Australian Chamber Orchestra playbill

Richard Tognetti, Artistic Director

Supported by: Ames International Orchestra Festival Association and Ames Commission on the Arts

MONDAY, MARCH 24, 2014

www.standingovationiowa.com

Welcome Welcome friends of Iowa State University and C.Y. Stephens Auditorium!

We are so glad you are here to experience the arts at Stephens Auditorium. This elegant 2,729seat auditorium is a dream realized. It’s a legacy of the visionary leaders and donors who, more than 44 years ago, worked passionately to build it. Leading the charge was ISU alumnus Clifford Y. Stephens who believed all students should have an opportunity to develop an appreciation for the fine arts, which he considered a necessity. Today, performances are attended not only by ISU students, but by community members from every walk of life who travel both near and far distances to see a show that will make them laugh, reflect, be inspired or entertained.

Performers from all over the globe have created moments of joy for generations of audiences, from the newest members to those who were here for opening night in 1969.

It is with that sense of family that we welcome you to the 2013-14 season, which brings an exciting array of world-renowned touring artists to challenge, entertain and delight you. The calendar is filled with returning friends such as comedian Bill Cosby, who performed two sold-out shows in 1998; and jazz superstar Wynton Marsalis, whose big brother Branford performed here last season and who will dazzle the crowd with the Jazz at Lincoln Center Orchestra. The renowned Moscow Festival Ballet returned to Stephens this winter with a stunning performance of the timeless classic Cinderella replete with elaborate costumes, lush scenery and gifted dancers. The national Broadway tours of Beauty & the Beast and Mamma Mia! were past favorites and promise more great music and dance when they return this spring.

We also welcome exciting new experiences. The Iowa premiere of The Addams Family brought America’s favorite creepy family and their fun and twisted humor to the stage for a new musical take on a classic tale. The quirky and internationally-known all-ukulele touring chamber ensemble, The Ukulele Orchestra of Great Britain, took everyone on an eclectic musical adventure. These supreme musicians gave an electrifying performance and concluded with a jam session.

Classic favorites or something new, we hope you will find your passions and more on the 2013-14 Performing Arts Series listed in the color section of this program.

We thank you for your support and patronage of the Performing Arts Series at Stephens Auditorium.

Enjoy the show!

Steven Leath President Iowa State University Standing

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Mark North General Manager Stephens Auditorium 1

Stephens Auditorium curtain Silver Code establishes an atmosphere of anticipation reaching even the farthest seats of the auditorium.

Silver Code: Iowa State’s Vision for the Future

By Claire Kruesel

Did you know that Stephens Auditorium — an award-winning example of Iowa’s most visionary architecture — showcases its own artistic gem, day in and day out?

MORE THAN A “RED STAGE CURTAIN” Like a museum with shifting exhibits, Stephens Auditorium brings world-class performances to Ames year-round. Between stage and audience hangs the auditorium’s permanent exhibit: its massive 80x35-foot stage curtain, woven in Kyoto, Japan in 1969. Though this tapestry boldly transcends the blank-slate personality of a traditional red velour stage curtain, imagine that in 2013, this curtain didn’t even have a title or designer on record. Last year, University Museums Director Lynette Pohlman organized a collaborative effort to research and conserve this impressive example of textile

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art, which has now been titled Silver Code and attributed to Japanese artist Ryokichi Mukai (1918–2010).

Iowa State’s Art on Campus Collection — the largest public art collection among the nation’s public universities — welcomed this grand textile, Silver Code, into its ranks. A gem not only of Stephens Auditorium, but of the University Museums collection itself, the curtain showcases a fusion of art and structure that embodies the visionary, interdisciplinary spirit of Iowa State University.

The curtain presides, always on the clock, as a strong example of artist Ryokichi Mukai’s preference for enduring, functional art that interacts with its viewers (see sidebar, page 4).

And the curtain’s unlikely travel across the ocean from island-nation to land-locked state originated with a former ISU student who grew up only forty miles away.

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LOCALLY GROWN PATRONAGE Decoding Silver Code began with its local provenance as a generous gift from J. W. (Bill) Fisher (see sidebar). Creative, fair and generous, J. W. Fisher repeatedly spun his advantages and worldly perspective into advancements both in technology and the arts. In 1969, Silver Code was much more than a $20,000 donation; it was a monumental, internationally significant textile. It was J. W. Fisher’s way of crowning Stephens Auditorium so everyone would know that with the Iowa State Center, Iowa State was truly heralding a new era.

BRINGING THE INTERNATIONAL STAGE HOME How did J. W. Fisher become familiar with Kyoto’s textiles? And why did he commission a Japanese artist to design the curtain? The answer lies in Fisher’s love of travel (in one classic photo, the industrialist and his wife Dorothy (née Meyer; 1914–1998, alum, 1936) sit astride camels in front of the Sphinx). In 1960 Fisher Controls built a factory in Japan, and in 1968 J. W. Fisher tempered business travel by experiencing Japanese culture: it was at the Chiba Cultural Hall in Chiba, Japan where the likes of Silver Code first spoke to him. There, a stage curtain of similar design to the one in Stephens Auditorium inspired Fisher to commission the curtain’s creators — Ryokichi Mukai and Kawashima Textile Mills — to execute a version exclusively for Stephens Auditorium. Fisher requested that the curtain symbolize Iowa State’s leadership in

BEHIND THE CURTAIN: J. W. (BILL) FISHER A Marshalltown businessman, world traveler, and former Iowa State student, J. W. Fisher (1914–1990) crafted a life that was shrewd in business, cosmopolitan in its legacy, warm and caring in person and forward-thinking all around.

The success of his business, Fisher Controls, allowed him to see the world, and he brought a vision of the future back to Iowa.

Fisher infused his business with a personal touch: he established pensions and paid vacations for local employees, and even treated them to lunch for his birthday. He brought the Metropolitan Opera Studio to Marshalltown in 1965, to help his employees celebrate a good year with a one-act opera. Fittingly, it was titled The Curtain Rises.

In 1974, the curtain rose at Fisher Theater — just north of Stephens Auditorium — thanks to the funding of J. W. Fisher. In serving on advisory boards to the Iowa State Center buildings, he also lent his vision to a project that would forever change Iowa State. These are just local examples of how J. W. Fisher reached beyond his role as president of Fisher Controls and into the arts. He also funded countless shows at New York’s Metropolitan Opera, served on their board for 35 years, and protected future arts patronage by establishing the Gramma Fisher Foundation, which continues to support museums, dance and theater. Then President Ronald Reagan recognized J. W. Fisher’s contributions, awarding him the National Medal of Arts in 1987.

Philanthropy ran in the Fisher family: you may recognize the name of J. W. Fisher’s sister Martha Ellen Tye (1909-1998), champion of Marshalltown arts and namesake of Iowa State’s Martha-Ellen Tye Recital Hall and Performing Arts Institute.

Thus, Silver Code represents just one thread in the extensive arts stewardship of the Fisher family.

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THE LIVING ART OF RYOKICHI MUKAI Although Ryokichi Mukai designed several tapestries, the artist’s central medium was not textiles, but metal. His iconic towering abstract sculpture Ant Castle II — made in 1962 from factory scraps — still stands outdoors in Tokiwa sculpture park in Ube, Japan. Though Silver Code lives indoors, it channels Mukai’s basic artistic tenets: just like his sculptures invite hands to their surfaces, so does the curtain’s complex, architectural texture invite the touch of our eyes. Like Mukai’s many public sculptures, the curtain’s function as mediator between audience and performance positions Silver Code as more than just static, stationary art.

Its abstract design, too, echoes design motifs employed across Mukai’s repertoire: bull’s-eye circles, matrices of dots, and “gears” infuse many of his sculptures and textiles with a sense of continuity, order, and subtle rebellion against technology. The exclamatory tufts of shiny mylar are one of Silver Code’s most noticeable design elements and echo Mukai’s penchant for working with aluminum, which offered unique structural challenges and symbolized the post-war Atomic Age effort to negotiate a balance with burgeoning technology. Iowa State’s Silver Code, as a grand and expansive example of Ryokichi Mukai’s artistic themes and Japan’s leadership in textile excellence, holds its own as an international cornerstone of the University Museums’ collection and a dynamic player in Stephens Auditorium’s broad artistic appeal.

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The 80x35-foot curtain utilized seven weavers working side-by-side for four months.

agriculture and technology, and include the colors cardinal and gold.

Woven by hand on the world’s largest loom, the curtain’s very construction represented an Iowa State-appropriate fusion of progressive arts and impressive engineering. Outweighing expectations by 1,600 pounds, the textile cost $50,000 just to ship, and required rigging adaptations once it arrived on-set in Ames.

However, when Silver Code premiered with Stephens Auditorium on opening night in 1969, its audience appeal was immediate.

Some people read agricultural motifs into its abstract design; some, a gear recalling Iowa State’s engineering excellence. The shared reaction was of recognition and appreciation for the glimmering curtain, decidedly beautiful in its solid construction and modern design. Even close to forty-five years later, the curtain conceals and reveals in continuous service and style, just like the award-winning architecture that houses it.

Silver Code, 1969. In the Art on Campus Collection, University Museums, Iowa State University, Ames, Iowa. Conservation funded by the Office of the Senior Vice President of Business and Finance at Iowa State University. Photo by Wyeth Lynch, © University Museums, 2013.

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YOU CAN HELP THE CURTAIN, TOO!

Kate Greder, Textile Conservation Fellow, carefully recaptures Silver Code’s original shine, one fiber at a time.

Ultimately, University Museums’ goal is to restore the curtain to that captivating shine of its opening days, when the New York Philharmonic enraptured a sold-out house for five straight days and Silver Code was the talk of the town. Conserving this exemplary curtain contributes to Iowa State’s greatest legacy: the union of the practical arts and sciences, roots of a land-grant education, and the humanities in creating and conserving a vision for a better life and a more wellrounded citizenry.

Back Stage Open House Thursday, February 6 from 4–6 p.m.

Sunday, March 2 from Noon–2 p.m.

Ever wonder what it would be like to stand on stage and see the curtain up close? Join us for a Back Stage Open House to gain an appreciation of the curtain and what it takes to conserve it. Meet Kate Greder and members of the University Museums and Iowa State Center staff. Free for University Museum membership, Performing Arts Fund donors and subscribers, and ISU Students. $5 suggested donation for the general public.

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Though the visual transformation of Silver Code can be viewed from your seats, the curtain is also in serious need of behind-the-scenes reinforcement. Just ask the tech crew who are responsible for maneuvering the 2,800-pound textile from floor to flyway in thirteen seconds — by pulling ropes laden with weighted plates! This labor-heavy rigging works, but even the textile seems a bit tired: its 80-plus heavy-duty grommets, hidden up above in the flyway, desperately need replacement. A professional stage rigging company based in New York City, iWeiss, has offered their expertise on outfitting ISU’s exceptional curtain with smooth sailing for years to come.

And this is where you can help preserve Iowa State’s artistic future!

To contribute to the conservation of Silver Code online go to www.foundation.iastate.edu/museums Please make your donation to the University Museums Special Projects fund under Gift Designations, and indicate C.Y. Stephens Curtain Conservation in the notes field.

To mail your contribution to the conservation of Silver Code please indicate the University Museums Special Projects fund number 2311822 and C.Y. Stephens Curtain Conservation in your check’s memo field. Checks can be mailed to the Iowa State University Foundation, P.O. Box 868, Ames, IA, 50010-0868.

For further information on contributions or the conservation of Silver Code, please contact Lynette Pohlman at 515-294-6966 or lpohlman@iastate.edu.

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Silver Code Shines; iWeiss to Help it Fly

By Claire Kruesel

Imagine you’ll never lie down — even sit — ever again; you’ll stand upright for the rest of your life, with perfect posture, only allowed to jump straight up and down.

This is the life of Stephens Auditorium’s stage curtain, Silver Code. Through 45 years and over 3,000 performances, the textile has hung suspended from eighty-one grommets, its 2,800 pounds of woven warp and weft subject to the unrelenting tug of gravity. Woven on a single loom in Kyoto, Japan then rolled up for transport to Ames, the 80x35-foot textile has not laid flat since it was first unfurled for hanging at Stephens in 1969.

That’s about to change. University Museums’ conservation of the curtain — which so far has funded a multi-month, two-person cleaning team — will employ New-Jersey-based stage rigging experts iWeiss to replace and double the number of grommets, repair wear-and-tear damage, and install an automated lift system (yes, all 2,800 pounds is still lowered — and raised — by hand, using weights, ropes, and human strength).

Though there are many businesses that specialize in stage rigging, University Museums couldn’t rely on just any company, because Silver Code is not your average curtain — it’s a work of art. Performing surgery on such a historical and monumental textile carries risks and requires expertise, and iWeiss possesses the skills and experience to succeed at such a tall order.

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Recently, in 2011, the highly regarded company — which traces its history back to the 1900’s, and was reincorporated in 1981 — changed its name to reflect the creativity and excellence that characterizes its diverse skillset and willingness to approach novel problems. Now “iWeiss Theatrical Solutions,” the company does everything from producing stage curtains that qualify as art (for the Arsht Center’s Ziff Ballet Opera House in Miami, Florida, they digitally printed artist-design panels, sewed them seamlessly together, and then had the artist apply finishing touches); to contributing to the sets of King Kong, CATS, and Book of Mormon; to outfitting the Victoria’s Secret Fashion Show in luxe velvet drapery; and to hanging a 30-ton whale skeleton for Museum of the Earth in Ithaca, New York.

Anything vertically oriented that’s theatrical and artistic, they can handle.

Thus, it makes sense that University Museums would rely on iWeiss to bring Silver Code up to, well, a more modern code. Their plan includes laying the curtain flat on a large sheet of muslin, repairing grommet holes and replacing the old grommets with new ones spaced twice as frequently, and — if enough funding can be secured — installing an automated lift that would ensure a quicker, less physically

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demanding fly time (the current manual rate is 13 seconds, with two stagehands).

Not only would this work ensure that Silver Code hangs strong for decades to come, it would offer local employment; the quote on the automatic lift system specifies local labor.

Thus the entire Silver Code project — with a budget of $175,000 — coordinates multiple aspects of conservation, and multiple players. Conservation of the visible textile surface, led by Textile Conservation Fellow Katherine Greder, is accomplished in-house, and iWeiss will contribute technical expertise. Each stage of the iWeiss repair process has its own unique purpose: the grommet replacement is essential to the curtain’s continued well-being, and the automated lift system would offer a speed of up to 60 feet per second. At that rate, Silver Code — at 30 feet high — could theoretically appear (or disappear) in two seconds, an improvement of over 600%.

Now that’s a quick jump! University Museums looks forward — in conjunction with the team at iWeiss — to putting a spring back in the step of Silver Code.

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Kate Greder, Textile Conservation Fellow, carefully recaptures Silver Code’s original shine, one fiber at a time.

To contribute to the conservation of Silver Code online go to www.foundation.iastate.edu/museums Please make your donation to the University Museums Special Projects fund under Gift Designations, and indicate C.Y. Stephens Curtain Conservation in the Notes field.

To mail your contribution to the conservation of Silver Code please indicate the University Museums Special Projects fund number 2311822 and C.Y. Stephens Curtain Conservation in your check’s memo field.

Checks can be mailed to the Iowa State University Foundation, P.O. Box 868, Ames, IA, 50010-0868.

For further information on contributions or the conservation of Silver Code, please contact Lynette Pohlman at 515-294-6966 or lpohlman@iastate.edu.

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Guest Information Our audience members are a valuable part of every performance at Stephens Auditorium. After all, without you, we wouldn’t be here. To ensure you have an enjoyable experience at Stephens Auditorium, please take a moment to read the following information. Enjoy the performance!

Admittance: All exterior doors open 45 minutes prior to curtain time and the house opens 30 minutes before curtain time.

Arriving Late: As a courtesy to the performers and other audience members, we cannot immediately seat guests who arrive after the performance starts. Latecomers will be admitted as soon as there is an appropriate break in the performance.

Cameras And Recording Devices: Taking photographs and the use of recording devices is prohibited and a violation of state and federal copyright laws. Photos will be deleted from memory cards and cell phones, tape and film will be confiscated.

Cancellations: Typically, weather related cancellations are not decided until hours before curtain time and will be announced by the media whenever possible. For specific performance information, guests can call the Stephens Auditorium Ticket Office at 515-294-2479, the Administration Office at 515-294-3347, or check our web site at www.center.iastate.edu for updates.

Cell Phones and Pagers: All cell phones, pagers and alarm watches should be turned off. Guests expecting messages should leave their cell phones or pagers at the Guest Services Desk, along with their seat locations.

Guests may also leave their seat location and the Guest Services number, 515-294-2313, with the calling party.

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Children: Every audience member (infants included) must occupy a seat and have a ticket. Please use discretion when deciding which events are appropriate for children. To learn about performances recommended for young children, please contact the Ticket Office at 515-294-2479.

Guests are also asked to be considerate of their young ones and other guests by excusing themselves if their child becomes disruptive during the performance.

Coat Check: A free coat check is available on the ground floor, just west of the Celebrity CafĂŠ.

Elevators: Elevators are located in the lobbies of all floors on the north side of Stephens Auditorium.

First Aid Assistance: First aid assistance is provided by Mary Greeley Medical Center. If you need assistance, please visit the Guest Services Desk or ask your usher for details.

Food and Beverages: Food and beverages may be purchased at concession stands located in the lobby areas of the main floor and ground floor before the performance and during intermission.

Gift Certificates: Give the gift of entertainment! Gift certificates may be purchased at the Ticket Office in one-dollar increments.

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Groups: For most shows, groups of 15 or more receive a $5 discount off adult prices.

Call 515-294-2479 for more information.

Guest Services: The Guest Services Desk is located in the main floor lobby on the north side of Stephens Auditorium.

ISU Student Ticket Discounts: ISU students can purchase tickets to most Performing Arts Series events for $25 or three shows for $60.* There is a limit of two tickets per performance, per student ID. Funded by the Government of the Student Body (GSB). *Restrictions apply for some performances.

Three for $60 offer valid with the purchase of a student savings card.

Lost and Found Items: Lost items may be reported, turned in or claimed at the Guest Services Desk located on the main floor during an event. After an event, please contact us at 515-294-3347, Mon–Fri, 10 a.m.–5 p.m. Lost and found items are kept for 30 days.

Parking: Free parking is available in the lots south and east of Stephens Auditorium. Lots A-1 and B-3 are reserved for Performing Arts Fund Donors who contribute $250 or more. Lots are reserved up to 15 minutes prior to show time and are subject to availability. Parking for mobilityimpaired guests is available in the lot located west of Stephens Auditorium.

Public Amenities: Restrooms are located on the ground floor and first balcony lobby area. Additional facilities can be found in the first and second balcony towers.

Women’s facilities are house left (as you face the stage) and men’s are house right.

Restrooms equipped for the mobilityimpaired are located on the ground floor.

Smoke-Free Environment: Smoking is not allowed in Stephens Auditorium. The Iowa State Center buildings and grounds are smoke-free.

Ticket Exchange: Ticket exchange is an exclusive benefit available only to Performing Arts Series Subscribers and only available for Performing Arts Series events.

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Theater Etiquette In today’s world, everyone seems to have less time and more stress, making the chance to sit back, relax and enjoy an event that much more meaningful. A visit to the theater can provide a wonderful escape, so here are some tips that will ensure you — and the guests around you — will have an even more enjoyable trip to Stephens Auditorium.

“Fashionably Late” is never in style

Please arrive early enough to find your seat before the curtain rises. After the performance has begun, latecomers will be asked to wait until a suitable moment before being seated. The same reminder applies at intermission.

Sit Back, Relax, and... “Hello?”

Just as the performance transports you from your earthly boundaries, your neighbor suddenly starts beeping like a fire alarm or has an obviously less-than-crucial phone call about some friend’s new haircut. Please be considerate of your neighbors, just as you would expect the same consideration from them, and turn off all cell phones, pagers and watches with alarms. With the outstanding acoustics in the auditorium, these sounds will distract and annoy everyone. If needed, you can arrange to be notified in the event of an emergency call. See “Cell Phones and Pagers” on page 2 for details.

Talk of the Town

We’re delighted if the performance becomes the “talk of the town,” but please wait until intermission or the final curtain to carry on conversations. You might also consider reserving any negative feedback until you are in private. People have differing opinions about creative events, and after all, you could be sitting next to the conductor’s mother or a company member’s spouse.

An Evening with the Family

Children are always welcome at Stephens Auditorium events. However, some performances require an adult attention span and a quiet auditorium. Please be considerate of both your young ones and the rest of the audience by excusing yourself with your child if he or she becomes disruptive during the performance. Not sure if your little one will enjoy the show? Give us a call at 515-294-3347 or toll-free 1-877-843-2368 to find out which 10

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events are especially suited for children or to arrange a special seating location so everyone can enjoy the performance. Remember, all guests (regardless of age) must have a ticket.

Hearing a Pin Drop

If you should need a cough drop or candy to help soothe a scratchy throat, please try to open the wrapper quickly and at an appropriate time (a scene change, applause, etc.). A good tip: unwrap a few lozenges before entering the auditorium.

A Star is Born

Performing arts enrich our community’s cultural life and bring a variety of entertainers to our backyard. These talented artists may be performing in your favorite musical or playing a well-known concerto, but you may be sitting near people who aren’t familiar with the piece.

Please resist humming, singing along, or finishing a line for the actors.

Good Neighbors

Should you find yourself near someone who chooses to violate the rules of common courtesy, please remember that a quiet reminder or a polite “shh” can be very effective.

If needed, ask an usher to help resolve the issue.

Great Escape

A quick departure is noticed by everyone in the audience and especially by the performers on stage. Making a mad dash for the exit expresses inconsideration to everyone in the auditorium. Please stay until the house lights go up. Should you need to make an exit before the final curtain call, please be discreet and considerate to others in your row.

Keeping Up Appearances

Help us preserve the ambience of Stephens Auditorium by depositing all trash in the appropriate receptacles located in the lobby areas.

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Services for Guests Every effort is made to ensure every guest has an enjoyable experience at Stephens Auditorium. Should you have additional questions or require special accommodations, please make arrangements with the Ticket Office when purchasing tickets.

ATM: For your convenience, an ATM is located in the Ticket Office lobby. The ATM is accessible during regular business hours and for the duration of all performances.

Background Materials: To learn more about the artists before you come to Stephens, we post biographies of the performers, composers and authors. You can also preview the event with audio and video samples at www.center.iastate.edu Listening Devices: Infrared listening devices to clarify and amplify sound are available free of charge at the Guest Services Desk in the main floor lobby. The supply is limited and dispensed on a first-come, first-served basis.

Special Seating: Wheelchair seating and special seating for the hearing and visually impaired is available for all performances.

Sign Language Interpretation: When possible, we will arrange to provide sign language interpretation and tape-recorded programs. Requests for these services must be made one month in advance.

INTERACT WITH THE IOWA STATE CENTER

Stay connected to the latest news from the Iowa State Center — anytime, anywhere! Visit www.center.iastate.edu to find event schedules, audio samples, video clips, performance reviews, and more! While you’re there, check out other ways to interact: Facebook, Twitter & YouTube Join discussions about upcoming events, tell us what you thought of a performance, learn more about visiting artists, and enter to win great prizes!

Center Beat E-Mail Club Join today to receive e-mail updates and special offers for all events at the Iowa State Center, including the Performing Arts Series, Youth Matinee Series, concerts, family events, free events, and more. Plus, access exclusive contests and pre-sale offers!

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Group Benefits Bring A Group And Share Special Moments The finer things in life are just a little finer when shared with colleagues and friends. Why not plan your next group outing around a spectacular Stephens Auditorium performance? Imagine the thrill of the theater, the sublime sounds of a symphony orchestra, or the riotous laughter of a comedy — all moments your group can share!

With bountiful menu options, flexible spaces, and a wide selection of concerts and performances at the Iowa State Center, the opportunities for your group events are endless!

For more information about group benefits or to start planning your event, contact the Stephens Auditorium Ticket Office at 515-294-2479, toll-free at 1-877-843-2368 or visit www.center.iastate.edu.

Groups Receive Valuable Benefits:

• Personal, one-on-one service • Ticket discounts • Promotional materials for publicizing your group event • Staff hosts to coordinate the details and ensure your event goes smoothly • Ample free parking • And more!

Special Opportunities When you think of Stephens Auditorium, we hope you think of it not just as a venue for seeing the performing arts, but also as a place where you are engaged as an active participant in the arts. The following events will enhance your visit and make each experience more fulfilling.

Master Classes: In master classes, artists will meet with groups of students, usually from Iowa State University and other area schools, and share their knowledge and insight as professional performers. In some cases, the artists will even provide a class for the entire community.

Free Previews in the Celebrity Café: Engaging presentations offered by topic experts, ISU faculty members or members of the professional touring group provide unique insights before each performance. Previews are free for ticket holders and occur 30 minutes before curtain time. You’ll find the Celebrity Café on the ground floor lobby in Stephens, on the north side of the auditorium.

Overture Dinner: We are offering a pre-concert meal prior to our classical program Australian Chamber Orchestra on Monday, March 24, 2014. A buffet dinner is held in the Scheman Building and includes three entrees, dessert, beverages and cash bar. With an informative presentation about the evening’s concert, it is a great way to make it a fun evening with like-minded arts supporters.

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Performing Arts Series The Art of Programming The Performing Arts Series Do you wonder how the eclectic mix of performances on the Performing Arts Series comes together? And how do we choose the dates? Contrary to the notion that the Performing Arts Series is selected randomly, much like picking shows from a hat, programming involves a lot of planning to bring the best possible collection of performances to our stage.

From beginning to end, we do extensive research in choosing the performances. Our goal is to offer high-quality performances from varied genres and disciplines as diverse as our audience.

Preparation for the next season begins one to two years before we announce the series each May. Discussions for the 2014-2015 series began before the 2013-2014 series was announced.

The extensive planning process includes all of these considerations: 1. Priority List of Artists

After scheduling the series each year, there may be performances which were considered but didn’t fit into the schedule and we keep those events on a priority list for the future.

Some artists are so well received, that we want them back when the timing is right for a return performance.

2. Geographic/Routing Criteria A big question in the planning process is what performances will be touring in the Midwest and when. Artists’ agents advise which shows are available and the potential artist fees. Many events are available to play at Stephens Auditorium in mid-fall and spring, as they start their tours on either coast and route into the Midwest in October, February and March. Fewer events are available in September, December, January, and April.

3. Collecting Information

Next, we collect background material on the performances from various sources, including: Agents: Most agents know the sales history of the artists and want to sell only the events that make sense for a particular venue. We discuss whether an event will fit our community and its needs.

ISU’s Performing Arts Council: This panel of Iowa State University faculty, staff, students and community members offers valuable insights and feedback on performances.

Iowa State Center staff: Staff members may attend regional and national meetings on the arts, providing an opportunity to preview artists and shows.

Guest comments: Guests often have excellent intuition about artists and shows that would be successful on the series. We welcome your comments.

Other sources: We monitor the artists scheduled by other presenters to see what works in markets similar to ours. Magazines like Billboard and Variety cover hot new jazz artists, classical music favorites, popular performers and off-Broadway shows.

4. Talking to Artists’ Representatives

Negotiations begin via phone, e-mail and at performing arts conferences.

We determine how many performances our market can support and begin to shape a preliminary series.

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We must also consider: • balancing the types of shows and arranging dates with the university and community calendars • checking potential conflicts with other area arts presenters • generating budgets for each potential event to ensure there is a balance between financial responsibility and artistic merit, since ticket sales cover only 65% of presenting costs Now the actual booking begins and the schedule is adjusted several times until we have the right mix of performances. Talent fees, ticket prices, performance dates and hundreds of other details are ironed out. When all parties agree, we finalize the event and sign the contracts. However, nothing is set in stone. Scheduling conflicts, changes in tour funding, and other circumstances can change even ‘finalized’ performances.

At last, the Performing Arts Series is announced to the public! (Of course, we’re already planning great shows for next season.)

WATERLOO COMMUNITY PLAYHOUSE: A CRSTMS CARL December 13-21, 2013

BLAK COY: gh te Lghts n Ou January 31-February 8, 2014

ARE SLE March 21-29, 2014

ETN SARA ARRID May 16-24, 2014

BLACK HAWK CHILDREN’S THEATRE:

JUNIE B.

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YO’RE

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JNGLE BLS, BATM SLS! November 22-24, 2013

OD , CHALIE February 28-March 2, 2014

BROW

E LVE DN PRSS April 25-27, 2014

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Monday, March 24 7:30 PM

Richard Tognetti, Artistic Director and Lead Violin Olli Mustonen, Piano Christopher Martin, Trumpet

PROKOFIEV

Visions Fugitives, Op.22

(arr. Barshai/Tognetti) Olli Mustonen, Piano

SHOSTAKOVICH Piano Concerto No.1 in C minor, Op.35

Olli Mustonen, Piano

Christopher Martin, Trumpet

Interval

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SHOSTAKOVICH Op.11

Prelude and Scherzo for String Octet,

TCHAIKOVSKY

Serenade for Strings in C major, Op.48

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Australian Chamber Orchestra One of the world’s most lauded chamber ensembles, the Australian Chamber Orchestra is renowned for its inspired programming and unrivalled virtuosity, energy and individuality.

Its unique programming extends across six centuries, spanning popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.

Founded in 1975, this string orchestra comprises leading Australian and international musicians and a growing company of dedicated young players. The Orchestra performs as a symphony orchestra, chamber music ensemble and electro-acoustic collective collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Steven Isserlis, Jeremy Denk, Emmanuel Pahud, Richard Egarr, and Martin Fröst; singers Dawn Upshaw, Andreas Scholl, Danielle de Niese, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, visual artist Shaun Tan, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela, cartoonist Michael Leunig, and author Alex Ross.

Outstanding Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is now internationally recognised. Through the ACO’s extensive commissioning program, more than 60 works have been added to the repertoire, including pieces by Brett Dean, Peteris Vasks, Jonny Greenwood, Elena Kats-Chernin, and Carl Vine.

Committed to Australian composition, the ACO has given 1700 performances of over 250 works by 80 Australian composers.

Several of the ACO’s players perform on remarkable string instruments. Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from an anonymous Australian Standing

benefactor; Principal Violin Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Principal Violin Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund, Principal Cello Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss AO and Principal Double Bass plays a late 16th century Gasparo da Salò bass kindly on loan from anonymous benefactors.

The ACO has made many award-winning recordings and has a current recording contract with leading classical music label, BIS. The orchestra’s recorded highlights include a, fourtime Grammy-Award winning recording of Maria Schneider’s Winter Morning Walks with Dawn Upshaw, Tognetti’s three-time ARIA Awardwinning Bach recordings, the multi-awardwinning documentary film Musica Surfica, the sound-track for television series Classical Destinations II and the complete set of Mozart Violin Concertos.

As Australia’s only national orchestra the ACO presents outstanding performances to over 10,000 subscribers across Australia, reaching regional audiences in every state and territory.

Internationally, the ACO’s regular tours to Asia, Europe and the USA consistently receive glowing reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Wigmore Hall and Southbank Centre, New York’s Carnegie Hall and Lincoln Center, Chicago’s Orchestra Hall, Birmingham’s Symphony Hall and Washington D.C.’s Kennedy Center. The ACO has visited over 250 cities in the course of 50 international tours.

In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players.

These specially selected stars of the future join ACO core players to form the Orchestra’s little sister orchestra ACO2, performing bold programs in concerts and education workshops for regional audiences throughout Australia.

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Australian Chamber Orchestra Richard Tognetti AO Artistic Director and Leader Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” The Daily Telegraph (UK), 2006 Australian violinist, conductor and composer Richard Tognetti has established an international reputation for his compelling performances and artistic individualism.

He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989.

Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia and Creative Associate of Classical Music for the Melbourne Festival.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

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Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World and violin tutor for its star, Russell Crowe; he can also be heard performing on the awardwinning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvorak and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.

Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

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Australian Chamber Orchestra Olli Mustonen Piano / Conductor

Christopher Martin Trumpet

Born in Helsinki, the capital of Finland, Mustonen began his studies in piano, harpsichord and composition at the age of five. Initially learning with Ralf Gothoni, he subsequently studied piano with Eero Heinonen and composition with Einojuhani Rautavaara.

Christopher Martin holds the Adolph Herseth Principal Trumpet chair of the Chicago Symphony Orchestra (CSO).

Prior to his appointment in 2005 by Daniel Barenboim, Martin was previously Principal Trumpet of the Atlanta Symphony Orchestra and Associate Principal of the Philadelphia Orchestra.

As a concerto soloist, Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, Munich Philharmonic, Chicago Symphony, Cleveland Orchestra, New York Philharmonic and the Royal Concertgebouw, partnering conductors such as Ashkenazy, Barenboim, Blomstedt, Boulez, Chung, Dutoit, Eschenbach, Harnoncourt, Masur, Nagano, Salonen and Saraste.

He performs regularly as soloist on the CSO’s subscription series - most recently in the 2012 world premiere of Christopher Rouse’s new concerto Heimdall’s Trumpet which was commissioned for Martin by the Chicago Symphony. In 2011, he performed a program of 20thcentury French concerti by André Jolivet and Henri Tomasi with the CSO.

Among Mustonen’s close connections with Also in 2012, Chris Martin was the featured some of today’s most illustrious musicians trumpet soloist in John Williams’ score for is his collaboration with Rodion Shchedrin, the Stephen Spielberg film Lincoln. He may be who dedicated his Piano Concerto No. 5 to heard on CSO Resound recordings including Mustonen and invited him to perform at his the 2011 release CSO Brass Live as well as 70th, 75th and 80th birthday concerts. In August Atlanta Symphony Orchestra recordings on 2013, Mustonen performed Shchedrin’s Piano the Telarc label.

Concerto No. 4 at Stockholm’s Baltic Sea Festival with the Mariinsky Theatre Orchestra Martin received his Bachelor’s Degree with Performer’s Certificate from the Eastman under Valery Gergiev.

School of Music and is currently on the faculty At the heart of both his piano playing and of Northwestern University in Evanston, Illinois. conducting is his life as a composer. Mustonen has a deeply held conviction that each Chris and his wife Margaret, an organist performance must have the freshness of a and pianist, often perform as a duo in both first performance, so that audience and per- Baroque and contemporary repertoire. former alike encounter the composer as a living contemporary.

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Program Notes SERGEI PROKOFIEV (b. Sontsovka 1891 – d. Moscow 1953) Visions Fugitives, Op. 22 – performed in a combination of the piano originals and arrangements for strings by Rudolf Barshai, realised by Richard Tognetti

Con vivacita Assai moderato Allegretto Feroce Inquieto Dolente Poetico Con una dolce lentezza Presto agitatissimo e molto accentuato Lento irrealmente

Lentamente Andante Allegretto Animato Molto giocoso Con eleganza Pittoresca Commodo Allegretto tranquillo Ridicolosamente

With his mother Maria Grigorievna giving him piano and theory lessons from soon after toddlerhood, Prokofiev’s compositional juvenalia had reached generous proportions by his teens. His first piano piece, Indian Gallop, trotted in when he was just six, and there were dozens of other works, including six piano sonatas, before his official First Piano Sonata, Op. 1, appeared in 1909.

The twenty short piano pieces Visions Fugitives (Mimoletnosti) were written during a particularly fertile period from 1915-17 (1917 was the year of the First Violin Concerto, Piano Sonatas Three and Four and the celebrated Classical Symphony), and followed on from the Second Sonata (1912) and Sarcasms (1912-14). Still only in his early twenties, the composerpianist had already attracted much attention and controversy. After the premiere of his Second Piano Concerto in September 1913, a journalist wrote of the “astonished public” that: “some express their indignation out loud, some get up and find salvation in retreat,” and at the end “most of the audience are whistling and shouting angrily.”

Such disapproval merely fired Prokofiev’s enthusiasm to compose – something which he was able to do through persistent avoidance of military service by enrollment in successive classes at the St Petersburg Conservatorium. Later he wrote of this dizzily active, politically oblivious time: “I would blacken about ten pages of manuscript a day. In the easy passages, I would cover as many as eighteen.”

Prokofiev drew his title for this set of pieces from some lines of verse by Balmont: Tout ce qui est fugitif me fait voir des mondes Qui dans leur jeu chatoyant Ont pour moi la valeur du transitoire.

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All that is fleeting makes me see worlds Which have in their shimmering play The merit of transience.

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Program Notes Each of the ‘Visions’ teems with a discrete, vibrant personality, and among the movements’ headings are some more colourful descriptions such as pittoresco, ridicolosamente, feroce and inquieto. With a range of moods taking in sobriety and boisterousness, wit and violence, the composer’s phenomenal pianism is reflected at every turn. Prokofiev premiered these pieces on April 15, 1918 in the newly-named, post-revolution Petrograd; and the next month he departed for the USA, apparently with the intention of staying only a few months, but in fact remaining there until 1922.

The arrangements for strings used in part for these performances were made by the Russian violist and conductor Rudolf Barshai. Born in 1924, a period of study at the Moscow Conservatorium was followed by periods in the Borodin and Tchaikovsky Quartets. In 1955 Barshai became director of the Moscow Chamber Orchestra, for which group he subsequently arranged 15 of the 20 ‘Visions.’ © Meurig Bowen

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Program Notes DMITRI SHOSTAKOVICH (b. St Petersburg 1906 – d. Moscow 1975) Piano Concerto No.1, Op.35 for Piano, Trumpet and Strings

Allegro moderato Lento Moderato Allegro con brio Born just over a decade before the Bolshevik Revolution, Shostakovich’s youth coincided with the darkest and most horrific years of Soviet history. Peasant revolt, mass arrests and martial law under Lenin ran seamlessly into the foundation of the USSR and Stalin’s rise to power from the mid-1920s onwards. Climaxing in the Great Terror of the mid-1930s, this was a deadly period of institutionalised torture, purges, show-trials, collectivisation, and enormous hardship caused by chaotic fluctuations in agricultural and industrial production. While Stalin exported grain for foreign currency, famine killed seven million in the Ukraine.

After an apparently blandly idyllic boyhood, the grim realities of post-Revolution Russia began to assert themselves on the young Shostakovich. Malnutrition, tuberculosis and a period of convalescence in a Crimean sanitorium were all aspects of his teenage student years at the Petrograd Conservatorium. But his remarkable talent, fused with a fighting spirit, brought him early success as a composer – both of film scores and of more classical, ‘serious’ works. Still only in his early twenties, Shostakovich had his Tchaikovsky-indebted First Symphony premiered by Bruno Walter in Berlin and Stokowski in New York.

The First Piano Concerto is a fascinatingly transitional work, coming as it does between his two wildly shocking operas, The Nose and Lady Macbeth of the Mtensk District, and works which were intended to appease the increasingly anti-modernist Soviet authorities. After completing Lady Macbeth in December 1932, Shostakovich then worked on 24 Preludes for piano, as well as absorbing much music by Bach, Haydn and Beethoven. This served as a bridge between the lurid excesses of the opera and the purer guise of the concerto, written between March and July 1933. It also accounts for the neo-classical gesturing in the work – triadic accompaniment figures, neatly defined motifs, starkly reproduced harmonic formulae, and the Bach Preludelike opening of the brief third movement.

But it is Shostakovich’s remarkable sense of parody, of whirligig debunkery, which gives this work its real personality. And even with a fair sprinkling of ironic references to Tchaikovsky and Rachmaninov, and more earnest imitation of ‘wrong-note’ Stravinsky and Prokofiev, Shostakovich’s emerging hallmarks are present too. Like the high, step-wise violin melody that opens the slow movement above a sombre accompaniment – this turned out to be a familiar Shostakovich-ism, the violins often joined in his symphonies by a doubling flute.

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Program Notes And as for all the slapstick convulsions and relentless activity surrounding this centrepiece of seriousness, we are constantly left wondering – as with much of Shostakovich’s output – just where we are on the scales of entertainment and satire, of jocularity and savage mockery. The trumpet’s role in all of this is crucial, adding both a tinge of circus-act or court jester, as well as one that is more sinister and militaristic. In view of the increasingly appalling acts of Stalin’s regime in 1933, perhaps the trumpet’s most telling commentary is not something like the finale’s obsessive fanfare conclusion, but the way the Lento concludes – a droopy re-appearance of the violin’s opening melody from a not-so-triumphant bugler, lame from a bloody battle. © Meurig Bowen Prelude and Scherzo, Op. 11

Though Shostakovich’s legacy as a composer of chamber music rests largely on his 15 string quartets, which have enshrined him as one of the few great quartet composers of the 20th century, his first work in the genre did not come until 1938, when he was 32 years old and already recognized as a major composer on the strength of several symphonies and various works for the stage. But Shostakovich demonstrated an interest and facility in chamber music much earlier in his career, writing three pieces for small forces during the first half of the 1920s while still in his student years at the Leningrad Conservatory: the Piano Trio No. 1, Three Pieces for Cello and Piano (now lost), and the present Prelude and Scherzo, Op. 11.

Op. 11 owes its unusual form and format to the indecision of its composer and the halting nature of its composition. In December 1924, in the midst of his work on Symphony No. 1, Shostakovich received word that his close friend Volodya Kurchavov had died of typhoid fever.

In response, the teenaged composer set aside his symphony to write the Prelude, which he dedicated as a memorial to Kurchavov. Shostakovich also began a fugue that was to follow the Prelude as part of a five-movement suite, but before getting any farther, he changed his focus back to the symphony. He finally returned to his chamber piece only after completing the First Symphony the following summer, and by this time the idea of a lengthy suite no longer appealed to him. He scrapped the fugue and paired the Prelude with a new Scherzo, allowing the two movements to stand on their own.

Originally composed for string octet (in the double-quartet instrumentation familiar from Mendelssohn’s own Octet), the Prelude and Scherzo, though brief, are highly energetic and emotionally intense, filled with incisive rhythms and sweeping gestures.

The Prelude, as befits its inspiration, is passionately mournful, moving quickly through a series of episodes divided into three sections. Tragic chords give way to descending melodies, eerie triplets, and hushed pizzicato, eventually ushering in the restless tossing and turning of the middle section. An earnest, despairing solo for violin begins the closing segment, reaching an emotional climax before the quietly dejected atmosphere of the opening returns to conclude the movement. In contrast, the Scherzo is all swirling motion and sharp edges. This is the music of Shostakovich the deliberate modernist, packed with dissonance and unusual effects, but still with a firm sense of drama and organization. The composer was very happy with the Scherzo, calling it shortly after its completion “the very best thing I have written.” © Jay Goodwin Standing

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Program Notes PETER ILYICH TCHAIKOVSKY (b. Kamsko-Votinsk 1840 – d. St Petersburg 1893) Serenade for Strings in C Major, Op.48

(composed 1880) Sonatina: Andante non troppo – Allegro moderato Moderato, tempo di valse Elegie, larghetto elegiaco Finale: Andante – Allegro con spirito Tchaikovsky spent the latter part of 1880 at his family’s country estate of Kamenka. From September 21 to November 4 he worked on what turned out to be the Serenade for Strings, and, interlocking with this, from October 12 to November 19, on the very different 1812 Overture. Writing to his friend and patroness, Madame Nadezhda von Meck, he recalled: ‘I wrote the Overture without much warmth…the Serenade on the other hand, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’

It is indeed heartfelt music, while lacking Tchaikovsky’s potential for more extreme, heart-onsleeve emotionalism. And his hunch that it had ‘real qualities’ was endorsed by his former teacher and stern critic, Anton Rubinstein. He declared it to be ‘Tchaikovsky’s best piece’ to that time, when conducting the work in Moscow in June 1882. Earlier, equally successful performances in St Petersburg and Moscow included a surprise performance by friends at the St Petersburg Conservatory just three weeks after the work’s completion, on December 3 1880.

Initial sketches of the Serenade moved in the direction of a symphony or a string quintet – rather different in themselves – and by October 7, with three movements complete, it had become a suite for strings. Before its completion, however, Tchaikovsky decided to call it a Serenade, aware of this title’s lighter, Viennese classical connotations. Here, Tchaikovsky’s adoration of Mozart comes into focus, for, as the composer wrote to Nadezhda von Meck, ‘the first movement is actually in the style of Mozart. It is intended as an imitation, and I should be delighted if I thought that I had in any way approached my model.’

Elsewhere he had written: ‘It is due to Mozart that I devoted my life to music. He gave me the first impulse in my efforts, and made me love it above all else in the world.’

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Program Notes Tchaikovsky’s Mozartian ‘imitation’ isn’t neo-classical in the way that his Russian successors Stravinsky and Prokofiev would manufacture so successfully decades later. The movement is a ‘little sonata’ where there is no designated ‘development’ section, and where the balance of identical exposition and recapitulation (except for the second subject’s tonal area) is further balanced by the return of the opening Andante to close the movement. But in terms of the actual sound of the Serenade, only the second subject of this first movement is overtly Mozartian, with its bubbling semi-quavers and lightness of touch. Tchaikovsky’s own creative personality is never being masked; he is not letting another age’s music climb into that personality, but he is still observing the spirit of that age.

Following this opening Sonatina is a deft and graceful Waltz, whose main material Tchaikovsky subtly varies in texture and ornamentation upon its return after a contrasting central episode.

Similarly, in the Elegy, the return towards the end of the opening Larghetto is muted and moves closer into Tchaikovsky’s more despairing, tragic territory of expression. The central body of this Elegy is more emotionally neutral, immediately pleasing for its broad sweep of melody in the first violins and cellos, though still tinged with a certain melancholy.

The transition to the Russian-flavoured final movement (Mozart is left behind here, and replaced by two tunes Tchaikovsky had arranged back in 1869) is subtly achieved, with the lofty conclusion of the Elegy merging into a serene statement of a folk tune from the Volga region. Apart from bringing us back from the Elegy’s key centre of D to the finale’s C major, Tchaikovsky also teases the melody of the subsequent Allegro – another, more rollicking folk tune – from the cadential residue of the first melody. It is as impressively clear a lesson in motivic transformation as any student or interested listener could wish for.

Tchaikovsky continues to have fun with his material in this fully worked sonata movement.

First, he introduces a smooth, subordinate melody in the cellos that is then superimposed, later in the upper strings, on the principal folk theme. Close to the conclusion, he then brings back the stately introduction of the first movement. The descending fourth of this melody – which, when inverted, becomes the thematic stuff of the middle two movements – when gradually wound up back to speed clearly transforms to the Russian theme. With the end looping back to the beginning, the Mozartian sonatina moves east and is finally grafted to the Russian peasant dance. © Meurig Bowen

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Argentine Tango Class Meets every Sunday at 4pm Purchase a punch card and attend as often as you can! $

ART CLASSES

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Winners of the 2014 Iowa District Metropolitan Opera National Council Auditions (l-r): Alec Carlson, Alexandra Nowakowski, Zachary Owen, Katherine Carroll, Holly Flack, Jessica Faselt

The Metropolitan Opera National Council (MONC) Auditions for the Iowa District were held at the Martha-Ellen Tye Recital Hall on the ISU campus January 11 where three outstanding young singers advanced to the next round of competition: • Martha-Ellen Tye Career Development Award ($1,000) Mezzo-soprano Katherine Carroll holds a master’s degree from Northwestern University and is singing in the apprentice program with the Santa Fe Opera Company.

• Jack Horowitz Memorial Award ($1,000) Bass-Baritone Zachary Owen, a graduate of Luther College, is currently in the doctoral program at the Cincinnati Conservatory of Music.

• Douglas Burke Memorial Award ($1,000) Soprano Jessica Faselt is a student at the University of Iowa and for the past two summers has sung with the Cedar Rapids Opera Theater Young Artist Program.

These singers joined district winners from Nebraska, Minnesota, South Dakota and Wisconsin at the Upper Midwest Region competition February 1 in St. Paul, MN. All three Iowa singers were recognized, however, Lida Szkwarek of the North Dakota district was chosen to advance to national competition in New York City. Ten singers will ultimately compete in the Grand Finals Concert with full orchestra on March 30 at the Met. Three Non-advancing Encouragement Awards were also presented: Rosanne O’Harra Award ($300) recipients: • Alec Carlson, tenor, is a graduate of Luther College currently studying at the Cincinnati Conservatory of Music. He is originally from Red Oak, Iowa.

• Alexandra Nowakowski, soprano, is a student at the University of Illinois.

• Holly Flack, soprano, has degrees in vocal performance from St. Olaf College in Northfield, MN, and from the University of Kentucky.

Judges Ward Holmquist, Artistic Director of the Kansas City Lyric Opera; Greg Carpenter, General Director of Opera Colorado in Denver; and Gerald Dolter, renowned baritone and Director of Music Theatre at Texas Tech University donated their time for this prestigious competition.

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Youth Matinee Series Performing Arts for Young Minds

Parents and educators know that helping a student develop creativity and imagination is one of the most important things they can do. Helping to complete the education formula, our Youth Matinee Series energizes, engages and enhances the overall learning process for students through the magic and wonder of live performing arts experiences produced by professional touring artists.

Performances are geared toward enriching students’ lives and illustrating the dynamic relationship between literature, social studies, history, science, math, world cultures and the performing arts.

Martha-Ellen Tye Performing Arts Institute

The Martha-Ellen Tye Performing Arts Institute was established through a generous endowment by long-time Marshalltown resident, the late Martha-Ellen Tye. It brings a unique blend of arts experiences to students of all ages through matinee performances, teaching activities in schools, demonstrations and workshops. Now in its 15th year, the program has served more than 150,000 students in grades PreK-12 from across the state of Iowa.

Mrs. Tye believed strongly in the power and importance of arts education and vigorously supported programs that develop the “whole person — body, mind and spirit.” The Youth Matinee Series is underwritten by this endowment, which allows us to keep prices affordable. Resource guides for each performance can be downloaded for free by teachers, students, and parents to further explore the art forms and identify curricular connections, increasing the educational value of the learning experience.

If you would like to learn more about these performances, contact Sara Compton, Outreach Coordinator, at 515-294-7389, e-mail scompton@iastate.edu, or visit www.center.iastate.edu.

Become a Subscriber Subscriber Rewards Quick & Easy Exchanges: Plans change? Exchange your tickets in person, by mail or by phone up to 24 hours prior to the performance, absolutely free!

Ticket Insurance: If your tickets are lost, stolen or destroyed, replacement tickets will be provided for the same seats, free of charge.

Priority Seating: Receive priority seating in advance of single-ticket buyers and you’ll be the first to hear about next year’s Performing Arts Series at an exclusive Preview Party.

Special Offers: Throughout the season, subscribers will be notified of special offers, exclusive promotions, the latest updates and more.

For a complete list of subscriber rewards, visit www.center.iastate.edu.

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ENJOY TIME WITH FRIENDS

MEET THE PERFORMERS

ENGAGE KIDS WITH THE ARTS

Become a Partner in the Performing Arts Did you know your ticket pays for only 65% of the cost of presenting the Performing Arts Series?

Contributions are critical to the quality and breadth of our program, allowing us to be bold and innovative each year. Join the generous donors who make these magical performances possible.

Giving is Easy To give your vital support to the arts, choose one of these methods:

Online: Visit www.center.iastate.edu/makeagift Mail: Envelopes at the Guest Services Desk or send to ISU Foundation, 2505 University Blvd., Ames, IA 50010

Donor Benefits Can Include: • Highest priority seating & VIP parking

Phone: 515-294-3347 or 1-877-843-2368

• Complimentary refreshments in the Donor Lounge

In Person: Ticket Office (open through intermission for all shows)

• A Donor Appreciation Event, Meet-the-Artist receptions and the Series Preview Party

Give today to begin experiencing the many benefits of being a Performing Arts Fund/AIOFA donor. Please join us today. Visit center.iastate.edu/support.

Your Gift Can be Made in Installments Visit www.foundation.iastate.edu and click on ‘How to Give’ to complete a Pledge, Electronic Fund Transfer or Faculty/Staff Payroll Deduction Form.

Ames International Orchestra Festival Association (AIOFA) You can designate your gift to support the orchestras at Stephens Auditorium.

Contact Patti Cotter, Development & Sponsorship Manager, at 515-294-1238 or via e-mail at pcotter@iastate.edu.

WHAT’S YOUR DREAM FOR THE ARTS?

Consider an endowment gift or a bequest to secure the future of orchestral concerts in Ames, as ticket revenues alone cannot sustain world-class performances and arts education programs.

Contact Patti Cotter at 515-294-1238 or pcotter@iastate.edu Standing

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Staff Interview: Jake Ewalt Q: What is your hometown? Tabor, Iowa

Q: How long have you been the Audio/Stage Manager Technical Director at Stephens Auditorium and the Iowa State Center? Since 1975 Q: How would you describe your role as Audio/ Stage Manager Technical Director and what are your responsibilities? We three Technical Directors share a lot of the technical functions at Stephens and Fisher, but I specialize in the audio details and organize some of the rentals needed for a production.

Q: What other roles have you served at the Iowa State Center? Stage crew foreman.

Q: How did you start doing this? I joined the part-time stage crew as an Iowa State student.

Q: What are perks of the job? I like the variety; things are never the same twice. We get to meet a lot of interesting people, so we’re always picking up some different method or insight.

Q: Do you have any favorite memories of your position? I can think of two: When the New York Philharmonic came back for an “anniversary” concert in 1979; we had to provide reinforcement for them in Hilton. We spent about a week assembling a speaker system and planning out the microphone setup, but when they arrived with Bernstein on the night of the show, the only sound check we got was the orchestra tuning and we launched into Schumann’s Symphony No.1.

One of the more technically challenging events was the premiere of Jeff Prater’s Star Bells in 2002 with the Central Iowa Symphony. The catch was, the piece calls for orchestra and carillon. We set up two-way audio and video links to the ISU campanile over the campus telecommunications network and pulled it off with a lot of work by a lot of creative folks.

Q: What show have you enjoyed this season? The Ukulele Orchestra was a lot of fun.

Q: What was the first Broadway show you ever saw? Man of La Mancha in Des Moines’ old KRNT Theater.

Q: Who were some of the musicians or artists who influenced you growing up?

Dave Brubeck, Chicago, E. Power Biggs, and of course my high school music teachers.

Q: Have you ever performed on stage in a production of any kind? Not since high school.

I do enjoy playing the French horn for various community music groups and concert bands.

Q: Who is the leading male/female role you’ve been dying to play? I always like Hal Holbrook’s Mark Twain. It would be great to be able to do something like that.

Q: If you could go back in time and catch any show/concert/performance at Stephens, what would it be? Maybe revisit one of the Peter Schickele PDQ Bach concerts. Those were a scream.

Q: Do you have any special skills/hobbies? Astronomy, music, and teasing the grandkids (who still live in Ames).

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Thank You for Your Support of the Performing Arts Fund and Ames International Orchestra Festival Association Contributors as of February 1, 2014

Impresario $5,000 and above

Peter & Rae Reilly

Sandy & Rick Hoenig

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Judie & David Hoffman

Jim Beckwith

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Jim & Mary West

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Executive Producer $2,500 and above

Ames Convention & Visitors Bureau

Principal Artist $500 and above

Julie Kroll John & Diane Kubik Greg & Sue Lamont

Anonymous (2)

Allen & Joy Lang

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Calli & Rick Sanders

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Martha Helland

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Matching Gift Honor Roll

Tori Shahidi

Charles & Mary Townsend

Debra Shenk

John & Marjorie Uitermarkt

Ron & Nancy Shiflet

Doug & Vicky Van Dyke

Diana D. Shonrock

Bev Van Fossen

Alliant Energy Foundation

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Stephen Van Houten

AXA Foundation

Mark & Amy Slagell

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FBL Financial Group Inc.

Virginia Slater

Ann Vorwald

General Electric

Richard & Frances Smith

Michael & Deidre Wahlin

GMG Foundation

Clifford Smith

Gene & Karen Walker

Johnson & Johnson

Philip & Galina Spike

Marvin & Janice Walter

Merck Company Foundation

Mr. & Mrs. David Stephenson

Bobbie Warman

Meredith Corporation Foundation

Curtis Struck & Megan Fairall

Mary T. Watkins

MidAmerican Energy Foundation

Wilma Struss

Jason & Linda Lange-Wattonville

Pioneer Hi-Bred International, Inc.

Robert & Deanne Summerfelt

Fritz Wehrenberg & Jennie LeGates

Piper Jaffray

Thomas Tatton

Marion & Harry Weiss

State Farm Companies Foundation

Tamie Taylor

Tom Wessels & Glenice Varley

M. Thompson

Toni Wheelock

Mr. & Mrs. Harvey Thompson

Bill & Toni Whitman

Douglas & Christine Timmons

Bill & Amanda Fales-Williams

Kent & JoAnn Tipping

Richard & Patricia Wood

Steven & Mary Ann Tjaden

Steven & Lorraine Woolery

Jon & Carla Tollefson

Suzanne Zaffarano

Jim & Gloria Toombs

Thomas & Zora Zimmerman

Agilent Technologies

David & Karen Toot

These generous individuals have included the Performing Arts Series in their wills.

Wayne P. Davis

Frankee and Jim Oleson

The late James Watson

Gifts in Honor

In Memory of Deb Lande Adams In Memory of Dee Hegstrom A gift in honor or memory is a generous way to celebrate a person’s life and accomplishments.

To support the arts while honoring a loved one, contact Patti Cotter, Development and Sponsorship Manager, at 515-294-1238 or pcotter@iastate.edu.

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Dedicated Volunteers Iowa State University Performing Arts Council A university committee comprised of Iowa State University faculty, staff, and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the Performing Arts Series at Stephens Auditorium.

Alex Ortberg – Music Student Alissa Stoehr – Graduate Assistant - Education Angela Ossian – Iowa State Center Staff Art Klein – AIOFA Bret Pugh – Community Brian Davidson – Community Cinian Zheng-Durbin – Community Debra Gibson – Faculty Hannah Skalbeck – Music Student Homer Gartz – Community Jane Cox – Faculty Janice Baker – Faculty Lisa Maubach – Iowa State Center Staff Madeline Olsem – Music Student Melissa Patrick – Community Mike Golemo – Faculty Nancy Marion – Community Pat Miller – Faculty Patti Cotter – Iowa State Center Staff Salugna Sarkar – Graduate and Professional Student Senate Sam Johnson – Music Student Sara Compton – Iowa State Center Staff Sarah Jablon – Graduate Assistant Tanya Anderson – Community Vahid Noroozi – Graduate Assistant

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Ames International Orchestra Festival Association Board of Directors Karl Gwiasda, President Arthur Klein, Vice President Herb Harmison, Treasurer Mary Richards, Secretary Bev Kruempel David Hoffman David Stephenson Duffie Lorr Jacob Harrison Rev. James L. Secora Kevin Schilling Larry Hansen Peter Reilly Willa Holger Joan White

The Stephens Street Team

The Stephens Street Team unites the Iowa State Center and ISU by celebrating the importance of the arts in our lives. Its mission is to promote the arts to students of ISU through unique marketing efforts and special events. The Stephens Street Team will plan events, lead marketing activities and develop new and creative ways to reach out to the student body at ISU about our incredible, affordable and accessible events at the Iowa State Center. Activities may include planning on-campus promotional events or philanthropic events that relate to shows, assisting with performance day events, sidewalk chalking, flyer distribution, presentations to campus organizations about our performing arts series and more!

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Sponsors The Iowa State Center recognizes and thanks its sponsors for their support of the 2013-2014 Performing Arts Series at Stephens Auditorium:

Proud Sponsor of Memphis

Proud Sponsor of Mamma Mia Beauty and the Beast

Proud Supporter of Jazz at Lincoln Center Orchestra Proud Supporter Providing Artist Hospitality Proud Sponsor of Bring it On

Grants The Iowa State Center recognizes and thanks the following organizations for their support of the 2013-2014 Performing Arts Series at Stephens Auditorium: Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), Estonian National Symphony Orchestra and Australian Chamber Orchestra

Cinderella This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Iowa Arts Council and General Mills Foundation.

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You CANDance Help! Workshop Third Annual Third AnnualofBlast Blast Dance Workshop Your donation cans/bottles will help grow

What: Jazz, Hip Ballet What:our Jazz, Hip Hop, Hop, Contemporary, Contemporary, Ballet endowment.

Drop them at the: When: When: Over Over winter winter break break in in Ames Ames (2 (2 days) days) Who: Ages 5-20 Ames Redemption Center — 1822 E Lincoln Way Who: Ages 5-20 Visit: M–F: 8 AM toafter 5 PMLabor Visit: www.ddblast.com www.ddblast.com after Labor Day Day for for dates information Sat:registration 9 AM to Noon dates and and registration information Ask that they apply them to the Dancenter Dancer Company Foundation account.

G y 19

G aller 31<> 9

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310 Main Street Ames Iowa 50010 515-232-2354

Where Custom Framing is an Art

Largest Selection of Conservation Matting & Framing Samples in Central Iowa Work Available by Local and Regional Artists Layaway now available Visit our online gallery and store at:

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2:02 PM

ISAE-Directory Ad_Layout 1 9/27/13 1:34 PM Page 1

IMPRESS YOUR GUESTS! More service. More convenience.

More flexibility. More value without compromise.

At the heart of the Iowa State Center is the Scheman Building, an ideal location for conferences, meetings, tradeshows, banquets, and more.

Planning a private party? Coordinating a corporate gathering? Hosting a reception, meeting or dinner for 25 to 1,000 guests? The Scheman Building is ready for your special event. You can count on our team of experts to make your event a huge success! For more information on our 38,600 square feet of flexible meeting space, or to schedule a tour, contact our experienced event coordinators at 515-294-3347 or iscinfo@iastate.edu.

Pat Dennis

Angie Weeks

Melissa Johnson

David Burrack

Josh Oakland

Visit www.center.iastate.edu for more information.

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Travel with the Ames International Orchestra Festival Association (AIOFA)

Michael Stern Music Director

Charles Bruffy Chorus Director

Amber Wagner Soprano

Tamara Mumford Mezzo Soprano

Dimitri Pittas Tenor

Jordan Bisch Bass

Take in the splendor of Verdi’s Requiem, a work of imposing power unmatched in its scope, passion and glory!

Who: What: Where: When:

The Kansas City Symphony Orchestra Verdi’s Requiem Helzburg Hall in Kansas City May 30 – June 1, 2014 Reservations are due

Tues., March 25, 2014.

For more information, contact Patti Cotter (Iowa State Center) at 515.294.1238 or pcotter@iastate.edu

www.center.iastate.edu/AIOFA 40

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