International Violin Competition of Indianapolis
2021-2022 Laureate Series
French Soundsc apes featuring
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Luke Hsu 2018 Bronze Medalist Melanie Laurent 2019 Gold Medalist, USA International Harp Competition and
Ronen Chamber Ensemble
July 6 | 7:3 0 PM
Indiana History Center
Table of Contents 4 About The Indianapolis 45 Board of Directors / Administration 6 IVCI Laureates 7 French Soundscapes Program 8-12 About the Artists 14-19 Program Notes 20-24 Support 25-26 Josef Gingold Fund Endowment
Think olympics with violins.
Supported by the Arts Council and the City of Indianapolis
2021-2022 Laureate Series PLEASE NOTE: In consideration of our artists, no children under the age of six are admitted. No unauthorized photographic or recording equipment is allowed at the performances. Please turn off all sound devices including watches, cell phones and pagers. International Violin Competition of Indianapolis 32 E. Washington Street, Suite 1320 Indianapolis, IN 46204 (ph) 317.637.4574 ivci@violin.org | www.violin.org
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Board of Directors
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 10 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 11th Quadrennial will be held September 9-25, 2022.
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International Violin Competition of Indianapolis
Donna L. Reynolds, President Ann Hinson, Vice President Kurt Tornquist, Treasurer Steve Hamilton, Secretary Mario Arango Dawn Bennett Rebecca Dixon Julia Gard Toby Gill Rosalie Held
Peggy Myers Monica Peterson Marian M. Pettengill, Ph.D. Gary J. Reiter Theresa Rhodes David Schurger
Lesley Stoeffler Cheryl Strain Marianne Tobias Susan Brock Williams
Ex-Officio Directors Robert A. Anker, Past President Louis E. Daugherty, Past President Thomas R. Neal, Past President Alan Whaley, Past President
Gingold Fund Board of Directors Tibor Klopfer, President David P. Whitman, Treasurer Glen Kwok, Secretary Robert A. Anker Daniel C. Appel Louis E. Daugherty
Marci M. Matthews Donna L. Reynolds
Administration Glen Kwok Executive Director
Mindy Miller Director of Operations
Mary Jane Sorbera Director of Development
Zack French Director of Communications and Artist Advancement
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IVCI Laureates
Laureates are listed in order of placement
French Soundscapes
1982 Competition Mihaela Martin, Romania Ida Kavafian, United States Yuval Yaron, Israel Olivier Charlier, France Nai-Yuan Hu, Taiwan Yuriko Naganuma, Japan
2002 Competition Barnabás Kelemen, Hungary Sergey Khachatryan, Armenia Soovin Kim, United States Frank Huang, United States Susie Park, Australia Alina Pogostkina, Germany
1986 Competition Kyoko Takezawa, Japan Leonidas Kavakos, Greece Andrés Cárdenes, United States Chin Kim, South Korea Sungsic Yang, South Korea Annick Roussin, France
2006 Competition Augustin Hadelich, Germany Simone Lamsma, The Netherlands Celeste Golden, United States Yura Lee, South Korea Ye-Eun Choi, South Korea Bella Hristova, Bulgaria
1990 Competition Pavel Berman, Russia Marco Rizzi, Italy Ivan Chan, United States Virginie Robilliard, France David Kim, United States Martin Beaver, Canada
2010 Competition Clara-Jumi Kang, South Korea Soyoung Yoon, South Korea Benjamin Beilman, United States Haoming Xie, China Antal Zalai, Hungary Andrey Baranov, Russia
1994 Competition Juliette Kang, Canada Stefan Milenkovich, Yugoslavia David Chan, United States Jaakko Kuusisto, Finland Michiko Kamiya, Japan Robin Sharp, United States
2014 Competition Jinjoo Cho, South Korea Tessa Lark, United States Ji Young Lim, South Korea Dami Kim, South Korea Yoojin Jang, South Korea Ji Yoon Lee, South Korea
Eugène Ysaÿe (1858-1931)
Sonata No. 6 in E, Op. 27 for Solo Violin
1998 Competition Judith Ingolfsson, Iceland Liviu Prunaru, Romania Ju-Young Baek, South Korea Svetlin Roussev, Bulgaria Andrew Haveron, Great Britain Bin Huang, China
2018 Competition 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
Camille Saint-Saëns (1835-1921)
Fantaisie for Violin and Harp, Op. 124
Maurice Ravel (1875-1937)
Introduction et Allegro for Harp, Flute, Clarinet and String Quartet
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International Violin Competition of Indianapolis
Luke Hsu, Bronze Medalist
2018 International Violin Competition of Indianapolis
Mélanie Laurent, Gold Medalist 2019 USA International Harp Competition with
Ronen Chamber Ensemble Wednesday, July 6, 2022 7:30 PM Indiana History Center Jean Cras (1879-1932)
Suite en duo
Astor Piazzolla (1921-1992)
Histoire du tango
Marcel Grandjany (1891-1975)
Rhapsodie pour la harpe
Intermission - 15 minutes
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also currently Artistic Advisor for Music at the K&M Festival in Stavanger, Norway.
Luke Hsu, violin International Violin Competition of Indianapolis Bronze Medalist, violinist and composer Luke Hsu is hailed as “in a class by himself with total command of the instrument” by the Montréal Gazette. As a soloist and recitalist, Luke has appeared at Wigmore Hall, St. John’s Smith Square, Windsor Castle, Kennedy Center, Herkulessaal, Jordan Hall and Teatro Carlo Felice, among many others. Additionally, he has performed as soloist with numerous orchestras around the world, including the Orchestre National de la Belgique, Royal Chamber Orchestra of Wallonia, Teatro Carlo Felice Genova Orchestra, the Houston, Dallas, Indianapolis, Auckland and Odense symphony orchestras, Poznan Philharmonic Orchestra, Amadeus Chamber Orchestra of Polish Radio, East Coast Chamber Orchestra, Royal Academy of Music Chamber Orchestra, and the Tongyeong Festival Orchestra. He has worked closely with eminent conductors including Leonard Slatkin, Nikolaj Znaider, Pascal Vierrot, Hugh Wolff, Marek Pijarowski, Jean-Jacques Kantarow and Cristian Macelaru. His performance with the Victoria Symphony Orchestra was recorded and broadcast on NPR’s Performance Today, and other performances have been broadcasted on Canada’s CBC and Denmark’s DR. He has performed for royalty around the world including His Royal Highness The Earl of Wessex Prince Edward and Her Majesty Queen Mathilde of Belgium. Luke has won prizes at many of the most prestigious violin competitions in the world including the Paganini, Wieniawski, Isang Yun, Nielsen, and Queen Elisabeth competitions. As a chamber musician, he has collaborated with luminaries such as Itamar Golan, Cho-Liang Lin, Gil Shaham, MarcAndré Hamelin, Peter Frankl, Colin Carr, and musicians from the New York Philharmonic, Chicago Symphony Orchestra, and the Orchestre Symphonique de Montréal. His festival appearances include Pablo Casals Festival, Verbier, La Jolla SummerFest, Prussia Cove Open Chamber Music, Music@Menlo, YellowBarn, San Miguel de Allende Chamber Music Festival, Aspen Music Festival, and Tongyeong International Music Festival. He is
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International Violin Competition of Indianapolis
As a composer, Luke has written numerous chamber works including a duo written specifically for the Weilerstein Duo. Lutosławski and Webern are his biggest influences, and he hopes to write music that carries this tradition forward into the 21st century. Luke started his violin studies in Houston with Fredell Lack and Emanuel Borok, and debuted with the Houston Symphony at age 16. He then studied with Cho-Liang Lin at Rice University’s Shepherd School of Music, Donald Weilerstein at the New England Conservatory, and Rodney Friend at the Royal Academy of Music in London. He graduated from these institutions with numerous honors and prizes. Other teachers and close mentors include Pierre Amoyal, Vivian Hornik-Weilerstein, Kim Kashkashian and Lucy Chapman. Luke is a VC (Violin Channel) Young Artist.
Mélanie Laurent, harp The French harpist Mélanie Laurent is the Gold Medal Winner of the 11th USA International Harp Competition (2019). She is also the winner of the Bellan International Competition (2017). Mélanie was born into a family of professional musicians. She studied with Isabelle Moretti at the Conservatoire National Supérieur de Musique et de Danse in Paris, graduating with highest honors in 2020. Her playing is now nourished by a thriving multidisciplinary career; she enjoys teaching, performing solo concerts, and working with many orchestras. These include the Orchestre de l’Opéra National de Paris, the Orchestre National de France, the Orchestre National d’Ile de France, and in venues such as the Berlin Philharmonie, Berlin Konzerthaus, Philharmonie de Paris, Opéra Bastille, Opéra Garnier, and the Théâtre des Champs-Elysées. As a soloist, she has been invited to prestigious festivals in France and all over the world. Despite many postponements due to the pandemic, she played solo recitals and concertos at the Mito Settembre Musica festival, 2021 - 2022 Laureate Series
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at the Lago Maggiore festival, at Piano Pic festival, at L’Instrumentarium Paris, among others. During the summer 2021, she went on a chamber music tour with the famous cellist Gautier Capuçon. In January 2022, she performed Mozart’s flute and harp concerto with Joséphine Poncelin and the Orchestre National du Capitole de Toulouse. Her sensitivity and her “golden touch,” hailed by the Harp Column Magazine, allowed her to win the support of the Banque Populaire Foundation. She is also supported by the Fonds de Tarrazi, the Meyer Foundation, and the Mécénat Musical Société Générale.
Ronen Chamber Ensemble Tamara Thweatt is Principal Flute with the Carmel Symphony Orchestra and Instructor of Flute at the University of Indianapolis. Formerly, Ms. Thweatt was Third Flute and Piccolo of the LA Philharmonic from 2000-2002, and has been guest Piccolo with the Chicago Symphony, National Symphony and the Minnesota Orchestra. A Fulbright Scholar, she holds a DMA from Michigan, MM from Northwestern and BM from Florida State. Also former Assistant Professor of Flute at the University of Iowa, Tamara enjoys teaching, chamber music, and playing pennywhistle and a variety of world flutes. David Bellman recently retired after 39 seasons as Principal Clarinet with the Indianapolis Symphony. He (with wife Ingrid) was a recipient of the ISO’s “Patch Award” recognizing musical excellence and community service. He studied at the Eastman School of Music with Stanley Hasty, and at Northwestern University with Larry Combs. Before coming to the Indianapolis Symphony, Bellman was Principal Clarinet of the Oklahoma Symphony. David was a participant in the Marlboro Festival and has appeared as a soloist on numerous occasions with the Indianapolis Symphony as well as with orchestras in Rochester (NY), Lafayette, Carmel and Terre Haute. David is an instructor of clarinet at the University of Indianapolis. He has also served on the faculties at Indiana University, DePauw and Ball State Universities.
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International Violin Competition of Indianapolis
Philip Palermo, violin, was appointed Associate Concertmaster of the Indianapolis Symphony Orchestra in January 1985 and appears frequently with the orchestra as soloist. A native of Barrington, Illinois, Philip made his concerto debut with the Chicago Symphony Orchestra at the age of 15. He has also appeared as soloist with numerous American orchestras such as the Baltimore, Pittsburgh, and Juilliard symphonies. Internationally, he has concertized throughout Europe, as well as the USA and Canada. As a chamber musician, Philip performs regularly at the Sebago-Long Lake Music Festival in Maine. His festival credits also include the Mainly Mozart Festival, the Mostly Mozart Festival, Aspen and Ravinia Festivals. In Indiana, Philip can be heard as a guest artist with the Ronen Chamber Ensemble and the Tippecanoe Chamber Music Society. With the Spring Mill Quartet, Philip performed in major cities throughout Europe.
Violist Li Li, a member of the Indianapolis Symphony Orchestra, is the daughter and former student of Xueke Li, prominent viola professor of the Shenyang Conservatory of Music in China. A seasoned chamber player, Ms. Li has performed with Syracuse Friends of Chamber Music, Concert: Nova in Cincinnati and on the Ronen Chamber Ensemble Series in Indianapolis. Ms. Li has been adjunct faculty at Syracuse University and was appointed Honorary Guest Professor of Shenyang Conservatory. She has also taught at Anderson University, Indiana. During her student years, Ms. Li won many awards and prizes, among them the American String Teachers Association and the Concerto Competition at Brevard Music Festival. Ms. Li was a participant in the Tanglewood Music Festival for three summers. She completed her undergraduate and graduate studies at Boston Conservatory and Boston University. Her teachers were Manuel Diaz, Patricia McCarty and Steven Ansell.
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Ingrid Fischer Bellman was born in Bucharest, Romania, and received her advanced musical training at Tel-Aviv University Music Academy and Indiana University School of Music. Her major teachers have included Janos Starker, Uzi Wiesel and Samuel Shore. Ingrid joined the cello section of the Indianapolis Symphony in 1978 and retired after serving 43 seasons. Ingrid received the ISO’s “Patch Award,” in recognition of musical excellence and community service. She played with the Jeunesse Musicale International Orchestra, the Holon Chamber Orchestra and the Tel-Aviv Academy Chamber Orchestra. Ingrid creates innovative educational programs for all ages and maintains a studio of young cellists. She has appeared as soloist with the Jerusalem Radio Orchestra, the Indianapolis Philharmonic and the Carmel Symphony.
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International Violin Competition of Indianapolis
2021 - 2022 Laureate Series
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Program Notes
Program Notes Astor Piazzolla (1921-1992)
Jean Cras (1879-1932)
Histoire du tango (1986)
Suite en duo (1927) Jean Cras was a French composer and a naval officer for much of his life. He served with distinction during World War I and continued to serve until his death, which came shortly after a promotion to rear admiral in 1931. His service in the navy gave him ample travel opportunities, and consequently his music blended French styles with music of the world, particularly African and South American. His best-known work is the opera Polyphème (1922), which tells the story of the cyclops Polyphème who attempts to steal Galatea from Acis in Greek mythology. In Cras’ version, based on a libretto by Albert Samain, the cyclops is humanized and understands his actions, eventually decided to not steal the object of his desire. The music blends French impressionism with chromatic energy and briefly gained Cras fame, especially amongst the French press. Following this success, however, Cras turned mainly to chamber work. His service in the Navy limited his time to work on large-scale compositions, and smaller works such as tonight’s piece were far more manageable. The Suite en duo, in fact, was written aboard the battleship La Provence as it was stationed in Toulon. It was inspired by his recent trip to West Africa, in particular the countries Guinea and Senegal. While on leave he had encountered the African balaphone that consists of wooden bars suspended over gourd resonators that are struck with mallets. While the tonal color of the balaphone fascinated Cras, the main influence is heard in the harmonic and melodic language of this piece. African music is often based on pentatonic ostinatos, or short repeated melodic fragments that build on each other during the piece. Careful to avoid overt exoticism, Cras skillfully blends elements of African musical sensibilities with French impressionism.
Nicholas Johnson, PhD Butler University
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International Violin Competition of Indianapolis
“I’ll say this for Astor, he makes the air swing.” (Arnold Jay Smith, DownBeat magazine) Born in Mal del Plata, 250 miles south of Buenos Aires, Piazzolla was a first-generation Argentinean, both sets of grandparents being Italian immigrants. His parents moved with him to the US when he was 4, settling in Manhattan’s Lower East Side, where he grew to love both jazz and classical music. He was known to slip into clubs in Harlem to hear such jazz greats as Cab Calloway and Duke Ellington. At 16, he returned to Argentina, playing in dance bands. In 1953 he won the Fabien Sevitzky Competition for his concert work Buenos Aires (three symphonic pieces), which rewarded him with a scholarship from the French government. This allowed him to study composition in Paris with the musical legend, Nadia Boulanger. It was she who encouraged him to develop his “own modern tango style.” Piazzolla was also active as a performer, especially favoring the bandoneón, a variety of button accordion prominently featured in tango orchestras of Argentina, Uruguay, and Brazil. With over a thousand compositions in his creative output, they range from concert pieces to jazz, pop, and most notably his tangos. His only work composed specifically for flute and guitar, Histoire du tango, has since been arranged for instrumental combinations including violin, harp, marimba, saxophone, clarinet, full orchestra, and even as a piano concerto. Written in 1986, the work offers a “travelogue” of the development of the tango, from its origins in the 1882 bordellos of Buenos Aires, to its gaining popularity with the general population as being heard as a musical work in public cafes, then to night clubs, and finally being a part of modern-day concert music. Geoffrey S. Lapin
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Program Notes
Program Notes
Marcel Grandjany (1891-1975)
Eugène Ysaÿe (1858-1931)
Rhapsodie pour la harpe (1921)
Sonata No. 6 in E, Op. 27 for Solo Violin (1923)
Grandjany was one of the most prominent harpists of the twentieth century. He was born in Paris and studied at the Conservatoire de Paris, but spent most of his professional career in America. He made his New York debut in 1924 and performed widely for the next several decades. He became the head of the Harp Department at The Juilliard School in 1938, where he taught, alongside several other positions, until his death in 1975.
Sometimes referred to as “The King of the Violin,” Ysaÿe was a Belgian composer, conductor, and virtuosic violinist. He was a major influence on violin playing of the twentieth century, and he was known just as much for poetic lyricism as for virtuosic mastery. His formal studies of the violin began at a young age when he entered the Liège Conservatory at age seven. He later attended the Brussels Conservatory on a scholarship.
As a young composer, many in France originally saw him as the successor to Claude Debussy. He instead turned his attention to mostly performing and writing for the harp. Although elements of French impressionism pervade may of his works, he turned also to the medieval and classical eras for inspiration. Combined with his own intimate knowledge of the instrument, he went on to become one of the most significant composers of solo harp music.
Ysaÿe quickly established himself as a preeminent violinist and formed close relationships with several well-known composers, including Franck, Chausson, Saint-Saëns, Fauré, d’Indy, and Debussy. Several of these composers dedicated or wrote works specifically for Ysaÿe. He also became close with Anton Rubinstein, who later said that he was his “true master of interpretation.”
Rhapsodie pour la harpe is based on a chant for the medieval Easter vigil mass, “Salve festa dies.” The text of the original dates to the sixth century, likely set a few centuries later in the Gregorian style. It was a Sequence, or a part of the mass that is sung before a reading from the Gospel. Grandjany himself was a devout Catholic and uses the genre of a rhapsody to create a feeling of religious elation. The melody is quoted several times in the work, often with polyphonic accompaniment. A monophonic statement of the melody occurs near the beginning of the third of three sections. In the improvisatory passages the music explores the subtleties of the melody, and perhaps the profundity of its original text. The work ends in virtuosic waves of sound. Nicholas Johnson, PhD Butler University
Ysaÿe never studied composition formally, but his brilliant musical mind and thorough grounding in the late Romantic musical style gave him inspiration to compose several works. He wrote mostly chamber music and orchestral works, but he also tried his hand at opera, composing Piére li houyeû in the last year of his life. His best compositions, as might be expected, were for the violin. His writing for the instrument is technically demanding, lyrical, and reveals an intimate familiarity with the violin. In 1923 he composed six sonatas for solo violin, each associated with the style, personality, and character of one of his famous contemporaries. Musically, they were also conceived of as responses to the solo violin music of J. S. Bach, whose pieces were frequently performed by Ysaÿe. Tonight’s work was dedicated to, and meant to resemble, Manuel Quiroga, a Spanish virtuosic violinist with a reputation similar to Ysaÿe’s. The work is written in the style of the Spanish habañera, a type of country dance that had become popular in the 18th century. Ysaÿe’s piece has a rich texture, dance-like flair, and a turbulent middle section that explores chromaticism and rapid scalar passages. Nicholas Johnson, PhD Butler University
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International Violin Competition of Indianapolis
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Program Notes Camille Saint-Saëns (1835-1921)
the harp, but as the work progresses, they occasionally trade positions in the musical texture. The opening material returns in the final episode, providing a restful coda. Nicholas Johnson, PhD Butler University
Fantaisie for Violin and Harp, Op. 124 (1907) One of the principal composers of French Romanticism, Saint-Saëns’ influence was felt well into the twentieth century. As a music scholar he was committed to traditional French musical forms, which sometimes put him at odds with impressionist and atonal composers, and marking him late in life as a musical conservative. During his prime, however, he embraced progressive composers and his neoclassical tendencies paved the way for later artists such as Igor Stravinsky. Saint-Saëns was also briefly a composition teacher, and his most well-known student was Gabriel Fauré, who himself taught Maurice Ravel, thus cementing Saint-Saëns place in a long lineage of exceptional French composers. Saint-Saëns’ best-known works came from the late 1800s, such as Samson and Delilah (1877), and The Carnival of the Animals (1886). Early in the twentieth century he continued to compose and travelled frequently to perform or hear concerts. His taste for modernism in music, however, began to wane. He wrote of new tastes in his book Musical Memories: The man with a “developed taste” is not the one who knows how to get new and unexpected results by passing from one key to another, as the great Richard [Wagner] did in Die Meistersinger, but rather the man who abandons all keys and piles up dissonances which he neither introduces nor concludes and who, as a result, grunts his way through music as a pig through a flower garden. Tonight’s work, therefore, is firmly in the tradition of French romanticism rather than modernism. That is not to say it is lacking in innovation, but rather that its charms come from expressive melodies and harmonies. The Fantaisie for Violin and Harp is a single-movement work that proceeds through a series of episodes. It was written during a relaxing trip to the Italian Riviera and was his second of three major works for the harp. The two voices complement each other perfectly throughout the piece. Rather than the traditional piano accompanist, Saint-Saëns uses the harp in delicate waves that blends flawlessly with the violin while also occasionally claiming the melodic lead. The violin begins with a clear melody, accompanied by
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International Violin Competition of Indianapolis
Maurice Ravel (1875-1937) Introduction et Allegro for Harp, Flute, Clarinet and String Quartet (1905)
One of the most important French composers of the twentieth century, Ravel was associated for most of his life with the impressionist movement. He, along with Claude Debussy, rejected the term, but it does serve well to describe the rich tonal colors, post-romantic harmonic sensibilities, and innovative textures that has made Ravel’s music a staple in modern concert halls. Ravel was not overly prolific, often writing and editing at a very slow pace, but his works in multiple genres went on to achieve much success. Ravel was also renowned as an orchestrator. His orchestration of Mussorgsky’s Pictures at an Exhibition, for example, is widely known and admired today. His command of blending unique instrumental sounds to create new sonic impressions also served him well in tonight’s work, which features an unusual mix of instruments. In the early 1900s Ravel was embarking on a journey of musical creativity. He was a member of a group of musicians, critics, poets, and artists who referred to themselves as the Apaches (“Hooligans”), who sought to represent themselves as artistic outsiders. Membership in the group changed often and at times included figures such as Debussy and Stravinsky. The group regularly met to debate artistic philosophy and perform, inspiring the creativity of a generation. Tonight’s work stems from that creative atmosphere. It was commissioned by the Érard company to display the expressive possibilities of their doubleaction pedal harp. The harp is highlighted throughout the work, and the piece has been occasionally described as a miniature concerto, though not by Ravel himself. The brief introduction lasts only twenty-six measures before moving directly into the allegro. The introduction itself opens ambiguously and allows the harp to shine through runs on the instrument. The allegro percolates underneath the harp, which glides and hovers above the other instruments in a delicate dance. A cadenza in the harp signals a return to the main them and a triumphant ending. Nicholas Johnson, PhD Butler University 2021 - 2022 Laureate Series
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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. The 10th Quadrennial was an important milestone for the International Violin Competition of Indianapolis (IVCI). Now in year three of the 11th Quadrennial cycle, IVCI is building on the stellar successes of the previous four decades. You may still make a quadrennial pledge to lock in all the Competition benefits to which you will be entitled. Your final pledge payment is due by July 2023. In addition to working on new 11th Quadrennial projects, the IVCI is also focusing on intensive career management for the 2018 Medalists and scheduling past Laureates to return to Indianapolis for annual Laureate Series concerts. Join 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.
Contact Mary Jane Sorbera at maryjane@violin.org or at (317) 637-4574 for assistance.
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 Annual Fund gifts received for the current fiscal year (received as of June 27, 2022). FOUNDATION AND GOVERNMENT CONTRIBUTORS Stradivari ($50,000 and above) Christel DeHaan Family Foundation Indy Arts and Cultural Restart & Resilience Fund: An Arts Council of Indianapolis program made possible by Lilly Endowment, Inc. Lilly Endowment, Inc. Gold ($25,000 - $49,999) Allen Whitehill Clowes Charitable Foundation, Inc. Indiana Arts Commission and the National Endowment for the Arts, a federal agency Silver ($10,000 - $24,999) The Arts Council of Indianapolis and the City of Indianapolis Virtuoso ($2,500 - $4,999) Nicholas H. Noyes Jr. Memorial Foundation, Inc. CORPORATE AND INDIVIDUAL CONTRIBUTORS Stradivari ($50,000 and above) Marianne Williams Tobias Anna and Edward Yeung Silver ($10,000 - $24,999) AMPG Tom and Dawn Bennett BMO Private Bank Carter Family Quasi Fund, a fund of Central Indiana Community Foundation Steve Hamilton and Keith Norwalk
20Gold Medalist Richard Lin 2018 Photo by Denis Ryan Kelly Jr.
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Kay F. Koch Ann M. Stack Charles and Carol Ward Bronze ($5,000 - $9,999) Mr. James Aikman and The Aikman Foundation, Inc. Bob and Pat Anker The Paul F. and Martha L. Benedict Charitable Family Fund, a fund of Central Indiana Community Foundation Suzanne B. Blakeman Deborah and Joe Loughrey The National Bank of Indianapolis Jane Paine Printing Partners Scott and Susan Putney James W. and Nancy C. Smith Dr. Christian Wolf and Mrs. Elaine Holden-Wolf Virtuoso ($2,500 - $4,999) Anonymous Dan and Kate Appel Patrick Corsi Dr. and Mrs. Donald R. Hardman Ann Hinson Daphne Kwok N. Clay and Amy Robbins David Whitman and Donna Reynolds Terence and Margaret Yen Encore ($1,000 - $2,499) Sarah C. Barney Kathleen A. Custer Glen S. Fukushima Craig and Missy Gigax
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Annual Fund Gifts Susan M. Grymonpre Mr. Ronald Hermeling Ann H. Hunt Sarla Kalsi Chin Fun and Florence Kwok Glen Kwok and Chih-Yi Chen Anne Longtine and Marco Spallone Michael and Valerie MacLean Alan and Ann McKenzie Mr. Thomas P. Murphy Peggy and Byron Myers Marian Pettengill Mr. and Mrs. Glenn D. Pratt Lance and Theresa Rhodes Jean Richcreek Alice K. and Robert E. Schloss John A. Seest Tim Smitka Jim and Cheryl Strain Emily A. West Alan and Elizabeth Whaley David T. and Christina L. Wong Debut ($400 - $999) Anonymous Charles and Joyce Boxman Susan and Howard Edenberg Anne Epperson Drs. Richard and Becky Feldman Toby Gill Mr. and Mrs. Walter C. Gross Jr. Leanne and Dave Jackson Jaime Laredo and Sharon Robinson Scott and Kim Ledger Jim and Sara Lootens Pauline Lumeng Dennis and Anne McCafferty Ralph G. Nowak Paul and Margaret Roby Klaus and Joel Schmiegel Dr. Kumiko Takeuchi James P. White M.S. Woods Real Estate Mimi Zweig
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HONOR/MEMORIAL GIFTS
Additional Donors Anonymous (4) Kay Jett Baker David and Ingrid Bellman Katherine Benedict Mrs. Frankie Besch Deirdre Bogard John David Cook Ann Deagan-Romberg Mary and Steve DeVoe Federico and Rosa Maria Dies Alan and Juliet Duncanson Lorelei Farlow Mr. Kent N. Farr George F. Freije Phyllis W. Geeslin Corinne Imboden and Ray Kuehlthau Kappa Kappa Kappa Stephen J. Kern Mr. and Mrs. William A. Kerr Ms. Rita Kohn Paul Krasnovsky Antoinette K. Lee Eleanor Lopez Mr. Charles S. Mason Dr. Radmila Micanovic and Dr. John J. Emanuele, Jr. Margaret L. Nelson Elizabeth M. Perr Ms. Monica Peterson Steven Cala and Cynthia Ramsey Richard Ratliff Julie Rogers Tiffany and Marsha Ross JoEllen Florio Rossebo Mr. and Mrs. Albert H. Schumaker, II Ada Shaum Susan and Jeff Smithburn Joyce Sommers Robert and Mary Jane Sorbera Lesley Stoeffler and Marvin Pribble Tim and Colleen Tan Larry Wenger Y. Rosalind Wolen
International Violin Competition of Indianapolis
In honor of Thomas J. Beczkiewicz Anne Longtine and Marco Spallone N. Clay and Amy Robbins In honor of Dawn Bennett’s Birthday Peggy and Byron Myers In honor of Dawn Bennett’s Retirement Peggy and Byron Myers In honor of Donald Bogard and his 80th Birthday David and Ingrid Bellman Deirdre Bogard In memory of Randolph H. Deer Mr. Thomas P. Murphy In honor of Jill and John Failey John David Cook In honor of Rosalie Held’s work with JESA James P. White In memory of Joseph Kalichstein Jane Paine In honor of Glen Kwok Joyce Sommers In honor of Glen Kwok and Chih-Yi Chen’s wedding anniversary James P. White In honor of Glen Kwok, Mary Jane Sorbera and Mindy Miller James P. White In memory of Lloyd C. Lyons Charles and Carol Ward In memory of Andrew J. Paine Sarah C. Barney Julie Rogers
2021 - 2022 Laureate Series
In honor of Betty Perry International Violin Competition of Indianapolis Bob and Pat Anker Ann Hinson Glen Kwok Peggy and Byron Myers Ms. Monica Peterson Ms. Lesley Stoeffler and Mr. Marvin Pribble Jim and Cheryl Strain Alan and Elizabeth Whaley David Whitman and Donna Reynolds In memory of Michael O’Brien Margaret L. Nelson In honor of Gary and Ann Reiter Christine and Robert Baldwin In honor of Theresa Rhodes on the occasion of her December Birthday David Whitman and Donna Reynolds In honor of Lesley Stoeffler and Marvin Pribble Corinne Imboden and Ray Kuehlthau In memory of Harriet Talmage Mr. and Mrs. Glenn D. Pratt In memory of Jane Vincent Glen Kwok and Chih-Yi Chen James P. White In memory of Anna S. White JoEllen Rossebo In honor of Marion Wolen on the Occasion of her Birthday on August 25 Y. Rosalind Wolen In memory of Robert L. Wolen Anonymous
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11TH QUADRENNIAL PLEDGES RECEIVED as of June 27, 2022 Stradivari ($50,000 and above) Tom and Dawn Bennett David and Amy Fulton Lilly Endowment, Inc. Cynthia Parker Matthews Family Foundation Marianne Williams Tobias Gold ($25,000 - $49,999) Deborah and Joe Loughrey Lesley Stoeffler and Marvin Pribble Silver ($10,000 - $24,999) Anonymous Bob and Pat Anker Barnes & Thornburg
BMO Private Bank Donald P. Bogard Carter Family Quasi Fund, a fund of Central Indiana Community Foundation Kathy and Lou Daugherty Steve Hamilton and Keith Norwalk Indiana Spine Group Laurane and Alan Mendelsohn Debra and Ken Renkens Ms. Lesley Stoeffler and Mr. Marvin Pribble Charles and Carol Ward
Marian Pettengill Debra and Ken Renkens Jim and Cheryl Strain Alan and Elizabeth Whaley
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 selfsupporting, it is vitally important that the endowment continues to grow.
Virtuoso ($2,500 - $4,999) Kathleen A. Custer Debut ($400 - $999) Zack and Jessica French Susann McDonald
Bronze ($5,000 - $9,999) Sarah C. Barney The Paul F. and Martha L. Benedict Charitable Family Fund, a fund of Central Indiana Community Foundation Rosalie Held
2022 Viva il Violino Fund-a-Need Gifts Viva il Violino is an annual event designed to raise funds in addition to Annual Fund gifts which support the education, outreach and career mentoring programs of the IVCI. Jennifer Agramonte Dan and Kate Appel Ian and Sonia Arnold Christine and Robert Baldwin Joanne Bennett Tom and Dawn Bennett Donald P. Bogard Rachael Bresnan Steve Cala and Cindy Ramsey Donald and Dorothy Craft Kathleen A. Custer Mr. Michael E. Daugherty Kathy and Lou Daugherty Ann Deagan-Romberg David Dellen Joe Dunklin Carol Fosso and Raye Pankratz Zack and Jessica French Nancy Fyffe Rosanna Hardin Hall
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The Josef Gingold Fund Endowment
Brian Hollingsworth Brenda and Greg Hull Kathleen and Rick Hursh Dave and Leanne Jackson Bill Karnatz Jr Vicky Keramida and Dan Strahl Glen and Chih-Yi Kwok Deborah and Joe Loughrey Cynthia Parker Matthews Family Foundation Marci Matthews Will Miller Chad Miller Pauline Moffatt Peggy and Byron Myers Patrick O’Brien Martha O’Connor and Greg Henneke Jane Paine Monica R. Peterson Debra and Ken Renkens
Anne Scheele Alice K. and Robert E. Schloss Emily Schnitker Debbie Scott Randy Scott Carrie Sieglitz Robert and Mary Jane Sorbera Meagan Spellman Rita and Larry Steinberg Jim and Cheryl Strain James Sweeney Suzanne Sweeney Natalie and Eric Wasson Alan and Elizabeth Whaley David P. Whitman and Donna L. Reynolds Marion Wolen Dr. Christian Wolf and Mrs. Elaine Holden-Wolf Woodley Farra
International Violin Competition of Indianapolis
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 cumulative gifts made from August 1, 2021 through June 27, 2022. Anonymous Tibor Klopfer and Shawna Frazer-Klopfer Cynthia Parker Matthews Family Foundation Mr. Thomas P. Murphy Alan and Elizabeth Whaley 2021 - 2022 Laureate Series
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The Josef Gingold Society has been created in order to recognize, during their lifetime, those kind supporters who include The Josef Gingold Fund in their estate plans. Members of The Josef Gingold Society: Anonymous (3) Bob and Pat Anker Mr. and Mrs. Thomas J. Beczkiewicz Donald P. Bogard Anita and Bill Cast Mrs. Chris J. Christy Lou and Kathy Daugherty Rosalie Held Tibor Klopfer and Shawna Frazer-Klopfer Glen Kwok and Chih-Yi Chen Deborah and Joe Loughrey Laura and Alan Mendelsohn Melinda J. Miller Peggy and Byron Myers Jane and Andrew Paine Nancy J. Schmidt Alan and Elizabeth Whaley Anna S. and James P. White
Susann McDonald, Artistic Director and Founder
www.usaihc.org
12th Competition
June 29 – July 9, 2022 Bloomington, Indiana Join us in our mission to inspire, promote and sustain artistic excellence while fostering a broader appreciation of the harp and its repertoire. To donate or find out how to get involved, please visit: www.usaihc.org @usaihc
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International Violin Competition of Indianapolis
2021 - 2022 Laureate Series
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www.violin.org