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with Leon Fleisher, Piano Soloist and Gérard Korsten, Conductor

WEDNESDAY, OCTOBER 26, 2011 7:30 pm

IRISH CHAMBER ORCHESTRA he Irish Chamber Orchestra embarks on a US tour with the legendary pianist Leon Fleisher under the able baton of Gerard Korsten, Music Director with the London Mozart Players. The tour is part of Imagine Ireland, a year-long season of Irish arts in America in 2011, an initiative of Culture Ireland.


IRISH CHAMBER ORCHESTRA Gérard Korsten, Conductor Leon Fleisher, Piano Pádraic Keane, Uileann Pipes

Fleisher offers a rare opportunity to savour Prokofiev’s seldom-heard Piano Concerto No. 4 in B-flat major for the left hand, Op. 53. It holds immense appeal as it brims with staccato and sardonic wit.

PROGRAM Symphony No. 96 in D Major, HOB I:96 (“The Miracle”) I. Adagio, Allegro II. Andante III. Menuetto: Allegretto IV. Finale: Vivace Piano Concerto (Left Hand) and Orchestra No. 4 in B-flat major, Op. 53 I. Vivace II. Vivace Andante III. Moderato IV. Vivace

Franz Joseph Haydn

Sergei Prokofiev

Intermission Termōn Symphony No. 7 in A major, Op. 92 I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio

Hailed as the ‘pianistic find of the century’ Leon Fleisher conquered the music world in the 1950’s with a series of spectacular performances and recordings. A man who dedicated a lifetime to music, one of the most influential educators of his generation, still enthralls capacity audiences the world over, re-affirming his position among the truly great pianists of our time. His four decade struggle with disability was heart-breaking but life-affirming. His inspirational comeback was the subject of an Oscar-nominated documentary.

Mícheál Ó Súilleabháin L.V. Beethoven

An exciting new work, Termōn, by Mícheál Ó Súilleabháin was commissioned by The American Ireland Fund as a expression of solidarity for those who suffered the 9/11 attacks and of the deep, rich and unbreakable bond between Ireland and the U.S. This atmospheric work was written for String Orchestra and Uileann Pipes and features award-winning piper, Pádraic Keane (Uileann Pipes). Two landmark symphonies are featured: Beethoven’s celebrated Seventh Symphony was described by Wagner as ‘the apotheosis of the dance.’ Its popular second movement is often encored and features in the popular soundtrack for the climactic scene in this year’s popular Oscar-winning movie, The King’s Speech. Haydn’s Miracle Symphony No. 96 is a grandiose affair. The themes are joyously worked with perfection, variation and colour leading to a climactic close. The Irish Chamber Orchestra, one of Ireland’s finest cultural exports, collaborates with some of the world’s greatest musicians and has warm relationships with celebrated artists including Steven Isserlis, Stephen Hough, Pekka Kuusisto, Maxim Vengerov and Sinead O Connor. The Orchestra is funded by the Arts Council of Ireland. From Wyoming to Pennsylvania, this tour takes Leon Fleisher and a thirty-eight piece Irish Chamber Orchestra to venues across the USA from October 24–November 4. See

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BIOGRAPHIES Gérard Korsten, Conductor Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and

Reggio di Parma (La sonnambula), Pasquale and La fille du régiment), Opéra de Lyon (Ariadne auf Naxos, Henze’s L’Upupa und der Triumph der Sohnesliebe, Siegfried and La Traviata), Royal Swedish Opera (Don Giovanni), Netherlands Opera (Così fan tutte), English National Opera (Aïda) and Glyndebourne Festival Opera (Albert Herring).

later Concertmaster of the Chamber

His past symphonic engagements have

Orchestra of Europe from 1987-1996

included concerts with the Budapest

when he left the COE to concentrate

Festival Orchestra, Salzburg

on conducting.

Mozarteum, Orchestra Sinfonica

He held positions as Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before he was appointed Music Director of the Orchestra del Teatro Lirico di Cagliari from 19992005. In Cagliari he conducted the first Italian performances of Richard Strauss’ Die ägyptische Helena, Weber’s Euryanthe, Delius’ A Village Romeo and Juliet and Schubert’s Alfonso und Estrella, as well as the productions of the core operatic repertoire including Die Zauberflöte, Don Giovanni, Lucia di Lammermoor, Carmen, Die Fledermaus, Tosca, Aïda,

Nazionale della Rai Turin, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Deutsche Kammerphilharmonie, Swedish Radio Symphony, Yomiuri Nippon and Melbourne Symphony orchestras. Among his recordings are the CD of Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon, Die ägyptische Helena, Euryanthe and Alfonso und Estrella

Europe including Teatro La Scala Milan Florence (Così fan tutte), Teatro Insert 4

Chamber Orchestra, conducting

were inducted into the Grammy Hall of

Offenbach’s La Vie Parisienne for

Fame the same year. Fleisher

Opéra National de Lyon and returning

enthralled capacity audiences with

to SWR Sinfonieorchester Baden

performances in New York, Baltimore,

Baden und Freiburg, the Budapest

Boston, Chicago, Detroit, San

Festival Orchestra, the Latvia National

Francisco and internationally in

Symphony and Camerata Salzburg in

London, Brussels, Lucerne, Singapore,

both Vienna and Salzburg.

Tokyo, Vancouver and Toronto, re-

Director of the London Mozart Players

as well as a DVD recording of Don

and Principal Conductor of the

Pasquale released on TDK.

include concerts with the Academy of

(Le nozze di Figaro), Maggio Musicale

Beethoven Piano Concertos, which

Cagliari on CD and DVD with Dynamic,


houses and concert halls around

music — among them the complete

eight venues in the US with the Irish

Gérard Korsten is currently Music

Recent and forthcoming engagements

Since then Gérard Korsten has

the 2011-12 season see him touring to

with Orchestra del Teatro Lirico di

The Barber of Seville and Don

appeared in most notable opera

Leon Fleisher

Teatro Lirico Verdi Trieste (Don

St Martin in the Fields at the Beijing Festival, Bamberg Symphony, Leipzig Gewandhaus, the Hong Kong Philharmonic, Orchestre National de Lyon and the BBCSSO. Highlights of Continued on next page

affirming his place among the legendary pianists and musicians of our time.

Symphonieorchester Vorarlberg

His first two-hand performances in


over forty years in London, Brussels, and Lucerne and appearances in

Leon Fleisher, Piano

London, New York and Washington,

A year of celebratory performances in

DC as soloist with the London

2008-2009 commemorating Leon

Philharmonic and Vladimir Jurowksi

Fleisher’s 80th birthday coincided with

conducting were hailed as among the

the resurgence of his early recordings

most moving and memorable musical

on Sony Masterworks — regarded as

events of the season. The Telegraph

some of the greatest in classical

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wrote: “Fleisher has a way of fixing the

Pierre Monteux as the “pianistic find of

Fleisher as 2010 “Instrumentalist of the

essence of a piece that reminds me of

the century.” At the height of his

Year” for performances at the Aldeburgh Festival UK.

early Renaissance painters like Giotto.

career, at the age of 36, an accident

He captures the fleeting grace of a

injured his right hand; over ten months,

gesture, but in a way that makes it

he developed a condition now called

Pádraic Keane, Uileann Pipes

monumental.” He has been invited

focal dystonia, in which his brain

Uilleann piper Pádraic Keane hails from

to return to all three cities in 2011

ceased communication with the fourth

a great musical family in Galway. He

and 2012.

and fifth fingers of his right hand,

started playing the pipes at the tender

striking him silent. His condition

age of eight under the guidance of his

Leon Fleisher’s acclaimed Carnegie Hall workshops came to Japan for the first time in the Fall of 2009 and he returned to the famed hall in May 2010 for a chamber music workshop, joined by Yo-Yo Ma and Pamela Frank. As part of his visit to Tokyo, his recital was filmed and subsequently televised by NHK, which is also preparing a documentary on the legendary pianist

baffled medical experts for decades;

father and received further tuition

Fleisher embraced his connection to

from many leading pipers at various

music, carving out a new career for

summer schools. He plays on his

himself as a gifted teacher, renowned

grandfather’s pipes — a concert pitch

conductor and prolific soloist of the

set by Leo Rowsome. Pádraic's piping

piano repertoire for the left hand.

was inspired by the music of Willie

Fleisher was, as the Times noted, “a

Clancy but other influences such as

pianist for whom ‘never’ was never an

Seán McKiernan and Séamus Ennis are


also discernable. In 2011, he was

to be shown in 2010 or 2011. In

Treatments including rolfing and

addition to appearances throughout

botulinum toxin (botox) injections,

the U.S. as conductor and soloist,

which have helped restore the mobility

recitalist, chamber music artist, master

to Fleisher’s right hand. For several

class mentor and invaluable resource

years he has played with both hands

in college and university residencies,

again, winning enormous acclaim for

Mr. Fleisher will have shared his

his 2004 two-handed recording, aptly

multiple gifts in Brazil, Ireland,

titled Two Hands. Fleisher’s story is the

Germany, Great Britain and Taiwan. On

subject of the 2006 Oscar-nominated

November 30, 2010, Doubleday

documentary film of the same name,

published Leon Fleisher's widely

written and directed by Nathaniel

acclaimed and fascinating memoir

Kahn (My Architect), aired on HBO.

written with Washington Post chief

Leon Fleisher’s “comeback,” wrote

music critic Anne Midgette.

Holly Brubach in The New York Times

Leon Fleisher performed his first solo recital at the age of eight and was on stage with the New York Philharmonic at 16, noted then by The New York

in 2007, “has catapulted him up next to Lance Armstrong as a symbol of the indomitable human spirit and an inspiration to a broader public.”

Times as “one of the most gifted of the

In May 2011, the Royal Philharmonic

younger generation of keyboard

Society in London honored Leon

artists” and by the great conductor Insert 6

Continued on next page

awarded the Young Musician of the Year Award sponsored by Ireland’s national television station TG4.

PROGRAMME NOTES Joseph Haydn (1732-1809) Symphony No. 96 in D major I. Adagio – Allegro II. Andante III. Menuetto: Allegretto IV. Finale: Vivace In 1790 Haydn’s employer, Prince Nicholas Esterházy, died, and because his successor had no real taste for music most of the musical establishment at Esterháza was dispersed. Haydn was retained as Kapellmeister but was at last free to travel. The German-born virtuoso violinist Johann Peter Salomon arranged for him to visit London in 1791-92, offering him £1,200 to arrive

with an opera, six symphonies and twenty smaller works to be performed in concerts that Haydn would direct. An orchestra of about forty players, nearly twice as many as at Esterháza, was provided. This first visit was such a success that a second took place in 1794-95. In January, 1791 Haydn and Salomon arrived in London, where Haydn was accorded a rapturous welcome and his music performed to tremendous acclaim. Haydn wrote to a friend, ‘My arrival caused a great sensation throughout the whole city, and I went the rounds of all the newspapers for three successive days. Everyone wants to know me.’ He wrote Symphony No. 96 in London and it was performed on March 11, 1791 at the Hanover Square Rooms. The audience and press were loud in their praise, the Diary writing, ‘the audience was so enraptured, that by unanimous desire, the second movement was encored, and the third was vehemently demanded a second time also, but the modesty of the Composer prevailed too strongly to admit a repetition.’ The whole work seems to reflect the atmosphere of Haydn’s happy and profitable trip to London and is a triumph (if not an actual miracle) of wit, sophistication, charm, originality and innovative orchestration which particularly showcased the London wind players. Both the traditional chronology of Haydn’s ‘London’ Symphonies and the nickname of No. 96 are incorrect. It was said that a chandelier fell at the symphony’s first Continued on next page Insert 7

performance and by a miracle, no-one was injured, but this dramatic event happened at the performance of Symphony No. 102 in 1795, not during the performance of No. 96 in 1791. © Sarah M. Burn 2011

Sergey Prokofiev (1891-1953) Concerto for Piano (Left Hand) and Orchestra No. 4 in B-flat major, Op. 53 I. Vivace II. Andante III. Moderato IV. Vivace

Prokofiev had a successful career as a concert pianist as well as a composer, and four of his five piano concertos were written for his own use, the exception being No. 4. In 1930, whilst he was living in Paris, he was commissioned by the Austrian pianist Paul Wittgenstein to write a concerto for the soloist’s left hand. Wittgenstein, who had lost his right arm during World War I, had developed his left hand technique to an unusual level of virtuosity and commissioned a concerto for left hand alone from the blind composer Josef Labor. This was Continued on next page

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so successful that Wittgenstein went on to commission further concertos: from Korngold, Richard Strauss and Franz Schmidt in the early 1920s, from Prokofiev and Ravel in 1930, and from Britten and Norman Demuth in 1940. Prokofiev completed his Concerto in 1931, but Wittgenstein never performed it, returning it to the composer saying that he did not understand it and would not play it. Prokofiev thought of re-writing it for two hands but never did, and the work remained unknown until another onearmed pianist, Siegfried Rapp, obtained the score from Prokofiev’s widow in 1956 and gave the Concerto its first performance in Berlin in 1956. Prokofiev wrote the solo part in terms of a virtuosic work for a single hand, and did not try to make it sound like a work for two hands. To balance the smaller power of the soloist, he scored the work for a reduced orchestra of double woodwind and horns, one trumpet and trombone, bass drum and strings. The work has two large central slower movements, which are flanked by much shorter opening and closing movements, the last being a shortened reprise of the main material of the first. The first movement is in fact a brilliant toccata for one hand, ‘a swift-running movement built mainly on finger technique’, as Prokofiev described it. Although the Concerto is in B-flat major, Prokofiev makes great use of the adjacent keys of A-flat and C. © Sarah M. Burn 2011

Mícheál Ó Súilleabháin (b.1950) Termōn (On the 10 th anniversary of 9/11) For Uilleann Pipes and String Orchestra TERMŌN is the Greek God whose name appears in Latin as TERMINUS, the Roman God of Boundaries. The image of Terminus was kept in the Temple of Jupiter on Capitol Hill, and we know that it had no roof and was open to the sky. This was redolent of the TEMPLUM or sacred space where the future might be foretold. The word templum originally stood for that section of the sky where the stars might be read or the prophetic movement of birds observed. Later it came to mean that particular space on which you stood while speculating the stars. And indeed the word terminus appears in the Irish language as tearmann (termonn in Old Irish), which is found in many Irish place names meaning the lands of a monastic settlement within which sanctuary might be sought. We can take the idea further into another Irish word — not related but all the stronger for that — the word táirseach, meaning threshold. This is the word for the lintel of a door, the boundary between the inner and the outer world, between the local and the global. In folklore and mythology it is a place of great creativity and fertility. Terminus of course also carries the meaning of an end of something. We speak of being terminally ill or of something being terminated. It is as if the various slantings of the word are telling us that an end is also potentially a beginning. There is a mystery and an Continued on next page

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accompanying obstacle of darkness, therefore, which may accompany a boundary crossing which is why we need the light of creativity to see us through, to keep us, as it were, safe and sound. The composition Termōn invokes the sacred space of boundaries and thresholds. It seeks to facilitate a listening at the borders of difference, and to reach towards a shared sanctuary of sound. The American Ireland Fund is proud to commission Termōn as a expression of our solidarity with those who suffered so much as a result of the 9/11 attacks and of the deep, rich and unbreakable bond between our two countries. © Mícheál Ó Súilleabháin 2011

Ludwig van Beethoven (1770-1827) Symphony No. 7 in A major, Op. 92 I. Poco sostenuto – Vivace II. Allegretto III. Presto – Assai meno presto IV. Allegro con brio In the summer of 1811 Beethoven stayed at the spa town of Teplitz (now Tepliče) near Prague in an attempt to improve his health. He began work on the seventh of his nine symphonies when he returned to Vienna, completing it in the spring of 1812 and then immediately began work on Symphony No. 8. The Seventh Symphony reveals Beethoven’s new and apparently effortless control over his musical forces. The work’s captivating power is created by Beethoven’s distinctive use of rhythm

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and his experimental attitude to key relationships (subsequently recognised as anticipating Nielsen’s ‘progressive tonality’). Although Beethoven begins the symphony decisively in A major, he quickly modulates, not to the expected dominant key of E major, but to the harmonically remote keys of C and F. These three keys, A, C and F, are used as tonal protagonists, creating new musical dimensions and providing the symphony with an unlimited supply of energy. This approach is apparent from the ambitiously large-scale Introduction, yet the melodic material is frequently derived from simple scales and arpeggios. The first performance of the Seventh Symphony took place at a charity concert in Vienna in December, 1813 in aid of soldiers wounded in the war against Napoleon. Beethoven conducted an orchestra that included many famous musicians, including Spohr, Hummel, Meyerbeer, Salieri and Dragonetti. Beethoven’s fame and popularity were at a high point at this period, but his hearing was deteriorating, and Spohr’s account of the concert is poignant in his description of ‘Beethoven’s uncertain and sometimes ludicrous conducting’. However, his antics on the podium did not prevent the work from being wellreceived, the audience demanding an immediate repeat of the second movement. Beethoven regarded the symphony as one of his best works, and Wagner memorably described it as ‘the apotheosis of the dance’. © Sarah M. Burn 2011

THE IRISH CHAMBER ORCHESTRA Working with our Artistic Partner Jörg Widmann the Irish Chamber Orchestra has gained a remarkable reputation as a fresh and vibrant force on the Irish and international music scene. Under the leadership of Katherine Hunka, the Orchestra is recognised as one of Ireland’s world-class cultural assets. The orchestra embarks on this US tour as part of the Imagine Ireland/A Year of Irish Arts in America 2011 with world renowned pianist Leon Fleisher. The orchestra collaborates with some of the world’s finest musicians — recent concerts with Gérard Korston, Alison Balsom, Steve Mackey and Jörg Widmann have garnered critical acclaim. The orchestra has warm relationships with celebrated artists including Steven Isserlis, Stephen Hough, Pekka Kuusisto and Sinead O’ Connor. The orchestra excels in a diverse repertoire ranging from classical to modern day orchestra include John Kinsella, Micheál Ō Suilleabháin, Bill Whelan and Elaine Agnew.

masterpieces and new commissions. Leading Irish composers who have worked with

Outside the concert hall, the Irish Chamber Orchestra stimulates minds and hearts with vitality unmatched by other ensembles. It offers music as an instrument of social change, introducing children to music, creativity, innovation, understanding and openness thus helping them to reach their full potential as individuals. The Irish Chamber Orchestra is resident at the Irish World Academy of Music and Dance at the University of Limerick and is funded by the Arts Council of Ireland/ An Chomhairle Ealaíon.





Katherine Hunka

Joachim Roewer Lisa Grosman Mark Coates Smith Cian Ó’Dúuill

Dan Bates Matthew Draper

Ross Lyness

Violins Nicola Sweeney Anna Cashell Kenneth Rice Oonagh Keogh Cormac Browne André Swanepoel Diane Daly Cliodhna Ryan Louis Roden Stephanie McCabe Siún Milne

Cello Richard Birchall Sanghasura Anthony Woollard Ailbhe McDonagh

Double Bass Malachy Robinson David Whitla

Flute Fiona Kelly Emma Roche

Clarinet Katherine Spencer Deirdre O’Leary


Timpani & Percussion Adam Dennis

Uilleann Pipes

Sarah Burnett ĺde Ní Chonnaill

Pádraic Keane

James Palmer Stephen Nicholls Chris Pointon

Orchestra Manager


Chief Executive John Kelly

Gerard Keenan

Trumpet Simon Menin Andrea Vonk

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Jim & Joyce Kliebenstein Catherine Kling Marianne Klinsky Jerry & Margaret Knox Bianca Zaffarano & Nicholas Koszewski Richard & Nelle Kottman Dan & Sharon Krieger Asrun Yr Kristmundsdottir Richard Kruger John & Diane Kubik Marilyn Kruse Richard & Kim Langholz Randy & Beth Larabee Ruth G. Larson Michael Lazere & Lynn Anthony Rev. Selva Lehman Nels & Patricia Lersten Alfredo & Amelia Lim-Yao Efstathia Lingren Mark & Angela Logsdon Marion & Robert Lorr John & Lorijo Lounsberry Lowell & Elma Lynch Carole Magilton Dick & Jackie Manatt Audrey & Steve Marley Gary D. Mason James Maxwell Edith A. McClure Richard & Donita McCoy John & Renee McPhee Laura McVay Clete & Joyce Mercier Todd & Barbara Meyer Terrence Meyer Kris & Al Jergens John B. Miller & Kathryn Madera Miller Patricia & Kemp Miller Larry & Sara Mitchell Marilyn Moehlmann Leland & Virginia Molgaard John & Laurel Mors Karen Neff Thomas & Lynn Nehls Jim & Sara Nelson Don & Becky Nibe Michael & Ginger O'Keefe Olson & Kushkowski Family Ruth & LeRoy Ornberg Sue & Gary Osweiler David Otis Linda Papouchis Carol & Arlen Patrick Don & Jan Payer

Alec & Charlton Pendry Barbara Peterson Richard & Carol Pletcher Arthur & Bernadene Pohm Emil & Mary Kay Polashek Jim & Marlys Potter Mabel Prescott Jane Punke Larry & Sharron Quisenberry Frank & Jolene Randall Jean Ranney Denise & Randy Rettleff Kathy Rhode Thomas & Doris Rice William Rich Robert & Harriet Ringgenberg Ryan & Jodi Risdal Charles B. Ritts & Kathleen L. Epstein-Ritts Joe & Jennifer Rivera William S. Robinson Jo & Bob Rod Teresa Rohret Dick & Karen Ross Malcolm Rougvie Barbara Royer Carolyn Cutrona & Daniel Russell Dorothy & Robert E. Rust Tom & Lorna Safley Charles & Priscilla Sage Dean & Judy Sampson Steve Sapp & Lisa Enloe Thomas J. & Patricia A. Sauer Candy & Steve Schainker Bradley Schetzsle Jane & Frank Schill Lester Schmerr, Jr. Suzette Schmidt Matt & Kim Schryver Richard & Jasmine Seagrave George Seifert Phyllis Seim Dennis & Joan Senne Dr. & Mrs. Sam Senti Hilary Seo & Paul Rounds Carole & Leverne Seversike Kenneth & Shirley Shaw Debra Shenk-Boudart Mark & Amy Slagell John & Sandra Slaughter Jim & Diane Smith Clifford Smith Richard & Frances Smith Gary Sorensen Galina & Philip Spike

Dr. & Mrs. W. Robert Stephenson Bernard & Victoria Stephenson Mr. & Mrs. David Stephenson Curtis Struck & Megan Fairall Robert & Deanne Summerfelt Doris Roettger-Svoboda Calvin & Susan Swan Margaret & John Tait M. Thompson Mr. & Mrs. Harvey Thompson Ron & Meg Thompson Betty Toman Ted Tostlebe & Marilyn Hanson John & Marjorie Uitermarkt Ardy & Dean Ulrichson Beverly Van Fossen

Stephen Van Houten Greg & Lana Voga Doug & Kim Walker Jim & Madeleine Walker Karen Walker Barb & Don Wandling Bobbie Warman Mary T. Watkins Fritz Wehrenberg & Jennie LeGates Marion & Harry Weiss Tom Wessels & Glenice Varley Mr. & Mrs. Richard C. White Bill & Toni Whitman Craig & Kyra Wilcox-Conley Bill & Amanda Fales-Williams Carla Wood

Richard & Patricia Wood Kent & Linda Woodworth Sharon L. Youngquist Suzanne Zaffarano Bill & Jean Zmolek MATCHING GIFT HONOR ROLL Alliant Energy Foundation AXA Foundation Bank of the West General Electric Merck Company Foundation Meredith Corporation Foundation State Farm Companies Foundation Wells Fargo & Co.

PLANNED GIFTS These generous individuals have included the Performing Arts Series in their wills. Wayne P. Davis Frankee and Jim Oleson The late James Watson To learn how you can support the arts while honoring a loved one, or to create a legacy gift, contact Patti Cotter, Sponsorship & Development Manager, at 515-294-1238 or

Ames International Orchestra Festival Association Board of Directors Meg Dobson Karl Gwiasda Larry Hansen Esther Harmison Herb Harmison

Jacob Harrison Sandy Hoenig Willa Holger Arthur Klein - President Marilyn Johnson

Jane Mathison Mary Richards David Stephenson Joan White Maureen Wilt

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. Michael Golemo, President, Faculty–Music Tanya Anderson, Ames–Community Janice Baker, Faculty–Dance Sara Compton, Iowa State Center Patti Cotter, Iowa State Center Jane Cox, Faculty–Theater William David, Faculty–Music Homer Gartz, Ames–Community Debra Gibson, Faculty– Journalism & Mass Communication

Karl Gwiasda, Ames International Orchestra Festival Association Sam Johnson, Student–Music Nancy Marion, Ames–Community Nick Miller, Student–Music Patricia Miller, Faculty–Lectures Program Mark North, Advisor, Iowa State Center Lee Plummer, Student–Music Alissa Stoehr, Graduate Student–Microbiology Victoria Stafford, Student–Performing Arts Nolan Vallier, Student–Music Insert 15

SPONSORS — The Iowa State Center recognizes and thanks its sponsors for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium: University Park Inn & Suites

Proud Sponsor of


Proud Sponsor of

My Fair Lady

Proud Sponsor of

Beauty and the Beast

Proud Sponsor of Young Frankenstein and Danú

GRANTS — The Iowa State Center recognizes and thanks the following organizations for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:

Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts

Iowa Arts Council

Proudly Supporting

Iowa State Symphony (Youth Matinee Series Concert), Irish Chamber Orchestra and “Tschaikowski” — St. Petersburg State Orchestra

Proudly Supporting Macbeth and Doubt This project supported in part by a grant from the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs, and the National Endowment for the Arts.

Arts Midwest Performing Arts Fund, Iowa Arts Council, National Endowment for the Arts and National Endowment for the Humanities

Proudly Supporting Macbeth This project supported in part by the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs and by an award from the National Endowment for the Arts. This presentation is supported by the Performing Arts Fund, a program of Arts Midwest, funded by the National Endowment of the Arts with additional contributions from the Iowa Arts Council, General Mills Foundation and Land O’ Lakes Foundation.

Ancient Greeks/Modern Lives: Poetry-Drama-Dialogue is a program that has been made possible by a major grant from the National Endowment for the Humanities: Great ideas brought to life. Any views, findings, conclusions or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.

Get two tickets to any Performing Arts Series event when you book a specially-priced hotel package at participating Ames hotels. Visit for details. Sponsored by the Ames Convention & Visitors Bureau Insert 16

Irish Chamber Orchestra Playbill  

Irish Chamber Orchestra Playbill for performance at Stephens Auditorium

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