V1_FY17 by Indianapolis Symphony Orchestra

MUSIC DIRECTOR |

PRINCIPAL POPS CONDUCTOR

The ISO and The Doo Wop Project Harry Potter and The Sorcerer’s Stone: In Concert! André Watts Plays Beethoven Hilary Hahn Mozart & Haydn Tribute to Prince Cirque De La Symphonie Goes Broadway! Harry Potter and The Chamber of Secrets: In Concert! An Evening with Raymond Leppard

SEPTEMBER & OC TOBER | VOLUME 1

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THE PROGRAM BOOK

2016–2017 Hilbert Circle Theatre

Programs 18 September 16, 17, 2016 23 September 23, 25, 2016 27 September 29, 2016 30 September 30, 2016 30 October 1, 2016 37 October 7, 8, 2016 44 October 13, 2016 58 October 14, 2016 45 October 15, 2016 61 October 21, 22, 2016 23 October 27, 30, 2016 64 October 28, 2016

Artists 19 Jack Everly 20 The Doo Wop Project 24 Justin Freer 31 Krzysztof Urbański 32 André Watts 38 Hilary Hahn 48 Bernard Labadie 49 Marc-André Hamelin 59 Bret Havens 62 Cirque De La Symphonie 63 Ben Crawford, Charles Metzger 61 Raymond Leppard 66 Rachele Gilmore

Featured Articles 11 Music In My Life 14 New Faces to the ISO 15 ISO Musicians Around Town 16 Inside the Usher Corps 74 Arts in Indy 86 Drinks & Dining

The Indianapolis Symphony Orchestra 6 Musicians of the ISO 7 Board of Directors 87 Indianapolis Symphony Orchestra Association 88 Administration

Departments 10 ISO Profile 89 Hilbert Circle Theatre Information Support 75 Endowment 78 Lynn Society 80 Annual Fund 84 Why I Give 85 Tribute Gifts 86 Corporate Sponsors

WELCOME Dear friends, Welcome to the 87th season of the Indianapolis Symphony Orchestra. This year, the Hilbert Circle Theatre celebrates its 100th Anniversary. The Theatre opened its doors on August 30, 1916 and became home to the ISO in 1984. Our Opening Night Gala with Principal Pops Conductor Jack Everly, along with Megan Hilty, George Takei, Angela Brown, Thomas Lauderdale and our very own Zach De Pue, will include musical tributes to Indiana’s bicentennial and the theater’s 100 years. Celebrating the theater’s rich film history, we will be presenting a number of films in the 2016–17 season. In November, audiences will be thrilled by the performance of Indiana Jones: Raiders of the Lost Ark as the ISO performs John Williams’ iconic score below the big screen. In March, the ISO debuts the world premiere of An American in Paris Live with Orchestra. And In September, October, May and June, the magic and music of the first three Harry Potter films will come to life on the Hilbert Circle Theatre screen and stage. If you have never seen a film presented with live orchestral accompaniment, I highly recommend this unique experience. And what a thrill to remember that Indianapolis residents were enjoying films right where you are sitting one hundred years ago! This season, our audiences will welcome back many familiar faces to the stage. Krzysztof Urbański returns with guests artists like Hilary Hahn and Dejan Lazić. He’ll also follow the intriguing 2016 Cosmos Music Festival with the 2017 Music of the Earth Festival. We’re excited for the return of former ISO music directors Raymond Leppard and John Nelson to the Hilbert Circle Theatre. And you’ll of course recognize the many faces of our incredible musicians stepping forward for solo opportunities. Look for special performances by principal oboe Jennifer Christen performing Bach’s Concerto for Violin and Oboe with violinist Gil Shaham in November, and concertmaster Zach De Pue performing Shostakovich’s First Violin Concerto in January. As we start our season reflecting on the history of the theater yet looking to the future, I can’t help but express my gratitude for our subscribers, donors, patrons and volunteers. More than 270,000 of you attended our concerts last season, and we look forward to seeing you again as we celebrate another year of music with our Indianapolis Symphony Orchestra. Thank you for your support,

Gary Ginstling Chief Executive Officer

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 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 Viola The Schlegel Chair Mike Chen, Acting Principal/ Associate Principal Beverly Scott, Assistant Principal 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 Jian-Wen Tong

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

Trumpet Conrad Jones, Principal The W. Brooks and Wanda Y. Fortune Chair Robert Wood Marvin C. Perry II, Acting Principal/ Assistant Principal Trombone James Beckel, Principal K. Blake Schlabach, Assistant Principal Riley Giampaolo Bass Trombone Riley Giampaolo The Dr. and Mrs. Charles E. Test Chair Tuba Anthony Kniffen, Principal

Oboe Timpani Jennifer Christen, Principal Jack Brennan, Principal The Frank C. Springer Jr. Chair The Thomas N. Akins Chair Sharon Possick-Lange Craig A. Hetrick, Assistant Principal Roger Roe, Assistant Principal Percussion English Horn Braham Dembar, Principal Roger Roe Craig A. Hetrick The Ann Hampton Hunt Chair Pedro Fernandez Clarinet David A. Bellman, Principal The Robert H. Mohlman Chair Cathryn Gross The Huffington Chair Samuel Rothstein, Assistant Principal 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 Jerry Montgomery The Bakken Family Chair Jill Boaz

Harp Diane Evans, Principal The Walter Myers Jr. Chair Keyboard The Women’s Committee Chair Endowed in honor of Dorothy Munger Personnel K. Blake Schlabach, Manager L. Bennett Crantford, Assistant Manager Library James Norman, Principal Librarian Laura Cones, Assistant Principal Librarian Susan Grymonpré, Assistant Librarian 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 Wendy Adams Don Altemeyer 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 Scott Martin 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 Carson Shadowen Yvonne H. Shaheen* Christopher Slapak J. Albert Smith Jr. Mary Solada 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.

INDIANAPOLIS

SYMPHONY ORCHESTRA

TELAMON CLASSICAL SERIES

AT THE PALLADIUM

THE PALLADIUM

KRZYSZTOF URBAŃSKI MUSIC DIRECTOR

SUBSCRIBE AND SAVE! 6 CONCERTS FOR THE PRICE OF 5 FREE Marsh Symphony on the Prairie ticket with every subscription order

HANDEL’S MESSIAH

MUSIC OF THE EARTH FESTIVAL: MAHLER'S DAS LIED VON DER ERDE

BEETHOVEN'S "EROICA"

Thursday, December 22, 7:30PM

Sunday, January 22, 3:00PM

Sunday, February 19, 3:00PM

The ISO with the Indianpolis Symphonic Choir

Krzysztof Urbański, Conductor

Edo de Waart, Conductor Tim McAllister, Saxophone

DEBUSSY'S LA MER

RACHMANINOFF'S SYMPHONIC DANCES

CARMINA BURANA

Sunday, March 12, 3:00PM

Saturday, May 6, 8:00PM

Sunday, June 11, 3PM

Jun Märkl, Conductor Jennifer Johnston, Mezzo Soprano

Matthias Pintscher, Conductor Kelley O'Connor, Mezzo Soprano

Krzysztof Urbański, Conductor Vale Rideout, Tenor Jochen Kupfer, Baritone Indianapolis Symphonic Choir Indianapolis Children's Choir

SUBSCRIBE TODAY! CALL 317.843.3800 ALL CONCERTS WILL BE HELD AT THE PALLADIUM AT THE CENTER FOR THE PERFORMING ARTS

JACK EVERLY, MUSIC DIRECTOR JOSH KAUFMAN, HOST

Yuletide Ad SUN

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DECEMBER 2016 YULETIDE PERFORMANCES 4

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Opening Night!

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

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Times in red denote SuperSaver performances. Times in green denote Premium Priced performances. *symFUNy Sundays presented by Dow AgroSciences performance is December 6 at 2pm. **Audio & Visual Impaired performance

BUY AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG 9

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, leading 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 2016–2017 In his sixth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Prokofiev, Mahler and Chopin and is collaborating with renowned soloists André Watts, Hilary Hahn and Dejan Lazić. Maestro Urbański also presents the Music of the Earth festival, a mid-winter festival of musical masterworks inspired by the majesty of our planet. In the Printing Partners Pops Series, Maestro Jack Everly is proud to conduct John Williams’ Indiana Jones: Raiders of the Lost Ark with film and orchestra, Sci-Fi Spectacular, celebrating the 50th anniversary of Star Trek, and Timeless Classics with music legend, Maureen McGovern. Upcoming special events include the 31st anniversary of the IPL Yuletide Celebration and the 100th anniversary of the Hilbert Circle Theatre.

CHARLES MOREY, Violin

MUSIC IN MY LIFE

“I like to try to identify with the composer of the piece I’m playing and see if I can interact with the same concrete images and emotions that originally inspired the note combinations on the page in front of me. Entering another person’s inner world, creating along with him or her, is such a unique and personal experience.” – Charles Morey, ISO Violinist Charles Morey was born in Fayetteville, West Virginia and began playing the violin at the age of two. Mr. Morey received his Bachelor’s and Master’s degrees in violin performance from the Cleveland Institute of Music where he was a student of William Preucil. A recipient of the Bock Scholarship, he was chosen in 2010 to study in an orchestra leadership program at the Music Academy of the West under San Diego Symphony concertmaster Jeffrey Thayer. Mr. Morey previously held positions such as concertmaster of the Ashland Symphony, Solon Philharmonic, Suburban Symphony, and section positions with the Rochester Philharmonic Orchestra. What/Who inspired you to play violin? When I was five, my parents took me to hear Pinchas Zukerman play a concerto with the Cincinnati Symphony, which made quite an impression on me. The most pivotal experience, however, was at age 11 when I watched a documentary of Isaac Stern on T.V. That was the moment when I took full ownership of my violin studies and immediately increased my daily practice routine from 20 minutes to multiple hours. Who is your favorite composer? I always love answering this question. How can one isolate a single composer, as though one’s entire experience of his/her music exists within a musical vacuum? Listening to Beethoven helps me understand Mahler. Mozart juxtaposed with Haydn helps me understand what each one is and isn’t, etc. In other words, as I become more familiar with each composer, my appreciation for other composers increases as well! That said, I adore Haydn, Mozart and Beethoven and feel very passionate about new music as well. What do you enjoy doing when you are not performing? I compose and arrange music as well as maintain a small teaching studio. My wife and daughter are the joy of my life. We like to spend as much time together as possible. As a family, we participate quite a bit in our church. If you could perform anywhere, where would it be? Wherever there are great colleagues, great music and great audiences. Hey, that sounds like I’m describing Indianapolis! One of the things I love about the ISO is being able to play in so many different spaces. Last season we played an all Mozart program outdoors at a winery surrounded by trees, vineyards and large, open spaces. It was the most magical pairing of repertoire and environment. What are you most looking forward to playing on the 16–17 Lilly Classical Season? Mahler’s Das Lied Von Der Erde is one of a handful of works that totally gripped me when I was about 14 years old, but to this day, I’ve never played it. The piece is so vivid, romantic and tragic—I guess you could say it provided me with a mirrored expression of my teenage angst. Interview as told to Leila Viera

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NEW FACES TO THE ISO Conrad Jones is the newly appointed principal trumpet of the Indianapolis Symphony Orchestra. Prior to this position, he served as principal trumpet of the Tucson Symphony Orchestra. During the summer season, he is principal trumpet of the Britt Festival Orchestra in Jacksonville, OR, under Music Director Teddy Abrams. A native of Long Island, NY, he recieved his Bachelor’s of Music in trumpet performance at the Cleveland Institute of Music before continuing onto the Professional Studies program at the Colburn School Conservatory of Music in Los Angeles, California. Mr. Jones has been a featured soloist with the Downey Symphony Orchestra, the Colburn Orchestra, the Cleveland Institute of Music Orchestra and the Tucson Pops! Orchestra. He made his solo debut with the TSO during the 14–15 season, performing George Tsontakis’ True Colors: Concerto for Trumpet and Orchestra. An avid chamber musician, Jones has performed with various new music ensembles, including LA based WildUp!, Cleveland based FiveOne, and Cantori Domino. Jones is a founding member of the Kyōdai Brass Quintet, a group started in Cleveland with his two younger brothers in 2009. Praised for their innovative and engaging outreach programs, Kyōdai’s most recent activity includes residencies with the Detroit Chamber Music Society and the Cleveland Chamber Music Society. They were awarded the Aspen Music Festival Brass Quintet Fellowship in 2013. Outside of Indianapolis, Jones has performed as guest principal trumpet with the Detroit Symphony, Phoenix Symphony, Malaysian Philharmonic and CityMusic Cleveland. He was acting 2nd trumpet with the San Francisco Ballet Orchestra during the 15–16 season. Former teachers include Michael Miller, Michael Sachs and Jim Wilt. Riley Giampaolo was born in Orange County, California, and grew up in Spring, Texas. He attended the New England Conservatory for his Bachelor’s of Music from 2014–2016, studying with James Markey until joining the ISO. In those two years, Riley has toured with multiple orchestras through countries such as Switzerland, Germany, Czech Republic, Denmark and China. In 2013, Riley was named the winner of the International Trombone Association’s George Roberts Bass Trombone Solo Competition. Additionally, Giampaolo was a fellow at the Schleswig-Holstein Musik Festival, based in Rendsburg, Germany, in the summers of 2015–16. There he has worked under many great conductors such as Christoph Eschenbach, Manfred Honeck, David Newman, and Vladimir Jurowski.

MUSICIANS AROUND TOWN

Jennifer Greenlee, Violin

Dean Franke, Violin

Victoria Griswold, Violin

Brian Smith, Contrabass

On September 18 at 3 p.m., the World Premiere of James Beckel’s (Principal Trombone) new work for brass choir, “Music for Brass and Percussion,” will be performed by the Indianapolis Brass Choir under the direction of Darin Sorley at St. Louis de Montfort Church in Fishers, Indiana. On Oct. 3 at 7:30p.m., ISO Assistant Concertmaster Dean Franke will join UIndy faculty violist Susan Chan (Dean’s wife, also a regular substitute in the ISO viola section) in presenting Duet No. 1 by Ronald McKean of California at Christel DeHaan Fine Arts. Written in 1990, the year Dean moved back to Indiana to join the ISO, the composition celebrates the longtime friendship and collaboration between Dean, Susan and Ronald since they met at Indiana University. The concert is free as a Faculty Artist Series event. For more information, please call (317) 788-3255 or visit undy.edu/arts/facs The ISO’s Teddy Bear Series presents free performances for children ages 3–6 at the Indianapolis Central Library downtown. All performances are free of charge: On October 4 & 8 at 11a.m. – “The Giant’s Violin” with Brian Smith, Jennifer Greenlee, Victoria Griswold, Amy Kniffen, Sarah Boyer. October 18 & 19 at 11 a.m. – “The Big Note” with Anthony Kniffen, Karen Moratz, John Wetherill, Victoria Griswold, Amy Kniffen Beckel’s piece, “The American Dream,” is being played three times for children’s concerts by the LaPorte County Symphony Orchestra on October 12, 2016. Philip Bauman is the conductor. On October 9 the Indiana Wind Symphony, directed by Charles Conrad, will perform Beckel’s “The Glass Bead Game” with I.U. professor Jeff Nelsen as soloist at 7 p.m. at the Palladium at the Center for the Performing Arts. The following Beckel pieces are part of the Indiana State University Contemporary Music Festival: On October 25, “Dialogues” will be performed by a faculty chamber ensemble at 7:30 p.m. at the University Hall Theater. On October 27, The Indianapolis Chamber Orchestra will perform “The Glass Bead Game” with soloist Jeff Nelsen at 7:30 p.m. in the Tilson Auditorium. On October 28,The Wind Ensemble will perform “Concerto for Trombone” at 7:30 p.m. in the Tilson Auditorium.

INSIDE THE USHER CORPS Ushers are Indianapolis Symphony Orchestra ambassadors and an integral part of our success! These volunteers are responsible for providing outstanding customer service to Hilbert Circle Theatre and Marsh Symphony on the Prairie patrons. Read the experience first-hand from one of our dedicated ISO volunteers, Chuck Wethington!

Chuck Wethington has been a wonderful volunteer for the ISO since joining the volunteer program in 2013. He has volunteered a total of over 350 hours! His warm, friendly and bubbly presence is loved by patrons, volunteers and staff. His energy is contagious, and the front of house team truly enjoys having Chuck in our volunteer family. The ISO is lucky to have such a fun, caring and passionate volunteer as a part of our team. Chuck Wethington was awarded the 2016 Volunteer of the Year award for his incredible dedication to the ISO. Tell us a little about your background. Where are you from and where do you work? I was born in Gary, Indiana, but spent most of my life in Louisville, Kentucky. I come from a large family of eleven brothers and one sister. I have worked three jobs in my life, all of which involved working in customer service. My most recent role at Lowes was working in the Garden Center as the Department Manager. My fellow volunteers often approach me with greenery advice. What motivated you to get involved as a volunteer for the ISO? My mom and dad referred me to the volunteer program after they had volunteered for several years. My partner, Eric, and I have volunteered together for three years now. Have you ever played an instrument? Yes, I actually took piano lessons for about nine years and after a thirty year hiatus, I have recently started playing again. Who is your favorite composer? I have always loved the music of Beethoven. What has been your favorite experience with the ISO so far? I would have to say the first time I walked in to the theaterâ&#x20AC;Śit truly is beautiful! Why is volunteering for the ISO important to you? I love volunteering my time for an organization that gives so much back to our community. What would you tell someone that is considering volunteering with the ISO? Volunteering with the ISO is a great way to get involved with the community. Come join us! Each time I volunteer I feel like I am an important member of the ISO family.

FILM + ORCHESTRA

Friday, November 18, 8PM | Saturday, November 19, 2PM & 8pm Sunday, November 20, 3PM Hilbert Circle Theatre The film that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure–Raiders of the Lost Ark–with John Williams’epic score performed live to picture by the Indianapolis Symphony Orchestra. TITLE SPONSOR:

PREMIER SPONSOR:

BUY TICKETS AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG

The Indianapolis Symphony Orchestra is currently accepting volunteers for this year’s

IPL Yuletide Celebration! Learn more by attending our Tuesday, November 15 volunteer training at the Hilbert Circle Theatre. Registration begins at 6:00PM. RSVP by contacting our Volunteer Services Manager, Donna Finney at Dfinney@IndianapolisSymphony.org – 317.231.6792.

SEPT 16, 17

THE ISO AND THE DOO WOP PROJECT

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Pop Series/Program One† Friday, September 16, 2016, at 11 a.m. Printing Partners Pops Series/Program One Friday, September 16, 2016, at 8 p.m. Saturday, September 17, 2016, at 8 p.m.

JACK EVERLY, Conductor THE DOO WOP PROJECT, Vocalists DOMINIC NOLFI SONNY PALADINO RUSSELL FISCHER DOMINIC SCAGLIONE JR. CHARL BROWN DWAYNE COOPER

Selections to be announced from the stage.

Premier Sponsor

† This performance has no intermission. Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC.

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

JACK EVERLY, Conductor Jack Everly is the Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, the New York Pops at Carnegie Hall and appears regularly with the Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. These concerts attract hundreds of thousands of attendees on the lawn and the broadcasts reach millions of viewers and are some of the very highest-rated programming on PBS television.

SEPT 16, 17

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

Mr. Everly is the also Music Director of the IPL Yuletide Celebration, now a 30 -year tradition. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One,

SEPT 16–17

THE DOO WOP PROJECT, Vocalists

The Doo Wop Project begins at the beginning, tracing the evolution of Doo Wop from the classic sound of five guys singing tight harmonies on a street corner, to the biggest hits on the radio today. Throughout the show, The Doo Wop Project takes audiences on a journey from foundational tunes of groups like the Crests, Belmonts and Flamingos through their influences on the sounds of Smokey Robinson, the Temptations and the Four Seasons, all the way to Michael Jackson, Jason Mraz and Amy Winehouse. Featuring current and former stars of Broadway’s smash hits Jersey Boys and Motown: The Musical, the Doo Wop Project brings unparalleled authenticity of sound and vocal excellence to recreate—and in some cases entirely reimagine—some of the greatest music in American pop and rock history. The six members of the Doo Wop Project include: Dominic Nolfi, founding member of the Doo Wop Project, was last seen in the world premiere Production of A Bronx Tale: The Musical directed by Robert DeNiro and Jerry Zaks, written by Chazz Palminteri. Broadway Credits include: Jersey Boys and Motown: The Musical. Sonny Paladino, the Music Supervisor for the Broadway-bound musical Natasha, Pierre and the Great Comet of 1812 and the Music Director/Conductor for the Broadway revival of Smokey Joe’s Café. Recent credits include Associate Conductor of The Last Ship as well as Associate Conductor of the Tony winning best revival, Pippin. Russell Fischer, standing 5’6” with his tenor voice and falsetto range, landed the role of Joe Pesci in the Broadway company of Jersey Boys on his 22nd birthday. He also spent the next six years as an understudy for the role of Frankie Valli, which he performed many times. Dominic Scaglione Jr is currently playing the role of Frankie Valli with the Broadway company of Jersey Boys. He has also played the role in the Las Vegas and Chicago companies. Dominic was personally asked by Frankie Valli and Bob Gaudio to sing for Frankie’s induction to the New Jersey Hall of Fame, and has also performed on The Oprah Winfrey Show and The Tony Awards. He was signed to a record deal right out of high school by Sony Records and toured with Destiny’s Child and Christina Aguilera. Charl Brown has just completed a six-month stint on London’s West End reprising his roll as Smokey Robinson in Motown: The Musical, for which he was nominated for a 2013 Tony Award for Best Featured Actor in a Musical on Broadway. In 2014, Charl was honored to work with legendary composer/lyricist Steven Schwartz playing the roll of Adam/Noah in Children of Eden in Concert at the Kennedy Center. Charl is a proud graduate of the University of Southern California School of Theater. Dwayne Cooper, “The Bass,” is from Florence, SC. Currently residing in NYC. He is often considered a hybrid of Barry White meets Sammy Davis, Jr. He started singing in a Christian acapella group in his teenage years, and after graduating from The University of South Carolina, he quickly got his feet wet with the Broadway casts of Hairspray and Motown: The Musical.

North America’s most talented young pianists will perform at Ball State University this fall. The 2017 Hastings International Piano Concerto Competition will hold preliminary auditions at Ball State—one of only four sites worldwide— for the second consecutive year, and the university will host a recital by the 2016 winner, Tzu-Yin Huang. Ms. Huang’s performance and the auditions will be held in Sursa Performance Hall, a venue blending world-class acoustical design with musical intimacy. Performances October 6, 7:30 p.m.—Piano recital by Tzu-Yin Huang. Patrons attending Ms. Huang’s recital may use their ticket stub for free admission to any or all of the competition audition dates. October 7–9 (audition times TBA)—Auditions for one of the world’s most prestigious piano competitions. Other sites are London, Tokyo, and Hamburg, Germany. The top pianists at each site will advance to the final stages of the competition in Hastings, England, in February. For tickets, call 765-285-1539 or 877-99-EMENS.

bsu.edu/music/hastings

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HARRY POTTER AND THE SORCERER’S STONE SEPT 23, 25/OCT 27, 30 Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Specials and Presentations Friday, September 23 at 7:30 p.m. Sunday, September 25 at 3:00 p.m. Thursday, October 27 at 7:30 p.m. Sunday, October 30 at 3:00 p.m. Hilbert Circle Theatre JACK EVERLY, Conductor (September 23, 25) JUSTIN FREER, Conductor (October 27, 30) John Williams (b. 1932)

Harry Potter And The Sorcerer’s Stone In Concert

Brought to you by CINECONCERTS HARRY POTTER, CHARACTERS, NAMES AND RELATED INDICA ARE ™ OF AND © OF WARNER BROS. ENTERTAINMENT INC. HARRY POTTER PUBLISHING RIGHTS © JKR. (S16) Please refer to Maestro Everly’s bio on page 19. Recording or photographing any part of this performance is strictly prohibited.

OCT 27, 30

JUSTIN FREER, Conductor

American composer/ conductor Justin Freer was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and has quickly become a highly soughtafter conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, playing in wind ensembles, marching bands and community orchestras. He quickly turned to piano and composition and composed his first work for wind ensemble at age eleven. Continuing trumpet performance while studying piano and composition, Freer saw multiple wind ensemble, choral and big band performances of his music while still a teenager and gave his professional conducting debut at age sixteen. Continually composing for various different mediums, he has written music for worldrenowned trumpeters Doc Severinson and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music at some of the most well known concert halls, festivals, music clinics and conventions in the world. Major League Soccer called upon Freer to compose and conduct music for the 2011 and 2012 Major League Soccer Championship Cups in Los Angeles, CA. He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns

including Avatar, The Day the Earth Stood Still, Dragonball Evolution and Aliens in the Attic. As a conductor, Freer has appeared with many of the world’s leading orchestras including the Philadelphia Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Philharmonia Orchestra and Sydney Symphony Orchestra. Upcoming seasons will include his debut with the New York Philharmonic, London Philharmonic and Tokyo Philharmonic and repeat performances with the orchestras of Philadelphia, Chicago, St. Louis and others. Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evokes moments of highly charged drama, alarming strife and serene reflection.” In recent seasons his works have been performed by the Musashino Academia Musicae Wind Ensemble, Texas All-State Symphonic Band, the Grand Symphonic Winds and the wind bands of the University of North Texas, Purdue University, Kansas State University, University of North Dakota, University of Illinois, Indiana University, UCLA, St. Cloud State University, and Cal State University, Los Angeles, among many others. His music has also appeared as a subject of discussion at the Oxford Round Table of Scholars and has been performed throughout the world from New York City’s Carnegie Hall to Tokyo Opera City Concert Hall. Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

SYMPHONY ORCHESTRA

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SATURDAY, OCTOBER 29, 2016 • 7:30PM SATURDAY, OCTOBER 29, 2016 • 7:30PM

HILBERT THEATRE HILBERT CIRCLE CIRCLE THEATRE 45 MONUMENT CIRCLE, INDIANAPOLIS, IN 45 MONUMENT CIRCLE, INDIANAPOLIS, IN

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ANDRÉ WATTS PLAYS BEETHOVEN

SEPT 29

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program One Thursday, September 29, 2016, at 11:15 a.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor ANDRÉ WATTS, Piano Ludwig van Beethoven Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 (1770–1827) Allegro moderato Andante con moto Rondo: Vivace André Watts, Piano Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 (1770–1827) Poco sostenuto - Vivace Allegretto Presto Allegro con brio

This performance is endowed by Marianne Williams Tobias.

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

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DISCOVERING AMERICA’S WORLD-CLASS PIANISTS

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ANDRÉ WATTS PLAYS BEETHOVEN

SEPT 30, OCT 1

Overture to Egmont, Op. 84

Ludwig van Beethoven Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 (1770–1827) Allegro moderato Andante con moto Rondo: Vivace André Watts, Piano

INTERMISSION - Twent y M i n ute s

Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92 (1770–1827) Poco sostenuto - Vivace Allegretto Presto Allegro con brio This performance is endowed by Marianne Williams Tobias. Premier Sponsor

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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.

KRZYSZTOF URBAŃSKI, Conductor SEPT 29 – OCT 1

“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” stated the Chicago Tribune when describing conductor Krzysztof Urbański who, in September 2016, enters the sixth season of his highly acclaimed tenure as Music Director of the Indianapolis Symphony Orchestra. In his final season as Chief Conductor and Artistic Leader of Trondheim Symfoniorkester, Urbański leads the orchestra in performances of Stravinsky’s The Rite of Spring, Bartók’s Concerto for Orchestra, Brahms’ Requiem and concludes his successful tenure with Mahler’s Symphony No.1. Previous highlights 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. In September 2015, Urbański formally became Principal Guest Conductor of NDR Elbphilharmonie Orchester and this season, in addition to concerts in Hamburg they tour Japan with soloists Alice Sara Ott and Sayaka Shoji.

Alongside his performances in Hamburg, this season sees the release of two discs recorded with NDR Elbphilharmonie Orchester: Dvořák’s Symphony No.9 for Outhere and Chopin small pieces for piano and orchestra with Jan Lisiecki for Deutsche Grammophon. Also soon to be released is Martinu’s Cello Concerto No.1 recorded for Sony with the Berliner Philharmoniker and Sol Gabetta. In addition, his discography includes “holly excellent renderings” (Gramophone) of Lutosławski works for Alpha Classics with NDR Elbphilharmonie Orchester. In 2016–17, Urbański’s European season includes his debut with the Netherlands Radio Philharmonic Orchestra and reinvitations to Rotterdam Philharmonic Orchestra, Tonkünstlerorchester, Philharmonia Orchestra, Münchner Philharmoniker, and Wiener Symphoniker for their annual Beethoven Symphony No.9 New Year concerts. Past debuts include Berliner Philharmoniker, London Symphony and Oslo Philharmonic orchestras. In North America, Urbański returns to the Toronto Symphony Orchestra, Los Angeles Philharmonic and Washington’s National Symphony Orchestra. His recent U.S. debuts include The Cleveland Orchestra, New York Philharmonic, and Chicago and San Francisco Symphony orchestras. In June 2015, Urbański received 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 this award.

SEPT 29 – OCT 1 ANDRÉ WATTS, Piano André Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic on one of the orchestra’s Young People’s Concerts, a concert which was broadcast nationwide on CBS-TV. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt’s E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion. More than 50 years later, André Watts remains one of today’s most celebrated and beloved superstars. A perennial favorite with orchestras throughout the US, Mr. Watts is also a regular guest at the major summer music festivals including Ravinia, the Hollywood Bowl, Saratoga and Tanglewood. Recent and upcoming engagements include appearances with the Philadelphia Orchestra in Philadelphia and on tour, the New York and Los Angeles Philharmonics, the Minnesota Orchestra, and the St. Louis, Atlanta, Detroit, Cincinnati, Dallas, Houston, Baltimore, Indianapolis, Nashville and National symphonies among others. In celebration of the Liszt anniversary in 2011, Mr. Watts played all-Liszt recitals throughout the U.S., while recent international engagements include concerto and recital appearances in Japan, Hong Kong, Germany and Spain. André Watts has had a long and frequent association with television, having appeared on numerous programs produced by PBS, the BBC and the Arts and Entertainment Network, performing with the New York Philharmonic, Boston Symphony,

Philadelphia Orchestra, Mostly Mozart Festival Orchestra and the Chamber Music Society of Lincoln Center among others. His 1976 New York recital, aired on the program Live From Lincoln Center, was the first full length recital broadcast in the history of television, while his performance at the 38th Casals Festival in Puerto Rico was nominated for an Emmy Award in the category of Outstanding Individual Achievement in Cultural Programming. Mr. Watts’ most recent television appearances are with the Philadelphia Orchestra on the occasion of the orchestra’s 100th Anniversary Gala and a performance of the Brahms Concerto No. 2 with the Seattle Symphony, Gerard Schwarz conducting, for PBS. Mr. Watts’ extensive discography includes recordings of works by Gershwin, Chopin, Liszt and Tchaikovsky for CBS Masterworks; recital CD’s of works by Beethoven, Schubert, Liszt and Chopin for Angel/EMI; and recordings featuring the concertos of Liszt, MacDowell, Tchaikovsky and Saint-Saens on the Telarc label. He is also included in the Great Pianists of the 20th Century series for Philips. In May 2016, SONY Classical released André Watts—The Complete Columbia Album Collection, which features all of the concerto and solo recordings which Mr. Watts made for Columbia Masterworks. The 12 CD set includes his legendary recordings of concertos by Rachmaninoff, Brahms, Chopin, Tchaikovsky and Liszt with conductors Leonard Bernstein, Seiji Ozawa, Erich Leinsdorf and Thomas Schippers, and solo works by Liszt, Beethoven, Schubert, Debussy, Chopin and Gershwin. Mr. Watts was appointed to the Jack I. and Dora B. Hamlin Endowed Chair in Music at the Jacobs School of Music at Indiana University in May, 2004.

Notes

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By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Overture to Egmont, Op. 84 Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria

In the past, Goethe had often found Beethoven’s music to be “overblown and incomprehensible.” How then, did Beethoven receive a commission for this project? In fact, the commission came from Joseph Hartl, manager of the Court Theaters in Vienna, who wanted to bring plays by Goethe and Schiller to the theatre. Beethoven was enthusiastic; the topic aligned perfectly with the composer’s morality, sensibilities and political views.

A famous painting by Carl Rohling painted in 1887 was titled “The Incident at Teplitz”, capturing the famous meeting between Goethe and Beethoven on July 21, 1812 in that city. Beethoven, wearing his hat, is in the foreground moving away from Goethe, who is bowing to royalty with hat removed. Twenty-one years separated the two men, and but far more than two decades separated their political positions. “Goethe delights in the court atmosphere far more than is becoming to a poet,” Beethoven KRZYSZTOF On April 12, 1811, URBAŃSKI, Beethoven wrote to MUSIC the poet, stated to his publishers, Breitkopf and “I am in a position to approach you Hartel. At the time, Beethoven only with the deepest reverence… explained, “I waited for you You will shortly receive from [Goethe] because I respect you Breitkopf and Hartel [for which and admire your work, but he received 1,400 gulden] you have shown too much the music to Egmont… I esteem to those people…” should like to know your For Goethe, Privy Counsellor opinion…” (information at the Weimar Court, it was derived from Chicago absolutely correct to show Symphony Orchestra program deference and respect. notes, 1921–22). Hence, the face to face meeting in Teplitz The meeting at Teplitz was came naturally in the course of the first time the two men had musical decisions. Goethe’s play met in person, primarily to go over with Beethoven’s nine incidental music Beethoven had composed for a repieces and Overture was fully staged in staging of his play “Egmont in Weimar.” In 1822, 1814 but critical response was bleak. Only the reminiscing with the critic Friedrich Rochlitz, Overture took off in the musical world after Beethoven remembered, “How patient the great its premiere, and the incidental pieces were man was with me…how happy he made me performed at the Hofburg Theatre on May 24, then! I would have gone to death, yes ten times 1810. Beethoven had written the music in 1809. to death for Goethe. Goethe… he lives and The play, originally penned by Goethe in 1787, wants us all to live with him. It is for that reason eventually sank into obscurity. that he can be composed.” The admiration was not mutual. Goethe, in a letter to the critic Carl For Beethoven, this composition was a Zelter, noted that Beethoven “had an absolutely chance to provide a musical counterfoil to the uncontrolled personality, he is not altogether contemporary Napoleonic juggernaut. Count wrong in holding the world detestable, but Egmont deserved to be remembered for his surely he does not make it more enjoyable for fighting for human freedom (against Spanish himself or others by his attitude.” He grudgingly Oppression), and it was time to highlight the admitted, however, that, “Beethoven has done relevancy of his martyrdom. His Overture wonders matching music to the text.” chronicles the sixteenth century story of Lamoral, Count Egmont of the Netherlands who

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defied a Spanish attack captained by the Duke of Alva. The Overture opens with a long-held, heavy, F minor chord (Egmont in prison) followed by a slow Sarabande in a 3/2 meter. The weight of Spanish occupation is clear. After a repetition, the Spanish dance leads directly into a triple meter Allegro filled with lyrical tunes. Their poignancy clearly insures imminent tragedy. These gentle melodies provide no freedom from destiny. As the music progresses, the measured rhythms from the opening gain urgency and momentum which leads to a huge climax that explodes during the Egmont-Spanish battle. Eventually, the woodwinds chant a somber funeral prayer. Egmont has been defeated, and in fact, beheaded. His lover, Claechen, is represented in a gentle set of melodies… and, in the drama, she promises that Egmont’s death will provide fuel for a later revolt. But, Beethoven has a surprise for us—all is not lost. Goethe had specifically asked that the ending not be a lament, and Beethoven took him at his word. In place of a summarizing coda, the composer adds new material in a Victory Symphony, emerging in high spirits in the sunny key of F major. Horn and trumpet fanfares abound. The righteousness and vitality of Egmont’s struggle survived the moment of defeat. Theodore Adorno, the great German social thinker wrote, “If music tries to stay strictly within its autonomous confines, it becomes co-optable, living a harmless life in its appointed niche.” Beethoven did not let that happen, and in the Overture to Egmont he provided both lesson and hope. The ISO’s last performance of Beethoven’s Overture to Egmont was May, 2006, conducted by Mario Venzago. Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria Beethoven’s early fame derived not only from his compositions but his brilliance as a pianist. Arriving in Vienna at age 22, he aggressively

displaced pianists Joseph Geklinek and Daniel Steibelt who had been the darlings of Vienna’s musical society. Clearly displaced, Geklinek remarked, “Ah, Beethoven is no man, he is the devil. He will play me and all of us to death!” The composer even engaged in a piano duel with Steibelt to determine who was the better improviser, and he won hands down by slyly using one of Steibelt’s own tunes as the subject for his improvisations. Afterwards, Steibelt left Vienna, never to return. The five piano concerti were written not only as important vehicles for Beethoven’s musical thought and innovation but also as vehicles for his own virtuosity. As a set, they contain some of Beethoven’s most brilliant, heroic and exquisite writing. Sadly, he was only able to premiere the first four due to his failing health. Throughout his life, the piano keyboard was always home base for the composer—he composed at this keyboard and tested ideas herein. After ordering a Broadwood, six octave piano, he wrote the maker on February 3, 1818, “I shall regard this as an altar upon which I will place the choicest offerings of my mind to the divine Apollo.” Admiring Beethoven as a pianist, the manufacturer presented the instrument to the composer as a gift. Those who are interested in “Beethoven the Pianist” (and the same title) is a book by Tilman Skowroneck published in 2010. The Fourth Piano Concerto responded to innovations in piano development. At this time, three strings were provided for each note, and a new pedal system allowing a shift between one, two, or three strings, introduced new coloristic options. And the instrument had three additional high notes, which are used in this concerto. Yet despite these innovations, this concerto omits bravura keyboard display and opts for a radiant beauty. In a letter to his friend, pupil, composer, and secretary, Ferdinand Ries on July 16, 1823, Beethoven explained, “Candidly I am not a friend of allegri di bravura since they do nothing but promote mechanism.” One of his students, Countess Babette von Keglevics, recalled, “He was extraordinarily patient, but if I lacked expression, he became very angry.” Expressive playing lies at the heart of the Fourth Piano Concerto, and its gentle triumph

Notes broke new ground for the concerto concept. Far from the crashing keyboard attacks for which Beethoven was well known, this concerto demands savoir-faire, discipline, subtlety, control, exquisite legato playing and finesse. The concerto’s uniqueness perhaps is responsible for its lack of popular traction for many years. It was performed only twice in Beethoven’s lifetime, and not until Mendelssohn revived it in 1836 did it begin to receive justified acclaim. Hence George Grove called it “Beethoven’s Cinderella.”

SEPT 29 – OCT 1

and most magical.

An aggressive third movement begins without pause from the second. Strings burst with a flourish, declaiming an energetic tune. The soloist quickly joins in the merrymaking with instant rapport. Trumpets and drums add accent and color. A lyrical second theme emerges, but the consistent mood is propulsive. A long coda brings the concerto to a close. With this work, Beethoven revealed that a concerto does not have to be bombastic in order to leave His Fourth Piano Concerto debuted in 1807 at the us spellbound. palace of Beethoven’s patron, Prince Lobkowitz. Its public debut occurred in a remarkable five The ISO’s last performance of Beethoven’s hour concert on December 22, 1808, which Concerto No. 4 in G Major for Piano and also premiered the Fifth and Sixth Orchestra was February,MUSIC 2013, DIRE KRZYSZTOF URBAŃSKI, Symphonies, Mass in C and the conducted by Giancarlo Guerrero Choral Fantasy. featuring pianist Emanuel Ax. Beethoven opens the work with a soloist, eschewing the conventional Symphony No. 7 in A orchestral introduction. Major, Op. 92 Very gently, the pianist Ludwig van Beethoven lifts the curtain by Born December 16, 1770 playing the first theme. in Bonn, Germany Then, the soloist drops Died March 26, 1827 in away and the orchestra Vienna, Austria begins by adding to the first subject and ushering in “My Grand Symphony in A…” a second melody in a minor key. —Letter from the composer to A smaller third idea is also generated impresario Peter Salomon, 1815. before the pianist reappears. The main topic of this movement concerns the soloist’s melody. A The Seventh Symphony is boisterous, intense, development section focuses almost exclusively energetic and tuneful. Opus 92 was completed on its potential. Beethoven wrote four cadenzas in 1812, the year in which Napoleon was for his concerto, and a pianist has a broad beginning to fail in his conquests, and this selection for his traditional moment of glory. status was undoubtedly pleasing to Beethoven. However, in this case, all are subdued affairs with Celebrating this turn of events, the Seventh gentle spirit. After the cadenza, the movement Symphony premiered at a concert in Vienna on concludes with a short coda. December 8, 1813, to benefit troops wounded in the Battle of Hanau, a small but tactical The second movement, an andante in E minor victory on October 31, 1813, which routed continues the discourse between soloist and Napoleon into a retreat in the War of the Sixth orchestra. A rather stern orchestral part vies Coalition. with the lyrical piano which comments with unsurpassed tenderness, both in dialogue and a The audience was pleased and demanded that ravishing monologue. David Ewen writes, “There the second movement be repeated. Beethoven, is perhaps nothing in all concerto literature to who was conducting, was energized, and match the kind of philosophic dialogue that Spohr reported in his Autobiography that “as a takes place for some seventy measures.” This is sforzando occurred, he tore his arms with great Beethoven at his most vulnerable, most tender vehemence asunder… at the entrance of a forte

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he jumped into the air.” A consistent rhythmic drive was intoxicating and stimulating. Antony Hopkins in The Nine Symphonies of Beethoven noted, “The Seventh Symphony, perhaps more than any of the others, gives us a feeling of true spontaneity—the notes seem to fly off the page as we are born along on a floodtide of inspired invention. Beethoven spoke of it fondly as “one of my best works…” Although Carl Maria von Weber wrote in his Beethoven Biography that “the extravagances of his genius have now reached the non plus ultra, and Beethoven must be ripe for the madhouse…” nothing could have been farther from the truth. In fact, just the opposite. The composer was in control of desperate personal circumstances, living in one of the most painful periods of his life. His deafness (attributable to arterial disease) was growing worse daily. His deep love affair with Theresa Brunswick had collapsed. (He had no success in romance during his lifetime… it was said that he proposed to sixteen women who all turned him down.) He needed money. In spite of all of this, he drove into one of the most creative periods of his lifetime, and with Opus 92 penned one of the most dramatic thrillers in his repertoire. Like the First, Second and Fourth symphonies, the Seventh begins with an introduction, in this case marked poco sostenuto. After a large orchestral A major chord, the oboe sings a wistful theme while clarinet, horn and bassoon latch onto the melody. The presentation is underscored by heavy orchestral punctuations marking the phrases. Two subsidiary melodies follow. After a small pause, strings begin to murmur, a stuttering repetition of E prepares for the vivace entrance of the flute, offering the folk-like, swaggering first theme. Beethoven then works his magic, taking the unpretentious tune and making the major subject of a large, complex movement. Although a second theme makes an appearance, it is the first which occupies the musical spotlight. Surprise and drama are added by Beethoven’s sudden dynamic changes and harmonic coloring. In spite of the Allegretto marking, the second movement is serious. At one point, Beethoven considered changing the marking to Andante quasi Allegretto since he did not want this

movement “taken too fast.” After an introductory chord from the winds, a persistent rhythmic pattern is established (a dactyl—long, short, short, then followed by two long) which haunts the movement. The pattern is simple and unforgettable. Two melodies, one insistent and steady, the other a gentle statement sung by violas and celli provide the thematic substance. Beethoven proceeds to spin exquisite variations on the first. The march theme was originally intended for the Third Razumovsky Quartet but found its ultimate destiny in this symphony. The movement closes with a sturdy fugal section which maintains its hold on the opening rhythmic pattern used throughout as an ostinato. At times, this movement has been excerpted and played alone on concert programs. Occasionally, conductors in the 19th century freely incorporated it within the body of the Second and Eighth symphonies to increase their popularity! The third movement pops out with a bright scherzo, bouncing in a skipping meter, irrepressibly filled with the joy of life. A small central trio in D major combines clarinet, bassoon, and horn, offering a contrasting interlude based on a hymn tune from southern Austria. Beethoven called for a repeat of this calming section before the buoyant scherzo resumes its original character. Apart from a tiny hint of a return of the placid trio, driving energy never fades, and the movement concludes in high gear with five sharp orchestral chords. The fourth movement, Allegro con brio, caps the symphony in another scherzo-like event encapsulated in Sonata form. He immediately releases all the stops at the first measure as the strings roar to the forefront with the rapidly boiling first theme. The second theme retains that ignition, adding to the cauldron. Toward the close, a flute sings a tiny recall of the opening theme of the first movement, but the fire consumes it, continuing into a blazing coda. The ISO’s last performance of Beethoven’s Symphony No. 7 in A Major was November, 2011 conducted by Christopher Campestrini.

HILARY HAHN

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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 Two Friday, October 7, 2016, at 8:00 p.m. Saturday, October 8, 2016, at 5:30 p.m. Hilbert Circle Theatre KRZYSZTOF URBAŃSKI, Conductor HILARY HAHN, Violin Sergei Prokofiev Symphony No. 1, Op. 25 (“Classical”) (1891–1953) Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace Sergei Prokofiev Concerto No. 1 in D Major for Violin and Orchestra, Op. 19 (1891–1953) Andantino Scherzo: Vivacissimo Moderato Hilary Hahn, Violin

INTERMISSION - Twent y M i n ute s

Sergei Prokofiev Suite from Romeo and Juliet (1891–1953) The Montagues and Capulets The Street Awakens Morning Dance Juliet as a Young Girl Masks (Romeo, Mercutio and Benvolio in Masks) Balcony Scene Dance of the Five Couples Death of Tybalt Romeo and Juliet Before Parting Morning Serenade Dance of the Girls with Liilies Juliet’s Funeral Death of Juliet Premier Sponsor Associate Sponsor

This performance is endowed by the Florence Goodrich Dunn Fund. Please refer to Maestro Urbański’s bio on page 30. Length of performance is approximately two hours. Recording or photographing any part of this performance is strictly prohibited.

OCT 7,8

HILARY HAHN, Violin

In the two decades since her professional debut, threetime Grammy® Award-winning violinist Hilary Hahn has brought her virtuosity, expansive interpretations and creative repertoire choices to diverse global audiences. Hilary Hahn took her first lessons in the Suzuki program shortly before her fourth birthday. From age five, she studied with Odessa native Klara Berkovich, and at ten, she was admitted to the Curtis Institute of Music. There, Hahn was a pupil of Jascha Brodsky, who had trained with both the Franco-Belgian master Eugene Ysaÿe and the Russian pedagogue Efrem Zimbalist. At 12, she made her major orchestra debut; at 16, she completed her university requirements. By the age of 19, when she received her Bachelor’s Degree after having delayed graduation in order to expand her studies, she was a full-time touring musician. Hahn’s ever-evolving approach to music-making and her curiosity about the world have made her a fan favorite. Hahn began recording at the age of 16. She has released 15 albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning recording for children, and various compilations. Her recordings have received every critical prize in the international press and have met with equal popular success. Her distinct approach to music shows a remarkable ability to honor the traditional violin literature while creating new opportunities for listeners.

In 2010, she released Jennifer Higdon’s Violin Concerto along with the Tchaikovsky concerto; Higdon’s work, written for Hilary Hahn, went on to win the Pulitzer Prize. In 2013, Hahn released In 27 Pieces: the Hilary Hahn Encores, the culmination of a multiyear project to renew the encore genre, for which she received a Grammy® Award in 2015. Her most recent album, released in spring 2015, references her musical heritage, featuring works by Mozart and Vieuxtemps and recorded with longtime colleagues Paavo Järvi and the Deutsche Kammerphilharmonie Bremen. Hahn’s gregarious personality reaches out to students, new listeners and anyone with an interest in music and the arts. She is an avid writer, posting journal entries and articles on her website, hilaryhahn.com. Additionally, she produces a YouTube channel, youtube. com/hilaryhahnvideos, where she frequently interviews guests from around the world. Elsewhere, her violin case comments on life as a traveling companion, on Twitter and Instagram at @violincase. She has appeared on the covers of most major classical music publications and has been featured in mainstream periodicals such as Vogue, Elle, Town & Country, and Marie Claire. In 2001, Hahn was named “America’s Best Young Classical Musician” by Time magazine. In January 2010 she appeared as guest artist, playing Bartók and Brahms on The Tonight Show with Conan O’Brien. Hahn has participated in a number of non-classical musical productions, appearing in two records by the alt-rock band …And You Will Know Us By The Trail of Dead, on the album Grand Forks by Tom Brosseau, and on tour with folk-rock singer-songwriter Josh Ritter.

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

Symphony No. 1, Op. 25 (“Classical”) dramatic new content Sergei Prokofiev into the mold. For Born April 27, 1891 in Sontzovka, Ukraine example, spikey, nonDied March 5, 1953 in Moscow, Russia lyrical themes replace the congenial, elegant, In his 25th year, Prokofiev decided that he would lyrical music of Mozart write “a symphony as Mozart or Haydn might and Haydn. Prokofiev’s have written it…had either one of them been tunes are filled with a contemporary… I christened it the Classical unexpected digressions Symphony first, because it sounded much more and “wrong notes.” Pungent harmonies and simple, and second, out of pure mischief ‘to tease dissonances replace the comfortable, expected the geese’ in secret hope that eventually the sounds of the past. symphony would become a classic.” He succeeded KRZYSZTOF URBAŃSKI, MUSIC in both intentions. In what he saw as the future of music, especially his own music, he explained, “I could The composer stemmed from not approve of adopting the idiom two musical cultures, the of another man and calling it Soviet Union and the one’s own… I think the desire West. He was a graduate which I and many of my fellow of the St. Petersburg composers feel, to attain a Conservatory, where more simple and melodic he was known as an expression is the inevitable iconoclastic, cheeky, direction of music of the arrogant young man who future.” The simplicity and dared to and enjoyed clarity of Mozart and Haydn breaking the rules. During were refreshing to him, but his time at the school, he in his Classical Symphony he often performed his own was doing far more than writing “shocking” compositions outside a caricature or a cartoon. “Out of the conservatory at the St. Petersburg bravado,” he stated, “I wanted to stir up a Evenings of Contemporary Music, dazzling some hornet’s nest.” For all its jocularity and fun, his and horrifying others. In fact, he was following “Classical” Symphony is more than a good joke. his own voice which he had formulated as a As Prokofiev had hoped, the symphony became child. As a youngster, he liked to compose small a classic, a sophisticated, enduring, appealing piano pieces he called “ditties” in which he work which has stood the test of time. As his first experimented with his personal, unique musical symphony it was also a harbinger of things to language: a language which was dissonant, come. utilized unusual phrasings, toyed with different time signatures and melodic structures. He was a The entire symphony is written on a small bold little musician, and at age eleven even tried scale— each movement is brief and to the to write a symphony. This boldness was not to be point. Its first movement begins with a tiny quelled. introduction, consisting only of two measures, and the immediate presentation of two His mother had provided traditional musical contrasting themes, sounding a bit like a very training for her son throughout his life; therefore, modern Haydn. In a bow to tradition, he tosses he was well acquainted with the standard in a Mannheim rocket, a fast ascending melodic classical musical forms and content, but often line which “takes off,” one of the novel effects found them corseting and unsuitable for his of the Mannheim school of the eighteenth imagination. In the “Classical” Symphony, he century. His second theme contains grace notes uses traditional sonata-allegro format, but pours reaching a span of two octaves. Formerly, grace

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notes were nestled more closely to the notes but now he is playing with the whole idea of decoration in a new way. A bar of silence (again a bow to the Mannheim school which inserted from time to time a “grand pause” of silence before resuming vigorously) also appears. In this case, the pause announces a witty development section, after which Prokofiev concludes with a “traditional” recapitulation section, but this recapitulation begins in the “wrong key” and only eventually recovers itself. A few extra beats here and there and unexpected tonal behavior fasten this symphony firmly in the twentieth century and in his oeuvre.

Prokofiev conducted the premiere of the “Classical” Symphony in Petrograd on April 21, 1918. The ISO’s last performance Prokofiev’s Symphony No. 1 was June, 2009 conducted by Juanjo Mena. Concerto No. 1 in D Major for Violin and Orchestra, Op. 19 Sergei Prokofiev Born April 27, 1891 in Sontzovka, Ukraine Died March 5, 1953 in Moscow, Russia

H I L B E RT C I R C the political, military and social KRZYSZTOF Despite URBAŃSKI, MUSIC DIRECTOR chaos in Russia in 1917, Prokofiev

The second movement spins a long, lyrical melody in the violins which is quickly restated by the flute. Prokofiev’s placement of the melody in a high register is a humorous touch; a classical symphonist would probably not have written music at this height. A second theme in sixteenth notes invokes winds, brass and timpani before closing with a small coda.

The third movement offers a burlesque of the stately classical minuet. Prokofiev substitutes a heavy and old leaping dance called a gavotte, which in its origins featured a lot of foot stamping. For good measure he includes a drone trio in the middle section. The fourth movement is exuberant, and continues the witty parody. Prokofiev’s music takes off in a brilliant pattern, exploring unusual modulations and quirky turns before dashing to the close. His light heartened escapade was written during a convulsive time in Russia. The czarist government was imploding; the military catastrophes of World War I were bearing down and political /social revolution was at hand. One month after completing the score, the Bolshevists threw over the Kerensky government. Six months after the coup,

managed to have one of the most productive years of his compositional life. Aside from the First Violin Concerto (using material from a Concertino written in 1915), he produced his Classical Symphony, the Third and Fourth Piano Sonatas, Visions Fugitives, Cantata Seven and his Third Piano Concerto. Only one year later would find the composer on the first of his seven visits to the United States, complete with a passport which had no expiration date (the result of a clever bribe to a corrupt passport official). The premiere of Opus 19 was delayed until 1923, when political uproars had faded, and Prokofiev had resettled in Paris.

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The premiere was not a good one. Composer Georges Auric, for example, called it “Mendelssohnian and derivative.” For chic Parisian audiences who wanted modern music to be avant-garde, the lyrical sweetness of this concerto seemed passe. Only one day before they had been treated to the premiere of Stravinsky’s crisp, sleek neo-classical Octet. However, violinist Joseph Szigeti was also in that audience; undeterred by critics, he was thrilled with the work, and a year later, he began touring with the concerto throughout Europe. In his Memoirs, he wrote that he liked Opus 19 because of “its mixture of fairy-tale naivete

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OCT 7,8

and daring savagery in a lay-out texture.” It was his endorsement which really put Opus 19 “on the map.” Other notables in that audience included Artur Rubinstein, Picasso and the prima ballerina, Anna Pavlova. Three days later, Opus 19 premiered in a violin/piano version in Moscow with Nathan Milstein and Vladimir Horowitz. “With a pianist like Horowitz, who needs an orchestra?” Milstein quipped.

orchestra, from time to time, is invited to offer background surges. Special orchestral coloration is also added by a relatively significant part for the tuba, which had also made an appearance in the previous movement. Midway through this section, the soloist repeatedly launches dazzling, brilliant passaggi which soar and land in the high registers. At the close we find the soloist wistfully declaiming the opening subject, now decorated with swirling trills on each There are three movements: slow, fast, slow, note, bringing the concerto to an evanescent reversing the usual structure of fast, slow, fast. The conclusion. ethereal first movement (sometimes likened to a Russian fairy tale) presents two major themes: The ISO’s last performance Prokofiev’s Concerto the first marked sognando (dreaming) and the No. 1 was March, 2008 featuring violinist, Alina second narrante (narrating.) Herein, we find Pogostkina, conducted by Hannu Lintu. Prokofiev’s talent for intimate, tender melody in an unguarded emotional moment. His first theme was written in 1915 during his love affair with Suite from Romeo and Juliet Nina Mescherskaya, the year he actually started Sergei Prokofiev work on the concerto, but turned away (for two Born April 27, 1891 in Sontzovka, Ukraine years) to work on The Gambler and other works. Died March 5, 1953 in Moscow, Russia The first theme enters quietly over soft shuddering violins. It flies effortlessly into high and low registers, steadily gaining passion. The second theme contrasts tidily with the first in standard sonata-allegro format. In the development section, the movement gains intensity and speed. At the end of this segment, the soloist takes charge in slowing down the pace, while leading into the recapitulation which opens pianissimo. The music ends quietly with the violin in the stratosphere, emphasizing the “fairy-like atmosphere” which had beguiled Szegeti. There is no cadenza. A scherzo offers bright, immediate contrast in the second movement with breathtaking pyrotechnics and a bit of humor in its saucy march, which occupies the center section. Sul ponticello passages, left hand pizzicati, glissandi and harmonics add color to the consistent virtuosic display. Soloist and orchestra are tightly knit in fast dramatic exuberance during sections one and three. Prokofiev’s last movement, moderato, returns to the serene pace of the first. It opens with a bouncing bassoon tune, building a platform for solo violin now entering sweetly as in the first movement. Passion and intensity increase steadily as the soloist gains energy, and when the

“Never was a story of more woe Than this of Prokofieff’s music for Romeo”… A toast to the composer from the ballerina, Galina Ulanova after the first premiere of Prokofieff’s Romeo and Juliet on January 11, 1940 The seventh of Prokofiev’s nine ballets is his setting of Romeo and Juliet, which has become a treasured classic. Early traumas stalking the ballet could have derailed its ultimate popularity, not only in the dance format but in the three orchestral suites as well. “In the latter part of 1934, there was talk of the Kirov Theatre of Leningrad staging a ballet of mine,” the composer recounted. “I was interested in a lyrical subject. Shakespeare’s Romeo and Juliet was suggested. But the Kirov Theatre backed out, and I signed a contract with the Moscow Bolshoi Theatre instead. In the spring of 1935, I worked out a scenario, consulting with the choreographer on questions of ballet technique. The music was written in the course of the summer, but the Bolshoi theatre declared it impossible to dance to and the contract was broken.” The dance company complained that the ballet was too short, that they could not hear the music which was “too soft” and that the rhythms were unpredictable. A later version, completed in 1938 and produced by the Kirov

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ballet in 1940, also resulted in complaints. At that time, Prokofiev declared, “Take it or leave it….You want drums not music!” Persuaded then to sit on the stage and listen, Prokofiev did acknowledge that the soft parts were hard to hear, and he relented a bit. “Very well, I shall rewrite the music here and there and add something,” he promised. By 1946, the music was rewritten, and the ballet performed with the Bolshoi on December 22, 1946, to great acclaim and considered “one of the finest productions ever presented at the Bolshoi.” Besides early complaints about the music, Prokofiev’s first version of the story also came in for trouble because the composer toyed with the bard’s plot and supplied a happy ending. “The reason for taking such barbarous liberty with Shakespeare’s play was purely choreographic—live people can dance, but the dying can hardly be expected to dance in bed…” the composer explained. The ensuing uproar was furious, and ultimately Prokofiev rewrote the story to conform to the Shakespeare play. What is interesting is the way that Prokofiev describes the circumstances, the characters and the emotions with his own musical style. In the Chicago Tribune in 1937, the composer explained “[My] Romeo and Juliet features a “new melodic line. “Which would have immediate appeal yet sound like nothing written before.” In his own way, Prokofiev succeeded in telling one of the greatest love stories of all time. And he succeeded in communicating the tragedy therein. The Shakespeare play begins: Two households, both alike in dignity. In fair Verona, where we lay our scene.From ancient grudge break to new mutiny. Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes. A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows. Do with their death bury their parents’ strife. Selections on this concert derive from three Romeo and Juliet orchestral suites: Opus 64bis, Opus 64ter, and opus 101. In order of presentation these are:

Montagues and Capulets, Opus 64b/1 (Suite 1): The opening comes from the ballet’s beginning scene and takes place at a ball, hosted by the Capulets. Juliet is presented to Paris, whom her parents have selected to be her husband. The ball is a masquerade attended by Verona’s high society. “These happy masks that kiss fair ladies’ brows Being black put us in mind they hide the fair…” In spite of the happy masks, there is seething hatred boiling between the two families which has spread into the citizenry. There is evil afoot, despite the revelry. In spite of that, the host announces, “Welcome gentlemen. Ladies that have their toes unplagued with corns will have a bout with you!” Four brisk chords open the music, followed by lilting dance music in 6/8 meter marked allegro giocoso. The mood remains consistently light, energetic, and carefree. A snappy ending concludes this section. Morning Dance, Opus 101/2 (Suite 3) Marked allegro, peppy, fast music opens this section. There are entertaining contrasts in dynamics, but the joyous mood prevails. Note the effective horn coloration. The Young girl Juliet, Opus 64b/2 (suite 2) Herein, we continue for a moment the speed of the previous two selections. Skipping violins dance quickly in the forefront. A middle section waxes lyrical before the zippy teenage enthusiasm resumes. Alternating sections move quickly before the reflection in the mirror transforms the mood into wistful and rather solemn, describing an intimate discovery of herself. The fourteen year old Juliet is having fun, teasing her nursemaid as they prepare for the Capulet ball. At the close she glances into a mirror and sees her reflection as a young woman. Masks, Opus 641/5 (Suite 1) At this point, we return to the Capulet’s ball in which the Montagues crash the event. Romeo, his cousin Benvolio, and his best friend, Mercutio lead the intrusion. A typical Prokofiev “wrong note” melody opens with a strutting march. Note the tambourine coloration. The music is

Notes suspenseful as the group slinks into the party. Romeo is wearing a clown mask which Tybalt (Lady Capulet’s nephew) considers a mockery of the occasion. He states: “What dares the slave Come hither, cover’d with an antic face To fleer and scorn at our solemnity? Death of Tybalt, Opus 64a/7 (Suite 1) Act III opens with fighting between Capulet and Montague servants and the hot-headed Tybalt enters into the mix. This ferocious setting generates perpetual motion music in depicting the opening turmoil and then focuses in on a terrible duel between Tybalt and Romeo. In his fury, Tybalt has already killed Mercutio, whose famous final words were “A plague on both your houses.” After Romeo kills Tybalt, to even the score, he exclaims, “O I am fortune’s fool.” Morning Serenade, Opus 101/5 (Suite 3) A delicate, crisp opening tiptoes quickly onto the scene. Note the very difficult violin solo, followed by the brass as the sun appears. These two segments alternate within consistently quiet dynamics ending on a high plucked note.

OCT 7,8

Juliet’s Funeral, Opus 64b/7 (Suite 2) Romeo is at Juliet’s tomb as the mourners carry in her body. She is, however, only drugged, not dead. To join her in heaven, he takes a poison which kills him before she awakens. Death of Juliet, Opus 101/6 (suite 3) Slowly moving, darkly shaded, this death of Juliet is one of the most wrenching depictions of the occasion. From time to time, the orchestra roars in its angst and sadness as Prokofiev unleashes the intensity of the tragedy. Consistent with the event, the coloration is heavy, dense, flooded with anger and despair— dynamics soar and subside as the horror of what has happened is realized—emotions sway back and forth in hapless meandering. The final chord is resigned, tender, and in its smallness communicates the futility of the silly dispute which grew to such sickening dimensions. This is the ISO’s first performance of Prokofiev’s 13 movement Suite from Romeo and Juliet.

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OCT 13

MOZART AND HAYDN

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Coffee Classical Series/Program Two Thursday, October 13, 2016, at 11:15 a.m. Hilbert Circle Theatre BERNARD LABADIE, Conductor MARC-ANDRÉ HAMELIN, Piano Franz Joseph Haydn (1732–1809)

Overture to L’isola disabitata

Franz Joseph Haydn Concerto for Piano in D Major, Hob. XVIII:11 (1732–1809) Vivace Un poco adagio Rondo all’ungherese: Allegro assai Marc-André Hamelin, Piano Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 (1756–1791) Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro

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

MOZART AND HAYDN

OCT 15

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Three Saturday, October 15, 2016, at 7 p.m. Hilbert Circle Theatre BERNARD LABADIE, Conductor MARC-ANDRÉ HAMELIN, Piano Henri Josef Rigel Symphony in C Minor, Op. 12, No. 4 (1741–1799) Allegro assai Largo non troppo Allegro spiritoso Franz Joseph Haydn Concerto for Piano in D Major, Hob. XVIII:11 (1732–1809) Vivace Un poco adagio Rondo all’ungherese: Allegro assai Marc-André Hamelin, Piano

INTERMISSION - Twenty Minutes

Franz Joseph Haydn (1732–1809)

Overture to L’isola disabitata

Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 (1756–1791) Adagio - Allegro Andante con moto Menuetto: Allegretto Allegro Premier Sponsor

Associate Sponsor

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

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OCT 13, 15

BERNARD LABADIE, Conductor

“A fine, instinctive musician. He molds the phrases, plucks out all-important details in the texture and radiates an infectious joy in the music.” —The Telegraph, Les Violons du Roy, Barbican Centre, London A specialist in Baroque and Classical repertoire, Bernard Labadie is Music Director of Les Violons du Roy and La Chapelle de Québec, founded by him in 1984 and 1985 respectively, with whom he regularly tours Canada, the U.S. and Europe. Labadie is a regular guest with all the major North American orchestras. He appears frequently with the New York and Los Angeles Philharmonic Orchestras, the Philadelphia and Cleveland Orchestras, the symphony orchestras of Chicago, Boston, San Francisco, St. Louis, Houston, Atlanta, Detroit, Montreal, Toronto and Vancouver, the New World Symphony in Miami, the St. Paul Chamber Orchestra and the Los Angeles Chamber Orchestra.

with the Bayerischer Rundfunk Orchestra in Munich, the Concertgebouw Orchestra in Amsterdam, the Orchèstre Philharmonique de Radio France in Paris, and the BBC Scottish Symphony Orchestra. He will soon make his debuts with the Swedish Radio Orchestra, Finnish Radio Orchestra, Hong Kong Philharmonic, Orchestre Philharmonique de Strasbourg, Swedish Chamber Orchestra, and Norwegian Chamber Orchestra, and will return to Munich, Paris and Glasgow and to the Melbourne Symphony and Malaysian Philharmonic, the NDR Orchestra Hannover, the English Concert and to the Northern Sinfonia and Academy of Ancient Music where he is a regular guest. A highly experienced opera conductor, Labadie was Artistic and Music Director of L’Opéra de Québec (1994–2003) and L’Opéra de Montréal (2002–2006). Guest engagements have included ‘Così fan tutte’ at the Mostly Mozart Festival in New York, ‘Orlando’ for Glimmerglass Opera, ‘Lucio Silla’ for the Santa Fe Opera, ‘Die Entführung’ on tour with the OAE and ‘Die Zauberflöte’ for the Metropolitan Opera, New York and for Cincinnati Opera. Last season he returned to Cincinnati for ‘Don Giovanni’. His honors include “Officer of the Order of Canada” awarded by the Canadian Government and “Chevalier de l’Ordre National du Québec”.

He is enjoying more and more renown in Europe and has made excellent debuts

C-28628 08/09/16

MARC-ANDRÉ HAMELIN, Piano Pianist Marc-André Hamelin is ranked among the elect of world pianists for his unriveted blend of musicianship and virtuosity in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries—in concert and on disc. He begins the 2016–17 season with summer festival appearances at the Schubertiade, Verbier, Lofoton, Salzburg and recitals at Tanglewood, Domaine Forget, Aspen and La Jolla, where the La Jolla Music Society commissioned Hamelin to write a piano/cello sonata for himself and cellist Hai-Ye Ni. Marc-André Hamelin is a frequent recitalist for Chicago Symphony Presents, the Cliburn, Spivey Hall, Montreal Pro Musica, Music Toronto, WPA in Washington, the Boston Celebrity Series and the Philadelphia Chamber Music Society, Princeton University, San Francisco performances and in all the major concert halls in New York. Recitals in Europe include regular appearances at the Wigmore Hall in London, Munich, DeSingel in Antwerp, the Concertgebuow in Amsterdam, Moscow State Philharmonic Society, Perugia, the Heidelberg Festival and the Salzburg Mozarteum, as well as a recent threeconcert residency at the Muziekgebouw in Amsterdam. He has appeared repeatedly with the symphony orchestras of Chicago, New York, Boston, Cleveland and Philadelphia. At the last of these, he played the American premiere of Mark-Anthony Turnage’s Piano Concerto (written for him) with the Philadelphia Orchestra and Yannick Nezet-Seguin.

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A series of recordings of Haydn sonatas and concertos was particularly well-received, putting Mr. Hamelin on “the shortlist of most revelatory Haydn interpreters on record” (BBC Music Magazine, June 2015). In 2010, Mr. Hamelin joined the ranks on CD of noted composer-pianists by releasing his own highly inventive “12 Etudes in all the minor keys” on the Hyperion label and with publication by Edition Peters. Mr. Hamelin has since performed his own compositions around the world, to great critical acclaim. His Pavane variée was commissioned for the ARD Music Competition in Munich, where it was the obligatory piece for the 2014 piano competition. Winner of the 1985 Carnegie Hall Competition, Marc-André Hamelin was born in Montreal. He began to play the piano at the age of five, and by the age of nine had already won top prize in the Canadian Music Competition. Mr. Hamelin’s father, a pharmacist by trade who was also a gifted amateur pianist, had introduced him to the works of Alkan, Medtner and Sorabji when he was still very young. Mr. Hamelin’s principal teachers included Gilles Hamelin, Yvonne Hubert, Harvey Wedeen and Russell Sherman; he studied at the École Vincent d’Indy in Montreal and then at Temple University in Philadelphia. An Officer of the Order of Canada since 2003 and a Chevalier de l’Ordre du Québec since 2004, Mr. Hamelin is also a member of the Royal Society of Canada and features prominently in the book The Composer-Pianists: Hamelin and the Eight by Robert Rimm, published by Amadeus Press. Mr. Hamelin makes his home in the Boston area.

THURSDAY, JANUARY 5 WEDNESDAY, FEBRUARY 8 THURSDAY, MARCH 30

5PM, HAPPY HOUR | 6:30PM, CONCERT

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The Teddy Bear Concert Series is our newest program, made just for preschool & kindergarten students (ages 3-6). The Teddy Bear Series began in 2014 with The Giant's Violin, which introduces preschoolers to the string instruments of the orchestra through story, movement and live music. Our newest program in the Teddy Bear Series, The Big Note, is an original story written by ISO violinist Victoria Griswold. Children will engage in movement activities that will be integrated into the telling of the story.

ALL PERFORMANCES BEGIN AT 11AM

Each program features five Indianapolis Symphony Orchestra musicians playing excerpts from works of Rossini, Saint-Saëns and more! Join us at the Central Library (40 East St. Clair Street) for our upcoming performances in August and October.

FRIDAY, AUG. 26

THE BIG NOTE

SATURDAY, AUG. 27

THE GIANT’S VIOLIN

TUESDAY, OCT. 4

THE GIANT’S VIOLIN

SATURDAY, OCT. 8

THE GIANT’S VIOLIN

TUESDAY, OCT. 18

THE BIG NOTE

WEDNESDAY, OCT. 19 THE BIG NOTE

These performances are free and open to the public. For more information, visit www.IndianapolisSymphony.org. The ISO Teddy Bear Concerts are underwritten by Friends of Ava Button and

TRIBUTE TO T U E S DAY, N OV E M B E R 2 2 , 7: 3 0 PM Hilbert Circle Theatre

BRENT HAVENS, CONDUCTOR The ISO is joined by a live band in a symphonic tribute to Prince, performing hits like Purple Rain, When Doves Cry, Little Red Corvette, Kiss and more!

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OCT 13, 15

Notes

By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair Symphony in C Minor, Op. 12, No. 4 Henri-Joseph Rigel Born February 9, 1741 in Wertheim am Main, Germany Died May 2, 1799 in Paris, France “Mozart manqué…” — Chicago Tribune

Concert Spirituel,” and in 1787–88 became head of the resident orchestra. However, the fate of French symphonists was grim. The number of French symphonists presented in performance dropped from six in 1781 to To be sure, Henri-Joseph Rigel is not familiar to one in 1789. The Concert Spiritual (1725–1790) many audiences as one of the major classical was one of the first public concert series, composers. However, he is receiving merited located at the Tuileries Palace. Rigel was also a attention not only in this concert but also by teacher and in 1783 was appointed Professor the Chicago Symphony Orchestra, conducted of SolfegeURBAŃSKI, at the Ecole RoyaleMUSIC de by Bernard Labadie, who played his KRZYSZTOF DIR Chant, as well as teaching at Fourth Symphony in May, 2014. At the recently founded Paris that time the Chicago Tribune The ISO Conservatory where he reviewed,“..the audience was counted Cesar Franck introduced to two obscure Harry Potter an among his students. late eighteenth century symphonies by German André The success of Haydn, composers the CSO has however, “nearly dealt never played before … a death blow to French these compact, three symphonists” (Eighteenth movement symphonies— Century Music, Volume “missing links” between 7, Cambridge) and Rigel late Haydn and early quit writing symphonies Beethoven—[were performed Cirque De L entirely, having written twenty as] no dusty historical curiosities, (some say fourteen) between but rather, music of quality that Harry 1765 and 1785. The competition wasPotter and deserves wider attention… the CSO strings just overwhelming. From the preface to the were playing with little or no vibrato making score of Etienne-Nicolas Mehul’s Symphony An Even for leaner texture and crisper articulations. Number One, it is noted by David Charlton The extra kick he gave the rhythms threw that: In 1781, there were five performances at the exchanges between the first and second the Concert Spiritual of Haydn symphonies; violins into crackling relief. Such was their in 1786 there were 26; there were 39, in energy and elegance that you would never 1789. Additionally, Haydn’s popularity was have guessed the musicians had never touched this music before.” This is the first time reflected in a commission (1786) to write six symphonies by the Concert de la Loge for ISO musicians as well. Olympique which became the famous “Paris Symphonies” set. Parisian audiences found Henri-Joseph Rigel (also spelled Riegel) lived Haydn’s music “remarkable for melodic from 1741 to 1799. He was a German pianist grace as well as orchestral splendor and and a classical composer who lived most of compositional sophistication… although it his lifetime in Paris, where he wrote 14 operas, is not possible to document that Haydn had numerous harpsichord pieces, string quartets a detailed knowledge of the musical taste of and symphonies. He was a respected, wellhis Parisian public…and by the late 1780’s his loved composer during his time, listed as one works dominated the symphonic repertory of the “ten contributing composers to the

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Notes in the city (Haydn: The Paris Symphonies by Bernard Harrison). In contrast to Haydn’s well-behaved, poised music, Rigel has been noted for his “Sturm und Drang” style (popular with Parisian audiences who favored big orchestras) evidenced in his Fourth Symphony in C minor. Jean Benjamin de Labored, Rigel’s biographer, wrote, “All his effects are clear: his greatest symphonic pieces consistently have a natural melody.” Opus 12 contains three movements: fast, slow, fast. The first opens dramatically, moving swiftly into a presentation of the cheerful themes, typically classical in their clarity and balance. However, notice the bright sforzandi (sudden accents) which add unexpected surprises. Notice also the coloration provided by the horns which are assigned a significant portion of the first movement, often chiming in at the close of phrases, sometimes conversing, and often adding chiseled rhythmic emphasis. The monothematic second movement begins slowly, immediately presenting a lyrical, reflective theme in 6/8 meter. It’s relaxed, fluent character testifies to Rigel’s “natural” melodic formulation noted by Jean de labored. Again, horns add coloration, accompanying the strings with discretion and sometimes having a gentle hand in the display of the theme. Rigel’s last movement springs to life from rapidly paced strings. From time to time the momentum of its major genial idea is reigned in, but the strings insist on continued energy with virtuosic stimuli. Notice the many dynamic contrasts which animate and propel the music. The close is as brisk as the opening— quick and precise. This is the ISO’s first performance of Rigel’s Symphony in C Minor, Op. 12, No. 4.

OCT 13, 15

Concerto for Piano in D Major, Hob. XVIII:11 Franz Joseph Haydn Born March 31, 1732 in Rohrau-on-the-Leitha, Lower Austria Died May 31, 1809 in Vienna, Austria 1779 turned out to be a fateful year for Haydn: a massive change in his responsibilities at Esterhazy giving him much more free time, obtaining personal control and ownership of future compositions, the growth of international fame and relationships and a major love affair. In 1778, Haydn’s contract expired on December 31. It had included an interesting clause: IV. “Whenever His Princely Highness commands, the vice-Kapellmeister is obligated to compose such works of music as His Highness may demand; further not to communicate [such] new compositions to anyone, still less allow them to be copied [for others], but to reserve them entirely and exclusively for His Highness; most of all to compose nothing for any other person without prior knowledge and gracious consent.” The new contract signed on January 1, 1779, omitted this clause which proved to be fortunate for his very popular Piano Concerto in D major, which became the most performed of all thirteen of his keyboard concertos. Haydn was now free to sell his works and keep the money for other patrons and accept commissions from abroad. He was fortunate to have a fine relationship with the new publisher, Artaria, which was eager to publish his works. All in all, the new contract worked to the composer’s monetary and social benefit. He had time to visit friends in Vienna and to travel extensively. “This single document acted as a catalyst in the next stage in Haydn’s career, the achievement of international popularity. By 1790, Haydn was in the paradoxical, if not bizarre, position of being Europe’s leading composer, but someone who spent his time as a duty-bound Kapellmeister in a remote palace in the Hungarian countryside.” (The Life of Haydn, David Wyn Jones)

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Notes

The new contract specified only that Haydn was to be in charge of operas, which was the new focus of the Prince Nicholas von Esterhazy’s interests. The original scores of those the composer had produced for the Esterhazy family and various other works burned up in a fire on November 24, of 1779. Aside from the new contract, Haydn also began an extensive affair with the nineteen year old wife of an ailing violinist who had arrived in the Prince’s orchestra that same year. Luigia Polzelli was a mezzo soprano, who swept him off his feet, and it was said that he composed many arias (called insertion arias) just for her in case the original score of an opera being performed did not have anything suitable. By 1792, the affair had waned, and Haydn took up with the English widow Rebecca Schroeter. Between 1756–1779/80, Haydn produced thirteen keyboard concerti, sometimes called Divertimenti. Eleven are deemed to be authentic. His last keyboard concerto, D major was composed for harpsichord or fortepiano per the publisher Artaria in 1784. Within a decade, eight publishers published this concerto which became one of his most popular works, performed many times during his lifetime. Over the years, it has been arranged for four saxophones (the last movement), for harp and orchestra, for piano solo, and two pianos. The concerto opens with a vivace section, presenting several themes, the most important being the first idea. The soloist echoes this opening, and the movement develops in standard sonata-allegro format. Haydn mines the first idea for many motivic repetitions throughout this movement which are shared by the soloist and different parts of the orchestra. A second movement, Un poco adagio, relaxes into an ABA form with a lyrical theme introduced by the strings. Haydn’s content is monothematic, offering embellishments to the central idea, and coloring the wind parts with extensive chromaticism.

Marked Rondo all’ungharese, the finale opens with the soloist providing the peppy main idea. Immediately the orchestra takes a turn and quickly tosses the spotlight back to the pianist to begin a rapid conversation between the two forces. The first episode brings in the minor mode and adds “Hungarian style” rhythms which will appear throughout the movement. The mood remains upbeat (Allegro assai) with unflagging energy and unceasing charm at all points. The pianist remains the leader, coaxing orchestral responses to his unmitigated virtuosic display. The movement closes quickly, cut off with a rapid whip like ending. The last movement uses the Croatian folk song Siri Kolo. This is the ISO’s first performance of Haydn’s Concerto for Piano in D Major.

Overture to L’isola disabitata Franz Joseph Haydn Born March 31, 1732 in Rohrau-on-the-Leitha, Lower Austria Died May 31, 1809 in Vienna, Austria While working for Prince Nicolas Esterhazy, Haydn composed fourteen operas, nine in Italian, and five in German. Since the Prince loved operas, Haydn had a ready audience at the estate, and since he was required to write an opera a year, he also had many opportunities to experiment and to produce in this form. L’isola disabitata was number ten (some say number eight.) Said to be his favorite, the Overture was composed in 1789 and premiered on December 6. During that season, he premiered not only three of his own operas, but also staged operas by Paisiello, Astaritta, Anfossi, Gazzaniga Sarti, Nauman, Franchi, Piccini and Felici. The Overture, sometimes likened to a miniature symphony, is a fine specimen of Haydn’s Sturm und Drang style. There are several themes, emerging in a segmented structure, contextualized in rich and colorful orchestration. Sturm und Drang refers to a practice of

Notes releasing sudden, wild emotion which is given free expression in contrast to the enlightenment aesthetic value of emotional control and rationalism. It manifested itself primarily between the late 1760s and early 1780s, deriving from the title of a play (Der Wirrwarr oder Sturm und Drang) by Friedrich Maximilian Klinger, the theme of which interestingly was the American Revolution. The protagonist, a young Englishman, Carl Bushy, searches for heroism and joins in the fight of the American revolt. “The only ecstasy I know is to be in the middle of a war…” he claimed. (from Portrayals Americans on World Stages essay by Sabine Klein) Sturm und Drang behavior was evidenced in literature and music. The purpose was to provide a counter current to polite control by sudden shock and unfettered display of exuberance and energy. In music the demonstration featured angular melodic intervals, agitation, and loud dynamics. It could also display in highly emotional music with sudden fits and starts. Although Haydn embraced this element in the decade between 1760–70, he never used the term himself. Marked Largo, the forte beginning announces six tutti unisons before a tiny theme is introduced quietly by the strings, ending with three repeated eighth notes, a final sustained tone, and unexpected silence. Then, Haydn ignites a sudden explosion (Vivace assai) which bursts from the entire orchestra. Strings are at the forefront, leading the charge with racing eighth notes and prominent accents. A soft gasping second idea offers a fine contrast before its lifespan is interrupted with insistent ideas which sweep it away in a merciless conflagration. (Sturm und Drang in full operation.) Suddenly, a small minuet style episode makes an appearance, thinly orchestrated, dancing with poise and elegance. But not for long—the orchestra again explodes, wiping all delicate remnants away in a furious conclusion with three firm chords. This is the ISO’s first performance of Haydn’s Overture to L’isola disabitata.

OCT 13, 15

Symphony No. 39 in E-flat Major, K. 543 Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria Three years before his death in 1791, Mozart embraced a renewed zest for writing symphonies in the summer of 1788. Two years before, his successful Prague Symphony Number 38, forecast possible changes in its expanded drama, highly contrasting dynamics, change of standard symphony form (no minuet) and textural contrasts (more polyphony). Martin Bookspan explained in 101 Masterpieces of Music and their Composers, “he had an inner compulsion to create—a matter of personal expression without regard to the demands of patrons or public. That motivation goes far to explain their extraordinary scope and striking ingenuity which surely would have been lost on audiences of that time.” Mozart’s energetic focus produced his three last symphonies, 39, 40 and 41, on June 26, July 25 and August 10. This trilogy stands apart from his previous symphonic repertoire in innovation, emotion, increased dissonance, and profound content. How did he do it? On June 1788, he wrote to a friend with disarming simplicity, “As it is, I have very little to do in town, and I am not exposed to many visitors, I shall have more time for work.” Precisely why he did it has been the topic of speculation over many years. Mozart’s stellar productivity at this time was in marked contrast to the depressing personal struggles in his life. First of all, he was financially broke. Viennese audiences had moved on to favor other composers and his popularity waned. Consequently, he had few concert opportunities and commissions were lacking. He begged for help from his friend Michael Puchberg, “Just imagine my situation: sick and full of worry and grief… I am forced to sell my quartets {K 575, 589, 590] for a trifle just to get some cash into my hands and meet my immediate obligations…Anything would be a help just now. … If you could possibly be kind enough to lend me around one or two thousand gulden, over one or two years at a

OCT 13, 15

Notes

suitable rate of interest, you really would be doing me a favor.” Later, after a failed European tour in 1789 to raise money he wrote, “I haven’t the heart to be in your company because I would be obliged to admit that I cannot possibly pay you back what you are owed and I beg you to be patient with me. I am so sorry.”

material used herein is derived in part from a sketch for his Prague symphony. A traditional Austrian landler, a country based folk dance, provides the content for a minuet. This choice results in a bit of informality and geniality, rather than the poised aloofness traditional minuet behavior. Clear accentuation propels the theme. The mid-section trio contrasts by featuring a duet between a clarinet and flute in a quiet, unique combination with occasional tiny string participation.

His Symphony No. 39 had zero fanfare or announcement vis-a-vis its introduction. There is no firm date for its premiere, and Mozart’s plan to introduce it at the “Concerts in the Casino” series was cancelled due to lack of KRZYSZTOF URBAŃSKI, MUSIC DIR ticket sales. Sometimes upcoming concerts programmed an Mozart chooses a single theme, “unidentified symphony” which emerges in two The ISO which possibly was number formats for his finale—each 39. Compounding this sad begins the sameHarry way, but Potter an situation was the death continues into different Andr of his only daughter three regions as they extend. days after he completed K. A rapid idea immediately 543. dances onto the stage, with energetic orchestral The first movement, responses. The music Adagio-Allegro opens with reflects high spirits and a slow, serious, chromatic deft craftsmanship as introduction, colored by brass the tune (in both shapes) Cirque De L fanfares and descending lines. is treated to ingenious, Such solemnity was a new type of zippy personality changes in the Harry Potter and beginning for Mozart. And he offered another development. Rhythms are precise; dynamics innovation— his orchestration omits oboes are colorful; the tempo unflagging. Listen An Even and includes, instead paired clarinets. for his extensive writing for winds which add light, imitative commentary throughout. This stately beginning yields quietly to the A traditional recapitulation concludes the opening Allegro section. However, instead of movement without fanfare—there is no coda. a brisk beginning, the music begins modestly in ¾ meter before announcing contrasting, The ISO’s last performance of Mozart’s substantial main themes. From that point Symphony No. 39 was January, 1996, forward, Mozart takes firm control, following conducted by Raymond Leppard. traditional sonata-allegro format for the duration of this movement.

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The Andante con moto begins quietly with the declamation of its main theme which is repeated. Another theme enters and again is repeated. Mozart omits a full development section and opts for tonal and dynamic coloration of his ideas instead of motivic treatment. Tempo changes also add variety. Notice the sharing of material throughout the orchestra—horns and winds, for example. The

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TRIBUTE TO PRINCE

OCT 14

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Specials and Presentations Friday, October 14, 2016, at 8 p.m. Tuesday, November 22, 2016, at 7:30 p.m. Hilbert Circle Theatre

BRENT HAVENS, Conductor

Selections to be announced from stage.

Prince’s originally designed ‘Yellow Cloud’ Electric Guitar Custom-made in 1989 by the Minneapolis, Minnesota firm, Knut-Koupee Enterprises, “This Yellow Cloud guitar was Prince’s main guitar and used in most of his early videos, touring performances and album recordings,” wrote Prince’s former guitar technician, Zeke Clark. In June of 2016, Jim Irsay, Indianapolis Colts owner and avid music memorabilia collector purchased the guitar at auction. Mr. Irsay has kindly allowed the ISO to use the guitar for tonight’s performance.

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

BRENT HAVENS, Conductor Berklee-trained arranger/ conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic and countless others.

OCT 14

In 2013, Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin and 2015 with the Music of Queen. Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013, he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day half-time show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for twelve symphonic rock programs—the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, The Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2 and most recently the Music of Journey! Havens also premiered a full orchestral show for Lou Gramm, The voice of Foreigner, with Lou singing out front.

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PA I N T I NG B Y A PR I L W I L LY.

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CIRQUE DE LA SYMPHONIE GOES BROADWAY

OCT 21, 22

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Printing Partners Pops Series/Program Three Friday, October 21, 2016 at 11:00a.m. Friday. October 21, 2016 at 8:00p.m. Saturday, October 22, 2016 at 8:00p.m. Hilbert Circle Theatre JACK EVERLY, Conductor BEN CRAWFORD, Vocalist CHARLIE METZGER, Vocalist

Selections to be announced from the stage.

Premier Sponsor

Please refer to Maestro Everly’s bio on page 19. Recording or photographing any part of this performance is strictly prohibited.

OCT 21, 22

CIRQUE DE LA SYMPHONIE

Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque acts performed on a stage shared with the full symphony orchestra, showcasing many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These accomplished veterans include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Each performance is perfectly choreographed to

classical masterpieces, raising cirque artistry to a fine arts level. Adding a stunning visual element to the concert experience, these aerialists and acrobats provide a threedimensional entertainment extravaganza. Orchestras play with enhanced enthusiasm, while patrons marvel at the jaw-dropping spectacle of aerialists flying overhead and astonishing acrobatic feats. Fusing the power and majesty of the live orchestra with the best of cirque artistry, Cirque de la Symphonie is the only cirque company in the world that performs exclusively with symphony orchestras. Over one hundred orchestras worldwide have featured Cirque de la Symphonie in sold-out venues, adding energy and excitement to the concert experience.

BEN CRAWFORD & CHARLIE METZGER

OCT 21, 22

Ben Crawford began his Broadway career when he covered the roles of Javert & Jean Valjean in the revival of Les Miserables. Since then, his Broadway credits include Shrek the Musical (Shrek), Big Fish (Don Price, Ed Bloom u/s) and On The Twentieth Century starring Kristin Chenoweth & Peter Gallagher (Bruce Granit u/s, Max Jacobs u/s). Other credits on stage include 110 In The Shade (Starbuck), Next to Normal (Dr. Madden), Titanic (Frederick Barrett), Chasing Rainbows (Frank Gumm), Guys and Dolls (Sky Masterson), Carousel (Billy Bigelow), A New Brain (Gordon), Oklahoma! (Jud), Oliver! (Bill Sykes), Merrily We Roll Along, 35MM, Jasper In Deadland (Mister Lethe) and Irma La Duce. Concerts with the Indianapolis, Cleveland, Pittsburgh, Grant Park and Chicago Symphony Orchestras, Rochester and Naples Philharmonics, and The National Arts Centre in Ottawa. Soundtracks: On the Twentieth Century, Big Fish, Merrily we Roll Along, 35MM, Writing Kevin Taylor, Frozen. Ben also appears in the film The Standbys, a documentary focusing on Broadway swings, standbys and understudies. @crawdady21 Charlie Metzger was previously seen making his IPL Yuletide Celebration debut with the Indianapolis Symphony Orchestra in December of 2015. Previous solo performances include Mozartâ&#x20AC;&#x2122;s Requiem, Carmina Burana, Haydnâ&#x20AC;&#x2122;s Creation, and Elijah. He has also been a tenor section leader of multiple church choirs for many years. Originally from the Philadelphia area, now living in Avon, Charlie holds a degree in voice performance from Indiana University. Lots of love to Darlene and Chaz!

OCT 28

AN EVENING WITH RAYMOND LEPPARD

Krzysztof Urbański, Music Director Jack Everly, Principal Pops Conductor Raymond Leppard, Conductor Laureate Vince Lee, Associate Conductor Lilly Classical Series/Program Four Friday, October 28, 2016, at 8 p.m. Hilbert Circle Theatre RAYMOND LEPPARD, Conductor RACHELE GILMORE, Soprano Wolfgang Amadeus Mozart (1756–1791)

Overture to Le nozze di Figaro (The Marriage of Figaro), K. 492

Wolfgang Amadeus Mozart Symphony No. 29 in A Major, K. 186a (201) (1756–1791) Allegro moderato Andante Menuetto Allegro con spirito Wolfgang Amadeus Mozart Exsultate, jubilate, K. 165 (1756–1791) Allegro Recitativo - Andante Allegro (Alleluja) Rachele Gilmore, Soprano

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Henri Duparc L’Invitation au voyage (1843–1933) Au Pays ou se fait la guerre Phydilé Rachele Gilmore, Soprano Edward Elgar Cockaigne, Op. 40, “In London Town” (1857–1934) Premier Sponsor

Associate Sponsor

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

RAYMOND LEPPARD, Conductor Conductor Laureate Raymond Leppard served as Music Director of the Indianapolis Symphony for 14 years, from 1987 to 2001. During his tenure with the Orchestra, he led eight recordings, two tours to Europe and initiated Indianapolis On-The-Air, a nationally syndicated radio broadcast of Indianapolis Symphony performances that now airs on more than 250 stations across the United States. In addition to his 14-year tenure as Music Director of the Indianapolis Symphony Orchestra and long association with the English Chamber Orchestra, Raymond Leppard has appeared with the New York Philharmonic on numerous occasions, toured with the Chicago and Detroit symphonies and has conducted many other major orchestras, including the Boston Symphony, The Philadelphia Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Israel Philharmonic, the BBC Symphony (including the Last Night of the Proms), as well as in all European capital cities and Japan.

OCT 28

appearances at the Metropolitan and San Francisco operas, the New York City Opera and Glyndebourne Opera, where he has been a frequent guest. He has also appeared at the Royal Opera House, Covent Garden and in Paris, Hamburg, Santa Fe, Stockholm and Geneva. In the late 1950s, Mr. Leppard accepted a post at Cambridge as University Lecturer in Music, beginning a distinguished joint career as academician and performer. A prolific recording artist, Raymond Leppard has earned such international prizes as the Deutsche Schallplattenpreis, a GrammyÂŽ Award, a Grand Pro/Am Music Prix du Disque, and the Edison Prize. Mr. Leppard has composed a number of film scores including the music for Lord of the Flies, Laughter in the Dark, and Hotel New Hampshire. His second book, Raymond Leppard on Music: An Anthology of Critical and Personal Writings, was published by Resources in 1993. The Queen of England has honored Raymond Leppard with the title Commander of the British Empire (CBE). For his services to Italian music, the Republic of Italy has conferred upon him the title of Commendatore della Republica Italiana. In America, he has received honorary degrees from Purdue University, Butler University, and the University of Indianapolis. Born in London, Raymond Leppard was educated at Trinity College, Cambridge. He currently resides in the Indianapolis and became a U.S. citizen in 2003.

In the opera houses of the world, highlights for Raymond Leppard have included

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RACHELE GILMORE, Soprano

Rachele Gilmore has established herself as one of America’s most sought after coloratura sopranos and continues to thrill audiences around the globe combining what Opera News describes as a “silvery soprano..with an effortlessness that thrills her audience.” She is a regular performer in America, Europe and Asia and is consistently praised for being “the vocal standout” and a dynamic actress; “displaying more talent and charm than any one person should be allowed to possess.” Rachele Gilmore’s 2015–2016 season included performances of Blondchen in Die Entführung aus dem Serail with the Theâtre Champs-Elysées, and returns to Boston Lyric Opera as Sophie in Werther, and the Glimmerglass Festival as Ninetta in La gazza ladra. Future seasons include appearances with Hawaii Opera, Lyric Opera of Kansas City, and Austin Opera. The 2014–2015 season featured a reprisal of the role of Alice in Unsuk Chin’s Alice in Wonderland with the Los Angeles Philharmonic and the BBC Symphony Orchestra. Additionally, she debuted with Opera Omaha as Gilda in Rigoletto, NCPA Beijing as Sophie in Der Rosenkavalier, and closed the season as Blondchen in Die Entführung aus dem Serail in a debut with Festival d’Aix en Provence. The 2012–2013 season brought Ms. Gilmore’s role debut as the Queen of the Night in Opera Philadelphia’s production

of Die Zauberflöte and highly acclaimed performances as Amina in La sonnambula with Florida Grand Opera. Most noteable in 2009, Ms. Gilmore made a “show-stopping” debut with the Metropolitan Opera in the role of Olympia in Les contes d’Hoffman, according the Classical Source. “She brought down the house with her flawless coloratura,” solidifying her position as one of the most exciting young coloraturas to watch. Ms. Gilmore began the 2009–2010 season as Zerbinetta in Ariadne auf Naxos with Indianapolis Opera and performed this role later in the season for Boston Lyric Opera. In February of 2010, Ms. Gilmore made her house and role debut at Knoxville Opera in the title role of Lucia di Lammermoor. In the spring, she sang the title role in the groundbreaking Swiss premiere of Unsuk Chin’s Alice in Wonderland with Grand Théâtre de Genève. Other notable appearances included: her European debut with Deutsch Oper am Rhein, singing Blondchen in Die entführung aus dem Serial, a return to Toledo for Mahler’s Second Symphony with the Toledo Symphony, Adele in Die Fledermaus with Opera New Jersey, her debut with Opera Hong Kong for a series of Opera Gala Concerts and two Carnegie Hall appearances performing Mozart’s Coronation Mass and Haydn’s Lord Nelson Mass. Rachele is a native of Atlanta, Georgia, and received her Bachelor’s of Music from Indiana University and continued with graduate studies at Boston University. She was a member the Young Artist Programs of Glimmerglass Opera, Florida Grand Opera and Aspen Music Festival’s Opera Center and was a winner in Placid Domingo’s Operalia World Opera Contest in Paris.

Notes

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

Overture to Le nozze di Figaro (The Marriage of Figaro), corseting, provided the K. 492 perfect introduction Wolfgang Amadeus Mozart and preparation for Born January 27, 1756 in Salzburg, Austria the hilarious opera. It Died December 5, 1791 in Vienna, Austria has always delighted audiences as a separate In 1782, the French playwright, Beaumarchais, concert piece for offered private readings to King Louis XIV of hundreds of years. his comedy of manners, The Marriage of Figaro. Instead of being pleased, the monarch decided The ISO’s last performance of Mozart’s Overture the story was “detestable and must never be to Le nozze de Figaro (The Marriage of Figaro) produced.” The irreverence was simply too was January, 2005 conducted by Mario much. As “forbidden fruit,” the play became Venzago. the rage of the aristocracy, and it surfaced repeatedly in secret productions (one even MUSIC D KRZYSZTOF including the King’s wife.) Like the King, Symphony No. 29URBAŃSKI, in A Major, K. 186a (201) Napoleon also sniffed danger in the Wolfgang Amadeus Mozart plot, and he declared that the Born January 27, 1756 in Salzburg, The play was “the revolution already Austria in action.” The Austrian Died December 5, 1791 in Potter Harry government echoed the Vienna, Austria danger and banned the play An from its borders. In 1784, the Approximately one third of play was presented publicly Mozart’s total symphonic in Paris to great acclaim, and output was generated in within a year, Germany had just two years between twelve translations on hand. 1772–1774. After that, The Marriage of Figaro was between the summer unquenchable. of 1774 and the spring of 1778, Mozart turned Cirque D After searching through hundreds away from symphonic writing Harry Potter a of plays for an opera buffa, Mozart because other forms of instrumental decided this was just the ticket. With the compositions received his interest. One of the librettist Lorenzo da Ponte, the pair produced most interesting and polished symphonies An Ev the opera Marriage of Figaro in only six weeks. emanating from fertile two-year period was The Overture was completed only two days Symphony No. 29, K. 201. before the opening on May 1, 1786. On every count, Symphony No. 29 is a fine The music opens with bustling notes, like specimen of gallant writing: well bred, whispers of gossip which gain momentum. charming, polite and faithful to the Viennese Ultimately, these fragments gel into an classical model. Its light-hearted charm and energetic theme which romps happily elegance intends a work which is truly meant throughout the Overture. Moods shift to entertain and delight. For this purpose, like quicksilver; a comedic helter-skelter Mozart chose to score the work modestly. atmosphere prevails; and there is no rest. At Aside from the basic string component, only one point, Mozart had considered a contrasting a pair of oboes and pair of horns are required. slow tune for oboe but deleted the idea. The economy of means in no way limits or Allowing the Overture to run with its madcap impedes its symphonic character. nature, uninterrupted by any structural

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Notes

The first movement, allegro moderato, begins softly introducing the first main theme immediately. The tune is catchy, marked by an octave drop and pulsing repeated notes. That opening idea rises sequentially by step, as if making certain that we do not miss the point. Horns and oboes later join with an expanded repetition. A lyrical second theme is sung by the violins. The very small development (approximately thirty measures) follows before a standard, literal recapitulation with a coda finishes the movement. An elegant Andante concerns itself with a delicate theme spun by muted violins. Edward Downs commented, “It is full of eighteenth century clichés and turns that were used a hundred times before and after by other composers, but here they are so spontaneous and lovely that each phrase bears repeating and repeating. And still the movement seems too short.” The form is tri-partite with the opening theme returning in the last part with increased violin embroidery.

The ISO’s last performance of Mozart’s Symphony No. 29 was March, 2003 conducted by Emmanuel Villaume.

The third movement is a minuet. However, Mozart now moves to a slightly more aggressive style than polite convention would have expected. Neal Zaslaw has astutely characterized the music as more symphonic than dancelike.

The composer called his new work a motet, defined in the 13th century “piece of music with words”. In the Renaissance, the motet became more elaborate with contrapuntal textures, and the genre had two formats: sacred and secular. In the 18th century, it was defined as a “sacred Latin solo cantata” per the contemporary music flutist and theorist, Johann Quantz.

The fourth movement recalls the first theme of the first movement with its distinctive octave-drop profile. Another theme is typically galant, filled with decorative trills and grace notes. Mozart creates an informal fun-loving atmosphere (complete with hunting calls), spending more time on the development than in the first movement, thereby adding more weight to this final section. Overall, the music remains elegant and cheerful until the close. A symphonic silence after Symphony 29 led to a significant change when Mozart returned to the genre: a much broader canvas, scope and emotion would infuse the later works. Symphony No. 29 summarized a world and a style which was young and fresh, but not quite different from the maturity and content of Mozart’s future style.

Exsultate, jubilate, K. 165 Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna, Austria When Mozart was sixteen, he visited Milan with his father for the premiere of his opera Lucia Silla, K.135. He was overwhelmed with the castrato Venanzio Rauzzini who starred in the title role of Cecilio. “He sang like an angel,” Mozart declared. Three weeks later he produced Exultate Jubilate to display Rauzzini’s talent. It was performed on January 16, 1773, in the Church of San Antonio. His seventeenth birthday was the following day. Later he would revise the work two times (discovered in 1978), but the original version is the one which has stayed in the repertoire.

In Exultate Jubilate the parts are as follows for soloist and orchestra: Allegro: Exultate jubilate: twenty measure introduction Recitativo: Fulget amica dies ( very small) Andante: Tu virginum corona: a set of variations Allegro (sometimes marked vivace): Alleluja This is perhaps the most famous part of the motet and is frequently excerpted as a “tourde-force” concert aria. The ISO’s last performance of Mozart’s Exsultate, jubilate, K. 165 was November, 2012 featuring soprano Aga Mikolaj, conducted by John Nelson.

Notes L’Invitation au voyage Henri Duparc Born January 21, 1848, Paris, France Died February 12, 1933, Mont-de-Marsan, France DuParc’s “L’invitation au voyage,” composed in 1870, is a setting of two of three verses of the Symbolist poet Beaudelaire’s famous poem describing his love of the countryside in Holland, which he described in “Small Prose Poems,” as “ a singular country, drowned in the mists of our North, and could be called the East of the West, the China of Europe” and the longing of a man wishing to touch his lover. At this time, Beaudelaire was in love with an actress Marie Daubrun, and this poem describes a mystical trip growing in his mind, which finds them both in an exotic and perfect world. The poem first appeared in a collection of 100 poems titled Fleurs du Mal (the Flowers of Evil), a publication which caused sensation and uproar. After a trial lead by the French lawyer Ernest Pinard (prosecutor of Gustave Flaubert) on August 20, 1857, six poems were immediately removed on grounds of obscenity…dealing with lesbian themes and sado-masochism… and Beaudelaire was fined 300 francs for “offending public morals… religious morals, and good customs….which the judges noted “necessarily lead to the excitement of the senses by a crude realism and public decency.” (quote from Pericles Lewis in Cambridge Introduction to Modernism.) The poems were republished in 1861, and grouped into six parts. L’invitation au Voyage came from Part I “Spleen et ideal” which focuses explicitly on sexual and romantic love: and all the problems that can, and often do, result. The poet explained: “There are in every man at all times two simultaneous impulses-one toward God, the other toward Satan.” Duparc provides a soft, slowly moving melody which remains essentially the same in both sections, but the accompaniment changes, evoking the sensuality, ecstasy, and emotion of the text. Glen Watkins in Soundings: Music in the Twentieth Century noted that “DuParc’s musical speech which characteristically

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engages a rich Wagnerian palette softened by static pedal figures is a natural for Beaudelaire’s dream world. The note of Orientalism, the reveries steeped in drugs, and the imaginary voyage were captured in a new accent” in this setting. The poem reads: My child, my sister Think about the softness To go there to live together. Love at leisure, Love and die The country that resembles you! The watery suns of those cloudy skies For my spirit the charms so mysterious Of your treacherous eyes Shining through their tears. There, all is order and beauty Luxury, calm and voluptuousness Gleaming furniture, polished by the years Would decorate our room The rarest flowers, mingling their fragrance The faint scent of amber The rich ceilings, the deep mirrors Oriental splendor all speak there At the core secret, its sweet native tongue. There all is order and beauty Luxury, calm and voluptuousness See on the canals, sleep these vessels Whose mood is vagabond; This is to satisfy Your slightest desire They come from the ends of the world. The setting suns clothe the fields, the canals, the entire city, In hyacinth and gold The world falls asleep in a warm light. There, all is order and beauty Luxury, calm and voluptuousness. Duparc also set Beaudelaire’s “La vie anterieur” which was published in 1902. This is the ISO’s first performance of Duparc’s L’invitation au voyage.

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Notes

Phydilé Henri Duparc Born January 21, 1848, Paris, France Died February 12, 1933, Mont-de-Marsan, France In Phidylé, Duparc offers a setting of a pastoral poem by Charles Marie Leconte de Lisle, a poet who was affiliated with the late nineteenth century French literary Parnassian movement (paying tribute to the home of the Greek muses, Parnassus). Among the group’s favored inspirations were classical topics from Greek antiquity and other exotic sources which were “treated with emotional detachment and exactitude.” Despite this cool approach, the result was somewhat ambiguous in their selection of romantic settings, in spite of their cultivating anti-romantic sentiment. (See Un Parnasse sterile ou le culte de l’art de Remi Mathis) The title refers to a shepherdess described in Horace’s Odes, Book III. If hands raised to heaven you overthrow those palms to resurgent moon, rustic Phidylé, And soothe, incense, Lares, Grain of the year, a voracious sow: the wind leper save Africa your generous vine, and the deadly rust: Your grain; the bad season: Your sweet babies - when fruit ripens. The lamb will graze on the snowy Algidus, among oak and holm oak, grows or victim Promised in the meadows Albans His neck redden the ax of the priest. But there is no point you want to win you, slaughtering a herd of animals of two years, Small gods you crowns Fragile myrtle and rosemary. A hand, if it spotless altar key And without the lure of a more opulent victim Calm hostile Pénates Piles wheat, salt crackling. In the Leconte de Lisle poem, a lover watches the shepherdess Phidylé sleeping by a spring in the midday sun, and awaits her wakening. At this time, she will reward him with a smile and a kiss. The text as translated by David Paley reads:

Softly slumber on grass where the poplar refreshes On the slopes of the mossy fountains Where meadow flowers burst in their thousands But are lost in the midst of darkened bushes. Rest, O Phidylé! Midday lights upon the leaves To invite you to sleep in sunshine Alone, in the clover and thyme, Humming with ever active bees. Warm perfume breathes round the glade And the flowering corn is still Whilst the birds wing over the hill Seeking the eglantine shade. The copses are silent; and the stag is at bay, Confronted by hounds in the clearing, And no longer bounds; whilst Diana, deep in the wood is sitting, Waxing her arrows deadly to prey. The music is discrete, lushly chromatic and sensual. Dynamics are carefully restrained, and as always in Duparc’s songs, text setting is immaculate and determining. This is the ISO’s first performance of Phidylé. Cockaigne, Op. 40, “In London Town” Sir Edward Elgar Born June 2, 1857 in Broadheath, England Died February 23, 1934 in Worcester, England Between 1900 and 1901 Edward Elgar wrote a musical portrait of Edwardian London, using the old nickname for the city by titling it the Cockaigne Overture. It was commissioned by the Royal Philharmonic Orchestra and he dedicated it to “many friends, the members of the British orchestras.” He explained:“I call it ‘Cockayne’ and it is cheerful and Londonystout and steaky… honest, healthy, humorous, and strong, but not vulgar… ‘” The vulgarity he alluded to undoubtedly had to do with some of Cockagyne’s early history. As noted in William Chamber’s Edinburgh Journal, the concept of Cockaigne might have begun in ancient Greece, but more probably

Notes the connection to London stemmed from the thirteenth century French poem by Rutebeuf (a famous minstrel). He described “The Land of Cockaygne”, in 95 octosyllables couplets as a utopia. It was “the land of all delights… an imaginary country of idleness and luxury, whose rivers flow with wine, whose houses are cake and barley sugar… fish came into the house, already fileted.” (See “Utopia and the Ideal society: in Search of a Definition”: Cambridge University Press, 1981.)

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The Lovers’ Romance Young London’s Interruption The Military Band In the Church In the Streets Although the musical tour begins quietly, the hustle and bustle of the big city scampers immediately into the foreground. Sometimes this has been called “the citizen theme.” The energy yields to a slower nobilmente theme which first came to Elgar “one dark day in the Guildhall; looking at the memorials of the city’s great past and knowing full well the history of its unending charity. I seemed to hear far away in the roof a theme, an echo of some noble melody.” The opening ideas return.

In the fourteenth century, “The Land of Cokaygne” appears in one of the Irish Kildare poems, which describes a corrupt community of monks at the Cistercian abbey at Inislounagt. In the sixteenth century (1567) Cokaygne’s influence emerged in an oil painting by Pieter KRZYSZTOFA key URBAŃSKI, MUSIC DIRE Bruegel the Elder, which shows shift to E major introduces the drunken results from the the Lovers’ romance with a gluttony and excesses from gentle lyrical passage. The ISO a living in “the lazy, luscious As the music perks up Harry Potter land.” with a light march, the and cityscape returns: big, André The nickname persisted and bold with timpani into the seventeenth undercurrents (Young century. In 1627 the very London’s Interruption). stern Bishop Joseph Hall The speed increases in “Solomon’s Politicks of before the brass Commonwealth” satirized forcefully proclaim a Cockagyne ; but Richard major idea…from afar a Bernard’s allegory (1626) military band approaches, Cirque De La “The Isle of Man”, described growing in stature as they the Cockagyne as “an England march to the forefront. churchand T Harry The Potter perfected: the people do live in peace, the section is delicate: a place of relative quiet for Land prospereth, Justice flourisheth…and the the young lovers, and then they return to AntheEvenin enemies at home and abroad made to fear.” streets. At this point, the energy of the city is The title also became associated with the term not to be denied. A small coda, with references cockney- a term applied to a native of London. to the noble theme, and the lovers’ theme, brings the Overture to a roaring close. Elgar conducted the successful premier on June 20, 1901 in Queen’s Hall with the Royal This is the ISO’s first performance of Cockaigne, Philharmonic Orchestra. In 1926 and 1933 he Op. 40 “In London Town” at the Hilbert Circle made two recordings: the 1933 version with Theatre. the BBC Orchestra can be heard on Youtube. The piece is crafted in several parts, a soundscape which offers a panorama of various city scenes. As described by Mr. Joseph Bennet, a friend of Elgar, these are: Cheerful Aspect of London Strong and Sincere character of Londoners

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ARTS IN INDY Indy Fringe The term “fringe festival” was coined in 1948, the year after eight theatre groups turned up – uninvited – to perform at the newlyestablished and curated Edinburgh International Festival in Scotland. Although not listed in the official program, the groups performed anyway at venues they found themselves. Since then, more than 200 fringe festivals have begun worldwide as incubators of new talent and imaginative thought. Now, you can enjoy Indy Fringe events all year round! Check out the calendar on www.indyfringe.org or call 317-522-8099.

Indianapolis Children’s Choir Join the Indianapolis Children’s Choir (ICC) as it enters a new era! The 2016–2017 season marks the ICC’s first year led by Artistic Director Joshua Pedde. Mr. Pedde’s inspirational leadership promises to bring the ICC’s mission of artistic excellence and quality music education to new heights while advancing the choir’s status as a fixture in the central Indiana community. Get ready for an amazing season! The ICC’s excellent music education programs involve students from ages 18 months to 18 years. To enroll a child, attend a concert, or find out ways to support our mission, visit icchoir.org or call 317.940.9640.

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Indianapolis Symphonic Choir The Indianapolis Symphonic Choir celebrates its 80th Anniversary Season! The artistic partner of the ISO since its founding in 1937, the Symphonic Choir is comprised of nearly 200 singers who audition annually and reach audiences of more than 25,000 persons through performances, recordings and broadcasts. The official choral partner of the Indianapolis Public schools, the Choir also provides a range of educational opportunities for children, youth and adults. Learn more about the Indianapolis Symphonic Choir at www.indychoir.org or follow on Facebook on Twitter.

New World Youth Orchestras The New World Youth Orchestras is central Indiana’s premiere youth orchestra organization. Comprised of three separate orchestras, the mission of NWYO is to develop the musical talent of young people in Indianapolis and central Indiana through quality music education and the rehearsal and performance of orchestra masterworks, both traditional and contemporary. The 2016–2017 season premiere will be held at the Hilbert Circle Theatre, November 6, 5:00 pm. 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

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ENDOWMENT Endowed Orchestra Chairs, Performances and Special Endowments Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We would like to thank the following donors for their generous support of the Indianapolis Symphony Orchestra’s Endowment Fund. Endowed Orchestra Chairs The Ford-West Concertmaster Chair Endowed by Richard E. Ford in honor of his mother, Florence Jeup Ford, and Hilda Kirkman West Zachary De Pue, Concertmaster The Meditch Assistant Concertmaster Chair Endowed by Juliette, Dimitri, Marian and Boris Meditch Peter Vickery, Assistant Concertmaster 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 Ingrid Fischer-Bellman, Cello 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 Conrad Jones, Principal Trumpet 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

ENDOWMENT Endowed Performances The Frank E. McKinney, Jr. Guest Conductor Chair Endowed by Marianne Williams Tobias September 30 and October 1, 2016 — André Watts

April 21-22, 2017 — Brahm’s Requiem

The Francis W. and Florence Goodrich Dunn Annual Classical Series Opening Concerts Endowed by the Florence Goodrich Dunn Fund October 7-8, 2016 — Hilary Hahn

The Dennis T. Hollings Performance of Classical Music Endowed by the Dennis T. Hollings Fund May 5, 2017 — Rachmaninoff

The Paul Family Performance of Classical Music Endowed by Dorit, Gerald, Eloise, and Alison Paul November 4-5, 2016 — Gil Shaham and Jennifer Christen Frank and Irving Springer Piano Performance Endowed by Frank C. Springer Jr. November 12, 2016 — Jan Lisiecki Yuletide Celebration Opening Night Performance Endowed by Marianne Williams Tobias December 2016 — Opening Night Yuletide Celebration Closing Performance Endowed by Marianne Williams Tobias December 2016 — Closing Night

The Performance of New Music Endowed by LDI, Ltd. April 28, 2017 — Mozart and Salieri

The William L. and Jane H. Fortune Guest Conductor Chair Endowed by Mr. and Mrs. William L. Fortune June 2–3, 2017 — Bertrand Chamayou The Paul and Roseann Pitz Performance of Classical Music Endowed by the Paul and Roseann Pitz Fund June 9–10, 2017 — Carmina Burana The Performance of a Summer Series Concert Endowed by Mrs. William P. Cooling Summer 2017 — Marsh Symphony on the Prairie The Marilyn K. Glick Young Composer’s Showcase Endowed by Mr. and Mrs. Eugene B. Glick

The Performance of ISO Principal Chair Musicians Endowed by the Eugene B. Hibbs Fund January 13-14, 2017 —Krzysztof Urbański

Special Endowments Hilbert Circle Theatre Endowed by Stephen and Tomisue Hilbert

The Mohlman Performance of Classical Music Endowed by a gift from Ina M. Mohlman and the late Robert H. Mohlman January 20-21, 2017 — Mahler’s “The Song of the Earth”

The Tobias Green Room Endowed by Randall L. Tobias

The Performance of a Young Professional Artist Endowed by Roche Diagnostics January 27–28, 2017 — Zach De Pue The Performance of a Guest Artist Endowed by the Jean D. Weldon Guest Artist Fund February 17–18, 2017 — Tim McAllister The Mrs. Earl B. Barnes Memorial Fund in support of a Guest Artist Endowed Anonymously February 24, 2017 – Katia and Marielle Labèque 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

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

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

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

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

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

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

The Grand Lobby Endowed by Marianne Williams Tobias

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

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

The 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 Dale & Barb Benson Dr. John C. Bloom Rosanne Bonjouklian Mrs. Charlotte Bose Charles & Cary Boswell Dr. Ella H. & Mr. Robert R. Bowman Mr. & Mrs. Charles H. Boxman John Charles Braden & Denton Raubenolt Donald & Barbara Broadlick Philip J. Burck Alex. S. Carroll Nancy & Chris* Christy Ms. Patricia C. Chunn Norman I.* & Maxine Cohen John & Ulla Connor Chris W. & Lesley J. Conrad Peter Cooney Mr. & Mrs. Ronald A. Cox Stephen & Andrea Cranfill Mr. & Mrs. Thomas E. Dapp Lou & Kathy Daugherty Edgar* & Joanne Davis Carol Richardson Dennis Rollin & Cheri Dick Mr. & Mrs. Richard A. & Helen J. Dickinson Clarita Donaldson Mrs. Lewis A. Enkema Mr.* & Mrs. Richard Felton Mr. Murray R. Fischer Dr.* & Mrs. W. Brooks Fortune

Dr. & Mrs. Larry C. Franks Bradley S. & Teresa G. Fuson Dr. & Mrs. Richard W. Garrett David & Deloris “Dee”* Garrett Ms. Patricia Garrity Cy* & Pris Gerde James E. & Judith A. Gillespie David & Julie Goodrich Mrs. Anne M. Greenleaf John S. Griffin Mary & George Harless Mike & Noel Heymann Tom & Nora Hiatt Clarena Huffington Ann Hampton Hunt Ty A. Johnson Joan & David F.* Kahn Swadesh & Sarla Kalsi Bob & Rhonda Kaspar Patricia Kilbury Ms. Peg Kimberlin Ms. Marie E. Kingdon John J. Kloss, JD Kay F. Koch H. Jean Jones Kyle James E. & Patricia J. LaCrosse Dr. Ned & Martha Lamkin Lawrence & Vivian Lawhead Mr. & Mrs. Richard L. Ledman Raymond Leppard Mr. L. Robert Lowe Jr. Dr. & Mrs. Gordon E. Mallett Dr. & Mrs. Karl L. Manders Mr.* & Mrs.* Michael Ben Maurer Stacy Maurer Janice & John F. McHenry W. Jean McCormick Robert B. & Eleanor S. McNamara Marian Y.* & Boris E. Meditch 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 Carol E. Taylor Mrs. David Thiel William & Karen Thompson Marianne Williams Tobias Ann Vaughan Dan & Doris Weisman Anna S. & James P. White Mildred M. Wiese David E. & Eleanor T. Wilcox Mr. & Mrs.* Charles D. Williams, III Richard D. & Billie Lou* Wood Mr. & Mrs. C. Daniel Yates Mike & Phyllis* Zimmermann Anonymous (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 Gail H. & Robert H. Hall 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 Alice & Kirk McKinney 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.”

“

We strongly believe that a great city needs a symphony orchestra, and Indianapolis is so very privileged to host the ISO. Our orchestra brings a wide variety of music for the joy and enlightenment of all citizens. We especially appreciate the involvement of so many youth in the Symphony’s music and education programs. Our continued contributions to the Annual Fund and our legacy gift to the Lynn Society allow us to simultaneously support a city treasure, enhance the education of the city’s youth, and personally experience the joy of great music.

”

- Rollie and Cheri Dick

YOUR LEGACY MATTERS Contact Casey Chell, Director of Development, with questions about The Lynn Society at 317.713.3342 or cchell@IndianapolisSymphony.org.

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 August 3, 2016. 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 Ms. Christel DeHaan Kay F. Koch Sarah & John Lechleiter Yvonne H. Shaheen Marianne Williams Tobias Randall & Deborah Tobias Anonymous Arts Council of Indianapolis and the City of Indianapolis The Christel DeHaan Family Foundation Efroymson Family Fund Eli Lilly and Company Indianapolis Power & Light Company Indianapolis Symphony Orchestra Association Lilly Endowment, Inc. The Herbert Simon Family Foundation The Margot L. and Robert S. Eccles Fund, a fund of CICF Marsh Supermarkets, LLC. Ruth Lilly Philanthropic Foundation Founders’ Society, Music Director ($50,000+) Anonymous Mr. & Mrs. Michael Becher Rollin & Cheri Dick Phil & Colleen Kenney Ann M. & Chris Stack Richard D. Wood The Glick Fund, a fund of Central Indiana Community Foundation Printing Partners The Rock Island Refining Foundation Founders’ Society, Concertmaster ($20,000-$49,999) Christina Bodurow Trent & Amy Cowles Dawn M. Fazli Dr. & Mrs. E. Henry Lamkin, Jr. Dr. Gordon & Carole Mallett Mrs. F. Bruce Peck, Jr. Dr. Jeffrey Vanderwater-Piercy Dr. Kenneth & Mrs. Debra Renkens Robert & Alice Schloss Dr. & Mrs. Eugene Van Hove Martin & Mary Walker

David & Eleanor Wilcox Anonymous Anthem Blue Cross and Blue Shield Arthur Jordan Foundation Barnes & Thornburg LLP BMO Harris Bank Budweiser Zink Distributing Co, LLC Chase Citizens Energy Group The Clowes Fund Delaware Community Foundation Duke Energy Erie Insurance Ice Miller LLP Indiana Arts Commission Ann and Gordon Getty Foundation and the League of American Orchestras MacAllister Machinery Company, Inc. National Endowment for the Arts Navient Nicholas H. Noyes Jr. Memorial Foundation OneAmerica Financial Partners, Inc. R.B. Annis Educational Foundation Raymond James & Associates, Inc. Roche Diagnostics SalesForce Scott A. Jones Foundation St.Vincent Health Telamon Corporation Terry Lee Hyundai & Terry Lee Genesis The Martin D. & Mary J. Walker Charitable Foundation Founders’ Society, First Chair ($10,000-$19,999) Anonymous (2) The Honorable & Mrs. Alex M. Azar II Mr. & Mrs. Robert Bader Charlene & Joe Barnette Mr. & Mrs. Barry J. Bentley Maestro Raymond Leppard & Dr. John C. Bloom Bryan & Elaine Brenner Dr. & Mrs. Thomas A. Broadie Vincent & Robyn Caponi Mr. & Mrs. Daniel P. Carmichael Mr. Daniel Corrigan Mr. & Mrs. James E. Dora Craig & Mary Fenneman

Don & Carolyn Hardman Emily & Peter Howard Allan & Kathy Hubbard Bob & Rhonda Kaspar Joseph & Kathy Kessler Cindy L. & Timothy J. Konich James E. & Patricia J. LaCrosse Drs. W.H. & K.T. Landschulz Mr. & Mrs. Bruce McCaw Mr. E. Kirk McKinney, Jr. Karen Mersereau & Dr. Michael Helms Mrs. Nancy Ann Morris Dorit & Gerald Paul Mel & Joan Perelman Walt & Mary Prouty Mary Frances Rubly Phyllis & Gary Schahet Marlyne Sexton Jeff & Cassandra Short Christopher A. Slapak & Michael J. Robertson Mr. Kevin D. Taylor Mr. & Mrs. Daniel O. Weisman Kathy & Ralph Wilhelm Roberta & Bill Witchger Dr. Christian Wolf & Elaine Holden-Wolf Hsiu-Chiung Yang & Marian Mosior Jim & Rita Zink ADL Charitable Trust Buckingham Foundation Inc. Care Institute Group, Inc. Citizens Energy Group CNO Financial Group Community Health Network Dow AgroSciences Elba L. & Gene Portteus Branigin Foundation Inc. The Glick Family Foundation Fenneman Family Foundation Fifth Third Bank Hendricks County Community Foundation Indiana Members Credit Union The Frenzel Family Charitable Lead Trust The Indiana Rail Road Company Indiana University Health Partners Industrial Dielectrics Holdings The Junior League of Indianapolis Lacy Foundation Macy’s McCaw Family Foundation NextGear Capital Ronald McDonald House Charities of Central Indiana and

McDonald’s of Central Indiana The Sells Group Shaheen Family Foundation Tobias Family Foundation Vectren Corporation Founders’ Society ($5,000-$9,999) Anonymous (7) Mr. & Mrs. Jeffrey M. Adams Thomas N. Akins Teresa & Don Altemeyer Bob & Pat Anker Mr. Aasif Bade Drs. Douglas & Deborah Balogh Trudy W. Banta Ms. Sarah Barney Alpha Blackburn Suzanne B. Blakeman Terry & Robert L Bowen Charles & Joyce Boxman Mr. & Mrs. John Bratt Donald & Barbara Broadlick Charles W. Brown Michael & Mary Ann Browning Mr. & Mrs. Walter P. Bruen, Jr. Ms. Jane Conley Dexter & Rosemary Cooley Stephen & Andrea Cranfill David & Consuelo Davis Dr. Thomas & Paula Elam Jack Everly & Ty A. Johnson Ms. Carol J. Feeney Dr. & Mrs. Richard W. Garrett Michael & Beth Gastineau Gary Ginstling & Marta Lederer Larry C. & Lee A. Glasscock Charles & Susan Golden Mr. & Mrs. Thomas W. & Mary P. Grein John & Chichi Guy Steve L. Hamilton & Keith O. Norwalk Richard & Elizabeth Holmes Mr. & Mrs. W. Seymour Holt Dr. Sharon Hoog Dr. Ann H. Hunt Dr. & Mrs. Ronald Iacocca Carlyn Johnson Kimra Kidd & Thomas Buethner Drs. Sandra & Charles Kinsella Ned & Wendy Kirby Mrs. James L. Kittle, Sr.

ANNUAL FUND Don & Jen Knebel Dr. & Mrs. Eugene P. Kroeff Mr. & Mrs. Joseph C. Lanning Mr. & Mrs. Eli Lilly II Dr. Richard E. Lindseth Gregory & Alexandra Loewen Dr. & Mrs. Carlos Lopez Andrew J. Macht Mr. & Mrs. Morris Maurer Virginia Melin Mr. & Mrs. Dayton Molendorp David Morgan Ellie, Weber & Emaline Morse Jerry & Anne Moss John & Carolyn Mutz Mr. & Mrs. Charles J. O’Drobinak Michael P. & Leanne M. O’Neil Kay Pashos & Neal Steinbart Donald & Karen Perez Bart Peterson Mr. Robert T. Rice Timothy E. Rice Margaret Cole Russell & Steve Russell Mr. & Mrs. William N. Salin Perry & Lisa Scott Patrick & Sarah Sells William & Faye Sigman Maribeth & Al Smith Susanne & Jack Sogard Pete & Lena Ward Margaret Watanabe David P. Whitman & Donna L. Reynolds Lynn & Andy Wiesman Jacquie & Fred Winters Sara & Michael Zeckel John & Linda Zimmermann Mary Ann & Gene Zink Jennifer & Michael Zinn Ann & Gordon Getty Foundation Barefoot Wine The Barrington of Carmel BKD Bose McKinney & Evans LLP 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 Indianapolis Chapter of The Links, Inc. James O. & Alice F. Cole Foundation Jungclaus-Campbell Co., Inc. The Julia L. and Andre B. Lacy Charitable Fund, a fund of CICF Lumina Foundation for Education McCaw Family Foundation Meridian Dermatology Merrill Lynch

MusicCrossroads The National Bank of Indianapolis Regions Bank Skiles Detrude The Stratford Winners Circle Conductor’s Circle ($2,500-$4,999) Anonymous Mr. & Mrs. Michael Alley J. Dara & Sherry Amlung Dr. & Mrs. Richard Barb Mary Ruth Barnard Frank & Katrina Basile Mr. C. Harvey Bradley Jr. Mary Clare & George Broadbent Mr. Richard F. Brown & Mrs. Cathy Springer-Brown Dr. & Mrs. John T. Callaghan Albert & Margaret Chen Nancy Christy Fred & Alice Croner James J. & Barbara Curtis Manuel & Sally Debono Rick & Jody Dennerline Ms. Andrea Devoe Steve & Mary DeVoe Kerry Dinneed & Sam Sutphin Robert W. Dyar, M.D. Dr. & Mrs. Michael E. Flaugh Dr. & Mrs. Mark Foglesong Steve & Lisa Ford Mr. & Mrs. L. D. Foster, Jr. Dr. & Mrs. Larry C. Franks Stephen F. Fry Julia & Doug Gard Cora A. Gibson Steven M. Giovangelo & Gerald J. Bedard Dr. Christian & Mrs. June Gries Bob Hallam Mr. & Mrs. James Hancock Nancy J. Harrison Dr. David K. & Clarice F. Hennon Marsha A. Hutchins Larry & Annette Hutchison Ms. Harriet Ivey & Dr. Richard Brashear Mr. & Mrs. John C. Jenkins & Family Scott & Holly Johnson Jennifer & John Jokantas Daniel H. Joseph and Liu Li Dr. Louis N Jungheim & Dr. Thalia I. Nicas Dr. and Mrs. John E. Kalsbeck Mr. & Mrs. Michael J. Kenniff Peg Kimberlin Dr. Gwen & Mr. Robert Krivi Peg Lavagnino Andrew & Lynn Lewis Jim & Sarah Lootens Malcolm & Joyce Mallette Mr. & Mrs. David Malson Mary & Charles Matsumoto Dr. & Mrs. Ronald Maus Boris E. Meditch Flip & Cindy Miller Milton & Margaret Miller Dr. & Mrs. Daniel H. Mowrey Elizabeth & William Murphy

F. Timothy & Nancy Nagler Marc A. Nichols & James E. Collins Jackie Nytes Mr. & Mrs. Robert H. Orr Noel & Beth Outland Eloise Paul & Bill Lee David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Jo & Chris Rathbun Tom & Ursula Roberts Mrs. John R. Roesch Dr. & Mrs. Robert L. Rudesill Mr. & Mrs. Todd K. Rutledge Mr. Gilva F. Sallee James & Mary Beth Schafer Jane & Fred Schlegel Klaus & Joel Schmiegel Drs. Lei Shen & Soomin Park Eric Siemers & Peggy Edwards Joanne & Gerald Solomon Mr. & Mrs. Larry Speer Dee & Tom Spencer Sydney L. Steele Drs. Randall & Bonnie Strate James Sweeney Dr. & Mrs. Reed Tarwater Mrs. David Thiel Dr. & Mrs. Ron Thieme Ms. Cathy Turner Martha Anne Varnes Jane & Hugh Watson Dr. & Mrs. William J. Wheeler Terence & Margaret Yen Barrie & Margaret Zimmerman 500 Festival, Inc. The Ackerman Foundation Community Health Network South Region DB Engineering LLC Donovan CPAs & Advisors Enflora Flowers for Business Ernst & Young LLP Firestone Building Products and Industrial Products First Person Franklin Symphonic Council, Inc. Hoosier Park at Anderson Horace Mann Indiana American Water Co., Inc. Indiana Farm Bureau Insurance Indiana Spine Group The Indianapolis Recorder The Indy Star InterDesign ITT Technical Institutes J M Smith Foundation Mallor Grodner LLP Dr. Michael J. Helms, DPM Mike Watkins Real Estate Group Inc RBC Wealth Management Ricker’s SEI Investments The Shaw-Burckhardt-Brenner Foundation Skyline Club, Indianapolis

Smoke Free Indy Symphony at Sunset Group, Inc. United Healthcare Western Reserve Partners, LLC Witham Health Services President’s Club ($1,500-$2,499) Anonymous (3) Nicholas Barbaro & Sue Ellen Scheppke Spencer & Marcia Bavender Jay & Julie Bishop Benjamin & Ashley Blair Mr. & Mrs. Jesse L. Bobbitt Kirk & Sharon Boller — Bottom-Line Performance Inc Dr. & Mrs. W. C. Bonifield Matt & Janette Brown Gordon & Celia Bruder Dr. Mark Overhage & Dr. Mary Brunner Mrs. Alva Buchholtz Kenneth & Patricia Burow Mr. & Mrs. John Campbell John & Ulla Connor Chris W. & Lesley J. Conrad Bill & Angela Corley Mr. & Mrs. James M. Cornelius Dave & Christie Crockett Mr. & Mrs. Bert Curry Mr. & Mrs. Gregory C. Davis Mr. & Mrs. Robert M. Donovan Miss E. Frances Eickhoff Andrew & Irene Engel John N. & Julia Luros Failey Jim & Gracia Floyd Dr. Norm & Adrienne Fogle Dr. Lawrence I. Goldblatt Joe & Kathy Grahn Mr. & Mrs. Robert Gregory Julie Griffith Kenneth & Barbara Hamilton Velda Hamman Joseph L. Hanley Ms. Lisa Heid Gregory Henneke & Martha O’Connor Mr. & Mrs. Gerald V. Hinchman Mr. & Mrs. V. William Hunt Mr. Gerald R. Jenn Dr. & Mrs. Philip E. Johnston Joan & David F. Kahn Donn & Dot Kaupke Mr. Charles E. Kendall Patricia Kilbury Mr. Doug Klitzke Col. A. D. Kneessy Dr. Elisabeth Krug Dr. & Mrs. Richard Lasbury Bob & Maureen Lee Mr. & Mrs. Allan Litz Deborah & Joe Loughrey Jon D. Marhenke, M.D. Dr. & Mrs. Douglas R. Maxwell Scott & Tiffany McCorkle Mr. & Mrs. Russell Mobley Dr. & Mrs. Phillip G. Mosbaugh Eric Moy Sarah Myer Jack & Judy Myers Mr. & Mrs. Daniel Mytelka

ANNUAL FUND Timothy S. Needler Mr. & Mrs. Guido Neels Mr. & Mrs. John S. Null Bill & Jamie Parrish Jack & Katie Patterson Allen H. Pekar Beverley & Bill Pitts Scott & Susan Putney Dr. & Mrs. George F. Rapp Mr. & Mrs. Randall Riggs Dr. Merrill Ritter Mr. & Mrs. Byron Robinson Dr. & Mrs. Randall G. Rowland Mr. & Mrs. John & Vicky Ruhl Col. & Mrs. Cecil Salter Dave & Marcia Sapp Dr. & Mrs. John F. Schaefer Jerry & Rosie Semler Armen and Marie-Claude Shanafelt Dick & Susan Simon Mr. & Mrs. Jeff Smithburn Christy & Jeffery Soldatis Drs. Pamela Steed & Peter Furno Rita & Larry Steinberg Richard & Lois Surber Stephen L. Tracy Dr. James & Linda Trippi Lynn C. Tyler John & Kathy Vahle Joe & Diane Vande Bosche Courtenay & Emily Weldon Emily A. West Mrs. Mary Whalin Josephine A. Yu Batt Family Foundation Conrad Indianapolis Cornelius Family Foundation, Inc. CSO Architects, Inc. Gracia E. Johnson Foundation Indy Eleven The Jenn Foundation Joanne W. Orr Charitable Fund Marni McKinney Foundation McKinney Family Foundation NTN Driveshaft The Penrod Society Van Riper Woodard Family Foundation Symphony Club ($1,000-$1,499) Anonymous (7) Mr. Wilbur L. Appel, Jr. Joan Baker Mrs. Taylor L. Baker Terry & Patricia Balko Mr. Walter H. Bartz Ms. Susan Bates Mr. Brett & Mrs. Shari Bayston Jeffrey Stant & Mary Bookwalter Erv & Priscilla Boschmann Douglas & Angela Braly Tiffany & William Browne, Jr. Terri Bruksch Mr. James & Mrs. Joan Burgett Lorene M. Burkhart Celeste & Derrick Burks Pam & Jack Burks Helen Burnett

Donald W. Buttrey Mr. & Mrs. E. M. Cavalier Casey Chell & Daniel Duarte Ray and Lisa Childers Mr. & Mrs. Randall Christie Dan & Laura Conder Dexter & Rosemary Cooley Mrs. Mary C. Crean Joanne Meyer Davis Rebecca & Larry Davis David & Brenda Day Mr. Douglas B. Day Dr. & Mrs. Frank Deane Mr. & Mrs. Thomas J. Eggers Dorothy Schultz Englehart David & Julie Eskenazi Dr. & Mrs. Harvey Feigenbaum Linda Felton Ann & David Frick Mr. Carl & Mrs. Donna Gahwiler Mr. & Mrs. James F. Gallagher Paul & Beth Gaylo Mr. & Mrs. Raymond Gibson Marianne Glick Mr. Scott & Ms. Amy Goldsmith Mr. & Mrs. Ray E. Gotshall Mr. Jonathan Gottlieb & Valerie Omicioli Thomas & Nancy Grembowicz Peter Grossman and Pauline Spiegel Kimberly J. Hadley Dr. & Mrs. Jim Hamby Mrs. Elizabeth Hamilton Mr. & Mrs. Eugene E. Henn William & Patricia Hirsch C. Jane Hodge Mrs. Ginny Hodowal Brenda S. Horn Mrs. Jill Hoyle Ms. Lysiane Huber Clarena Huffington Meredith & Kathleen Hull Carolyn Humke Krisztina & Ken Inskeep Mrs. Ninalou Isaacson Ms. Kristine Isenberg Catherine Jones Dr. & Mrs. Charles E. Jordan Mike & Linda Jordan Terry Kahn Dr. & Mrs. Frederick M. Kelvin Richard & Susan Kent Mr. & Mrs. Daniel E Klausner David H. Kleiman Richard & Roxanne Kovacs Dr. Matthew Landman Gene & Carolyn Lausch Rev. Richard & Mrs. Nancy Lewer Dr. Erik L. Lindseth Mr. & Mrs. William Lindstaedt Mr. Tom Linebarger Lowell & Penelope Lumley Mr. & Mrs. Ralph E. Lundgren Carey Lykins James R. & Rita E. Martin Elaine M. Mattson Dr. Rose Mays Carson & Betsy McCaw Michael & Patricia McCrory Craig & Kathleen McGaughey Mr. & Mrs. Thomas McGinley

Marni McKinney Nancy L McMillan Mr. Allen & Mrs. Deborah Miller Mr. & Mrs. Robert E. Miller James E. LeGrand & William A. Nichols Ann & Jim Murtlow Peggy & Byron Myers Mr. Reid Nagle Don Nead & Caryl Matthews Paul Nordby Lara Noren Thomas & Stacy O’Leary Linda Pence Marian Pettengill Jim and Ray Luther-Pfeil Gayle L. Phillips Larry & Nancy Pugh Mrs. Nancy Quest Roger & Anna Radue Richard & Betty Lou Reasoner Barb and Tom Reed Bob & Carol Reynolds, Barnes & Thornburg Mrs. Mary L. Rice Jean & Lamar Richcreek Mark & Susan Ridlen William R. & Gloria Riggs Mr. Larry Roan N. Clay & Amy Robbins Joseph & Leanna Roberts Peggy L. Robinson Gordon & Patsy Roe Dr. & Mrs. Gary R. Sampson Dr. & Mrs. Andreas Sashegyi Roderick & Anne Scheele Dr. Richard Schevitz & Ms. Rosemary Ervin Roger & Barbara Schmenner Paul & Martha Schmidt Ms. Silvana Schuster John Seest Carson & Carla Shadowen Mr. & Mrs. Henry E. Sleeth Mrs. Marian Small Nancy C. & James W. Smith Mr. Peter & Mrs. Chris Smithhisler Loren Snyder Barb Stang Ms. Shelley Stiner Mr. Bill & Mrs. Linda Strickland T.S. Sun Nela Swinehart & Lonn Bayha Mr. John Tan Phillip A. Terry Mr. Mark Thompson Douglas L. Tillman Mrs. Clara Trapp Randall Trowbridge & Alice Brown Bob & Sue True Barbara S. Tully Kenneth L. Turchi Ms. Phyllis Dye Turner Constance Van Valer, M.D. Mr. & Mrs. Bradley Warnecke Paul & Gretchen Watson Scott & Sue Webber Frank & Sandy Weddle L. Alan & Elizabeth Whaley Meg Williams & Nicole Collins Forrest Williamson Mr. & Mrs. Meredith L. Wilson

Bob & Debbie Wingerter Mr. & Mrs. Robert Witt Mrs. Edna Woodard Turner & Diann Woodard Diana & Dan Yates Mr. & Mrs. Leslie R. Zimmerman Anonymous ASA Concierge Psychological Services, LLC Blankenship Vocational Services Dayton Foundation The Dr. Lawrence M. and Eldoris J. Borst Family Fund of the CICF The Ruth E. Stilwell Endowment Fund, a fund of CICF Cavalier Family Foundation Cole Hardwood, Inc. Douglas & Angela Braly Family Foundation Gregory & Appel Insurance The Humke Foundation, Inc. Indiana First Lady’s Charitable Foundation, Inc. Indiana Utility Shareholders Association Linebarger Janin Family Fund, a fund of Central Indiana Community Foundation Milestone Ventures Inc. Psi Iota Xi, Iota Tau RSE Realty, Inc Salin Bank & Trust The Saltsburg Fund; Karen Lake Buttrey (deceased), Donald W. Buttrey SBC Wealth Management Straubinger Flutes Virtuoso ($750-$999) Anonymous (6) John & Reita Bertsch Mr. & Mrs. Tom Cooper Daryl, Sherry & Kevin Cox Patrick and Jennifer Cross Norman Dean Jessica R. Di Santo Mr. Kenneth Fraza Dr. Karen & Thomas Gallagher Dona & Catherine Gatlin Drs. Jean & Gerald Godfrey Mr. & Mrs. Berl J. Grant Brian & Claudia Grant Ms. Lauren Guidotti Mr. & Mrs. Thomas G. Harvey, Jr. Mr. & Mrs. Jerome T. Henning Stephen & Susan Henson Abigail W. Hohmann Jack & Ruth Hoover Mr. & Mrs. Needham S. Hurst Larry & Marianne Jacobi Robert & Cindy Kirkpatrick Mr. Richard & Mrs. Gwen Knipstein Mr. & Mrs. Tim Konrad Mr. Robbie Kusz Dennis & Karen Licht

ANNUAL FUND Mr. Joseph Lime Reverend Dr. Joan Malick Jeffrey & Christine Marks Mr. & Mrs. Ken Matsumoto Earl Miller & Ek-Leng Chua-Miller Dr. and Mrs. Patrick J. Murphy Ms. Brittany Nehman David & Diane Nesbitt Brian Oakley Dr. John A. & Cinda Overman Anne K. Perry & Marvin C.

Perry, II John Mainella & Michael Pettry The Prible Family Diane Richardson Dr. & Mrs. William Segar Michael & Priscilla Shaw Dr. & Mrs. Robert K. Silbert Mr. & Mrs. Lyman A. Snyder Ms. Sarah Studzinski Greg & Linda Sykes M. C. Tanner Mrs. Maggie Tatter

Kirk & Jo Taylor Mrs. T. Marilyn Trout Mr. & Mrs. Clark Williamson Larry E. Wollert II & Arif Kocabas Ty & Keri Wooten Dr. & Mrs. Steve Young Richard E. Ziegler Sue & John Zinser Indianapolis Symphony Orchestra Association South Group

Contributed Goods and Services ($5,000 and Above) Barefoot Wine Blue & Co, LLC. Buckingham Foundation Inc. Conrad Indianapolis DCG: Digital Color Graphics Enflora Flowers for Business Lynch, Incorporated Mitsch Design NUVO Newsweekly Printing Partners

DECEMBER 2-23 • HILBERT CIRCLE THEATRE Celebrate the season with family, friends and colleagues and save! Groups who purchase 20 or more tickets receive the following benefits: • 10% off the single ticket price • Waived handling fee • Payment flexibility • Personal concierge

JACK EVERLY, MUSIC DIRECTOR JOSH KAUFMAN, HOST

GET SOCIA

WHY I GIVE

WITH THE ISO

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 the ISO because I appreciate the hard work it takes to be a musician. I taught music in public schools for 31 years and 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 CONCER “I think it’s important that the city has a great symphony orchestra. WeEXCLUSIVE aren’t always able to CON BEHIND-THE-SCENES PHOTOS, 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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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 April 30, 2016 â&#x20AC;&#x201C; August 3, 2016.

Honor Gifts In Honor of Nancy Agres Virginia Melin

In Honor of ISO Stagehands Dinah and Jerry Montgomery

In Honor of my friend, Maestro Jack Everly Mrs. Bette Davenport

In Honor of Linda Yu-Picard, a violinist Josephine Yu

Memorial Gifts In Memory of Joan Burgett South Group Friends

In Memory of Donald Jolly, M.D. Virginia Melin

In Memory of James E. Dora, Sr. Don and Carolyn Hardman Mr. & Mrs. Joseph D. Barnette, Jr. Ted and Ann Prince Engel

In Memory of Ralph O. Lafuze Dr. Joan Lafuze In Memory of John D. Long ISO Association East Group

In Memory of Gail E. Hall Robert E. Hall In Memory of Lamar Johnson, Jr. Dr. & Mrs. Marvin G. Schmidt (Carole) Dr. & Mrs. Phillip G. Mosbaugh Fred and Alice Hecker

In Memory of Walter S. Lowe Joyce Dwulet In Memory of Mary Lou Rice Timothy E. Rice Eleanor R. Kassebaum Mr. Robert T. Rice

EUGENE AND MARILYN GLICK INDIANA HISTORY CENTER | 450 WEST OHIO STREET | INDIANAPOLIS DOWNTOWN ON THE CANAL | HOURS: TUESDAY THROUGH SATURDAY, 10 A.M. TO 5 P.M.

www.indianahistory.org

CORPORATE SPONSORS The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for their major support. To become a corporate partner, please contact the Associate Director of Corporate Giving at 317.262.1880.

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ISO ASSOCIATION Wendy Adams/ President Mable Lewis/ President Elect Faye Crabtree / Recording Secretary Roberta Graham / Corresponding Secretary Nela Swineheart / Treasurer Cindy Ohlrogge / Assistant Treasurer Sherry Amlung / Immediate Past President Janet Barb / Executive Board Advisor Beckie Kern / Office Assistant

Board Members, City Group & State Units Alexandria Adams Mary K. Anthony Susan Beckett Shelia Bosron – VP Peg Brummit Maria Cheeseman E. J. Choe Marty Davis Rebecca Davis Pat Druetzler

Ruth Durbin – VP Glenda Griffin Kay Hinshaw Jamia Jacobsen – VP Kay Kinder – VP Mable Lewis – VP Pat McCormick – VP Gail McDermottBowler Ann McKenzie

Jackie Means Sue Meyer Dorothy Miller Leslie Nelson Roger Nelson Davine Nolcox Joyce Peterson Kathy Pierce – VP Kim Potosnak

Lou Ramey Martha Anne Varnes Marian Meditch Margaret Hansen Kahn Kitty Baker Ann Strong Jean Quinn

Anna White Helen Rudesill Sue Maine Dagnia Kleinops Illene Maurer Nancy Christy Karen Davis Peggy Myers

Barb Ralph – VP Mary Richards Lori Rifkind Carol RohrabaughMote

Past Presidents Alma Ayres Jo Latham Sarah Goodman Josephine Madden Marion Fotheringham Florence Curle Margie Tomlinson Jessie Burns

Katie Patterson Dawn Fazli Janet Barb Patricia A. Quinn Charlene Barnette Pam Hicks Connie Menke Sherry Amlung

ADMINSITRATION EXECUTIVE OFFICE Gary Ginstling, Chief Executive Officer Laura Irmer, Executive Assistant OPERATIONS Danny Beckley, Vice President and General Manager Philomena Duffy, Operations Coordinator 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 Audience Services & Events David Armstrong, Director of Audience Services Donna Finney, Volunteer Services Manager Kalyn Smith, House Manager Frances Heavrin, Event Coordinator Artistic Administration 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 Melissa Weseli, Associate Director of Corporate Giving Carol Ann Arnell, Special Events and Donor Benefits Manager Sally Meyer Chapman, Foundation and Grants Manager Cindy McHone, Gift Processing Manager Caily Wolma Lee, Individual Giving Associate Beckie Kern, Development Assistant Thomas McTamney, Gift Processing Associate Catherine Lockhart, Corporate Relations Associate

MARKETING & COMMUNICATIONS Sarah Myer, Director of Marketing Jennifer Welch, Art Director Joshua Shuck, Group Sales Manager Catherine Cardwell, Audience Development Manager Marci Taylor, Graphic Designer Communications Leila Viera, Publications Manager Lauren King, Digital Marketing and Communications Manager Marianne Williams Tobias, Program Book Annotator Patron Services David Storms, Box Office Manager Mary Ferguson Senior Customer Care Representative Anita Blackwell Janine Knuutila Crystal Black Nick Neukom Carolyn Kupchik Customer Care Representatives LEARNING COMMUNITY Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation Endowed by Mr. and Mrs. William L. Fortune 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 Megan Masterman, Education Program Manager FINANCE Steve L. Hamilton, Vice President Adam White, Controller Teaka Vest, Staff Accountant Jennifer Morrell, Accounts Payable Coordinator Information Technology Dee Dee Fite, Director of Technology Molly Inglish, Manager of Patron Technology Human Resources Larry R. Baysinger, 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 before and after the concert in the Encore Lounge. Also, join us for a behind-the-scenes discussion with special guests during the First Mondays: Backstage Pass to the ISO! For information, please email firstmondays@IndianapolisSymphony.org.

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

INDIANAPOLIS

SYMPHONY ORCHESTRA

2016-2017

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