ISO Volume 6 15-16 by Indianapolis Symphony Orchestra

HILBERT CIRCLE THEATRE Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor

Rachmaninoff’s Second Piano Concerto Spanish Passion featuring Don Quixote Side-by-Side Nielsen’s “Inextinguishable” Symphony

2015 - 2016 | MARCH | VOLUME 6

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THE PROGRAM BOOK Programs 16 March 4, 5, 2016 17 March 6, 2016 26 March 10, 2016 28 March 11, 12, 2016 44 March 16, 2016 49 March 18, 2016 Featured Articles 12 Subscriber Appreciation Month 14 Music In My Life 15 ISO Musicians Around Town 63 Arts in Indy Departments 11 ISO Profile 79 Hilbert Circle Theatre Information Support 65 Endowment 68 Lynn Society 70 Annual Fund 74 Tribute Gifts 75 Why We Give 76 Corporate Sponsors

2015-2016 Hilbert Circle Theatre Artists 9 Indianapolis Symphony Orchestra 18 Krzysztof UrbaĹ&#x201E;ski 19 Philipe Bianconi 29 Larry J. Livingston 29 Honor Orchestra of America 34 Andrey Boreyko 35 Mark Kosower 35 Barbara Rearick 45 Side-by-Side Roster 46 Vince Lee 50 Santtu-Matias Rouvali 51 Kari Kriikku The Indianapolis Symphony Orchestra 9 Musicians of the ISO 10 Board of Directors 77 Indianapolis Symphony Orchestra Association 78 Administration

WELCOME Dear friends – For our Lilly Classical Series concerts this month, the ISO is going on a musical tour through three very different regions. We begin the journey in Russia (with concerts on March 4-5), then we pass through Spain (with concerts March 10-12) and end the tour in Scandinavia (on March 18). There is nothing like the experience of a full symphony orchestra performing live, especially when we can explore the greatest music from all corners of the globe. Concerts in March also include special recognition of the young talent in our community. On March 11-12, the prestigious Honor Orchestra of America, led by Larry Livingston, performs on our stage (see page 29 for information), and the ISO’s annual Side-by-Side concert features 50 talented high school musicians on stage with their professional counterparts for a spectacular evening of music on March 16. Tickets to Side by Side are only $10 – come out and show your support of the ISO and our young musicians. For those of you who subscribe to ISO concerts, I hope you’ve renewed your subscription to our recently-announced 2016-2017 season! If you are not a subscriber yet, please consider joining us on a regular basis and take advantage of the great benefits, including pre-sale opportunities to IPL Yuletide Celebration and special events. For our Lilly Classical Series next year, Maestro Urbański has programmed another exciting mid-winter festival, “Music of the Earth”, masterworks by Stravinsky, Beethoven and Mahler, and a celebratory conclusion to the season with Carmina Burana. Principal Pops Conductor Jack Everly and his team have filled the 2016-2017 Printing Partners Pops Series with the world premiere of “Classical Harmonies: The ISO and the Doo Wop Project,” and a special presentation of Indiana Jones: Raiders of the Lost Ark: Film + Orchestra. For more information, please go to our mobile-friendly website at www.IndianapolisSymphony.org. Thank you for supporting the Indianapolis Symphony Orchestra.

Gary Ginstling Chief Executive Officer

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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor First Violin Zachary De Pue, Concertmaster The Ford-West Chair Alexander Kerr, Principal Guest Concertmaster Philip Palermo, Associate Concertmaster Peter Vickery, Assistant Concertmaster The Meditch Chair Dean Franke, Assistant Concertmaster The Wilcox Chair Barbara Fisher Agresti Jennifer Greenlee Sherry Hong Michelle Kang Vladimir Krakovich Charles Morey

Sé-Doo Park Jian-Wen Tong

Second Violin Konstantin Umansky, Principal David Bartolowits, Associate Principal Mary Anne Dell’Aquila, Assistant Principal The Taurel Chair The Dick Dennis Fifth Chair* Louise Alexander Patrick Dalton-Holmes Victoria Griswold Hua Jin Jayna Park Barbara Radomski Lisa Scott Oleg Zukin

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

Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal Nancy Agres Amy Kniffen Terry E. Langdon Eva Lieberman Stephanie Tong Cello Austin Huntington, Principal Perry Scott, Associate Principal Chair Anonymously Endowed Sarah Boyer Ingrid Fischer-Bellman The Randall L. Tobias Chair Mark Maryanovsky Anne Duthie McCafferty The Dr. and Mrs. Robert L. Rudesill Chair

Contrabass Ju-Fang Liu, Principal Robert Goodlett II, Assistant Principal Nami Akamatsu L. Bennett Crantford Gregory Dugan Peter Hansen Brian Smith Flute Karen Evans Moratz, Principal The Sidney and Kathy Taurel Chair Robin Peller Rebecca Price Arrensen, Assistant Principal

Jerry Montgomery The Bakken Family Chair Jill Boaz Trumpet The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Acting Principal/ Assistant Principal Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Bass Trombone Jared Rodin, Acting Bass Trombone The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal

Timpani Oboe Jack Brennan, Principal Jennifer Christen, Principal The Thomas N. Akins Chair The Frank C. Springer Jr. Chair Craig A. Hetrick, Assistant Principal Sharon Possick-Lange Roger Roe, Assistant Principal Percussion Braham Dembar, Principal English Horn Craig A. Hetrick Roger Roe Pedro Fernandez The Ann Hampton Hunt Chair Harp Clarinet Diane Evans, Principal David A. Bellman, Principal The Walter Myers Jr. Chair The Robert H. Mohlman Chair Cathryn Gross Keyboard The Huffington Chair The Women’s Committee Chair Samuel Rothstein, Assistant Endowed in honor of Dorothy Principal Munger Bass Clarinet Samuel Rothstein Bassoon John Wetherill, Principal Michael Muszynski Mark Ortwein, Assistant Principal Contrabassoon Mark Ortwein Horn Robert Danforth, Principal The Robert L. Mann and Family Chair Richard Graef, Assistant Principal Julie Beckel Yager

Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian Stage Quentin L. Quinn, 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.

BOARD OF DIRECTORS Founded by Ferdinand Schaefer in 1930 Maintained and Operated by the Indiana Symphony Society, Inc.

Officers

Vincent Caponi, Chair Yvonne H. Shaheen, Vice-Chair Gary Ginstling, Chief Executive Officer Charlene Barnette, Secretary Michael Becher, Treasurer Vincent Caponi, Chair

Board of Directors Don Altemeyer Sherry Amlung Hon. Alex M. Azar II Deborah Ware Balogh Charlene Barnette* Michael Becher* Barry J. Bentley* Christina Bodurow, Ph.D.* John A. Bratt Bryan Brenner* Vincent Caponi* Trent Cowles Andrea Cranfill* Gary Ginstling* Peter Howard, Ph.D. Ann Hampton Hunt

Phil Kenney Joseph M. Kessler David Kleiman Martha D. Lamkin* Sarah Lechleiter Greg Loewen Morrie Maurer Bruce McCaw Karen H. Mersereau David Morgan Peter A. Morse Jr. Gerald L. Moss Marc Nichols Jackie Nytes Michael P. Oâ&#x20AC;&#x2122;Neil Kay Pashos

Alice K. Schloss Natalie Schneider Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Marianne Williams Tobias Pete Ward David Wilcox Ralph V. Wilhelm* James C. Zink Sr. Jennifer Zinn

Kay Koch Gordon E. Mallett, Ph.D. Robert B. McNamara Charles Oâ&#x20AC;&#x2122;Drobinak Henry C. Ryder

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

*Executive Committee

Board of Trustees John M. Mutz, Chair Bob Anker Sen. Dan Coats Stephen E. DeVoe Carolyn S. Hardman

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

ISO PROFILE

Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world, the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality, offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching arts events, and serving its community like never before—inside and outside the concert hall. A Brief History Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from all over the world and presents quality classical, pops, family and holiday programming to hundreds of thousands of people each year. The ISO has received national and international acclaim with its radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble (Time for Three). The ISO’s home—the Hilbert Circle Theatre Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis. With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy of Lilly Endowment Inc. Leadership within the ISO Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming has garnered acclaim throughout North America, where he continues to serve as the Principal Pops Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue is in his ninth season with the ISO and alongside his trio, Time for Three, leads the orchestra in performances and new audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for 14 years as Music Director, continues his involvement through appearances on the podium each season. The ISO in 2015-2016 In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms, Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax, Dejan Lazić and Garrick Ohlsson. Maestro Urbański also presents the Cosmos Music Festival, with musical themes inspired by space, and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini. Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs presented in the communities of Hendricks County and Greater Greenwood. The ISO is celebrating the 20th anniversary of its youth and family development program, the Metropolitan Youth Orchestra.

THANK YOU, SUBSCRIBERS!

The Indianapolis Symphony Orchestra would like to recognize and thank YOU – our ISO subscribers – for your loyalty and continued support. YOU HELP KEEP THE MUSIC PLAYING AT THE HILBERT CIRCLE THEATRE

MARCH IS SUBSCRIBER APPRECIATION MONTH! 12

Look for details on additional benefits and offers available only to our subscribers.

"We love the music and decided to ditch our Pacer season tickets for ISO tickets.” - Shelly Jones, Evening Pops Series "This is the first time we've [subscribed to the Family Series], and it has been wonderful! The kids have enjoyed it, and the shows are great for adults, too. All of the activities before the show really make it a wonderful activity.” - Brandon Smith, Family Series "I love the symphony, and the program for the classical series is always amazing. We always had trouble picking which concerts to attend before subscribing because they were all so enticing!” - Emmanuel Greene, Evening Classical Series "We love live music. The subscriptions are an amazing value. We'd subscribe to another one if we had more time to attend.” - Christine Phillips, Family Series “I love classical music, I love Indianapolis, and it gives me a way to see the classics I love while being exposed to things I wouldn't seek out, all in downtown Indianapolis.” - Adrienne Stanish, Evening Classical Series Note: Ad sizes spec’d were only 0.125” from outer edge, had to reduce ads that don’t bleed to be at least 0.25” from edge. 13

MUSIC IN MY LIFE Patrick Dalton-Holmes is a native of Syracuse, New York. He began his study of the violin at age three. Dalton-Holmes earned a Bachelor of Music degree from the Cleveland Institute of Music, where he studied with William Preucil, and a Master of Music degree from the University of Michigan, where he was a student of Paul Kantor. He previously played in Florida with the New World Symphony Orchestra and as a substitute musician with the Detroit Symphony Orchestra. Away from music, Patrick enjoys golf, rooting for the Boston Red Sox and “if I feel like using my brain, anything including math, science and philosophy.” Patrick joined the ISO in 2006. Patrick Dalton-Holmes, ISO Violinist

Who inspired you to play violin? I attended many classical music concerts growing up, which I quickly showed interest in. My mother’s family, especially my grandfather, was very passionate about classical music and insisted I begin lessons at a very young age. What is your favorite memory from practicing at a young age? I remember going to Tanglewood, the summer home of the Boston Symphony. My mother made me practice every day, so I had to bring my violin. I was the youngest person ever to practice at Tanglewood, and I remember it being so monumental. I even had some musicians wave to me, which was exciting at such a young age. Who is your favorite composer? This always seems to change. Ultimately, I always come back to Mozart and Beethoven. Lately, I’ve also been getting into Schumann and Ravel. There are so many good pieces and they are all so different, so it truly depends on my mood and what else is happening in my life. You’ve traveled a lot in your career. Which places stand out to you? Internationally, I was able to travel to Spain, Hong Kong and Malaysia. Spain was by far my favorite because of the food and culture. The Spanish really know how to live, enjoy life, and relax. What do you enjoy most about living in Indianapolis? I’ve lived downtown for most of my time here, which has given me the opportunity to watch the city transform. There certainly has been a lot of development, some of it is unrecognizable. Indianapolis is making a strong effort to present itself on a bigger stage. That, and the delicious food, are what I enjoy most. As long as there is delicious food, I’m happy! How is your life better with live music? Live music provides a new element of excitement and connection that is incomparable. It is a huge collaboration with many people involved, all working towards a similar goal. As musicians, we feed off of the audience; their excitment, reactions and energy. Each performance is different every single time—that’s truly how it’s meant to be experienced.

ISO MUSICIANS AROUND TOWN ISO violinist Jennifer Greenlee will be joined by Kurt Fowler, cello, Suzannah Chalick, viola, and Martha Gardner to play Piano for Quartets by Brahms and Turina in a concert to benefit the United Mitochondrial Disease Foundation. Jennifer’s daughter and husband are affected by a mitochondrial disorder. Entry is free, donations are accepted for UMDF at the concert and at umdf.org. The concert will be held at 7 p.m. on March 25, in the Wood Room at the Hilbert Circle Theatre. Jennifer Greenlee, Violin

Principal Trombone, James Beckel, has composed several works, which will be played throughout the month of March. On March 5, The Lafayette Symphony will play Beckel’s The Glass Bead Game, conducted by Nick Palmer and featuring soloist Steven Weiner. On March 9, the University of Denver Wind Ensemble, conducted by Joseph Martin and featuring Susan McCullough, will also perform Beckel’s The Glass Bead Game. The Glass Bead Game will also be performed by The Springfield Massachusetts Symphony and the Capital Region Wind Ensemble featuring Lauren Winter at the Schenectady County Community College in Schenectady, New York on March 13 at 3 p.m.

James Beckel, Principal Trombone

On March 19, Toshiyuki Shimada will lead the Eastern Connecticut Symphony in Beckel’s Concerto for Brass and Orchestra at the Garde Arts Center at 8 p.m, which the ISO premiered in March 2015. On March 20, the Midland Concert Band will perform Beckel’s Liberty for All, conducted by Joel Wiseman.

On March 7, Patrick Dalton-Holmes, violin, Mike Chen, viola, and Roger Roe, English horn, are playing together with cellist Eric Edberg from DePauw University on a Faculty Recital at Indiana University, Bloomington. The concert will take place in Ford Hall featuring works by Jean Françaix, Augusta Read Thomas and Isang Yun. They will be joined by ISO Principal Guest Concertmaster, Alex Kerr. Mike Chen, Viola

Roger Roe, Oboe

MARCH 4, 5

RACHMANINOFF’S SECOND PIANO CONCERTO

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Eleven Friday, March 4, 2016, at 8 p.m. Saturday, March 5, 2016, at 7 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor PHILIPPE BIANCONI, Piano Sergei Rachmaninoff Concerto No. 2 in C Minor for Piano and Orchestra , Op. 18 (1873-1943) Moderato Adagio sostenuto Allegro scherzando Philippe Bianconi, Piano

INTERMISSION — Twent y M i n ute s

Dmitri Shostakovich Symphony No. 10 in E Minor, Op. 93 (1906-1975) Moderato Allegro Allegretto Andante - Allegro

This concert is endowed by the Paul and Roseann Pitz Fund. Premier Sponsor

Associate Sponsor

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

TELAMON PALLADIUM SERIES

MARCH DATE 6

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Telamon Palladium Series/Program Eight Sunday, March 6, 2016, at 3 p.m. The Center for the Performing Arts (Palladium) KRZYSZTOF URBAŃSKI, Conductor PHILIPPE BIANCONI, Piano Sergei Rachmaninoff Concerto No. 2 in C Minor for Piano and Orchestra , Op. 18 (1873-1943) Moderato Adagio sostenuto Allegro scherzando Philippe Bianconi, Piano

INTERMISSION — Twe nt y M i n ute s

Dmitri Shostakovich Symphony No. 10 in E Minor, Op. 93 (1906-1975) Moderato Allegro Allegretto Andante - Allegro

Supported by:

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

MARCH 4-6

KRZYSZTOF URBAŃSKI, Conductor Provence with Thomas Hampson. He also continues as Principal Guest Conductor of the Tokyo Symphony Orchestra.

“That he is no mere flashy wunderkind of the baton was shown by the freshly invigorated playing he drew from the CSO …his keen musical instincts and vigorous way of translating his ideas into orchestral sound that has both shape and meaning” (Chicago Tribune), Krzysztof Urbański enters the fifth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. As Chief Conductor and Artistic Leader of Trondheim Symphony Orchestra, highlights of his five years with the orchestra include two tours (first with concerts in Germany, Austria and Poland and second at the International Chopin Music Festival), and a fully staged production of Carmen as his first foray into opera, which this season he conducts with the Indianapolis Symphony Orchestra. In September 2015, Urbański formally became Principal Guest Conductor of NDR Sinfonieorchester Hamburg and this season he takes them to the Beethoven Easter Festival in Warsaw, Wroclaw, Katowice and Aix-en-

Following a hugely successful debut with the Münchner Philharmoniker in July 2015, when he conducted Carmina Burana before a capacity crowd of 8,000, Urbański returns to the orchestra in 2015/16 for Lutosławski’s Concerto for Orchestra. His 2014 -15 season culminated with him receiving the prestigious Leonard Bernstein Award when he returned to conduct the Schleswig-Holstein Akademie at the Schleswig-Holstein Festival. Notably, he is the first conductor to have ever received the award. In 2015-16 Urbański will conduct the Danish National Symphony Orchestra, Orchestre Philharmonique de Radio France and the Tonhalle-Orchester Zürich. Other recent debuts include Berliner Philharmoniker and Oslo Philharmonic Orchestra. Engagements further ahead include Netherlands Radio Orchestra, returning to the London Symphony Orchestra, Philharmonia Orchestra and Wiener Symphoniker for the annual Beethoven Symphony No. 9 New Year’s concerts. In North America, Urbański debuts with the San Francisco Symphony and The Cleveland Orchestra as well as returning to the Toronto Symphony Orchestra, Los Angeles Philharmonic and Washington’s National Symphony Orchestra. Other recent U.S. debuts have included the New York Philharmonic, Chicago Symphony and Pittsburgh Symphony orchestras.

McCready and Keene, Inc. |

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Serving the Indianapolis Symphony Orchestra for more than 45 years. www.OneAmerica.com 18

PHILIPPE BIANCONI, Piano French pianist Philippe Bianconi has been described as an artist whose playing is “always close to the soul of the music, filling the space with poetry and life” (Washington Post), “an extraordinary exhibition of musicianship, technical control and good taste which lent the music a freshness, immediacy and conviction one all too seldom encounters” (The London Times). After winning the Silver Medal in the Seventh Van Cliburn International Competition, Bianconi made an acclaimed recital debut at Carnegie Hall in 1987 and, since then, has enthralled audiences and critics throughout the world. Philippe Bianconi has appeared with North America’s finest orchestras, including those of Cleveland, Los Angeles, Pittsburgh, Baltimore, Saint-Louis, Atlanta, Dallas, Minnesota, Buffalo, Montreal, Vancouver, Quebec City, and at the Ravinia Festival with the Chicago Symphony under James Conlon. He has collaborated with such distinguished conductors as Lorin Maazel, Christoph von Dohnanyi, Kurt Masur, David Zinman, JoAnn Falletta, Marek Janowski, Gennady Rozhdestvensky, Stanislaw Skrowaczewski, Edo de Waart, and Yoav Talmi. In Europe, Bianconi has appeared with many orchestras, including his special performance of Rachmaninoff’s Second Piano Concerto with James Conlon and the Orchestre de l’Opéra de Paris, and with the Orchestre National de France, Orchestre de Paris, Berlin Radio Symphony, Netherlands Philharmonic, Warsaw Philharmonic, Prague Symphony Orchestra, Orchestre Philharmonique de Monte-Carlo, Orchester der Beethovenhalle in

MARCH 4-6

Bonn, Orchestre du Capitole de Toulouse, and Strasbourg Philharmonic. He has performed a number of times in Australia, performing with the Melbourne Symphony, West Australian Symphony in Perth. Philippe Bianconi has recorded the complete solo works of Ravel, and solo albums of Schumann and Schubert on the Lyrinx label. His new album of Debussy piano music was recently released on Lyrinx. His other recordings include the Brahms Violin Sonatas with Tedi Papavrami on Aeon label, works of Shostakovitch and Prokofiev with cellist Gary Hoffman on Le Chant du Monde label, and the three Schubert lieder cycles with Hermann Prey on Denon. Philippe Bianconi attended the Conservatory in Nice where he studied with Simone Delbert-Fevrier. In Paris, he studied with Gaby Casadesus and in Freiburg-in-Breisgau with Vitalij Margulis. He was the first prize winner of both the Casadesus International Competition in Cleveland and the “Jeunesse Musicales” International Competition in Belgrade, as well as the Silver Medal of the Seventh Van Cliburn International Piano Competition in Fort Worth. Philippe Bianconi is the new director of the American Conservatory, located in the Palais de Fontainebleau. Founded in 1921 to introduce the best American music students to the French musical tradition of teaching, composing and performing, it has included on its faculty the most prestigious names: Maurice Ravel, Marcel Dupré, Robert, Gaby and Jean Casadesus, Jean Francaix, Henri Dutilleux, Betsy Jolas, Leonard Bernstein... From the first, Nadia Boulanger devoted her talent, energy, knowledge, and influence to the American Conservatory of which she was Director from 1949 to 1979.

MARCH 4-6

NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 Sergei Rachmaninoff Born April 1, 1873 in Oneg, Russia Died March 28, 1943 in Beverly Hills, California “Melody is music and the foundation of all music. I do not appreciate composers who abandon melody and harmony for an orgy of noises and dissonances,” Rachmaninoff asserted. Fulfilling this credo, the composer stuffed his Second Piano Concerto with an abundance of emotional, unforgettable 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 a half 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, 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 October 14, 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 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, piano). 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.

NOTES 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 re-appears, 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. The last ISO performance of Rachmaninoff’s Concerto No. 2 for Piano and Orchestra was in January 2012, conducted by Rossen Milanov with pianist Khatia Buniatishvili.

MARCH 4-6

Symphony No. 10 in E Minor, Op. 93 Dmitri Shostakovich Born September 25, 1906 in St. Petersburg, Russia Died August 9, 1975 in Moscow, Russia “A work of pessimistic optimism.” - Statement from The Soviet Composer’s Union After the rough, oppressive hand of Stalin had cracked down on Shostakovich twice (the first in 1936, which condemned him for writing “muddle instead of music, ”and most severely in 1948) the composer stayed relatively quiet. He feared for his life, for very good reasons. His Ninth Symphony had been censured. When the juggernaut Zhdanov Purge was unleashed, the composer dutifully and wisely produced little bonbons, which would not be inoffensive to the doctrines of Soviet Realism. Thanks to this controlling artistic influence, Russia was flooded with mediocre scores “camouflaged by pompous patriotic programs and with the persistent meddling of incompetent bureaucrats in the creative process.” (Shostakovich: A Life) Andre Zhdanov was a party leader known for his brutality and commitment to “proper Soviet music” which would only be understandable and uplifting to the Soviet people. Shostakovich, speaking of the Ninth had noted, “ It is a merry little piece. Musicians will love to play it, and critics will delight in blasting it.” He was right. Stalin was furious and offended. Shostakovich explained, “I couldn’t write an apotheosis to Stalin, I simply couldn’t. But I did depict Stalin in my next symphony.” (Shostakovich: Testimony) In 1953, after hearing that Josef Stalin died on March 5, Shostakovich was elated. He had not composed in the symphonic genre since the 1948 denunciation. Renewed by the thaw and freedom, he immediately began to continue his work on his next symphony, Number Ten at his dacha at Komorovo, near Leningrad. Number Ten was totally new: sketches had been secreted away for years in his desk. It

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NOTES

premiered in Leningrad in December of that year.

thought could not be totally contained in that structure. The eventual structure is more similar to a huge arch marked by the most massive climax imaginable—a true orchestral panic. The inverted motto accented by the tam-tam suspended cymbals lead a massive crescendo and clarinets scream in their high register. A recap and coda complete the movement with a single piccolo having the last word.

Now flaunting individualism, Shostakovich had a field day with his personal musical monogram, which appears at several points in this work. This monogram refers to the letters DSCH, which are represented musically as the notes D, E-flat, C and B. DSCH, is derived directly from the composer’s name in German. He had also fitted this motto into other works as a defiant voice. His Violin Concerto, the String The second movement, a Quartets Opus 4, Opus 83 short scherzo, is highly Make a and Symphony No. 5 all concentrated, impacting lasting impression contain the initials. The furious statement, which in print practice of transcribing Shostakovich considered words into musical letters to be a “musical portrait of actually began in the Stalin, roughly speaking.” Baroque period when The fury is wild, loud and composers (including unceasing. Shostakovich J.S. Bach) included knew exactly what their names or other he was doing. people into their “Music illuminates a musical works. person through and through…even half-mad The first movement Stalin, a beast and a butcher, is extensive. It instinctively sensed that opens quietly and about music. That is why he builds gradually into feared and hated it” (From breathtaking climaxes Shostakovich’s Testimony). which ebb and return, all moving in a single basic A riveting, perpetual moderato tempo. “In this, mometum drives the there are more slow heartbeat, and against tempi and lyrical this the orchestration moments than includes roaring dramatic, heroic, and brass, winds at the tragic,” Shostakovich top of their voices, commented. A first theme based on a six-note and vicious, unrelenting percussion. Fierce motto emerges in celli and basses. After two crescendi on single tones speak consistently measures there is a silence. Gradually, the to the violence of Stalin’s personality. A piano/ brooding idea inflates to huge proportions. pianissimo section before the final blast After this statement, for the first time in the prefaces his ending. symphony, Shostakovich turns to the winds. A clarinet sings the second theme. The The third movement finds the composer third theme is given to the flute, displaying turning inward, writing in a gentle style. a diabolical, nervous little waltz in its low On August 10, 1953, the composer wrote register, over pizzicato accompaniment from to Elmira Nazirova, his lover and former the strings. Although Shostakovich once had composition student, “[I] heard the third an idea to use sonata form, the scope of his movement in a dream and remembered

NOTES it.” Six weeks later on September 17 he mentioned to her that the horn theme was the musical transcription of her name. It was based on a song from Mahler’s Das Lied von der Erde, titled “Das Trinklied vom Jammer der Erde” and the composer suggested, ”this might constitute an interesting topic for musicological research.” Musicologist Paul Serotsky put his mind to that idea, and concluded, “The five tones are E-A-E-D-A. Shostakovich’s code cunningly uses the C major tonic sol-fa (now using a combination of French and German note names) for the middle three letters. Making that further substitution gives you E-La-Moi-Re-A, which spells Elmira!” Strings softly tiptoe into the third movement. Two major ideas are featured: one from the composer’s name DSCH first proclaimed by the flutes, and the other theme based on the tones signifying Elmira. The two ideas converse with each other. Like lovers, the themes draw together closer and closer throughout the movement. A soft horn call summons flute and piccolo to declaim, rather hesitantly, the DSCH motto at the close. The fourth movement returns to the more public side of the composer. Its orchestration was completed on October 25, 1953. Previous to that, Shostakovish went to Leningrad and played a four-hand arrangement. “It would be great if they (the orchestra) could play it as well as we do!” the composer commented. The music begins Andante with unison strings and a quizzical, wandering oboe solo, with commentary from flute and bassoon. A riproaring Allegro follows. Woodwinds introduce a rough Russian dance (a Gopak, referencing Stalin’s Georgian homeland) appears in the strings.

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The recap recalls the introduction; a bassoon pumps out the opening theme of the allegro; and we find ourselves in a summation of previously heard ideas before the DSCH motive triumphantly seals Opus 93 in an optimistic conclusion. At first, public and critical reactions were mixed to Number Ten. “The symphony was characterized as gloomy and pessimistic; the tragedy of a lonely personality …a sensation of pain and suffering verging on hysteria.” (Orlov: Symphonies of Shostakovich, quoted in A History of Russian-Soviet Music by James Bakst) Aram Khachaturian, however, had a ringing endorsement; “This was a new step toward the affirmation of the high principles of realism in Soviet symphonic work. “ For his part, Shostakovich explained to the Union of Composers in March and April of 1954 when asked if Opus 93 had a program. “I wanted to convey human feelings and passions. Let them listen and decide for themselves,” Shostakovich said. Within a year the symphony had successful foreign premieres in New York and London. Symphony No. 10 was unstoppable. The last ISO performance of Shostakovich’s Symphony No. 10 was in May 2012, conducted by Krzysztof Urbański.

This section is stuffed with quotes from earlier material, starting with the opening six-note idea from the first movement. As its centerpiece there is a blast of the DSCH acronym from trumpet and trombone, smashing cymbals and a “huge whack on bass drum and tam-tam”(David Hurwitz Shostakovich Symphonies and Concertos).

MARCH 10

SPANISH PASSION FEATURING DON QUIXOTE

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Five Thursday, March 10, 2016, at 11:15 a.m. HIlbert Circle Theatre ANDREY BOREYKO, Conductor MARK KOSOWER, Cello Richard Strauss Don Quixote: Fantastic Variations on a Theme of Knightly (1864-1949) Character, Op. 35 Mark Kosower, Cello Alberto Ginastera (1916-1983)

“Malambo” from Estancia

Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. There is no intermission.

Length of performance is approximately fifty minutes. Recording or photographing any part of this performance is strictly prohibited.

DUKE ENERGY 317 SERIES

MARCH 10

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Duke Enery 317 Series Thursday, March 10, 2016, at 8 p.m. Mt. Pleasant Christian Church, Greenwood, Ind. ANDREY BOREYKO, Conductor MARK KOSOWER, Cello BARBARA REARICK, Mezzo-Soprano Richard Strauss Don Quixote: Fantastic Variations on a Theme of Knightly (1864-1949) Character, Op. 35 Mark Kosower, Cello

INTERMISSION — Twent y M i n ute s

Manuel de Falla El amor brujo (1876-1946) Introduction and Scene At the Gypsies (The Evening) Song of Love’s Sorrow The Ghost Dance of Terror The Magic Circle (The Fisherman’s Story) Midnight (The Magic Spell) Ritual Fire Dance Scene Song of the Will-o’-the-Wisp Pantomime Dance of the Game of Love Final (The Bells of Daybreak) Barbara Rearick, Mezzo-Soprano Alberto Ginastera Four Dances from Estancia, Op. 8a (1916-1983) Los trabajadores agricolas (The Land Workers) Danza del trigo (Wheat Dance) Los peones de hacienda (The Cattle Men) Danza final: Malambo

Additional support provided by:

The Margot L. and Robert S. Eccles Fund, a Fund of CICF The Elba L. and Gene Portteus Branigin Foundation Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited.

MARCH 11,12

HONOR ORCHESTRA OF AMERICA

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Friday, March 11, 2016, at 7 p.m. Saturday, March 12, 2016, at 8 p.m. Hilbert Circle Theatre HONOR ORCHESTRA OF AMERICA LARRY J. LIVINGSTON, Conductor SEY AHN, Assistant Conductor Giuseppe Verdi (1813-1901)

Overture to Nabucco

Carl Maria von Weber (1786-1826)

Overture to Oberon

Gustav Mahler Symphony No. 1 in D major (1860-1911) Stürmisch bewegt

Length of Honor Orchestra performance is approximately thirty-five minutes. Recording or photgraphing any part of this performance is strictly prohibited.

LARRY J. LIVINGSTON, Conductor / HONOR ORCHESTRA OF AMERICA Larry J. Livingston is a distinguished conductor, educator, and administrator, and a highly respected motivational speaker. The founding Music Director of the Illinois Chamber Orchestra, Livingston has appeared with the Houston Symphony and in the Los Angeles Philharmonic Green Umbrella Series. He has conducted at the Festival de Musique in Evian, France, and has led the Stockholm Wind Orchestra, as well as the Leopoldinum Chamber, Chopin Academy, Wroclaw Philharmonic and Academy Orchestras in Poland. He served as Music Director of the Pan Pacific Festival Orchestras in Sydney, participated as a performer at the 1982 International Jazz Festival in Rome, and conducted an electro-acoustic ensemble in concerts in Tokyo under the auspices of Yamaha International. Mr. Livingston has led the American Youth Symphony Orchestra, the Young Musicians Foundation Orchestra, the USC Thornton Chamber and Symphony Orchestras in Los Angeles and

MARCH TEXT11,12

the USC Thornton Contemporary Music Ensemble in Berlin, and served on the jury for the renowned Besancon International Conducting Competition in Besancon, France. Mr. Livingston has performed with soloists Keiko Abe, Ran Blake, Shelly Berg, Maureen Forrester, Adolph Herseth, Lawrence Lesser, Yehudi Menuhin, Robert Merrill, Mark O’Connor, Itzhak Perlman, Donald Sinta, Nadja Salerno-Sonnenberg, John Walz and Time for Three, and has premiered and/or recorded works by Jan Bach, Paul Cooper, Mario Davidovsky, Robert Erickson, Ernst Krenek, Kasia Livingston, Edwin London, Pauline Oliveros, Russell Peck, Roger Reynolds, and Yuji Takahashi. Mr. Livingston frequently appears with professional, festival, collegiate, and allstate wind ensembles, bands and orchestras throughout the United States, Europe, Australia, and New Zealand. From 1983 to 2002, he served as a conductor in the University of Michigan All-State Program at Interlochen, has been the Conductor of the Festival Orchestra at Idyllwild Arts since 1989, and is the Music Director of Music for All’s National Honors Orchestra.

HONOR ORCHESTRA OF AMERICA Music for All’s Honor Orchestra of America is one of three national honor ensembles that are part of the Music for All National Festival, along with the Honor Band of America and Jazz Band of America. The prestegious ensemble brings together outstanding high school musicians from across the nation to perform shared concerts with the Indianapolis Symphony Orchestra. Members are selected by recorded audition and come together for the first time in Indianapolis just days prior to the concerts, to begin rehersals. The Honor Orchestra of America is part of the Music for All National Festival, presented by Yamaha, which brings together dozens of the finest scholastic orchestras, concert bands and percussion ensembles for performances across Indianapolis.

MARCH 11, 12

SPANISH PASSION FEATURING DON QUIXOTE

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Twelve Friday, March 11, 2016, at 8 p.m. (Honor Orchestra performs at 7 p.m.) Saturday, March 12, 2016, at 5:30 p.m. (Honor Orchestra performs at 8 p.m.) Hilbert Circle Theatre ANDREY BOREYKO, Conductor MARK KOSOWER, Cello BARBARA REARICK, Mezzo-Soprano Richard Strauss Don Quixote: Fantastic Variations on a Theme of Knightly (1864-1949) Character, Op. 35 Mark Kosower, Cello

INT ER MISSION — Twent y M in utes

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See page 29 for Honor Orchestra information. Length of performance is approximately one hour and fifty minutes. Recording or photographing any part of this performance is strictly prohibited.

TEXT

MARCH 10-12

El Amor Brujo — Song of Love’s Sorrow Yo no sé qué siento, ni sé qué me pasa cuando éste mardito gitano me farta.

I don’t know what I feel, Or even what’s happening when this damn gypsy is missing.

Candela qué ardes… más arde el infierno que toíta mi sangre abrasá de celos!

This burning candle burns more than Hell that my entire blood embraces the Heavens!

¡Ay!

Oh!

Cuando el río suena ¿qué querrá decir? ¡Ay! Por querer a otra se orvía de mí! ¡Ay!

When rivers don’t dream, what could it mean? Oh! For loving her over you you forget about me! Oh!

Cuando el fuego abrasa… Cuando el río suena… Si el agua no mata el fuego, a mí el penar me condena, a mí el querer me envenena, a mí me matan las penas. ¡Ay!

When this fire embraces, When this river sleeps, And if water never killed fire, punish me for tese condemns, loving me will poison me, as these will be end of me. Oh!

Canción del Amor Dolido — Song of Heartsick Love ¡Ay! Yo no sé qué siento, Ni sé qué me pasa Cuando éste mardito gitano me farta. Candela que ardes, ¡Más arde el infierno que toita mi sangre abrasá de celos! ¡Ay! ¿Cuando el rio suena, qué querrá decir? ¡Ay! ¡Por querer a otra se orvía de mí! ¡Ay! Cuando el fuego abrasa, Cuando el rio suena Si el agua no mata el fuego, ¡A mí el penar me condena! ¡A mí el querer me envenena! ¡A mí me matan las penas! ¡Ay! ¡Ay!

Ay! I don’t know what I feel, I don’t know what happens to me When this accursed gypsy’s away. Only Hell’s fire burns hotter Than all my blood burning with jealousy! Ay! When there are rumors, what could they mean? Oh! For the love of another, he forgets me! Oh! When the fire burns, When there are rumors ... If they cannot kill the fire, Suffering condemns me! Love poisons me! Sorrow kills me! Oh! Oh!

MARCH 10-12

TEXT

Canción del Fuego Fatuo — Song of the Will-o’-the-Wisp Lo mismo que er fuego fatuo, Lo mismito es er queré. Lo mismo que er fuego fatuo, Lo mismito es er queré. Le juyes y te persigue, Le yamas y echa a corré. Lo mismo que er fuego fatuo, Lo mismito es er queré. ¡Malhaya los ojos negros Que le alcanzaron a ver! ¡Malhaya los ojos negros Que le alcanzaron a ver! ¡Malhaya er corázon triste Que en su llama quiso ardé! Lo mismo que er fuego fatuo Se desvanece er queré.

Like the will-o’-the-wisp, The very same is to love. Like the will-o’-the-wisp, The very same is to love. You run from it, and it follows you, You call it, and it runs away. Like the will-o’-the-wisp, The very same is to love. Accursed the dark eyes That succeeded in seeing him! Accursed the dark eyes That succeeded in seeing him! Accursed the saddened heart That wanted to burn in his flame! Like the will-o’-the-wisp Love vanishes the same.

Danza del Juego de Amor — Dance of the Game of Love Tu eres aquel mal Gitano Que una gitana quería; ¡El queré que ella te daba, Tu no te lo merecías! ¡Quién lo había de decí Que con otra la vendías! ¡Soy la voz de tu destino! ¡Soy er fuego en que te abrasas! ¡Soy er viento en que suspiras! ¡Soy la mar en que naufragas! ¡Soy la mar en que naufragas!

You are the evil gypsy That a gypsy girl loved; The love that she gave you, You did not deserve! Who could have thought That with another you would betray her! I’m the voice of your destiny! I’m the fire in which you burn! I’m the wind in which you sigh! I’m the sea in which you drown! I’m the sea in which you drown!

Las Campanas del Amanecer — The Bells of Dawn ¡Ya está despuntando el día! ¡Cantad, campanas, cantad! ¡Que vuelve la gloria mía!

Dawn is breaking! Sing, bells, sing! That my glory is returned!

APRIL 26 TO MAY 14, 2016 THEGILMORE.ORG

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MARCH 10-12

ANDREY BOREYKO, Conductor

Andrey Boreyko has been Music Director of Orchestre National de Belgique since September 2012, expanding its activities nationally and internationally and balancing traditional repertoire with innovative, diverse programming. In the 2015/16 season, new works come from Georgia (Gia Kancheli), Turkey (Fazil Say) and Belgium (Frederik Neyrinck). Additionally he is Principal Guest Conductor of Orquesta Sinfónica de Euskadi. Last season, Boreyko began his tenure as Music Director of the Naples Philharmonic in Florida. He has worked with the New York Philharmonic, The Cleveland and Philadelphia orchestras; and the Chicago, Boston, Pittsburgh and Montreal Symphony Orchestras. 2015/16 features Boreyko’s debut with the San Francisco Symphony and concerts with the Baltimore and the Toronto Symphony Orchestras. In Europe, highlights of the 2015/16 season include appearances with Konzerthausorchester Berlin, WDR Sinfonieorchester Köln, Netherlands Radio and Helsinki philharmonic orchestras and an extensive tour of Germany with Orchestre National de Belgique, featuring composer and soloist Fazil Say. Boreyko will also perform with his long-standing partners, Düsseldorfer Symphoniker and RadioSinfonieorchester Stuttgart des SWR, joining

the latter for their 70th anniversary concerts. Previously he has conducted orchestras such as Berliner Philharmoniker, Deutsches Symphonie-Orchester Berlin, Münchner Philharmoniker, Staatskapelle Dresden, Gewandhausorchester Leipzig, Wiener Symphoniker, Filharmonica della Scala, Orchestre de Paris, Tonhalle-Orchester Zürich, Royal Concertgebouw, London Symphony, Philharmonia and Rotterdam Philharmonic. Notable amongst Boreyko’s discography with Radio-Sinfonieorchester Stuttgart des SWR (with whom he was Principal Guest Conductor) are Pärt’s Lamentate and Silvestrov’s Symphony No. 6 (both for ECM records) and the premiere recording of his original version of the Suite from Lady Macbeth of Mtsensk for Hänssler Classics. Boreyko has also recorded Tchaikovsky’s Manfred Symphony with Düsseldorfer Symphoniker and Lutosławski’s Chain 2 with the Los Angeles Philharmonic for Yarling Records. With Orchestre National de Belgique, Boreyko continues his extensive recording project of the complete Shostakovich symphonies, having already recorded Symphony Nos. 1, 4, 6, 9 and 15 with Radio-Sinfonieorchester Stuttgart des SWR. Andrey Boreyko was Music Director of Düsseldorf Symphoniker (2009-14) and Chief Conductor of Jenaer Philharmonie (of whom he is now Honorary Conductor), Winnipeg Symphony Orchestra and Berner Sinfonieorchester. He received awards for the most innovative concert programming in three consecutive seasons from Deutscher Musikverleger-Verband—the first in the history of the prize.

MARK KOSOWER, Cello BARBARA REARICK, Mezzo-Soprano Described as “a virtuoso of staggering prowess” by The Plain Dealer, Mark Kosower is a consummate artist equally at home internationally as a recital and concerto soloist and, since 2010, as Principal Cello of The Cleveland Orchestra. As an orchestral principal he was formerly solo cellist of the Bamberg Symphony in Germany from 2006 to 2010 and has been guest solo cellist with the North German Radio Orchestra at the invitation of Christoph von Dohnanyi and guest principal cellist with the Seoul Philharmonic under Myung-Whun Chung. As a soloist he appears during the 201516 season with The Cleveland Orchestra American mezzosoprano Barbara Rearick has been lauded by Opera News for her “tonal beauty” and Gramophone for her “charm and finesse.” Since her 1993 Carnegie Hall debut in Handel’s Messiah, she has performed internationally with such the Houston Symphony, Baltimore Symphony, Rundfunk Sinfonieorchester Berlin and City of Birmingham Symphony Orchestra. The 2015-2016 season will feature Messiah with the Wichita Symphony and Copland’s Old American Songs with the Southwest Florida Symphony.

MARCH 10-12

in Miami. Other season solo engagements include Victor Herbert’s Concerto No. 2 with the Dayton Philharmonic, the Dvorak Concerto with John Nelson conducting the San Jose’s Symphony Silicon Valley and Haydn’s C Major Concerto with the Columbus Symphony, conducted by Robert Moody. Born in Wisconsin, Kosower began studying cello at the age of one-and-a-half with his father, and later studied with Janos Starker at Indiana University and with Joel Krosnick at the Juilliard School. Early in his career he was praised as “an extraordinary talent” by Janos Starker and as “a remarkable young cellist” by Yo-Yo Ma. Kosower’s many accolades include an Avery Fisher Career Grant, a Sony Grant and the grand prize winner of the Irving Klein International String Competition. A dedicated teacher, he has given master classes around the world. He formerly taught at the San Francisco Conservatory of Music (2005-07) and has been on the Cleveland Institute of Music staff since 2010.

A prolific performer and champion of 20thcentury music, Ms. Rearick gave the United States premiere of Nicholas Maw’s Nocturne with Leon Botstein and the American Symphony Orchestra at Bard College; collaborated with the New York New Music Ensemble for the world premiere of Mary Wright’s Sunflower; and performed A Winter’s Journey, Douglas Cuomo’s setting of Wilhelm Müller’s text (from Schubert’s Winterreise). Barbara Rearick has appeared on BBC World Service Radio, New York City’s WQXR, and National Public Radio and has recorded for Naxos, Gateway Classics, and ASV. Born in Pennsylvania, she is currently a member of the voice faculty at Princeton University and a founding member of the Britten-Pears Ensemble, a chamber group specializing in rarely heard contemporary works.

MARCH 10-12 By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Don Quixote: Fantastic Variations on a Theme of Knightly Character, Op. 35 Richard Strauss Born June 11, 1864 in Munich, Germany Died September 8, 1949 in Garmisch-Partenkirchen, Germany The great Spanish writer, Miguel de Cervantes (1547-1616) has sometimes been credited with writing the first modern novel when he wrote Don Quixote, Knight of the Rueful Countenance, which was published in Madrid in January 1605.

movement tone poem. At first, Strauss insisted that no explanatory notes were needed. When asked to provide a guide, the composer snapped, “Get out! You don’t need any.” Later he relented and in conjunction with Herwearth Walden wrote an analysis of Don Quixote citing no less than 53 operative motifs (themes).

The story of an old gentleman considering himself a “knight errant” leaving his home, in La Mancha, to correct the wrongs of the world captured the imagination not only of Spain but the Western world. The episodes are dramatic, fantastic, sometimes comical, and deeply symbolic. Although early readers considered the story purely comic, later readings revealed a much deeper substance in its description of sanity and insanity and the powerful role of nature in human experience. The question of what is real and what is not is a fundamental issue with humanity, and Cervantes’ work became a powerful and timeless consideration of those issues. Francis Carr suggests that Don Quixote was authored by Francis Bacon; others believe it was Cid Hamet Benengeli (an Arab historian), or Thomas Shelton, the first English translator. However, such curious theories have not withstood the litmus test of serious historical research. The genre of magical realism, seen in the works of the Colombian writer Gabriel Garcia Marquez and Jorge Luis Borges, are examples of this concept. Most simply put; “what is real is magical, and what seems magical is real.” The tracing of realism woven with fantastic and dreamlike elements come from this tradition.

This tone poem remained dear to his heart. When the composer visited New York in October of 1921 he was asked, “What is your favorite symphonic poem?” He answered “These that show me and my opinions most clearly: Zarathustra, Quixote, and Domestica.” Many would second this special place. Ernest Newman notes the exceptional nature of the Quixote, commenting that the tone poem not only described the story but the music illustrated the psychological changes in the mind of the characters by changing the original character of the representative theme to reflect a changed mental condition. (Muted instruments denote mental confusion, for example.) “Nowhere outside the work of glorious old Bach is there such a combination in music of inexhaustible fertility of imagination,” Newman concluded.

In 1897, Richard Strauss was drawn to the literary masterpiece and wrote a tone poem, which chronicled selected experiences of the chivalric knight in a stunning single-

However, your enjoyment does not depend on recognizing all these states of mind or the 53 themes. You will do just fine if you are basically acquainted with three themes: Don Quixote, represented thematically by a cello and sometimes solo violin, a clarinet and tenor tuba thematically representing his loyal servant Sancho Panza, and the beautiful but imagined Dulcinea, thematically represented by an oboe. These themes are basically consistent throughout the work, easily recognizable although sometimes transformed to collaborate with the narrative. Strauss’ Don Quixote, subtitled by the

MARCH 10-12 composer, “Fantastic Variations on a Theme of Knightly Character” unfolds without pause or separation of the knight’s adventures. An early mention of Quixote’s idea emerges on April 16, 1897, when Strauss wrote in his diary “Symphonic poem, Held und Welt begins to take shape; as a satyr—opera to accompany it Don Quichotte.” Later in 1898 he wrote “Don Quixote and Heldenleben are conceived so much as immediate pendants that in particular Don Quixote is only fully and entirely comprehensible at the side of Heldenleben.” The exact datings from Strauss are that he officially began Don Quixote on October 10, 1896 and completed the score at 11:42 a.m. on December 29, 1897. It was first performed in Cologne on March 8, 1898 under Franz Wüllner. In its final form, the tone poem consists of an introduction, ten variations (selected from the knights wanderings), and an epilogue. At the time of the composition, Strauss was witnessing his mother’s mental delirium, and this painful experience was deeply significant in his comprehension and depiction of insanity. Strauss was without peer as a musical narrator, a master of orchestration and orchestral/acoustical effects. Don Quixote inspired his highest creativity and testifies both to his genius, his passion, and collaboration of those talents. The tone poem begins with an Introduction. The music presents three distinct themes revealing three sides of Don Quixote’s person. The first “in a knightly and gallant manner,” (cello) the second, his courteous style (second violins), and lastly his innocence (solo clarinet). An oboe enters depicting Dulcinea. The music continues depicting the hero’s daydreams and fantasies. Tuba and bassoon enter depicting Sancho Panza, his faithful servant. After the Introduction, the variations begin depicting the adventures. Variation I: Don Quixote and Sancho Panza begin their journeys. The three principal themes are stated. Don Quixote sees a

windmill and mistakes it for an evil giant, attacking at full force, and falling in a heap (long run in harp and solo cello). Variation II: Don Quixote confronts the bleating sheep, which are seen as a hostile army. He attacks amid chattering string tremolos and trills; shrieks from the winds brass with rapid flutter-tonguing, representing the screaming animals. The effect is an acoustic onomatopoetic marvel. Variation III: A solo viola (the servant) and solo violin converse. Finally Don Quixote prevails and the cello comes forth again as the knight envisions his world of chivalry. Variation IV: Don Quixote rushes into a religious procession of penitent pilgrims, “rescuing a maiden,” who turns out to be a statue of the Virgin Mary. He is knocked off his horse and lays senseless on the ground (low sustained note in the lower strings) and is revived by his servant. Variation V: Don Quixote reflects on his journey and his future conquests, and he dreams of a maiden to love and dramatic feats to win her, while the night, depicted by the violins, harp, and woodwinds swirl about him. A solo cello meditates on the Dulcinea theme tenderly. Variation VI: Don Quixote and Sancho Panza set off in search of the lady, Dulcinea. The servant tries to convince Don Quixote that a ratty stable girl is really the lovely Dulcinea (jocular oboe theme), but he remains only confused, convinced that an evil magician has cast a spell, and she runs away. Variation VII: This variation incorporates the now-famous wind machine off-stage as Don Quixote and Sancho Panza are convinced that they must ride through the air on a flying horse. Blindfolded, each rides a toy horse for a magical flight depicted by rushing orchestral figuration, soaring with the gusts of the wind machine. A low pedalpoint D (sustained tone) anchors them to the ground.

MARCH 10-12

NOTES

Variation VIII: Don Quixote and Sancho Panza are now on a boat trip, which moves along steadily and quite peacefully in a gentle barcarole until the boat capsizes. Arriving on land they beat their clothes on a rock to dry them (pizzicato chords in the strings) and they say a prayer of thanksgiving (woodwind chorale). Variation IX: Don Quixote is convinced that two monks in sight are the evil ones who are keeping Dulcinea from him. They try to explain they are doing nothing of the sort, but Don Quixote insists. He roars loudly and scares them away.

origin of the purely musical development of my feelings…nevertheless, in order that music should not lose itself in pure willfulness and wallow out of its depth, it needs certain formal restrictions, and these are provided by a program.”

Variation X: A fight ensues between a neighbor of Don Quixote disguised as the Knight of the White Moon, who tries to intercede in the madness and bring him back to his home. A fight ensues and Don Quixote is defeated. The neighbor insists that they return to their home and that he stay home for one year. In defeat, Don Quixote and Sancho Panza march slowly homeward (drum beats). On the march, Don Quixote momentarily considers the idea of becoming a shepherd.

The last ISO performance of Don Quixote was in September 2008, conducted by Mario Venzago, with cello solos by Arkady Orlovsky.

Epilogue: Don Quixote arrives home, exhausted from his journey and his theme emerges again from the cello in a pitiful cry. He is weakened and near death. Before his death he recalls his life (re-cap of the initial opening themes depicting the central character) and then dies as the solo cello descends into its lowest register playing a final sigh and gasp at the final cadence. The music of Don Quixote is realistic in its portrayals but also exists on a higher artistic level as well. “Do you know what absolute music is? I don’t! I want to be able to depict in music a glass of beer so accurately that every listener can tell whether it is a Pilsner or Kulmbacher!” Strauss once declared. But then he continued, “I am a musician first and last, for whom every program is merely the stimulus to the creation of new forms and nothing more. To me the poetic program is no more than the basis of form and the

Strauss’s Don Quixote is indeed representative of these viewpoints as well as a masterpiece of musical invention and narrative. From the vivid pictorial episodes to the inner mental landscapes, Strauss takes us on an incredible journey unlike any other. There are many who would concur that this was his supreme masterpiece in the tone poem genre.

El Amor Brujo Manuel de Falla Born November 23, 1876 in Cádiz, Spain Died November 14, 1946 in Alta Gracia, Argentina Manuel De Falla was one of Spain’s most influential and defining composers. He truly fulfilled Ralph Vaughn Williams’ dictum that “The composer must love the tunes of his country and they must become an integral part of him.” De Falla stuffed his works with the sounds, rhythms, folksongs, and folk-like melodies of Spain. But, he cautioned that in this process “You must go really deep so as not to make any caricature. You must go to the natural living sources, study the sounds, the rhythms, use their essence, not their externals.” He was determined that the Spanish musical voice needed a broad forum, and that his music could and would provide that. He stated, “It has been occasionally asserted that we have no traditions. But in our dance and our rhythm we possess the strongest traditions that none can obliterate. We have the ancient modes which, by virtue of their extraordinary inherent freedom, we can use as inspiration dictates.” What he said indicated not only national pride, but conviction in musical authenticity and potential.

NOTES An opportunity to do just that came when the gypsy dancer and singer, Pastora Imperio asked him to collaborate with the poet Gregorio Sierra to create a song and dance for her. The composer was engaged. He listened carefully to the songs sung by the dancer’s mother, Rosario de la Mejorana, and Sierra, who provided a story from old gypsy tales. The outcome at first was a rather small “song and dance” which grew into a chamber ballet. The ballet premiered at the Teatro Lara of Madrid on April 15, 1915. Acclaim came mainly from gypsies in the audience, not from the Spanish constituency in general. An expanded version emerging in 1927 was a far greater success, saving the music from a languishing destiny. El Amor Brujo (Love, the Sorcerer) is a balletpantomime in one act based on a story concerned with love, death, exorcism, and release. The story concerns two gypsies, the sensual Candela and the handsome Carmelo. The ghost of Candela’s first husband haunts their love affair. Candela, knowing her husband’s infidelities, entices her friend, Lucia to flirt with the ghost and distract him from her new love affair. Lucia is successful, and Candela and Carmelo proceed to have a fulfilled relationship. In the original setting El Amor Brujo has twelve parts, three using a contralto voice. Different conductors often use a horn rather than a singer, though these performances will feature Ms. Rearick. The parts are as follows: Introduction and Scene: wild, furious beginning symbolizes the rage of the jealous ghost.

MARCH 10-12

Dance of Terror: Candela recalls the terror of living with a man she did not love, who was quite cruel to her, and fears that he may return because she is not sure he is securely dead. The Magic Circle (The Fisherman’s Story): a calming interlude Ritual Fire Dance: The most famous section of the ballet. Candela dances an exorcism to rid herself of the ghost and its powers. Scene: a brief interlude with the ghost flitting about. Song of the Will-o’-the-Wisp: a song about the vanishing nature of love. Pantomime: features a marvelous cello solo, representing the gentle new lover, Carmelo. Dance of the Game of Love: the contrived flirtation scene of Candela’s former husband and Lucia. Final (The Bells of Daybreak): a celebratory conclusion. Carmelo and Candela are now free to enjoy the bliss and happiness their love has promised. El Amor Brujo and the suite derived from the ballet were stunning ambassadors to the world for the best of Spanish musical expression, freed from the grafting of extensive European influences. Its DNA is precisely Spanish. At times fiery, at times soulful, and at all times passionate, this music speaks perfectly to its home country and its identity.

At the Gypsies (The Evening): colorful music from the gypsy world, featuring an oboe solo forecasting Candela’s forthcoming song. This tune will appear throughout the ballet, emerging finally in a strong and optimistic setting. Songs of Love’s Sorrow: a sensual love song.

The last ISO performance of El Amor Brujo was in February 2005, conducted by Maximiano Valdes.

The Ghost: a muted horn represents the arrival of the dead husband.

Alberto Ginastera was one of the great stars of South American composers; noted for his patriotism, love for his homeland,

Four Dances From Estancia, Op. 8a Alberto Ginastera Born April 11, 1916 in Buenos Aires, Argentina Died June 25, 1983, in Geneva, Switzerland

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NOTES

and incorporation of native Argentinian folk music within his works. Opus 8, written only three years after he graduated from the conservatory, was a ballet, commissioned by Lincoln Kirsten, Director of the American Ballet Caravan. Its focus was on the life of the gauchos (tough cowboys) on one of the estancias (cattle ranches) in the pampa. Ginastera mused, “Whenever I have crossed the pampa or lived in it for a time, my spirit felt itself inundated by changing impressions, now joyful now melancholy, some full of euphoria and others replete with a profound tranquility, produced by its limitless immensity and by the transformation that the countryside undergoes in the course of the day.” The ballet was not performed until 1952, but the Estancia Suite, Opus 8a (four dances extracted from the ballet score) premiered in 1943 at the Teaotro Coloacuten in Buenos Aires. It was an immediate success, and quickly gained popularity on the world stage. The four dances are: Los Trabajadores agricolas (Agricultural workers) comes from the “morning section” of the ballet, which traces the life of a gaucho through an average day. The music, inspired by the folkdance, malamba, begins with driving brass, propelling heavily accented, fast rhythms accompanied by timpani and violins. Toward the close, woodwinds dance insistently in a small episode before the malambo closes. Danza del trigo (Wheat Dance) presents a gentle interlude, featuring an opening melody performed by flute. In the central section, INDIANAPOLIS

violins soar in rhapsodic song before the opening is recalled, this time with the lush melody sung by solo violin until a soft conclusion. Los Peones de hacienda (the Cattlemen): Ginastera takes us back to the brash first dance. Again brass and timpani hold the spotlight in a syncopated dance, which maintains its aggressive nature until the close. Meters change continuously, lending ragged propulsion and excitement. Danza final (Final Dance) finds us back to the malambo now featured in a ferocious dance contest between the gauchos. As the contest develops the music becomes increasingly complex in a series of episodes, which not only gain momentum, but also become louder as the constant eighth note demands roar to a brilliant climactic ending. Should you go to Buenos Aires or other parts of Argentina, many of the great estancias have been turned into tourist ranches along with being a working ranch. You can ride across the grassy pampa (vast plains of 800,000 square miles stretching across the country), have the gauchos prepare an asado (a roast), sip traditional mate, and possibly hear gauchos singing folksongs. One of the very best is El Ombu. The last ISO performance of Four Dances from Estancia was in December 1966, conducted by Renato Pacini at Clowes Memorial Hall.

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MARCH 16

SIDE-BY-SIDE

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Side-by-Side Wednesday, March 16, 2016, at 7 p.m. Hilbert Circle Theatre VINCE LEE, Conductor SYDNEY HARTWICK, Violin Giuseppe Verdi (1813-1901)

Overture to La forza del destino

Alexander Glazunov “Autumn” from The Seasons, Op. 67 (1865-1936) Bacchanal Petit adagio Variation Camille Saint-Saëns Concerto No. 3 in B minor for Violin and Orchestra, Op. 61 (1835-1921) Allegro non troppo Sydney Hartwick, Violin

INTERMISSION — Twenty Minutes

Modest Mussorgsky Pictures at an Exhibition (1839-1881) The Gnome Orch. Maurice Ravel Tuileries Bydlo Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle Limoges - The Marketplace Catacombs (Sepulcrum Romanum) and “Cum mortuis in lingua mortua” Baba-Yaga (The Hut on Fowl’s Legs) The Great Gate of Kiev

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

SIDE-BY-SIDE ROSTER First Violin Sydney Hartwick, Concertmaster Carmel High School Maria Sanderson Home Schooled Maris Pilgrim Bloomington High School South Hannah Cleveland Zionsville High School Hyeyun Chae Carmel High School Elliot Choy Carmel High School Isabel Detherage Brebeuf Jesuit Preparatory Sarah Liu Carmel High School

Bass Aleck Belcher, Principal Carmel High School Isaiah Ward Lawrence Central High School Mike McGill Park Tudor School Ariya Marr Warren Central High School Sam Bognanno Carmel High School

Second Violin Rose Melton, Principal Fishers High School Clara Brown Lawrence North High School Andrew Nguyen Avon High School Eric Borum North Central High School Sierra MacMillan Noblesville High School Alex McGrath North Central High School Danny Rhoda North Central High School

Piccolo Katie Riley Avon High School

Viola Maeve Whelan, Principal Bloomington High School North Brynn Kelsey Center Grove High School Tiffany Xie Carmel High School Daniel Xu Carmel High School Olivia Wang Carmel High School Cello Caroline Saltzman, Principal Homeschooled Lydia Rhea Homeschooled Emery Hightower Indiana Country Day Academy Woojin Chung Fishers High School

Flute Gayatri Balasubramanian, Principal Carmel High School Stephanie Zhang Carmel High School

Oboe Katie Danforth, Principal North Central High School Jamie Wells Warren Central High School Kate Bruns, English Horn Carmel High School Clarinet Marissa Johnson, Co-Principal Avon High School Sean Szolek-Van Valkenburgh, Co-Principal North Central High School Bassoon Mia Nunokawa Center Grove High School TJ Vculek Franklin Community High School Claire Williams Fishers High School

MARCH 16

Trumpet Branden Haynie Lawrence North High School Ethan Hodes North Central High School Trace Coulter Avon High School Bradley Hill Carmel High School Matthew Szolek-Van Valkenburgh North Central High School Leilani Spurlock Pike High School Trombone Andrew Danforth, Principal North Central High School Matt Wilson Hamilton Southeastern High School Seth Ward Avon High School Tuba Justin Beaman, Principal Avon High School Timpani/Percussion Kevin Foley Center Grove High School Aaron Soforenko Hamilton Southeastern High School Stephen Childress Lawrence North High School Piano Edward Shou Carmel High School

Saxophone Kathryn Petersen North Central High School Horn Daniel Seaman, Principal Greencastle High School Kai Sandtrom North Central High School Koki Kobayashi Avon High School Duncan Hitti Avon High School

VINCE LEE, Conductor

MAR 16

Vince Lee currently serves as the ISOâ&#x20AC;&#x2122;s Associate Conductor. Since 2012, Lee has served on the cover conducting staff of the Philadelphia Orchestra and as the conductor of the AZLO Orchestra (NYC). In 2013, he joined the Union City Orchestra (NJ) as its Music Director. From 2008-2011, Lee served as the assistant conductor of the Cincinnati Symphony Orchestra and the Cincinnati May Festival. In 2007, he made his Carnegie Hall debut with the New York Youth Symphony. As a guest conductor, he has appeared with numerous ensembles including the Toledo Symphony,

Opera Theatre of St. Louis, the Aspen Music Festival and the Cincinnati Ballet. As a champion of modern compositions, he has premiered more than 200 works to date. Lee earned his Master of Music in Orchestral Conducting from the Jacobs School of Music at Indiana University. During his time at IU, he premiered more than 50 works by student performers, conducted 17 orchestral concerts, and served as assistant conductor for the IU New Music Ensemble, Opera Theater and Ballet. Lee earned his Diploma in Orchestral Conducting at The Juilliard School, under the direction of James DePriest. At Juilliard, he was appointed Musical Director for the MAP orchestra (a Juilliard faculty position) and served as Principal Pianist for the Juilliard Orchestras for three years.

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Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Thirteen Friday, March 18, 2016, at 8 p.m. Hilbert Circle Theatre SANTTU-MATIAS ROUVALI, Conductor KARI KRIIKKU, Clarinet Daniel Temkin (b. 1986)

Cataclysm Marilyn K. Glick Young Composer Award Winner

Kimmo Hakola Clarinet Concerto (U.S. Premiere) (b. 1958) Introduzione: Allegretto pomposo Hidden Songs Allegro Farara Khasene Kari Kriikku, Clarinet INTERMISSION — Twenty Minutes Carl Nielsen Symphony No. 4, Op. 29 (“The Inextinguishable”) (1865-1931) Allegro Poco allegretto Poco adagio quasi andante Allegro

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

MARCH 18

SANTTU-MATIAS ROUVALI, Conductor

Santtu-Matias Rouvali is Chief Conductor of the Tampere Philharmonic Orchestra and Principal Guest Conductor of the Copenhagen Philharmonic. This season he debuts with Bamberg Symphony Orchestra conducting the orchestra for their Sibelius Anniversary celebrations, following his own Sibelius Symphony Cycle in Tampere. Rouvali makes further debuts with Indianapolis Symphony and SWR Sinfonieorchester Baden-Baden und Freiburg this season, as well as returning to Switzerland for a national tour with Orchestre de Chambre de Lausanne. Goteborg Symphoniker, Philharmonia Orchestra and Royal Stockholm Philharmonic Orchestra,

where he enjoys regular relationships, also welcome him back in 2015/16 and he will continue to work with L’Orchestre Philharmonique de Radio France, BBC and Finnish Radio symphony orchestras and Tokyo Symphony in the coming years, as well as guest conducting some of the most respected orchestras in North America. Rouvali’s recordings include a CD with Ondine featuring Hakola and Hosokawa Guitar Concertos with Timo Korhonen and Oulu Symphony Orchestra, and his latest release of Nielsen and Sibelius’ Violin Concertos with Tampere Philharmonic Orchestra and Baiba Skride, was released in summer 2015 on ORFEO. As an opera conductor, Rouvali has performed Bizet’s Carmen and Mozart’s Die Zauberflöte with West Coast Kokkola Opera, and conducts Verdi’s La Forza del Destino with Tampere Opera this season.

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KARI KRIIKKU, Clarinet As reported in The New Yorker, “ it is not an uncommon occurrence for this consumate artist to bring his audience to its’ feet, even if the repertoire, or Kriikku himself, is being heard for the first time.” Kari Kriikku’s premiere performances include the USA premiere with the New York Philharmonic, WDR Cologne Orchestra, the Orquesta Sinfonica de Barcelona and London’s Philharmonia Orchestra. He also performs under the baton of Ilan Volkov both with Glasgow’s BBC Scottish Symphony Orchestra and Malmö Orchestra, with Finnish Radio Symphony and Netherlands Radio Philharmonic under the baton of Xian Zhang. This season, Kriikku will also premiere performances of Michel van der Aa’s Hysterisis with the Lapland Chamber Orchestra and return to the Concertgebouw Hall with the Amsterdam Sinfonietta, later recording the work.

MARCH 18

Other highlights of Kari Kriikku’s 2015/16 season include a return tour with the New Zealand Symphony, Seoul Philharmonic with Osmo Vänskä, and the Stavanger Symphony Highlights of other new works Kriikku has premiered include Kaija Saariaho’s D’om Le Vrai Sens, receiving its’ premiere performance with Finnish Radio Symphony, Kimmo Hakola’s colourful, mesmerising concerto and Magnus Lindberg’s concerto with a spectacular premiere at London’s 2007 BBC Proms Festival. Kriikku has recorded works for Ondine including Jukka Tiensuu’s Missa Somenis with the Helsinki Philharmonic. Lindberg’s Clarinet Concerto recording was nominated in the 2006 Gramophone Awards and the new Saariaho work with Finnish Radio Symphony. Sakari Oramo also won the Jury’s Award at the BBC Music Magazine Awards in 2013. Kari Kriikku’s musical inventiveness and fresh attitude towards traditional performance have established a fascinating and versatile career, as both a soloist and also as Artistic Director of Avanti! Chamber Orchestra. In June 2009, Kari Kriikku was further acknowledged as the recipient of the prestigious Nordic Council Music Prize.

THURSDAY, APRIL 7 HAPPY HOUR 5PM CONCERT 6:30PM HILBERT CIRCLE THEATRE

Join us for the final Stella Artois Happy Hour at the Symphony of the season! Enjoy complimentary food and drink samples from local restaurants, plus an hour of music from Pink Martini with the ISO. This eclectic 12-piece ensemble returns to present a musicial extravaganza of cabaret, samba, timeless pop and jazz with the ISO.

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MARCH 18

NOTES

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Cataclysm Daniel Temkin Born August 26, 1986 in Houston, Texas Daniel Temkin is one the most promising new American composers. His musical training has been outstanding: Rutgers University, New England Conservatory, the Curtis Institute of Music, Le Conservatoire Americain de Fontainebleau, and he is currently completing his doctorate at the University of Southern California. His main interest as a performer has been as a percussionist. He credits this experience with his love of musical color and rhythmic inflections, which began at a young age. He played percussion in school bands starting at age 11; by age 12, he was playing in rock bands. However, when he played in a Youth Orchestra performing the Finale of Tchaikovsky’s Second Symphony as a percussionist, he was overwhelmed with “a moment of excitement… I discovered on that day that sound, ringing out with kinetic energy could be alive.” He was especially intrigued with resonance: the experience of a sound continuing after it has been played. “ My hunger for orchestral music grew as I began regularly attending the Philadelphia Orchestra concerts and spending my summers performing at the Aspen Music Festival. “ As a composer, he has been fascinated about the concept of resonance, and how this can be maximized and influential in his orchestration. As years have passed, he has reflected that for him resonance was a principal driving factor in music. “My musical life has always centered on resonance and on the specific goal of making sound come alive with a palpable ‘ring to it’.. no matter which stylistic turns my own music may take in the coming years, resonance will always reign supreme.” Mr. Temkin has graciously submitted the following notes for this concert: “Cataclysm was written in 2013-14 for the St.

Petersburg Chamber Philharmonic, and it was premiered in Glinka Hall, St. Petersburg. Although designed to work as a stand alone piece, it is also the final movement of my larger suite From Distant Dreams (201314), which received its premiere with the USC Thornton Symphony in October 2014. Both Cataclysm and the larger suite try to engage ideas of dream states and surrealism. I can’t speak for everyone else, but when I dream, disparate elements from real life and fantasy often show up side by side, and somehow I go along for the ride no matter how surprising and bizarre things get. I was interested in composing a piece which would capture this sense of juxtaposition, surprise, and murkiness (that foggy, jet-laggy, dream sense) in Cataclysm. Music, being a temporal medium, seemed an especially good way to capture the sort of ‘suspended reality’ of a dream. As for the music, I imagined the opening chords as a kind of fog that hover over the piece, both at the beginning and in the middle; meanwhile, the faster music with the murmuring strings is meant to lull us into an edgy but somewhat predictable mood, so that when the brass and percussion jump into the textures, they really shock and surprise. I didn’t have any specific models from outside disciplines, but the closest analogy I can think of is Salvador Dali paintings: his use of juxtaposition, distortion, and contrast in subject material (e.g. a giant clock in the middle of a desert) creates a bizarre and compelling melding of the familiar and the distorted/unexpected. The climax of Cataclysm happens at the end (with the bell tree ringing violently like a fire alarm bell). Here, I imagined the sort wild and spooky energy of a nightmare being channeled and harnessed into something more exciting and positive—a transformation, leading to a final, triumphant, ending.”

NOTES This is the first ISO performance of Cataclysm. Daniel Tempkin has been selected as the 2016 Marilyn K. Glick Young Composer Award Winner. Clarinet Concerto Kimmo Hakola Born July 27, 1958 in Jyväskylä, Finland Kimmo Hakola is one of Finland’s major composers, and his Clarinet Concerto is responsible for part of his worldwide acclaim. It was dedicated to his friend, the remarkable Finnish clarinetist Kari Kriikku. This concert marks the U.S. premiere of the concerto. The American journalist and music critic, Allan Kozinn noted; “his music scampers about mischievously, mixing together shapely lyricism, atonality, quirky folkishness, and an almost hedonistic approach to timbre and rhythm. And when he proves titles or character indications, he willfully subverts them… he appears to have sidestepped the centurylong debate about the merits of tonality and refused to join any philosophical or stylistic camp.” He is not iconoclastic, nor an enfant terrible, he is simply himself, loving folk music, zippy and complex rhythmic patterns, virtuosity, and Asian inflections.” This musical fingerprint can be experienced throughout his Clarinet Concerto, written in 2001. The concerto is written in four movements. The Introduzione opens with fast rhythmic pulses, and the clarinet leaps fearlessly into the tumult. Hakola’s music sounds jazzy, cool, and impudent. There is no main theme, but rather an acrobatic display of virtuosity at the highest level. The soloist plays almost nonstop throughout the movement, moving seamlessly in all registers, sometimes singing lyrically, chirping, and sometimes producing, out of the blue, “twisted wrong notes.” Orchestral accompaniment is fast, as if goading the clarinet into more and more activity. At the close, the music moves into a winsome little tune in a cadenza maintained for the most part in soft dynamics. The tempi herein change frequently and there are small pauses. Before long, however, timpani and

MARCH 18

brass enter the scene, coaxing the clarinet into a snappy conclusion. Hidden Songs opens quietly, with none of the hustle and bustle from the Introduction. At first, the soloist maintains a lyrical line over discreet accompaniment and then moves into a meditative solo. The tempo is relaxed, and rhythms are gentle. Gradually, the orchestra supports the solo line with soft pulses, but never moves to the forefront. Midway, the orchestra does gain a stronger presence in a richly orchestrated section colored by timpani and brass. In contrast, clarinet resumes its starring cantabile roll, this time supported by the harp. From time to time timpani interrupt the serenity, but never overwhelming the grace and poise of the lyricism. At the close, notice the strange notes permeating the songlike atmosphere. Allegro favara opens in a playful mood, with unexpected turns and twists in the major idea. As the soloist jostles with the tune, low parts and percussion of the orchestra respond with rhythmic infusions and deep, contrasting coloration. There are oriental inflections in the melodic line ( Mongolian effects) which add exotic spice to the solo part. Toward the conclusion, the orchestra takes the limelight with an infectious, jazzy section, responded to by the clarinet in lighthearted partnership, zipping quickly between the low and high registers. Finally, the scene ignites into fast gestures, bumped along by sustained tones in the low brass. Gradually, the music becomes increasingly chaotic, tumultuous, ragged, syncopated, and aggressive. The last movement Khasense (Yiddish for wedding) opens with a shout, and then immediately presents a rapid percussive rhythm while a sinuous line, decorated by occasional swirls, is assigned to the clarinet. A percussive element suddenly emerges in the background and the soloist gains momentum, which is echoed by violins. A set of thick chords in 6/8 stops the acceleration, and the tempo changes swiftly as the clarinet slinks slowly above the steadily reiterated chords. After a second bit of vocal noise, the

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UIndy. Artfully done. Join us for great art events! ART EXHIBITION: CONTINUUM Gallery Installation by Rachel Helman & Jennifer Caine February 21–March 18, 4–6 p.m. KELLOGG WRITERS SERIES Scott Russell Sanders March 7, 7:30 p.m. SYMPHONIC WIND ENSEMBLE AND CHAMBER ORCHESTRA March 10, 7:30 p.m. UIndy, just 10 minutes from downtown at 1400 East Hanna Avenue, presents more than 100 arts events a year; most are free to the public and many are family-friendly.

317.788.3251 uindy.edu/iso

INTO THE CELTIC TWILIGHT with Gregory Martin, piano March 21, 7:30 p.m. THE PLEASANT KING: SONGS OF SPRING AND THE SEASONS Elisabeth Hoegberg, piano: Mitzi Westra, mezzo-soprano March 28, 7:30 p.m.

MARCH 18

NOTES

movement moves into a dance-like section, swirling and twirling with high accents. The clarinet enters in its high register to join in the fun and energy with extraordinary sounds and leaping passages. The movement grows into dramatic intensity, with occasional “silly sounds” from the soloist. At the close, we move to a final tune, which is similar to a rough version of snake charmer style, which coils into a massive frenzy until the abrupt, thumping conclusion. This is the first ISO performance of Hakola’s Clarinet Concerto. Symphony No. 4, Op. 29 (“The Inextinguishable”) Carl Nielsen Born June 9, 1865 in Norre-Lyndelse, near Odense on the Island of Fyn, Denmark Died October 3, 1931 in Copenhagen, Denmark “Music is Life, and like it, it is inextinguishable.” (Written at the top of the score by the composer) Carl Nielsen was one of Denmark’s finest twentieth century conductors and composers, notable most of all for his six symphonies. The standouts have been the Fourth and Fifth Symphonies, written against the backdrop and conclusion of World War I. The Fourth Symphony premiered in Copenhagen on February 1, 1916. The composer grew up in humble circumstances, the son of a painter and village musician on the island of Funen. Though the family had little, the children did have music. Carl was clearly talented. With the help of village sponsors (Sortelung) he was able, as a teenager, to enter the royal Danish Conservatory in Copenhagen, studying violin piano, and theory. He was diligent and became a violinist in the Royal Chapel, where he became acquainted with Wagner, leading to further study in Germany. It was there and then, in 1892, he began to write the first of his symphonies. Geoffrey Kuenning summarized their place in history: “Old enough to have met and been influenced by Brahms, and

young enough to have an influence on Dmitri Shostakovich, his music spans the boundary between Romanticism and Modernism, wearing its heart on its sleeve while pushing the boundaries of tonality and form.” Symphony Number Four gestated for two years. In 1914, he wrote to his estranged wife, Ann Marie. (Estranged because he had an affair with the nanny; they reconciled eight years later.) “I have an idea for a new composition, which has no program but will express what we understand by the spirit of life or manifestations of life, that is: everything that moves, that wants to live ... just life and motion, though varied—very varied—yet connected, and as if constantly on the move, in one big movement or stream. I must have a word or a short title to express this; that will be enough. I cannot quite explain what I want, but what I want is good.” By 1916, when he finished Opus 29, he found just the word: Inextinguishable, signifying “the elemental will to live. The composer explained “It is not a program, but only a suggestion about the right approach to the music.” Nielsen explained; “Music is Life. As soon as even a single note sounds in the air or through space, it is result of life and movement; that is why music (and the dance) is the more immediate expressions of the will to life.” The symphony evokes the most primal sources of life and the wellspring of the life-feeling; that is, what lies behind all human, animal and plant life, as we perceive or live it. It is not a musical, program-like account of the development of a life within a limited stretch of time and space, but an un-program-like dip right down to the layers of the emotional life that are still half-chaotic and wholly elementary. The symphony is not something with a thought-content, except insofar as the structuring of the various sections and the ordering of the musical material are the fruit of deliberation by the composer in the same way as when an engineer sets up dykes and

NOTES sluices for the water during a flood. It is in a way a completely thoughtless expression of what make the birds cry, the animals roar, bleat, run and fight, and humans moan, groan exult and shout without any explanation. The symphony does not describe all this, but the basic emotion that lies beneath all this. Music can do just this, it is its most profound quality, its true domain … because, by simply being itself, it has performed its task. For it is life, whereas the other arts only represent and paraphrase life. Life is indomitable and inextinguishable; the struggle, the wrestling, the generation and the wasting away go on today as yesterday, tomorrow as today, and everything returns. Once more: music is life, and like it inextinguishable. The music begins with a roar (marked attacca) from timpani and winds, joined afterwards by the strings. Two tonalities (D and E) are sounded simultaneously, adding to the distress. A three note motif introduced at the beginning becomes central to the first movement. Flutes and clarinet calm the uproar, and melt into a gentle second theme (sung by two clarinets in thirds), which will reappear in the third and finale movement. This has frequently been identified as the “will to life” theme. The stage is now set for the emotional flux which will continue throughout the work: sudden gentleness and sudden rage. “Nielsen’s sudden stylistic swings are shown through dynamics, instrumentation, tempo and tonality. Such abrupt switches can be dizzying and can pose many challenges of pacing and momentum for the conductor.” (Joan Ollsen) This lyric idea changes character: at times dance like, and also exploding into a massive climax. A turbulent development shatters the second theme into small pieces, which are ruffled and tossed about by extensive participation and commentary from violas. The storm continues into a high octane coda before quiet strings and solo timpani merge smoothly into the second movement.

MARCH 18

Quite suddenly, (marked poco adagio quasi andante) the strings change character and force, moving directly into the third section. His music remains unsettled and, timpani again appear adding somber thumps until the strings move into a soft, slowly moving hymn structure with coloration from the winds. Nielsen instructs them to play like “an eagle riding the wind.” Gradually, the mood shifts with the entrance of low brass, and the texture coils into an extensive contrapuntal development. Intensity and heaviness grow steadily, expanding to a huge climax before the movement runs out of steam, exhausted, closing over trilling violins (marked ppp) and oboe repeating notes. There is a large pause before the last section. The fourth movement, con anima, is dramatic and aggressive, featuring military style participation from dueling timpanists, placed at opposite sides of the orchestra, who are instructed by Nielsen to play “ from here to the end, maintaining a certain threatening character even when they play quietly .” Part of the terror comes from timpani playing tritones, a dissonant interval sometimes identified as “ the devil in music.” The music begins in a frenzy, continues in exuberance and brilliance which is finally de-railed by horns and winds quoting from the “life force” theme from the first movement. Surging passages swirl into the atmosphere, alternating with quiet reflections. Just as all seems serene, the timpani re-ignite into their dueling contest. As if alarmed, the orchestra re-enters into a furious passage: strings race, brass intone grand ideas over the entire orchestral force, re-iterating the life force idea. And the inextinguishable force of life and the living of it triumphs in an enormous affirmation. The last ISO performance of Nielsen’s Symphony No. 4 was in April 2005, conducted by Mario Venzago.

This short allegretto is scored almost totally for winds, with light commentary from strings.

â&#x20AC;&#x2DC;S 2 0 T H A N N I V E R SA RY A PROGRAM OF THE INDIANAPOLIS SYMPHONY ORCHESTRA PRESENTED BY

The Metropolitan Youth Orchestra works with kids and their families from kindergarten through 12th grade to teach life skills through music. Take a moment to view the experience through the eyes of 8-year old Nina Goldsmith. Then, come see her perform with all of the other MYO students and parents in our upcoming concert.

MYO 20th ANNIVERSARY CONCERT Sunday, April 10, 2016, 3PM Hilbert Circle Theatre

FREE! *With special guests: Cathy Morris and Dean Franke along with 20 years of MYO alumni.

Want to learn more? Follow us on social media! Facebook - Metropolitan Youth Orchestra | Twitter - @MYO_Indy Visit us online at www.IndianapolisSymphony.org/education/MYO

‘S 2 0 T H A N N I V E R SA RY A PROGRAM OF THE INDIANAPOLIS SYMPHONY ORCHESTRA PRESENTED BY

Will Nina become a professional musician? To be continued… Your gift will help us to serve all MYO families as they learn to play instruments together, overcome challenges together, and celebrate together.

Visit us at https://www.indianapolissymphony.org/support/donate to support the MYO program.

Looking to get involved with Indianaâ&#x20AC;&#x2122;s largest performing arts organization? We are looking for volunteers to join us during our performances! Ben Folds with the ISO

TO GET INVOLVED VISIT: IndianapolisSymphony.org/Volunteer or contact Donna Finney 317.231.6792 dfinney@IndianapolisSymphony.org.

WWW.INDIANAHISTORY.ORG EUGENE AND MARILYN GLICK INDIANA HISTORY CENTER 450 WEST OHIO STREET,INDIANAPOLIS

ARTS IN INDY Dance Kaleidoscope David Hochoy is celebrating his 25th season as Artistic Director for Dance Kaleidoscope, passing along the integrity of movement and expression of self he learned while dancing around the world with The Martha Graham Dance Company. In addition to creating years of artistic excellence with DK, his choreography can be seen at the ISO and IRT. Also celebrating 25 DK seasons is lighting designer Laura Glover. Laura also designs lighting for Time for Three, Phoenix Theatre and the ISO. See their artistic collaboration in Scheherazade 25, June 2-5 at IRT.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) for a pair of very special concerts as we continue our 30th anniversary season. On March 13 at the Hilbert Circle Theatre, Tapestry of Song (3PM) and Voices of Youth (7PM) will be a nostalgic journey through past ICC tours—across the country and the world. The choirs will sing selections from these past voyages, and ICC alumni will share their favorite memories of traveling with the ICC and spreading music across the globe. To buy tickets, go to icchoir. org/30tix. The ICC’s music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or make a financial donation, call 317.940.9640.

Indianapolis Symphonic Choir The Indianapolis Symphonic Choir brings to life J. S. Bach’s St. John Passion in a one-night-only performance on April 2 at the Christel DeHaan Fine Arts Center. Eric Stark conducts a fresh, re-imagined interpretation that is both personal and epic, historic, yet timeless. The 40-voice Symphonic Choir Chamber Singers unites with the Indianapolis Baroque Orchestra in a performance that embodies the revered choral institution’s versatility and musical savvy. For more information and tickets, visit indychoir.org or call (317) 940-9057.

New World Youth Orchestras The New World Youth Orchestras concludes its 34th season with a finale concert on May 8 at 5pm, at the Hilbert Circle Theatre. This concert will feature the Symphony, Philharmonic, and Concert Orchestras, as well as the Senior Winner of our Young Artist Competition. The New World Youth Orchestras’ mission is to develop the musical talent and nurture the personal growth of young people in Indianapolis and central Indiana through the rehearsal and performance of orchestra masterworks, both traditional and contemporary. For more information please visit www.nwyso.org.

To advertise your events in the Arts in Indy section, contact Mallory MacDermott at mallory@printingpartners.net or 317.664.7812

Lawrence Brownlee

APRIL 7–17, 2016 40+ EVENTS IN 11 DAYS! HIGHLIGHTS INCLUDE: › Lawrence Brownlee Thursday, April 7

Kurt Elling

› Kurt Elling Friday, April 8 › ButlerBallet: Swan Lake Friday, April 15– Sunday, April 17

Swan Lake

› Tiempo Libre Saturday, April 16

Tickets and Full Schedule at butlerartsfest.com Butler ArtsFest 2016 is made possible, in part, by a grant from the Efroymson Family Fund.

Tiempo Libre

For accessibility information or to request disability-related accommodations, visit butler.edu/event-accommodations.

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 Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian and Boris Meditch The Wilcox Assistant Concertmaster Chair Endowed by David E. and Eleanor T. Wilcox Dean Franke, Assistant Concertmaster 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 The Dr. and Mrs. Robert L. Rudesill Cello Chair Endowed by Dr. and Mrs. Robert L. Rudesill Anne Duthie McCafferty, Cello 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 Frank C. Springer Jr. Principal Oboe Chair Endowed by Frank C. Springer Jr. Jennifer Christen, Principal Oboe

The Ann Hampton Hunt English Horn Chair Endowed by Ann Hampton Hunt Roger Roe, English Horn The Robert H. Mohlman Principal Clarinet Chair Endowed by the Robert H. Mohlman Fund David A. Bellman, Principal Clarinet The Huffington Assistant Principal Clarinet Chair Endowed in memory of Robert Huffington by Clarena Huffington Cathryn Gross, Assistant Principal Clarinet 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 Jerry Montgomery, Horn The W. Brooks and Wanda Y. Fortune Principal Trumpet Chair Endowed by W. Brooks and Wanda Y. Fortune The Dr. and Mrs. Charles E. Test Trombone Chair Endowed by Dr. and Mrs. Charles E. Test 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 Endowed Performances The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund September 18-19, 2015 – Beethoven’s “Emperor”

ENDOWMENT 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 October 9-10, 2015 – Beethoven’s Missa solemnis Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 6-7, 2015 – Brahms’ Piano Concerto No. 1 The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise and Alison Paul November 13-14, 2015 – Brahms’ Piano Concerto No. 2

The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias April 15-16, 2016 – André Watts The Mrs. Earl B. Barnes Memorial Fund in Support of a Guest Artist Endowed Anonymously May 7, 2016 – The Legendary Menahem Pressler The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 20-21, 2016 – Beethoven’s “Pastoral”

Yuletide Celebration Opening Performance Endowed by Marianne Williams Tobias First Performance December 2015

The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 3-4, 2016 – Garrick Ohlsson

Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias Last performance December 2015

The Bishop Family Holliday Park Concert Endowed by the Mrs. Irving M. Fauvre Fund Summer 2016

The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 22-23, 2016 – Beethoven’s Fifth & The Rite of Spring

The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2016 – Marsh Symphony on the Prairie

The performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist fund January 29-30, 2016 – The Planets The Performance of New Music Endowed by LDI, Ltd. February 5-6, 2016 – Music from 2001: A Space Odyssey The Performance of a Young Professional Artist Endowed by Roche Diagnostics February 19, 2016 – Caroline Shaw and Shara Worden The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund March 4 - 5, 2016 – Rachmaninoff’s Second Piano Concerto The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund March 11-12, 2016 – Don Quixote The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick March 18, 2016 – Nielsen’s “Inextinguishable” Symphony

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert The Tobias Green Room Endowed by Randall L. Tobias The Maestro Society August and Margaret Watanabe Dr. and Mrs. Gordon E. Mallett Mrs. Walter Myers Jr. Randall L. Tobias Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon Mr. and Mrs. Richard D. Wood Mr. Raymond Leppard Dr. John C. Bloom Edna Woodard-Van Riper Marianne Williams Tobias The Marianne Williams Tobias Program Annotator Chair Endowed anonymously Marianne Williams Tobias, Program Annotator Artist in Residence Endowment Endowed in memory of Hortense and Marvin Lasky

ENDOWMENT The Paul E. and Martha K. Schmidt Conducting Study Fellowship Endowed by Paul E. and Martha K. Schmidt

Orchestra Box C1 This Orchestra Box Endowed by Mrs. Bailey (Gladys) Swearingen

The Michael Ben and Illene Komisarow Maurer Young Musicians Contest Endowed by Michael Ben and Illene Komisarow Maurer

Orchestra Box C2 This Orchestra Box Endowed by Saundra Lee and H. Tuck Schulhof

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

Orchestra Box C3 This Orchestra Box Endowed by Herschel and Angela Porter

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

Orchestra Box C4 This Orchestra Box Endowed by E. Andrew Steffen Orchestra Box C6 This Orchestra Box Endowed by Mrs. Rhonda Kittle in honor of her late husband, James L. Kittle The Oval Promenade Named to Recognize the Generous Gift of the Eli Lilly and Company Foundation to the Indianapolis Symphony Orchestra October 1984 First Monday Music Club Endowed anonymously Stage Terrace Seating Endowed anonymously Special Acknowledgements Performance of the Wurlitzer Pipe Organ Generously underwritten by David and Eleanor Wilcox The New Steinway Concert Grand Piano Given in memory of Mr. and Mrs. William H. Ball by Mrs. Lucina B. Moxley The Music Library Office Underwritten by the Musicians and Staff of the Indianapolis Symphony Orchestra in memory of Richard Grymonpré The ISO Association Office Endowed by Peggy & Byron Myers

Second Floor Lobby Named in memory of William Fortune, prominent civic leader, by a generous gift from William L. and Jane H. Fortune

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. Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift through estate plans or life-income arrangements. For more information, please contact the Office of Development at 317.713.3342. 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 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 Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune 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 Gail H. Hall Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar 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. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Alice* & Kirk* McKinney Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch 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 Dr. & Mrs. Robert L. Rudesill Henry & Vel* Ryder Jane & Fred Schlegel Paul & Martha Schmidt Carl & Laurel Schnepf H. Tuck & Saundra L. Schulhof Margaret A. Shaw Jean & Clifton Smith Mr. & Mrs. Clark L. Snyder Sue K. Staton Dr.* & Mrs. James B. Steichen Ann R. Strong Kathryn* & Sidney Taurel Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan 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 (15) *Deceased

THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF: Anna Ross Alexander Mrs. Raymond A. Basso Miss Helen F. Bernheisel Betty Thorp Boyd Mrs. Elba L. Branigin Jr. John F. Brennan Mrs. Ferne Brewer Lenore B. Brignall Suzanne Swain Brown H. Earl Capehart Jr. Walter Chroniak

Edgar L. Conn Allen E. & Mary Crum John H. Darlington J. Richard Delbauve Vivian F. Delbrook Suzanne S. Dettwiler Lillian J. Duckwall Francis W. & Florence Goodrich Dunn Mr. & Mrs. Don B. Earnhart Mr. Robert A. Edwards

Mr. Francis E. Fitzgerald Mr. Richard E. Ford Mr. & Mrs. William L. Fortune Nelle Godio Mr. Raymond K. Gretencord Carol E. Gruen Louise W. Hanson Dr. & Mrs. F. R. Hensel Mr. & Mrs. Byron Hollett Mr. Dennis T. Hollings Emma Stutz Horn

LYNN SOCIETY 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 Sarah Forney McFarland Mrs. Judd R. McKay Martha Means Mr. & Mrs. J. Irwin Miller 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 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 Dr. Mary Avery Root Sanford Rosenberg Frances M. Schager Mrs. Raiford Scott Mrs. Mary Schulz Ms. Violet H. Selley Macy M. Glendining Simmons Jeannette Soudriette Mr. Frank C. Springer Jr.

Mr. Charles B. Staff Jr. Andrew Steffen Florence Barrett Stewart Mrs. Samuel Reid Sutphin Dr. & Mrs. Charles E. Test H. Richard Unkel Mrs. Helen E. Van Arendonk Mary Jane Wacker Virginia M. Wagner Margaret Warner Penny Weldon Harriett Denny White 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.”

YOUR LEGACY MATTERS Remembering the ISO in your will impacts the music we share for generations to come. No amount is too small to make a difference.

Contact Casey Chell, Director of Development, with questions about or cchell@IndianapolisSymphony.org. The Lynn Society at 69

ANNUAL FUND Indianapolis Symphony Orchestra depends on contributed income for about 43 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. 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 December 31, 2015. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions. 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. $100,000 and Above Anonymous James E. & Patricia J. LaCrosse Mr. Aasif Bade Anonymous Ann and Gordon Getty Foundation Drs. W.H. & K.T. Landschulz Drs. Douglas & Deborah Balogh Ms. Christel DeHaan and the League of American Mr. E. Kirk McKinney, Jr. Trudy W. Banta Mr. Jim S. Irsay Orchestras Karen Mersereau & Dr. Michael Helms Ms. Sarah Barney B. M. “Marti” Ripberger Anthem Blue Cross and Blue Shield Mrs. Nancy Ann Morris Dr. & Mrs. John E. Batchelder Yvonne H. Shaheen Arthur Jordan Foundation Dorit & Gerald Paul Mr. & Mrs. Michael Becher Randall & Deborah Tobias Barnes & Thornburg LLP Walt & Mary Prouty Suzanne B. Blakeman BMO Harris Bank Mary Frances Rubly Charles & Joyce Boxman Budweiser Zink Distributing Co, LLC Phyllis & Gary Schahet Mr. & Mrs. John Bratt Anonymous Citizens Energy Group Marlyne Sexton Donald & Barbara Broadlick Arts Council of Indianapolis and the The Clowes Fund Jeff & Cassandra Short Charles W. Brown City of Indianapolis Duke Energy Christopher A. Slapak & Michael J. Mr. Richard F. Brown & Mrs. The Christel DeHaan Family Erie Insurance Robertson Cathy Springer-Brown Foundation ExactTarget Mr. Kevin D. Taylor Michael & Mary Ann Browning Efroymson Family Fund Ice Miller LLP Roberta & Bill Witchger Mr. & Mrs. Walter P. Bruen, Jr. Eli Lilly and Company Indiana Arts Commission Dr. Christian Wolf & Elaine Mike & Pat Byers Indianapolis Power & Light Company Chase Holden-Wolf Ms. Jane Conley Indianapolis Symphony Orchestra MacAllister Machinery Company, Inc. Hsiu-Chiung Yang & Marian Mosior Dexter & Rosemary Cooley Association National Endowment for the Arts Jim & Rita Zink Stephen & Andrea Cranfill Lilly Endowment, Inc. Navient David & Consuelo Davis The Margot L. and Robert S. Eccles Nicholas H. Noyes Jr. Memorial Jack Everly & Ty A. Johnson Fund, a fund of CICF Foundation ADL Charitable Trust Ms. Carol J. Feeney Marsh Supermarkets, LLC. OneAmerica Financial Partners, Inc. Buckingham Foundation Inc. Dr. & Mrs. Richard W. Garrett Nina Mason Pulliam Charitable Trust R.B. Annis Educational Foundation CNO Financial Group Michael & Beth Gastineau Ruth Lilly Philanthropic Foundation Raymond James & Associates, Inc. Community Health Network Gary Ginstling & Marta Lederer Roche Diagnostics Dorsey Foundation Mr. & Mrs. Larry Glasscock Founders’ Society, Music Director Scott A. Jones Foundation Dow AgroSciences Charles & Susan Golden ($50,000+) St.Vincent Health Elba L. & Gene Portteus Branigin Mr. & Mrs. Thomas W. & Mary Rollin & Cheri Dick Telamon Corporation Foundation Inc. P. Grein Kay F. Koch The Martin D. & Mary J. Walker The Glick Family Foundation Steve L. Hamilton & Keith O. Sarah & John Lechleiter Charitable Foundation Fenneman Family Foundation Norwalk Ann M. & Chris Stack Fifth Third Bank Richard & Elizabeth Holmes Marianne Williams Tobias Founders’ Society, First Chair The Frenzel Family Charitable Lead Mr. & Mrs. W. Seymour Holt Richard D. Wood ($10,000-$19,999) Trust Dr. Sharon Hoog Anonymous (2) Hendricks County Community Dr. Ann H. Hunt The Honorable & Mrs. Alex M. Azar II Foundation Dr. and Mrs. Ronald Iacocca The Glick Fund, a fund of Central Mr. & Mrs. Robert Bader Indiana Members Credit Union Dr. & Mrs. Raymond V. Ingham Indiana Community Foundation Charlene & Joe Barnette The Indiana Rail Road Company Carlyn Johnson Printing Partners Mr. & Mrs. Barry J. Bentley Indiana University Health Partners Kimra Kidd Maestro Raymond Leppard & Dr. John Industrial Dielectrics Holdings Drs. Sandra & Charles Kinsella Founders’ Society, Concertmaster C. Bloom The Junior League of Indianapolis Ned & Wendy Kirby ($20,000-$49,999) Bryan & Elaine Brenner Macy’s Mrs. James L. Kittle, Sr. Anonymous Dr. & Mrs. Thomas A. Broadie Ricker’s David H. Kleiman Christina Bodurow Vincent & Robyn Caponi Ronald McDonald House Charities of Don & Jen Knebel Trent & Amy Cowles Mr. & Mrs. Daniel P. Carmichael Central Indiana and McDonald’s of Dr. & Mrs. Eugene P. Kroeff Ann Dettwiler Mr. & Mrs. James M. Cornelius Central Indiana Nancy Lilly Phil & Colleen Kenney Mr. Daniel Corrigan The Sells Group Dr. Richard E. Lindseth Dr. & Mrs. E. Henry Lamkin, Jr. Fred & Priscilla Crawford Shaheen Family Foundation Greg & Alexandra Loewen Mr. & Mrs. Eli Lilly II Mr. & Mrs. James E. Dora Terry Lee Hyundai Dr. & Mrs. Carlos Lopez Dr. Gordon & Carole Mallett Erin & Scott Dorsey Tobias Family Foundation Ms. Karen Mangia & Mr. Thom Mrs. F. Bruce Peck, Jr. Mr. & Mrs. John Fazli Vectren Corporation England Dr. Kenneth & Mrs. Debra Renkens Craig & Mary Fenneman Mr. & Mrs. Morris Maurer Robert & Alice Schloss Don & Carolyn Hardman Stacy A. Maurer Founders’ Society Dr. & Mrs. Eugene Van Hove Emily and Peter Howard Mr. & Mrs. Bruce McCaw ($5,000-$9,999) Martin & Mary Walker Allan & Kathy Hubbard Robert H. McKinney Anonymous (7) David & Eleanor Wilcox Bob & Rhonda Kaspar Virginia Melin Mr. & Mrs. Jeffrey M. Adams Kathy & Ralph Wilhelm Joseph & Kathy Kessler Mr. & Mrs. Dayton Molendorp Thomas N. Akins Timothy J. & Cindy Konich Ellie, Weber & Emaline Morse Teresa & Don Altemeyer Dr. Gwen & Mr. Robert Krivi Jerry & Anne Moss Bob & Pat Anker

ANNUAL FUND John & Carolyn Mutz Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Holly & John Pantzer Kay Pashos & Neal Steinbart Mr. & Mrs. Thomas J. Pence Donald & Karen Perez Bart Peterson Zeb & Barbara Portanova Dr. & Mrs. Robert L. Rudesill Fred and Bev Ruebeck Margaret Cole Russell & Steve Russell Mr. & Mrs. William N. Salin Ms. Natalie Schneider Perry & Lisa Scott William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Michael & Carol Stayton Mr. & Mrs. Frank D. Walker Pete & Lena Ward Margaret Watanabe Mr. & Mrs. Daniel O. Weisman David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Sara & Michael Zeckel John & Linda Zimmermann Jennifer & Michael Zinn Ann & Gordon Getty Foundation Barefoot Wine The Barrington of Carmel BKD Bose McKinney & Evans LLP Care Institute Group, Inc. Charles W. Brown Foundation Chubb Group of Insurance Companies City of Carmel Cornelius Family Foundation, Inc. Deloitte & Touche LLP DMC Holdings, Inc. Faegre Baker Daniels FedEx Corporation Franklin Symphonic Council, Inc. Hoover Family Foundation Huntington Bank Indiana Space Grant Consortium James O. & Alice F. Cole Foundation Lacy Foundation The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF McCaw Family Foundation Meridian Dermatology Merrill Lynch MusicCrossroads The National Bank of Indianapolis NextGear Capital Regions Bank The Rock Island Refining Foundation Skiles Detrude The Stratford Winners Circle Conductor’s Circle ($2,500-$4,999) Anonymous (4) Mr. James Adams Dr. Albert Allen & Ms. Kathryn Maeglin

Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mr. C. Harvey Bradley Jr. Kenneth & Patricia Burow Dr. & Mrs. John T. Callaghan Elizabeth A. Chamberlin Nancy Christy Dave & Christie Crockett Fred & Alice Croner Robert Crouse & Anne Werry James J. & Barbara Curtis Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneed & Sam Sutphin Mr. & Mrs. Craig Doyle Robert W. Dyar, M.D. Ms. Phyllis Dye Turner Mrs. Marian Elliott Dorothy Schultz Englehart Dr. & Mrs. Michael E. Flaugh Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Julia & Doug Gard Lou Gerig David Gerstein, M.D. Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Bert & Martha Gorman Jim & Roberta Graham Christian & June Gries Mr. & Mrs. James Hancock Nancy J. Harrison Mr. Henry Havel & Ms. Mary Stickelmeyer Dr. David K. & Clarice F. Hennon Clarena Huffington Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear Mr. & Mrs. John C. Jenkins & Family Dr. & Mrs. C. Conrad Johnston Mr. & Mrs. John Jokantas Daniel H. Joseph & Liu Li Dr. Louis N. Jungheim & Dr. Thalia Nicas Dr. and Mrs. John E. Kalsbeck Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Mr. & Mrs. Joseph C. Lanning Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Andrew J Macht Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Mr. & Mrs. Robert B. McNamara Susanah M. Mead Boris E. Meditch Pete & Cindy Method Flip & Cindy Miller Milton & Margaret Miller Jim & Jackie Morris Dr. & Mrs. Daniel H. Mowrey Peggy & Byron Myers F. Timothy & Nancy Nagler Mr. & Mrs. Guido Neels

Cindy Nichols Mr. & Mrs. Robert H. Orr Noel & Beth Outland Jane & Andrew Paine Jack & Katie Patterson Eloise Paul & Bill Lee Mel & Joan Perelman Carol Phillips Myrta J. Pulliam Dr. & Mrs. George F. Rapp Richard & Betty Lou Reasoner Jasmine Reese Mary Ann Dalton Rickert Dr. Merrill Ritter Tom & Ursula Roberts Mrs. John R. Roesch Nancy Ray Ross Mr. & Mrs. Todd K. Rutledge James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Drs. Lei Shen and Soomin Park Eric Siemers & Peggy Edwards Jackie Simmons & Tom Schnellenberger Dr. Mike Simmons Dick & Susan Simon Joanne & Gerald Solomon Dee & Tom Spencer Drs. Pamela Steed & Peter Furno Sydney L. Steele Jim & Cheryl Strain Drs. Randall & Bonnie Strate James Sweeney Norm & Dawn Tabler Dr. & Mrs. Reed Tarwater Mrs. David Thiel Dr. & Mrs. Ron Thieme Jeffrey & Benita Thomasson Dr. James & Linda Trippi Ms. Cathy Turner Martha Anne Varnes Joe and Sue Vertin Jane & Hugh Watson Dr. & Mrs. William Wheeler Anna S. & James P. White Bob & Marnie Wilken James & Joyce Winner Terence & Margaret Yen Barrie & Margaret Zimmerman The Ackerman Foundation DB Engineering LLC Donovan CPA Enflora Flowers for Business Ernst & Young LLP Firestone Building Products and Industrial Products First Person Hoosier Park at Anderson Indiana American Water Co., Inc. Indiana Farm Bureau Insurance Indiana Spine Group The Indianapolis Recorder ITT Technical Institutes J M Smith Foundation Jungclaus-Campbell Co., Inc. Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc RBC Wealth Management SEI Investments

The Shaw-Burckhardt-Brenner Foundation Sheila Fortune Foundation Skyline Club, Indianapolis Smoke Free Indy Symphony at Sunset Group, Inc UnitedHealthcare Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (6) Dr. & Mrs. Wayne Ambrous Joan Baker Nicholas Barbaro & Sue Ellen Scheppke Mary Ruth Barnard Frank & Katrina Basile Spencer & Marcia Bavender James & Lynda Beckel Ms. Susan Bever Jay & Julie Bishop Mr. Benjamin & Mrs. Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Carla & George Boder Kirk & Sharon Boller -- Bottom-Line Performance Inc Dr. & Mrs. W. C. Bonifield Terry & Robert L. Bowen Alice Brown & Randy Trowbridge Gordon & Celia Bruder Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. Bert Curry Mr. Douglas Davies Mr. & Mrs. Gregory C. Davis Manuel & Sally Debono Julie & David DeWitt Dennis K. Dickos, M.D. Mr. & Mrs. Erold R. Diller Mr. & Mrs. Robert M. Donovan Mr. & Mrs. Dan Dumbauld Miss E. Frances Eickhoff Dr. Thomas & Paula Elam Andrew & Irene Engel Kristi Espiritu John N. & Julia Luros Failey Jim & Gracia Floyd Dr. Norm & Adrienne Fogle Dr. & Mrs. Mark Foglesong Dick & Brenda Freije Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Berl J. Grant Mr. & Mrs. Robert Gregory Ms. Julie Griffith John & Chichi Guy Bob Hallam Kenneth & Barbara Hamilton Joseph L. Hanley Mr. & Mrs. Richard A. Harrison Ms. Lisa Heid Mr. & Mrs. Jerome T. Henning Mr. & Mrs. Gerald V. Hinchman Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Holly & Scott Johnson Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn

ANNUAL FUND Dana & Marc Katz Donn & Dot Kaupke James & Jennifer Kelley Mr. Charles E. Kendall Patricia Kilbury Larry & Rose Kleiman Mr. Doug Klitzke Dr. Elisabeth Krug Mr. & Mrs. George Kyle Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Cindy & Rick Leffler Mr. & Mrs. Allan Litz Raplh & Nancy Lundgren John & Ingrid Mail Jon D. Marhenke, M.D. Linda & Carter Mathews Dr. & Mrs. Ronald Maus Ann & John McGrath Marni McKinney Nancy L McMillan Mr. & Mrs. Richard Menke Jim Miller Mr. & Mrs. Robert E. Miller Mrs. Ina Mohlman Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Elizabeth & William Murphy Jack & Judy Myers Mr. & Mrs. Daniel Mytelka Timothy S. Needler Mr. Carl & Dr. Loui Lord Nelson Tom & Nancy Newlin Mr. & Mrs. John S. Null Jackie Nytes Mrs. Martha O’Connor Bill & Jamie Parrish Allen H. Pekar Mr. Lee & Mrs. Patricia Perkinson Beverley & Bill Pitts Lois Pless Sue & David Powers Christine & Ken Price Scott & Susan Putney Patricia L. Ragan Mark & Susan Ridlen Mr. & Mrs. Randall Riggs Mr. & Mrs. Byron Robinson Gordon & Patsy Roe Parker & Sarah Ross Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Jerry & Rosie Semler Armen and Marie-Claude Shanafelt Michael & Priscilla Shaw Randall & Amy Shepard Mr. & Mrs. Jeff Smithburn Mr. & Mrs. Larry Speer Rita & Larry Steinberg Ed & Barbara Steward Richard & Lois Surber R. H. Temple Jerry & Linda Toomer Stephen L. Tracy Dr. James & Linda Trippi John & Kathy Vahle Joe & Diane Vande Bosche Scott & Sue Webber Courtenay & Emily Weldon

Emily A. West Mrs. Phyllis West Mrs. Mary Whalin Mrs. Lucy Wick Ken & Wendy Yerkes Josephine Yu Batt Family Foundation Conrad Indianapolis Endowment Development Services Gracia E. Johnson Foundation The Jenn Foundation The Indianapolis Recorder Mallor Grodner LLP Marni McKinney Foundation McKinney Family Foundation NTN Driveshaft Paul Family Foundation, Inc. The Penrod Society The Toomer Family Foundation Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (8) Kate & Dan Appel Mr. Wilbur L. Appel, Jr. Mr. Gregory & Mrs. Kimberly Arnott Mr. & Mrs. Bradford H. Arthur Mr. & Mrs. John S. Ayre Ms. Cindy Bailey Mrs. Taylor L. Baker Terry & Patricia Balko Meaghan Banks Clay & Karen Barnes Dean Barnhard Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Eric & Elaine Bedel Dr. & Mrs. Steven C. Beering Mr. & Mrs. Henry B. Blackwell Rev. James R. Bonke Mrs. Jeanne Book Erv & Priscilla Boschmann Mr. & Mrs. R. Robert Brafford Christine & Robert Broughton Matt & Janette Brown Terri Bruksch Mrs. Alva Buchholtz Randall & Ann Burgess Lorene M. Burkhart Celeste & Derrick Burks Helen Burnett Donald W. Buttrey Ms. Katharine Carr Mr. & Mrs. E. M. Cavalier Ray and Lisa Childers Dan & Laura Conder Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis Mr. Douglas B. Day Dr. & Mrs. Frank Deane Diantha V. DeGraw Mr. & Mrs. Joseph E. DeGroff Constance C. Earle Dr. Carmel Egan & Mr. Gerard Carthy Mr. & Mrs. Thomas J. Eggers

Ms. Linda A. Erickson David & Julie Eskenazi Sherry Faris Dr. & Mrs. Harvey Feigenbaum Linda Felton David & Ann Frick Mr. & Mrs. James F. Gallagher Mr. & Mrs. Raymond Gibson Marianne Glick Mr. Jonathan Gottlieb & Valerie Omicioli Thomas & Nancy Grembowicz Mrs. C. Perry Griffith Peter Grossman and Pauline Spiegel Jerry & Kathleen Hacker Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Velda Hamman Mr. & Mrs. Eugene E. Henn Mike & Noel Heymann Mrs. Sue Hirschman C. Jane Hodge Mrs. Ginny Hodowal Mrs. Jill Hoyle Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Ethan & Joyce Jackson David L. Johnson & Anne Nobles Mr. & Mrs. Richard Johnson Ty A. Johnson Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. Jerald W. King Richard & Roxanne Kovacs Barry Kroot Terrence & Jodi Kunstek Mr. Eric Everett Leiter Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Mr. & Mrs. John D. Long Lowell & Penelope Lumley Carey Lykins Mr. Kevin Malley & Mr. Ronal Nobles Mike & Jill Margetts Benton & Sandi Marks James R. & Rita E. Martin Dr. & Mrs. Douglas R. Maxwell Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley Dorothy J. McIver Alan & Ann McKenzie Mr. & Mrs. James Miller Dr. Bruce & Mrs. Stefany Mitlak Lucina B. Moxley Dr. and Mrs. Patrick J. Murphy Ann & Jim Murtlow Carolyn and Blake Lee Neubauer Mr. & Mrs. David L. Nickels Paul Nordby Lara Noren Thomas & Stacy O’Leary Michael & Lorelee Palmetier

Mrs. Karen L. Parrish Sally & Jay Peacock Linda Pence Jim and Ray Luther-Pfeil Gayle L. Phillips Larry & Nancy Pugh Roger & Anna Radue Jo & Chris Rathbun Bob & Carol Reynolds, Barnes & Thornburg Mrs. Mary L. Rice Jean & Lamar Richcreek The Riggs Family William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Bill & Gail Rodecker Mr. Gilva F. Sallee Dr. & Mrs. Gary R. Sampson Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Roger & Barbara Schmenner Paul & Martha Schmidt David & Kitty Sedgley Jonathon & Donna Sedgwick John Seest Mr. & Mrs. Henry E. Sleeth Mrs. Marian Small Nancy C. & James W. Smith Christy & Jeffery Soldatis Dennis Sponsel Betty & Alan Stanford Barb Stang T.S. Sun Nela Swinehart & Lonn Bayha Steven & Robin Tames Mr. John Tan Phillip A. Terry Mr. & Mrs. Robert Thomas The Throm Family Douglas L. Tillman Randall Trowbridge & Alice Brown Barbara S. Tully Jim & Leah Turner Lynn C. Tyler Constance Van Valer, M.D. Don & Coleen Walker Dr. Kevin Waltz & Rhonda Fox Waltz Mr. & Mrs. Bradley Warnecke Mr. & Mrs. Charles Warren Nick and Maureen Weber Frank & Sandy Weddle J. Anne Werry L. Alan & Elizabeth Whaley Mr. & Mrs. Frederic Wiese, Jr. Forrest Williamson Mr. & Mrs. Meredith L. Wilson Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Jim & Karen Wolf Mrs. Edna Woodard Turner & Diann Woodard Mrs. Irene Yacko Diana & Dan Yates Mr. & Mrs. Leslie R. Zimmerman Mary Ann & Gene Zink Sue & John Zinser

ANNUAL FUND Anonymous The Ruth E. Stilwell Endowment Fund, a fund of CICF Blankenship Vocational Services Cavalier Family Foundation Cole Hardwood, Inc. Dayton Foundation The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF Gracie Communications Gregory & Appel Insurance The Humke Foundation, Inc. Indiana First Lady’s Charitable Foundation, Inc. Indiana Utility Shareholders Association Milestone Ventures Inc Psi Iota Xi, Iota Tau RSE Realty, Inc Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey Straubinger Flutes Virtuoso ($750-$999) Anonymous (6) Michael D. Bartley Mark & Ann Bear Mr. & Mrs. Robert Berger Mr. & Mrs. George Boguslawski

Mr. & Mrs. Fred Boso Casey Chell Kevin M. Clements Mr. James & Mrs. June Conine Terry & Debbie Cottingham Daryl, Sherry & Kevin Cox Patrick and Jennifer Cross Norman Dean Jessica R. Di Santo Jack & Connie Douglas Judith Erickson Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dr. Matt Gardlik Ms. Dorothy Gitlin Dr. Gerald & Dr. Jean Godfrey Mr. Ray E. Gotshall & Ms. Lillian K. Fox John & Mary Ann Grogan Ms. Lauren Guidotti Mr. & Mrs. Alan Hamilton Mr. & Mrs. Chris Hanley Mr. & Mrs. Thomas G. Harvey, Jr. Stephen & Susan Henson Mr. Ronald N. Hermeling Abigail W. Hohmann Jack & Ruth Hoover Larry & Marianne Jacobi Catherine Jones Mr. William A. & Mrs. Elizabeth M. Kerr Dr. & Mrs. Jerry L. Kight

Robert & Cindy Kirkpatrick Dr. Yukiko Kitagawa Steve & Sharon Klusman Col. A. D. Kneessy Howard & Sarah Knight Mr. Richard & Mrs. Gwen Knipstein Mr. & Mrs. Tim Konrad Ms. Katherine Kovac Mr. Robbie Kusz Dennis & Karen Licht Mr. & Mrs. Donald R. MacPherson Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Dennis & Anne McCafferty Mr. & Mrs. Ralph McCormick Earl Miller & Ek-Leng Chua-Miller Lawren Mills Mr. Bill Moreau Dr. Kathy Moreira Graham Denby Morey Ms. Brittany Nehman David & Diane Nesbitt Dr. Donald and Mary Jean Orander Dr. John A. & Cinda Overman Muriel Patterson Marvin C. & Anne K. Perry Marian Pettengill John Mainella & Michael Pettry Janeann Pitz Scott A. Reef Diane Richardson

Ms. Judy Schaefer Saundra & Tuck Schulhof Dr. & Mrs. William Segar Carson & Carla Shadowen Dr. & Mrs. Robert K. Silbert Peter & Chris Smithhisler Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland Ms. Sarah Studzinski Claudia V. Swhier Mrs. Maggie Tatter Ms. Sheree Toney Paul & Gretchen Watson Mr. & Mrs. Clark Williamson Miss Gretchen Wolfram Dr. & Mrs. Steve Young Contributed Goods and Services ($5,000 and Above) Carol & Ken Bandy Blue & Co, LLC Buckingham Foundation Inc. Conrad Indianapolis Enflora Flowers for Business Lynch, Incorporated Mitsch design NUVO Newsweekly Printing Partners WTTS

Helping you recover body, mind and spirit St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to assist employees and their families in overcoming personal problems. EAP counselors are trained to deal with a wide variety of employee problems. They will offer you professional support and direction toward resolving the problem. Services offered include:

• Identification/Evaluation of problems • Short-term counseling • Educational workshops/seminars • 24-hour crisis phone line • Referrals to other resources such as legal services, physicians, financial counseling and more

if your company is interested in receiving more information about our program, please call 317.338.4900 or 1.800.544.9412.

st.vincent.org

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 December 16, 2015 â&#x20AC;&#x201C; December 31, 2015.

Honor Gifts In Honor of our outstanding new Principal Cello, Austin Huntington Geoffrey S. Lapin In Honor of Raymond Leppard The Christel DeHaan Family Foundation Maggie Bailey Mike & Noel Heymann Don and Carolyn Hardman Sue Staton Ann M. and Chris Stack

In Honor of Elliott, Weber and Emmaline Morse Jan M. Carroll In Honor of Susie and Jack Sogard Mr. and Mrs. John Elliott

Memorial Gifts In Memory of my mother, Kay Broughton, who supported the Symphony Patricia Broughton In Memory of John Fazli Don and Carolyn Hardman In Memory of Becky McKibben Cheryl Conwell In Memory of Rudolph Pollach Tom and Donna Pitz Nick and Barbara Pitz Marylynne Pitz Mike and Fay Pitz John and Jill Pitz

In Memory of Shari Robinson Carolynn Stern In Memory of Mr. Richard Small Mrs. Marian Small In Memory of former ISO Director Izler Solomon Anonymous In Memory of Mary E. Southwick Jerlyn S. Southwick In Memory of Pamela Steele Sydney L. Steele In Memory of Dr. Harry and Mrs. Ann Ray and Lisa Childers

GET SOCIA WHY I GIVE

WITH THE IS

There are many reasons to give to the ISO, and we want to know your story. Why do you give back to your musical community? Tell your #whyigive story on the ISO’s social media pages or by contacting Caily Wolma Lee at clee@indianapolissymphony.org or 317.229.7076. We would love to share your story! Check out the donor testimonials below for some #whyigive inspiration: “I give to ISO because I appreciate the hard work it takes to be a musician. I taught music in public schools for 31 years, was a church organist and pianist for 33 years. The Orchestra has never sounded better.” – Carolyn Bogue “The ISO is a community asset that absolutely transcends the ordinary! It deserves the full support of anyone who values the specialness of the performing arts.” – Dr. David Nealy “The ISO is a true artistic gem in this city!” – Anonymous “I’m a music teacher and believe the symphony does an outstanding job of taking music to all communities in the state through their outreach programs! This exposure is a great gift to children from diverse backgrounds and a language common to every ethnic background with no barriers!” – William and Sacha Adams

FOLLOW THE ISO ON SOCIAL MEDIA FOR CONCE BEHIND-THE-SCENES PHOTOS, “I think it’s important that the city has a great symphony orchestra. WeEXCLUSIVE aren’t always able to CO attend, but we give anyway.” VIDEO INTERVIEWS AND MORE! – Anonymous “I donate to hear the world’s greatest music… live.” – Matthew Turner

Tell us your story using the hashtag #whyigive on the following social media channels:

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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 the Director of Development at 317.262.1880.

btlaw.com

Anticipation Abounds! L E T U S E N T E R TA I N YO U

Unwind and Dine at the Stunning Home and Gardens of Landscape Architect Ron Tisdale Gourmet Dinner • Music by Tim Wright

Save the Date AUGUST 7, 2016 I N D I A N A P O L I S SYM P H O N Y O R C H E S T R A A S S O C I AT I O N

Bring friends to support the ISO’s education programs! One of the most delightful things about a garden is the anticipation it provides.

• W.E. Johns • 77

ADMINISTRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Orchestra Operations K. Blake Schlabach, Orchestra Personnel Manager L. Bennett Crantford, Assistant Personnel Manager Bekki Witherell Quinn, Administrative Assistant Operations and Facilities Joanne Bennett, Director of Operations Bethany Davis, Facilities Coordinator Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration Zack French, Director, Artistic Planning Gregg Gleasner, Artistic Advisor Andrew Koch, Manager, Artistic Planning Ty A. Johnson, Senior Director, Pops Programming and Presentations Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium Mallory Essig, Pops & Presentations Coordinator DEVELOPMENT Holly C. Johnson, Vice President Megan Meyer, Executive Assistant to the Vice President Casey Chell, Director of Development Rita Steinberg, Senior Major Gift Officer Missy Eltz, Director of Development Operations Meg Williams, Director of Development, Corporate and Foundation Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Danielle Dennis, Corporate Relations Manager Sally Meyer, Foundation and Grants Manager Cindy McHone, Gift Processing Manager Brian Oakley, Individual Giving Manager Caily Wolma Lee, Individual Giving Associate Eric Salazar, ISO Association Assistant

MARKETING & COMMUNICATIONS Sarah Ross, Director of Marketing Anja Hoover, Associate Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Marci Taylor, Graphic Designer Communications Leila Viera, Publications Manager Lauren King, Digital Communications Specialist Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Andrew Lay Senior Customer Care Representative Anita Blackwell Mary Ferguson Crystal Black Nick Neukom Erika Fowler Janine Knuutila Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune Linda Noble, Associate Director, Education Betty Perry, Artistic Director, Metropolitan Youth Orchestra Ruth Wolff, Director, ISO Learning Community Krystle Ford, Associate Director, Metropolitan Youth Orchestra Perry A. Accetturo, Education Program Coordinator FINANCE Steve L. Hamilton, Vice President Adam White, Controller Candi Berry, Staff Accountant Teaka Vest, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, Director Melissa Nelis, HR Generalist

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

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. You may also leave a message after hours, and a representative will respond promptly. Beyond the Concert Attend The J. K. Family Foundation Words on Music one hour before every Lilly Classical Series concert to hear from conductors and musicians performing that evening. Grab a drink and mingle with friends and ISO musicians after select evening concerts during Reverb. Also, join us for a behind-the-scenes discussion with special guests during First Mondays at the ISO. For information, please email firstmondays@IndianapolisSymphony. org.

Parking Garage Attached to Hilbert Circle Theatre Express Parking 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 after the concert. For our Coffee Concert patrons, parking is limited; therefore, we recommend garages at the Circle Centre Mall.

For more information, contact the Indianapolis Symphony Orchestra at 32 East Washington Street, Suite 600, Indianapolis, INâ&#x20AC;&#x2C6; 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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