Center for the Performing Arts

APPLAUSE! September – October 2016 Official Program

AN EVENING WITH JOAN BAEZ OCTOBER 20 PAGE 48

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2016 CENTER FOR THE PERFORMING ARTS SPONSOR AND A PROUD EMPLOYER IN INDIANA.

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CONTENTS WELCOME...........................................................................................................5 2016-2017 SEASON LISTING.................................................................22–23 PERFORMANCE PROGRAMS

SCOTTY MCCREERY.........................................................................................8

GEORGE THOROGOOD & THE DESTORYERS.............................................10

HUBBARD STREET DANCE CHICAGO..........................................................12

UP UP & AWAY: MARILYN MCCOO & BILLY DAVIS JR.................................19

PURDUE VARSITY GLEE CLUB & PURDUETTES..............................................20

BALLET FOLKLORICO "QUETZALLI" DE VERACRUZ......................................28

LANG LANG..................................................................................................30

ARTURO SANDOVAL.....................................................................................39

REDUCED SHAKESPEARE CO.......................................................................40

LEELA – THE DIVINE PLAY..............................................................................44

LEANN RIMES................................................................................................46

AN EVENING WITH LYLE LOVETT & ROBERT EARL KEEN..........................47

AN EVENING WITH JOAN BAEZ.................................................................48

RUSSIAN STRING ORCHESTRA....................................................................50

PATRON SERVICES & AMENITIES..........................................................55–59 BOX OFFICE.......................................................................................................60 CONTACT US......................................................................................................61 ABOUT THE CENTER & FOUNDATION....................................................62–63 CENTER BOARD OF DIRECTORS & STAFF..........................................66–67 CENTER ANNUAL PARTNERS...........................................................68–71 SONGBOOK FOUNDATION BOARD & FRIENDS............................74–76 CENTER MAJOR PARTNERS...........................................................................78

PHOTOS COURTESY OF:

Douglas Adams, Angela Talley, Alan Petersime, Sara Crawford, Bill Crawford, and Robyn Ferguson.

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DEAR FRIENDS, Welcome to the sixth season at the Center for the Performing Arts! It's hard to believe that six years ago the Center was only a construction site and a promise of great things to come. Today, we are a vibrant and growing organization.

We are so proud that this community – along with residents from every county in Indiana, all 50 states and 23 countries – has come together here to celebrate, appreciate and enjoy the talent on these stages.

As global citizens, we celebrate the incredible range of artistry in this season’s performances. We take seriously the responsibility you have given us to curate a season of meaningful, enjoyable and inspirational programs and presentations, and we are thrilled to offer this robust fall schedule.

Tony Award-winning actor, comedian and musician Alan Cumming makes a stop on his sold-out tour, superstar pianist Lang Lang returns to dazzle with his virtuosity, and eclectic entertainers Lyle Lovett and Robert Earl Keen come together with their special brand of country music. Holiday family favorites Dave Koz, Home Free Holiday and a spectacular New Year's Eve Celebration mark the festive season calendar, and renowned jazz musician, educator and innovator Wynton Marsalis leads the Jazz at Lincoln Center Orchestra in a highly anticipated return engagement.

Dance makes a spectacular appearance on the calendar of events at the Tarkington with the acclaimed Hubbard Street Dance Chicago, and professional musicians and performers present Leela, the visually stunning classical Indian ballet.

In addition to the programming on our stages, we invite you to visit the Great American Songbook Gallery and experience the new yearlong exhibit, "The Great Indiana Songbook: Two Centuries of Hoosier Music," which celebrates the songs, people and places that have helped Indiana carve out a distinct niche in America's musical landscape. The Gallery is open Monday through Friday, 10 a.m. to 4 p.m.

We hope you will take these opportunities to explore beyond your comfort zones, leave the familiar behind and experience the unexpected joy of discovery. Creating these opportunities is our mission – and our privilege.

Enjoy!

Eric S. Payne CHAIRMAN, BOARD OF DIRECTORS

Jeffrey C. McDermott

INTERIM PRESIDENT/CEO

Michael Feinstein ARTISTIC DIRECTOR

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presented by

One Roaring Evening Celebrating Hoagy Carmichael & Dionne Warwick For more information, call 317.819.3520 or visit TheCenterPresents.org/SongbookCelebration.

Michael Feinstein and Storm Large in Concert

Cocktails. Dinner. Lavish After Parties. Dancing. Decadence.

Tickets for the evening start at $250 per person.

All proceeds benefit the Community Engagement Programs at the Center.

Black tie or Roaring ‘20s attire recommended.

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SCOTTY MCCREERY

Friday, September 9 at 8pm | The Palladium Scotty McCreery burst onto the national music scene in 2011 at age 17, quickly establishing himself as one of country music’s hottest new stars.

Now in his early twenties, the talented singer/songwriter has album sales approaching 3 million, and received both Platinum and Gold album certifications, debuted three consecutive albums at No. 1 on a Billboard chart, and achieved one Gold and three Platinum-certified singles as well as two Top Ten hits. McCreery has toured with Brad Paisley and Rascal Flatts, headlined his own tours, earned both an ACM Award and CMT Award as well as other industry and fan accolades, and was named “Best American Idol” by the readers of The Los Angeles Times and “Country Music’s Sexiest Man” by the readers of NASH Country Weekly Magazine.

He has amassed more than three million followers on Facebook and Twitter, and received more than 150 million YouTube views. And with the release of his first book Go Big or Go Home: The Journey Toward the Dream in 2016, he can also add add the title of author to his resume.

His most recent album, See You Tonight, was released in October 2013 and debuted at No. 1 on the Billboard Country Albums chart. He co-wrote five songs on the album, including the first single, "See You Tonight," which was certified Platinum and became his first Top Ten hit. The song would go on to earn McCreery his first BMI Award for writing one of the “Top 50 Country Music Songs of 2015.” Soon after its release, he won the Breakthrough Artist Award at the 2013 American Country Awards. Around the time he turned 21 in 2014, “Feelin’ It” became his second consecutive Top Ten hit. The single was later certified Gold in 2015. In June 2016, the Grand Ole Opry released a live video of McCreery performing an unreleased new song that he co-wrote, "Five More Minutes," on You Tube.

In less than two months, the video has received nearly one million views.

For more information, visit ScottyMcCreery.com.

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AN IMPRESSIVE DEBUT FOR TWO.

PERFORMANCE PROGRAMS Scotty McCreery July 5 .........................................................................................................16 George Thorogood & The Destoryers July 6 ........................................................................................................20 All-new 2017Jaguar HubbardAll-new Street 2017Jaguar Dance Chicago July 23 ......................................................................................................23 F- PA C E XE Inspired by the F-TYPE, the

The first of a new generation,

Up Up new & Away: Marilyn & Billy F-PACE and its sportsMcCoo car XE isDavis designedJr. and built to August 26 ....................................................................................................30 DNA deliver a head-turning exceed all expectations of a or off-road presence. compact luxury sport sedan.

PurdueonGlee Club & Purduettes August 27 .................................................................................................32

Ballet Folklorico "Quetzalli" de Veracruz August 27 .................................................................................................32 Proud Supporter of the Center for the Performing Arts

Lang Lang 4620 E 96th St, Indianapolis, IN 46240 August 27 .................................................................................................32 877.663.7197 | JaguarIndianapolis.com

Arturo Sandoval August 27 .................................................................................................32 Reduced Shakespeare Co.

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Drewry Simmons Vornehm Pop, Blues, Folk Performance

GEORGE THOROGOOD & THE DESTROYERS Saturday, September 17 at 8pm | The Palladium Band: Jeff Simon, Bill Blough, Jim Suhler, and Buddy Leach In 1973, a barely-out-of-his-teens Wilmington guitarist piled his gear into the drummer’s Chevy van to play their very first gig at a University of Delaware dorm. More than 4 decades, over 8,000 live shows, and some 15 million albums sold worldwide later, that same maverick guitar-slinger is still making electrifying music, still thrilling audiences, and still the most bad-to-the-bone performer in rock.

Ultimately, the 2016 Badder Than Ever tour is 50% celebration, 50% declaration and 100% Thorogood throwdown. But after 4-plus decades as one of the most consistent – and consistently unique – careers in rock, can a guitar-slinger still at the top of his game choose a moment that brings it all home? “Stan Musial was once asked, ‘What was the greatest day of your career?’ And Stan said ‘Every day when I walk onto the field is the greatest day.’ I feel the same way,” George says.

“Every night when I walk out on that stage is the highlight of my career.

I hit that first chord, the band kicks in, and we hear the audience respond. That’s the rush. Over 40 years into this, and every night that's still the only moment that matters.”

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S1DE2 BP14 STEREO

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We're not afraid to mix it up.

DSV is proud to support the Pop, Blues & Folk Series. Enjoy the show!

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CARMEL/INDIANAPOLIS/CROW N POINT LOCATIONS 317.580.4848 I 866.938.4848 I DSVlaw.com

Hubbard Street Dancers in Solo Echo by Crystal Pite, clockwise from far left: Emilie Leriche, Michael Gross, Florian Lochner, Andrew Murdock, Jacqueline Burnett, Kellie Epperheimer, foreground, and Jesse Bechard. Photo by Todd Rosenberg.

HUBBARD STREET DANCE CHICAGO Glenn Edgerton, Artistic Director

September 23 & 24

at

8pm | The Tarkington

Program Information N.N.N.N.

William Forsythe, Choreography, Stage Design, Lighting and Costume Design Thom Willems, Music Tanja Rühl, Technical Consultant Cyril Baldy, Amancio González, Staging

N.N.N.N. appears as a mind in four parts, four dancers in a state of constant, tacit connection. Underscored by the sudden murmured flashes of Thom Willems’ music, these dancers enter into a complex, intense inscription. Their arms, heads, bodies and legs become singular voices, each tuned and in counterpoint to the other. These performers write out a text of the voice of the body, slowly, then more and more rapidly, coalescing over and over into a linked entity of flinging arms, folding joints and a sharp, high sense of time. Hubbard Street is honored to be the first U.S. dance company to perform William Forsythe’s N.N.N.N., restaged at the Hubbard Street Dance Center in Chicago by Forsythe with original cast members Cyril Baldy and Amancio González.

N.N.N.N. was created for and premiered by Ballett Frankfurt on November 21, 2002 at the Opernhaus, Frankfurt am Main, Germany; and first performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original score by Thom Willems.

Used by permission of Thom Willems. Hubbard Street’s acquisition of N.N.N.N. is sponsored by the Harris Theater for Music and Dance, with support from Sandra and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of the Season 38 Fall Series celebrating William Forsythe are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Pam Crutchfield, Charles Gardner and Patti Eylar, and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.

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PAUSE Kiss

Susan Marshall, Choreography Arvo Pärt, Music Mitchell Bogard, Lighting Design John Redman, Harness and Rigging Design Luke Miller, Darrin Wright, Staging

A sensuous, provocative work performed by one man and one woman, Kiss draws from classical, modern and postmodern techniques to create deep emotional resonances. “My dances reflect my interest in the information we share with each other in our daily lives,” says Marshall, while the Oakland Tribune observes that “the miracle of this piece is that it captures, in concrete dance terms, that almost palpable feeling of swimming in love, of being suspended in eternity.”

Commissioned by and premiered at Dance Theater Workshop, New York, NY, December 3, 1987. Created in part in residence at the Jacob’s Pillow Dance Festival, Becket, MA. First performed by Hubbard Street Dance Chicago March 12, 2004 at the Harris Theater for Music and Dance, Chicago, IL. Originally staged for Hubbard Street Dance Chicago by Eileen Thomas and Mark DeChiazza. Music by Arvo Pärt: “Cantus in Memory of Benjamin Britten,” published by European Music Distributors, LLC; ECM Records / Verlag Musik, GmbH, Germany. Karen and Peter Lennon are the Exclusive Underwriters of Hubbard Street’s production of Kiss by Susan Marshall.

PAUSE A Picture of You Falling

Crystal Pite, Choreography and Text Owen Belton, Music Kate Strong, Voice Alan Brodie, Lighting Design Linda Chow, Costume Design Peter Chu, Staging

Hubbard Street’s debut in choreography by acclaimed artist Crystal Pite, A Picture of You Falling exists in two versions, both of which premiered in 2008: a duet for dancers Peter Chu and Anne Plamondon, and this solo, first performed by Pite herself for the Governor General’s Performing Arts Award Gala in Ottawa.

“I am fascinated by the shared narratives that live in our bodies — the familiar, repetitive storylines that move across cultures and generations — and the body’s role as their illustrator,” says Pite. “I’m curious about the ways in which the body can convey profound meaning through the simplest of gestures, and how distortion, iteration and analysis of familiar human action provide opportunities to recognize and re-frame ourselves in one another.”

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Created and first performed by choreographer Crystal Pite at the Governor General’s Performing Arts Awards Gala at the National Arts Centre in Ottawa, Ontario, Canada, May 3, 2008. Duet version further adapted for and premiered by Kidd Pivot as part of The You Show, premiered at Künstlerhaus Mousonturm, Frankfurt, Germany, November 4, 2010. Solo version first performed by Hubbard Street Dance Chicago March 12, 2015 at the Harris Theater for Music and Dance, Chicago, IL. Original music by Owen Belton. A Picture of You Falling is sponsored by Choreographer’s Circle Member Sara Albrecht. Special thanks to Jim French, Nederlands Dans Theater and NDT alumnus Jiří Pokorný, and Peter Chu.

INTERMISSION Solo Echo

Crystal Pite, Choreography Johannes Brahms, Music Tom Visser, Lighting Design Jay Gower Taylor, Stage Design Joke Visser, Crystal Pite, Costume Design Eric Beauchesne, Staging

Lines for Winter

by Mark Strand Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself — inside the dome of dark or under the cracking white of the moon’s gaze in a valley of snow.

Tonight as it gets cold

tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars.

And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.

Created for and premiered by Nederlands Dans Theater February 9, 2012 at the Lucent Danstheater, Den Haag, the Netherlands. First performed by Hubbard Street Dance Chicago December 10, 2015 at the Harris Theater for Music and Dance, Chicago, IL. Music by Johannes Brahms: “Allegro non Troppo from Sonata for Cello and Piano in E Minor, Opus 38,” and “Adagio Affettuoso from Sonato for Cello and Piano in F Major, Opus 99,” from the album Brahms Sonatas for Cello & Piano, courtesy of Sony Music Entertainment. Poem by Mark Strand: “Lines for Winter,” from Selected Poems, © 1979 by Mark Strand and published by Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Random House LLC. All rights reserved. Sara Albrecht is the Lead Individual Sponsor of the Hubbard Street premiere of Solo Echo by Crystal Pite. Hubbard Street’s touring engagements featuring Solo Echo by Crystal Pite are sponsored by the Lauren Robishaw Creative Fund.

INTERMISSION One Flat Thing, reproduced

William Forsythe, Choreography, Lighting and Stage Design Thom Willems, Music Stephen Galloway, Costume Design Tanja Rühl, Technical Consultant William Forsythe, Ayman Aaron Harper, Mario Alberto Zambrano, Staging

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One Flat Thing, reproduced begins with a roar: Twenty tables, like jagged rafts of ice, fly forward and become the surface, the underground and the sky inhabited by a ferocious flight of dancers. This pack of bodies rages with alacrity, whipping razor-like in perilous waves. Its score, by composer and longtime Forsythe collaborator Thom Willems, begins quietly before becoming a gale, gathering sonic force as the dancers’ bodies produce a voracious and detailed storm of movement.

Created for and premiered by Ballett Frankfurt February 2, 2000 at Bockenheimer Depot, Frankfurt am Main, Germany. First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original music by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of One Flat Thing, reproduced is sponsored by the Harris Theater for Music and Dance, with support from Sandra and Jack Guthman through the Imagine campaign. Lead Individual Sponsors of the Season 38 Fall Series celebrating William Forsythe are Jay Franke and David Herro. Additional support is provided by Individual Sponsors Pam Crutchfield and Richard L. Rodes. The Elizabeth F. Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.

About Hubbard Street Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Celebrating Season 39 in 2016–17, under the artistic leadership of Glenn Edgerton, Hubbard Street continues to innovate, supporting ascendant creative talent while presenting repertory by internationally recognized living artists. Hubbard Street has grown through the establishment of multiple platforms alongside the Lou Conte Dance Studio — now in its fifth decade of providing a wide range of public classes and pre-professional training — while extensive Youth, Education, Community, Adaptive Dance and Family Programs keep the organization deeply connected to its hometown. Visit hubbardstreetdance. com for artist profiles, touring schedules and much more.

Glenn Edgerton (Artistic Director) joined Hubbard Street Dance Chicago after an international career as a dancer and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the mentorship of Robert Joffrey. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become its artistic director, leading NDT 1 for a decade and presenting the works of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn Dance Institute at the Colburn School of Performing Arts in Los Angeles. Edgerton joined Hubbard Street as associate artistic director in 2008; since 2009 as artistic director, he has built upon more than three decades of leadership in dance performance, education and appreciation established by founder Lou Conte and continued by Conte’s successor, Jim Vincent.

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Artistic Director

Glenn Edgerton Executive Director

Jason D. Palmquist General Manager

Founding Artistic Director

Lou Conte Director of Production

Jason Brown

Karena Fiorenza Ingersoll

Company Manager

Rehearsal Director

Head of Wardrobe

LaMar Brown

Lucas Crandall

Rebecca M. Shouse

Resident Choreographer

Lighting Director

Alejandro Cerrudo

Kaitlyn Breen

Director of External Affairs

Julie E. Ballard

Suzanne Appel Artistic Associate & Coordinator, Pre-Professional Programs

Meredith Dincolo

Stage Manager & Properties Master

Head Carpenter & Stage Operations

Stephan Panek Master Electrician

Sam Begich

North American Representation

Sunny Artist Management Ilter Ibrahimof, Director ilter@sunnyartistmanagement.com

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Audio Engineer

Kilroy G. Kundalini Touring Wardrobe

Jenni Schwaner Ladd Dancers

Jesse Bechard Jacqueline Burnett Alicia Delgadillo Jeffery Duffy Kellie Epperheimer Michael Gross Elliot Hammans Jason Hortin Alice Klock Emilie Leriche Adrienne Lipson Florian Lochner Ana Lopez Andrew Murdock Penny Saunders David Schultz Kevin J. Shannon Jessica Tong

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The Stratford Songbook Series

UP, UP, & AWAY: MARILYN MCCOO & BILLY DAVIS, JR. Friday, September 23 at 8pm | The Palladium

Marilyn McCoo and Billy Davis, Jr., are the voices, original stars and lead singers of the legendary group, The 5th Dimension.

McCoo and Davis launched Champagne and Pop Soul Classics, including ”Up, Up and Away,” “Aquarius/Let the Sunshine In,” “Worst That Could Happen,” “Stoned Soul Picnic,” “Sweet Blindness,” “Wedding Bell Blues,” and “One Less Bell to Answer.” After leaving The 5th Dimension, Marilyn and Billy recorded “You Don’t Have to be a Star (to Be in My Show),” a chart topping number 1 record, won them their own Grammy Award and a television series on CBS. They are named by Billboard, “The First Couple of Pop and Soul.”

Billy, devoted his efforts to a successful gospel music career and Marilyn performed in television’s “Solid Gold.” The couple enjoys tremendous success through the years as recording artists, performers and authors.

They have received a total of 7 Grammy Awards, earned 15 gold and 3 platinum records.

We invite you to enjoy “Up, Up and Away” starring Marilyn McCoo, Billy Davis, Jr. and their supporting cast, The Next Dimension… for a journey and musical celebration of their own iconic music, which includes a loving tribute to The Beatles.

series sponsor

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CNO Financial Indiana Music Series

PURDUE VARSITY GLEE CLUB & PURDUETTES Saturday, September 24 at 8pm | The Palladium Purdue Glee Club With integrity, passion, unparalleled showmanship and attention to every detail, the men of the Purdue Varsity Glee Club have proudly served as ambassadors of the university with honor and dignity for more than 115 years.

This dynamic musical troupe employs a versatile repertoire including gospel, vocal jazz, swing, contemporary hits, romantic ballads, classical choral selections, barbershop, folk melodies, patriotic standards, familiar opera choruses, country and novelty tunes, and utilizes small groups and outstanding soloists to further enhance each show.

Under the direction of William Griffel, the Purdue Varsity Glee Club continues to share a sound all its own through one-of-a-kind arrangements in tailor-made performances for audiences of all ages.

Purduettes Maintaining a high level of academic achievement, the women of the Purduettes pursue excellence on and off the stage, employing a leadership honorary and a mentor program to help further the development and lives of each individual, while involving Purdue alumnae and community leaders through the outreach efforts of the program. series sponsor

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Directed by Jeff Vallier, the Purduettes provide energetic and quality entertainment suitable for audiences of all ages and backgrounds, all the while connecting the university to alumni, friends and communities worldwide.

Purdue Varsity Glee Club Baritones Ben Beeks Joel Byler Brian Carter Eddie Ford Ted Fry Henry Harrell Decker Horninger Jake Jenkins Erik Jensen Brandon Lehn Bryce Lemert Patrick Montgomery Michael Myers Ben Oxley Trevor Peters Tanner Princell Michael Roesel John Svendsen Zachary Williams

Bass Niko Amitrano Henry Berkemeier Max Bixby Aaron Brehm Skyler Catron Adam Easterday Patrick Foster Cameron Keiper Brandon Kesner Rob Mantock William Murray Wade Naritoku Eddie O'Neal Colin Pool Alex Roberts Sam Simpson Andrew Smith Mac Smith Keith Vandewalle

Braden Vorhees Stephen Wirtner Mitch Witt

Katie Camp Hannah Cox Amanda Desimowich Katie Dunnuck Lauren Hayes Jessica Kahms Kat Kirby Ashley Otero Liron Saletsky Margo Takehara Sarah Weaver Kayla Woodruff

Second Alto Jasmine Ben-Abdallah Rachel Bilbo Casie Blair Maddie Boyle Diva Bridegroom Janelle Davis Addie Howell Jenna McCracken Brenna Ryan Caroline Shanley Emily Spear Madison Sylvester Sarah Zoubaa

First Tenors Zachary Bucher Aaron Corbett Adam Dodson Austin Erb Ryan Gurreri Sam Humphrey Kevin Lin Zachary Stewart Jacob Tooley Edwin Velez-Calez Peter Xeros Rhythm & Sound Michael Abu-Omar Michah Reynolds James Walts Caleb Wood

Second Tenors Evan Alexa Alec Brooks Dante Bruno Caleb Cullen Luke Everett Jory Goff Brandon Hagerman Samuel Hathaway Ryan Hellyer Bryan Howl John Keil Ryan Kelleher Spencer Lampton Austin Larson Patrick Shelton Adam Simpson Duncan Smith

Purduettes First Alto Emily Chesney Chloe Davis Salma Elazhary Sally Everett Katie Hardman Erin Kay Catherine Klimes Lauren McCarthy Maddie Moore Abbi Rivers Addie Sarver Kira Siepman Ashley Straut Amanda Wolford First Soprano Mary Barr Emma Burry

Rhythm & Sound Malcom Julian Luke Wheat Zane Wright

Second Soprano Mary Grace Ahearn Kristin Beese Natalie Bengert

Ellie Boyer Leah Craft Caroline Doelling Caroline Gruver Kelsey Hoke Jessica Lyon Alexis Miller McCaela Moes Jessica Peine Neely Plaspohl Lauren Robbers Grace Rutherford Kylee Switzer Maci Tetrick Madison VanFossen Madi Wallace Rachel Walling

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2016–2017 Season at a Glance PRESENTED BY

Scotty McCreery Fri., September 9 at 8pm | The Palladium George Thorogood & The Destroyers Sat., September 17 at 8pm | The Palladium Hubbard Street Dance Chicago September 23 & 24 at 8pm | The Tarkington Up, Up, & Away: Marilyn McCoo & Billy Davis Jr. and The Next Dimension Fri., September 23 at 8pm | The Palladium

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PRINTING PARTNERS CLASSICAL SERIES THE STRATFORD SONGBOOK SERIES JAZZ SERIES COUNTRY SERIES DANCE SERIES WORLD STAGE SERIES add-on performances

DREWRY SIMMONS VORNEHM POP/BLUES/FOLK UNIVERSITY OF INDIANAPOLIS SPOTLIGHT FAMILY ST. VINCENT HOLIDAY These activities made possible, in part, with support from Butler University, Indiana Arts Commission and the National Endowment for the Arts, a federal agency.

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Box Office: 317.843.3800 TheCenterPresents.org/ SubscribeNow

CNO Financial Indiana Music Series Purdue Glee Club & Purduettes Sat., September 24 at 8pm | The Palladium Ballet Folklorico “Quetzalli” de Veracruz Sun., September 25 at 7pm | The Palladium Lang Lang Tue., September 27 at 7:30pm | The Palladium Arturo Sandoval Fri. September 30 at 8pm | The Palladium Reduced Shakespeare Co. The Complete History of America (abridged): Election Edition Fri., September 30 at 8pm | The Tarkington Leela – The Divine Play Sat., October 1 at 7pm | The Tarkington LeAnn Rimes Sun., October 2 at 7pm | The Palladium 2016 Songbook Celebration Gala Presented by Krieg DeVault Sat., October 15 | The Palladium An Eveing with Lyle Lovett & Robert Earl Keen Wed., October 19 at 7pm | The Palladium An Evening with Joan Baez Thur., October 20 at 7:30pm | The Palladium Russian String Orchestra Sat., October 29 at 8pm | The Palladium Havana Cuba All-Stars Fri., November 4 at 8pm | The Palladium R.E.M.’s Mike Mills’ Concerto for Violin, Rock Band, and Orchestra Sat., November 5 at 8pm | The Palladium Jake Shimabukuro Mon., November 7 at 7:30pm | The Palladium

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Koresh Dance Company 25th Anniversary Celebration November 11 & 12 at 8pm | The Tarkington Dr. John “The Spirit of Satch” with Nicholas Payton Sat., November 19 at 8pm | The Palladium Sandi Patty Christmas Fri., December 2 at 8pm | The Palladium Alan Cumming Sat., December 3 at 8pm | The Palladium Jazz at Lincoln Center Orchestra with Wynton Marsalis Mon., December 5 at 7:30pm | The Palladium Dave Koz & Friends Holiday Thur., December 8 at 7:30pm | The Palladium Chamber Music Society of Lincoln Center Fri., December 9 at 8pm | The Palladium Home Free Holiday Thur., December 15 at 7:30pm | The Palladium New Year's Eve Extravaganza Presented by Taft Sat., December 31 at 8pm | The Palladium Russian National Ballet Theatre January 13 & 14 at 8pm | The Tarkington Prague Philharmonia Orchestra Fri., January 20 at 8pm | The Palladium Neil Berg’s “101 Years of Broadway” Sat., January 21 at 8pm | The Palladium Sara Evans Fri., February 3 at 8pm | The Palladium Five Irish Tenors Sat., February 4 at 8pm | The Palladium

Vienna Boys Choir Sat., March 4 at 8pm | The Palladium Danú: An Evening of Celtic Music Fri., March 10 at 8pm | The Tarkington Ballet Hispanico March 17 & 18 at 8pm | The Tarkington Shaolin Warriors Sat., March 18 at 8pm | The Palladium Anoushka Shankar Fri., March 24 at 8pm | The Tarkington Joey Alexander Trio Sat., March 25 at 8pm | The Tarkington Keith Lockhart and the Boston Pops Esplanade Orchestra: By George!

The Pops Play Gershwin Sun., April 2 at 7pm | The Palladium Kenny Rogers' Final World Tour: The Gamblers Last Deal with Special Guest Linda Davis Fri., April 7 at 8pm | The Palladium Simon Shaheen Sat., April 8 at 8pm | The Tarkington Charles Lloyd & The Marvels Featuring Bill Frisell with Reuben Rogers, Eric Harland & Greg Leisz Thur., April 20 at 7:30pm | The Palladium Erth’s Dinosaur Zoo LIVE! Sun., April 23 at 1pm & 4pm | The Palladium The Time Jumpers featuring Vince Gill, Kenny Sears, “Ranger Doug” Green, and Paul Franklin Fri., April 28 at 8pm | The Palladium Michael Feinstein with Special Guest Sat., April 29 at 8pm | The Palladium

“1964 the Tribute” Celebrating the Beatles Fri., February 17 at 8pm | The Palladium Venice Baroque Orchestra with Nicola Benedetti, Violin Sat., February 18 at 8pm | The Palladium The Yellowjackets Fri., February 24 at 8pm | The Palladium Direct from Kiev, National Symphony Orchestra of Ukraine Fri., March 3 at 8pm | The Palladium

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VOICE OF JUSTICE The legendary Joan Baez brings her music – and her activism – to the Palladium Written by: Scott Hall

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Few artists can sustain their relevance for nearly six decades, but Joan Baez has never needed to mount a comeback. She’s been here all along.

As notable as her undeniable musical gifts is her tireless commitment to social justice and nonviolent activism. And perhaps even more striking than her ethereal soprano is her Forrest Gumplike tendency to be wherever the action is: the folk music revival of the late 1950s and early ‘60s; the civil rights and antiwar movements, including the 1963 March on Washington; historic concerts such as Woodstock and Live Aid – the list goes on.

She played muse to a young Bob Dylan, was jailed while demonstrating with Dr. Martin Luther King Jr., advocated alongside Cesar Chavez for the rights of migrant workers, and campaigned against violence in Ireland in the 1970s and Bosnia in the 1990s. For a time in the 1980s, she even dated budding tech legend Steve Jobs.

“If people have to put labels on me,” Baez once said, “I’d prefer the first label to be human being, the second label to be pacifist, and the third to be folk singer.”

Along the way, she has released more than 30 original albums in the U.S. alone, many of them certified gold in sales and still revered as classics by fans old and new. In 2001, Vanguard Records began reissuing her 1960-1972 albums on CD, the most extensive such program devoted to one artist in the label’s history. Universal soon followed suit, reissuing six of her mid-’70s A&M Records albums as a boxed set of four CDs with bonus material and extensive liner notes.

Baez was the second of three daughters for Louisiana native “Big Joan” Baez and Mexican-born Albert Baez, both children of clergymen.

Though she was born in New York, the family moved often, with Albert’s career as a scientist taking them around the country and through Europe and the Middle East. The family’s conversion to Quakerism is credited in part for her lifelong commitment to pacifism and social issues.

Young Joan was fresh from high school in 1958 when she went to Boston for college but instead made an instant splash in the growing folk music scene with her vocal and guitar stylings. Her reputation went national the following year with a performance at the inaugural Newport Folk Festival, and her first three albums, released starting in 1960, were immediate hits.

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Known initially as a purveyor of traditional folk songs, Baez soon established a reputation as an interpreter of the new, socially conscious work of contemporaries such as Dylan, Phil Ochs, Leonard Cohen, Tim Hardin and Paul Simon. Later she would blossom as a songwriter, most notably with the 1975 hit “Diamonds and Rust.”

Her work, in both music and activism, has not gone without recognition. At the 2007 Grammy Awards, she received the Recording Industry Association of America’s Lifetime Achievement Award. In 2014, the Library of Congress inducted her debut album into the National Recording Registry, which recognizes recordings that are “culturally, historically, or aesthetically significant.” And in 2015, alongside Chinese dissident artist Ai Weiwei, she received Amnesty International's Ambassador of Conscience Award, honoring more than four decades of work with the human rights organization.

In January, Baez celebrated her 75th birthday at New York’s Beacon Theatre with friends including David Crosby, Emmylou Harris, Jackson Browne, Mary Chapin Carpenter, Judy Collins, Indigo Girls, Paul Simon and Mavis Staples, delivering a concert that has been airing since May as an episode of PBS’ Great Performances series. The entire performance is available on DVD and a two-CD set titled 75th Birthday Celebration.

Now, coming off a summer tour in Europe, Baez and her band will visit the Palladium on Oct. 20 as part of a five-week, 20-city jaunt that takes her coast to coast.

And don’t think for a minute that she has retired from activism. The current tour, featuring new tunes as well as classics from throughout her career, is a partnership with the Innocence Project and the affiliated Innocence Network, which use DNA evidence to exonerate people wrongly convicted of grievous crimes.

“I’m thrilled to lend my voice to such an important cause and help in the fight against wrongful convictions,” Baez said in announcing the tour.

“We hope to provide a platform that will amplify the heartbreaking stories of men and women wrongfully convicted, who suffer so needlessly. The fight against their unlawful convictions shines a light on both a broken criminal justice system and the racial inequality of people serving time. I hope my audiences will be motivated to support their work.”

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BALLET FOLKLORICO "QUETZALLI" DE VERACRUZ Sunday, September 25 at 3pm | The Palladium Founded in 1985 by Maestro Hugo Betancourt, Ballet Folklorico “Quetzalli” de Veracruz makes its home in Xalapa, the capital of the Eastern Mexico gulf state of Veracruz. They have toured internationally performing traditional folkloric dances, as well as their Afro-Caribbean spectacular, “Carnaval Veracruzano”. The company has been the official representative for the Secretary of Tourism and Economic Development for the State of Veracruz since 1986, having given hundreds of performances across Mexico and the United States, South America, Asia, Europe and the Caribbean. They have also recently performed in Peru, Spain, Germany, Dubai, Taiwan and Canada. In all, the company has performed in more than 20 different countries on 4 continents. 2015 marked the group’s 30th anniversary which included a U.S. tour as well as a gala performance in the home city of Xalapa’s Teatro del Estado and appearances around Mexico.

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Printing Partners Classical Series

LANG LANG Tuesday, September 27

at

7:30pm | The Palladium

Performance Sponsored by PTS Diagnostics

CLAUDE DEBUSSY Ballade (1862–1918) FRANZ LISZT Piano Sonata in B minor S. 178 (1811–1886) intermission

ISAAC ALBENIZ (1860–1909)

from Suite española Op. 47

ENRIQUE GRANADOS (1867–1916)

from Goyescas Op. 11

MANUEL DE FALLA (1876–1946)

Danza ritual del fuego

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I. Granada (Serenada) II. Cataluña (Courante) III. Sevilla (Sevillanas) IV. Cádiz (Saeta) V. Asturias (Leyenda) VIII. Cuba (Notturno)

IV. Quejas, o La Maja y el ruiseñor III. El fandango de candil

PERFORMANCE sponsor

Program Notes Ballade Claude Debussy (1862–1918) Debussy might be called an Impressionist if such were the designation of composers in Paris in the years of the Impressionist painters, but he was not part of a group and he created music that was entirely different from that of the Wagnerian style currently in fashion then in Paris. As a result, he felt much more comfortable with painters and poets than with most of the established composers of his time. Among his colleagues were Monet and Renoir as well as the Symbolist poets, Mallarmé and Verlaine. Debussy’s works, like the works of the Impressionist painters, displays an emphasis on light and color. It also displays the influence of the Symbolist poets’ hallucinatory images.

In autumn 1891, Debussy’s early piano piece, Ballade slave, was published. When he had it re-engraved in a slightly revised form in 1903, he deleted the word slave, thus making the title indicate more directly that the work was a work of narrative character. Yet one can, nevertheless, detect a certain Russian influence, such as that of Balakirev, stemming from the time Debussy spent with Nadeshda von Meck, the well known patron of Tchaikovsky. Debussy functioned, from time to time, as her house pianist.

Debussy’s musical Impressionism had already taken shape in a number of his earliest works, not least his piano pieces written before the end of the 19th century. He became known for his very original musical language, and the occasionally unconventional tonal approach he takes in Ballade already foreshadows the Debussy of a decade further on, in the cycle Pour le Piano, 1901.

Ballade does not always seem to quite match the impressions it actually arouses. The qualifying adjective “slave” of Ballade slave, gave a clue to the character of the piece, and the kind of influences that went into its making. The piece is not only tangibly Russian in its character, it is almost totally monothematic, featuring much repetition of the basic motifs. Unusually for Debussy, it is constructed using the principles of variation technique. The musicologist Frank Dawes commented, "Despite the Russian flavour of the theme, the pianistic lay-out more often recalls the early style of Fauré, though there is a hint of Debussy’s great sea music in the section marked 'animez peu à peu', with its wide-flung left hand arpeggios."

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Piano Sonata in B minor Franz Liszt (1811–1886) Franz Liszt’s position in musical history is assured by the influence of his unmatched piano virtuosity, by his championing of such advanced composers of his time as Berlioz and Wagner, and especially by his modernization of music. He created a new style of piano playing, invented the symphonic poem, established a place for folklore in art-music, and reconstructed the symphony, the sonata, and the concerto. His new ideas profoundly influenced several generations of composers and performers.

In 1848, Liszt renounced his great career as a touring virtuoso and settled down in Weimar as court music director, with a firm determination to begin composing in large forms and to use his powerful post for the support of the most advanced new music. He had already written a great number of short pieces for piano, but he was not yet at ease with the problems of musical continuity or with the orchestra.

Before long Liszt had developed a new integrated structural plan that he used with great mastery in this sonata and his Piano Concerto No. 1, and to some degree also in the Faust Symphony. Its essentials are, first, that there be no pauses between movements and, second, that this new whole must exhibit both the symmetry and the tension that are characteristic of the first movements in the Classical sonatas of Haydn, Mozart, and Beethoven.

Some music historians believe that Liszt’s model for this sonata was Schubert’s Wanderer Fantasy, but the finale of Beethoven’s Ninth Symphony could also have served as a prototype. The late pianist-scholar Charles Rosen, in his insightful book, The Classical Style, made this penetrating observation in a footnote about the Beethoven symphony: “[Its combination] of sonata-allegro and four-movement form is one of the rare experiments of the last years of Beethoven’s life to have a genuine repercussion in the more original work of the first Romantic generation.

The Liszt Sonata is an attempt to repeat this conception. . . Liszt was the composer of his generation who best understood Beethoven.”

For years the Sonata was not merely resisted but hated. When, in 1853, Liszt dedicated it to Schumann, Schumann was mortified; he, his wife and their young disciple, Johannes Brahms, distrusted Liszt both personally and musically. Hans von Bülow gave performances of the Sonata over a protracted period from 1857 to 1881; the reaction of critics throughout that whole interval was similar: they called the music “affected, arbitrary and extravagant.” Twenty-four years after the Sonata was written, Brahms’ friend Eduard Hanslick wrote that it was “a musical monstrosity of contrived 32

insolence; in the end, irresistibly comic. Anyone who has heard it and finds it beautiful is beyond help.” One composer did react differently: when Wagner heard it in 1854, he reacted so favorably that he wrote to Liszt, “It is beautiful beyond all belief; huge, lovable, profound, exalted, stately–like you. I have been stirred to the depths by it.”

Liszt’s basic procedure is the constant expansion of motifs and transformation of melodies, a process of synthesis in place of the classicists’ development.

There are several large, distinct sections based on four themes that make their entrances and departures in various shapes and forms at various times. The music begins with a few slow introductory measures, Lento assai, whose descending figure is the Sonata’s first thematic subject. In the Allegro energico two themes that have more important roles to play in the work are heard: the first, vigorous and in a high register; the second, grumbling in the bass, with repeated notes that later become transformed into a lyric melody and into another theme, Grandioso. The middle section, Andante sostenuto, is like a slow movement after which the Allegro energico tempo returns; at the very end, the entire cycle of themes is reviewed in a coda.

Suite española, Op. 47 Isaac Albéniz (1860–1909) As a child, the Catalonian composer/pianist Isaac Albéniz was taken to Paris to study music, but he ran away from home, going as a stowaway to Argentina at the age of twelve. From there, he traveled to Brazil, Cuba, Puerto Rico, and all the way across the United States to San Francisco. As a young adult, he made and lost a fortune playing piano in Latin America, ending up playing in New York waterfront bars, earning enough to go to England and finally to Germany, where he studied with Liszt. In Leipzig he met Spanish composer and musicologist Felipe Pedrell, who encouraged him to delve into the musical resources of Spanish music, and consequently, Albeniz became very important in the creation of a truly national music, incorporating into his music Spanish rhythms and melodies. After he finished studying, he settled in France and became a friend of the composers Chausson, Dukas, Fauré and d'Indy. Actively promoting Spanish music, he participated in the modernismo movement of the resurgence of Catalan culture, which began in Barcelona in the 1890’s.

Albéniz’s greatest masterpiece is the large piano cycle Iberia (1905), which depicts the regions of Spain. The grandeur of the twelve huge piano pieces long overshadowed the charming but more modest works he wrote earlier, which include the Suite Española (1886) in which each movement evokes the place whose name it bears. All eight movements of the Suite are written in (Continued on next page.) 33

triple meter, and all but the second piece, Cataluña, have ternary (threepart) form made up of two similar outer sections and a contrasting middle, a copla, originally an improvised song section placed within a dance.

In 1911, two years after the composer’s death, the German publisher Friedrich Hofmeister published the first “complete” version of the Suite española, Op. 47. When it appeared in 1886, the work had been advertised as an eight-movement suite, but only four of its movements were published then. The four additional movements, which appear in the complete 1911 edition, had all been published previously under different titles. Commentators suggest that Hofmeister inserted these four movements into the Suite española, changing the names to fit those originally advertised 25 years earlier. Albéniz had, it appears, promised his first publisher more movements than he completed. Thus, for example, a piece known as “Preludio” became Asturias, subtitled Leyenda, the fifth movement of Albéniz's Suite española. Union Musical Española also published a "complete" version of the Suite española in 1918 edited by Juan Salvat, based on an earlier version rather than the revised eightmovement Hofmeister version. All subsequent editions of the piece, however, seem to have followed from the altered Hofmeister edition.

Each movement evokes the place whose name it bears. The first piece in the suite, the melodious Granada (Serenata), is a serenade, bringing alive Spain's medieval Moorish community with characteristically Moorish melodic figuration. Albéniz used the traditionally “forbidden” melodic interval of an augmented-second to evoke the Moorish quality of the cante jondo in several pieces, including Granada. Speaking of Granada, Albéniz wrote: “I live and write a Serenata. . . sad to the point of despair, among the aroma of the flowers, the shade of the cypresses, and the snow of the Sierra. I will not compose the intoxication of a juerga. I seek now the tradition. . .the guzla, the lazy dragging of the fingers over the strings.

And above all, a heartbreaking lament out of tune. . . I want the Arabic Granada, that which is art, which is all that seems to me beauty and emotion.” Composing most of his pieces in Spanish style in London and Paris, Albéniz expressed the nostalgia for his homeland in part by creating images of flamenco and of the Moorish quality of Andalucia.

The second piece, Cataluña, is based on the composer’s native region.

The piece is a Curranda, a mournful dance in 6/8. Seville is a southern Andalucian city, evoked in the third movement with the rhythms used in the flamenco style dance called Sevillanas, a lively dance interrupted by a slower song.

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The fourth movement is named for Cádiz, (Saeta) a southwestern coastal city.

For this movement, Albéniz writes another serenata, adapted from a song, originally improvised, that is sung during religious processions.

Asturias, subtitled Leyenda (“Legend”), the fifth piece, is one that is often extracted as a popular guitar solo transcription although the original is a piece very suited to the piano in style. Demanding technically, this piece creates a unique atmospheric effect. Although the legend that the composer had in his mind is unknown, the music is haunting and reminiscent of flamenco. It has inspired numerous dramatic stories, ranging from biblical thunderstorms to devastating earthquakes. The opening section of the work creates the sound of the flamenco guitar with its "open-string" pedal point and “rasgueado” chords. The slow central section is more sophisticated.

The opening phrases evoke the cante jondo, the improvised solo song of the persecuted Indian-Jewish-Gypsy cultural amalgam that produced what we call flamenco. The work ends with bare octaves.

The final piece in the suite is named for the island of Cuba, then a part of Spain and an island that the composer saw as a teenager and young adult as he traveled in Latin America. Subtitled Notturno, a term that means night, it is fairly free in form and evocative.

Goyescas, H. 64, No. 4, “Quejas o La maja y el ruiseñor” (“The Maiden and the Nightingale”) Enrique Granados (1867–1916) Enrique Granados was a magnificent pianist and a splendid composer whose creative imagination was stimulated rather than limited by his devotion to the language of his country’s folk music. He was the son of a Spanish army officer, educated as a musician in Barcelona, Madrid and Paris, and like Chopin, Liszt, Grieg and Dvorak, he absorbed the idiom of the music of his people and used it as the vehicle of expression of his art.

Granados was a Catalan by birth and lived most of his adult life in the Catalonian capital of Barcelona, but he was always aware of the varied styles of other Spanish places and times. Especially, he felt devoted to the Madrid of the famous painter, Francisco de Goya (1746-1828), which he pictured in his piano suite and opera called Goyescas.

Granados came to New York for the first production of the opera at the Metropolitan Opera House in January 1916, and lost his life when, in the English Channel, a German submarine torpedoed the British liner on which he was returning home to Europe.

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Granados first became interested in painting while living in Paris, between 1887 and 1889, and when he returned home he discovered the Goyas in the Prado. “I fell in love with the mind of Goya,” he wrote, “with his palette, with his models, his battles, loves and conquests, with pink and white cheeks against lace and black velvet. Those small waists and pearly hands dazzled me.” In Barcelona, in 1911, he played the first public performance of the music these images inspired.

The Goyescas are six huge, fiercely difficult loosely constructed pieces.

To play them at all requires enormous technical skills; to play them well requires a sharp and penetrating musical intelligence; to play them very well seems almost to require in addition that Castilian or Catalan be one’s native musical language. The writing is so complex in texture that simply articulating its content is a feat. Every detail, even the tiniest, has stylistic significance. Looked at coldly on paper, or read literally at the piano, the music may seem to lack variety, but it is written to be played with constantly changing color or flavor or scent, and with disciplined or, at least, controlled abandon.

Goyescas is subtitled Los majos enamorados (“The Gallants in Love”). No. 4 is Quejas o La maja y el ruiseñor (“The Maiden and the Nightingale”).

This movement, the most famous of the six, is distinguished by a melody that returns frequently and is based on a Valencian folk song in which a girl listens to the sad song of a bird in her garden. Granados dedicated the haunting selection to his wife Amparo; it has been hypothesized the dedication was motivated by guilt the composer felt for the affair he was then carrying on with a student.

Goyescas, H. 64, No. 3, El Fandango de Candil Granados described El fandango de candil (“Candlelit fandango”) as a “scene to be sung and danced slowly and rhythmically.” Its specific title has not been quite clear to commentators: it appears to emphasize candlelight, but Goya did not picture any scene like it, yet a sainete, a oneact comedy, by Ramón de la Cruz, does exist with an identical title to the Granados piece, and thus it may have been the inspiration for Granados.

In this highly accented dance piece of nocturnal celebration, which he dedicated to Richard Viñes, Granados uses a characteristic figure of the fandango: a major third between cadences of the first and second phrases, but he uses a ternary structure rather than the verse and refrain that was more typical of fandangos. The piece includes three distinct themes and a rhythmic figure and elaboration that speeds the momentum to the climax.

The program notes are copyright Susan Halpern 2016.

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About Lang Lang If one word applies to Lang Lang, to the musician, to the man, to his worldview, to those who come into contact with him, it is “inspiration”. It resounds like a musical motif through his life and career. He inspires millions with his open-hearted, emotive playing, whether it be in intimate recitals or on the grandest of stages – such as the 2014 World Cup concert in Rio, with Placido Domingo, to celebrate the final game; the 56th and 57th Grammy Award two years in a row, where he performed with Metallica and Pharrell Williams; the Opening Ceremony of the 2008 Beijing Olympics, where more than four billion people around the world viewed his performance; the Last Night of the Proms at London’s Royal Albert Hall, or the Liszt 200th birthday concert with the Philadelphia Orchestra and Charles Dutoit which was broadcast live in more than 300 movie theaters around the United States and 200 cinemas across Europe (the first classical music cinema cast to be headlined by a solo artist). He forms enduring musical partnerships with the world’s greatest artists, from conductors such as Daniel Barenboim, Gustavo Dudamel and Sir Simon Rattle, to artists from outside of classical music – among them dubstep dancer Marquese “nonstop” Scott, king of the crooners Julio Inglesias and jazz titan Herbie Hancock. He even builds relationships with corporations who will help him get classical music to ever-more people And he builds cultural bridges between East and West, frequently introducing Chinese music to Western audiences, and vice versa.

Yet he never forgets what first inspired, and continues to inspire him. Great artists, above all the great composers – Liszt, Chopin and the others – whose music he now delights in bringing to others. Even that famous old Tom and Jerry cartoon “The Cat Concerto” which introduced him, as a child, to the music of Liszt – and that childlike excitement at the discovery of music now surely stays with him and propels him to what he calls “his second career”, bringing music into the lives of children around the world, both through his work for the United Nations as a Messenger of Peace focusing on global education and through his own Lang Lang International Music Foundation. As he inspires, he is inspired.

Time Magazine named Lang Lang in the “Time 100”, citing him as a symbol of the youth of China, and its future. Lang Lang is cultural ambassador for Shenzhen and Shenyang. And if the Chinese passion for piano isn’t solely due to him, he has played no small part as a role model – a phenomenon coined by The Today Show as "the Lang Lang effect." Steinway Pianos for the first time named a model after a single artist when they introduced “The Lang Lang Piano” to China, specially designed for education.

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And the child Lang Lang was and who, perhaps, is always with him, would surely have approved of the way he gives back to youth. He mentors prodigies, convenes 100 piano students at a time in concert, and dedicated his Lang Lang International Music Foundation to cultivating tomorrow’s top pianists, music education at the forefront of technology, and building a young audience.

Lang Lang has been featured on every major TV network and in magazines worldwide. He has performed for international dignitaries including the Secretary-General of the U.N. Ban Ki-moon, four US presidents, President Koehler of Germany, former French President Sarkozy and President Francois Hollande. Of many landmark events, he was honored to perform for President Obama and former President Hu Jin-Tao of China at the White House State Dinner, the Diamond Jubilee celebratory concert for Queen Elizabeth II at Buckingham Palace, the 70th Anniversary celebration of the United Nations, and the 500th Anniversary of the founding of the City of Havana in Cuba.

Honors include being added as one of the World Economic Forum’s 250 Young Global Leaders, Honorary Doctorates from the Royal College of Music, Manhattan School of Music and New York University, the highest prize awarded by China’s Ministry of Culture, Germany’s Order of Merit and France’s Medal of the Order of Arts and Letters, and the first ever Ambassador of the Château de Versailles in Paris.

Lang Lang is managed by: Columbia Artists Music LLC 1790 Broadway, New York, NY 10019 www.camimusic.com Jean-Jacques Cesbron Ronald A. Wilford Lang Lang is an Exclusive Recording Artist of Sony Music

Buy Latest Release: New York Rhapsody online at: NewYork.LangLang.com

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ARTURO SANDOVAL Friday, September 30 at 8pm | The Palladium A protégé of the legendary jazz master Dizzy Gillespie, Sandoval was born in Artemisa, a small town outside Havana, on November 6, 1949.

Sandoval began studying classical trumpet at twelve years old, but it didn’t take him long to catch the excitement of the jazz world. He has since evolved into one of the world’s most dynamic and acknowledged guardians of jazz trumpet and flugelhorn, a renowned classical artist, pianist and composer.

Sandoval has been awarded 10 Grammy’s, 6 Billboard Awards and an Emmy Award. In 2013, Arturo received the Presidential Medal of Freedom.

One frequently speaks of Arturo Sandoval’s virtuoso technical ability or his specialty in high notes, but he who has seen him on the piano, improvising on a ballad, or enjoyed his compositions from straight ahead jazz, Latin jazz or classical, recognizes that Arturo is one of the most brilliant, multifaceted and renowned musicians of our time.

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University of Indianapolis Spotlight Performance

REDUCED SHAKESPEARE COMPANY THE COMPLETE HISTORY OF AMERICA (ABRIDGED): SPECIAL ELECTION EDITION Friday, September 30 at 8pm | The Tarkington By: Adam Long, Reed Martin, & Austin Tichenor Starring: Reed Martin, Dan Saski, & Austin Tichenor Directed by: Reed Martin & Austin Tichenor WARNING: This show is a high-speed, roller-coaster type condensation of the entire history of America and is not recommended for people with heart ailments, back problems, History degrees, inner ear disorders, and/or people inclined to motion sickness. The Reduced Shakespeare Company can not be held responsible for expectant mothers.

Dan Saski has been helping the RSC reduce expectations for years.

He's performed internationally in The Complete Works of William Shakespeare (abridged) and regionally in The Ultimate Christmas Show (abridged) and The Complete History of Comedy (abridged). Dan also workshopped the premiere of William Shakespeare's Long Lost First Play (abridged) and was introduced to the RSC when he was seen in The Complete History of America (abridged). He's been an actor in and around the SF Bay Area for the past 15 years; and also teaches theater, so he can pay rent. Dan is a proud alumni of The Meisner Technique Studio.

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Reed Martin has performed in forty-six states and eleven foreign countries, including New Jersey. Prior to joining the RSC in 1989, he was a clown with Ringling Brothers/Barnum & Bailey Circus where he spent two years frightening children and smelling of elephants. He lives in Northern California with his wife and two sons, all three of whom are much funnier than he is. Reed feels strongly that toilet paper should be fed over the top of the roll.

Austin Tichenor wrote nine of the RSC’s ten Complete (abridged) shows, plus the irreverent reference book Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged), with Reed Martin. He’s played recurring roles on Felicity, 24 and Alias, and guest starred as Guys In Ties on Gilmore Girls, The West Wing, and many shows like them. He and his wife Dee Ryan live in Chicago with two kids and too many cats. Twitter: @austintichenor Production Staff Alli Bostedt (Stage Manager) took her first foray into theatre at age 4.

She soon discovered that every stage has a backstage and has attempted to remain there ever since. A native of Las Vegas, Alli lives in California with a talking shower curtain and an extensive rubber ducky collection.

Liz Fitzpatrick Griffin (Wardrobe Supervisor) first found her way into the RSC luggage in 2003 when reduced arts funding left her seeking work.

Though she no longer regularly keeps the gents in stitches, they seam no worse for wear. When not washing and packing underwear for clowns, Liz has mended tights and tutus for Boston Ballet, built bags of love for off-Broadway, and frequently attempts to teach Beavers to make costumes.

She proudly resides in a very blue state with her caricature artist husband and their furry daughter with a tail.

Adam Long (Co-Author), although born in Manhattan and raised in California with Texans, now resides in London with his lovely wife Alex, his son Joe, daughter Tilly, 6 guinea pigs, two hens, a cat, two tortoises, a very old fish, and a gnat named Charlie. He cites his influences as Harpo Marx, Dogen Zenji and The Grateful Dead.

Daniel Singer (RSC Founder) co-created The Complete Works of William Shakespeare (abridged), spent twelve years designing theme park attractions for Walt Disney Imagineering (particularly Disneyland's Toontown) and is currently a CPL (Creative Person at Large). Visit stargodsmusical.net for information about his latest play.

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A Reduced History Since its pass-the-hat origins in 1981, the Reduced Shakespeare Company has created ten world-renowned stage shows, two television specials, several failed TV pilots, and numerous radio pieces, all of which have been seen, performed, and heard the world over. The company's stops have included the White House, off-Broadway, the Kennedy Center, Lincoln Center, London's West End, Seattle Repertory Theatre, American Repertory Theatre and Montreal's famed Just For Laughs Festival, as well as performances in Israel, Australia, New Zealand, Hong Kong, Japan, Malta, Singapore and Bermuda, plus countless civic and university venues throughout the USA, the UK, and Europe.

The RSC’s first three shows - The Complete Works of William Shakespeare (abridged), The Complete History of America (abridged), and The Bible: The Complete Word of God (abridged) - ran for nine years at the Criterion Theatre in Piccadilly Circus as London’s longestrunning comedies. For years the RSC had more shows running in the West End than Andrew Lloyd Webber. They were also funnier.

In 2016, in honor of its 35th anniversary and the 400th anniversary of Shakespeare’s death, the RSC premiered its 10th stage show William Shakespeare’s Long Lost First Play (abridged) at the Folger Shakespeare Theatre in Washington DC. And in 2013, the RSC premiered the subject it was born to reduce - The Complete History of Comedy (abridged) - to critical and commercial acclaim at Cincinnati Playhouse in the Park.

The “Bad Boys of Abridgment” have also applied their fast, funny and physical approach to World History in Western Civilization: The Complete Musical (abridged) [original title: The Complete Millennium Musical (abridged)], which toured simultaneously in the US, UK and Australia); Athletics in The Complete World of Sports (abridged), which played in London during the 2012 Olympics; Literature in All the Great Books (abridged); and the Movies in Completely Hollywood (abridged), which skewers the 197 greatest films of all time. All these shows have received critical acclaim across the US, UK, Belgium, Holland, Hong Kong, and Barbados, and played to packed houses at the Kennedy Center, Pittsburgh Public Theatre, San Diego Repertory Theatre, Cincinnati Playhouse in the Park, Seattle’s ACT Theatre, Alabama Shakespeare Festival, and Sweden (in Swedish!). And in 2011, the world premiere of The Ultimate Christmas Show (abridged) became 42

Merrimack Repertory Theatre’s best-selling holiday show ever, and the third-bestselling show in MRT’s history.

For TV, the RSC compressed the first five seasons of Lost into a ten-minute film called Lost Reduced, and was a Jeopardy! category in the 2005 and 2006 Tournaments of Champions. They wrote and starred in The Ring Reduced, a halfhour version of Wagner's Ring Cycle for Channel 4 (UK), and reduced the Edinburgh Festival for BBC and the soap opera Glenroe for RTE Ireland. Shakespeare (abridged) aired on PBS and is available on DVD, as is America (abridged).

For National Public Radio, the RSC has been heard on All Things Considered, Weekend Edition, Talk of the Nation, Day to Day, West Coast Live, and To The Best of Our Knowledge. The BBC World Service commissioned the six-part Reduced Shakespeare Radio Show. The Reduced Shakespeare Company Christmas was heard on Public Radio International.

The RSC won the prestigious Shorty Award in New York City and the Delft Audience Award in Holland. They’ve also been nominated for an Olivier Award in London, two Helen Hayes Awards in Washington, DC, the SF Bay Area Theatre Critics Circle Award.

RSC scripts are published in the US and UK, and translated into over a dozen languages. The RSC also creates unique entertainments for corporate events, working with Sky-TV, Time Magazine, Motorola, Rotary International, and others.

Hyperion published their irreverent reference book Reduced Shakespeare: The Complete Guide for the Attention-Impaired (abridged). The company established its own imprint Reduced Books to publish the comic memoir How The Bible Changed Our Lives (Mostly For The Better) in all e-book formats. And the RSC Podcast, a free 20-minute audio glimpse of life backstage and on the road, is available every week at iTunes and reducedshakespeare.com.

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LEELA–THE DIVINE PLAY Saturday, October 1 at 7pm | The Tarkington Tonight’s program is an ensemble of the below stories: Mohini Bhsmasura Shabari Sati Nandanaar Charitram intermission

Kaikeyi Hanuman Kaali Geethopadesam Leela is a production that was made with more than visuals and sound in mind. It is a humble attempt to present India’s rich mythology and culture with conviction and pride.

Leela is a ballet written in a fashion that will be appreciated and enjoyed by people from different walks of life, ethnicities, and cultures. It is an effort to reach out and propagate Indian classical art form not only to Art lovers, as we strongly believe that there is a larger audience who enjoy arts and cultural celebration.

As an author and Choreographer my responsibility was to render a piece of art that was not only visually appealing but had a take away for audiences.

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Leela is a collection of short kathas (stories) popularly known as “Upakatha” in Sanskrit. It is a bouquet of 8 famous mythological stories seamlessly woven together into the predominant emotions of Abhinaya (expressions) in dance, which is the art of leading the audience through a multitude of experiences and emotions.

The production is supported by a team of professional Musicians and performers from the Indian classical Lineage, who are striving with a mission to propagate and celebrate arts and Culture and bringing in social wellness amongst communities.

Mangala Anand Artistic Director, Nrithya Bharathi Institute of Dance

DISCOVER THE POWER OF THE ARTS The Renaissance Indianapolis North Hotel is proud to partner with the Center for the Performing Arts to deliver artist hospitality. Stay with us and experience a hotel inspired by the neighboring Carmel Arts & Design District. Each of our 263 thoughtfully appointed, design-centric guest rooms exemplify our belief in the importance of the arts in our community.

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LEANN RIMES Sunday, October 2

at

7pm | The Palladium

Performance sponsored by: Matt the Miller's Tavern LeAnn Rimes is an internationally acclaimed singer and ASCAP awardwinning songwriter. Globally, she has sold more than 44 million units, won two Grammy Awards; 12 Billboard Music Awards; two World Music Awards; three Academy of Country Music Awards; one Country Music Association Award and one Dove Award. At 14, Rimes won "Best New Artist” making her the youngest recipient of a Grammy® Award. LeAnn recently inked a worldwide deal with RCA UK who will be releasing her 16th studio album later this year.

She had a hand in penning every song on her 2007’s release Family, which received two Grammy nominations. Her last album with Curb Records, Spitfire, was released in June 2013 and was immediately a critics darling, debuting at number nine on Billboard’s Top Country Album chart. In 2015 LeAnn released her third Christmas album titled, Today is Christmas, which is a follow up to her 2014 album, One Christmas.

LeAnn has long-supported a variety of charity organizations including the National Psoriasis Foundation, DAV (Disabled American Veterans), The Coalition to Salute America’s Heroes, StandUp For Kids as well as The Trevor Project. She most recently began her work with the Friend Movement, an anti-bullying organization.

performance sponsor

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AN EVENING WITH LYLE LOVETT & ROBERT EARL KEEN

Wednesday, October 19 at 7:30pm | The Palladium Two incredible artists. One incredible acoustic evening. Lyle Lovett and Robert Earl Keen, together for a special acoustic set.

About Lyle Lovett A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers. Lovett has appeared in 13 feature films, and on stage and television. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association’s inaugural Trailblazer Award, and was recently named the Texas State Musician. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. His oeuvre, rich and eclectic, is one of the most beloved of any living artist working today.

About Robert Earl Keen Three-decades on from the release of his debut album — with well over a dozen other records to his name, thousands of shows under his belt and still no end in sight to the road ahead — Robert Earl Keen remains as committed to and inspired by his muse as ever. And as for accruing recognition, well, he’s done alright on that front, too; from his humble beginnings on the Texas folk scene, he’s blazed a peer, critic, and fanlauded trail that’s earned him living-legend (not to mention pioneer) status in the Americana music world. And though the Houston native has never worn his Texas heart on his sleeve, he’s long been regarded as one of the Lone Star State’s finest (not to mention top-drawing) true singer-songwriters.

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Drewry Simmons Vornehm Pop, Blues, Folk Performance

AN EVENING WITH JOAN BAEZ

Thursday, October 20 at 7:30pm | The Palladium Joan Baez has been as busy as ever in the five years since she celebrated the landmark years of 2008-2009, the 50th anniversaries of her legendary residency in 1958 at the famed Club 47 in Cambridge, and her subsequent debut at the 1959 Newport Folk Festival.

She remains a musical force of nature whose influence is incalculable – marching on the front line of the civil rights movement with Martin Luther King, inspiring Vaclav Havel in his fight for a Czech Republic, singing on the first Amnesty Interna­tional tour and more recently, standing alongside Nelson Mandela when the world celebrated his 90th birthday in London’s Hyde Park. She shined a spotlight on the Free Speech Movement, took to the fields with Cesar Chavez, organized resistance to the Vietnam War, then forty years later saluted the Dixie Chicks for their courage to protest the Iraq war. Her earliest recordings fed a host of traditional ballads into the rock vernacular, before she unselfconsciously introduced Bob Dylan to the world in 1963, beginning a tradition of mutual mentoring that continues to this day.

Amongst the many honors bestowed upon her, she is the recipient of the Lifetime Achievement Award, the greatest honor that the Recording Academy can bestow (2007). Day After Tomorrow, her 2008 album was praised by critics and nominated for a Grammy. Its release was followed by the PBS American Masters premier of her life story, Joan Baez: How Sweet The Sound. series sponsor

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Proud sponsor of the Center for the Performing Arts.

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Printing Partners Classical Series

RUSSIAN STRING ORCHESTRA Misha Rachlevsky, Music Director

Saturday, October 29

at

8pm | The Palladium

GIOACCHINO ROSSINI Sonata for Strings No. 3 in C Major (1792-1868) I. Allegro

SERGEI PROKOFIEV (1891-1953)

II. Andante III. Moderato

Visions Fugitives, Op. 22

(Arranged for string orchestra by Rudolf Barshai)

intermission

PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Serenade Melancholique, Op. 26 Evgeny Pravilov, violin soloist

PYOTR ILYICH TCHAIKOVSKY

Serenade for Strings, in C Major, Op. 48

I. Pezzo in forma di sonatina: Andante non troppo — Allegro moderato II. Valse: Moderato — Tempo di valse III. Élégie: Larghetto elegiaco IV. Finale (Tema russo): Andante — Allegro con spirito

series sponsor

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Program Notes Sonata for Strings No. 3, in C Major Gioacchino Rossini (1792–1868) Italian modernist composer, Alfredo Casella aimed to prove that Italy, with its famed operatic tradition, also had an important position in the history of instrumental music. Spending considerable time researching, Casella became an early leader of the movement to revive the music of Vivaldi and other Italian Baroque masters. In 1954, in the Library of Congress in Washington, he found a set of manuscript parts of six Rossini sonate a quattro, four part sonatas for two violins, cello and double bass, bearing the inscription, “Dreadful sonatas I composed at the country place of my benefactor and friend, Triossi, in my infancy, without having taken even one lesson in harmony, all composed and copied in three days, performed

by Triossi, double bass, [and others] who played like dogs, and the second violin part by me myself, who was not in the least doggish, by God.” Scholars initially thought the sonatas’ date (1804) was exaggeratedly early although Rossini composed his first opera at eighteen. Rossini would have been twelve and had just begun to study privately in Bologna. He claimed to have written the sonatas while staying near Ravenna with a family friend and benefactor, Agostino Triossi, an amateur double bassist. Because of limitations of available instrumentalists at Triossi’s villa, Rossini scored the sonatas for two violins, cello, and double bass. In 1823, he published five of the six as conventional string quartets and in 1828, one sonata for wind quartet (flute, clarinet, bassoon and horn). The sonatas’ existence was thus well documented, but they disappeared mysteriously for many years, and scholars assumed they had been destroyed. Casella edited them for publication in 1951; now, the conventional quartet scoring and the wind version are widely thought to be the work of transcribers.

These sonatas are remarkable, comparable in quality to the works of the young Mozart or Mendelssohn, also childhood prodigies. Based loosely on Austrian models Rossini would have heard, including possibly the early divertimenti of Mozart, they precociously demonstrate traits of Rossini’s highly personal signature. Although commentators suggest he could have had only a limited acquaintance of Mozart, Rossini later referred to Mozart as “the admiration of my youth, the desperation of my mature years, the consolation of my old age.”

Each genial sonata has three movements of cantabile elegance in a major key in a fast-slow-fast sequence. Each is immediately captivating, effervescent, bursting with melodic invention in the contemporary Italianate (Continued on next page.) 51

style, fully displaying young Rossini’s talent. In each, the initial movement is the most protracted, but after introducing the themes, he offers only a slight development, rather relying on repetition and transposition of melodic material and contrast with other thematic ideas. In Sonata No. 3 and Sonata No. 5, the contrast between the higher and lower instruments is highly important, yet Rossini also highlights each instrumentalist, giving each chance to display independent lines and solo material.

Sonata No. 3 has very amusing and difficult lower parts, written specifically for Triossi. In the first and last movements, several sections foreshadow the comic basso solos in Rossini’s operas. The first movement is a charming Allegro with strong thematic contrasts; the second, an aria Andante, begins dramatically and demonstrates a depth of feeling that yields to lyricism; in the third, Moderato, a sparkling theme and variations highlights the double bass with bravura passages Rossini used again in the finale of La scala di seta.

Visions fugitives, Op. 22 (“Fleeting Visions”) Sergei Prokofiev (1891–1953) Prokofiev, a Russian composer who worked in the West as well as in the Soviet Union, was born in a remote Ukrainian village where his agronomist father worked as manager of a large estate, and his mother gave him his first music lessons. Later he studied at the Conservatory in Saint Petersburg and became a brilliant pianist. After the Russian Revolution, Prokofiev came to America and then settled in Paris, where he was an influential figure until his return to Russia in 1933.

In 1917, Prokofiev assembled twenty short piano pieces, written in the preceding two years, into a collection he named Mimoletnosti. In the West, this imaginative work is usually known by its French title, Visions fugitives; approximately the first two thirds of this set has been arranged into an evocative orchestral version. The title Visions fugitives comes from a few lines of verse by one of Prokofiev's favorite poets, Constantin Balmont (1867 1943): "In every fleeting vision, I see worlds/ Filled with the play of the changing colors of the rainbow." Visions Fugitives with its many tiny movements (most only about a minute long, only a couple of the pieces are longer than two minutes) displays a wide range of mood and gradations of color, indicating the growing and deepening of expression in the young composer. One mood or “vision” is quickly replaced by a contrasting one in this very unusual work, quite unlike most of Prokofiev’s other music. The Visions fugitives are, in a way, an anthology rather than an integrated work; each of the pieces expresses many musical ideas, and each is distinct with its own vivid colors despite its brevity.

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Sérénade mélancolique, Op. 26 Peter Ilyich Tchaikovsky (1840–1893) Tchaikovsky, the middle-class son of a mining inspector in the Ural Mountains, received a serious musical education as a child. Originally trained to be a lawyer, only two years after his graduation, he chose a career in music, returning to his student life at the then new St. Petersburg Conservatory. By the time he was in his mid-twenties, he had begun to compose music as well as teach harmony at the Moscow Conservatory.

He soon became an active music critic, too, contributing articles to newspapers and periodicals. Even though he worked at all these various musical exploits, Tchaikovsky still had financial problems, and a wealthy noblewoman, Madame von Meck, came to his rescue, commissioning some works at very high fees, and then arranging to pay him a generous annual annuity. This beneficence lasted thirteen years, during which Tchaikovsky and von Meck corresponded, but never met.

In 1877, Tchaikovsky married, but only because he felt coerced. He was not temperamentally suited to the union and soon he deserted his bride.

He presumably attempted suicide by walking in the Moskva River, hoping he would contract pneumonia and die, but he had no success. He never cohabited with his wife again, but they were never divorced. His wife, then a music student, died in an insane asylum in 1917. After his failed marriage, Tchaikovsky travelled throughout Europe and even to the United States, where he participated in the opening ceremonies for Carnegie Hall, and devoted the rest of his life to composition.

In January 1875 at the Moscow home of Nicolas Rubinstein, Tchaikovsky first met a thirty-year-old violinist from St. Petersburg named Leopold Auer.

Auer is best remembered now as the teacher of an entire generation of Russian violinists: Heifetz, Elman, Zimbalist and many more, and for his long quarrel with Tchaikovsky about his “unplayable” Violin Concerto.

At the time they were introduced, the Violin Concerto was still in the future, but Tchaikovsky had just completed his Piano Concerto No. 1, and when Auer asked the composer to write a piece for him, he quickly responded with this Sérénade mélancolique, which he dedicated to him.

The Sérénade mélancolique for violin and orchestra, Op. 26, composed almost exactly one year earlier than the Violin Concerto that Tchaikovsky also composed for Auer, was premiered on January 28, 1876 in Moscow by Adolph Brodsky, because Auer would not perform it. Yet the dedication to Auer still survives for Sérénade mélancolique; a year later when Auer would not perform the concerto that was also written for him, finally Tchaikovsky lost faith in him and removed his name from the dedication of the Concerto. Auer did finally perform the Sérénade (Continued on next page.) 53

mélancolique in St. Petersburg later in 1876 when Tchaikovsky arranged the work for violin and piano.

The Sérenade is sometimes said to be a sketch for the Violin Concerto, but it is in a way closer to the Piano Concerto, with which it shares the relatively uncommon key of B-Flat minor. The music is tinged with both sadness and grace, and although the work has diminutive proportions and is not one of his major works, it has much charm. Tchaikovsky gave the piece a three-part (ABA) form, and in the beginning of the first section, Andante, the violin sings a soft melody on the G string. A second theme, Pochissimo piu mosso, comes before the middle section with its quickly running eighth notes. The climax, Largamente, dissolves into a short and subdued cadenza, which precedes the recapitulation of the opening section. The initial section of the work returns at the coda’s conclusion, as then the violin repeats the initial melancholy theme before the whole comes to a very soft end.

The piece is scored for solo violin with an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons and four horns, and violins, violas, cellos, and double basses.

Serenade for String Orchestra, in C Major, Op. 48 Peter Ilyich Tchaikovsky The word “serenade” has within its root the Italian word for evening, sera.

Intended originally as either a vocal or instrumental work to be performed in the evening, usually for a lover’s benefit, the serenade as a musical work appeared first in the Renaissance. By the 18th century, the serenade had become a purely instrumental form, usually for small mixed wind and string ensembles. Serenades were most usually commissioned, but notably, Mozart and Beethoven each wrote quite a few. In the 19th century, the serenade continued to be popular, and had evolved into a composition for string orchestra: Brahms wrote two, as did Dvorak. Since then Josef Suk, Hugo Wolf and Sir Edward Elgar have written notable string serenades.

In 1880 Tchaikovsky composed three of his most popular works: the Italian Capriccio, the 1812 Overture and the Serenade for Strings. He wrote about some of them in a letter to a friend, Madame von Meck, “My muse has been generous lately. I have written two long works very quickly. The Overture will be very noisy and have no artistic value, but I wrote the Serenade from inner compulsion, from the heart.” Later he added, “The first movement [of the Serenade] is my homage to Mozart, an imitation of his style, and I should be delighted if I thought I had even approached my model.” The Serenade was first performed on January 16, 1882 and it became a great favorite 54

of Tchaikovsky's audiences as he traveled about the world conducting concerts of his own works. When he came to the United States in 1891 to participate in the dedication of New York's Carnegie Hall, the Serenade was on the program in Baltimore and Philadelphia.

This composition is a bright work in the major mode, one that Tchaikovsky told his publisher was in his mind an experiment with a work somewhere between a symphony and a string quartet. The first movement of this fourmovement work, “Piece in the Form of a Sonatina,” begins with a slow chorale-like introduction, Andante non troppo, that is recalled later in the movement. The main section, Allegro moderato, is based on two energetic contrasting themes. Tchaikovsky proclaimed it was his homage to Mozart, and said he “intended [it]to be an imitation of his style.” Next is a Waltz, Moderato, such an engaging movement that Tchaikovsky's audiences often demanded that it be encored. It continues to be one of the most popular of all of his work. The third movement is a grave Elegy, Larghetto elegiaco.

There is a hint of nostalgic melancholy in the beginning of this movement, but it becomes dissipated in the second theme, which is overall cheerful and even joyous. When the opening theme of the movement returns at the end, the whole orchestra uses mutes, producing an especially moving, veiled effect. The Finale's introduction, Andante, is based on a barge haulers' work song from the Volga River region, after which comes a boisterous folk dance, Allegro con spirito. In the last movement, toward the end, some hints of the music of the introductory movement return in their original form, but the Serenade concludes with an exuberant folk song.

The Serenade was performed for the first time on October 30, 1881, in St. Petersburg; subsequently, Tchaikovsky used it frequently on his debut tour of Europe as a conductor.

The program notes are copyright Susan Halpern 2016.

Misha Rachlevsky, Music Director Misha Rachlevsky’s lifetime affinity for chamber music and chamber orchestra repertoire began at the College of the Moscow Conservatory and the Gnessin Academy of Music. Born in Moscow, his violin studies began at the age of five and continued through the well-traveled path of the Russian school of string playing. After leaving the Soviet Union in 1973, he lived and worked in different countries on three continents, and in 1976 settled in the United States, becoming active in the field of chamber music.

Mr. Rachlevsky founded the New American Chamber Orchestra (NACO) in 1984, and led it to international prominence, completing nine European tours in four years. In 1989, Rachlevsky accepted an offer from (Continued on next page.) 55

the city of Granada, Spain – a two-year project under which NACO became the resident orchestra of Granada while, concurrently, Rachlevsky founded and led Granada's own chamber orchestra.

In 1991, in the heady aftermath of Moscow's momentous events, Misha Rachlevsky found it impossible to resist an opportunity presented by Swiss company Claves, to record Russian works for this label. When Claves concurred with his suggestion to realize the project with Russian musicians, Rachlevsky called auditions, and Chamber Orchestra Kremlin was created. The success of these recordings and the initial concerts and tours, led to turning this formation into a permanent, full time ensemble.

Russian String Orchestra First Violins Evgeny Pravilov, concertmaster Oksana Koliasnikova Lev Solodovnikov Valeriya Sidorenko Second Violins Galina Yurchenko, principal Olga Golomovzyuk Anna Tsypel

Violas Fedor Vetrov, principal Ekaterina Tatarintseva Vladimir Morgovskiy Cellos Andrey Berezin, principal Alla Pitirimova Eliza Khanafina Double Bass Alexander Pavlov, principal

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Origami model by Daniel Brown.

At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Center for the Performing Arts aren’t just organizations, but educational journeys to a broadened mindset and an open heart.

And we’re proud to support it.

Printing • Mailing Services • Publishing • Signage • Promotional Products • Marketing

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ABOUT THE CENTER The mission of the Center for the Performing Arts is to welcome, engage, inspire, and transform through compelling performing arts experiences in a world-class environment.

A home for world-class entertainment, the Center for the Performing Arts is a non-profit educational, arts and cultural organization that operates a 3-venue performing arts campus. Comprised of the Palladium, an acoustically magnificent 1,600-seat concert hall, the Tarkington, a 500-seat proscenium theater, and the Studio Theater, an intimate 200-seat black box, the Center’s campus hosts more than 400 events each year. Events include performances by community groups, public lectures and forums, business meetings, fundraisers, graduations, receptions, and weddings.

The Center for the Performing Arts has become the place where artists want to perform, people want to work, and the entire community is welcome to gather and celebrate. Not only is the Center for the Performing Arts home to the Great American Songbook Foundation, but it is also home to six resident companies. The Center’s resident companies include Actors Theatre of Indiana, Booth Tarkington Civic Theatre, Carmel Symphony Orchestra, Central Indiana Dance Ensemble, Gregory Hancock Dance Theatre, and the Indiana Wind Symphony.

The Center offers a wide variety of education and outreach experiences for children and adults of all ages, and is an entertainment destination having ticket buyers from all 92 Indiana counties, 50 states, and 23 countries. /TheCenterForThePerformingArts 58

@CarmelPalladium

/CarmelPalladium

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PATRON SERVICES & AMENITIES ACCESSIBILITY

Accessible Parking: Accessible parking is available on the Center Green’s loop driveway, just south of the Palladium. Additional accessible valet parking is available at the west entrance on 3rd Avenue.

Arrival: Street level and elevator access is available in the Palladium’s West Lobby located at the 3rd Avenue entrance and is also available in the East Lobby located near the Monon Greenway.

Seating: Wheelchair accessible seating is located in various sections of the venues. Special seating arrangements may be made in advance by calling the box office at 317.843.3800.

PARKING

Valet: Beginning 1 hour before the performance time, valet parking is available on the Center Green’s loop driveway, at the Palladium’s south entrance. The valet service is sponsored by Land Rover Indianapolis & Jaguar Indianapolis.

The valet service is $15 or is complimentary for Jaguars and Land Rovers. Valet is only available for Center Presents performances at the Palladium.

Self-Park: Secure, on-site garage parking is located south of the Palladium.

Enter the Center’s parking garage off 3rd Avenue.

RESTROOMS

Restrooms are located in the lower Salon level, Payne & Mencias Box Tier and Gallery level of the Palladium, and on the first floor in the lobby of the Studio Theater and the Tarkington (all restrooms are handicap accessible.)

COAT CHECK

Coat check services are available on a seasonal basis at the west side of the lower Salon level near the restrooms at the Palladium. Coat room facilities are also available at the Tarkington and the Studio Theater.

FOOD & BEVERAGE

Concessions are available before the performance through intermission.

Food is not permitted in the theaters. Beverages purchased at the Center are allowed in the theaters.

ASSISTED LISTENING DEVICES

Assisted listening devices are available free of charge. Please see an usher to request one.

ELECTRONIC DEVICES

Use of cellular phones, pagers, cameras and recording devices are strictly prohibited in the theater. Please deactivate sounds on any electronic device so it will not disrupt the performance.

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BASILE CAFÉ & BASILE GIFT SHOP

Basile Café and Gift Shop are located in the East Lobby. The Basile Gift Shop boasts a wide selection of jewelry, art, books, cards, and many boutique items.

Every purchase helps support the Center for the Performing Arts.

THE GREAT AMERICAN SONGBOOK EXHIBIT GALLERY

Take elevators to Gallery level of the Palladium.

Songbook Gallery Hours: Monday - Friday, 10am - 4pm Performance Hours: One hour prior to The Stratford Songbook Series and Jazz Series performances and select additional events.

LATE ARRIVAL POLICY

Latecomers will be seated at the discretion of house management. Video and audio simulcast of the performance is available in the lobbies for your convenience.

EMERGENCY PROCEDURE

In the event of an emergency, you will be instructed by an announcement indicating the best method of exit. Please notice the multiple red exit signs. For your safety, please exit in a calm and orderly manner.

POLICY ON CHILDREN

Children 4 and older are welcome to attend performances. All patrons must have a ticket and be able to sit quietly throughout the performance. Children of all ages are welcome at Family Shows with paid admission.

NO SMOKING

The Center for the Performing Arts campus is smoke-free.

WEATHER POLICY

The Center does not cancel performances due to inclement weather.

TOURS

Group tours of the Palladium are offered twice a month. For more information, visit the Center’s website and click on The Center Tour. Or you may stop by the Box Office during normal business hours for a brief look, pending availability.

FACILITY RENTAL

Individuals, businesses and performing groups may rent seven distinct spaces suitable for your special event as well as the Palladium (1,600 seats), the Tarkington (500 seats) or the Studio Theater (200 seats). Let our experts help you determine which space best suits your important event. Call 317.819.3521 for pricing and availability or e-mail: SpecialEvents@TheCenterPresents.org.

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BOX OFFICE ONLINE

Buy online at any time of the day at TheCenterPresents.org. For the best available seats, purchase a series package and enjoy great savings on single ticket prices.

BOX OFFICE AT THE PALLADIUM

Monday – Friday: 10am-6pm or curtain Saturday: 12pm-4pm & 2 hours prior to performance Sunday: 2 hours prior to performance The Studio Theater and Tarkington box office is open 60 minutes prior to performance.

PHONE

Order tickets by phone at 317.843.3800 or toll-free 877.909.2787.

STUDENT DISCOUNTS

$15 Student tickets are available to select performances. Contact the Box Office or visit TheCenterPresents.org for more discount information.

GROUP SALES

Book your next outing of 12 people or more and you may save up to 20% on tickets. Contact Group Sales at 317.819.3503 or e-mail Group@TheCenterPresents.org.

THE CENTER GIFT CERTIFICATES

Gift certificates are available in any denomination and are redeemable in the box office or online for tickets to all Center Presents performances.

CENTER PRESENTS MOBILE APP

The Center’s mobile app is available for download for Android and iPhone. The app allows you to browse upcoming shows, buy tickets, preview music and videos, and stay updated on the latest Center news. *Center Presents performances are those NOT presented by our resident companies or rental events.

RESIDENT COMPANIES

Actors Theatre Of Indiana Booth Tarkington Civic Theater Carmel Symphony Orchestra

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Central Indiana Dance Ensemble Gregory Hancock Dance Theatre Indiana Wind Symphony

CONTACT US GROUP SALES

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SPONSORSHIPS & PROGRAM ADVERTISING

THE GREAT AMERICAN SONGBOOK FOUNDATION

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Proud to call central Indiana home In the year of Indiana’s Bicentennial, CNO Financial Group is proud to sponsor the Center for the Performing Arts’ Indiana Music Series.

As part of the Carmel community, our associates work every day to help make central Indiana stronger, volunteering more than 12,000 hours in service to their communities in 2015.

Learn more at CNOinc.com.

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© 2016 Diamond Capital Management

ABOUT THE GREAT AMERICAN SONGBOOK FOUNDATION The mission of the Great American Songbook Foundation is to inspire and educate by celebrating the Great American Songbook.

The beautiful melodies and thoughtful lyrics created by the musical geniuses of Tin Pan Alley, Broadway, and Hollywood during the first half of the twentieth century represent the Golden Age of American Popular Music.

The Great American Songbook Foundation carries out its unique mission to preserve America’s rich musical legacy in numerous ways: The Songbook Archives houses physical artifacts such as sheet music, personal papers, musical arrangements, and books available to students, educators, and researchers.

The Songbook Exhibit Gallery displays rotating interactive exhibits that share the history, music, and culture of the Songbook.

The Songbook Academy® is a national program for high school singers, and is the only competition dedicated to the music of the Songbook.

PERFECT Harmony provides music therapy programming to individuals with Alzheimer’s, dementia, and other neurodegenerative diseases.

The Songbook Hall of Fame recognizes those who have made a significant contribution to the Great American Songbook by inducting a new class each year. A permanent exhibit is located in the Shiel Sexton Songbook Lounge on the Palladium’s Gallery level. /SongbookFoundation

@SongbookFdn

@SongbookFoundation 65

Board of Directors Eric S. Payne

Staff

Chairman

EXECUTIVE

Melissa Stapleton Barnes Vice Chairman

Jeffrey C. McDermott Interim President/CEO

Rollin M. Dick

Michael Feinstein

Treasurer

Anne Hensley Poindexter Secretary

James (Andy) Anderson, Jr., MD, FFPM, FACE Henry Camferdam

Artistic Director

ADMINISTRATIVE Grace Crowell

Assistant to the President/CEO

Bruce Cordingley

PROGRAMMING

Michael Drewry

Douglas Tatum

Melissa L. Eldredge Stephanie C. Fuhrmann William Hammer Douglas C. Haney, Esq. Cheryl A. Harmon John C. Hart, Jr. Nancy S. Heck Stan C. Hurt Zak Khan

Vice President of Programming

Julia Shildmyer-Heighway

Community Engagement Manager

DEVELOPMENT Diane Syrcle, MM, MBA

Vice President of Development

Emily Meaux Lovison, MPA Director of Development

Leslie M. Hoggatt, CFRE

Lawrence (Larry) E. Lawhead

Individual Gifts Officer

Jeffrey C. McDermott, Esq.

Stephanie Decker

Diana Hartley Mutz

Donor Relations Manager

Michael C. Rechin

Sheila Morone

David Stirsman Ashley M. Ulbricht, Esq. W. Michael Wells Pamela Campbell Williams, Esq. Lebbeus Woods, CFPR

Donor Information Specialist

FINANCE Cynthia Ille Controller

Nancy Hamilton

Payroll & Payables Manager

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MARKETING & COMMUNICATIONS Mary Landreth

Ellen Kingston

Artist Concierge

Interim Vice President of Marketing & Communications

Jared McGowan

Robyn Ferguson

Lisa Posson

Becky Lee Macy

Devin Schonsheck

John Kroetz

Joe Wisner

Patron Services

Venue Management

Graphic Design Coordinator Marketing Manager Audience Development Coordinator

Master Electrician

Production Assistant Lead Audio Engineer Lighting & Sound Technician

Brian Seitz

Lisa Hillard

Robin Briskey

Sharon Holyoak

John A. Moskal II

Laura Varnau

Patron Services Manager Patron Services Supervisor Patron Services Supervisor Patron Services Representatives:

Bill Eckert Larry Goens Sheryl Mullins Diane Schussel Lindy Siefker

OPERATIONS Nick Tigue

Vice President of Operations

Beverage & Concessions Manager Gift Shop Manager & Volunteer Coordinator Events Manager

Nicole Silvernell

Events Coordinator House Managers:

Katherine Jones Jackie Londino Michelle McCarel Marilyn Melangton Cindy Teeters Lisa Thornberry

Ed Penman

Facility Manager

THE GREAT AMERICAN SONGBOOK FOUNDATION

Ryan Gray

Karen Kelsey

Maintenance Engineer

Vice President of Songbook Foundation

Production

Christopher Lewis

Jeff Steeg

Director of Production

Melissa Bishop

Operations Coordinator

Director of Programs

Lisa Lobdell Archivist

Christopher Brush

Program Coordinator 69

Annual Partners Thank you to the following individuals and organizations that have contributed to the Center for the Performing Arts during the past year. This list reflects gifts received through August 15, 2016. For more information, please contact the Development Office at 317.819.3520 ANNUAL FUND

Diamond Palladium Society ($100,000+) Allied Solutions, LLC City of Carmel Jean Yorke Memorial Fund, a fund of Central Indiana Community Foundation Zak Khan Krieg DeVault LLP Pedcor Companies

Platinum Palladium Society ($50,000-$99,999) United Fidelity Bank

Gold Palladium Society ($25,000-$49,999) Bridgestone Americas Trust Fund Drewry Simmons Vornehm, LLP First Merchants Bank Indiana Arts Commission Katz, Sapper & Miller, LLP Printing Partners St. Vincent The Stratford Anonymous (1)

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Silver Palladium Society ($15,000-$24,999) Rollie & Cheri Dick Michael Feinstein & Terrence Flannery Land Rover Indianapolis and Jaguar Indianapolis Leah & Eric Payne

Bronze Palladium Society ($10,000-$14,999) Lorene Burkhart Bob Hicks & Thalia Hammond Hicks Suzanne & Ron Mencias Dr. & Mrs. Charles Simons Jayne Ann & Doug Wilson James B. & Joyce Winner CNO Financial Group DCG: Digital Color Graphics, LLC Hamilton County Tourism, Inc. Market District National Endowment for the Arts Renaissance Indianapolis North Hotel Taft Law The Voice Clinic of Indiana

President's Circle ($5,000-$9,999)

Susan & James Anderson Melissa & Bradon Barnes Frank & Katrina Basile Eloise L. Bowers Jason & Traci Dossett Lisa & Michael Drewry Melissa Eldredge Stephanie C. Fuhrmann Don & Pam Gottwald John C. & Marianne S. Hart Stan & Sandy Hurt Britt & Jeff McDermott Tania & Alexei Moskalenko Diana H. Mutz and Howard L. Schrott Karen & Donald Perez Brian G. & Anne Hensley Poindexter Ginny & Jim Purvis Michael & Debra Rechin Judy Roudebush David & Micki Stirsman

Susan Leo & Diane Syrcle W. Michael & Sue Wells Pam & Bill Williams Jennifer & Leb Woods Shari & Jeff Worrell Carte Blanche Limousine CLB Restaurants Current Publishing Huntington Bank Marquis Commercial Solutions The National Bank of Indianapolis Palmer Kelley Designs Salon 01 & Aquage

Director's Circle ($2,500-$4,999) The Ackerman Foundation Patricia & Rafik Bishara Elizabeth Chamberlin Jimmy & Tamara Dulin Philip & Patricia Gibson Sandra & Steve Hageman William & Barbara Hammer Douglas & Tammy Haney Diane & Bruce Houtman Diane & Jack Houtman Sally & James Hubbard Donald & Jennifer Knebel Jim Leslie Jayme & Rod McComas Sally & Russell Mobley Thomas & Karen Poyser Mo Merhoff & Paul Reis Bruce & Jan Reynolds Greg B. Reynolds Pat Scahill & Gary Larreategui Cheryl & Kiros Sistevaris Dr. Pamela A. Steed Thorne Family Trust Anonymous (2) Anderson Birkla Arts Midwest Touring Fund J. C. Hart Company New England Foundation for the Arts Software Engineering Professionals, Inc. Southern Wine and Spirits of Indiana Sun King Brewing Co. SYM Financial Advisors

Founders Circle ($1,000-$2,499) Kathleen & John Ackerman Drs. Sandy & Gary Bacon Cindy & Kevin Beauchamp Joachim & Marjorie Becker Hank Wong & Dr. Christine Bishop Susan & David Blish Ed & Peggy Bonach Ron & Ann Thompson Brock Randy & Libby Brown Debora & Mike Bush Joan & Larry Cimino Drs. Jeff & Molly Cooke Don & Lynda Dumoulin Waneta Dunkerly The Ericson Family Lynn & Robert Fritsche Tom & Elizabeth Fuller The Glick Family Foundation Nancy S. Heck Dawn & Andy Hein Marc & Rebecca Jaffe James G. Jenkins Judy & Bart Kaufman Steven & Jacque Kirsh Renee La Forest Toni & Terry Lovison Tina & Gary Malone Dr. Greg & Rose-Ann Mazanek Ms. Susan R. Meyer Sheila & Mike Morone Rick Moyer & Cathy Rooney Jim & Carol Phillips Dr. Anca Pop Dr. Newell Pugh Patricia & John Schuler Mr. Ronald B. Schwier & Ms. Marti Starkey Armen & Marie-Claude Shanafelt Dr. Stephen J. Shideler Robert Shortle/George & Catherine Shortle Foundation Randy & Kimberly Sorrell Betty & James Streeter Betty & Paul Swartz Nick Tigue & Renei Suarez John & Judy Tomke Glenn & Cheryl Troyer Ashley Ulbricht Ann & Mark Varnau Sara Wessel Anonymous (1) List continued on next page.

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A Cut Above Catering Kahn's Catering MBP Distinctive Catering

Indiana Brick Corporation

Advocate ($500 - $999)

Don & Lucy Aquilano Paco Argiz & Jamie Gibbs Melissa & Eric Averitt John & Karen Bailey Bartley Family Charitable Trust Dorian Beasley Celeste Berry David A. Betz Gary & Pam Bollier Dr. Nancy Branyas & Mr. Vern Petri Mimi & Terry Brookie Jim & Joyce Burrell Mr. John Chlapik Dorothy & Ron Conley Carla Cook John & Judy Cooke Mr. & Mrs. William E. Corley Michael & A.J. Corne Karen & Jack Crane Joseph B. DeFano Brian Dickey James & Sarah Dicks Wanda Dodd Helen M. Eby Diana & Cam Edwards Paula & Steve Engelking Judy & Tom Ertl D. L. Falcone George Faulstich Bronwen & Marvin Ferguson Alexander A. Fondak, MD and Professor Sherry Kloss George & Sheri Foster Gail L. Gentry Genee & Norm Godden David & Annette Greene Gordon Graham & Sue Ellen Greenlee Barbara & Robert Gregory James & Berta Griffith Pat & Stephen Gross Molly B. Hale Dennis & Amy Haworth Arnell Hill Ken Hoffman Leslie M. Hoggatt Maureen & Ron Hubbard Jerry & Jean Jansen

Jeri Ballantine Tom & Vicki Brandenburg Milo & Mary Chelovitz Bob & Mary Christianson Dr. & Mrs. Charles P. Conrad Coverdale/Tidd Family Randall & Joelyn Craig Grace & Steve Crowell Carol L. Dennis Luanne & Lawrence Dewey John & Janet Dissauer Marge & Bill Dorsch Christopher Drewry Craig R. & Marsha Dunkin Drs. Will & Julie Fecht Beverly & Tom Feller John & Donna Findling Shannon & Steve Hawkins Bill & Nancy Heath Jim & Kathy Henderson John Henne Marie Jett Susan Johnson Doug & Marty Kaderabek Sherrie & Tom Kegley Karen & Doug Kelsey Kraabel Charitable Foundation, Inc. Claire Magna Mary Ann & Jim Meyer Andrea Moore Dr. Kenneth Pennington John & Jennifer Robbins Capi Scheidler Scott S. Semester Dave & Judy Sholly John L. Sibley Sandra & Lawrence Speer Dr. Robert & Dr. Susan Stephens Mary Ann Hart & Doug Tatum Margaret & Tip Tollison Brian & Carol Urbanski David & Donna Vignes Cynthia Whitaker Carolyn & Doug Willard Lisa & Lew Willis 72

Supporter ($250-$499)

Brian & Maggie Kelly Nick & Katy Kestner Family Fund Cindy & Raymond Ketring Mr. & Mrs. Bob Kleymeyer Mary Dawn & John Krege Nancy & Otto Krohn Lowell Gene LaBaw Jan & Jeff Lefton Dr. & Mrs. R. Stephen Lehman Saul Lemke Helen & Randall Lewis Vera Long Emily Meaux Lovison, MPA Dr. & Mrs. Ray F. Maddalone Ron & Linda Maus Fred Meyer Anne & Dan O'Brien Raman & Julie Ohri John Palmer Nadine & Ed Penman Steve Perrine and Family Charles Phillips R. Bruce Pickens Carol Pocevice Roger & Sharon Prasuhn Dana Randall Linda Reisner Tim & Dee Renner Karen & Darrell Richey Mr. & Mrs. Kevin Robbins Harrison Royce Kay & Charles Scott Brian & Christine Seitz JoAnne Shepler Kurt & Vickie Spoerle Cindy & Brian Teeters Jim & Vickie Theis Thornberry Family Dr. William & Mrs. Mary Tierney Jessie & Leslie Weitman Robert W. Wolf Carolyn & Larry Woodling Steve & Judy Young David & Carol Yount Jennifer & Michael Zinn Anonymous (4)

MEMORIAL & HONOR GIFTS In memory of Thomas W. Bowers Eloise Bowers In honor of Jan & Bruce Reynolds' Birthdays Greg B. Reynolds In honor of Jan & Bruce Reynolds' Wedding Anniversary Greg B. Reynolds In honor of Greg Reynolds Jan & Bruce Reynolds In honor of Yo-Yo Ma Fred Meyer MATCHING GIFT COMPANIES Bank of America Charitable Foundation Duke Realty Eli Lilly and Company Foundation GE Foundation Katz, Sapper & Miller, LLP The Lumina Foundation for Education ENDOWMENT DIRECTED GIFTS Indianapolis Colts PALLADIO SOCIETY Jim Ackerman Family Katrina & Frank Basile Beck's Hybrids The Carruthers Family Rollie & Cheri Dick Pedcor Companies Shiel Sexton Co. Inc. St. Vincent

Hurco, Inc. O. W. Krohn & Associates, LLP Top Candidate Recruiting The RMR Group LLC

List continued on next page.

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Board of Directors

Friends

Jeffrey C. McDermott

Thank you to the following individuals and organizations that have contributed to the Foundation during the past year.

This list reflects gifts received through August 18, 2016. For more information, please contact the Development Office at 317.819.3520.

Chairman

Pamela Campbell Williams Vice Chairman Robert Pullen Secretary

Terrence Flannery Treasurer

Carolyn Anker Brook Babcock Melissa S. Barnes Sara Carruthers Marc Cherry Rollin M. Dick Luke Frazier William Hammer Mary Lane Haskell Kate Edelman Johnson Paul Lowden Maria Ferrer Murdock Eric S. Payne Troy D. Payner, MD Tom Postilio Roger Schmelzer Dr. Charles Simons Mike Strunsky Michael Feinstein (Founder, Ex officio) Irwin Helford (Member Emeritus) Ronald G. Shaw (Member Emeritus)

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ANNUAL FUND

Diamond Songbook Legacy ($100,000+) The Carruthers Family Michael Feinstein & Terrence Flannery Ira & Leonore S. Gershwin Philanthropic Fund

Songbook Society Platinum ($50,000 - $99,999) Efroymson Family Fund

Gold Songbook Legacy ($25,000 - $49,999) Dr. & Mrs. Charles M. Simons

Silver Songbook Legacy ($15,000 - $24,999) Hal Brody and Don Smith

Bronze Songbook Legacy ($10,000 - $14,999) Carolyn & Terry Anker Buffy Cafritz Marc Cherry Cheri & Rollie Dick Luke S. Frazier Betty & Irwin Helford Sue & Paul Lowden Britt & Jeff McDermott

Maria Ferrer Murdock Troy Payner & Cara Peggs Tom Postilio & Mickey Conlon Lucinda Phillips & Roger Schmelzer The Ted Snowdon Foundation Van Heusen Music Corp.

Dr. & Mrs. Steven & Candice Rosen Judy Roudebush Carol & Dick Schwartz Dr. Pamela A. Steed Sheila M. Stone Jim & Joyce Winner Barbara Wulfe

Hollywood Musical ($5,000 - $9,999)

Current Publishing Terwilliker, Ltd.

Lisa & Paul Andre Melissa & Bradon Barnes Ray and Bernice Charles Trust William & Barbara Hammer Mary Lane Haskell Linda Hope Karen & Doug Kelsey The Blanche and Irving Laurie Foundation Tania & Alexei Moskalenko Norah Orphanides Leah & Eric Payne William & Lynn Weidner The Harold Wetterberg Foundation Pam & Bill Williams

Big Band ($500 - $999)

Salon 01 & Aquage

Broadway Show ($2,500 - $4,999) Mark & Gloria Fine Renee & Tony Marlon Hamilton County Tourism, Inc. The Voice Clinic of Indiana

Cabaret ($1,000 - $2,499) Frank & Katrina Basile Jack Bethards Mrs. Sydney Jeanne Book Randy & Libby Brown Virginia M. Friend Pam & Don Gottwald Ray & Jim Luther-Pfeil Ginny Mancini

Scott Anthony Ables Diane & John Abrams Jane & Jerry Bintz William Brattain & Matthew Charles Crosland Kenyon Brown Laura & Hector DesMoine Brent & Linda Hartman Ron & Linda Maus Ella Fitzgerald Charitable Foundation Christopher D. Morris Sheryl & Steve Mullins Michael & Sharon O'Hair Michael & Kathryn Rains Bruce & Jan Reynolds John & Pat Schuler Laurence E. Weber Charles Weilman & Sylvie Del Giudice Margaret Zimmerman Carte Blanche Limousine

Tin Pan Alley ($250 - $499) Nancy Alton Karen* & John Bailey Julia Bonnett Christopher Brush Steven J. Bush Helen M. Eby Florence Henderson Tom & Priscilla Johnson List continued on next page.

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Mr. & Mrs. Jerry McDermott Gloria Lee Monsey Dr. Anca Pop The Sierra Family Jack & Joy Stafford Patricia Wilson Anonymous (1)

DCG: Digital Color Graphics, LLC

In honor of Mary Lane Haskell Angelyn & Barry Cannada Sam & Mary Haskell Diane & Richard Scruggs

MEMORIAL & HONOR GIFTS In memory of Van Alexander Joyce Harris In memory of Ray Charles of the Ray Charles Singers Ron & Val Friedman Joyce Harris Tom Hatten Florence Henderson Vic & Connie Kaplan Rhea & Alan Kohan Lipovt Kotono Pete Menefee Cookie & Lee Miller

Samira & Ari Miller Edith Neuman Shira Zur

In memory of Miss Ella Fitzgerald, the beloved First Lady of Song Ella Fitzgerald Charitable Foundation

In honor of Paul Lowden Mark & Gloria Fine In memory of John Muldowny Sheila M. Stone MATCHING GIFT COMPANIES Eli Lilly and Company Foundation ENDOWMENT DIRECTED GIFTS Michael Feinstein & Terrence Flannery *Deceased

THANK YOU

The Center thanks the following major partners.

BUILDING PRODUCTS

INDUSTRIAL PRODUCTS

These activities made possible, in part, with support from Butler University, Indiana Arts Commission and the National Endowment for the Arts, a federal agency.

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