now employed as a full-time music therapist.

What motivated you to become an ISO volunteer?

I heard about volunteering through a coworker shortly after moving to Indy. She talked so passionately and energetically about it that I knew it was something I needed to look into. It took five months after first hearing about it to actually attend a volunteer training, but I am so glad I finally took that step!

Have you ever played an instrument?

I play many instruments! I started clarinet in the 6th grade, followed a year later by a switch to the oboe. Oboe continued to by my primary instrument in high school, but I also played clarinet and percussion in marching band, and baritone saxophone in jazz band. My primary instrument in college was oboe, but I also took guitar, piano, and voice classes to prepare for a career as a music therapist. I also dabbled in cello for a semester just for fun!

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

My favorite experience has been the Yuletide Celebration. I loved meeting so many families who told me they come to the theatre for Yuletide as their annual holiday celebration. The theatre is truly filled with joy and holiday spirit.

Why is volunteering for the ISO important to you?

I am able to make a meaningful contribution to my passion for orchestral music by volunteering. I use my passion and love for music to create the best experience possible for the patrons I interact with, and I know that the customer service I provide on behalf of the orchestra matters to patrons’ overall experiences.

What would you tell someone that is considering volunteering with the ISO? Come on and join the corps! It is such a rewarding volunteer experience. Meet new friends, give back to the community, and make a meaningful contribution to a key cultural staple in Indy that is the amazing ISO. 11

Wagner’s Tristan

MAY 2, 4

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

Thursday, May 2, at 11 a.m.

Hilbert Circle Theatre MATTHIAS PINTSCHER, Conductor | MICHELLE DEYOUNG, Mezzo-Soprano Alban Berg | 1885–1935

Sieben frühe Lieder

Nacht (Night) Schilflied (Reed Song) Die Nachtigall (The Nightingale) Traumgekrönt (Crowned by a Dream) Im Zimmer (In the Room) Liebesode (Ode to Love) Sommertage (Summer Days)

Michelle DeYoung, Mezzo-soprano

Richard Wagner | 1813–1883 Prelude and “Liebestod” from Tristan und Isolde

Michelle DeYoung, Mezzo-soprano

† The Coffee Concert is an abbreviated performance.

There is no intermission.

The Dennis T. Hollings Performance of Classical Music is endowed by the Dennis T. Hollings Fund

12

Translations are on page 24.

Length of performance is approximately one hour.

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

Matthias Pintscher, Conductor Matthias Pintscher is the Music Director of the Ensemble Intercontemporain. In addition to a robust concert season in Paris, he tours extensively with them throughout Europe, Asia, and the U.S., this season leading concerts in Berlin, Hamburg, and Zurich.

Known equally as one of today’s foremost composers, Pintscher had two works premiered in the 2018–19 season: Nur, a new concerto for piano and ensemble was performed by Daniel Barenboim and the Boulez Ensemble conducted by the composer in January; and a new work for baritone, chorus, and orchestra will performed by Dietrich Henschel and the Tonhalle-Orchester Zürich conducted by maestro Kent Nagano in June.

Pintscher is the 2018–19 season Creative Chair for the Tonhalle-Orchester Zürich, the Artist-in-Residence at the Los Angeles Chamber Orchestra, and finishes a nine-year term as the BBC Scottish Symphony Orchestra’s Artist-in-Association. This season, Pintscher makes his debuts with the Saint Louis Symphony Orchestra, Rotterdam Philharmonic, and the Staatsoper Unter den Linden in Berlin, where he conducts the world premiere of Violetter Schnee, a new opera by Beat Furrer.

Return guest engagements include the symphony orchestras of Chicago, Cincinnati, Cleveland, Indianapolis, Milwaukee, the New York Philharmonic, as well as the New World Symphony in Miami. In Europe, having begun the season conducting the Scottish Chamber Orchestra at the Edinburgh International Festival, Pintscher also returns to the Orchestre de Paris, Danish National Symphony Orchestra, and Helsinki Philharmonic.

MAY 2, 4

In the 2017–18 season, Pintscher made several significant debuts with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony, and the Gulbenkian Orchestra in Lisbon. Pintscher and the Ensemble Intercontemporain brought an ambitious presentation of Pierre Boulez’s Répons to the Park Avenue Armory in New York and performed a number of concerts on tour in London, Vienna, and Cologne. In addition, they were joined by alumni of the Lucerne Festival Academy Orchestra in a special multimedia Messiaen project performed in four cities.

An enthusiastic supporter of and mentor to students and young musicians, Pintscher served as Principal Conductor of the Lucerne Festival Academy Orchestra from 2016 to 2018 and worked with the Karajan Academy of the Berlin Philharmonic in their 2017–18 season, culminating in a concert at the Philharmonie.

Pintscher began his musical training in conducting, studying with Peter Eötvös in his early twenties, during which time composing soon took a more prominent role in his life. He rapidly gained critical acclaim in both areas of activity, and continues to compose in addition to his conducting career. As a composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris, among others. Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014.

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Ying Fu, Guest Concertmaster Since 2013, Ying Fu has been the Associate Concertmaster of the Philadelphia Orchestra. Prior to this appointment, Fu has been a member of the Cleveland Orchestra for two years. Born in Shanghai, China, Fu began to study the violin at the age of 3 and gave his first public performance at the age of 6 in the Shanghai Concert Hall. Fu went on to earn his Bachelor’s of Music from Shanghai Conservatory of Music in China and his Master’s degree of Music in the Shepherd School of Music at Rice University in Houston, Texas. After two years of studying for his doctoral degree under Professor Cho-Liang Lin and Sergiu Luca at the Shepherd School of Music, he joined the first violin section of the Cleveland Orchestra in 2011.

Fu was the 1st Prize Winner of the 30th “Rodolfo Lipizer” International Violin Competition in Italy, as well as four Special Prizes.

He has collaborated with many renowned

MAY 2, 4

musicians, such as Maestro Cliff Colnot, Cristian Macelaru, pianist Richard Goode, Mitsuko Uchida, cellist Peter Wiley, violist Kim Kashkashian, violinist Midori Goto, and has performed throughout Europe, Asia, and North America. With his great enthusiasm for chamber music, Fu has participated in many chamber music festivals, including Marlboro Music Festival in Vermont, Cascade Head Music Festival, Taos Chamber Music Festival in Taos Ski Valley, and Schleswig-Holstein Music Festival in Germany.

As an active teacher, his students have been accepted by the Curtis Institute, the Juilliard School in NYC, New England Conservatory in Boston, as well as Jacobs School of Music at Indiana University Bloomington. Fu has also been a faculty member of National Youth Orchestra, Philadelphia International Music Festival, Calvin String Summit in Michigan, as well as David Kim Orchestral Institute.

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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Wagner’s Tristan

MAY 2, 4

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Fifteen Saturday, May 4, at 5:30 p.m.

Hilbert Circle Theatre MATTHIAS PINTSCHER, Conductor | MICHELLE DEYOUNG, Mezzo-Soprano Alban Berg | 1885–1935

Sieben frühe Lieder

Nacht (Night) Schilflied (Reed Song) Die Nachtigall (The Nightingale) Traumgekrönt (Crowned by a Dream) Im Zimmer (In the Room) Liebesode (Ode to Love) Sommertage (Summer Days)

Michelle DeYoung, Mezzo-soprano

Richard Wagner | 1813–1883 Prelude and “Liebestod” from Tristan und Isolde

Michelle DeYoung, Mezzo-soprano

INTERMISSION—Twenty Minutes Anton Bruckner | 1824–1896

Symphony No. 3 in D Minor

Mässig bewegt

Adagio (etwas bewegt) quasi Andante

Scherzo: Ziemlich schnell

Finale: Allegro Premier Sponsor

Associate Sponsor

The Dennis T. Hollings Performance of Classical Music is endowed by the Dennis T. Hollings Fund

16

Translations are on page 24.

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.

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

MAY 2, 4

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.

17

MAY 2, 4

Wagner’s Tristan Sexuality, investigations into the occult, into mathematics, and into a bevy of esoteric matters stirred a combustible mix of artists, intellectuals, and scientists. Strict adherence to the long-sanctioned bodies of Western knowledge was passé. The genie had come out of the bottle.

Born: February 9, 1885, Vienna, Austria Died: December 24, 1935, Vienna, Austria Years Composed: 1905–1908 Length: c. 18 minutes World Premiere: November 1928,

Vienna, Austria Last ISO Performance: October 2015

with conductor Alexander Shelley

and soloist Malin Christensson Instrumentation: 2 flutes, 2 oboes,

3 clarinets, 3 bassoons, 4 horns,

trumpet, 2 trombones, timpani,

percussion, harp, celeste, strings,

and solo voice

Music was not immune. A triumvirate of composers—Schoenberg, Webern, and Berg—were the theoretical and compositional headliners in the “new music” of Vienna. Sometimes the trio was referred to as the Second Viennese School, following the First, which comprised Haydn, Mozart, and Beethoven. The triumvirate hobnobbed frequently with all components of the intellectual elite. Berg studied with Schoenberg, and the teacher’s Harmonielehre became a seminal statement in writing music without the pull of a tonic (atonal), proclaiming a new musical logic called serialism. The method posited no less than a totally new method of rationalizing and writing music. Serialism spun a concept of equality of tones, tied together by a row (the sounding of each of the twelve tones without repetition), which would be the “subject” of the piece at hand.

Total serialism controlled not only notes, but also rhythms and dynamics simultaneously.

Music employed mathematical constructs, palindromes, and other methods to harness and rationalize the sounds. Intellect ruled; intellectual complexity was riveting.

At the turn of the twentieth century, Vienna was an extraordinary place. Radical inquiry was being made into the depths of the mind (Freud), the nature of music (Schoenberg, Berg, Webern), new philosophical studies (Ludwig Wittgenstein), and other areas of the human experience as they came into question and review. Kandinsky’s Concerning the Spiritual in Art resonated throughout the city. Vienna’s coffeehouses brimmed with the excitement of intellectual revolution.

Berg, unlike his teacher, did not throw the baby out with the bathwater. He utilized the emotional inheritance of the late-Romantic composers, especially Mahler, in iterating his own voice. He produced a small number of works, usually less tied to the acetic strictures placed by Schoenberg and Webern. In doing so, he provided a softer introduction to the world of twelve-tone music. The passionate feature within Berg’s products made Schoenberg furious, and he wrote scathing commentary on works written by his “stray-

Lilly Classical Series Program Notes

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

Sieben frühe Lieder Alban Berg

18

MAY 2, 4

Lilly Classical Series | Program Notes ing student,” such as that on the Altenberg Lieder and Four Pieces for Clarinet and Piano.

Berg was obsessed by symmetry, enjoying mirror structures and retrograde formations (palindromes). For more on this, read The Eternal Return: Retrograde and Circular Form in Berg by Robert Morgan, who posits that all of Berg’s music reflects an obsession with musical temporality and circular forms, a case of “driving back to the beginning.” Berg especially liked to site Nietzsche’s notions of eternal return to add a certain pedigree to his thinking. He also loved secrets, and messages were sometimes encrypted or smuggled into his music, such as secret messages to Schoenberg in his Chamber Concerto.

Berg was fascinated with mysticism and had a passion for Balzac’s mystic novel Seraphita.

Another fascination with numerology led him to a deep connection to the numbers 10 and 23, the latter being his “fateful number,” which he believed controlled his personal life cycle.

The Seven Early Songs were inspired by the composer’s love for his wife, Helene, whom he met in 1906 and married in 1911. During these years, Berg was studying with Schoenberg, absorbing his avant-garde ideas and values. Since he could not pay for the lessons, Schoenberg taught him gratis for six years.

Each song is set to a text by a major German poet, reflecting Berg’s love of literature. In his youth, Berg first considered a literary career, but after meeting Schoenberg in 1904, he changed direction. His combination of Schoenberg’s atonal style and intense emotion is captivating, yet beguiling.

Romanticism remained alluring to Berg; in his early years, he had been a devotee of Gustav Mahler and Richard Wagner. His blended adaptation of the twelve-tone technique and Mahlerian richness produced a fascinating amalgam. Donal Henahan

wrote, “Berg’s style does not choke off expression. The music exudes a fetid sensuality, evident in the early songs and never quite lost in the later, more sophisticated works. . . . Sentiment and nostalgia figure greatly in his works just as in Mahler’s . . . . We hear him torn between making love to yesterday and trying to make peace with tomorrow.”

Prelude and “Liebestod” from Tristan und Isolde Richard Wagner Born: May 22, 1813, Leipzig, Germany Died: February 13, 1883, Venice, Italy Years Composed: 1857–1859 Length: c. 17 minutes World Premiere: March 1859, Prague,

Czech Republic Last ISO Performance: April 2016 with

conductor Gilbert Varga Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, and strings

Prelude and “Liebestod” stands at the beginning and end of Wagner’s sensual opera, Tristan und Isolde, focusing on desire, illicit love, and the fatal, inextricable combination of love and death. These two excerpts, however, had already been heard in public before the opera’s premiere in Munich at the Königliches Hof und Nationaltheater, on June 10, 1865. The prelude had debuted in March of 1859 in Prague, and the two were linked in a Parisian concert on January 25, 1860, with the composer conducting. This orchestral fusion has long been played independently as a popular concert piece.

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MAY 2, 4

Wagner’s Tristan

It is hard to imagine that within this lush, romantic music, a revolution is brewing—and it happens within the first few measures. The prelude begins with quiet tones from celli and winds, building a small, sustained chord.

The treatment and ambiguity of this chord had enormous consequences; so enormous that the opening has been considered a “landmark in the development of Western music.” In The Birth of Opera, Michael Rose wrote that Wagner, “began a process that led progressively, but inexorably, to the birth of atonality, the theories of Schoenberg, and the principals of twelve-tone music, whose effects are with us still.” In Wagner without Fear, William Berger wrote, “From literally the first bar of the score, Wagner reinvents the art of music.”

presenting a dissonant chord (composed of two tritones), he elects to instead repeat the structure. The listener is “left hanging.”

Eduard Hanslick commented, “The prelude to Tristan und Isolde reminds us of one of the old Italian paintings of a martyr whose intestines are slowly unwound from his body onto a reel.” Wagner continues this effect throughout the prelude, leading to growing intensity, and relieved by resolution in the “Liebestod.” The cumulative effect was stunning, but not fully understood or acceptable to many who first heard the prelude. So shocking, in fact, it was reported that several audience members fell into a swoon upon hearing the notes for the first time. Wagner intended instability and danger, the lack of harmonic fulfillment representing the angst and torture of unfilled love between Tristan and Isolde.

Exploring the music Here is what occurs and what you will immediately hear: The music will slowly fuse, note-by-note, into a dissonant chord (known as the “Tristan chord”), which does not “behave,” or move into a consonance.

Instead, the music moves a step upward, into another dissonance with similar behavior.

Harmonic expectation was not satisfied, and in this deliberate, tantalizing construction, a revolution in traditional tonal harmonic practice was at hand. No longer does a composite sound (a chord) have to move in a certain way: it can simply exist as coloration or, in this case, a resonating sound of continuing stress.

On July 5, 1865, the Allgemeine musikalische Zeitung noted, “Not to mince words, it [the opera] is the glorification of sensual pleasure, tricked out with every titillating device . . . the most ideal of the Muses has been made to grind the colors for indecent paintings . . . Wagner makes sensuality itself the true subject of his drama. We think that the stage presentation of the poem Tristan und Isolde amounts to an act of indecency.”

On his part, in December 1854, Wagner had written a note to Liszt that said, “Since never in my whole life have I tasted the real happiness of love, I mean to raise a monument to that most beautiful of dreams . . . I have in my mind a plan for Tristan und Isolde, the simplest but most full-blooded conception . . . and it will quickly bring me a good income and keep be afloat for a time.”

Later, with great pride, he commented on the significance of his opera, saying, “Tristan is, and remains, a miracle to me! I find it more and more difficult to understand how I could have done such a thing; when I read through it again, my eyes and ears fell open with

Traditionally, a dissonance (uncomfortable sound) was treated as a matter of momentary coloration that then moves almost directly to a consonance (a comfortable sound), relieving and resolving all tension, “distress,” and suspense created by the dissonance. In this case, Wagner does not provide the anticipated release. After first

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Lilly Classical Series | Program Notes amazement. . . I have far overstepped the limits of what we are capable of achieving in this field.”

The prelude (Langsam und Schmachtend) opens softly and slowly to the Tristan chord.

There is a pause, and then, a tone higher, the idea repeats, followed by another pause.

Then again: more music and another pause. . . as if the music cannot move forward.

Suddenly, there is a large chord, and the music unfolds seamlessly into a poignant theme sung by strings with coloration by horn. From time to time, winds make small commentaries. Gradually, the music moves into a surge of passion, but submerges once again into its opening reluctance, with gentle repetitions of the opening measures of the theme. The static nature of this behavior underscores the impossibility of any hope of happiness. Two pizzicati from the lower strings seal this part, with the instructions of “attacca,” meaning “go ahead immediately.”

In Wagner’s music-dramas, the stage action and the music continuously feed off one another.

The orchestral “Liebestod,” an arrangement of Isolde’s Act 3 aria, “Mild und leise,” begins by echoing the soft and tentative nature of the Prelude. Instructions are to play sehr mässig beginnend (very moderately). The music begins in the bass clarinet, moving slowly in combination with horns, supported by shimmering strings declaiming the “longing motif,” which becomes entwined with the “transfiguration motif” of love. Following arpeggios from harp, the tempo and activity increase (etwas bewegter: moving ahead).

The orchestral texture thickens steadily; soaring rhapsodic segments populate the score with repetitions of the opening idea.

Notice herein the beautiful scoring for the harp. Gradually, the music becomes more passionate, accelerating with increasing dynamics until a massive climax of the

MAY 2, 4

longing and transfiguration motifs is reached. The conclusion moves to a thinner texture, moving slowly with resignation to the glimmering final chord. At this time in the opera, Tristan has died and Isolde falls over his body, holding him in her arms as if in a trance. She is transformed into the higher plane of existence, into unmitigated bliss in their ultimate unity, tragically, only through death—the key to fulfillment.

Thus, the title “Liebestod,” “love-death.” In Wagner’s mind, the two were tightly connected. He forecasts the ending in Act II, when the lovers sing, ”Oh might we then together die. . . each-to-each be given in love alone, our heaven.”

The orchestration becomes larger as the drama moves toward its passionate and infinitely sad conclusion. Timpani strokes underscore the increasing tempo in a steady accelerando moving, as it were, toward a higher plane: an inevitability of their union into the World Soul. Note the repetitions of the liebestod motif (“death of love”), which is a five-note pattern, as if the music is stuck on one idea, marking the futility and disaster of the love between Tristan and Isolde. Eventually, the music moves into a major key and resolution of the “special chord,” which recurs many times in the work. Finally, in this musical resolution, there is unmitigated bliss.

Sadly, the only means of arriving at this point for the two lovers was through death and transfiguration.

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MAY 2, 4

Wagner’s Tristan

Symphony No. 3 in D Minor Anton Bruckner Born: September 4, 1824, Ansfelden, Austria Died: October 11, 1896, Vienna, Austria Years Composed: 1873–1877 Length: c. 57 minutes World Premiere: December 1877, Vienna, Austria Last ISO Performance: October 1990 with conductor Bernhard Klee Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings It was not until Anton Bruckner was in his sixties that he was truly appreciated as a composer. Before his sixth decade, Bruckner had often been considered a musical joke, only a simple, meek, church musician without significant consequence. Even the esteemed Vienna Conservatory, where he taught theory and organ, joined the critical voices labeling him “a boor and hayseed who speaks with a peasant accent.” Adding to the hurtful, poisonous personal insults were the influential negative opinions of Eduard Hanslick, the powerful music critic of Wiener Zeitung and professor of music history and aesthetics at the University of Vienna. Part of Hanslick’s vitriol was in part based on his hatred of Richard Wagner and the “New German music” exemplified in Wagner’s music dramas and the tone poems of Liszt, along with Bruckner’s idolization of Wagner.

For Hanslick, Bruckner’s devotion and admiration for Wagner was a permanent contaminant. He found the Bruckner symphonies to be “monotonous, measureless, and enervating.” Hanslick reviewed the Third, saying, “It is a vision of Beethoven’s Ninth becoming

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friendly with Wagner’s Valkyries and finishing up being trampled under their hooves.” He was further irritated by Bruckner’s dedication of the Third Symphony, which read, “To the eminent Excellence Richard Wagner, the unattainable, World-Famous Exalted Master of Poetry and Music, in deepest reverence dedicated by Anton Bruckner.”

Hanslick’s denunciations eventually proved to be wrong. Bruckner would successfully write nine numbered symphonies along with two early symphonies known as Numbers OO and in O. In the article “The At Home Guide: Bruckner and the Shadow of Wagner,” Danny Riley summarized the impact of these works, saying, “So, while Bruckner’s affirmed reverence for Wagner was undoubtedly an impediment to a close understanding of his work for generations, one only need look at his mature symphonies to see the ways in which he independently forged his own artistic legacy. Whether viewed as a naive genius or a sycophantic bore, the fact remains that Bruckner affected a significant and idiosyncratic influence on the tradition of symphonic composition.”

Musicologist H. C. Robbins Landon wrote that the composer was no less than a summation of Austrian musical culture, noting that, “In the Bruckner orchestral works there are powerful echoes of the great symphonic tradition: of Austrian Baroque with gigantic fugues, proud trumpets and rattling kettledrums; of Haydn’s late Masses, which were miraculous; fusions of the late Viennese classical style and the older contrapuntal forms; in the doom ridden tremolos in the first movement of Beethoven’s Ninth—an atmosphere to which Bruckner, trancelike returns again and again . . . . ” The intense Wagner relationship/influence has been well documented. H. C. Robbins Landon wrote, “In his orchestration, and his harmonic language, [he owes] a strong debt to Wagner.”

Author David Ewen has noted, “He was a man as simple as a peasant and as naïve as

MAY 2, 4

Lilly Classical Series | Program Notes a child who worshipped not one but two deities, the other being Wagner.”

explaining why this has sometimes been called “the Wagner Symphony.”

The Wagner influence In 1863 Bruckner had been introduced to Wagner’s music in 1863 by his teacher Otto Kitzler, and two years later after attending the first performance of Tristan und Isolde in Munich, Bruckner was dazzled by the experience and musically transformed. Following his idol, Bruckner also wanted to expand the orchestra, emphasize the brass, and to use the new rich harmonies. We find all these elements in the Third Symphony as well as extensive quotes from Wagner’s works,

There were four revisions of the Third Symphony: 1874, 1876, 1877, and 1888–89, each one being shortened.

On this program the 1889 version is performed. Most of the quotations from Wagner’s music dramas (especially Die Walküre and Lohengrin) embedded in the first version were deleted as Bruckner changed the score.

Although Bruckner frequently revised his works, the Third was frequently said to have caused him the most trouble.

PROKOFIEV’S ROMEO AND JULIET Wednesday, June 12 WITH THE

INDIANAPOLIS SYMPHONY ORCHESTRA

Bring your lunch, pick any seat, and relax for a 40-minute performance of classical favorites during your lunch hour!

TCHAIKOVSKY’S SYMPHONY NO. 5 Thursday, June 27

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Jacob Joyce conducts Prokofiev with selections from Romeo and Juliet and Liszt’s Les Preludes.

Conductor Gemma New with the famous Tchaikovsky Symphony No. 5.

PATRIOTIC FAVORITES Wednesday, July 3 Alfred Savia conducts the ISO with selections from the Star-Spangled Symphony.

BROADWAY HITS Thursday, July 11 Jack Everly brings Broadway favorites to life with the Indianapolis Symphony Orchestra.

RUSSIAN DELIGHTS WITH MAYA KILBURN Wednesday, July 17 Join 2019 Maurer Competition winner violinist Maya Kilburn for the music of Tchaikovsky and Russian opera overtures.

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MAY 2, 4

Sieben frühe Lieder Translations

Nacht (by Carl Hauptmann) Dämmern Wolken über Nacht und Thal, Nebel schweben. Wasser rauschen sacht.

Nun entschleiert sich’s mit einem Mal: O gieb acht! gieb acht!

Night The clouds embrown the night and valley; the mists float above, the water rushing gently.

Now all at once they unveil themselves: O listen! pay heed!

Weites Wunderland ist aufgethan, Silbern ragen Berge traumhaft gross, Stille Pfade silberlicht thalan Aus verborg’nem Schoss.

A broad land of wonder has opened up.

Silver mountains rise up, fantastically huge, quiet paths lit with silver [lead] toward the valley from [some] hidden place;

Und die hehre Welt so traumhaft rein.

Stummer Buchenbaum am Wege steht Schattenschwarz—ein Hauch vom fernen Hain Einsam leise [geht]

and the noble world is so dreamily pure.

A mute beech stands by the path, black with shadows; a breeze from a distant, lonely grove wafts gently by.

Und aus tiefen Grundes Düsterheit Blinken Lichter auf in [stumme] Nacht.

Trinke Seele! trinke Einsamkeit!

O gieb acht! gieb acht!

And from the deep darkness of the valley flash lights in the silent night.

Drink, my soul! Drink in this solitude!

O listen! pay heed!

Schilflied (by Nikolaus Lenau) Auf geheimem Waldespfade Schleich’ ich gern im Abendschein An das öde Schilfgestade, Mädchen, und gedenke dein!

Reed Song Along a secret forest path I like to creep in the evening light; I go to the desolate, reedy banks, and think, my maiden, of you!

Wenn sich dann der Busch verdüstert, Rauscht das Rohr geheimnisvoll, Und es klaget und es flüstert, Daß ich weinen, weinen soll.

As the bushes grow dark, the reeds hiss mysteriously, and lament and whisper, and thus I have to weep and weep.

Und ich mein’, ich höre wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang.

And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song.

Die Nachtigall (by Theodor Storm) [Das] macht, es hat die Nachtigall Die ganze [Nacht] gesungen; Da sind von ihrem süssen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.

The Nightingale It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up.

Sie war doch sonst ein wildes [Kind]3, Nun geht sie tief in Sinnen, Trägt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weiß nicht, was beginnen.

She was but recently a wild blossom, and now she walks, deep in thought; she carries her summer hat in her hand, enduring quietly the heat of the sun, knowing not what to begin.

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Sieben frühe Lieder Translations

MAY 2, 4

Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süssen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.

It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up.

Traumgekrönt (by Rainer Maria Rilke) Das war der Tag der weißen Chrysanthemen, Mir bangte fast vor seiner Pracht . . .

Und dann, dann kamst du mir die Seele nehmen Tief in der Nacht.

Mir war so bang, und du kamst lieb und leise, Ich hatte grad im Traum an dich gedacht.

Du kamst, und leis’ wie eine Märchenweise Erklang die Nacht.

Crowned by a Dream That was the day of white chrysanthemums; I almost trembled before its glory . . .

And then, then you came to me to take my soul Deep in the night.

I felt so anxious, and you came so lovingly and gently; I had just been thinking about you in a dream.

You came, and softly, like a fairy tale, the night resounded.

Im Zimmer (by Johannes Schlaf ) Herbstsonnenschein.

Der liebe Abend blickt so still herein.

Ein Feuerlein rot Knistert im Ofenloch und loht.

So, mein Kopf auf deinen Knie’n, So ist mir gut.

Wenn mein Auge so in deinem ruht, Wie leise die Minuten zieh’n.

In the Room Autumn sunlight.

The lovely evening peers so quietly in.

A little red fire crackles in the stove and flares up.

And with my head upon your knee, I am contented.

When my eyes rest in yours, how gently do the minutes pass!

Liebesode (by Otto Erich Hartleben) Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden Trug er hinaus in die helle Mondnacht.

Ode to Love In the arms of love we fell blissfully asleep; at the open window the summer wind listened and carried the peacefulness of our breath out into the bright, moonlit night.

Und aus dem Garten tastete zagend sich Ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches—so reich an Sehnsucht!

And out of the garden, feeling its way randomly, the scent of roses came to our bed of love and gave us wonderful dreams, dreams of intoxication, rich with yearning.

Sommertage (by Paul Hohenberg) Nun ziehen Tage über die Welt, Gesandt aus blauer Ewigkeit, Im Sommerwind verweht die Zeit.

Nun windet nächtens der Herr Sternenkränze mit seliger Hand Über Wander- und Wunderland.

O Herz, was kann in diesen Tagen Dein hellstes Wanderlied denn sagen Von deiner tiefen, tiefen Lust: Im Wiesensang verstummt die Brust, Nun schweigt das Wort, wo Bild um Bild Zu dir zieht und dich ganz erfüllt.

Summer Days Now the days drag through the world, sent forth from blue eternity; time dissipates in the summer wind.

Now at night the Lord weaves with blessed hand wreaths of stars above the wandering wonderland.

In these days, o my heart, what can your brightest wanderer’s song then say about your deep, deep pleasure?

In meadowsong the heart falls silent; now there are no words, and image upon image visits you and fills you entirely.

© Emily Ezust. Reprinted with permission from the LiederNet Archive

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MAY 10–11

Trifonov Plays Schumann Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Sixteen Friday, May 10, at 8 p.m.

Saturday, May 11, at 5:30 p.m.

Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | DANIIL TRIFONOV, Piano Kevin Puts | b. 1972

Silent Night Elegy

Introduction—The Battle—Aftermath and Burial—The Generals’ Rage—Sleep Robert Schumann | 1810–1856

Concerto in A Minor for Piano and Orchestra, Op. 54 Allegro affettuoso

Intermezzo: Andantino grazioso Allegro vivace

Daniil Trifonov, Piano INTERMISSION—Twenty Minutes

Johannes Brahms | 1833–1897

Symphony No. 3 in F Major, Op. 90 Allegro con brio Andante

Poco allegretto Allegro

Premier Sponsor

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Associate Sponsor

There will be one 20-minute intermission.

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

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

Krzysztof Urbański, Conductor

In September 2018, Krzysztof Urbański entered the eighth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra.

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

MAY 10–11

Urbański simultaneously maintains an international presence by appearing as guest conductor for numerous orchestras around the world, including the Münchner Philharmoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, Philharmonia Orchestra, Tonhalle Orchestra Zurich, Wiener Symphoniker, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra Washington, and Pittsburgh Symphony Orchestra, among others. This season sees him debut with the Leipzig Gewandhaus Orchestra, Orchestre de Paris, and Chamber Orchestra of Europe.

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

In June 2015 Urbański received the prestigious Leonard Bernstein Award at the SchleswigHolstein Musik Festival; notably, he is the first conductor to have ever received this award.

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MAY 10–11

Daniil Trifonov, Piano

Russian pianist Daniil Trifonov —winner of Gramophone’s 2016 Artist of the Year award— has made a spectacular ascent in the world of classical music as a solo artist, a champion of the concerto repertoire, a collaborator at the keyboard in chamber music and song, and a composer. Trifonov recently added a first Grammy Award to his already considerable string of honors, winning Best Instrumental Solo Album of 2018 with Transcendental, a double album of Liszt’s works that marks his third title as an exclusive Deutsche Grammophon artist. The Times (UK) calls him “without question, the most astounding pianist of our age.”

Trifonov launches the New York Philharmonic’s 2018–19 season, playing Ravel’s Concerto in G for the opening-night gala under incoming Music Director Jaap van Zweden and Beethoven’s mighty “Emperor” Concerto the following night. He revisits the Ravel, both on tour with the London Symphony and Sir Simon Rattle, and during a residency at Vienna’s Musikverein that sees him give the Austrian premiere of his own Piano Concerto. The “Emperor” is also the vehicle

for further collaborations with the London Symphony, National Symphony, Cincinnati Symphony, and Cleveland Orchestra, with which he embarks on a tour of Asia.

During a season-long residency with the Berlin Philharmonic, Trifonov plays Scriabin’s concerto under Andris Nelsons. Other orchestral highlights include a return to Carnegie Hall’s Stern Auditorium for Schumann’s concerto with longtime collaborator Valery Gergiev and the Met Orchestra, Prokofiev’s Third with the Chicago Symphony, and Rachmaninov’s Third with the Boston Symphony.

On his upcoming Deutsche Grammophon release, Destination Rachmaninov: Departure, the pianist performs the Russian composer’s Second and Fourth Concertos with the Philadelphia Orchestra and Yannick NézetSéguin, his partners on 2015’s Rachmaninov: Variations.

In recital this season, Trifonov plays Beethoven, Schumann, and Prokofiev on Carnegie’s mainstage and in Berlin, where his Berlin Philharmonic residency features multiple solo and chamber performances. These include accounts of his own Piano Quintet, of which he also gives the Cincinnati premiere with the Ariel Quartet. In Berlin, as well as at New York’s 92nd Street Y, he plays duo recitals with his frequent partner, baritone Matthias Goerne.

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Fabiola Kim, Guest Concertmaster Hailed by the New York Times as “a brilliant soloist,” violinist Fabiola Kim is one of the most dynamic players of her generation with a wide variety of repertoire from classical to contemporary music. Her recent engagements include a debut at Berlin Philharmonie performing with the Berlin Symphoniker and recording of Sibelius and Barber Concertos with the Nuremberg Symphony Orchestra.

After beginning her studies at the age of four, she made her concerto debut with the Seoul Philharmonic Orchestra three years later.

Kim is the winner of various awards and competitions, including the Seoul Philharmonic

MAY 10–11

Orchestra’s Concerto Competition as the youngest competitor in the history of the competition to win.

Her past solo performances include engagements with orchestras around the world. In addition to her solo engagements, Kim has a passion for orchestral repertoire, has been featured on the radio, and plays outreach concerts. She regularly performed as concertmaster of the Colburn Orchestra, and served as concertmaster of Juilliard Orchestra. In addition, she was concertmaster for the New York String Orchestra Seminar in 2012.

Kim is an Artist Diploma recipient at the Colburn School in Los Angeles. She received her bachelor’s and master of music degrees at the Juilliard School. She is on faculty for the Community School of Performing Arts at the Colburn School.

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 Sunday, June 2, 2PM

Krzysztof Urbański, Conductor

Hilbert Circle Theatre

Rachmaninoff | Vocalise • Piano Concerto No. 4 • Piano Concerto No. 2

Garrick Ohlsson, Piano

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.

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MAY 10–11

Trifonov Plays Schumann

Lilly Classical Series Program Notes

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

Silent Night Elegy Kevin Puts Born: January 3, 1972, St. Louis, Missouri Year Composed: 2017–18 Length: c. 20 minutes World Premiere: October 2018, San Francisco, California Last ISO Performance: This is the ISO’s first performance of this work.

Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, and strings Silent Night Elegy is an Indianapolis Symphony Orchestra Co-Commission with San Francisco Symphony and St. Louis Symphony, made possible through the support of Mr. Joseph and Dr. Bette Hirsch.

Five months after World War I broke out in Europe in July 1914, an extraordinary event occurred, which became known as the Christmas truce. On Christmas Eve on the Western Front, the German, British, Belgian, and French soldiers, all voluntarily stopped fighting.

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Approximately 100,000 lower-ranked soldiers took part in a small series of armistices, which were not ordered by their commanders. Pvt. Albert Moren of the Second Queen’s Regiment recalled, “It was a beautiful moonlit night, frost on the ground, white almost everywhere.” Graham Williams of the Fifth London Rifle Brigade recalled, “First the Germans would sing one of their carols and then we would sing one of ours, until when we started up ‘O Come, All Ye Faithful,’ the Germans immediately joined in singing the same hymn to the Latin words Adeste Fideles.

And I thought, well, this is really a most extraordinary thing—two nations both singing the same carol in the middle of a war.”

On Christmas Day, in some parts of the Western Front, opposing sides even came out of their trenches and exchanged Christmas gifts: cigarettes, food, and sometimes hats.

This astonishing Christmas truce has been memorialized in movies, television series, theatrical productions, and books since that time. But the moment was fleeting in a war that would claim an estimated 18 million lives.

Creating beauty from war Winner of the 2012 Pulitzer Prize for music with his debut opera Silent Night, Kevin Puts has been hailed as one of the most important composers of his generation. His music has often been described as “emotional, relevant, and compelling.” The comment from the Pulitzer Prize award noted “his versatility of style and cutting straight to the heart.”

Silent Night was based on French film director Christian Carion’s screenplay for the 2005 French film Joyeux Noel. It premiered in 2011 with a co-commission from Minnesota Opera and the Opera Company of Philadelphia. The libretto by Mark Campbell is in English, German, French, Italian, and Latin.

Opera News reviewed the debut, saying, “The opening night ovation for Silent Night was long and clamorous, the loudest acclaim

Lilly Classical Series | Program Notes fittingly reserved for composer Kevin Puts.

With this remarkable debut, Puts assumes a central place in the American opera firmament.” The New York Times called Silent Night “exhilarating and compelling.” In an interview on November 11, 2011, Puts spoke about the role of music in the opera, saying, “Basically, the music has to do everything. You should be able to close your eyes and get all the information that you need.“ Notes from the composer “Sometime in 2008, I received an unexpected phone call from Dale Johnson, then Artistic Director of Minnesota Opera. He was interested in commissioning an operatic adaptation of Joyeux Noel, the 2005 Christian Carion film based on the spontaneous ceasefires and celebrations that took place along the Western Front on the first Christmas Eve of World War I. While I had produced a rather large catalog of orchestral works by 2008, there was very little vocal music—and no opera. Yet I was excited by the challenge of such a project, and my dearth of opera experience was smartly counterbalanced by the hiring of seasoned librettist Mark Campbell, with whom I have now written three operas.

We called the opera Silent Night. Since its premiere in November 2011, there has been some interest in my making a separate piece out of the orchestral music in the opera. Benjamin Britten’s haunting Four Sea Interludes from Peter Grimes comes to mind as one of the most successful attempts at such an endeavor. I felt however that a single-movement essay rather than a suite of separate movements—would work better for my purposes.

MAY 10–11

(French, German, and Scottish) in the opera’s Prologue anchored by a military snare drum.

This leads directly to the cataclysmic battle scene that occurs near the beginning of Act I. A sense of confusion, sadness, and disarray follow until a lonely solo flute, accompanied by the harp, emerges from the haze and introduces the music of the Act II burial scene. In this scene— which culminates in a bagpipe melody—the soldiers have agreed to extend the cease-fire to allow time to bury the bodies strewn about in No-Man’s land.

The generals of all three armies receive word of the unofficial celebrations. They are incensed and order the soldiers transferred to areas on the front where the fighting is most fierce.

In our first discussion about the opera, Mark Campbell mentioned a possible scene in which all three armies drift off to sleep on the evening after the great battle, singing in their three languages about home as snow gradually begins to fall. This became a chorus in Act I, and the Elegy closes with this prayerful music.

If there is a message borne by the film— or the libretto—it is that once your sworn enemy ceases to be faceless, war becomes far less possible. This is a message I fully believe in. I am deeply grateful to the San Francisco Symphony, the Indianapolis Symphony, and the St. Louis Symphony for commissioning this work, and to Bette and Joe Hirsch for their generous support and friendship.” —Kevin Puts

Silent Night Elegy more or less follows the narrative of the opera itself. An introduction featuring solo horn and solo cello introduces the primary thematic material of the opera.

This is followed by a contrapuntal layering of the battle songs sung by the three armies

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MAY 10–11

Trifonov Plays Schumann

Concerto in A Minor for Piano and Orchestra, Op. 54 Robert Schumann Born: June 8, 1810, Zwickau, Saxony, Germany Died: July 29, 1856, Endenich, Germany Years Composed: 1841–1845 Length: c. 31 minutes World Premiere: December 1845, Dresden, Germany Last ISO Performance: June 2017 with conductor Krzysztof Urbański and soloist Inon Barnatan Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano

Robert Schumann’s very popular Concerto in A Minor for Piano and Orchestra received only a puzzled, irritated reaction at its premiere in Dresden on December 4, 1845. In place of fiery virtuosic display “putting fingers to work and musicianship to sleep,” Opus 54 demanded sensitivity, poise, and control from the soloist. Bombasity and pyrotechnics were purged.

In place of teeing up the soloist for virtuosity, Schumann’s orchestra herein assumed a collaborative role vis-à-vis the soloist and musical content. Clara Schumann noted, “In this work, one cannot imagine one without the other.” A new parity resulted.

Joseph Kerman said, ”One aspect of the piano’s virtu is mimesis of an orchestra. It is a far from a negligible aspect . . . . The piano can simulate an orchestra; anything the orchestra can do, a piano can do plausibly and often with panache.”

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Schumann’s changes offered a very new perspective of the concerto idea, far different from the more typical roaring display piece that relied on a distinct dichotomy between soloist and orchestra. The “singularity of the soloist had come into question.”

Because of this, it was sometimes called a “concerto without piano.” As late as 1856, a London critic praised Schumann’s wife for her loyalty in continuing to play the work, commenting, “Clara’s noteworthy efforts to make her husband’s curious rhapsody pass for music.” From its inception, Schumann was aware of the concerto’s new character and novelty, explaining, “My concerto is a compromise between a symphony, a concerto, and a huge sonata. I see I cannot write a concerto for the virtuosos—I must write something else.”

The idea of “something else” had been considered years earlier. In 1839, in the Neue Zeitschrift fur Music, Schumann speculated, “We must await the genius who will show us in a newer and more brilliant way how orchestra and piano may be combined; how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene.“ His concept was manifested in a single movement Fantasy for Piano and Orchestra, written only eight months after Schumann’s marriage in 1840. Specifically, the work was written for Schumann’s wife, Clara, who had been sculpted into an excellent pianist by a most ambitious father, and was thoroughly capable of popularizing her husband’s works.

Clara played the Fantasy (Phantansie) at the Leipzig Gewandhaus in August 1841, and two weeks later, delivered their first child, Marie. Somehow, this remarkable woman kept having children for many years while achieving a career as one of the nineteenth century’s most distinguished pianists.

Lilly Classical Series | Program Notes The Fantasy was a flop: publishers turned their backs and audiences did too. Dormant for a while, the work had yet another destiny. By 1845, family finances were at a critical stage. The house was filled with screaming children and Clara’s dowry had run out.

Responding to the situation, Schumann resurrected the Fantasy, added an intermezzo and finale, and grew the earlier piece to full concerto size that Clara could perform.

The composer considered (quite correctly) that a concerto would be a good seller in the romantic period. What he did not consider was that his idea of a concerto and the prevailing tastes were far different. His appendages resulted in a deeply affecting, new-style concerto which, despite its large scale, never lost its intimate voice. Bravura opportunities were minimized, and far more subtle demands were made on the soloist.

On December 4, 1845, Clara played Opus 54 under the baton of Ferdinand Hiller (the dedicatee) at the Hotel du Saxe in Dresden in rehearsal. Schumann pulled himself together and managed to attend. The concerto was later performed in Leipzig on January 1, 1846. It became one of Clara’s signature pieces, and for years after his death, she continued to play the concerto.

For a long time, she was the concerto’s only protagonist.

Exploring the Concerto Omitting the traditional orchestral introduction, a series of brilliant chords cascade from the piano opening the work. Quickly, the main theme emerges from the winds and becomes the primary focus of a relaxed interchange between piano and orchestra.

(This melody also appears in varied form and personality in the succeeding movements.) A dreamy, introspective solo soars from the piano within the context of the movement, before an animated second subject is presented. The second subject

MAY 10–11

is derived from the first, a pattern that will pervade the entire concerto. The first theme and its derivations become foundational for this movement as well as the ensuing three. The coda provides an engaging conversion of the theme into a concluding march.

Schumann’s gentle Intermezzo is an intimate salon piece in simple ternary form.

Its music is filled with romantic tenderness and a lyricism found in abundance in the composer’s character pieces for piano.

The first theme is derived in a staccato articulation from the main theme of the first movement. A magical cello and piano dialogue occupies the middle section. The third section references the now familiar first theme, and leads to a highly dramatic moment: as the theme fades into silence, a horn call seemingly from a great distance recalls the opening motive leading directly into the vivacious third movement.

Returning for its final bow, the main theme re-emerges for the last movement, but changes its rhythm and character. A new metric current (in which 6/4 is imposed on the ¾ meter) and assertive articulation is colored by snappy, rhythmic syncopations.

Assorted fresh themes emerge in profusion with extensive, decorative figuration. The concerto concludes in a boisterous mood with brilliant passagework from the soloist and large supporting orchestral chords in a flashing coda. Herein, Schumann was indeed satisfying the taste and custom of concerto brilliance, but he simply saved it for the last movement. Gaining acclaim slowly, the work has earned its place as one of the most authentic documents of musical romanticism, and one of the most beautiful concerti in the piano repertoire.

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MAY 10–11

Trifonov Plays Schumann

Symphony No. 3 in F Major, Op. 90 Johannes Brahms Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria Year Composed: 1883 Length: c. 34 minutes World Premiere: December 1883,

Vienna, Austria Last ISO Performance: October 2011 with conductor Christoph König Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings

Six years after his Second Symphony, Brahms composed the shortest and most compact of his four symphonies. Symphony Number Three was written while he was summering in Wiesbaden in 1883. Only one year before, Brahms had written to his publisher that he was “too old” (age 50) for more creative work and that he would not be sending him anything more.

Indeed, there was a transformation. When he composed his Third Symphony, the composer was inspired ”in the grip of a strong and wholesome passion,” created by two circumstances. First, he was totally smitten with a twenty-six year old contralto, Hermine Spies, and she confessed to having a deep “Johannes passion.” They met in January 1883 at a party, and by that summer, the two were spending a great deal of time together in her hometown of Wiesbaden.

(Usually he summered in the Austrian mountains, but this time, he changed his plans.) Although Brahms said he lived his life by two principles, and “one of them was never to attempt either an opera or a marriage,” he was in love. The second

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circumstance was that Hans von Bülow had recently arranged to have Brahms’ works read by the Meiningen Court Orchestra, one of Europe’s finest ensembles. Brahms was excited by that opportunity and his upbeat mood.

We have no clue about how long he had been thinking of the Second Symphony’s content: there are no extant drafts. It premiered to acclaim on December 2 of that year with the Vienna Philharmonic Orchestra. The prominent critic Eduard Hanslick reviewed it, saying, “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect.”

This comment and others that were similarly positive were good outcomes. Brahms needed money, and these endorsements were helpful. Shortly before sending his publisher the score for publication, the composer had written, “Only one thing is sure: soon I will not have a groschen of money left. Now, I am counting on the appreciation and gratitude of you and all your fellow publishers. You will pass around the hat and send me an eminent reward—because I leave you so nicely in peace and you need not run any risks for me.“ It was published in 1884 after several corrections.

About the piece Brahms’ Third is tightly integrated. The first movement, based on traditional sonataallegro form, opens with two bold chords and a widely spaced descending theme in 6/4 meter stated by violins, supported with a three-note melodic motto F–A–F nestled in the basses. Writer Larry Rothe described it as, “The music is as wild as a windstorm in a forest!” Olin Downes wrote that the opening statement came like “a bolt from

MAY 10–11

Lilly Classical Series | Program Notes Jove.” Immediately the ideas are reiterated in the minor mode, indicating that major and minor tensions would play a significant part in the work. The motto F–A–F was identified by Brahms to mean Frei aber Froh (free but happy), and it appears throughout the entire work. His second theme is pastoral, gently declaimed by the clarinet and bassoon. After the exposition, a thick, thunderous development ensues, including a dramatic horn solo based on the F–A–F motto. The opening chords reappear to introduce the full recapitulation. A long coda dispenses pent-up energy and leads to a quiet close.

Both of the inner movements continue the quietness. A chorale for low winds and strings in traditional four-part harmony opens the second movement Andante. A similarly peaceful second theme follows the chorale, chanted by clarinet and bassoon.

Soon a surging dialogue begins between the two ideas, but ardor is truncated.

Brahms pulls in the reins and summons a restrained statement of the chorale. Brahms was always fond of saying “In der Beschränkung zeigt sich der Meister” (Restraint is the mark of a master). Brahms conservatism was always an active directive, and passionate subjects were never released to revel in extended exuberance. Embedded within the movement are many references to the F–A–F motto.

and celli with a swaying triple melody in unison, which captures the scene and grows to furious intensity. Brahms’ biographer, Kurt Geiringer, characterizes the moment as “a tremendous conflict of elemental forces.” The turbulence continues until the second movement chorale makes another appearance, with the flute singing the F–A–F motto over an orchestral tutti.

“Like a rainbow after the thunderstorm, the motto played by the flute with its message of hope and freedom spans the turmoil of the other voices,” Geiringer continues. At the close, the tonality of F major is firmly re-established, quotes from the second movement reappear, and the strings quietly recall the first theme. Like all the preceding movements, this one also ends quietly, this time with the flute sounding the motto idea.

The third movement, Romanza, features an idyllic espressivo cello song supported by string arpeggios. Woodwinds dance a sweet little waltz midsection before the intimate song returns in the solo horn.

The fourth movement matches the drama and opulence of the first. Upper strings and bassoons provide a sweeping opening idea. This idea is interrupted by solo horn 35

MAY 17–18

The Doo Wop Project: Encore!

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate † Anthem Coffee Pops Series/Program Six Friday, May 17, at 11 a.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | THE DOO WOP PROJECT, Vocalists KEVIN RAMESSAR, Guitarist | JOE BERGAMINI, Drummer Selections to be announced from stage.

† 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.

MAY 17–18 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.

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MAY 17–18

The Doo Wop Project: Encore!

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Printing Partners Pops Series/Program Eight Friday, May 17, at 8 p.m.

Saturday, May 18, at 8 p.m.

Hilbert Circle Theatre

JACK EVERLY, Conductor | THE DOO WOP PROJECT, Vocalists KEVIN RAMESSAR, Guitarist | JOE BERGAMINI, Drummer Selections to be announced from stage.

INTERMISSION­—Twenty Minutes

Premier Sponsor

There will be one 20-minute intermission.

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

38

The Doo Wop Project, Vocals

MAY 17–18

The Doo Wop Project begins at the beginning: tracing the evolution of Doo Wop from the classic sound of five guys singing harmonies on a street corner to the biggest hits on the radio today. In their epic shows The Doo Wop Project takes audiences on a journey featuring foundational tunes from the Crests, Belmonts, and Flamingos through the vocal artistry of Smokey Robinson, The Temptations, and The Four Seasons all the way to DooWopified versions of modern hits from Michael Jackson, Jason Mraz, Maroon 5, and Sam Smith.

Featuring stars from the Broadway hits Jersey Boys, Motown: The Musical, and A Bronx Tale, The Doo Wop Project brings unparalleled authenticity of sound and vocal excellence to recreate—and in some cases entirely reimagine—the greatest music in American pop and rock history.

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:

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MAY 31– JUNE 2

Rachmaninoff’s Piano Concertos Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Seventeen Friday, May 31, at 8 p.m.

Sunday, June 2, at 2 p.m.

Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | GARRICK OHLSSON, Piano Sergei Rachmaninoff | 1873–1943

Rhapsody on a Theme of Paganini, Op. 43 (May 31 only)

Garrick Ohlsson, Piano

Vocalise, Op. 34, No. 14 (June 2 only)

Concerto No. 4 in G Minor for Piano and Orchestra, Op. 40

Allegro vivace Largo

Allegro vivace Garrick Ohlsson, Piano INTERMISSION—Twenty Minutes

Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 Moderato

Adagio sostenuto

Allegro scherzando Garrick Ohlsson, Piano

Premier Sponsor

Associate Sponsor

This concert is endowed by Mr. and Mrs. William L. Fortune

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There will be one 20-minute intermission.

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

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

See Maestro Urbański’s biography on page 27.

Garrick Ohlsson, Piano

MAY 31– JUNE 2

re-released his 16-disc set of the Complete Works of Chopin followed in 2010 by all the Brahms piano variations, Goyescas by Enrique Granados, and music of Charles Tomlinson Griffes. Most recently are Scriabin’s Complete Poèmes, Smetana’s Czech Dances, and ètudes by Debussy, Bartok, and Prokofiev. The latest CDs are Close Connections and works by Liszt with Scriabin complete sonatas.

Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Ohlsson commands an enormous repertoire, which ranges over the entire piano literature.

A student of the late Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him.

This season, that vast repertoire can be sampled in concerti ranging from Rachmaninoff’s to Brahms, Beethoven, Mozart, Grieg, and Copland. A frequent guest with the orchestras in Australia, Ohlsson has visited several cities as well as the New Zealand Symphony.

An avid chamber musician, Ohlsson has collaborated with the Takacs, Cleveland, Emerson, and Tokyo string quartets, among others. He is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Ohlsson has appeared in recital with many legendary artists.

His ten-disc set of the complete Beethoven Sonatas, for Bridge Records, has garnered critical acclaim, including a Grammy for Vol. 3. His recording of Rachmaninoff’s Concerto No. 3 was released in 2011. In 2008 Hyperion

In recognition of the Chopin bicentenary in 2010, Ohlsson was featured in the documentary The Art of Chopin. Most recently, both Brahms concerti and Tchaikovsky’s second piano concerto were released on live performance recordings with the Melbourne and Sydney Symphonies, and Ohlsson was featured on Dvorak’s piano concerto in the Czech Philharmonic’s live recordings of the composer’s complete symphonies & concertos, released in July 2014.

A native of White Plains, N.Y., Ohlsson began his piano studies at the age of 8, at the Westchester Conservatory of Music; at 13 he entered The Juilliard School. His musical development has been influenced in completely different ways by a succession of distinguished teachers. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montréal Piano Competition, it was his 1970 triumph at the International Chopin Competition in Warsaw, where he won the Gold Medal (and remains the single American to have done so), that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland. Ohlsson was awarded the Avery Fisher Prize in 1994 and received the 1998 University Musical Society Distinguished Artist Award in Ann Arbor, Mich. He is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. He makes his home in San Francisco.

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MAY 31– JUNE 2

Rachmaninoff’s Piano Concertos Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Seventeen Saturday, June 1, at 7 p.m.

Hilbert Circle Theatre

KRZYSZTOF URBAŃSKI, Conductor | GARRICK OHLSSON, Piano

Sergei Rachmaninoff | 1873–1943 Vocalise, Op. 34, No. 14

Concerto No. 1 in F-sharp Minor for Piano and Orchestra, Op. 1 Vivace

Andante cantabile

Allegro scherzando Garrick Ohlsson, Piano INTERMISSION—Twenty Minutes

Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30

Allegro ma non tanto

Intermezzo: Adagio

Finale: Alla breve Garrick Ohlsson, Piano

Premier Sponsor

Associate Sponsor

This concert is endowed by Mr. and Mrs. William L. Fortune There will be one 20-minute intermission.

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

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

See Maestro Urbański’s biography on page 27.

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Robyn Bollinger, Guest Concertmaster Daring, versatile, charismatic, and passionate, American violinist Robyn Bollinger is an artist on the rise.

Recognized for her musical creativity, rich tones, emotional depth, and technical mastery, she is a recipient of a prestigious 2016 Fellowship from the Leonore Annenberg Arts Fellowship Fund for her multimedia performance project entitled “CIACCONA: The Bass of Time,” which she began touring in 2018.

Having made her Philadelphia Orchestra debut at age twelve, Bollinger has since performed with orchestras and at festivals nationwide, among them the Boston Pops, the Grand Tetons Music Festival Orchestra, and the music festivals of Aspen, Marlboro, and Rockport.

MAY 31– JUNE 2

2018–19 season highlights include debuts with the symphony orchestras of Knoxville, Helena, Charleston, and California (where she performs a world premiere written specifically for her), and a six-city tour of the East Coast with the Musicians from Marlboro.Last season, Bollinger released her debut solo CD and DVD, both titled CIACCONA: The Bass of Time on Crier Records.

A sought-after collaborator, Bollinger is a popular figure on the chamber music stage, both as a member of the Boston-based ensemble A Far Cry, and for her work at festivals and on chamber music series. She is a graduate of New England Conservatory of Music, from which she received both her bachelor’s and master’s degrees with honors.

Bollinger performs on a 2017 violin made by the Samuel Zygmuntowicz, on loan from a private collection.

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MAY 31– JUNE 2

Rachmaninoff’s Piano Concertos

Lilly Classical Series Program Notes

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

Rhapsody on a Theme of Paganini, Op. 43 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Year Composed: 1934 Length: c. 24 minutes World Premiere: November 1934, Baltimore, Maryland Last ISO Performance: February 2017 with conductor John Nelson and soloist Stephen Hough Instrumentation: 3 flutes, 3 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, strings, and solo piano In their respective lifespans, both Rachmaninoff and Paganini were spell-binding instrumental virtuosi as well as composers, often writing pieces that showcased their extraordinary abilities. Both savored the adoration and wonderment of their audiences both for their compositions and performances.

In the case of Paganini (1782–1840) it was suggested he was in league with the devil in order to play so phenomenally. Goethe

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noted, “In Paganini, the demonic can be seen very clearly, and it is this that enables him to produce his marvelous effect.” The Belgian critic F. J. Fétis echoed the sentiment, saying, “The extraordinary expression of his face . . . together with the sardonic smile appeared to be unmistakable evidences of satanic origin.” Paganini’s Twenty-Four Capricci for violin provided a vast survey of violin technique and was filled with stunning effects intended to dazzle and amaze. Indeed they did.

Like Brahms, Schumann, and Liszt before him, Rachmaninoff drew from Paganini’s set for inspiration. He also intended to represent elements of Paganini’s character and life. In an explanatory letter to choreographer Mikhail Fokine in 1937, the composer wrote “Why not resurrect the legend about Paganini?“ At first, Rachmaninoff proposed that his contemplated Rhapsody (using Paganini’s Caprice No. 24) would be suitable as a ballet by Fokine, but Fokine was tentative, saying, “he would consider (the idea) at a later date.” As a result of his reluctance, the work emerged in its present form as a set of variations for piano and orchestra. In 1939, the original ballet idea did emerge in a full ballet in three scenes that premiered in London. He began writing while visiting Lake Lucerne on July 3, 1934, and completed the set on August 24.

Lawrence Gilman, author of the first program notes for the Rhapsody wrote, “The variations are among the most engaging and brilliant of this composer’s achievements as a master of musical structure and design.” Under the baton of Leopold Stokowski with the Philadelphia Orchestra, Rachmaninoff was the soloist in the premiere on November 7, 1934.

Exploring the piece Contrary to traditional variation format (stating the theme first and following with variations), Rachmaninoff’s introduction to Opus 43 begins with an Allegro vivace statement (labeled precedente) in which the theme is

Lilly Classical Series | Program Notes merely suggested (iteration of the principal motif of the theme) rather than fully stated.

The 1st variation presents the theme broken up into tiny points, punctuated by the pianist. It is a saucy, rhythmically active tune, highly defined by distinctive leaps and rests, carving a memorable line.

Between Variation 1 and 2, we hear the entire theme sung in unison by violins, accompanied by the piano.

Variations 2 through 6 continue with statements of the theme in its original tempo and capricious mood.

The 7th variation interpolates the Dies Irae (an ancient chant, Day of Judgment) in the piano while bassoon and celli play the theme in augmentation. The Dies Irae also will recur in the 10th variation and the 24th. Rachmaninoff spoke of this inclusion saying that all the variations that have this liturgical statement represent the evil spirit to whom Paganini sold his soul for “perfection in his art and the love of a woman.”

“Variations 8, 9, and 10 are the development of the evil spirit,” said Rachmaninoff. Variations 8 and 9 treat the theme with great drama and more forcefully than before. Variation 10 again features the Dies Irae in strong bold octaves from the soloist.

“Variation 11 is a turning point into the domain of love. Variation 12, the minuet, portrays the first appearance of the woman.

Variation 13 is the first conversation between the woman and Paganini,” explained Rachmaninoff.

Variations 11–14 shape the main theme into various shapes which are basically waltz-like in nature. The 11th is improvisatory sounding, a free statement from the piano with light accompaniment. Variation 12 emerges as a strange little waltz/minuet in a minor key.

MAY 31– JUNE 2

Variation 13 augments the waltz idea, but with more “demonic” character.

Variation 14, though keeping the meter of the waltz, is heavier and martial, “like a parade of three-footed soldiers.” (Kramer) Variation 15 is basically a piano solo of twenty-seven measures.

Variations 16, 17, and 18 feature new viewpoints of the main idea. The 16th features a solo violin with decorative piano filigree.

The 18th is a romantic nocturne, based on an inversion of the theme, sung prominently by the soloist. The tempo slows for all of these.

“Variation 19 is Paganini’s triumph with his diabolic pizzicato,” said Rachmaninoff.

Variations 19–20 pay homage to their violin inspiration with copious pizzicati and elaborate string figuration.

In the remaining variations, Rachmaninoff wrote, “It seems to me that the other personages representing the evil spirit should be drawn as caricatures in their fight for the woman and Paganini’s art. They should also be with violins, but even more fantastic and grotesque.“ Variations 21 and 22 are both fast-moving scherzi; the latter recalls the Paganini theme.

The final variation, Number 24, provides a massive capstone to the entire work. The Dies Irae theme emerges pesante (heavily) in the brass and strings while piano and winds recall prominent features of the subject. A brilliant coda reiterates fragments of the theme in playful manner, suddenly dropping to an unexpected soft dynamic with two cadential chords from the piano.

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MAY 31– JUNE 2

Rachmaninoff’s Piano Concertos

Concerto No. 4 in G Minor for Piano and Orchestra, Op. 40 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Year Composed: 1926 Length: c. 24 minutes World Premiere: March 1927, Philadelphia, Pennsylvania Last ISO Performance: January 1995 with conductor Edvard Tchivzhel and soloist Tedd Joselson Instrumentation: 3 flutes, 3 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings, and solo piano Before Rachmaninoff left Russia after the Bolshevik Revolution of 1917, he had more than forty major works to his credit. After leaving his homeland for twenty-six years before his death (including nine years abroad), he only produced about six more works. The revolution and World War derailed his compositional energy. There are two reasons for this.

Rachmaninoff was never “at home” nor fully comfortable outside of Russia and he recognized this condition, saying, “I feel like a ghost wandering in a world grown alien.

I cannot cast out the old way of writing, and I cannot acquire the new. I have made intense efforts to feel the musical manner of today, but it will not come to me. The new music seems to come not from the heart, but from the ear. Its composers think rather than feel.”

These forces played a large part in his writing of Opus 40. One might think that

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the last piece in a series of four brilliant piano concerti would be a blockbuster. But to many, it seemed a disappointment. There is nothing incredibly new or groundbreaking. Nor is it filled with explosive emotional moments. Author John Culshaw said, “Those who wish to understand Rachmaninoff’s limitations should study the Fourth Concerto. It shows perhaps more clearly than other of his works, his powers and his weaknesses.” It was frequently criticized for its lack of formal integrity and “wandering nature.” Its dignity can be reaffirmed by looking at it as a model of Rachmaninoff’s great talents: in lyricism, orchestration, emotional displays, and harmonic depth. But it does not reach the heights of the Second and Third piano concerti.

Creating the Fourth The composer embraced Opus 40 and did not give up on it. He worked unsuccessfully on several extensive revisions without success. His last revision of 1941 had only seven performances in American cities, and Rachmaninoff’s last recording of the piece was in December of that year. In all, it took him 15 years to complete the Fourth.

The first version of Opus 40 was completed in 1926 and he dedicated it to composer Nikolai Medtner, who was essential in energizing Rachmaninoff to write another piano concerto. Upon receiving the first printed piano score on September 26, 1926, the composer wrote to Medtner, saying, “I received the copied piano score of my new concerto. I glanced at its size—110 pages— and I was terrified! Out of sheer cowardice I haven’t yet checked its time. It will have to be performed like the Ring: on several evenings in succession. I was ashamed!”

America enters this story in a prominent manner when the Philadelphia Orchestra performed the first premiere on March 18, 1927, under the baton of Leopold Stokowski. It had five more performances, received bad reviews, and was considered to be “too

Lilly Classical Series | Program Notes nineteenth century.” Lawrence Gilman, who had written the program notes, reviewed the concert for the Herald Tribune, saying, ”For all its somewhat naïve camouflage of whole tone scales and occasional dissonant harmony, Mr. Rachmaninoff’s new concerto remains as essentially nineteenth century as if Tchaikovsky had signed it. Somber it is, at times, but it never exhibits the fathomless melancholy of such authentic masters of tragical speech as Moussorgsky….The new work is neither so expressive nor so effective as its famous companion in C minor.”

Things became worse with Pitts Sanborn’s review in the Telegram: “The concerto in question is an interminable loosely knit hodgepodge of this and that, all the way from Liszt to Puccini, from Chopin to Tchaikovsky.

Even Mendelssohn enjoys a passing compliment…. It is neither futuristic music nor music of the future . . . . Mme. Cécile Chaminade might safely have perpetrated it on her third glass of vodka.”

The concerto’s final version continued the American connection. It was performed on October 12, 1941, under Eugene Ormandy and the Philadelphia Orchestra. The original manuscript, dated January 25–August 1926, is in the Library of Congress in Washington, D.C., and weighs in at 171 pages. Another American touch in the piece emerges in jazz-like elements, probably derived from Rachmaninoff’s time in New York where he attended many concerts of Paul Whiteman’s jazz orchestra. He was a fan of the jazz pianist Art Tatum, and from time to time, tried his hand at jazz on his own piano.

Exploring the Fourth The first movement, marked allegro vivace (alla breve), reflects Mr. Sanborn’s description because of its episodic nature. There are six “topics” that are declaimed in order at the first part, and then readdressed in differing order for the second part. As the composer moves through the various parts, he show-

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cases various parts of the orchestra, such as the piano in part two and an English horn and horn solo in part three. The piano is steadily part of the scene, but moves back and forth, exchanging prominence with the orchestra. Rachmaninoff wrote, “I see that the orchestra is almost never silent, which I regard as a great sin. This means that it is not a concerto for piano, but a concerto for piano and orchestra.” There is no cadenza, but there is a beautiful coda featuring the high registers of the violin. It closes with a sudden definitive ending.

The second movement, marked Largo, is far simpler in its architecture: ABA. A five-measure opening is assigned to the piano before the full presentation of the A section is presented. All is calm until part B: John Culshaw described this section as “a cry of despair, the music of a disillusioned man.”

The third movement is marked allegro vivace, again in ABA form with a large coda, which offers virtuosic opportunity. It opens quietly, featuring a long, rapid, upward sixteenth-note figuration to raise the curtain for the first part. Part A features leggiero staccato instructions for the pianist: softly declaiming the first theme in extended eighth notes embedded within the sixteenth-note context. It is a rather shy beginning for the turbulence and display yet to come. This also reflects what has been consistently noted about the “Ravel–like” clarity of thematic production, its starkness, its “thin” presentations, and its emotional restraint. The theme is clear, delicate, planted carefully before the growth of the movement becomes unstoppable, not only for the soloist, but with thickening orchestration.

Rachmaninoff ends in grand nineteenthcentury style, demanding a full workout for the soloist at the conclusion accompanied by full orchestra. Perhaps Rachmaninoff was

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Rachmaninoff’s Piano Concertos

prescient to note that “[Opus 4] is not [only] a piano concerto but a concerto for piano and orchestra” (letter on September 9, 1926).

Maybe if audiences listened with this perspective, Opus 40 would gain not only more prominence, but applause for its intent, architecture, shape, balance, content, discipline, and musical impact. Concert notes from the New York Philharmonic on April 25, 1954, are wise: “Concerto Number Four inhabits a world all its own and its distinct character has sometimes left listeners complaining about what it is not, instead of appreciating it for what it is.”

Concerto No. 2 in C Minor for Piano and Orchestra, Op. 16 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Years Composed: 1900–1901 Length: c. 34 minutes World Premiere: November 1901, Moscow, Russia Last ISO Performance: March 2016 with conductor Krzysztof Urbański and soloist Philippe Bianconi Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings, and solo piano “Melody is music and the foundation of all music,” said Rachmaninoff. “I do not appreciate composers who abandon melody and harmony for an orgy of noises and dissonances.” Fulfilling this credo, the composer stuffed his Second Piano Concerto with an abundance of emotional, unforgettable

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tunes. Audiences around the world were delighted. During one of his tours in the United States, Rachmaninoff said, “These Americans cannot get enough of it.”

Concerto No. 2 for Piano and Orchestra was a personal as well as a musical triumph for the composer. During his lifetime, Rachmaninoff was prone to depression, and Stravinsky used to speak of his “everlasting six-and-ahalf-foot scowl.” Once again, for three years, between 1897 and 1900, Rachmaninoff had been in one of his deep depressions, unstable and unable to compose. It was said that Rachmaninoff could not even look at a blank piece of manuscript paper for two years. The trigger for all of this was he combined failure of a love affair and the critical disaster of his First Symphony, which had stopped him in his tracks. In his Memoirs, the composer explained, “A paralyzing apathy possessed me.

I did nothing at all and found no pleasure in anything. Half my days were spent on a couch. I had given up in great despair.” Even the consoling words from the great novelist Tolstoy failed to help him.

Finally, under the hypnosis treatment of Dr. Nikolai Dahl (who had recently treated his aunt, Varvara Arkadyevna Satina), he recovered sufficiently to quit excessive drinking and to regain his will and ability to write. After the treatment, Rachmaninoff recorded; “I heard the same hypnotic formula repeated day after day while I lay half asleep in an armchair in Dahl’s study. ‘You will begin to write your concerto . . . . You will work with great facility . . . . The concerto will be of an excellent quality.’ It was always the same without interruption. Although it may sound incredible, this cure really helped me.” Appropriately, Rachmaninoff dedicated the work to his physician. On November 9, 1901, he premiered his complete Second Piano Concerto in C Minor with the Moscow Philharmonic conducted by Alexander Siloti.

The outcome was wild, unfettered acclaim.

(A partial Moscow premiere had taken place

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Lilly Classical Series | Program Notes in December of 1900, with the second and third movements.)

The first movement, Moderato, opens with nine chords, stated with growing intensity from piano solo. Violins bounce from this springboard to immediately produce the first theme with collaborating piano embellishment. The soloist is brought to the forefront to introduce a yearning second theme (marked moderato). Both ideas are developed in lyrical fashion, with a dapper march digression from the pianist. The recapitulation focuses largely on the second theme (sung by French horn) before a bright coda brings the movement to a close.

The second movement, Adagio sostenuto, begins with muted strings. A gentle mood is evoked first by flute, followed by clarinet, and eventually in the piano singing a nocturne-like theme. A middle section offers scherzo-like drama from high woodwinds and bassoon and violas with cadenza-like participation from the soloist. The movement closes with a return to the tranquil material of the beginning.

His third movement, Allegro scherzando, offers a brilliant finale, opening with crisp, martial-style writing for the piano providing a peppy refrain. This dashing mood yields to one of the most famous melodies of the entire concerto, first sung by violas and solo oboe. The melody grows to gigantic proportions; the pianist leads into a passionate development, sweeping the listener into a sensual embrace. Asafiev’s biography summarizes “[Rachmaninoff’s] music tenderly glorifies the beauty in life . . . the listener experiences the presence of human breathing, a vital flow of living speech, which goes from heart to heart.” And, one might add, from age to age. A calming interlude cools the development before the exciting presto. The lush viola tune reappears, now cast in the brilliance of violins. A brief cadenza for piano moves the tonality to C major. Then,

the orchestra joins in a re-affirmation of the melody in the highest instruments of the ensemble, and the concerto roars into a dazzling finish.

Themes from the concerto have been extracted to become long-time favorites and the music was heard in several film scores such as Noel Coward’s Brief Encounter. Explanation for the concerto’s popularity is really quite simple: It brims with unforgettable themes and rhapsodic emotion. Emotional excess was the social norm in turn of the century Russia; melancholy was a favorite.

Rachmaninoff sampled and endured many emotional states, and these were reflected in his work. “I write that which is in my heart at the time I am composing . . . these moods become part of my music,” he explained.

Vocalise, Op. 34, No. 14 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Year Composed: 1912 Length: c. 5 minutes World Premiere: April 1929, Philadelphia, Pennsylvania Last ISO Performance: June 2010 with conductor Sean Newhouse Instrumentation: 2 flutes, 3 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings The term “vocalise,” dating back to the 18th century, refers to a “song” performed on one or more vowels. The early vocalises were pedagogical exercises. The nineteenth century development saw vocalises also turned into highly musical expressions, demanding expert vocal control and maturity.

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In 1912 while summering at Ivanovka, Rachmaninoff decided to write a set of fourteen songs based on the texts of Russian romantic poets such as Korinfsky, Shaginyan, Pushkin, and Polonsky. In the final version, thirteen had texts; each was tailored to an individual Russian singer who was his friend. The last, the Vocalise, stood alone without words, to be sung as melodic line over piano accompaniment.

It was dedicated to the soprano Antonina Nezhdanova.

The lyric beauty, sensual emotions, and Russian-style melancholy made this Vocalise an immediate hit. In 1915 Rachmaninoff revised his original version and produced two orchestral versions (one with soprano and one without). There is also a version for solo piano, violin, and piano and orchestra.

Concerto No. 1 in F-sharp Minor for Piano and Orchestra, Op. 1 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Years Composed: 1890–1891 Length: c. 27 minutes World Premiere: March 1892, Moscow, Russia Last ISO Performance: January 2002 with conductor Pavel Kogan and soloist Anne-Marie McDermott Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, strings, and solo piano “Do not waste your time with music that is trite or ignoble. Life is too short to spend it wandering in the barren Saharas of musical trash.”—Rachmaninoff

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Sergei Rachmaninoff was an extraordinary mix of composer, pianist, and conductor.

His works are iconic representatives of the late Romantic period, even though he lived well into the twentieth century. He resisted twentieth-century trends in his compositions, noting, “The new kind of music seems to create not from the heart, but from the head.

Its composers think rather than feel. They have not the capacity to make their works exalt—they meditate, protest, analyze, reason, calculate, and brood, but they do not exalt.”

In 1918 the Rachmaninoff family settled in New York, where he found a warm reception from Americans not only in the city, but throughout the United States as a result of his many tours. The Russian composer Alexander Greiner, who also was the manager of the concert and artist department of Steinway and Sons beginning in 1928, remembered Rachmaninoff’s sociability, love of good parties, and friendliness. In a 1958 video, which contains some home movies of the composer, Greiner says, “Behind an austere, perhaps even severe countenance, there was a most warm-hearted, lovable man with a wonderful sense of humor. Rachmaninoff thoroughly enjoyed a good story and no one who hasn’t seen him laugh with the tears running down his cheeks would believe it possible!” This video includes the composer playing a Russian song on the piano as his friends sing along. In the end, he jokes to them, saying, “You don’t know the words!”

Rachmaninof began his piano studies when he was four, and his aptitude and talent for the piano were quickly recognized. He was sent to Russian pianist Nikolai Zverev in Moscow, who was described as a strict disciplinarian. For his training in composition and theory, Rachmaninoff attended the Moscow Conservatory. When he was eighteen years old, Rachmaninoff composed the first of his four piano concerti in 1891. Although he had tried his hand at a piano concerto in 1889, he tossed it aside and even cancelled a performance scheduled for this work in London.

Lilly Classical Series | Program Notes On July 20, 1891, the composer wrote a letter to Mikhail Akimovich Slonov to update him on the state of the piano concerto: “On July 6th, I fully completed composing and scoring my piano concerto. I could have finished it much sooner, but after the first movement I idled for a long while and began to write the following movements only on July 3. Composed and scored the last two movements in two and a half days.

You can imagine what a job that was. I wrote from five in the morning till eight in the evening, so after finishing the work, I was terribly tired. Afterwards I rested for a few days. While working I never feel fatigue (on the contrary—pleasure). With me fatigue appears only when I realize that a big labor is finished. I am pleased with the concerto.”

In its first iteration, however, the First Piano Concerto was only moderately successful.

Two more blockbuster concerti emerged in 1901 and 1909 before he returned to the First for an extended revision in 1917. It was dedicated to his first cousin and teacher Alexander Siloti, one of the most important Russian pianists, conductors, and composers of the late nineteenth and twentieth centuries.

The 1917 version, the year of the Bolshevik revolution in which Rachmaninoff refused to take sides, was largely spent revising the First Piano Concerto. In 1918 he and his family fled Russia on a visa to Scandinavia, never to return to Russia again. In his book Sergei Rachmaninoff, John Culshaw wrote, “His duty was more concerned with polishing some of the technical points and removing some of the crudities which, unrealized at the time of composition, could not pass the scrutiny of the artist in maturity. In it can be found a sure indication of the intensely personal style that was to develop in Rachmaninoff during the following five years.”

Rachmaninoff thinned out thick textures in orchestration and solo piano parts and chopped extraneous episodes that had

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only served to make the first version seem to be wandering and unfocused. When finished, he was pleased with the revisions, and wrote to Alfred Swan, “I have rewritten my First concerto: it is really good now. All the youthful freshness is there and it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or the Third.”

Exploring the First The first movement (marked moderato) opens with a brilliant brass invitation, unleashing a series of double octaves and chords on the piano. We will be treated again to this dazzling idea later in the movement.

Perhaps this was youthful impetuosity and eagerness: none of his other piano concerti begin with such drama. The lyrical first theme rides atop left-hand arpeggios in a clear iteration. A small counter second theme emerges from clarinets and violas with bassoons entering in a few measures, but it is not until measure fifty-seven that the first violins sing the second theme, now supported by the piano. This theme is later elongated by the piano solo before entering the faster-moving development, marked “vivace-doppio movimento.”

His development is richly chromatic, opening with references to the big octaves of the opening. A recapitulation follows before a dramatic cadenza seals the ending with an enormous downward cascade from the upper registers of the keyboard to a rapid conclusion.

The second movement, andante, is markedly different. In place of the dazzling first, we find a rhapsodic gentle setting of a theme followed by variations. Musicologists have consistently described its character as ethereal. “The effect of this movement is that of a series of slowly drifting clouds. Although

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Rachmaninoff’s Piano Concertos it may have seemed superficial.

One can find more than a hint of the greater Rachmaninoff [yet to come]” (John Culshaw).

A solo horn sings a quiet introduction supported by small surges in the orchestra before the pianist slowly declaims the main idea marked espressivo. This moment is clearly defined as the pianist moves into an extended solo in a nocturne-like style.

When completed, the theme is shared by the orchestra with delicate counterpoint and drifting arpeggios spun by the soloist.

Everything is smooth, unhurried, relaxed, and highly colored. Three of the important harmonic colorations lie in unresolved harmonies, extended suspensions, and gentle resolutions. Throughout this movement, the music continually melts into complex chords that shimmer and dissolve. Melodic lines are rounded and there is nothing abrupt to interfere with overall serenity. At the close, the horn reappears momentarily before a hushed denouement.

A rip-roaring third movement finale ( marked Allegro vivace) is not only explosive (notice the huge fortissimo sections), but filled with youthful joie-de-vivre and unending energy.

It is cast in A B A structure. After the initial A section struts into the forefront, the contrasting B segment showcases a sensitive nostalgic theme (slowed into an Andante ma non troppo marking) sung by the strings with piano accompaniment. The unquenchable A section re-enters out of tumultuous orchestral intensity, continuing until a thunderous coda ignites even more bravura and virtuosity that continue until closure.

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Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 Sergei Rachmaninoff Born: April 1, 1873, Oneg, Russia Died: March 28, 1943, Beverly Hills, California Year Composed: 1909 Length: c. 41 minutes World Premiere: November 1909,

New York, New York Last ISO Performance: October 2014 with conductor Andrey Boreyko and soloist Kirill Gerstein Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings, and solo piano Rachmaninoff’s musical calling card when he came to the United States in 1909 was the dazzling Concerto No. 3 for Piano and Orchestra, known conventionally as “Rach Three.” “My Third Piano Concerto was written especially for America,” the composer stated.

He performed Opus 30 over twenty times in a brutal concert schedule arranged by impresario Henry Wolfson for this visit.

When Rachmaninoff first saw the schedule, in which he would concertize almost every day for three months during a thirty-concert tour of his works, he wrote to his friend Nikita Morozov, saying, “I don’t want to go.”

But profitable remuneration and a dream of a car beckoned irresistibly. Additionally, this was a savvy career move. His tour was wildly successful and introduced him to America, where he would eventually settle in 1917.

“I was a great success; I played my own compositions exclusively,” he recalled.

The Concerto No. 2 had been a great success. The new concerto, however—written to show off his enormous technique aided by his large hands and also to gain money

Lilly Classical Series | Program Notes

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for purchasing a car—became one of the major documents of romanticism. Patrick Piggot noted that its third movement was “One of the most dashing and exciting pieces of music ever composed for piano and orchestra.” The concerto’s review by Grigory Prokofiev after the Moscow premiere, stated: “This new concerto mirrored the best sides of his creative power . . . it has freshness of inspiration, a sharp and concise form and brilliant orchestration, qualities that will secure both outer success and enduring love by musicians and public alike.“ The November premiere in New York under Walter Damrosch confirmed previous acclaim. Opus 30 has maintained its stature, its knockout drama, and popularity. Inclusion in the movie Shine has brought it to the attention of movie goers.

Written in the twentieth century, Rachmaninoff’s work eschewed avant-garde techniques, fashions, and interests. The composer later commented, “Perhaps I feel that the kind of music I care to write is not acceptable today.” Nonetheless, he held to his own aesthetic and voice. “I try to make my music speak simply and directly that which is in my heart at the time I am composing,” he said.

“Composing music is as much a part of my living as breathing and eating.”

Guarding.’” A poetic second theme murmurs quietly in the strings. It is seconded by the pianist and grows into an impassioned conversation between the musical forces. These ideas develop in a giant cauldron with the pianist assuming an ever extended role, culminating in a monumental cadenza.

The movement closes recalling earlier material: restatement of the opening idea and a staccato version of the subsidiary theme.

Inside the concerto The concerto has three movements, each filled with lush themes that are reiterated in the work, thereby creating organic unification. The first movement opens with the pianist entering after only two measures singing what could be a soulful Russian folk melody (an attribute Rachmaninoff vehemently denied, although musicologists scurried “to find the source”). The theme, appearing in stark octaves, “wrote itself” according to Rachmaninoff. “It is neither from folk song forms nor from church services,” but musicologist Joseph Yasser took exception, noting, “a close relationship to the Russian liturgical chant ‘They Tomb, O Savior, Soldiers

The third movement showcases the piano at every point. Forceful interchanges between soloist and orchestra are relieved by a small interlude of muted strings, before the turbulence resumes until the end. Obviously, this music is written by a pianist for only the best of the best: a virtuoso tour of pianism.

Rachmaninoff provides a collection of new ideas and references themes from the first movement. The soloist plays a major role in the fireworks with introductions of two major themes and their elaborations, supported by intense orchestral coloration and massive interaction. The D minor concerto is topped with a dazzling coda in D major.

The second movement Intermezzo features a tender melody (subject to variations) that is sung first in the winds, echoed by strings, and restated by the pianist. However, the pianist’s dominant function herein remains coloristic, adding swirling figurations above the tune. The orchestra is front and center with thematic work. Polyrhythmic passages of three against five and five against multiples of four create an increasingly complex, dense texture. Virtuosity remains controlled, but steadily on the advance. A small waltz comes in as a surprise, but its appearance is short. At the close, a small recall of the opening melody is chanted by clarinet and bassoon. Rachmaninoff holds off full-flight pianistic display for the final movement .

Sudden brass chords and an aggressive piano passage create a connecting bridge.

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Brilliance of Brahms

JUNE 7–8

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Lilly Classical Series/Program Eighteen Friday, June 7, at 8 p.m.

Saturday, June 8, at 5:30 p.m.

Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor | SARAH SHAFER, Soprano KELLEY O’CONNOR, Mezzo-Soprano | PAUL GROVES, Tenor | ALEXANDER ELLIOTT, Baritone INDIANAPOLIS SYMPHONIC CHOIR, Eric Stark, Artistic Director Johannes Brahms | 1833–1897 Symphony No. 4 in E Minor, Op. 98

Allegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passionato INTERMISSION—Twenty Minutes Anton Bruckner | 1824–1896 Te Deum

Te Deum laudamus

Te ergo quaesumus

Aeterna fac cum sanctis tuis

Salvum fac populum tuum

In te, Domine, speravi

Sarah Shafer, Soprano Kelley O’Connor, Mezzo-soprano Paul Groves, Tenor Alexander Elliott, Baritone Indianapolis Symphonic Choir Premier Sponsor

Associate Sponsor

The Mohlman Performance of Classical Music is endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman

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Length of performance is approximately one hour and thirty minutes.

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

See Maestro Urbański’s biography on page 27.

Sarah Shafer, Soprano Soprano Sarah Shafer actively appears on the leading operatic and concert stages of the world. The 2018–19 season will see Shafer make her house and role debut as Susanna in Le Nozze di Figaro with San Diego Opera as well as appearances with Harrisburg Symphony, Milwaukee Symphony Orchestra, Toledo Symphony, Los Angeles Chamber Orchestra, Louisiana Philharmonic, and the Chamber Orchestra of New York.

The 2017–18 season saw Shafer’s debut with the Metropolitan Opera singing Azema in the John Copley production of Semiramide, and her company and role debut with Cincinnati Opera. Concert work included her debut with Malmö Symphony Orchestra, with the Detroit Symphony Orchestra, her debut with Utah Symphony Orchestra singing with the New York Choral Society, and performing with Eugene Symphony Orchestra.

Highlights of recent seasons include her role debut of Pamina in Die Zauberflöte, Zerlina in Don Giovanni, and the world premiere of Two Women in the role of Rosetta, both with San Francisco Opera. Shafer had success in her return to Opera Philadelphia as Adina in L’elisir d’amore, and created the role of Mary Lennox in the world premiere of The Secret Garden with San Francisco Opera. Other highlights include Leila in Bizet’s Les pêcheurs de perles at Tulsa Opera, Barbarina and the cover role of Susanna in Le nozze di Figaro at the Glyndebourne Festival and the BBC Proms in London’s Royal Albert Hall, and several roles for Opera Philadelphia.

JUNE 7–8 An avid recitalist and chamber musician, Shafer enjoys an active collaboration with pianist Richard Goode, having recently performed Schumann and Brahms lieder at Carnegie Hall and Schubert’s Der Hirt auf dem Felsen with clarinetist Anthony McGill at the Philadelphia Chamber Music Society. She has also collaborated with such musicians as guitarist Jason Vieaux, and clarinetist Richard Stoltzman. Shafer was a resident artist at the Marlboro Music Festival for five summers. She actively appears with Collaborative Arts Institute of Chicago, Grand Junction Symphony Orchestra’s chamber music series, the Mozart and Handel Académie européenne de musique in Aix-en-Provence, Lake Champlain Chamber Music Festival France, the Bard Summer Music Festival, the Liszt Academy in Budapest, Hungary, and was named a winner of the 2014 Astral Artists National Auditions.

Highlights of concert work include Carmina Burana with the San Antonio Symphony, Mozart’s Requiem with the Omaha Symphony, Mahler’s Resurrection Symphony with both the Cheyenne and Williamsport Symphony Orchestras, and the world premiere of Richard Danielpour’s “Talking to Aphrodite” with the Sejong Soloists at Carnegie Hall.

A recent graduate of the Curtis Institute of Music, Shafer’s credits for Curtis Opera Theatre include over 20 productions and a variety of roles such as Pamina in Die Zauberflöte, Almirena in Rinaldo, Giulietta in I Capuleti e i Montecchi, Elizabeth Zimmer in Henze’s Elegy for Young Lovers, Ilia in Idomeneo, Rosina in Il Barbiere di Siviglia, Sofia in Il Signor Bruschino, and Mélisande in Impressions of Pelléas. Most recently, she sang the role of Sister Constance in Poulenc’s Dialogues of the Carmelites.

A native of State College, Pa., Shafer holds degrees in voice and opera from the Curtis Institute of Music, and is based in Philadelphia.

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JUNE 7–8

Kelley O’Connor, Mezzo-Soprano

Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy® Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.

During the 2018–19 season, her impressive symphonic calendar features Mahler’s Second Symphony with Andrés Orozco-Estrada and the Houston Symphony, his Third Symphony with Donald Runnicles and the Grand Teton Music Festival Orchestra, Michael Stern and the Kansas City Symphony Orchestra, and with Andrés Orozco-Estrada and the Chicago Symphony Orchestra, and Das Lied von der Erde both with the Dallas Symphony Orchestra and BBC Scottish Symphony Orchestra.

Kelley O’Connor gives the world premiere of Joby Talbot’s A Sheen of Dew on Flowers with the Britten Sinfonia at the Victoria & Albert Museum to celebrate the opening of the institution’s new jewellery wing, debuts with the Orchestra dell’Accademia Nazionale di Santa Cecilia in the title role of John Adams’ The Gospel According to the Other Mary under the baton of the composer, presents the west coast premiere of Bryce Dessner’s Voy a Dormir with the Los Angeles Chamber Orchestra, and brings Peter Lieberson’s Neruda Songs to life in performances with Stéphane Dénéve and the St. Louis Symphony. Bernstein’s Songfest serves Kelley O’Connor her Boston Symphony Orchestra debut under the baton of Bramwell Tovey and she is heard in performances of this work with Thomas Dausgaard leading the BBC Scottish Symphony Orchestra. She

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returns to the Los Angeles Philharmonic for a Stravinsky Festival singing multiple works and assays the title role of Britten’s The Rape of Lucretia presented by Boston Lyric Opera in a new production by Sarna Lapine.

Recent seasons include performances of Wagner’s Wesendonck Lieder with the Indianapolis Symphony Orchestra, Beethoven’s Missa Solemnis with the St. Louis Symphony, and Mahler’s Eighth Symphony with the Tonkünstler-Orchester Niederösterreich. She has sung Mahler’s Des knaben Wunderhorn with the Indianapolis Symphony Orchestra and Das Lied von der Erde with the Detroit Symphony and with the Atlanta Symphony Orchestra. Beethoven’s Ninth Symphony has been performed with the Budapest Festival Orchestra, Ravel’s Shéhérazade with the Philharmonia Orchestra, and the role of Erda in Wagner’s Das Rheingold with the New York Philharmonic.

John Adams wrote The Gospel According to the Other Mary for O’Connor and she has performed the work, both in concert and in the Peter Sellars production. She has sung the composer’s El Niño with the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson’s Neruda Songs having given this moving set of songs with the National Symphony Orchestra, the Chicago Symphony Orchestra, the Minnesota Orchestra, the Berliner Philharmoniker, and the Tonhalle-Orchester Zürich among many others.

For her debut with the Atlanta Symphony in Osvaldo Golijov’s Ainadamar, she joined Robert Spano for performances and a Grammy® Award-winning Deutsche Grammophon recording. Her discography also includes Mahler’s Third Symphony with the Dallas Symphony Orchestra, Lieberson’s Neruda Songs with the Atlanta Symphony, Adams’ The Gospel According to the Other Mary with the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with the Cleveland Orchestra.

Paul Groves, Tenor One of the great American tenors of his generation, Paul Groves continues to enjoy an impressive international career performing on the stages of the world’s leading opera houses and most prestigious concert halls. Paul Groves begins his 2018–19 season at Opera de Lyon for performances as Faust in Boito’s Mefistofele. He makes his debut at the National Kaohsiung Center for the Arts in Taiwan this November in one of his signature roles as Candide.

Groves makes another important debut this summer in his first performances as Herod in Salome with the Spoleto Festival USA. A veteran of the concert stage, Groves appears this season with the Los Angeles Philharmonic for Stravinsky’s Persephone with Esa-Pekka Salonen, as well as the Nashville Symphony with Giancarlo Guerrero and the BBC Scottish Symphony Orchestra with Donald Runnicles for Mahler’s Das Lied von der Erde.

JUNE 7–8 Additional concert performances throughout the season include Benjamin Britten’s War Requiem with Opera de Lyon, Beethoven’s Symphony No. 9 with the Rochester Philharmonic, Haydn’s Creation with the Prague Philharmonia, and Das Lied von der Erde alongside Sasha Cooke at the Santa Fe Chamber Music Festival.

Highlights of recent seasons for the American tenor include a rare role debut singing Alessandro Cesare in Cavalli’s Eliogabalo with the Opéra national de Paris, his first performances in the title role of Wagner’s Parsifal with the Lyric Opera of Chicago led

by Sir Andrew Davis, appearances as Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thais with the Los Angeles Opera, and Pylade in Iphigénie en Aulide with Theater an der Wien.

An avid concert performer, Groves’ previous season was filled with debuts and return engagements with symphonies across the United States. Throughout the 2016–17 season, he was seen performing Mahler’s Das Lied von der Erde with the Cleveland Orchestra and the Indianapolis Symphony, Berlioz’ Requiem with the San Francisco Symphony under Charles Dutoit, as well as Stravinsky’s Perséphone with the Oregon Symphony.

Last season marked Groves’ 25th season at the Metropolitan Opera since his debut as Steuermann in Der fliegende Holländer. Additional operatic performances for the season included as Wilhelm Arndt in The Ring of Polykrates with the Dallas Opera under Music Director Emmanuel Villaume, as well as Faust in a concert production of La Damnation de Faust with the Boston Symphony Orchestra.

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JUNE 7–8

Alexander Elliott, Baritone

Alexander Birch Elliott continues to garner praise for his “heated intensity and beguiling timbre of mahogany” (New York Times). Elliott’s 2018–19 season features his debuts at The Metropolitan Opera and Houston Grand Opera singing the role of Zurga in Les Pêcheurs de Perles, as well as his return to Opera Omaha for his role debut as Silvio in Pagliacci. A frequent performer on concert stages around the United States, Elliott makes his debut with the Cleveland Orchestra this season for Vaughan Williams’ Five Mystical Songs, in addition to returns to the Pittsburgh Symphony Orchestra in performances as Brander in Berlioz’s La Damnation de Faust.

Elliott made two significant festival debuts in the summer of 2018, both in celebration of Leonard Bernstein’s centennial. He appeared with the Ravinia Festival in June under the baton of Marin Alsop as a Street Singer in Bernstein’s Mass, followed by performances of Maximilian, the Sea Captain, and the Grand Inquisitor in Candide at the Tanglewood Festival. Recent operatic appearances include as Sonora in La fanciulla del West in his debut with New York City Opera; Figaro in Il barbiere di Siviglia with Opera Santa Barbara; Anthony in Sweeney Todd and the title role of Eugene Onegin with Portland Opera; and as Guglielmo in Cosi fan tutte with Opera Omaha. A proponent of contemporary works, he appeared as John Brooke in Little Women with Madison Opera and Annapolis Opera; Edward Kynaston in Carlisle Floyd’s Prince of Players with the

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Florida State Opera; and in the role of Doug Hansen in Joby Talbot’s Everest at The Dallas Opera.

On the concert stage Elliott has appeared with The Knights for Master Peter’s Puppet Show at the Brooklyn Academy of Music; Marcello in La boheme and Escamillo in Carmen with the Rochester Philharmonic Orchestra; Marcello with the Greater Bridgeport Symphony; Papageno in Die Zauberflöte with the Orlando Philharmonic; Haydn’s Creation, Handel’s Messiah, and Bach’s St. Matthew Passion with the Pittsburgh Symphony Orchestra; and in a concert of operatic and holiday duets with acclaimed soprano Leona Mitchell under the auspices of the Tulsa Opera.

As a young artist with Portland Opera he performed the roles of Belcore in L’elisir d’amore, Le Dancaïre in Carmen, Frank in Die Fledermaus, and Sam in Pirates of Penzance.

Other young artist performances include Il barbiere di Siviglia as Figaro and Rorem’s Our Town as Frank at Central City Opera, as well as the Captain in Eugene Onegin and Périchaud in La Rondine at Des Moines Metro Opera. In the 2013–14 season Elliott made his principal artist debut as Count Almaviva in Le nozze di Figaro with Tulsa Opera, having previously sung the roles of the Corporal in La Fille du Régiment and the Postman in Loesser’s Most Happy Fella as a 2012–13 studio artist.

Elliott is a graduate of the prestigious Merola program at the San Francisco Opera, and is the recipient of the 2013 John Moriarty Award for his outstanding contribution to Central City Opera. Alexander attended Florida State University where he studied with David Okerlund.

Boson Mo, Guest Concertmaster Hailed by the Houston Chronicle as having “stole(n) the show…with his rousing assertion of Fauré’s Violin Sonata…” at his 2016 Da Camera of Houston début, Boson Mo’s recent performances include those at FIAF New York City, Festival de Lanaudière (Québec), Vancouver Chamber Music Society, Rockport Chamber Music Festival, Kalmia Gardens Music Festival, and Festival Emilia-Romangna in Italy.

Winner of Third Prize at the 2013 Michael Hill International Violin Competition, Mo was named as one of Canada’s “30 under 30 Top Classical Musicians of 2015” by CBC Radio-Canada. He is a recipient of the “Prix Joseph-Rouleau” at the 2010 Montreal International Violin Competition as well as a top 25 candidate at the 2015 International Tchaikovsky Competition, and is a winner of Canada’s prestigious Sylva Geber Foundation Award. Additionally, he is a two-time winner of Canada Council for the Arts’ Musical Instrument Bank loan.

Mo has been featured as Young Artist in Residence of American Public Media’s “Performance Today,” and has been broadcast both nationally in the U.S. as well as internationally on Radio New Zealand and CBC Radio-Canada. He has performed as soloist with the Auckland Philharmonia (New Zealand), Orchestre symphonique de Longueuil

JUNE 7–8

(Canada), the CIM Orchestra, and the F.A.C.E. Symphony Orchestra; he has also been featured at the Banff Centre for the Arts, the Aspen Music Festival and School, Début Atlantic, Jeunesses Musicales du Canada, Montreal Chamber Music Festival, Müzewest of Vancouver, Festival Pontiac Enchanté, as well as Music@Menlo’s Winter Residency.

Mo served as Acting Assistant Concertmaster of the Vancouver Symphony Orchestra in the autumn of 2017. He has also performed as First Violin with the Ensō Quartet as part of their 2016 summer season. Additionally, Mo has performed extensively in the U.S. as a duo with pianist Andrew Staupe, as well as in a trio with cellist Desmond Hoebig.

Mo is an alumnus of Music@Menlo’s International Program (Bay Area, Calif.), the Aspen Music Festival and School, the Perlman Music Program (New York), the Masterclasses and Chamber Music Residency at Banff Centre, the International Holland Music Sessions (Netherlands), Kneisel Hall Chamber Music Festival (Maine), Morningside Music Bridge (Calgary), the Toronto Summer Music Festival, and the Casalmaggiore International Music Festival (Italy).

A graduate of the Cleveland Institute of Music, Mo is completing a doctoral degree at the Shepherd School of Music at Rice University under Paul Kantor. Mo performs on a violin by MacArthur Genius Grant recipient Joseph Curtin.

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JUNE 7–8

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 James Plenty, Educational Specialist

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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

JUNE 7–8 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.

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JUNE 7–8

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).

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. Recently named as a Fulbright Scholar, Stark will teach, conduct, and study in residence during the first half of 2020 at the Federal University of Rio Grande do Sul (URGS) in Porto Alegre, Brazil.

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.

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Te Deum Translations

JUNE 7–8

Te Deum laudamus: te Dominum confitemur.

Te aeternum patrem, omnis terra veneratur.

We praise thee, O God: we acknowledge thee to be the Lord.

All the earth doth worship thee: the Father everlasting.

Tibi omnes Angeli: tibi caeli et universae potestates.

Tibi cherubim et seraphim, incessabili voce proclamant:

To thee all Angels cry aloud: the Heavens, and all the Powers therein.

To thee Cherubim and Seraphim: continually do cry,

“Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth.

Pleni sunt caeli et terra maiestatis gloriae tuae.”

Holy, Holy, Holy: Lord God of Sabaoth; Heaven and earth are full of the Majesty: of thy glory.

Te gloriosus Apostolorum chorus, Te Prophetarum laudabilis numerus, Te Martyrum candidatus laudat exercitus.

Te per orbem terrarum sancta confitetur Ecclesia: Patrem immensae maiestatis; Venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum.

The glorious company of the Apostles: praise thee.

The goodly fellowship of the Prophets: praise thee.

The noble army of Martyrs: praise thee.

The holy Church throughout all the world: doth acknowledge thee; The Father: of an infinite Majesty; Thine honourable, true: and only Son; Also the Holy Ghost: the Comforter.

Tu rex gloriae, Christe: Tu Patris sempiternus es Filius.

Tu, ad liberandum suscepturus hominem, non horruisti Virginis uterum.

Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum.

Tu ad dexteram Dei sedes, in gloria Patris.

Iudex crederis esse venturus.

Thou art the King of Glory: O Christ.

Thou art the everlasting Son: of the Father.

When thou tookest upon thee to deliver man: thou didst not abhor the Virgin’s womb.

When thou hadst overcome the sharpness of death: thou didst open the Kingdom of Heaven to all believers.

Thou sittest at the right hand of God: in the glory of the Father.

We believe that thou shalt come: to be our Judge.

Te ergo quaesumus, tuis famulis subveni: quos pretioso sanguine redemisti.

Aeterna fac cum sanctis tuis in gloria numerari.

Salvum fac populum tuum, Domine, et benedic hereditati tuae.

Et rege eos, et extolle illos usque in aeternum.

Per singulos dies benedicimus te: et laudamus nomen tuum in saeculum, et in saeculum saeculi.

We therefore pray thee, help thy servants: whom thou hast redeemed with thy precious blood.

Make them to be numbered with thy Saints: in glory everlasting.

O Lord, save thy people: and bless thine heritage.

Govern them: and lift them up for ever.

Day by day: we magnify thee; And we worship thy Name: ever world without end.

Dignare, Domine, die isto sine peccato nos custodire.

Miserere nostri, Domine, miserere nostri.

Fiat misericordia tua, Domine, super nos: quemadmodum speravimus in te.

In te, Domine, speravi: non confundar in aeternum.

Vouchsafe, O Lord: to keep us this day without sin.

O Lord, have mercy upon us: have mercy upon us.

O Lord, let thy mercy lighten upon us: as our trust is in thee.

O Lord, in thee have I trusted: let me never be confounded.

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“Infernal Dance” from The Firebird, and In the Hall of the Mountain King.

Dr. FREAKuency's Major Monster Bash Sunday, October 20, 3PM Enrico Lopez-Yañez, Conductor Produced by Symphonica Productions, LLC.

Tell Your Own Tale: A Musical Quest Sunday, January 26, 3PM Jacob Joyce, Conductor

Spark the imagination of your wigglers and gigglers during this series of one-hour, family-friendly concerts.

Pre-concert activities invite children to learn about the music and the orchestra before experiencing it for themselves.

Four great concerts!

Recommended for ages 4-12.

Title Sponsor:

Journey Through the Jurassic

Sunday, March 15, 3PM Jacob Joyce, Conductor Created in collaboration with the

Kroger Symphony on the Prairie Summer 2020 Conner Prairie Amphitheatre

Premiere Sponsor:

FOR MORE INFORMATION VISIT INDIANAPOLISSYMPHONY.ORG/SUBSCRIBE

Saturday, September 14, Hilbert Circle Theatre Krzysztof Urbański, Conductor

Alma Deutscher, Violin, Piano & Composer

Prepare to be astounded at this year’s Indianapolis Symphony Orchestra Opening Night Gala as we welcome child prodigy Alma Deutscher to the Hilbert Circle Theatre. On stage with the ISO and Music Director Krzysztof Urbański, the 14-year-old Deutscher will amaze you.

Presented By :

For more information call the Box Office at 317.639.4300

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by

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JUNE 7–8

Brilliance of Brahms Austrian mountains when he began what would one day be called “a cornerstone of the symphonic literature” (Paul Schiavo).

Lilly Classical Series Program Notes

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

Symphony No. 4 in E Minor, Op. 98 Johannes Brahms Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria Years Composed: 1884–1885 Length: c. 39 minutes World Premiere: October 1885, Meiningen, Germany Last ISO Performance: September 2014 with conductor Krzysztof Urbański Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings “It is very questionable if I shall ever expose the public to this piece . . . I wonder if it shall ever have an audience.”

Brahms was a merciless self-critic. And he intimidated himself saying, “You have no idea what it is like to hear the footsteps of a giant like that [Beethoven] behind you.”

However, in 1884–85 (about two years after his Third Symphony), he felt he had one more symphony to do: his last in that genre.

He was summering in Mürzzuschlag in the

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It was not an easy task. In 1885 after he played a two-piano version for his friends, he received his anticipated assessment: they did not like it. Max Kalbeck, his friend and biographer, suggested that he revise it immediately. Elisabeth von Herzogenberg commented, “there comes a point where a certain doubt creeps in . . . its beauties are not accessible to every normal music-lover.”

The Wagnerites took him to task: Hugo Wolf noted “Brahms [herein] was composing without ideas.” Brahms rose above these initial viewpoints and did not change much except a few details in the score by the time of its premiere. Despite the complaints, the composer did not waver: he remained convinced of its value, voice, shape, content, and orchestration.

“The Brahms Fourth is at once a summation of its author’s learning and technique and a work of art that for all its complexities cuts as close to the heart of the heart as music can,” said author Larry Rothe. One imagines that this is the work Brahms always wanted to write, the work that displays his essence most completely, in which form and function are balanced, in which the technical means always serve expression, and expression is discovered through technique. If any of Brahms’ music conveys a world-view, this is it.” Suitably it was presented at Brahms’ last concert: he was terminally ill with cancer but managed to attend and to receive wild applause after each movement.

Composed in the matrix of mature romanticism, the Fourth still included many references to classical and baroque format. Brahms always respected styles and forms from the past; in this case, the most prominent “old-fashioned” reference is the passacaglia in the last movement.

Lilly Classical Series | Program Notes Brahms was in fact a traditionalist and an innovator, infusing older ideas and forms with new thoughts of harmony and melody.

Willing to try new things, he even created an experimental recording (on the Edison cylinder) on December 2, 1889, when Theo Wangemann (representative of Thomas Edison) visited him in Vienna.

Exploring the music The Fourth Symphony opens with a quiet, sighing theme presented by the strings: there is no introduction, per se. Gradually the theme is fleshed out, and long extended lines sweep across the musical landscape. A lyrical second idea emerges delicately before merging into a brisk, accented, march-like segment. Imitative and contrapuntal passages artfully exchange perspectives on the themes, and the orchestra converses extensively among its sections before a recapitulation and firm conclusion.

The second movement, andante moderato, opens with two French horns, singing a figure followed by winds playing a meditative theme (Phrygian mode), supported by light pizzicati from strings. The mood remains quiet and serene with restrained dynamics, somewhat like a lullaby. Celli provide a second main idea. Even though timpani come in from time to time, they are no more than a gentle pulsing. Modal harmonies (another bow to the past) lend unique coloring. The ending concludes with the main idea restated, remembered, and cherished.

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STUDEN TS

JUNE 7–8

The third movement shakes off all restraint in a brilliant, scampering setting. His scherzo (the first time he used a scherzo in a symphony) features a single idea divided into short motivic ideas that separate and coalesce in a zippy, exciting presentation. Brahms is reported to have said “three kettledrums, triangle, and piccolo will make something of a show.” Trumpets are also invoked from time to time to emphasize exuberance and add to the drama.

Interestingly, he wrote this movement last.

The fourth movement—often considered the crowning glory of Opus 98—displays thirty variations on a theme declaimed in the first eight measures. Brahms had long admired and used the theme and variation idea in his work, and in this symphony, he presents a masterful set sounded over a repeating base (a passacaglia). The sturdy main theme is adapted from Bach’s cantata, “Nach dir, Herr, verlanget mich” (For thee, Oh Lord, I long), which is announced by trumpets at the opening, establishing not only the theme, but the harmonic structure as well. As the music develops, Brahms unfolds an astonishing variety in the variations, concluding with an elaborate coda. Brahms’ biographer, Florence May, noted that at the last public concert the composer attended, Brahms was shrunken and sickly, and with this work, “Brahms and his Vienna had parted forever.”

$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

JUNE 7–8

Brilliance of Brahms

Te Deum Anton Bruckner Born: September 4, 1824, Ansfelden, Austria Died: October 11, 1896, Vienna, Austria Years Composed: 1881–1884 Length: c. 24 minutes World Premiere: January 1886, Vienna, Austria Last ISO Performance: November 1982 with conductor Margaret Hillis and soloists Barbara Pearson, Blanche Foreman, Daniel Nelson and Kurt Link Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, organ, and strings Te Deum is an ancient Christian hymn of praise that has been sung over many centuries in Catholic and Protestant churches. The text was sometimes used as a prayer, as well as being chanted or sung.

For many years, it was attributed to St. Ambrose and St. Augustine, but their authorship was first challenged by Dom G. Morin of the Abbey of Maredsous in Belgium in 1897 in the Revue Bénédictine XIV. Herein, the Bishop Nicetas of Remesiana (336–414 A.D.) was determined to be the author. This bishop was noted for promoting and composing Latin sacred music and devoting much time to missionary work among the pagan tribes of Germany.

The text, which resembles the Apostles Creed from AD 390, has been set by many composers including Haydn, Mozart, Berlioz, Verdi, Furtwangler, Dvorak, Britten, Evo Part, Lully (who fatally wounded himself while conducting the work), and Bruckner.

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Bruckner was a devout Catholic. His biographer, Hans Redlich, wrote that, “He may have been the only great composer of his century whose entire musical output is determined by his religious faith.” He began working on Te Deum in May 1881 in a draft version and completed the work on March 7, 1884, having taken a time out to complete his Sixth and Seventh symphonies. The ad lib organ part was completed a week later in a separate score. As was his habit, he revised the work several times, with the final version emerging in 1884. At one point, he added the letters AMDG to the score: Ad Majorem Dei Gloriam (For the Greater Glory of God).

The dedication read, “To God in gratitude for having safely brought me through so much anguish in Vienna.“ His problems in Vienna, where he lived from1868 to1896, were both personal and musical. He was often considered to be a naïve country bumpkin who spoke German “like a peasant.” The citizenry made fun of his simple life, his ill-fitted clothes, and even his style of walking. He also became involved, albeit from a distance, in the intense Brahms-Wagner debates (sometimes called the “War of the Romantics”). The length of his symphonies was frequently criticized, often revised and shortened without his consent.

Richard Freed stated: “Nearly all of Bruckner’s symphonies were edited to the point of distortion by well-intentioned associates, and were first published in those editions, with many of the touches that constituted the composer’s individual style smoothed away.”

Criticism of the composer Eduard Hanslick in the Neue Freie Presse of December 1892 described the piece as “Interminable, disorganized, and violent, Bruckner’s Eighth Symphony stretches out into a hideous length . . . it is not impossible that the future belongs to this nightmarish hangover style, a future which we therefore do not envy.“ Worse, Max Kalbeck wrote,

Lilly Classical Series | Program Notes “The puzzles that Bruckner presents to us are timeless. The tonal ghosts are altogether too mad; it is as though a pack of wolves met on Walpurgis Night, such stomping and roaring raging and screaming goes wildly on.” In 1886, Gustav Dömke trumpeted, “His imagination is so incurably sick and warped that anything like regularity in chord progression and period structure simply do not exist for him. Bruckner composes like a drunkard.”

Contrary to the harsh criticism he had received, Te Deum was immediately acclaimed, and there were thirty performances during the composer’s lifetime. In his later years, he called Te Deum “the pride of my life.” Te Deum premiered in Vienna on May 2, 1885, with two pianos substituting for the orchestra.

On January 10, 1886, it premiered with full orchestra. The score was first published in 1885 by Theodore Rättig, who paid the composer fifty gulden. According to the Bruckner scholar Leopold Nowak, this payment was “the only money he ever earned as a composer in his entire lifetime.“ There are five sections in Te Deum: 1. Te Deum laudamus: “God we praise you.”

A rapturous praising of God featuring unison choral writing and driving rhythms.

JUNE 7–8

2. Te Ergo quaesumus: “We beseech thee (to help thy servants).”

A reduction in forces: featuring a song for tenor asking for God’s help with small commentaries by soloists and the orchestra reduced to chamber music size.

3. Aeterna fac: “Make them to be numbered with Thy saints.” Resumes the full forces of choir and orchestra and ends on a questioning unresolved cadence.

4. Salvum fac populum tuum: “Save thy people Oh Lord.” It begins with a repeat of the second section as the tenor again beseeches God’s mercy. However, women’s voices and a bass solo are added in a setting of greater power and dynamic contrasts.

5. In te, Domine speravi: “Oh Lord in Thee I have hoped” is a brilliant conclusion featuring a double fugue, expertly crafted counterpoint textures, and dialogues among the soloists. Notable features are an opening solo quartet, a chorale based on the Adagio from his Seventh Symphony, and a joyful ending.

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

Special Spring Event!

The Rose Ensemble presents “Welcome the Stranger” Sunday, May 5, at 4:00 PM

Our 53rd Summer Series features Grammy winners Suzie LeBlanc and Estelí Gomez, the Rose Ensemble’s farewell tour, the Baltimore Consort, 12-member string band ACRONYM, a multimedia event commemorating the 500th anniversary of the death of Leonardo da Vinci, and more!

www.IEMusic.org ~ 317-577-9731 75

reater indianapolis is our only stage.

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

317-261-9000

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Š2018 The National Bank of Indianapolis

www.nbofi.com

Member FDIC

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ACTIVE & INDEPENDENT Senior Home Companions has provided thousands of Indianapolis clients and their families with the help they need to stay in the home of their choice. By maintaining their independence, SHC clients stay engaged in life both with their community and their families.

“Your caregivers went above and beyond the call of duty.”

– Deborah Daniels

317.251.0441 SHCIndiana.com

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JUNE 21–22

Harry Potter and the Deathly HallowsTM Part 2 In Concert Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Jacob Joyce, Associate Conductor Raymond Leppard, Conductor Laureate Film Series Friday, June 21, at 7:30 p.m.

Saturday, June 22, at 7:30 p.m.

Hilbert Circle Theatre

NICHOLAS BUC, Conductor ALEXANDRE DESPLAT, Composer

Harry Potter and the Deathly Hallows™ Part 2 In Concert Harry Potter and the Deathly HallowsTM Part 2 In Concert Produced by CineConcerts Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Director of Production, Jeffery Sells Head of Publicity and Communications, Andrew Alderete General Manager, Nicolas Rehm Brand/Marketing/IP Acquisition, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing and PR Manager, Molly Kossoff Brand/Marketing and Social Media Manager, Si Peng Office Manager, Gabe Cheng Worldwide Representation WME Entertainment Music Preparation, JoAnn Kane Music Service Music Editing, Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing Justin Moshkevich, Igloo Music Studios Merchandise by FireBrand

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros.

Entertainment Inc. Harry Potter Publishing Rights © JKR. (s19)

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

There will be one 20-minute intermission.

Friday, July 19, 7:30PM Saturday, July 20, 2PM & 7:30PM Jack Everly, Conductor Disney’s animated classic The Little Mermaid will be given new life at the Hilbert Circle Theatre. Jack Everly will lead the Indianapolis Symphony Orchestra performing the film’s award-winning score live to film.

Upcoming Films in the 2019-20 Season

Star Wars: Return of the Jedi—In Concert September 27-29

Psycho In Concert October 31

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

© DISNEY

Casablanca Film with Live Orchestra February 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/FILM

JUNE 21–22 CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Rudy in Concert, The Harry Potter Film Concert Series, Gladiator Live, The Godfather Live, It’s a Wonderful Life in Concert, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, Breakfast at Tiffany’s in Concert, and A Christmas Dream Live. Freer has quickly become one of the most sought-after conductors of film music with a long list of full symphonic live to projection projects. He has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.

Nicholas Buc, Conductor Nicholas Buc is a composer, conductor, arranger, violinist, and pianist.

He studied Composition at the University of Melbourne, where he received the inaugural Fellowship of Australian Composers Award. As the recipient of the Brian May Scholarship for Australian film composers, he completed a master’s degree in Scoring for Film and Multimedia at New York University, receiving the Elmer Bernstein Award for Film Scoring. He has composed music for film and television, with some of his work being screened at festivals and theatres around Australia, Asia, and the U.S. In 2007 he was nominated for “Best Original Song Composed for the Screen” in the APRA-AGSC Screen Music Awards, and in 2015 was winner of the NYU Film Scoring Competition.

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Continuing his passion for music and film, he conducted the live-in-concert world premieres of John Williams’ Close Encounters of the Third Kind, Alan Menken’s Beauty and the Beast and Nicholas Hooper’s Harry Potter and the Half-Blood Prince. Other live film concerts he has conducted include Pixar In Concert, Star Trek, E.T. the Extra-Terrestrial, Back to the Future, Casino Royale, Raiders of the Lost Ark, Jurassic Park, Psycho, Star Wars: Episodes IV, V, VI and VII, and the first three Harry Potter films. He has conducted all of the major Australian symphony orchestras as well as the Minnesota Orchestra, Houston, Milwaukee, Indianapolis, Austin, Grand Rapids, and Madison symphony orchestras in the U.S. He also makes regular appearances in Asia, conducting the Tokyo, Hong Kong, Malaysian, Osaka, and Taipei Philharmonic orchestras.

He is currently finishing up writing a major theatrical work, TROT. Written with lyricist Gordon Lindsay, it is a new musical based on Charles Dickens’ much loved David Copperfield. He also recently completed a new ballet score, Kazka, for Lehenda Ukrainian Dance Company, which toured throughout Australia, Canada, and the U.S.

Alexandre Desplat, Composer Oscar-winning composer Alexandre Desplat is one of the most coveted film composers in the world today.

Desplat is noted for his collaborations with some of the world’s top filmmakers: Wes Anderson, George Clooney, Stephen Daldry, David Fincher, Stephen Frears, Tom Hooper, Ang Lee, Terrence Malick, Roman Polanski, and Angelina Jolie garnering eight Academy Award nominations. Desplat first captivated American ears with The Girl with the Pearl Earring and Birth. The Golden Globe and Oscar winner has since scored a range of incredible films, eight of which have been Oscar-nominated: The Queen, The Curious Case of Benjamin Button, Fantastic Mr. Fox, The King’s Speech, Argo, Philomena, The Imitation Game, and The Grand Budapest Hotel, which won the 2015 Oscar for Best Score.

Desplat’s recent work includes Angelina Jolie’s Unbroken, Wes Anderson’s The Grand Budapest Hotel, The Imitation Game,

JUNE 21–22

Suffragette directed by Sarah Gavron and starring Helena Bonham Carter and Meryl Streep, and his second collaboration with Tom Hooper (The King’s Speech) The Danish Girl starring Eddie Redmayne. Desplat also worked on the period drama The Light Between Oceans directed by Derek Cianfrance starring Michael Fassbender, Florence Foster Jenkins starring Rebecca Ferguson and Meryl Streep, Illumination Entertainment’s The Secret Life of Pets starring Lake Bell and Kevin Hart, and Disney’s Rogue One: A Star Wars Story starring Felicity Jones and Mads Mikkelsen.

Born to a Greek mother and French father, Desplat grew up in France with a budding love for Hollywood film music, and broke into the French film industry in the 1980s. With a penchant for lyricism, elegant orchestrations, and precise dramatization, Desplat has quickly joined the pantheon of all-time greats. “I was in a car with a friend who had offered me a double vinyl of Star Wars,” Desplat remembers. “It might have been ’78. He gave me this record, and I remember having said to him, “Hmm. ‘Music composed and conducted by John Williams.’ That’s what I want to do.” And that’s what I’m doing.”

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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

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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 The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling June 27, 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

Endowment Artist-in-Residence Endowment Endowed in memory of Hortense and Marvin Lasky The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer The Instrument Petting Zoo Endowed by Dr. and Mrs. Gordon E. Mallett 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

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 ISO Pre-School Music Education Programs Underwritten by the Tobias Family Foundation

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

First Monday Music Club Endowed anonymously

Stage Terrace Seating Endowed anonymously

The Sarah McFarland Endowment Endowed by the Sarah McFarland Fund The Pitz Leadership Award Endowed by the Paul and Roseann Pitz Fund The Installation and Maintenance of a Theatre Pipe Organ Endowed by the Sally Reahard Fund The J.K. Family Foundation Words on Music Endowed by Marianne Williams Tobias, President, J.K. Family Foundation The Outer Lobby Named to Recognize the Generous Gift of Ruth Lilly to the Indianapolis Symphony Orchestra 1984

Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball

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

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

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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 March 12, 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. The Margot L. and Robert S. Eccles Fund, a fund of CICF 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 The Glick Fund, a fund of Central Indiana Community Foundation Huntington Bank The Indianapolis Foundation, a CICF Affiliate Printing Partners Ruth Lilly Philanthropic Foundation

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Founders’ Society, Concertmaster ($20,000-$49,999) Anonymous (2) Christina Bodurow Charles & Joyce Boxman Erin & Scott Dorsey Craig & Mary Fenneman Mr. & Mrs. Levi Garraway 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 Community Health Network Foundation 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. Roche Diagnostics 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 Jennifer & Michael Zinn 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 Garmong Construction Services Honda IU Health Indiana Society South Group ISOA Members Mallor Grodner LLP Market District Navient Reis-Nichols Jewelers Shaheen Family Foundation Vectren Corporation Young Presidents Organization

Founders’ Society ($5,000-$9,999) Anonymous (8) 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 The Cromer-Ziegler Family 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 Nelson & Liz Huldin

Annual Fund 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 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 Anonymous Bright Sheet Metal Co., Inc. Buckingham Foundation Inc. Indianapolis Foundation, a CICF Affiliate on behalf of Kiamesha Colom

Deloitte Faegre Baker Daniels Haddad Foundation Heritage Group Indiana American Water Co., Inc. James O. & Alice F. Cole Foundation Jones Lang Lasalle (JLL) The Alice Greene McKinney & E. Kirk McKinney Jr. Fund, a fund of CICF Merrill Lynch The Morgan Family Foundation The Murphy Family Charitable Trust 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 Salesforce.org The Spears Family Foundation Taft Law WGU Indiana Witham Health Services Conductor’s Circle ($2,500-$4,999) Anonymous (2) Dr. Albert Allen & Ms. Kathryn Maeglin Mr. & Mrs. Michael J Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb 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 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 & Mrs. Cassandra Goldstein 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 Jonathan & Lisa LeCrone Andrew & Lynn Lewis Mr. & Mrs. Allan Litz Dr. & Mrs. Ronald T. Maus Dr. & Mrs. Douglas R. Maxwell Ann & John McGrath 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 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 (2) 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 Jay Barbus & Catherine Clements Chris W. & Lesley J. Conrad Gordon & Harriet Coppoc Pamela G Corn 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

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Annual Fund Dr. Kathleen Hacker & Jerry Hacker Dr. & Dr. Paul K. Halverson Michael & Judy Harrington 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 Mr. Gerald R. Jenn Wayne & Deborah Johnson Dr. Charles E. Jordan Michael & Linda Jordan Dana & Marc Katz Donn & Dot Kaupke Richard & Susan Kent Mr. Doug Klitzke Col. A. D. Kneessy Terrence & Jodi Kunstek Mr. & Mrs. Jeffrey Larson Robert E. Lee Grace Long Jim & Sarah Lootens Joe & Deborah Loughrey Alex & Bridget MacAllister Drs. John & Ingrid Mail Michael & Jill Margetts Jon D. Marhenke, M.D. Benton & Sandi Marks Dr. & Mrs. Thomas McKaig 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

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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 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) Gerry & Carol Bailey 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 Mr. & Mrs. John M. Connor

Mr. & Mrs. Tom Cooper Mr. & Mrs. Larry Cranfill Patrick & Jennifer Cross Mr. & Mrs. Bert Curry Kristin Cutler & Sarah Harrell 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 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 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 John & Carol Longfellow Tim & Betty Lonis Lowell & Penelope Lumley Ralph & Nancy Lundgren 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 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 Dr. & Mrs. James E. Shields Evan & Samantha Shinbaum Jackie Simmons & Tom Schnellenberger Denny & Jane Smith Nancy C. & James W. Smith Mary E. Solada Christy & Jeff Soldatis Dale & Kathy St. Louis Betty Stevens Mr. Eric Bretzman & Dr. Shelley Stiner Mrs. Lynn Stocksill Nela Swinehart Gene & Rosie Tanner M. C. Tanner

Annual Fund Carol E. Taylor Phillip A. Terry Mr. & Mrs. Terrence Thompson Douglas L. Tillman John & Judy Tomke Ms. Jane Tomlin Ms. Barbara Tully Kenneth L. Turchi Memorial Lynn C. Tyler Gifts 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 Anonymous (2) 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 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 Hamilton County Community Foundation O’Ryan Law Firm Ruth’s Chris Steak House 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 Peter & Carol Czajkowski Zachary De Pue Mr. Ned Derhammer

Julie & David DeWitt Jack & Connie Douglas Hillary C. Egan Dr. & Mrs. Jeremy Eltz Ms. Audeen Fentiman Mr. Kenneth Fraza Ms. Pat Garrity Brian & Claudia Grant Lauretta Gray The Greenfield Family Burt & Sue Harris Mary Hauser Mike & Noel Heymann Patrick F. Jessee Steve & Donna Jones 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 The Nathaniel Shobe Family

Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Jon F. Silverberg Vona E. Sinclair Mr. & Mrs. Richard Spaulding Ms. Sarah Studzinski 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 The Indy Star Kinetico Quality Water Systems Maggiano’s Little Italy Neal Brown Hospitality Printing Partners Republic National Distribution Co. Ruth’s Chris Steak House Second Helpings

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

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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 January 16, 2019, to March 31, 2019.

Honor Gifts In Honor of Jack Everly

Christine & Ken Price In Honor of Bruce & Jamie McCaw

Tom & Paula Elam

Memorial Gifts In Memory of Ray & Carol Edwards

Mr. Walter Koenig In Memory of Paul Haugan

Mr. Henry A. Ryan In Memory of Mike Harmeson

Kathleen Custer

Dennis & Anne McCafferty

Dinah & Jerry Montgomery In Memory of Shirley Romine

ISO Association North Group In Memory of Helen Rudesill

Kathleen Custer

ISO Association North Group

Jim & Nancy Hand

South Group ISOA Members In Memory of Henry C. Ryder

Bedel Financial

Marilyn Goeke

Amy MacDonell & Randall Shepard In Memory of Dan Sterner

Don & Gail DeMeuse In Memory of Martha Anne Varnes

James P. White

Kathleen Custer In Memory of Anna White

Shirley Kulwin

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Why We Give: Gene and Cathy Kroeff Have you always lived in Indiana?

Our jobs at Eli Lilly brought us to Indianapolis in the early 80s.

Gene is from Wisconsin and is a chemist. Cathy is a pharmacist from Kentucky and worked in sales and marketing.

Did you ever play an instrument?

Gene has played the piano since childhood and played the clarinet in high school and with the local city band. Cathy took piano lessons in elementary school and played the organ at church.

Do you remember when you first heard classical music?

Cathy had a great-aunt who was very cultured and gave her a recording of Beethoven’s Emperor Concerto when she was 8 years old and she was hooked.

Gene’s family had friends who travelled to Germany and presented the family with a recording of Beethoven’s 9 symphonies. The recordings provided many hours of listening pleasure while growing up.

What was the first ISO concert you ever attended?

One of our first dates was attending a concert at the ISO. John Nelson was the conductor and the orchestra performed the Saint-Saëns 5th Piano Concerto, “The Egyptian.” Neither one of us were familiar with the piece, but we’ve grown to enjoy all 5 concerti since!

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

It’s hard to call out one, as there have been so many! In some instances, it was hearing a new piece of music. In others, it was hearing a familiar favorite, a renowned soloist, or a new, upand-coming performer. As donors, we have also had unique opportunities to meet members of the ISO and learn about the behind-the-scenes workings of a major orchestra.

How is your life better with music?

Playing an instrument at an early age gave rise to an appreciation for music that has stayed with us ever since. It provided an outlet for creativity and gave both of us a sense of rigor and discipline that is so important in many endeavors.

What would you tell someone who is considering becoming a subscriber to the ISO? Give it a try! You’ll be treated to a wide variety of music. Some of the selections will be music that you’ve likely enjoyed for many years. You’ll also experience new music that you’ll soon count amongst your favorites!

Why is an orchestra important to a community?

It provides a great cultural “calling card” for the community. The orchestra creates a strong cultural base that attracts talented people from large urban areas where the arts typically flourish.

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

We recognize that ticket sales cover only a fraction of the cost of developing and maintaining a world-class orchestra. Donating allows us to give something back for all that we have come to experience and enjoy and it helps to ensure that the orchestra has the financial strength to continue to perform at a high level for many years to come.

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

Clayton C. Miller William F. Murphy, CPA John & Carolyn Mutz Peggy & Byron Myers Mr. & Mrs. Charles J. O’Drobinak Dorit & Gerald Paul Joan S. Paulin Dr.* & Mrs. Bruce Peck Marian Pettengill and Family Mrs. Joseph D. Pierce* Dr. & Mrs. George Rapp Josette Rathbun Mr.* & Mrs. Elton T. Ridley David Rodgers Dr.* & Mrs.* Robert L. Rudesill Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Carol E. Taylor Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias 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 Henry & Vel Ryder Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr. Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin 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. Performances are Thursday, Friday, and Saturday at 7:30 p.m. and Sunday afternoon at 2:30 p.m. Save $2 off adult tickets with the discount code “ISO2018.” Up next: Children of Eden, May 3–19. Join us in our 64th season including performances of The Hunchback of Notre Dame, Bring It On!, Ragtime, Cinderella, First Date, Fun Home, and Mamma Mia! 2019 Adult tickets are $25, youth & senior citizen tickets $15, with $15 specials on Thursdays and the first Sunday.

Dance Kaleidoscope Dance Kaleidoscope presents See the Music, Hear the Dance, May 17, 18 & 19 with the Indianapolis Chamber Orchestra at the Schrott Center for the Arts. Performances will feature Ancient Airs and Dances, Rhapsody in Blue (with 2017 American Pianists Award-winner Drew Petersen), and Ravel’s Mother Goose. This show is sponsored by C.H. Douglas & Gray Wealth Management, with support from Meridian Music. On August 3 & 4, DK will perform Music Men at The Center for the Performing Arts in Carmel. Learn more and get tickets at DanceKal.org.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir May 11 at St. Luke’s United Methodist Church for “In Harmony,” a set of concerts that includes music our singers will be taking on tour, featuring the New World Youth Orchestra. “In Harmony” showcases the process our singers go through as they “take root” musically and grow in song, education, and performance! Tickets at icchoir.org/tix. The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317.940.9640.

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

Arts in Indy Indianapolis Suzuki Academy Now enrolling! Build a strong relationship with your child through the study of music. The Indianapolis Suzuki Academy nurtures beautiful character in every child through excellence in music. Enrollment in the Academy for violin, cello, piano, or harp includes weekly private lessons and regular group classes. Suzuki Early Childhood classes are now enrolling for newborn to 4 years. Enjoy our students in concert with the Indianapolis Chamber Orchestra on June 5 at Garfield Park, or June 6 at Holliday Park. Concerts start at 7 p.m. For enrollment information or concert details, visit www.IndySuzukiAcademy.org

Indianapolis Opera The Indianapolis Opera is proud to introduce the Vocal Arts Institute, a summer camp from June 20 to 29 for students from grades 9 to 12 that explores the art of solo performance through classical repertoire, folksong, and musical theater. Students will perform at the Basile Opera Center and in the community. And don’t miss the best summer party! The 10th annual LobsterPalooza is on July 21— featuring a lobster dinner, drinks, a VIP party, plus dancing, games, and valet parking—all at the Basile Opera Center. For information on both events, visit 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 new composers and the theater. Three concerts from May 17 to 19 feature a collaboration between the ICO, Dance Kaleidoscope, and the APA in See the Music, Hear the Dance. The program includes the music of Gershwin, Respighi, and Ravel. The ICO’s annual free parks concerts are June 5 and 6. For tickets and more information about the parks concerts, visit www.icomusic.org or call 317.940.9607.

New World Youth Orchestras Join the New World Youth Orchestras at our season finale concert at the Hilbert Circle Theatre on Sunday, May 12, at 5 p.m. This concert will feature all three of our orchestras, the Philharmonic Concerto Competition winner, and the Junior Division Young Artist Competition winner. Tickets are available through the ISO box office. To schedule an audition for the 2019–20 season, see details at 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

Joshua Shuck, Interim Director of Marketing Joe Perin, Promotions & Marketing Manager Mary Ferguson, Audience Development Manager Bennett Sanders, Senior Graphic Designer Kristin Cutler, Director of Communications Jen Huber, Communications Content Manager Teresa Mazzini, Digital Marketing & Communications Manager Marianne Williams Tobias, Program Book Annotator

Operations David Armstrong, Interim Director of Venue Operations Kalyn Smith, House Manager Donna Finney, Volunteer Services Manager Philomena Duffy, Interim Director of Operations Addy Monger, Event Manager Frances Heavrin, Event Coordinator Roberto Tapia, Day Porter Rodney Gray, Food & Beverage Manager Orchestra Personnel K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Artistic Administration Katie McGuinness, Director of Artistic Planning Hannah Reffett, Manager of Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations 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 Lynch, 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 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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ASSOC ATION PEOPLE WITH A PASSION FOR MUSIC

Do you have a passion for music?

Then the Indianapolis Symphony Orchestra Association is the place for you!

Join Us We are passionate about music education. The ISOA raises funds while individuals volunteer to support the orchestra and its multiple educational programs. We promote children’s programs, host exceptional events, and organize concerts. Keep the music alive for the children and adults of Indiana by joining the ISOA today!

Members are invited to a variety of volunteer opportunities, including overseeing the Symphony in Color art contest, providing a luncheon for students and musicians during the Side-By-Side program, organize the Young Musician Contest, and much more! Visit our website for a full list.

Benefits • Special invitations to ISOA and ISO events and trips • Behind-the-scenes view of a world-class orchestra • Meet musicians at musical mornings and evenings • Ticket discounts to “Chase the Winter Blahs” • Whole Note and group newsletters, ISO special mailings, insider news • 1 free voucher ticket to a concert with ISOA membership

Organizational Structure • Executive Board: The governing body for all groups • City Groups: North, South, East, West • State Units: Columbus and Wabash

Annual Dues Active Dues: $50, Couples Dues: $90 Patron Dues: $100, Couples Patron: $150

Group Events Exclusive ISOA group events when you join!

• Winter Blahs • Meet the Master • Yuletide Luncheon

• Spring Luncheon • Local Group Trips • Musican Experiences

• Special parties throughout the year

JOIN NOW BY CALLING 317.231.6726 OR BY E-MAIL AT ISOA@INDIANAPOLISSYMPHONY.ORG.

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