HadelicH
Presenting Sponsor
Friday, November 22, 2024 | 7:30 PM | Indiana Landmarks Center
About The Indianapolis
REMARKABLE PERFORMANCES, extraordinary prizes and a festival atmosphere characterize the International Violin Competition of Indianapolis (IVCI) as “the ultimate violin contest…” writes the Chicago Tribune. Laureates of The Indianapolis have emerged as outstanding artists in concert halls across the globe. For 17 days every four years, 40 of the world’s brightest talents come here to perform some of the most beautiful music ever written before enthusiastic audiences in venues throughout the city including the Eugene and Marilyn Glick Indiana History Center, the Howard L. Schrott Center for the Performing Arts and the Hilbert Circle Theatre, where the finalists collaborate with the Indianapolis Symphony Orchestra. Of the prizes awarded, one of the most significant is the four-year loan of a concert instrument from the Competition collection which comprises the 1683 “ex-Gingold” Stradivari violin and several modern instruments. Under the guidance of Thomas J. Beczkiewicz, Founding Director, and the late Josef Gingold, who had served on the juries of every major violin competition in the world, the IVCI became known by the musical and media communities as one of the world’s most compelling competitions. In 1994, the artistic leadership of this Competition passed from Gingold to his most famous pupil, Jaime Laredo, one of the master musicians of our time.
Since 1982, Indianapolis has hosted 11 Competitions. It is a unique showcase for the world’s most gifted young violinists and a demonstration of Hoosier hospitality and American volunteerism. Regarded as the “Olympics of the Violin,” each Competition generates significant national and international media coverage for the artists and the state. Hundreds of volunteers work tirelessly to make this event possible. Through the performances of its Laureates, the influence of the Competition continues for years afterward in cities of the world far from Indianapolis. These Laureates uphold the tradition of quality and excellence which has made the International Violin Competition of Indianapolis one of the most prestigious music competitions in the world.
The 12th Quadrennial will take place September 17 - October 4, 2026.
Steve Hamilton, President
Mike MacLean, Vice President
Kurt Tornquist, Treasurer
Dawn Bennett, Secretary
Christina Abossedgh
Mario Arango
Sonja Chen Arnold
Andrew Dunham, Ph.D.
Julia Gard
Toby Gill
Stanton Jacobs
Daniel Kim
Tibor Klopfer
Deborah Loughrey
Roxanne McGettigan
Monica Peterson
Gary J. Reiter
Susan Brock Williams
IVCI Ex-Officio Directors
Donna L. Reynolds, Past President
Louis E. Daugherty, Past President
Thomas R. Neal, Past President
Alan Whaley, Past President
Gingold Fund Board of Directors
Daniel C. Appel, President
Alan Whaley, Treasurer
Glen Kwok, Secretary
Louis E. Daugherty
Steve Hamilton
Glen Kwok
Executive Director
Mary Jane Sorbera Director of Development
Marci M. Matthews
Donna L. Reynolds
IVCI Administration
Petra Clark Director of Operations
Zack French Director of Communications and Artist Advancement
IVCI Laureates
Laureates are listed in order of placement
Sirena Huang, United States
Julian Rhee, United States
Minami Yoshida, Japan
Claire Wells, United States
SooBeen Lee, South Korea
Joshua Brown, United States
Richard Lin, Taiwan/United States
Risa Hokamura, Japan
Luke Hsu, United States
Anna Lee, United States
Ioana Cristina Goicea, Romania
Shannon Lee, United States/Canada
Jinjoo Cho, South Korea
Tessa Lark, United States
Ji Young Lim, South Korea
Dami Kim, South Korea
Yoojin Jang, South Korea
Jiyoon Lee, South Korea
Clara-Jumi Kang, South Korea
Soyoung Yoon, South Korea
Benjamin Beilman, United States
Haoming Xie, China
Antal Zalai, Hungary
Andrey Baranov, Russia
Augustin Hadelich, Germany
Simone Lamsma, The Netherlands
Celeste Golden, United States
Yura Lee, South Korea
Ye-Eun Choi, South Korea
Bella Hristova, Bulgaria
Barnabás Kelemen, Hungary
Sergey Khachatryan, Armenia
Soovin Kim, United States
Frank Huang, United States
Susie Park, Australia
Judith Ingolfsson, Iceland
Liviu Prunaru, Romania
Ju-Young Baek, South Korea
Svetlin Roussev, Bulgaria
Andrew Haveron, Great Britain
Bin Huang, China
Juliette Kang, Canada
Stefan Milenkovich, Yugoslavia
David Chan, United States
Jaakko Kuusisto, Finland
Michiko Kamiya, Japan
Robin Sharp, United States
Pavel Berman, Russia
Marco Rizzi, Italy
Ivan Chan, United States
Virginie Robilliard, France
David Kim, United States
Martin Beaver, Canada
Kyoko Takezawa, Japan
Leonidas Kavakos, Greece
Chin Kim, South Korea
Yuriko Naganuma, Japan 2018 1982 1986 1990 1994 1998 2002 2006 2010 2014 2022
Alina Pogostkina, Germany
Andrés Cárdenes, United States
Sungsic Yang, South Korea
Annick Roussin, France
Mihaela Martin, Romania
Ida Kavafian, United States
Yuval Yaron, Israel
Olivier Charlier, France
Nai-Yuan Hu, Taiwan
2006 Gold Medalist auGustin HadelicH
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Friday, November 22, 2024 | 7:30 PM | Indiana Landmarks Center
Francis Poulenc Sonata, FP 119 (1899-1963) Allegro con fuoco Intermezzo Presto tragico
David Lang Before Sorrow from Mystery Sonatas (b.1957)
Eugène Ysaÿe
Sonata for Solo Violin in D minor, (1858-1931) Op. 27, No. 3 “Ballade”
Amy Beach Romance, Op. 23 (1867-1944)
Coleridge-Taylor Perkinson Louisiana Blues Strut: A Cakewalk (1932-2004)
Maurice Ravel Sonata in G major (1875-1937) Allegretto Blues. Moderato Perpetuum mobile. Allegro
Presenting Sponsor
Streaming Sponsor Marian Pettengill
If you would like to experience this performance again, call the IVCI office at (317) 637-4574 to receive a virtual on-demand link for just $5 (live attendees only).
Augustin Hadelich
Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages. Hadelich has performed with all the major American orchestras as well as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra Amsterdam, Bavarian Radio Symphony Orchestra, London Philharmonic, and many other eminent ensembles.
During the 2024 summer festivals season, Hadelich appeared at the Hollywood Bowl with the Los Angeles Philharmonic, Tanglewood Music Festival with the Boston Symphony, Bravo! Vail with the New York Philharmonic, Ravinia Festival with the Chicago Symphony, Aspen Music Festival in Colorado and the Orquesta Sinfónica de Minería in Mexico City.
Highlights of the 24/25 season include returns to the Berlin Philharmonic, Royal Concertgebouw Orchestra Amsterdam, Vienna Philharmonic, Gewandhausorchester Leipzig, Los Angeles Philharmonic, and The Cleveland Orchestra. Hadelich will also perform with the Frankfurt Radio Symphony, Royal Stockholm Philharmonic, Danish National Symphony Orchestra, TonhalleOrchester Zürich, Vienna Symphony, London Philharmonic, Sydney Symphony, New Zealand Symphony, Orquesta Nacional de España as well as the symphony orchestras of Baltimore, Dallas and Seattle. As artist-in-residence, he will perform with the Dresden Philharmonic throughout the season, and will tour with the RSB Radio Orchestra Berlin, Mahler Chamber Orchestra, Mozarteum
Orchestra Salzburg, as well as the Academy of St. Martin in the Fields. He will perform solo violin recitals in London, Barcelona, Gothenburg, Tallinn and Abu Dhabi, as well as duo recitals with the pianist Francesco Piemontesi in Budapest, Dresden, Katowice, Rome and Bologna. In the summer of 2025, he will perform extensively in Asia, including engagements with the Seoul Philharmonic, Yomiuri Nippon Symphony Orchestra, Hong Kong Philharmonic, Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra, and tour in Taiwan with the Berliner Barocksolisten.
Hadelich received a Grammy Award for Best Classical Instrumental Solo in 2016 for his recording of Dutilleux’s Concerto L’Arbre des songes with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, his most recent album “American Road Trip,” a journey through the landscape of American music with pianist Orion Weiss, was released in August 2024. Other albums for Warner Classics include Paganini’s “24 Caprices” (2018); “Brahms and Ligeti Violin Concertos” (2019); the Grammy-nominated “Bohemian Tales,” which includes the Dvorák Violin Concerto with the Bavarian Radio Symphony Orchestra and Jakub Hruša (2020); the GRAMMYnominated recording of Bach’s complete Sonatas and Partitas (2021); and “Recuerdos,” a Spain-themed album featuring works by Sarasate, Tarrega, Prokofiev and Britten (2022).
Augustin Hadelich, a dual American-German citizen born in Italy to German parents, rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis. Further distinctions followed, including an Avery Fisher Career Grant (2009), U.K.’s Borletti-Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter in the U. K. (2017).
In 2018, he was named Instrumentalist of the Year by the influential magazine Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, was appointed to the violin faculty at Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as “Leduc, ex-Szeryng,” on loan from the Tarisio Trust.
Chih-Yi Chen, piano
Pianist Chih-Yi Chen’s versatile qualities as a collaborative partner, chamber musician and teacher have contributed to a distinguished international career. Chen has been on the faculty of the Indiana University Jacobs School of Music since 2003 and is the Associate Chair of the Chamber and Collaborative Music Department. She was a recipient of the 2023 Indiana University Trustees Teaching Award. She has also been on the faculty of the Indiana University Summer String Academy for more than two decades.
Chen has been performing with International Violin Competition of Indianapolis Laureates since 2003 when she was first invited to perform with Barnabás Kelemen. She has served as an official pianist for the competition since the 9th Quadrennial in 2014 and was awarded special recognition at the 2018 Competition for “Best Performances” of the Beethoven and Mozart sonatas. She has also served as an official pianist for the China International Music Competition in Beijing. Her early work with the talented young violinists of the Indiana University Violin Virtuosi directed by renowned pedagogue Mimi Zweig led to performances in France, Spain, Sweden, Italy, Japan and throughout the United States.
Among the numerous musicians with whom Chen has collaborated are Jaime Laredo, Mihaela Martin, Kyoko Takezawa, Sirena Huang, Richard Lin, Luke Hsu, Liviu Prunaru, Augustin Hadelich, Clara-Jumi Kang, Kerson Leong, Svetlin Roussev, Atar Arad, Sharon Robinson, and Gabor Varga. She has also performed with the Michelangelo, Pacifica, Rubens, Verona and Balourdet string quartets.
Chen has served as an adjudicator for competitions and given masterclasses in the United States, Taiwan, Argentina and China. Born in Taipei, Chih-Yi Chen received her Bachelor, Master and Doctor of Music degrees from Indiana University where she studied with Lev Vlasenko, and with Luba Edlina-Dubinsky, pianist of the Borodin Trio.
Francis Poulenc (1899-1963)
Sonata, FP 119 (1942-43, revised 1949)
Poulenc’s sonata for violin is a bit of an enigma in the world of chamber music, in that it was largely disliked at the time of its premiere, including by the composer himself. Poulenc had attempted several violin sonatas previously, sketching at least three prior drafts, although he claimed he did “not like the violin in the singular.” He finally completed a sonata at the insistence of violinist Ginette Neveu. Upon the work’s completion, Poulenc claimed the “few delicious violinistic details” were due to Neveu’s suggestions. Critics at the time were disappointed, one writing “Poulenc is no longer quite Poulenc when he writes for the violin.”
The reputation of this sonata, however, has grown steadily over time, perhaps as modern listeners are further from specific expectations placed on Poulenc and his style; at the time he was better known as a composer for woodwinds. Also, despite the initial negative reception, many of Poulenc’s best hallmarks, such as his unique ability to blend melancholic brooding with whimsy, are on full display in this piece.
The first movement opens with a furious rollicking statement that is carried by both voices equally. It is as if Poulenc’s pen erupted onto the page once the dam had finally broken regarding writing for the violin. Piano and violin converse throughout the rest of the movement with occasional moments of glittering tenderness.
The second movement feels more characteristic of Poulenc’s style. Unusual timbres and harmonies summon French impressionism, but aged for several decades with cracks beginning to show in the veneer. The final movement returns to the energetic pace of the opener. The music is a bit more playful though, and at times almost carnivalesque. The finale includes several exclamations, as if not fully sure when to end.
Note by Nicholas Johnson, Ph.D. Butler University
David Lang (b. 1957)
Before Sorrow from Mystery Sonatas (2014)
David Lang is a Pulitzer Prize and Grammy winning composer perhaps best known as a co-founder of the sometimes eccentric and experimental musical collective Bang on a Can. He is known for a cutting style that blends elements of minimalism and modernism to create unique sounds. Sometimes, as in tonight’s piece, he achieves this by drawing on musical impulses that feel almost ancient or ethereal.
Lang’s Mystery Sonatas draws inspiration from a piece of the same name by H.I.F. Biber from around 1676. Sometimes known as the Rosary Sonatas, Biber’s set includes 15 short pieces for violin and continuo. These works are all overtly religious and are centered on either the life of Jesus, the Crucifixion, or the Resurrection.
Lang uses seven movements in his work that tell a loose story that he describes as far more internal and reflective. The first two consider joy, the middle three sorrow, and the final two center on glory. Each piece is an almost minimalistic contemplation of a deeply felt inner emotion. At times the work feels inspired by Arvo Pärt’s spiritual minimalism, but Lang’s piece is not bound by predefined parameters or text and feels less predictable in its musical introspection.
Before Sorrow is the third in the set. The solo violin meanders and considers the same musical pitches from different angles, never straying too far from an oft-repeated home pitch. At first the work seems constrained, if not tedious, but over time the listener adjusts to the struggle. The subsequent moment when the violinist reaches its upper register sounds euphoric. As the work draws to a close, like many minimalist-inspired pieces, the music feels even more profound in its absence.
Note by Nicholas Johnson, Ph.D. Butler University
Eugène Ysaÿe (1858-1931)
Sonata for Solo Violin in D minor, Op. 27, No. 3 “Ballade” (1923)
Belgian violinist Eugène Ysaÿe was a pioneer of the modern violin school who passed on the tradition of Vieuxtemps and Wieniawski to the twentieth century. He was uninhibited, poetic, and a musical story-teller of unsurpassed skill. However, he was not a prodigy, and rose to his status as a soloist through a slow and steady progression up the ladder from playing small concerts, to the position of concertmaster, then finally as a soloist at the ripe old age of 32. He was a fabulously flexible musician with a facile technique. His deeply emotive playing was achieved through an extraordinary palette of tone color and a sensitive vibrato of diverse speed. In 1894, Ysaÿe made his American debut. That year he also founded a concert series in Brussels in which he conducted. In 1898 he was offered the conducting post of the New York Philharmonic, but he declined. At age 60, his playing in decline, he finally did accept a conducting post with the Cincinnati Symphony Orchestra, one he held from 1918 to 1922.
Ysaÿe, now retired from public concertizing, had always taken composition seriously. His output includes thirty instrumental works and an opera. The Six Sonatas for Solo Violin, Op. 27 were sketched out in a single day in 1923. The inspiration for this remarkable notion came from a performance Ysaÿe attended. The concert was by a young Joseph Szigeti on which he played Bach’s works for solo violin. Ysaÿe found an enormous depth of material to emulate in Bach’s works. He said, “Bach’s genius frightens anyone who might be tempted to follow the same path. We know that there is here a peak difficult to reach.” Each Sonata was dedicated to a great violinist of Ysaÿe’s time, the third sonata being dedicated to Romanian Georges Enesco. These works are full of technical difficulties, but these are not superficial gymnastics. The sensational aspects of the works all serve as musical communication.
Ysaÿe’s Sonata No. 3 entitled “Ballade,” is the shortest of the six sonatas, and the most well known. The free-composed onemovement work consists of three sections without break, each increasing in tempo. It is a fiery caprice full of gypsy temperaments beginning with a pensive recitative-like opening. It progresses to a peasant dance in 5/4 time and shows off a violinist’s prowess by putting them through a series of jaw-dropping technical demands. A contrasting section separates the dance from the work’s closing, an impassioned coda that creates a tremendous buildup of power with a final dash to an explosive conclusion.
Ysaÿe and Josef Gingold, 1928
The “Ballade” received its premiere at the hands of IVCI Artistic Founder Josef Gingold at the Brussels Conservatory in 1928 while he was a student of Eugène Ysaÿe.
Note by Cathleen Partlow Strauss
Amy Beach (1867-1944)
Romance, Op. 23 (1893)
Amy Beach was one of the first American composers who had been fully trained outside of Europe to receive international acclaim. She was also the first successful American female composer of large-scale works, and her Gaelic Symphony of 1896 was the first published symphony by an American woman. She was the only female member of the “Second New England School” of composition, which concentrated on late romanticism in music.
Beach performed frequently as a pianist to much acclaim, including international tours to Europe. During her marriage to Dr. Henry Harris Aubrey Beach from 1885 until his death in 1910, however, she was permitted to perform only twice per year for charity concerts. This was in keeping with social expectations of the time
of a woman married to a member of high society. She focused much of her creative energy during this time, therefore, on composition. She was mostly self-taught as her husband disapproved of her having a tutor, also an unfortunate commonality of the time.
Romance, Op. 23 was composed relatively early in Beach’s career. She dedicated this luxurious piece to Maud Powell, a famous American violinist, and then premiered the work alongside Powell at the 1893 World’s Columbian Exposition in Chicago.
It is a short and thoroughly charming piece that offers a simple aching melody that swells with emotions. The piano and violin interact seamlessly, each adding to the passionate dialogue that pushes to the gentle pianissimo ending.
Note by Nicholas Johnson, Ph.D. Butler University
Coleridge-Taylor Perkinson (1932-2004)
Louisiana Blues Strut: A Cakewalk
Coleridge-Taylor Perkinson lived in New York City and Chicago, working as a composer, arranger and conductor in relative obscurity. His violin music sounds as if Eugène Ysaÿe had grown up with Blues music! Louisiana Blues Strut: A Cakewalk is a complex composition full of irregular meters, surprising the listener’s expectations at every turn. It requires the rhythmic precision of a jazzer in order to “swing,” and yet still play the syncopations without ever losing the groove. Swing, the Jazz performance practice of playing notes unevenly (longer or shorter), is something
that must be learned by ear. Since it is impossible to notate precisely, most composers and jazzers notate music without the swing rhythm and leave it to the performer to swing depending on what is appropriate in the moment.
Note by Augustin Hadelich
Maurice Ravel (1875-1927)
Sonata in G
To my mind, the ‘blues’ is one of your greatest musical assets...truly American despite earlier contributory influences from Africa and Spain... While I adopted this popular form of your music, I venture to say that nevertheless it is French music, Ravel’s music, that I have written.
— Maurice Ravel
In the annals of classical composers, Maurice Ravel belonged to a fortunate minority. Born into a cultured middle-class family, he is one of the few composers whose parents encouraged his professional musical ambitions from the start. When he was seven, his father provided him with the best private musical instruction; at 12, he went on to the preparatory school for the Conservatoire de Paris, graduating into the regular course of study at fourteen. In a surprisingly single-minded manner, the youthful Ravel marched to his own drum in terms of his musical language. He could not —or would not — conform to the rigorous, and by then dated, traditions of the Conservatoire and was repeatedly beaten out for the coveted Prix de Rome, creating a scandal when it was revealed during his last attempt that all the finalists were composition students of one professor, all of whom have now pretty much lapsed into oblivion.
Even in his earliest compositions, Ravel incorporated musical forms and styles from other—usually earlier—periods. Then, in the early 1920s, he became familiar with African-American music, especially jazz, which had become all the rage in Paris where
everything from solo piano to big band jazz could be heard in the finest salons. Ravel exploited jazz’s “exoticism” and, beginning with the Sonata for Violin and Piano, made it an integral part of the musical language of his later years.
Ravel began work on the Sonata in 1923 but did not finish it until 1927. In many ways, its idiom and themes, especially in the second movement, Blues, are a forerunner for the Piano Concerto in G — which was finished four years later and whose first movement prominently features a “blue-note” motive — and the Concerto for the Left Hand.
Shor tly after finishing the Sonata, Ravel set out on an extended visit to the United States, where he performed it with violinist Joseph Szigeti. In an article (quoted above) the composer alludes to his adaptation of the jazz idiom into classical forms and cites the jazz imitations of his contemporaneous European colleagues, among them Darius Milhaud, Igor Stravinsky and Paul Hindemith. The first movement, a sonata allegro form, introduces material that recurs in the finale. The Violin Sonata is more lyrical than jazzy but nevertheless contains a short bluesy “exclamation” that periodically interrupts the more conventional themes and almost romantic treatment.
The Blues movement is literally and figuratively the centerpiece of the Sonata, from its principal theme to the imitation of other quintessentially American sounds such as the banjo and the jazz trombone.
The Finale is a virtuosic romp, a perpetual-motion piece that comes across in places as a sophisticated “Flight of the Bumblebee.”
This was not Ravel’s first violin sonata. He composed a Sonate pour piano et violon in 1897, ironically his first venture into chamber music, but considered it unsuited for publication.
Note by Joseph & Elizabeth Kahn
C l a s s i c a l C h r i s t m a s & S i n g - A l o n g
The Concerto: Barber, Bartók, and Frank
Pau l Huang, Violin
The ISO flexes its musical muscles with three show-stopping concertos. Paul Huang joins us for Barber’s gorgeous Violin Concerto, and composer Gabriela Lena Frank takes us to her hometown in the Peruvian Mountains in a “little concerto” for orchestra. Music Director Jun Märkl leads the ISO in Bartók’s virtuosic Concerto for Orchestra, a piece that challenges every member of the ensemble!
Kevin Lin Plays Mozart
Purchase tickets at IndianapolisSymphony.org
Indulge in timeless elegance! Hear why conductor McGegan has earned his reputation as one of the finest conductors of music from the Baroque and Classical periods as he leads the ISO in Bach’s 3rd Orchestral Suite, featuring the famous “Air” heard in countless TV shows and films. ISO concertmaster Kevin Lin performs Mozart’s playful Violin Concerto No. 3. chaikovsky’s “Mozartiana” suite wraps the program with a sublime homage to Mozart, blending classical grace with Russian richness.
ARTISTS AND REPERTOIRE
Bach, Chopin, C. Schumann*
Medtner, Rachmaninoff, R. Schumann*
Bach, Saint-Saëns, Franck , Mozart*
Schubert, Debussy, Chopin*
Mendelssohn, C. Schumann, Mozart*
*concerto w/ Indianapolis Chamber Orchestra
5
Support The Indianapolis
Join the ranks of those whose gifts positively affect the work of the International Violin Competition of Indianapolis (IVCI) and its influence on the world of music.
Be among those who have chosen to make a meaningful impact on IVCI’s leadership role in Indiana’s cultural community while retaining its respected worldwide position as an industry leader.
2022 Gold Medalist Sirena Huang
Photo by Denis Ryan Kelly Jr.
IVCI Annual Fund Gifts
The International Violin Competition of Indianapolis (IVCI) operates on an overall four-year cycle, with four individual fiscal years comprising the full quadrennial budget. Gifts to the Annual Fund are acknowledged in the year received. The following list reflects Fiscal Year 2025 gifts received as of November 8, 2024.
Gold ($25,000-$49,999)
Allen Whitehill Clowes Charitable Foundation, Inc.
Silver ($10,000-$24,999)
Arts Council of Indianapolis
Indiana Spine Group
Marian Pettengill
Storied Company
Bronze ($5,000-$9,999)
AMPG
Arthur Jordan Foundation
Arts Council of Indianapolis
Printing Partners
Sapient Capital
Virtuoso ($2,500-$4,999)
Donald P. Bogard
Laurane and Alan Mendelsohn
Nicholas H. Noyes Jr. Memorial Foundation, Inc.
Alan and Elizabeth Whaley
Encore ($1,000-$2,499)
Donald and Dorothy Craft
Tibor Klopfer and Shawna Frazer-Klopfer
Jean Richcreek
Ray and Cindy Wilson
Debut ($400-$999)
Kathleen Custer
Hugh Dotson
Zack and Jessica French
Leanne and Dave Jackson
Dennis and Anne McCafferty
Tim Smitka
Mimi Zweig
Additional Donors Anonymous
John and Barb Chirgwin
Mr. Charles S. Mason
N. Clay and Amy Robbins
Beverly Ruebeck
Robert and Mary Jane Sorbera
Mr. and Mrs. Anthony T. Tolokan
Y. Rosalind Wolen
HONOR/MEMORIAL GIFTS
In honor of Thomas J. Beczkiewicz
Marco Spallone and Anne Longtine
In honor of Glen Kwok
Joyce A. Sommers
In memory of Pamela Saunders French
Zack and Jessica French
In honor of Skip and Buff Whaley
John and Barb Chirgwin
In honor of Marion Wolen
Y. Rosalind Wolen
12TH QUADRENNIAL PLEDGES/GIFTS
Stradivari ($50,000 and above)
Tom and Dawn Bennett
Carter Family Fund
Lilly Endowment, Inc.
Cynthia P. Matthews
Family Foundation
Gold ($25,000 - $49,999)
Deborah and Joe Loughrey
Silver ($10,000 - $24,999)
AMPG
Mrs. Pat Anker
Barnes & Thornburg LLP
Donald P. Bogard
IVCI Annual Fund Gifts
Kathy and Lou Daugherty
Steve Hamilton
Laurane and Alan Mendelsohn
Mindy Miller
Marco Spallone and Anne Longtine
Ann M. Stack
Alan and Elizabeth Whaley
Bronze ($5,000 - $9,999)
Kathleen Custer
Jim and Cheryl Strain
Virtuoso ($2,500-$4,999)
Emily A. West
Debut ($400-$999)
Joyce A. Sommers
Barnes & Thornburg LLP is a proud supporter of the 12th Quadrennial International Violin Competition of Indianapolis IDEA Initiatives.
2024 VIVA FUND-A-NEED GIFTS
Anonymous
Christina Abossedgh
Mario Arango
Phyllis Armstrong
Ian and Sonia Arnold
Tom and Dawn Bennett
Jenny Bizzoco
Rachael Bresnan
Jill Broome
Susan Brock Williams and Brian Williams
Steve Cala and Cindy Ramsey
Richard and Anne Chegar
Petra Clark
Stan Cuppy
Kathy and Lou Daugherty
Mr. Michael E. Daugherty
Zack and Jessica French
Julia and Doug Gard
Drs. Emily and John Giesel
Toby Gill
Steve Hamilton
Sarah Harrell
Mr. Kent Hawryluk
John Hill
Leanne and Dave Jackson
Mr. and Mrs. Stanton Jacobs
Tim Jansen
James Johnson
Tibor Klopfer and Shawna Frazer-Klopfer
Mr. Wei-Tai Kwok and Ms. Violet Hsu
Andrew Kennedy
Glen Kwok and Chih-Yi Chen
Dr. and Mrs. John Langdon
Michael and Valerie MacLean
Dr. John Mail and Dr. Ingrid Mason
Marci Matthews
Tom and Roxanne McGettigan
Clayton Miller
Drs. Justin and Lindsay Miller
Pauline Moffatt
Peggy and Byron Myers
Mr. and Mrs. Joel O’Brien
Rebecca and Kurt O’Connor
Gary and Ann Reiter
Debra and Ken Renkens
Alice K. and Robert E. Schloss
Joseph E. Shuman
Robert and Mary Jane Sorbera
Marco Spallone and Anne Longtine
Michael Still
Dana Stone
Jim and Cheryl Strain
Kent Supancik
James Sweeney
James Teter
Kurt and Julie Tornquist
Karen Turchi
Inge Van der Cruysse
Mr. and Mrs. Dennis Voelkel
Alan and Elizabeth Whaley
David Whitman and Donna Reynolds
Lynn Wilson and Uday Madiman
Dr. Christian Wolf and
Mrs. Elaine Holden-Wolf
David T. and Christina L. Wong
Mr. and Mrs. Vincent Wong
Dr. Daniel Kim and Ms. Jennifer Yoon
International Violin Competition of Indianapolis
The Josef Gingold Fund Endowment
The Josef Gingold Fund is an endowment established in 1985 to secure a financial base for the International Violin Competition of Indianapolis’ future. In order for the Competition to become self-supporting, it is vitally important that the endowment continues to grow.
The importance of an endowment is recognized by both friends of the Competition and its Laureates. A strong endowment provides the foundation needed to maintain our Competition’s status.
Please join the growing list of supporters of The Josef Gingold Fund. Whether you choose to make a planned or an outright gift, your contribution will help ensure the future of the International Violin Competition of Indianapolis - a great cultural and community asset.
Please call the Competition office at (317) 637-4574 or email Mary Jane Sorbera at maryjane@violin.org if you wish to discuss a planned or outright endowment gift.
JOSEF GINGOLD FUND GIFTS
The following list reflects gifts made from August 1, 2023 through October 7, 2024.
Anonymous
Christel DeHaan Family Foundation
Kathy and Lou Daugherty
Mr. and Mrs. Walter C. Gross Jr.
Mr. Thomas P. Murphy
Jim and Cheryl Strain
Alan and Elizabeth Whaley
THE JOSEF GINGOLD SOCIETY
The Josef Gingold Society has been created in order to recognize kind supporters who have included The Josef Gingold Fund in their estate plans.
Anonymous (3)
Bob and Pat Anker
Mr. and Mrs.
Thomas J. Beczkiewicz
Suzanne Blakeman
Donald P. Bogard
Anita and Bill Cast
Mrs. Chris J. Christy
Lou and Kathy Daugherty
Don Earnhart
Rosalie Held
Kay Koch
Glen Kwok and Chih-Yi Chen
Deborah and Joe Loughrey
Cynthia Parker Matthews Family Foundation
Laura and Alan Mendelsohn
Melinda J. Miller
Ina Mohlman
Peggy and Byron Myers
Jane and Andrew Paine
Nancy J. Schmidt
Alan and Elizabeth Whaley
Anna S. and James P. White
IVCI Education Outreach is supported by the Christel DeHaan Sub-Fund of the Josef Gingold Fund.
SEASON 2024-2025
PAVEL HAAS QUARTET
WEDNESDAY DECEMBER 11 7:30 PM
INDIANA HISTORY CENTER
Winner of five Gramophone Classical Music Awards, the Pavel Haas Quartet is firmly established as one of the world’s foremost ensembles.
IMANI WINDS WITH MICHELLE CANN, PIANO
JANUARY 15, 2025 | INDIANA HISTORY CENTER
GOLDMUND STRING QUARTET
FEBRUARY 26, 2025 | INDIANA HISTORY CENTER
JUILLIARD STRING QUARTET
APRIL 23, 2025 | INDIANA HISTORY CENTER
Saturday, April 26, 2025 | 7:30 PM
Zankel Hall
57th Street & Seventh Avenue
New York, NY
Saturday, February 1 | 7:30 PM | Schrott Center for the Arts
2022 Gold medalIst sIrena HuanG performs BeetHoVen ConCerto wItH ICo
Presented in collaboration with Indianapolis Chamber Orchestra, 2022 Gold Medalist Sirena Huang performs the breathtaking violin concerto by Beethoven with the ICO, led by Music Director Matthew Kraemer. The evening also includes a work by Brian Raphael Nabors, and a world premiere by Jorge Muñiz.
Tickets available at icomusic.org.
Tuesday, April 8 | 7:30 PM | The Cabaret Wednesday, April 9 | 7:30 PM | Hendricks Live! (Plainfield) take3 - wHere roCk meets BaCH!
Born out of practice rooms of the country’s top conservatories, Take3 lives at the intersection where pop, rock and classical fusion collide. Their unmistakable style and infectious joy in music making can be witnessed in two performances in Central Indiana: April 8 in the intimate setting of The Cabaret with catering provided by the Jazz Kitchen; and April 9 in Plainfield’s newly-constructed Hendricks Live! Performing Arts Center, just 25 minutes west of downtown.
Tuesday, May 6 | 7:30 PM | Indiana History Center
2022 sIlVer medalIst JulIan rHee wItH pIanIst CHelsea wanG
2022 IVCI Silver Medalist Julian Rhee collaborates with guest pianist Chelsea Wang as they close out the season in a recital at the Indiana History Center.
