volume 7 - Cloudfront.net

Transcription

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THE PROGRAM BOOK
Programs
16 March 31, 2016
17 April 1,2, 2016
18 April 3, 2016
28 April 5, 2016
31 April 8, 9, 2016
34 April 14, 2016
35 April 15,16, 2016
36 April 17, 2016
49 April 22, 23, 2016
Featured Articles
13 Music In My Life
15 ISO Musicians Around Town
28 Discovery Concerts
61 Arts in Indy
Departments
11 ISO Profile
79 Hilbert Circle Theatre Information
Support
65Endowment
68 Lynn Society
70 Annual Fund
74 Tribute Gifts
75 Why We Give
76 Corporate Sponsors
4
2015-2016
Hilbert Circle Theatre
Artists
19 Hans Graf
20 James Ehnes
32 Jack Everly
33 Pink Martini
37 Gilbert Varga
38 André Watts
50 Matthew Halls
51 Paul Jacobs
The Indianapolis Symphony Orchestra
9 Musicians of the ISO
10 Board of Directors
77Indianapolis Symphony Orchestra
Association
78Administration
WELCOME
Dear friends,
As spring flowers bloom, the ISO presents another month of
exciting performances.
April begins with a Lilly Classical Series concert featuring violinist
James Ehnes. Then, we are delighted to welcome back the
eclectic, extraordinary Pink Martini on the Printing Partners Pops
Series. André Watts joins us to present works by Franck, Wagner
and Tchaikovsky, and we conclude the month with Paul Jacobs
showcasing the historic Hilbert Circle Theatre Wurlitzer Pipe
Organ.
On April 10, please join us for a free concert celebrating the 20th
anniversary of our youth and family development program, the Metropolitan Youth Orchestra.
Founded by Betty Perry in 1995, this program prepares students for higher education, helping
them navigate life’s challenges, and engages the entire family through music. We are pleased
to celebrate MYO’s rich history and achievements with you.
Also in April, we present our first INfusion Music Festival, which focuses on the relationship
between music and the environment. This three-day festival runs from April 28 to 30, and will
feature the ISO, Time for Three, Kishi Bashi, San Fermin, and Ben Folds. The ISO is committed
to minimizing its impact on the environment, beginning with energy reduction and increased
recycling in the Hilbert Circle Theatre.
With summer right around the corner, the ISO’s 35-year summer tradition continues with
Marsh Symphony on the Prairie, June 17–September 4. Be sure to purchase your 10-ticket value
pack. There is nothing like experiencing summer with live music at Marsh Symphony on the
Prairie. We invite you to purchase tickets using our mobile friendly website or by calling the
box office at 317-639-4300.
Thank you for being with us; I hope you enjoy the performance.
Gary Ginstling
Chief Executive Officer
5
Drop in. Get your business booming.
lakecitybank.com
MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA
Krzysztof Urbański, Music Director
Jack Everly, Principal Pops Conductor
Raymond Leppard, Conductor Laureate
Vince Lee, Associate Conductor
First Violin
Zachary De Pue, Concertmaster The Ford-West Chair
Alexander Kerr, Principal Guest Concertmaster
Philip Palermo, Associate
Concertmaster
Peter Vickery, Assistant
Concertmaster
The Meditch Chair
Dean Franke, Assistant
Concertmaster
The Wilcox Chair
Barbara Fisher Agresti
Jennifer Greenlee
Sherry Hong
Michelle Kang
Vladimir Krakovich
Charles Morey
Sé-Doo Park
Jian-Wen Tong
Second Violin
Konstantin Umansky, Principal
David Bartolowits,
Associate Principal
Mary Anne Dell’Aquila,
Assistant Principal
The Taurel Chair
The Dick Dennis Fifth Chair*
Louise Alexander
Patrick Dalton-Holmes
Victoria Griswold
Hua Jin
Jayna Park
Barbara Radomski
Lisa Scott
Oleg Zukin
Piccolo
Rebecca Price Arrensen
The Janet F. and Dr. Richard E. Barb Chair
Viola
The Schlegel Chair
Mike Chen, Acting Principal/
Associate Principal
Beverly Scott, Assistant Principal
Nancy Agres
Amy Kniffen
Terry E. Langdon
Eva Lieberman
Stephanie Tong
Cello
Austin Huntington, Principal
Perry Scott, Associate Principal
Chair Anonymously Endowed
Sarah Boyer
Ingrid Fischer-Bellman
The Randall L. Tobias Chair
Mark Maryanovsky
Anne Duthie McCafferty
The Dr. and Mrs. Robert L. Rudesill Chair
Contrabass
Ju-Fang Liu, Principal
Robert Goodlett II, Assistant Principal
Nami Akamatsu
L. Bennett Crantford
Gregory Dugan
Peter Hansen
Brian Smith
Flute
Karen Evans Moratz, Principal
The Sidney and Kathy Taurel Chair
Robin Peller
Rebecca Price Arrensen, Assistant Principal
Jerry Montgomery
The Bakken Family Chair
Jill Boaz
Trumpet
The W. Brooks and Wanda Y. Fortune Chair
Robert Wood
Marvin C. Perry II, Acting Principal/
Assistant Principal
Trombone
James Beckel, Principal
K. Blake Schlabach, Assistant Principal
Bass Trombone
Jared Rodin, Acting Bass Trombone
The Dr. and Mrs. Charles E. Test Chair
Tuba
Anthony Kniffen, Principal
Timpani
Oboe
Jack Brennan, Principal
Jennifer Christen, Principal
The Thomas N. Akins Chair
The Frank C. Springer Jr. Chair
Craig A. Hetrick, Assistant Principal
Sharon Possick-Lange
Roger Roe, Assistant Principal
Percussion
Braham Dembar, Principal
English Horn
Craig A. Hetrick
Roger Roe
Pedro Fernandez
The Ann Hampton Hunt Chair
Harp
Clarinet
Diane Evans, Principal
David A. Bellman, Principal
The Walter Myers Jr. Chair
The Robert H. Mohlman Chair
Cathryn Gross
Keyboard
The Huffington Chair
The Women’s Committee Chair
Samuel Rothstein, Assistant Endowed in honor of Dorothy Principal
Munger
Bass Clarinet
Samuel Rothstein
Bassoon
John Wetherill, Principal Michael Muszynski
Mark Ortwein, Assistant Principal
Contrabassoon
Mark Ortwein
Horn
Robert Danforth, Principal
The Robert L. Mann and Family Chair
Richard Graef, Assistant Principal
Julie Beckel Yager
Personnel
K. Blake Schlabach, Manager
L. Bennett Crantford, Assistant Manager
Library
James Norman, Principal Librarian
Laura Cones, Assistant Principal Librarian
Susan Grymonpré, Assistant
Librarian
Stage
Quentin L. Quinn, Manager
Kenneth Bandy, Technician
P. Alan Alford, Technician
Steven A. Martin, Technician
*The Fifth Chair in the Second Violin Section is seated using revolving seating. String sections use revolving seating.
BOARD OF DIRECTORS
Founded by Ferdinand Schaefer in 1930
Maintained and Operated by the Indiana Symphony Society, Inc.
Officers
Vincent Caponi, Chair
Yvonne H. Shaheen, Vice-Chair
Gary Ginstling, Chief Executive Officer
Charlene Barnette, Secretary
Michael Becher, Treasurer
Vincent Caponi, Chair
Board of Directors
Don Altemeyer
Sherry Amlung
Hon. Alex M. Azar II
Deborah Ware Balogh
Charlene Barnette*
Michael Becher*
Barry J. Bentley*
Christina Bodurow, Ph.D.*
John A. Bratt
Bryan Brenner*
Vincent Caponi*
Trent Cowles
Andrea Cranfill*
Gary Ginstling*
Peter Howard, Ph.D.
Ann Hampton Hunt
Phil Kenney
Joseph M. Kessler
David Kleiman
Martha D. Lamkin*
Sarah Lechleiter
Greg Loewen
Morrie Maurer
Bruce McCaw
Karen H. Mersereau
David Morgan
Peter A. Morse Jr.
Gerald L. Moss
Marc Nichols
Jackie Nytes
Michael P. O’Neil
Kay Pashos
Alice K. Schloss
Carson Shadowen
Yvonne H. Shaheen*
Christopher Slapak
J. Albert Smith Jr.
Marianne Williams Tobias
Pete Ward
David Wilcox
Ralph V. Wilhelm*
James C. Zink Sr.
Jennifer Zinn
Kay Koch
Gordon E. Mallett, Ph.D.
Robert B. McNamara
Charles O’Drobinak
Henry C. Ryder
Fred E. Schlegel
Martha Anne Varnes
Dr. Charles H. Webb Jr.
Richard D. Wood
*Executive Committee
Board of Trustees
John M. Mutz, Chair
Bob Anker
Sen. Dan Coats
Stephen E. DeVoe
Carolyn S. Hardman
Mission of the Indianapolis Symphony Orchestra:
To inspire, entertain, educate and challenge through innovative programs and
symphonic music performed at the highest artistic level.
10
ISO PROFILE
Under the leadership of Krzysztof Urbański, one of the most acclaimed young conductors in the world,
the Indianapolis Symphony Orchestra is dedicated to performing concerts of the highest artistic quality,
offering accessible musical experiences for all ages, working collaboratively to create powerful, enriching
arts events, and serving its community like never before—inside and outside the concert hall.
A Brief History
Under the baton of Ferdinand Schaefer, 60 men and women made their official debut as the Indianapolis
Symphony Orchestra on Sunday, November 2, 1930, in Caleb Mills Hall in the newly built Shortridge
High School. In the decades since this debut concert, the Indianapolis Symphony Orchestra has emerged
as one of America’s top orchestras that attracts the finest musicians, guest conductors and artists from
all over the world and presents quality classical, pops, family and holiday programming to hundreds
of thousands of people each year. The ISO has received national and international acclaim with its
radio broadcasts, tours and recordings and became the first major orchestra with a resident ensemble
(Time for Three).
The ISO’s home—the Hilbert Circle Theatre
Built in 1916, the Circle Theatre in downtown Indianapolis was the first motion picture palace west of
New York built especially for the purpose of showing feature-length photoplays. From 1916-1981, the
Circle Theatre’s repertoire ranged from world premiere movie features, classical concerts and live stage
shows to low-budget motion pictures and short films. The facility was transformed into an orchestra hall
on October 12, 1984, when the ISO made its move from Clowes Memorial Hall to downtown Indianapolis.
With a significant gift from Steve and Tomisue Hilbert in 1996, the hall was renamed the Hilbert Circle
Theatre. In 2013, new seats were installed to create more accessibility and comfort for patrons, courtesy
of Lilly Endowment Inc.
Leadership within the ISO
Maestro Krzysztof Urbański was appointed as the ISO’s seventh Music Director on October 19, 2010, and
has now become a preferred and highly respected conductor among top orchestras in Europe, Asia and
the United States. Principal Pops Conductor Jack Everly’s approach to innovative pops programming
has garnered acclaim throughout North America, where he continues to serve as the Principal Pops
Conductor for four major orchestras, including Indianapolis. Concertmaster Zach De Pue is in his ninth
season with the ISO and along side his trio, Time for Three, leads the orchestra in performances and new
audience development initiatives. Conductor Laureate Raymond Leppard, who successfully led the ISO for
14 years as Music Director, continues his involvement through appearances on the podium each season.
The ISO in 2015-2016
In his fifth season with the ISO, Krzysztof Urbański focuses on major works by Beethoven, Brahms,
Tchaikovsky and Shostakovich and is collaborating with renowned soloists Joshua Bell, Emanuel Ax,
Dejan Lazić and Garrick Ohlsson. Maestro Urbański also presents the Cosmos Music Festival, with musical
themes inspired by space, and a semi-staged version of Georges Bizet’s Carmen at the close of the Hilbert
Circle Theatre season. In the Printing Partners Pops Series, Maestro Jack Everly is proud to share the stage
with music legend and American icon, Kenny Rogers, and the eclectic 12-piece ensemble, Pink Martini.
Returning this season is the ISO’s Duke Energy 317 Series, a collection of classical concerts and programs
presented in the communities of Hendricks County and Greater Greenwood. The ISO is celebrating the
20th anniversary of its youth and family development program, the Metropolitan Youth Orchestra.
11
MUSICIAN. TECHIE.
CITIZEN. EMPLOYEE.
We’re all citizens. Just like you.
Whether she’s playing guitar or making sure computer programs are in sync,
Julie knows the audience wants excellence. That’s no small challenge when your
audience is 400,000 customers in and around Indianapolis. People depend on Julie,
and others like her, for the water that brews
coffee and ﬁlls dog dishes. So every day
she makes sure her performance is the best
it can be, because Julie doesn’t just work for
Citizens Energy Group. She lives here too.
Visit IndyCitizens.com to learn more.
MUSIC IN MY LIFE
Terry Langdon joined the Indianapolis Symphony Orchestra
in 1979, holding the title of Associate Principal Viola until
2002 when she elected to move into the section. Born in
New York City, she earned a B.M. from Indiana University and
an M.M. from Yale University. Before coming to Indianapolis,
she was principal viola with the Owensboro Symphony and
played in the viola sections of the Buffalo Philharmonic, the
New Haven Symphony and the Aspen Festival Orchestra.
Ms. Langdon is married to a biology professor, and they are
the parents of three children. She is active as a volunteer at
her church and her children’s schools. She enjoys sewing,
cooking, and staying active.
What did you want to be when you grew up?
I wanted to be a jazz bass player, but I was not big enough at age nine to play the bass. My
second choice was to play the violin. Unfortunately, my teacher had given them all away, and
he offered me a viola instead. I stuck with it and added other instruments later.
Who is your favorite composer?
J.S Bach. His music is the perfect marriage of expression and intellect. His works are endlessly
beautiful and challenging.
You have been very active as a teacher and in the ISO’s Learning Community. What do
you focus on teaching your students?
Yes, education is very important to me. I currently have 12 students, ranging from 9 to 22 years
old. In many cases, my students aren’t aware how important it is to have accurate markings
in their music: tempo markings, bowing markings, fingering, and phrase markings. All these
markings reflect decisions that have been made in advance in order to be able to play the
piece. The number of decisions that need to be made often surprises students. Fingerings are
very personal, so I encourage students to make choices that work best for them.
What is your favorite memory with the ISO?
Krzysztof Urbański has such an amazing mind. He makes playing the Rite of Spring look easy to
do, even with all of the meter changes. Playing that piece, and knowing how accurate it was,
primarily due to his work and vision, was one of my greatest accomplishments.
What was your last sewing project?
I recently made a king-size t-shirt quilt for my daughter and new son-in-law. It took a lot of
time and took over our house, but it turned out well!
How is your life better with live music?
I do listen to recordings and the radio. It is a way to experience music, and it is certainly
better than not hearing the music. However, it does not have the emotional impact of a live
performance. The sound quality is never as good. When you play live music, you give the music
to the audience, which sends back palpable vibes. The symphony and the audience form a
paradigm of human cooperation and interaction at its best. There are few parallels in the world
involving that many people working at the same time for the same end.
13
ISO MUSICIANS AROUND TOWN
As part of the ISO’s Teddy Bear Series, Victoria Griswold’s (ISO
violinist) original story The Big Note will be performed on April 28,
2016 at 11 a.m. at Clowes Auditorium of the Central Library. The Big
Note will feature five ISO musicians playing excerpts from works of
Rossini, Brahms, Saint Saëns, and Rimsky-Korsakov. All Teddy Bear
Series performances are free and open to the public. To register call
275.4222. Stuffed friends welcome.
The chamber version of James Beckel’s
(Principal Trombone) piece The Glass
Victoria Griswold,
Bead Game will be performed by Alyssa
ISO violinist
Cherson for her Performer’s Diploma
recital on April 9, 2016 at 6:00 p.m. at Auer Hall in Bloomington, IN.
The Susquehanna University band will perform the first movement
of The Glass Bead Game on April 23, 2016, conducted by Eric
Hinton.
James Beckel,
Principal Trombone
Dr. John McGuire will play The Glass Bead Game four times on tour
with the Colorado State University Wind Symphony directed by Dr.
Rebecca Phillips on April 12, 13, 14 and 15, 2016.
INDIANAPOLIS SYMPHONY ORCHESTRA
13TH ANNUAL
MAESTRO open
P R E S E N T E D B Y C E N TA U R G A M I N G
MAY 9, 2016
WOLF RUN GOLF CLUB
RESERVE NOW
For sponsorship opportunities or
to register your team:
Contact Carol Ann Arnell at
[email protected]
15
MARCH 31
PICTURES AT AN EXHIBITION
Coffee Classical Series/Program Six
Thursday, March 31, 2016, at 11:15 a.m.
HANS GRAF, Conductor
Anatoli Liadov
Baba-Yaga, Op. 56
(1855-1914)
Modest Mussorgsky
Pictures at an Exhibition
(1839-1881) Promenade
Orch. by Maurice Ravel The Gnome
The Old Castle
Tuileries
Bydlo
Ballet of the Chicks in Their Shells
Samuel Goldenberg and Schmuyle
Limoges - The Marketplace
Catacombs (Sepulcrum Romanum) and
“Cum mortuis in lingua mortua”
Baba-Yaga (The Hut on Fowl’s Legs)
The Great Gate of Kiev
16
Length of performance is approximately fourty-five minutes.
Recording or photographing any part of this performance is strictly prohibited.
PICTURES AT AN EXHIBITION
APRIL 1, 2
Lilly Classical Series/ Program Fourteen
Friday, April 1, 2016, at 8 p.m.
Saturday, April 2, 2016, at 7 p.m.
JAMES EHNES, Violin
Anatoli Liadov
Baba-Yaga, Op. 56
(1855-1914)
The Enchanted Lake, Op. 62
Kikimora, Op. 63
Sergei Prokofiev
Concerto No. 2 in G Minor for Violin and Orchestra, Op. 63
(1891-1953) Allegro moderato
Andante assai
Allegro, ben marcato
James Ehnes, Violin
INTERMISSION - Twent y M i n ute s
Modest Mussorgsky
(1839-1881)
Promenade
Orch. by Maurice Ravel
The Gnome
The Old Castle
Tuileries
Bydlo
Premier Sponsor
Associate Sponsors
Length of performance is approximately one hour and fifty minutes.
17
APRIL 3
DUKE ENERGY 317 SERIES
Duke Energy 317 Series
Sunday, April 3, 2016, at 3 p.m.
Avon High School
JAMES EHNES, Violin
Anatoli Liadov
Baba-Yaga, Op. 56
(1855-1914)
The Enchanted Lake, Op. 62
Kikimora, Op. 63
Sergei Prokofiev
Concerto No. 2 in G Minor for Violin and Orchestra, Op. 63
(1891-1953) Allegro moderato
Andante assai
Allegro, ben marcato
James Ehnes, Violin
Modest Mussorgsky
(1839-1881)
Promenade
Orch. by Maurice Ravel
The Gnome
The Old Castle
Tuileries
Bydlo
Series supported by:
18
Known for his
wide range
of repertoire
and creative
programming,
the distinguished
Austrian
conductor Hans
Graf is one of
today’s most
highly respected
musicians.
Appointed Music Director of the Houston
Symphony in 2001, Mr. Graf concluded his
tenure in May 2013 and is the longest-serving
Music Director in the orchestra’s history. Prior
to his appointment in Houston, he was the
Music Director of the Calgary Philharmonic
for eight seasons and held the same post with
the Orchestre National Bordeaux Aquitaine for
six years. He also led the Salzburg Mozarteum
Orchestra from 1984 to 1994.
Hans Graf is a frequent guest with all of
the major North American orchestras. His
recent and upcoming guest engagements
include appearances with the Cleveland and
Philadelphia Orchestras, the New York and
Los Angeles Philharmonics, the Boston, San
Francisco, St. Louis, Cincinnati, Detroit, Dallas,
Baltimore, Indianapolis, Milwaukee, Colorado,
Utah and National symphonies and the St.
Paul Chamber Orchestra among others. Mr.
Graf made his Carnegie Hall debut with the
Houston Symphony in January 2006 and
returned to Carnegie leading the Orchestra of
St. Luke’s in March 2007.
APRIL 1-3
the St. Petersburg Philharmonic, Deutsches
Symphony Orchestra Berlin, Bavarian Radio
Orchestra, Rotterdam Philharmonic, Budapest
Festival Orchestra, Dresden Philharmonic,
Danish Radio Symphony Orchestra and the
Netherlands Radio Philharmonic among
others. He is also a regular guest with the
Sydney Symphony and the Hong Kong,
Malaysia and Seoul Philharmonics.
During the summer of 2013, Mr. Graf returned
to the Salzburg Festival for three different
performances, including conducting a
new work by Austrian composer Gerhard
Wimberger with the Mozarteum Orchestra
and leading an unusual, multi-media TV
production of Mozart’s The Abduction From
the Seraglio with the Camerata Salzburg. He
has also participated in other such prestigious
European festivals as the Maggio Musicale
Fiorentino, Bregenz and Aix en Provence. His
U.S. festival appearances include Tanglewood,
Blossom Music Festival, Aspen Music Festival,
Bravo! Vail Valley Music Festival and the Grant
Park Music Festival in downtown Chicago.
An experienced opera conductor, Mr. Graf first
conducted the Vienna State Opera in 1981
and has since led productions in the opera
houses of Berlin, Munich, Paris and Rome
among others. His extensive opera repertoire
includes several world premieres. Recent
opera engagements include Parsifal at the
Zurich Opera, Boris Godunov at the Opera
National du Rhin in Strasbourg, and two rarely
produced operas by Strauss and Korngold at
the famed Volksoper Vienna.
In Europe, Mr. Graf has conducted the Vienna
and London Philharmonics, Vienna Symphony,
Royal Concertgebouw Orchestra and
Leipzig Gewandhaus Orchestra as well as
19
APRIL 1-3
JAMES EHNES, Violin
Known for
his virtuosity
and probing
musicianship,
violinist James
Ehnes has
performed
in over 30
countries on
five continents,
appearing
regularly in
the world’s great concert halls and with
many of the most celebrated orchestras and
conductors.
James Ehnes has an extensive discography of
over 30 recordings featuring music ranging
from J.S. Bach to John Adams. Recent projects
include a disc featuring concertos by Britten
and Shostakovich, three CDs of the music
of Béla Bartók as well as a recording of
Tchaikovsky’s complete oeuvre for violin.
Upcoming releases include a double CD of
the complete violin works by Prokofiev and a
recording of Khachaturian’s Violin Concerto
paired with Shostakovich’s String Quartets
Nos. 7 and 8. His recordings have been
honored with many international awards and
prizes, including a Grammy, a Gramophone,
and 7 Juno Awards.
James Ehnes was born in 1976 in Brandon,
Manitoba, Canada. He began violin studies
at the age of four, and at age nine became
a protégé of the noted Canadian violinist
20
Francis Chaplin. He studied with Sally
Thomas at the Meadowmount School of
Music and from 1993 to 1997 at The Juilliard
School, winning the Peter Mennin Prize for
Outstanding Achievement and Leadership
in Music upon his graduation. Mr. Ehnes
first gained national recognition in 1987 as
winner of the Grand Prize in Strings at the
Canadian Music Competition. The following
year he won the First Prize in Strings at
the Canadian Music Festival, the youngest
musician ever to do so. At age 13, he made
his major orchestral solo debut with the
Orchestre symphonique de Montréal.
He has won numerous awards and prizes,
including the first-ever Ivan Galamian
Memorial Award, the Canada Council for
the Arts’ Virginia Parker Prize, and a 2005
Avery Fisher Career Grant. James has been
honoured by Brandon University with a
Doctor of Music degree (honoris causa) and
in 2007 he became the youngest person
ever elected as a Fellow to the Royal Society
of Canada. In 2010 the Governor General of
Canada appointed James a Member of the
Order of Canada, and in 2013 he was named
an Honorary Member of the Royal Academy
of Music, limited to a select group of 300
living distinguished musicians.
Ehnes plays the “Marsick” Stradivarius of
1715. He currently lives in Bradenton, Florida
with his wife and daughter.
NOTES
APRIL 1-3
By Marianne Williams Tobias
The Marianne Williams Tobias Program Note Annotator Chair
Baba-Yaga, The Enchanted Lake, Kikimora
Anatoli Liadov
Born May 10, 1855 in St. Petersburg, Russia
Died August 28, 1914 in Polinovka, Russia
she does good things,
but mainly she is a
terror: her favorite
dinner is little children.
Anatoli Liadov studied at the St. Petersburg
Conservatory under Rimsky-Korsakov, but
was known as a lazy student, never getting
his work done on time, and generally
irresponsible. Eventually, Rimsky- Korsakov
kicked him out of his class.
Baba-Yaga treats the
story in a terrifying
setting as she travels
through the forest.
Mussorgsky’s version
of Baba-Yaga preceded Liadov’s, which was
produced in 1905 as Opus 56. The music opens
with several shrieks and then sinks into a
jagged setting of the old woman flying rapidly
through the woods. Notice the depiction
of violent winds, which are beautifully
orchestrated. Thrusting rhythms mark her
passage in deep parts of the orchestra. At the
close she vanishes as quickly as she arrived.
Ultimately Liadov did manage to become a
professor at the Conservatory and remained
there most of his life. Prokofiev, one of his
students, noted, “Laziness was his most
remarkable feature.” This procrastination
cost him the chance to write The Firebird
for Diaghilev, a commission grabbed by
Stravinsky who was launched onto the world
stage with his version of the ballet.
When Liadov could harness himself to
compose, his works were brilliant and
often fantasy-like. Three of his most famous
programmatic tone poems are Baba-Yaga,
Kikimora, and The Enchanted Lake.
Baba-Yaga
Baba-Yaga and her two older sisters
permeated Eastern European folklore,
especially Russia folklore from 1755 when
she first appeared in Mikhail Lomonosov’s
Russian Grammar. She is terrifying—an old
lady with a huge appetite and iron teeth,
but she somehow remains very thin, almost
like a skeleton. She lives deep in the forest,
in a frightening hut, which spins on chicken
legs, and has a fence made of human bones
with skulls on top. In the Russian version,
she travels in a mortar with the pestle used
as a rudder, or a birch broom, and wherever
she goes she is “announced” by a wild wind
disturbing the trees, which groan at her evil
presence. Floating disembodied hands circle
around her to do her bidding. Occasionally
The Enchanted Lake
Opus 62, composed in 1908-09, is titled The
Enchanted Lake (A fable-tableau per Liadov).
Herein, the composer produces one of the
most beautiful atmospheric depictions
of a lake (supposedly inhabited by fairies
and wood sprites) in the moonlight. His
inspiration was Lake Llmen, south of St.
Petersburg, of which Liadov wrote, “How
purely picturesque it is—with bountiful
stars over the mysteries in the depths. But
most important—it is uninhabited, without
entreaties and complaints: only naturecold, malevolent, but fantastic as a fairy
tale. One must feel the change of colors,
the chiaroscuro, the incessantly changeable
stillness and seeming immobility.” The mood
is consistently gentle. Midway, a delicate tune
from the winds provides a lyrical segment,
but at all times absolute serenity reigns in the
lush, impressionist harmonies and slow pace.
Occasional birdcalls add to the tranquility and
beauty of the scene. The composer conducted
the first performance on February 21, 1909 in
St. Petersburg.
21
APRIL 1-3
NOTES
Kikimora
Opus 63, Kikimora was produced in the same
year as The Enchanted Lake, 1909. Her kinship
to Baba-Yaga is close. A malevolent (although
sometimes nice) old household witch who
torments children at night (by tickling them),
makes squeaky mouse-like sounds, lives behind
a stove or in the cellar, and spends her nights
breaking dishes and spinning. Should you
see her at this task, however, you will die. She
traverses the household by slipping through
keyholes in the doors. Once she is established,
it is almost impossible to get her out of the
house. Some tales mention her as “the goddess
of the house” who rewards good housekeepers
and terrorizes those who do not keep a clean
house.
Liadov wrote, “She grew up in the mountains
with a magician. From dawn to sunset, the
magician’s cat regales Kikimora with fantastic
tales of ancient times and faraway places as
Kikimora rocks in a cradle made of crystal. It
takes her seven years to reach maturity, by
which time her head is no larger than a thimble
and her body no wider than a strand of straw.
Kikimora spins flax from dusk to dawn with evil
intentions for the world.”
The music begins softly with a dense, heavy
atmosphere from which the English horn
surfaces with a melancholy, somber melody.
Like Baba-Yaga, Kikimora (at midpoint) gains
acceleration, and she is off on her malevolent,
spiteful plans. The tone poem takes us
on a frightening course as Kikimora seeks
vengeance on the world and its inhabitants.
Small wicked snippets sound from the
winds over shuddering strings: excitement is
enhanced by rapidly repeating notes, coaxing
the music into nervous advance. An aggressive
segment dominates the final section: there is a
sudden pause, and Kikimora disappears with a
peep from the piccolo.
The ISO’s last performance of Baba-Yaga was
October 2006, conducted by Vasily Petrenko.
The ISO’s last performance of The Enchanted
Lake and Kikmora was January 1997, conducted
by Alfred Savia.
22
Concerto No. 2 in G Minor
Sergei Prokofiev
Born April 27, 1891 in Sontzovka, Ukraine
Died March 5, 1953 in Moscow, Russia
In 1935, at age 44, Prokofiev decided to
end his twenty years in the west and return
permanently to Moscow with his family.
Prokofiev explained, “Here is how I feel about
it: I care nothing for politics—I’m a composer
first and last. Any government that lets me
write my music in peace, publishes everything
I composed before the ink is dry, and performs
every note that comes from my pen is all
right with me. In Europe, we all have to fish
for performances, cajole conductors and
theatre directors; in Russia they come to me.
I can hardly keep up with the demand...” Lina,
his wife at the time, arrived that year as well
with their two sons Oleg and Svatislov. His
view that “government would let him write
whatever he wanted,” under the dictatorship
of Joseph Stalin, was not only naïve but
dangerous.
1935-36 were fateful years in Russian history
vis-à-vis music. The crackdown on artistic
dissent from the overarching principal of
Soviet Realism, compulsory for all composers,
would begin to be aggressively enforced
in 1936. In 1932, Stalin had introduced his
cultural policy of “Socialist Realism” stating,
“The main attention of the Soviet composer
must be directed towards the victorious
progressive principles of reality towards
all that is heroic, bright and beautiful. This
distinguishes the spiritual world of Soviet
man and must be embodied in musical
images full of beauty and strength. Socialist
Realism demands an implacable struggle
against folk-negating modernistic directions
that are typical of the decay of contemporary
bourgeois art, against subservience and
servility towards modern bourgeois culture.”
The first purge of Soviet composers would
occur in 1937.
Prokofiev escaped the denunciations, at
least for the moment, and he was seemingly
compliant. “I believe the type of music
needed is what one might call “light-serious”
NOTES
or “serious-light” music. It is by no means
easy to find the right idiom for such music.
It should be primarily melodious, and the
melody should be clear and simple without,
however, becoming repetitive or trivial. The
same applies to the technique of form; it, too,
must be clear and simple but not stereotyped.
It is not the old simplicity that is needed
but rather a new kind of simplicity.” Gone
was the enfant terrible of his early years,
the brave pioneer, and innovator. In 1948,
however, Andrei Zhdanov denounced him in a
government decree (along with Shostakovich
and Khachaturian) by the government for his
formalist tendencies and western decadence.
For Prokofiev, the struggle between his love
of his homeland and the fury of the Stalinist
government was endless. From time to time
he turned out “acceptable music” such as
Thirty Years, Winter Bonfire, and On Guard for
Peace. He also turned out music deemed
unacceptable for which he was punished
and humiliated for his formalist tendencies
and western decadence. By any metric, it was
dangerous to compose music under Stalin.
Prokofiev died of a stroke in 1953, the same
hour, day, and year as Stalin, lucky not to have
been one of the twenty million deaths during
the Stalin regime. There was not one flower at
his funeral. Stalin’s funeral used every flower
available. Only forty people attended his
funeral.
Prokofiev was on a concert tour with the
French violinist Robert Soetens while he
was working on the Second Violin Concerto.
“The number of places in which I wrote the
Concerto shows the kind of nomadic concerttour life I led then. The main theme of the
first movement was written in Paris, the first
theme of the second movement in Voronezh,
the orchestration was finished in Baku and the
premiere was given in Madrid.” This was on
December 1, 1935. It was his last work before
returning to Russia.
The Allegro moderato begins with the soloist’s
gentle, folk-like melody (only eight bars)
followed by a response from lower strings,
sharing the idea but in a “distant key”. Initial
APRIL 1-3
serenity is truncated by typical Prokofiev
brilliance, spicing the music with rapid
tonal changes, imbuing the movement with
distinctive colorations and energy. Shortly
thereafter, a second main idea emerges, which
has been described as “one of the mature
Prokofiev’s most felicitous melodic revelations”
(Israel Nestyev, Prokofiev.) A development
features the two melodic ideas appearing,
disappearing, and alternating within bright,
sassy contexts. Michael Steinberg wrote, “His
inventive violin writing carries him brilliantly
to the end.” The recapitulation brings both
ideas back for a final bow before a muted horn
and pizzicato strings bring the first movement
to its close.
The Andante assai of the second movement
opens with elegant pizzicato triplets,
supporting a lush melody (in duple meter)
from the soloist. Prokofiev was composing his
Romeo and Juliet ballet contemporaneously,
and most analyses suggest that this
main subject was an extension or further
expression of romantic feelings. Clarinet and
flute provide a counter melody before the
movement enters a section of impassioned
lyrical exchanges between orchestra and
violinist, sometimes cast in theme and
variation format. A spectacular moment occurs
when the violins are given a turn to sing the
full melody with the soloist flying high with
independent commentary and decoration.
There is a small coda with bassoon, drums, and
bass recalling the melody quietly at the end.
No holds are barred in the last movement. The
mood shifts dramatically into a bright dancelike setting, complete with castanets (probably
because Prokofiev knew this would be played
in Madrid). He also let loose his predilection
for dramatic dissonances, heavy accents, and
wildness. (In fact, he marks the very end to be
played tumultuoso.) Although a rather polite
second theme appears momentarily, nothing
can withstand the allure of the energy and
agitation with which the movement began.
Winds and brass enter the fray, preparing for a
particularly stunning presentation of virtuosity
with the soloist furiously playing over steady
drumbeats. The Second Violin Concerto ends
23
APRIL 1-3
NOTES
with a veritable fiesta of fast pizzicato strings
and timpani.
The last performance of Prokofiev’s Concerto
No. 2 in G Minor was March 2011, featuring
soloist Karen Gomyo and conducted by Jakub
Hrůša.
Modest Mussorgsky Born on March 21, 1839 in Toropets, Russia
Died on March 28, 1881 in Saint Petersburg,
Russia
The grand orchestral version of Pictures at an
Exhibition began as a ten movement piano
suite written in 1874 “in remembrance of
Viktor Hartmann,” an architect and artist
who happened to be a personal friend of
Mussorgsky’s. They had met in 1862 and both
shared a commitment to Russian nationalism.
The composer never considered orchestrating
the piano score, which was left to many others
to have a turn at it. He was quite content
leaving the work simply as an “album series.”
His “album series” excited many future
composers who saw irresistible potential and
fodder for orchestral iterations and assorted
arrangements. These included those of Lucien
Cailliet, Leopold Stokowski, Mikhail Tushmalov,
Henry Wood, Leo Funtek, Giuseppe Becce (a
very truncated version). Walter Goehr, the
pianist Leonid Leonardi, a chamber version by
Chao Ching-Wen, a version for Brass Ensemble
by Elgar Howarth, and an adaptation for
classical guitar by Kazuhito Hamashita. Ten
different composers were engaged to write one
movement each by the Amadeus Orchestra of
the UK which was first performed in 2012. Also,
a version emerged by Peter Breiner for large
orchestra in 2012. Leonard Slatkin took a turn
at it with two compendium versions.
And the list is long for arrangements of
different performing groups such as jazz
orchestra, organ, pipe organ, metal bands,
euphonium and tuba quartet, band, glass harp,
punk-jazz band, and saxophone choir also exist,
just to name a few.
24
After Hartmann’s sudden death at age 39, the
critic Valadimir Stassov organized a memorial
art exhibition in the Academy of Fine Arts
in St. Petersburg. The exhibition feature 400
Hartmann drawings, costumes, architectural
designs, sketches for ornamental house
objects and watercolors.
Six weeks after visiting this tribute,
Mussorgsky completed his own musical
tour of the exhibition, and wrote to Vladimir
Stassov, “My dear generalissimie, Hartmann is
seething as Boris seethed…sounds and ideas
hand in my head and I can barely manage
to scribble them on paper…. The transitions
are good on the Promenade…I want to work
more quickly and reliably…. so far, I think it
is well tuned.” Boris refers to the composer’s
only completed opera, Boris Godunov,
which he completed in 1869. The work bore
the working title Hartmann and was later
changed.
Vivid pictorialization and textural variety
within the piano score caught the ear of Serge
Koussevitsky, and he commissioned Maurice
Ravel to create an orchestral version which
was premiered at the Paris Opera on October
19, 1922. Acclaim was immediate, not only
for the amazing musical spectacle, but also
for the fabulous orchestration which Ravel
produced. For source, Ravel had relied on the
edited piano score by Rimsky-Korsakov after
the composer’s death.
Pictures at an Exhibition begins with a steadily
moving Promenade (walking section) in which
“Mussorgsky depicts himself roving through
the exhibition, now leisurely, now briskly in
order to come close to a picture that had
attracted his attention, and at time sadly,
thinking of his departed friend.” (Stassov) It
is mainly slow because Mussorgsky weighed
about 300 pounds.
We arrive first at The Gnome clumsily running
with crooked legs” which is represented by
a grotesque Nutcracker originally designed
by Hartmann as a Christmas present for
children. Note the sudden starts and stops as
The Gnome flails about in his movements. A
NOTES
savage ending completes this section.
We move again via the Promenade, marked
“moderato commodo assai e con delicatezza”
to the watercolor Il Vecchio Castello (The Old
Castle), wherein we view a troubadour singing
(sadly) to his beloved in front of the medieval
building. The troubadour, who is unsuccessful
in wooing his sweetheart, is represented by
the doleful tones of alto saxophone. The music
ends quietly with throbbing rhythms.
We re-enter the Promenade, marked
“moderato non tanto, pesamente” leading to a
picture of the beautiful Tuileries in Paris. A tiny,
tri-partite scherzo depicts children playing
amid scolding nannies. The music moves
lightly, quickly, full of sparkle and delight.
Bydlo depicts a huge Polish cart drawn by
oxen. The heaviness of the cart and the oxen
is presented via solo tuba and slowly moving
orchestration thumping in 4/4 meter. The
music quiets as the cart moves away at the
close.
The Promenade resumes now marked
“tranquillo” before we arrive at the lighthearted Ballet of the Chicks in their Shells for
which Hartmann had designed costumes
featuring eggshells with bright yellow canary
heads for the ballet The Elf of Argyle or Trillby.
Quick chirps unmistakably represent the
energetic chicks who bounce happily amid
winds and pizzicato strings.
The Ravel version omits the Promenade
theme at this point. A dramatic introduction
presents the section titled Samuel Goldenberg
and Schmuyle. (Per Stasov “Two Jews: rich
and poor.”) These two portraits were owned
by Mussorgsky and had been loaned to the
retrospective of Hartmann’s works.
APRIL 1-3
dead Hartmann leads me towards the skulls,
invokes them; the skulls glow softly from
within.”
The Promenade theme re-emerges within
the context of the Andante. The scary Hut on
Fowl’s Legs referencing Baba-Yaga (a fearsome
witch in Russian folklore who lives on the
edge of a forest) is one of the most exciting
elements within the musical “exhibition.”
The hut has no windows or doors, and spins
around in frightening behavior. For this
section, Mussorgsky’s music begins Allegro
con brio, feroce before moving into an andante
mosso section. Stasov wrote, “Hartmann’s
drawing depicted a clock in the form of BabaYaga’s hut. Mussorgsky added the witch’s
flight in the mortar.” A coda leads to the final
movement, The Great Gates of Kiev.
The final movement is marked maestoso con
grandezza, based on the sketch which was
Hartmann’s design for the city gates at Kiev,
conceived “in the ancient Russian massive style
with a cupola shaped like a Slavonic helmet.” It
was inspired as a tribute to old Russia, a piece
of heartfelt nationalism. The music opens
with an expansion of the opening promenade,
includes a baptismal hymn from the Russian
Orthodox faith, and moves steadily to an
enormous climax and glorious tribute colored
by tubular bells to Tsar Alexander II who had
survived a nearly successful assassination.
The ISO’s last performance of Pictures at an
Exhibition was June 2013, conducted by
Krzysztof Urbański.
Limoges-The Marketplace brings forth “French
women quarrelling violently in the market.”
Catacombs, per Stasov, notes, “Hartmann
represented himself examining the Paris
catacombs by the light of a lantern. There are
two sections: Largo and Andante. Mussorgsky
wrote in the score, “The creative spirit of the
25
I n d i a n a p o l i s S y m p h o n y O r c h e s t r a ’s
OPEN NG
Night Gala
A special evening of music celebrating the
bicentennial of the state of Indiana and the
100th birthday of the Hilbert Circle Theatre.
featuring
Principal Pops Conductor
Jack Everly and the
Indianapolis Symphony
Orchestra
Save the Date
September 24, 2016
HILBERT CIRCLE THEATRE
TABLES ON SALE NOW!
INDIVIDUAL DINNER TICKETS
ON SALE MAY 2!
FOR MORE INFORMATION, CALL THE ISO
BOX OFFICE AT 317.639.4300.
PRESENTED BY:
I VEERRSSAARRYY
0TTHHAANNNNI V
220
PROGRAMOF
OFTHE
THEINDIANAPOLIS
INDIANAPOLISSYMPHONY
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Join
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MYO
MYO 20th
20thANNIVERSARY
ANNIVERSARY
CELEBRATION
CELEBRATIONCONCERT
CONCERT
Sunday,
Sunday, April
April10,
10,2016,
2016,3PM
3PM
Hilbert
HilbertCircle
CircleTheatre
Theatre
*With
*With special
special guests
guests Cathy
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andDean
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Thank
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aspire to become the leaders of tomorrow in their communities
Anonymous (3) | The Ann and Gordon Getty Foundation and the League of American Orchestras | R.B. Annis Educational Foundation |
Anonymous (3) | The Ann and Gordon Getty Foundation and the League of American Orchestras | R.B. Annis Educational Foundation |
Junior League of Indianapolis | BKD | Hoover Family Foundation | Shaw-Burckhardt-Brenner Foundation | Sheila Fortune Foundation |
Junior League of Indianapolis | BKD | Hoover Family Foundation | Shaw-Burckhardt-Brenner Foundation | Sheila Fortune Foundation |
Ackerman Foundation | The Penrod Society | FALPRET/McKinney Family Foundation | Indiana First Lady’s Charitable Foundation | Psi Iota Xi, Iota Tau |
Ackerman Foundation | The Penrod Society | FALPRET/McKinney Family Foundation | Indiana First Lady’s Charitable Foundation | Psi Iota Xi, Iota Tau |
Charles W. Brown | David Garrett | Don and Carolyn Hardman | Dr. & Mrs. E. Henry Lamkin, Jr. | Sarah & John Lechleiter | Dr. Gordon and Carole Mallett |
Charles W. Brown | David Garrett | Don and Carolyn Hardman | Dr. & Mrs. E. Henry Lamkin, Jr. | Sarah & John Lechleiter | Dr. Gordon and Carole Mallett |
Dr. Kathryn Vanderwater-Piercy* and Dr. Jeffrey Vanderwater-Piercy | Mr. and Mrs. Frank D. Walker | *deceased
Dr. Kathryn Vanderwater-Piercy* and Dr. Jeffrey Vanderwater-Piercy | Mr. and Mrs. Frank D. Walker | *deceased
APRIL
TEXT5
DISCOVERY CONCERTS
For more than 75 years, children from throughout
Indiana have participated in the Indianapolis Symphony
Orchestra’s Discovery Concerts. The tradition of providing
outstanding education concerts for elementary school
students continues this year when Associate Conductor,
Vince Lee, leads the ISO in 14 performances of the 2016
program, The Orchestra Moves.
Paired with specially prepared comprehensive
educational materials and teacher workshops, the
Discovery Concerts are a fun, creative way to introduce the
great orchestral repertoire to elementary school children.
The Orchestra Moves
2015-2016 Discovery Concerts — January 26 | February 16, 17 | April 5 | May 10 | May 17, 18
VINCE LEE, Conductor | EMMA DONAHUE, Soprano | ERIC SMEDSRUD, Baritone
Nicholas Scarim A Simple Melody
(b.1952 )
Wolfgang Amadeus Mozart (1756-1791)
Overture to The Marriage of Figaro
Jacques Offenbach
(1819-1880)
“Can-Can” from Orpheus in the Underworld
Johann Strauss II
(1825-1899)
On the Beautiful Blue Danube Waltzes
Georges Bizet
(1838-1875)
“Toreador Song” from Carmen
Giacomo Puccini (1858-1924)
“O mio babbino caro” from Gianni Schicchi
Ludwig van Beethoven
(1770-1827)
Allegro Con Brio from Symphony No.5 in C Minor, Op. 67
Igor Stravinsky “Finale” from The Firebird Suite (1919)
(1882-1971)
Premier Sponsor
Associate Sponsors
Batt Family Foundation
Elba L. & Gene Portteus Branigin Foundation
Franklin Symphonic Council
Rock Island Refining Foundation
Speedwell Foundation
28
DISCOVERY CONCERTS
APRIL 5
Teacher Testimonials
“Brian is a very intelligent 3rd grade student who has
issues focusing. When we attended the Discovery Concerts,
we were lucky enough to have seats ten rows from the
front of the stage. Throughout the entire concert, Brian’s
eyes and ears were locked on the orchestra. He asked me
all about the instruments. His questions were beyond
a young student seeing something interesting. He was
passionate! He loved it! When the concert was over, I
sat with him on the bus, and he informed me that he
wanted to play the violin. Again, he was not expressing a
momentary excitement—he was hooked!
Due to your concert, Brian has begun playing the violin
with our music teacher. This has given him a center that
will be healthy for him. I don’t know what he will achieve,
but your program has served as an inspiration to give Brian
a true outlet and passion he deserves.”
Brian, Third Grade Violinist
Thomas D. Gregg Elementary, IPS #15
– Gene Markiewicz, Third Grade Teacher,
Thomas D. Gregg Elementary, Indianapolis Public School 15
“Thank you so much for a wonderful performance! Your generosity in making this opportunity
possible for our students is truly appreciated. After some wonderful preparatory experiences,
thanks to the very helpful classroom lesson provided by the ISO, the students arrived at the
Hilbert Circle Theatre with great anticipation and were enthralled to see the music “come alive.”
Your performances always serve as a source of inspiration for these budding instrumentalists!
Thank you for making this opportunity available to our students each year. We are already
looking forward to next year’s performance!”
– Tricia Clark, Music Teacher,
Theodore Potter Elementary School, Indianapolis Public School 74
Student Testimonial
29
D
ECISIONS MADE
LIVE AND IN PERSON.
261-9000
©2016 The National Bank of Indianapolis
www.nbofi.com
Member FDIC
PINK MARTINI WITH THE ISO
APRIL 8, 9
The Stratford Coffee Pops Series†
Friday, April 8, 2016, at 11 a.m.
Printing Partners Pops Series/Program Seven
JACK EVERLY, Conductor
PINK MARTINI, Soloists
THOMAS M. LAUDERDALE, Piano
CHINA FORBES, Vocals
GAVIN BONDY, Trumpet
ANTONIS ANDREOU, Trombone
NICHOLAS CROSA, Violin
PHIL BAKER, Upright Bass
DAN FAEHNLE, Guitar
TIMOTHY NISHIMOTO, Vocals and Percussion
BRIAN DAVIS, Congas and Percussion
MIGUEL BERNAL, Congas and Percussion
ANTHONY JONES, Drums and Percussion
Selections to be announced from the stage.
Premier Sponsor
Associate Sponsor
†
Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC. There is no intermission.
31
APRIL 8, 9
JACK EVERLY, Conductor
Jack Everly is
Principal Pops
Conductor
of the
Indianapolis
and Baltimore
Symphony
Orchestras,
Naples
Philharmonic
Orchestra and
the National
Arts Centre
Orchestra
(Ottawa). He has conducted the Los Angeles
Philharmonic at the Hollywood Bowl, The
New York Pops at Carnegie Hall and appears
regularly with The Cleveland Orchestra at
Blossom Music Center. Maestro Everly will
conduct over 90 performances in more than
22 North American cities this season.
As Music Director of the National Memorial
Day Concert and A Capitol Fourth on PBS,
Maestro Everly proudly leads the National
Symphony Orchestra in these patriotic
celebrations on the National Mall. These
concerts attract hundreds of thousands
of attendees on the lawn. The broadcasts
reach millions of viewers and are some of
the very highest-rated programming on PBS
television.
Everly is also the Music Director of IPL Yuletide
Celebration, now a 30-year tradition. He led
the ISO in its first Pops recording, Yuletide
Celebration, Volume One, that included three
of his own orchestrations. Some of his other
recordings include In The Presence, featuring
the Czech Philharmonic and Daniel Rodriguez,
Sandi Patty’s Broadway Stories, the soundtrack
to Disney’s The Hunchback of Notre Dame and
Everything’s Coming Up Roses: The Complete
Overtures Of Jule Styne.
Originally appointed by Mikhail Baryshnikov,
Everly was conductor of the American
Ballet Theatre for 14 years, where he served
as Music Director. In addition to his ABT
tenure, he teamed with Marvin Hamlisch
on Broadway shows that Hamlisch scored. He
conducted Carol Channing hundreds of times
in Hello, Dolly! in two separate Broadway
productions.
In 1998, Jack Everly created the Symphonic
Pops Consortium, serving as Music Director.
The Consortium, based in Indianapolis,
produces new theatrical pops programs.
In the past 13 years, more than 265
performances of SPC programs have taken
place across the U.S. and Canada.
Maestro Everly, a graduate of the Jacobs
School of Music at Indiana University, is
a recipient of the 2015 Indiana Historical
Society Living Legends Award and holds an
Honorary Doctorate of Arts from Franklin
College in his home state of Indiana. He is a
proud 15 year resident of Indianapolis. When
not on the podium you can find Maestro
Everly at home with his family, which includes
Max, the wonder dog.
Ji Young Lim
, 2014 Bronze Medalist
Tickets:
ChihYi Chen, Pianist
May 10, 2016, 7:30 PM www.violin.org
Eugene and Marilyn Glick Indiana History Center
32
Laureate Series
PINK MARTINI, Soloists
In 1994 in his hometown of Portland,
Oregon, Thomas Lauderdale was working in
politics, thinking that one day he would run
for mayor. Like other eager politicians-intraining, he went to every political fundraiser
under the sun… but was dismayed to find
the music at these events underwhelming,
lackluster, loud and un-neighborly. Drawing
inspiration from music from all over the
world—crossing genres of classical, jazz and
old-fashioned pop—and hoping to appeal to
conservatives and liberals alike, he founded
the “little orchestra” Pink Martini in 1994 to
provide more beautiful and inclusive musical
soundtracks for political fundraisers for causes
such as civil rights, affordable housing, the
environment, libraries, public broadcasting,
education and parks.
One year later, Lauderdale called China
Forbes, a Harvard classmate who was living
in New York City, and asked her to join
Pink Martini. They began to write songs
together. Their first song “Sympathique”
became an overnight sensation in France,
was nominated for “Song of the Year” at
France’s Victoires de la Musique Awards, and
to this day remains a mantra (“Je ne veux
pas travailler” or “I don’t want to work”) for
striking French workers. Says Lauderdale,
“We’re very much an American band, but
we spend a lot of time abroad and therefore
have the incredible diplomatic opportunity
to represent a broader, more inclusive
America… the America which remains the
APRIL 8, 9
most heterogeneously populated country
in the world… composed of people of every
country, every language, every religion.”
Featuring a dozen musicians, Pink Martini
performs its multilingual repertoire on
concert stages and with symphony orchestras
throughout Europe, Asia, Greece, Turkey, the
Middle East, Northern Africa, Australia, New
Zealand, South America and North America.
Pink Martini made its European debut at the
Cannes Film Festival in 1997 and its orchestral
debut with the Oregon Symphony in 1998.
Since then, the band has gone on to play with
more than 50 orchestras around the world,
including multiple engagements with the Los
Angeles Philharmonic at the Hollywood Bowl,
the Boston Pops, the National Symphony
at the Kennedy Center, the San Francisco
Symphony, and the BBC Concert Orchestra
at Royal Albert Hall in London. Other
appearances include the grand opening of
the Los Angeles Philharmonic’s Frank Gehrydesigned Walt Disney Concert Hall, four soldout concerts at Carnegie Hall, the Governor’s
Ball at the 80th Annual Academy Awards
in 2008 and Paris’ fashion house Lanvin’s
10-year anniversary celebration for designer
Alber Elbaz in 2012. In its twentieth year, Pink
Martini was inducted into both the Hollywood
Bowl Hall of Fame and the Oregon Music Hall
of Fame.
33
APRIL 14
ANDRÉ WATTS
Coffee Classical Series/Program Seven
Thursday, April 14, 2016, at 11:15 a.m.
GILBERT VARGA, Conductor
ANDRÉ WATTS, Piano
Edward MacDowell
Concerto No. 2 in D Minor for Piano and Orchestra, Op. 23
(1860-1908) Larghetto calmato
Presto giocoso
Largo - Molto allegro
André Watts, Piano
Richard Wagner
(1813-1883)
Prelude and “Liebestod” from Tristan und Isolde
Piotr Ilyich Tchaikovsky Romeo and Juliet Overture-Fantasy
(1840-1893)
34
Length of performance is approximately one hour and fifteen minutes.
ANDRÉ WATTS
APRIL 15, 16
Lilly Classical Series/Program Fifteen
Saturday, April 16, 2016, at 5:30 p.m.
ANDRÉ WATTS, Piano
César Franck
(1822-1890)
“Psyché et Eros” from Psyché
Edward MacDowell
(1860-1908)
Larghetto calmato
Presto giocoso
André Watts, Piano
Richard Wagner
(1813-1883)
(1840-1893)
This concert is endowed by Marianne Williams Tobias.
Premier Sponsor
Associate Sponsors
(4.16 only)
Length of performance is approximately one hour and forty minutes.
35
APRIL 17
TELAMON PALLADIUM SERIES
Telamon Palladium Series
Sunday, April 17, 2016, at 3 p.m.
The Center for the Performing Arts (Palladium)
ANDRÉ WATTS, Piano
César Franck
(1822-1890)
“Psyché et Eros” from Psyché
Edward MacDowell
(1860-1908)
Larghetto calmato
Presto giocoso
André Watts, Piano
Richard Wagner
(1813-1883)
(1840-1893)
Associate Sponsors
36
Length of performance is approximately one hour and forty minutes.
Gilbert
Varga, son
of celebrated
Hungarian
violinist Tibor
Varga, conducts
with distinctive
presence
and flair. A
commanding
and
authoritative
figure on the
podium, Varga
is repeatedly acclaimed for performances
displaying a broad range of colors, exquisite
textures, and subtle use of dynamics.
Renowned for his elegant and exceptionally
clear baton technique, Varga has held
positions with and guest-conducted many of
the major orchestras across the world.
Varga works extensively with the symphony
orchestras of North America, enjoying
regular relationships with many including the
Minnesota Orchestra, Nashville Symphony
and the St. Louis Symphony amongst
others. In Europe, he works regularly with
many of the major orchestras including
the Royal Scottish National Symphony,
Frankfurt Museumgesellschaft, Royal
Liverpool Philharmonic and in the 2015/16
season he looks forward to his debuts
with the Tonkünstler Orchestra at Vienna’s
Musikverein and further afield with the
Macao Symphony. In May 2013, Varga was
appointed Principal Conductor of the Taipei
WE
STUDEN TS
APRIL 14-17
Symphony Orchestra.
Gilbert Varga studied under three very
different and distinctive maestros: Franco
Ferrara, Sergiu Celibidache and Charles
Bruck. In the earlier part of his conducting
career, Varga concentrated on work with
chamber orchestras, particularly the Tibor
Varga Chamber Orchestra, before rapidly
developing a reputation as a symphonic
conductor. He was Chief Conductor of the
Hofer Symphoniker (1980-1985), and Chief
Conductor of the Philharmonia Hungarica
in Marl (1985-1990), conducting their debut
tour to Hungary with Yehudi Menuhin. He
was also Permanent Guest Conductor of the
Stuttgart Chamber Orchestra (1991-1995)
and Principal Guest of the Malmö Symphony
(1997-2000). In 1997, Varga became Music
Director of the Basque National Symphony
Orchestra, leading them through ten seasons,
including tours across the UK, Germany,
Spain and South America.
Varga’s discography includes recordings
with various labels including ASV, Koch
International and Claves Records. His
latest recording, released in January 2011
of concertos by Ravel and Prokofiev with
Deutsches Symphonie-Orchester Berlin and
Anna Vinnitskaya on Naïve Records, was
given five stars by BBC Music Magazine.
$10
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37
APRIL 14-17
ANDRÉ WATTS, Piano
André Watts
burst upon the
music world at
the age of 16
when Leonard
Bernstein
chose him
to make his
debut with
the New York
Philharmonic
in their Young
People’s
Concerts,
broadcast nationwide on CBS. Only two
weeks later, Bernstein asked him to substitute
at the last minute for the ailing Glenn Gould
in performances of Liszt’s E-flat Concerto with
the New York Philharmonic, thus launching
his career in storybook fashion. More than
50 years later, André Watts remains one
of today’s most celebrated and beloved
superstars.
A perennial favorite with orchestras
throughout the U.S., Mr. Watts is also a
regular guest at the major summer music
festivals including Ravinia, the Hollywood
Bowl, Saratoga and Tanglewood. Recent
and upcoming engagements include
appearances with the Philadelphia Orchestra
in Philadelphia and on tour, the New
York and Los Angeles Philharmonics, the
Minnesota Orchestra, and the St. Louis,
Atlanta, Detroit, Cincinnati, Dallas, Houston,
Baltimore, Indianapolis, Seattle and National
symphonies among others. In celebration
of the Liszt anniversary in 2011, Mr. Watts
played all-Liszt recitals throughout the U.S.
Recent international engagements include
concerto and recital appearances in Japan,
Hong Kong, Germany and Spain.
André Watts has had a long and frequent
association with television, having appeared
on numerous programs produced by PBS,
the BBC and the Arts and Entertainment
Network, performing with the New
York Philharmonic, Boston Symphony,
Philadelphia Orchestra, Mostly Mozart
38
Festival Orchestra and the Chamber Music
Society of Lincoln Center among others. His
1976 New York recital, aired on the program
Live From Lincoln Center, was the first full
length recital broadcast in the history of
television, and his performance at the 38th
Casals Festival in Puerto Rico was nominated
for an Emmy Award in the category of
Outstanding Individual Achievement in
Cultural Programming. Mr. Watts’ most
recent television appearances are with the
Philadelphia Orchestra on the occasion of
the orchestra’s 100th Anniversary Gala and a
performance of the Brahms Concerto No. 2
with the Seattle Symphony, Gerard Schwarz
conducting, for PBS.
Mr. Watts’ extensive discography includes
recordings of works by Gershwin, Chopin,
Liszt and Tchaikovsky for CBS Masterworks;
recital CDs of works by Beethoven, Schubert,
Liszt and Chopin for Angel/EMI; and
recordings featuring the concertos of Liszt,
MacDowell, Tchaikovsky and Saint-Saens on
the Telarc label. He is also included in the
Great Pianists of the 20th Century series for
Philips.
A much-honored artist who has played
before royalty in Europe and heads of
government in nations all over the world,
André Watts received a 2011 National
Medal of Arts, given by the President of the
United States. In June 2006, he was inducted
into the Hollywood Bowl of Fame, and
he is also the recipient of the 1988 Avery
Fisher Prize. At age 26 Mr. Watts was the
youngest person ever to receive an Honorary
Doctorate from Yale University and he has
since received numerous honors from highly
respected schools including the University
of Pennsylvania, Brandeis University, The
Juilliard School of Music and his Alma Mater,
the Peabody Conservatory of Johns Hopkins
University.
Mr. Watts was appointed to the Jack I. and
Dora B. Hamlin Endowed Chair in Music at the
Jacobs School of Music at Indiana University
in May, 2004.
NOTES
APRIL 14-17
Psyché et Eros
César Franck
Born December 10, 1822 in Liege, Belgium
Died November 8, 1890 in Paris, France
César Franck (1822-1890) was one of the
most influential organists and teachers in
late nineteenth century France. Numbered
among his students (even though he was
not a professor of composition) were Vincent
D’Indy, Henri Duparc, Ernest Chausson,
Louis Vierne, and Paul Dukas. In his later
years, he produced extraordinarily beautiful
compositions, of which Psyché et Eros is one
of six symphonic poems. This is his longest
and last in the genre.
Franck’s early symphonic poems were
inspired by contemporary French poetry,
but this subject matter was a shocking
choice even though the story had been quite
popular in nineteenth century literature,
drama, poetry, stained glass, frescoes, ballet
and art. This story of human (and carnal)
love was strange for a man who was devoted
to his religion, was sometimes identified as
a “Christian mystic and ascetic,” and called
a seraphic angel by his students. Was the
story, as set by Franck, a matter of salvation?
Redemption by divine intervention? What
about all the eroticism? The dedicatee,
Vincent D’Indy, insisted that “there was
nothing of the pagan spirit about it… but is
imbued with Christian grace and feeling.” The
entire orchestral score was never published,
and orchestral excerpts have served to
present what was left of the symphonic
poem.
The work is based on the pagan legend
of Psyché, taken from The Golden Ass
(aka Metamorphoses) by Lucius Apuleius
Madaurensis (c.124-c.170 BC). This is the
only ancient Roman Latin novel which has
survived in its entirety. The powerful tale
of Psyché et Eros begins in the fourth book
and continues in
books five and six. The
novel disappeared for
many years but was
re-discovered during
the Renaissance. From
that point forward, its
themes of love, sexual
pleasures and marriage
were ignited and
recast for many centuries, even into the 21st
century. (See Carol Gilligan’s references to the
story in The Birth of Pleasure, 2002.)
The story line is as follows: the goddess
Aphrodite (Venus) is wildly jealous of the
beauty of the mortal Psyché, and coaxes her
son Eros (Cupid) to cast a spell so no one will
fall in love with her. He shoots his arrow but
wounds himself and falls in love with Psyché.
Psyché’s family seeks for a mortal husband
but fails. Sending her off to a mountaintop,
she is met by Eros, who becomes her lover
and betrothed, even though she must never
look upon his face. She however does peek
at him during the night and recognizes Eros.
After many struggles and punishments for
her behavior, Eros and Psyché are united in
eternal marriage by Zeus (Jupiter) with a
grand wedding celebration attended by all
the Gods. Once elevated to heaven, they have
a love child named Voluptua (Pleasure).
Franck divides Psyché et Eros into three parts:
1. Introduction: Psyché is asleep (Lento), He
is awakened and taken by zephyrs to the
mountains (Allegro vivo).
2. The Union of the Lovers: Eros’ gardens
(Poco animato), lento section, Psyché and
Eros are together (Allegretto modere).
3. A slow section prefaces Psyché’s
punishment and redemption. The final close
is extremely soft, orchestrated only by two
39
APRIL 14-17
NOTES
clarinets, horns, violins and violas.
He also included a chorus for sopranos,
altos and tenors. Their mission was to
make commentary on the story and add
atmospheric touches, rather than to propel
the narrative. Franck called them “the chorus
of mysterious voices.”
The work premiered in 1888 and was later
performed in Concerts du Colonne series
during February and March 1890. Henry
Villars commented. “The audience was
swept away, and Franck was glowing with
happiness in his box.” On the other hand, Le
Menestrel critic wrote, “ We are surrounded
by movement, continuous melody reigns
in all its exaggerated presence. Through
an uninterrupted series of outrageous
harmonies, indecisive phrases wind, which
have no good reason for beginning and
have none for ending. The orchestra moans
and murmurs, the chorus offstage imitates
the vague noise of Aeolian harps hung on
the branches of pine trees.” (From Ph. D
dissertation: Symphonic Culture in Paris by
Mark Seto)
Even if the literary themes within Psyché
et Eros are unusual for the “beatific”
composer, they are fulsomely expressed in
Franck’s late romantic coloration, emotion
and imagination. Some have said he “deeroticized” the topic, but the music speaks for
itself: lush, evocative, richly chromatic and
deeply effecting.
This is the ISO’s first performance of Psyché
et Eros.
40
Piano Concerto No. 2
Edward MacDowell
Born on December 18, 1860 in New York City,
NY
Died on January 23, 1908 in New York City,
NY
Edward Alexander MacDowell was an
American pianist and composer, one of
the first seven chosen for membership in
the American Academy of Arts and Letters.
Although trained in the Paris Conservatoire
and the Frankfurt Academy, he was often
considered to be the most important
American composer of his day. During his
lifetime (1860-1908), European training was
not unusual for U.S. composers, because
there were no American conservatories
during this time.
At age 17, his mother took him from New
York to Paris for his musical education, and
he remained in Europe for many years. His life
spanned the height of Romanticism, and his
compositions (a specialist in miniatures and
character pieces, such as Woodland Sketches,
Sea Pieces, and New England Idylls) embrace
the ideals and ideas of that philosophy. Of
particular importance was his fascination
with nature, and some of his most famous
pieces (To A Wild Rose, for example) reflect his
ability to transmit the beauty of what he saw
around him. At his funeral, James Huneker
noted, “He was a born tone poet. He also had
the painter’s eye and the interior vision of the
seer.”
His Second Piano Concerto was composed
in Wiesbaden, Germany between 1884 and
1885 and was dedicated to the Venezuelan
pianist Teresa Carreno. The American
premiere was in New York on March 5, 1889
with the composer as soloist. The same
concert included the American premier
of Tchaikovsky’s Fifth Symphony. Critics
decided then and there that MacDowell’s
was the superior work! On March 13, 1889,
the Musical Courier stated, “In the Tchaikovsky
Fifth Symphony. One vainly sought for
NOTES
coherency and homogeneousness.”
Regarding the MacDowell Concerto, The
New York Tribune wrote, “It is a splendid
composition, so full of poetry, so full of
vigor as to temp the assertion that it must
be placed at the head of all works of its kind
produced by either a native or an adopted
citizen of America.” In Europe, however,
critics complained that the work was “too
Lisztian.” Liszt had been the composer’s friend
and a strong promoter of his music. Their
admiration was mutual.
In 1888, MacDowell and his wife Marian
Nevins, a former piano student, decided
to return to the United States to live in
Boston. Two years previously, he and his
wife had bought a summer home, Hillcrest
Farm, in Peterborough, New Hampshire. In
1896, he became the first chairman of the
Music Department at Columbia University
until 1904. In 1907, Marian established the
MacDowell Colony for artists, composers
and writers, deeding Hillcrest Farm for this
purpose. The Colony became a huge success
thanks to Andrew Carnegie, J.P Morgan,
Grover Cleveland, and many donors who
supported its mission, a blending of artistic
talents. There are now dozens of buildings
in the colony on 450 acres, and it is on the
National Register of Historical Landmarks.
Opus 23 is built in traditional sonata-allegro
structure but unusual in that its tempo
marking Larghetto calmato indicated that a
slow pace came first. A dreamlike, nostalgic
theme begins immediately in the violins
followed by horns. When the soloist enters
with a stunning, extensive cadenza, it is clear
that the composer has big ideas on hand for
the pianist. Eventually, this melts into a slow
recall of the main idea from violins, flute and
horns with pizzicato celli. Again, the pianist
re-enters with another massive display and
amplification of preceding themes, exciting
the orchestra into a brilliant response. With
its soaring lyricism, magnificent coloration,
and alluring passion, the opening movement
is clearly committed to romantic ideals,
APRIL 14-17
drama, power, and exuberance. In its dreamlike passages, it also speaks to the Romantic
ideals of intimacy and tenderness.
For his second movement, MacDowell
produces a presto giocoso (fast moving)
dazzling scherzo in rondo form. It contains
three themes, which had been destined
for a symphonic poem about Beatrice and
Benedict, referencing Shakespeare’s Much
Ado about Nothing, the first Shakespeare
play the composer and his wife had seen in
England. According to his wife, “He favored
the mischievous demons or elves that fly in
clouds through the air like pixies they were
light gossamer nothings, delicate as a feather,
wafted by swift March breezes.”
MacDowell’s friend and pupil, Mr. T.P. Currier,
noted, “his finger velocity was the most
striking characteristic of his playing… he took
to prestissimo like a duck to water… One
of his ever present fears was that his fingers
would run away with him!” This movement
demands formidable technique, strength,
and crisp articulations. The closing marked
piu mosso (faster) is definitely pixie-like:
marked ppp, the pianist plays a passage of
light broken chords, capped by two swift
little arpeggios and a light staccato chord
over pizzicato strings: the movement simply
disappears.
The final movement opens slowly, marked
Largo. Low strings preface the soloist’s quiet
response. The two forces blend in before the
pianist delivers the massive first theme. After
spinning trills, the music shifts to a jolly, faster
pace (molto allegro) expanding the ideas
into dramatic relief. The main theme of the
first movement returns for a final bow before
three faster ideas are introduced. Midpoint,
the music moves into a thoughtful lento
segment, but with the soloist leading the
way, MacDowell ignites the last section into
huge orchestral climaxes, pianistic fireworks,
galloping toward a massive closing chord.
There is also a two piano version of the
41
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APRIL 14-17
NOTES
Second Piano Concerto, Opus 24, arranged
by the composer in 1890.
celli and winds building a small chord, but
the treatment of the chord and its ambiguity
had enormous consequences. So enormous
The ISO’s last performance of MacDowell’s
that the opening has been considered a
Concerto No. 2 was January 2003, featuring
“landmark in the development of western
soloist André Watts, conducted by Andrew
music.” Michael Rose, in The Birth of Opera,
Litton.
wrote that Wagner “began a process that led
progressively but inexorably to the
birth of atonality, the theories of
Tristan und Isolde: Prelude and
Schoenberg, and the principals
Liebestod
of 12 tone music, whose
Richard Wagner
effects are with us still.”
William Berger in Wagner
Delivering
Born May 22, 1813 in
Without Fear wrote, “From
Leipzig, Germany
literally the first bar of the
outstanding
Died February 13, 1883 in
score, Wagner reinvents
performances
Venice, Italy
the art of music.”
in print
Prelude and
Liebestod stands at
the beginning and
end of Wagner’s sensual
Tristan und Isolde, an
opera focusing on desire,
illicit love and the fatal,
inextricable combination
of love and death.
These two excerpts,
however, had already been
heard in public before the
opera’s premier in Munich
at the Konigliches Hof
und National Theater
on June 10, 1865. The
Prelude had debuted
in Prague in March
1859, and the two were linked in a Parisian
concert on January 25, 1860
with the composer conducting. This
orchestral fusion has long been played
independently as a concert piece and has
stood the test of time, to become one of
the most beautiful and acclaimed works in
Wagner’s writings.
It is hard to imagine that in this lush,
romantic music a revolution was brewing,
which happens within the first few measures.
The music begins with quiet tones from the
44
Here is what
occurred and what
you will immediately
hear. The music
will slowly fuse, note
by note, into a dissonant
chord (known as the Tristan
chord), which does not
“behave” or move into a
consonance. Instead, the
music moves by a step
upward, into another
dissonance with similar
behavior. Harmonic
expectation was not
satisfied, and in this
deliberate, tantalizing
construction, a
revolution in traditional tonal harmonic
practice was at hand. No longer does a
composite sound (a chord) have to move in a
certain way. It can simply exist as coloration
or, in this case, a sound of continuing stress.
Traditionally a dissonance (uncomfortable
sound) had been treated as a matter of
momentary coloration which then moved
(almost directly) to a consonance (a
comfortable sound), which relieved and
resolved all tension, “distress” and suspense
created by the dissonance. In this case,
NOTES
APRIL 14-17
Wagner does not provide the anticipated
release. After first presenting a dissonant
chord (composed of two tritones), he elects
to repeat the structure. The listener is “left
hanging” so to speak. Eduard Hanslick
commented, “The Prelude to Tristan und
Isolde reminds us of one of the old Italian
paintings of a martyr whose intestines are
slowly unwound from his body onto a reel.”
Wagner continues this effect throughout the
Prelude, leading to growing intensity, only
to be relieved by resolution in the Liebestod.
The cumulative effect was stunning, but not
fully understood or acceptable to many who
first heard the Prelude. So shocking, in fact, it
was reported that several audience members
fell into a swoon upon hearing the notes for
the first time. Wagner intended instability
and danger: the lack of harmonic fulfillment
represented the angst and torture of unfilled
love between Tristan und Isolde.
The Prelude (langsam und schmachtend)
opens softly and slowly to the special chord.
There is a pause, and again, a tone higher, the
idea repeats with another pause: more music
and another pause… as if the music cannot
move forward. Suddenly there is a large
chord, and the music unfolds seamlessly
into a poignant theme sung by strings
with coloration from the horns. From time
to time, winds make small commentaries.
Gradually the music moves into a surge of
passion but submerges once again into its
opening reluctance with gentle repetitions
of the opening measures of the theme. The
static nature of this behavior underscores
the impossibility of any hope of happiness.
Two pizzicato from the lower strings seal this
part with the instructions “attacca”, meaning
go ahead immediately. In Wagner’s music
dramas, the action and the music were
continuous.
On July 5, 1865 the Allgemeine musikalische
Zeitung noted, “Not to mince words, it
[the opera] is the glorification of sensual
pleasure, tricked out with every titillating
device…the most ideal of the Muses has
been made to grind the colors for indecent
paintings… Wagner makes sensuality itself
the true subject of his drama we think that
the stage presentation of the poem Tristan
und Isolde amounts to an act of indecency.”
On his part, in December 1854, Wagner had
written to Liszt that “since never in my whole
life have I tasted the real happiness of love,
I mean to raise a monument to that most
beautiful of dreams…. I have in my mind a
plan for Tristan und Isolde, the simplest but
most full-blooded conception…and it will
quickly bring me a good income and keep
me afloat for a time.” Later, with great pride,
he commented on the significance of his
opera saying, “Tristan is and remains a miracle
to me! I find it more and more difficult to
understand how I could have done such a
thing: when I read through it again, my eyes
and ears fell open with amazement… I have
far overstepped the limits of what we are
capable of achieving in this field.” (L. Wright)
The orchestral Liebestod, an arrangement
of Isolde’s Act 3 aria Mild une leise, begins by
echoing the softness and tentative nature
of the Prelude. Instructions are to play sehr
mässig beginnend. The music begins from the
bass clarinette moving slowly in combination
with horns supported by shimmering
strings declaiming the “longing motif,” which
becomes combined with the “transfiguration
motif” of love. After harp arpeggios, the
tempo increases (etwas bewegter: moving
ahead), and there is increasing activity. The
orchestra texture thickens steadily: soaring
rhapsodic populate the score with repetitions
of the opening idea. Notice herein the
beautiful scoring for the harp. Gradually,
the music becomes more passionate,
accelerating with increasing dynamics until
a massive climax of the longing motif and
transfiguration motif. The conclusion moves
to a thinner texture, moving slowly with
resignation to the glimmering final chord. At
this time in the opera, Tristan has died and
Isolde falls over his body, holding him in her
arms as if in a trance as she is transformed
into the higher plane of existence into
unmitigated bliss in their ultimate unity.
45
APRIL 14-17
NOTES
Tragically, only by death. Death is the key to
fulfillment. Thus the title Liebestod: lovedeath. In Wagner’s mind the two were tightly
connected. He forecast the ending in Act II,
when the lovers sang; “Oh might we then
together die… each to each be given in love
alone, our heaven.”
Isolde’s final aria re-iterates this conviction.
Her words are:
“Breathe my life away in sweet scents?
In the billowing torrent
In the resonating sound
In the universal stream of the World breath.
To drown, to be engulfed, to be unconscious,
utmost rapture.”
Holding back the music gains energy and
fulfillment through ineffable sweetness
and consonant releases. The orchestration
becomes larger as the drama moves toward
its passionate and infinitely sad conclusion.
At this time in the opera, Tristan has died and
Isolde falls over his body, holding him in her
arms as she is transformed into the higher
plane of existence in heaven. Timpani strokes
underscore the increasing tempo in a steady
accelerando moving, as it were, toward a
higher plane: an inevitability of their union
into the World Soul. Note the repetitions of
the Liebestod motif “death of love,” which
is a five-note pattern, as if the music is stuck
on one idea, marking the futility and disaster
of the love between Tristan and Isolde.
Eventually, the music moves into a major key
and resolution of the “special chord,” which
recurs many times in the work. Finally, in this
musical resolution, there is unmitigated bliss.
Sadly, the only means of arriving at this point
for the two lovers was through death and
transfiguration.
The ISO’s last performance of Tristan und
Isolde: Prelude and Liebestod was June 2007,
conducted by Mario Venzago.
46
Romeo and Juliet
Pitor Ilyich Tchaikovsky
Born May 7, 1840 in Votkinsky, Russia
Died November 6, 1893 in St. Petersburg, Russia
In the nineteenth century, the Russian
aristocracy and Imperial Court developed
a strong appetite and respect for European
classical music, which was mainly performed
in their palaces. Embracing Western styles
and tastes manifested into an artistic and
social pedigree, and travel to the West was
part of the elite lifestyle. Upper class Russians
also liked to be speak French, and by age six
Tchaikovsky was able to speak French and a
bit of German, taught to him by his nanny,
Fanny Durbach, whom he addressed all of his
life as mademoiselle.
After a short career as a civil servant, he
turned to music, producing symphonies,
ballets, operas, concerti, string quartets
and piano trios in traditional western
formats. Ultimately, Tchaikovsky became
the first Russian composer known and loved
internationally. He received an honorary
Doctor of Music degree from Cambridge,
and became a member of the Academie des
Beaux-Arts in France.
However, there was a reaction to Western
enthusiasms. Within growing Russian
nationalism, a counter-current developed.
Led by a group called The Mighty Five, a
formidable insistence on purely Russian
music and Russian sources gained
momentum. Its members, largely self-taught,
were Balakirev, Borodin, Rimsky-Korsakov,
Modest Mussorgsky, and Cui.
In the simplest terms, there were two
basic and contentious factions: those who
embraced the West and those who were
focused on “new music” with Russian roots
and influences. Somewhat ironically,
Tchaikovsky and the Five both shared a
commitment to “Russianness,” but how it was
to be expressed was very different.
NOTES
Tchaikovsky, who had formal Conservatory
training, and Balakirev, founder of the
Mighty Five, had a friendship and a “working
relationship.” On his side, Balakirev thought
that academic musical training was a threat
to inspired composition, probably because
he never had any. However, he managed to
maintain an influential career in composition,
conducting and research into Russian folk
music. Tchaikovsky’s brother, Modest, noted
that the composer’s relationship with the
Mighty Five resembled “ those between two
friendly neighboring states—cautiously
prepared to meet on common ground, but
jealously guarding their separate interests.”
(The Life and Letters of Peter Ilich Tchaikovsky
by Rosa Newmarch)
It was Balakirev who suggested that he
write the Romeo and Juliet Overture,
explaining literary analyses, and even sent
suggested themes, harmonic development
and orchestration. The composer was only
29, and he took the advice to heart and
collaborated extensively. The composer was
happy with the idea and noted, “It will be my
most monumental work. It now seems to
me absurd that I could not see earlier that I
was predestined, as it were, to set this drama
to music”. In a letter to Balakirev he stressed,
“The layout is yours. The introduction
portraying the friar, the fight—Allegro and
love—the second subject; and secondly the
modulations are yours: also the introduction
in E, the Allegro in B-flat minor, and the
second subject in D-flat.” He completed
APRIL 14-17
the Overture in 1869, and the Overture
premiered on March 16, 1870. The response
was tepid, and eventually there were two
revisions in 1872 and 1880. The Romeo and
Juliet Overture-Fantasy put Tchaikovsky on
the map and became a masterpiece.
The Overture (cast in sonata-allegro form)
begins with a long introduction: a solemn
chorale sung by clarinets and bassoons
opens the scene, representing Friar Lawrence.
Two contrasting main themes emerge. The
first brutal and nervous, represents the
warring Capulet and Montague families. The
second is the splendid love theme for Romeo
and Juliet, first stated by English horn and
muted violas. Many have said, “ This is the
best love music there is…” A development
section (complete with warring families)
is brilliantly scored and developed before
the recapitulation. Herein, the love theme
melody receives its most grand statement.
At the conclusion, the music moves into a
quiet, reflective segment with quiet timpani.
Steadily the music retreats into deep sadness:
what futility and tragedy had occurred. A
roaring conclusion marked by aggressive,
angry timpani and a stern chord brings the
Overture to its close.
The last ISO performance of Tchaikovsky’s
Romeo and Juliet was June 2009, conducted
by Juanjo Mena.
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ORGAN SPECTACULAR
APRIL 22, 23
Lilly Classical Series/Program Sixteen
MATTHEW HALLS, Conductor
PAUL JACOBS, Organ
Olivier Messiaen
Les Offrandes oubliées (The Forgotten Offerings)
(1908-1992)
Félix-Alexandre Guilmant
Symphonie No. 1 pour Orgue et Orchestre, Op. 42
(1837-1911)
Introduction (Largo e maestoso) et Allegro
Pastorale: Andante quasi allegro
Final: Allegro assai
Paul Jacobs, Organ
Darius Milhaud
La Création du monde, Op. 81a (The Creation of the World)
(1892-1974)
Maurice Ravel
Cinq pièces enfantines from Ma Mère l’Oye (Mother Goose)
(1875-1937)
Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty)
Petit Poucet (Tom Thumb)
Laideronnette, impératrice des pagodes
(Little Ugly Girl, Empress of the Pagodas)
Les entretiens de la belle et de la bête
(Conversations of Beauty and the Beast)
Le jardin féerique (The Enchanted Garden)
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49
APRIL 22, 23
MATTHEW HALLS, Conductor
British
conductor
Matthew
Halls is quickly
becoming
known for his
dynamic work
with major
symphony
orchestras
and opera
companies, and
for his probing
and vibrant
interpretations of music of all periods. The
2015-16 season marks his second as Artistic
Director of the Oregon Bach Festival, having
succeeded founding director Helmuth Rilling
the previous year.
Increasingly in demand by North American
Symphony orchestras, Halls has performed
with the Cleveland Orchestra, Calgary
Philharmonic, Houston Symphony, Los
Angeles Chamber Orchestra, National Arts
Centre Orchestra, Philadelphia Orchestra,
Seattle Symphony, and the Utah Symphony
in repertoire from Bach and Handel to
Beethoven, Kernis, Mendelssohn, Messiaen,
Mozart, Rachmaninov, Tchaikovsky and
Tippett. His debut with the Toronto
Symphony, in which he led Beethoven’s
Ninth Symphony, “captured much of the
energy and excitement that its first audience
must have felt at its premiere nearly 200
years ago” (Toronto Star).
50
Halls’ 2015-16 North American appearances
include the Nashville Symphony for the
complete Brandenburg Concertos, Los
Angeles and St. Paul Chamber Orchestras,
Oregon Symphony, Indianapolis Symphony
Orchestra, and Les Violons du Roy in Quebec.
European orchestras are equally eager to
welcome Halls to their podiums. In spring
2014, he made a triumphant debut with
Concentus Musicus Wien, substituting
on short notice for Nikolaus Harnoncourt
in an acclaimed performance of Haydn’s
Seasons. He has also appeared with the BBC
Scottish Symphony, Bergen Philharmonic,
and Frankfurt Radio Symphony, and makes
regular appearances in Austria and on tour
with the Salzburg Mozarteum Orchestra.
Overseas this season, he appears with the
Royal Scottish National Orchestra, Irish
Baroque Orchestra, Konzerthaus Berlin,
Deutsche Kammerphilharmonie Bremen,
and returns to the Moazarteum. He is also
featured with the Taipei Symphony Orchestra
in Taiwan and returns to both the Iceland
Symphony Orchestra in Reykjavik, and
Musica Viva in Moscow.
Halls is represented on disc with Handel’s
Parnasso in Festa, winner of the Stanley
Sadie Handel Recording Prize, released by
Hyperion. His recordings on Linn Records are
highlighted by a set of four Bach Harpsichord
Concertos conducted from the keyboard,
which Gramophone welcomed as “joyful and
invigorating.”
PAUL JACOBS, Organ
The first and
only organist
ever to have
won a Grammy
Award (in 2011
for Messiaen’s
towering “Livre
du SaintSacrement”),
Paul Jacobs
combines
a probing
intellect and
extraordinary
technical skills with a repertoire that
spans the gamut of music written for his
instrument, both old and new. He has
transfixed audiences, colleagues and
critics with landmark performances of the
complete works for solo organ by J.S. Bach
and Messiaen, as well as a vast array of other
composers. A fierce advocate of new music,
he has premiered works by Samuel Adler,
Mason Bates, Michael Daugherty, Wayne
Oquin, Stephen Paulus, and Christopher
Theofanidis, among others. As a teacher
he has also been a vocal proponent of
the redeeming nature of traditional and
contemporary classical music, which he fears
is being diluted in a popular culture.
Mr. Jacobs’s 2015-16 season includes solo
appearances with the Philadelphia Orchestra
(performing Camille Saint-Saëns’ Symphony
No. 3 conducted by James Levine),
Indianapolis Symphony, and the Lexington
Philharmonic. Mr. Jacobs will also return to
the Nashville Symphony in November 2015
for a series of concerts and live recordings of
Michael Daugherty’s Organ Concerto with
the Nashville Symphony and Music Director
Giancarlo Guerrero. At the Pacific Symphony,
Mr. Jacobs curates and performed at a
multi-day organ festival in February 2016.
Also in the 2015-16 season, Mr. Jacobs and
world-renowned dramatic soprano Christine
Brewer will tour the program of their
upcoming Naxos album Divine Redeemer,
with appearances at Lincoln Center’s White
APRIL 22, 23
Nights Festival, at Disney Hall in Los Angeles,
Symphony Hall in San Francisco, St. Louis
Cathedral, and Spivey Hall in Atlanta, GA.
Furthermore, Mr. Jacobs will perform recitals
throughout the United States, including at
the Kennedy Center and Denver Cathedral.
In summer 2016, Mr. Jacobs will return to the
Oregon Bach Festival, where he is the director
of the organ institute.
Prodigiously talented from his earliest years,
at age 15, young Jacobs was appointed head
organist of a parish of 3,500 in his hometown,
Washington, Pennsylvania. Mr. Jacobs would
go on to make musical history at the age
of 23, when he played J.S. Bach’s complete
organ works in an 18-hour marathon
performance on the 250th anniversary of the
composer’s death. He has also performed the
complete organ works of Olivier Messiaen in
marathon performances throughout North
America, and recently reached the milestone
of having performed in each of the fifty
United States.
Mr. Jacobs studied at the Curtis Institute
of Music, double-majoring with John
Weaver for the organ and Lionel Party for
the harpsichord, and at Yale University with
Thomas Murray. He joined the faculty of
The Juilliard School in 2003 and was named
chairman of the organ department in 2004,
one of the youngest faculty appointees in
the school’s history. He received Juilliard’s
prestigious William Schuman Scholar’s Chair
in 2007.
In addition to his concert and teaching
appearances, Mr. Jacobs is a frequent
performer at festivals across the world and
has appeared on American Public Media’s
Performance Today, Pipedreams, and Saint
Paul Sunday, as well as NPR’s Morning Edition,
and ABC-TV’s World News Tonight.
51
APRIL 22, 23
NOTES
Les Offrandes oubliées (Forgotten Offerings)
Olivier Messiaen
Born December 10, 1908 in Avignon, France
Died April 27, 1992 in Clichy, France
Olivier Messiaen was a devout Catholic, and
through his music he intended to reveal the
truths of his faith and mystical convictions.
“The foremost idea I wanted to express in
music, the one that is the most important
because it stands above everything else, is
the existence of the truths of the Catholic
faith. I have the good luck to be a Catholic:
I was born a believer, and so it happens that
the scriptures have always made a deep
impression on me. A number of my works
are therefore intended to illuminate the
theological truths of the Catholic belief. This
is the first aspect of my work, the noblest,
probably the most useful, the most valid, and
the only one perhaps that I shall not regret at
the hour of my death. God being present in
all things, music dealing with the theological
subject can and must be extremely varied. I
have therefore, tried to produce a music that
touches all things without ceasing to touch
God.”
Les Offrandes oubliées and his Nativite du
Seigneur garnered acclaim and prominence for
his work. At the top of the published score of
Les Offrandes oubliées, he explained his vision
and intent; “arms outstretched, afflicted unto
death, you shed your blood on the cross. We
have forgotten, sweet Jesus, how you love
us. Driven onward by madness and forked
tongues in breathless, uncontrolled and
headlong flight, we have fallen into sin like
a bottomless pit. It is here to be found, the
unsullied table, the source of charitibility, the
feast of the poor, the well of holy sympathy,
which is to us the very bread of life and love.
We have forgotten, sweet Jesus, how you love
us.”
Perhaps referencing the Trinity, Les Offrandes
oubliées is in three parts, played without
52
pause.
The movements are
prefaced by these
markings:
The first section:
dolorous, profoundly
sad. The second section:
ferocious, desperate,
and breathless—with
great pity and love. The
third section: Communion.
Messiaen provided the following notes:
“Les Offrandes oubliées, written in 1930 [for
two pianos], was first performed on February
19, 1931 at the Théatre des Champs Elysées in
Paris under the direction of Walter Straram. I
had just turned 22. It was my first work played
by an orchestra [the two piano version was
orchestrated in 1931] and my first contact with
the public at large.
The work is in three parts:
The Cross: lamentation of the strings, the
sorrowful ‘neumes’ of which divide the melody
into groups of uneven duration, cut by long
mauve and grey wailings. {This section
features a poignant melody sung in unions
by violins and long held notes in the brass.
Neumes were part of early musical notation,
used in Gregorian plainchant, indicating
pitch, and by the thirteenth century, also
duration. They look like small, solid black
squares. Sometimes they have appendages
of hanging lines, indicating how the tone is to
be interpreted, such as with a trill. Sometimes
they are linked or grouped together in a
notation called liquescent which means a
sliding of the pitch.)
The Sin: presented here as a kind of ‘race to the
abyss’ in an almost ‘mechanized’ speed. You
will notice the strong flexional ending accents,
whistling of the harmonics in glissando,
the incisive calls of the trumpets. (Flexional
indicates a separation from the root of a word
into the last syllable. In Latin grammar this
NOTES
indicated an accent on the end of the word.
Messiaen included this stress pattern in his
music).
“The Eucharist: long and slow phrase of
the violins, which rises over a blanket of
pianissimo chords, with reds, gold, blues (like
a faraway stained glass window), in the light
of muted solo chords. The sin is the forgetting
of God. The Cross and the Eucharist are the
Divine Offerings. ‘This is my Body, given for
you—this is my Blood, spilled for you.’ “
The ISO’s last performance of Les Offrandes
oubliées was March 1983, conducted by John
Nelson.
Symphonie No. 1 pour Orgue et Orchestre, Op. 42
Alexandre Guilmant
Born on March 12, 1837 in Boulogne-sur-Mer,
France
Died on March 29, 1911 in Meudon, France
“The organ is King of the instruments.”
-Mozart
In the last quarter of the nineteenth century,
Paris sparkled with music. The founding in
1860 of the Concerts populares by Jules
Pasdeloup offered an expansion of the musical
audience to include the rising bourgeoisie
and “the lower classes.” Les Concerts Colonne
founded in 1872 was focused on presenting
French music: various concert halls were
built… music became integral to Parisian life
and national pride. The Societe des Grandes
auditions (founded to promote “art music”)
and even the department store Bon Marche
gave free public concerts with “resident
musicians” and musical education.
Along with all of this, the traditional Opera
flourished, the Conservatory and its Concerts
du Conservatoire maintained a strong
presence, and even the zoo offered regular
public concerts. French composers such as
César Franck, Gabriel Faure, Henri Duparc,
Offenbach and Saint -Saens were acclaimed
and venerated. This was the environment
which Alexandre Guilmant entered when
APRIL 22, 23
he moved to Paris in 1871, where he was
appointed to la Trinite church. He stayed
there 30 years and then went “on the road” as
a performing organist. He was the first major
French organist to tour the United States
in 1904, where he produced a series of 40
concerts. He also became a popular performer
throughout Europe, and one critic likened
him to “a pop star.” In England, his concerts
sometimes attracted over 10,000 people. (Paul
Serotsky)
By this time, organs had evolved to such an
extent in their tonal abilities, their design and
their capacities that Cesar Franck exclaimed,
“My organ: it is an orchestra!” A significant
amount of credit therein is due to the French
organ builder, Aristide Caville-Coll, whose
development of tracker action, of additional
stops allowing the orchestra to sound like
different instruments (such as flute, oboe
or trumpet) the coupling of keyboards, and
changes in pneumatic pressure tolerance
made the organ a dramatic source of power,
inspiration, dynamic strength via the swell box,
and harmonic coloration. Sometimes these
splendid instruments were called symphonic
organs.
Although the Baroque period (1600-1750) had
lavished enormous attention on the organ,
the idea of big symphonic style compositions
offered new vistas and growing stature for
the organ in the concert hall. Noted French
composers/organists were Cesar Franck,
Charles-Marie Widor, Marcel Dupre, Fleury, and
Felix-Alexandre Guilmant.
Guilmant had the good fortune to have had
access to one of the “modern” instruments of
his friend, Caville-Coll. He remained singularly
devoted to organ composition, pedagogy,
organ construction and performance during
his lifetime. He was especially noted for his
spectacular ability to improvise.
Symphony No. 1 began as one of his eight
organ sonatas to which he simply added
orchestral parts and retained the opus number
42. It premiered on August 22, 1878 in the
Palais du Trocadero. Opus 42 begins loudly
53
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APRIL 22, 23
NOTES
with organ and orchestra matching one
another in grand alternating assertions…
“Like two heavyweight boxers exchanging
punches.” (Paul Serotsky) The main first theme
begins as a solo pedal statement from the
organ; the second theme is soft, sweetly lyrical
in contrast, again with soloist and orchestra
separated for the most part, however sharing
in thematic subject matter. Guilmant follows
traditional sonata-allegro format with a
development (both forces are joined herein)
and recapitulation.
The relaxed second movement, titled
Pastorale, moves in lilting 12/8 meter and
employs the flute stops of the organ in a
delicate, slowly moving fugal presentation.
Guilmant was exceptionally well trained in
Bach fugue repertoire. Eventually he adds
the voix celeste (celestial voice) in a heavenly
conclusion. A pianissimo orchestral chord
from the strings closes the scene. At the
first concert, the audience demanded, and
received, a repeat of this movement.
The third movement immediately provides a
full-blown display of organ virtuosity within
fast moving sixteenth notes, reminiscent of
French toccata style. As in the first movement,
Guilmant includes a contrasting lyrical second
theme, which eventually yields to the energy
of the opening. The final segment offers a
brilliant display, marked by trumpets and
timpani, and a huge, climactic unification of
forces for a sensational closing.
This is the ISO’s first performance of Guilmant’s
Symphonie No. 1 pour Orgue et Orchestre.
La création du monde, Op. 81a (The Creation of the
World)
Darius Milhaud
Born September 4, 1892, in Marseille, France
Died June 22, 1974, in Geneva, Switzerland
In the 1920’s, Darius Milhaud was part of
an avant-garde group of French composers
designated by the music critic Henri Collet as
“Les Six.” This association was loose to say the
least, and not unified, as The Mighty Five had
56
been in Russia in a single mission. Sometimes
they did collaborate with one another, but
generally each composer was independent.
The whole set only collaborated once on a set
of piano pieces known as L’Album des Six. What
they all agreed upon was to “refresh” French
music with new artistic perspectives.
According to Milhaud, “Collet chose six names
absolutely arbitrarily, those of Auric, Durey,
Honegger, Poulenc, Tailleferre and me simply
because we knew each other and we were
pals, and appeared on the same musical
programs, no matter if our temperaments and
personalities were not all the same. Auric and
Poulenc followed ideas of Cocteau, Honegger
follower German Romanticism, and myself
Mediterranean lyricism.” (Benjamin Ivry in
Francis Poulenc).
Les Six socialized frequently, especially at
the Gaya Bar, where Milhaud liked to hear
Jean Wiener play “negro music” in a popular
style. Black exoticism in dance and music was
embraced by in-the-know Parisians. During
the jazz age in Paris this music was often
labeled “le tumult noir (the black noise).”
Wiener was also a composer who had a
particular fondness for “the blues” and “hot
American energy.” In his own works and
concerts, he was a steady promoter of jazz.
The new American sound was attractive to
European tastes, even though it smacked of
populism and a certain uneducated quality.
In Der Steppenwolf, the main character
expressed the jazz effect;“This kind of music,
has always had a certain charm for me...
Jazz was repugnant to me, and yet ten times
preferable to all the academic music of the
day… its raw and savage gaiety reached an
underworld of instinct and breathed a simply,
honest sensuality… Unblushingly negroid, it
had the mood of childlike happiness.”
Milhaud was fascinated by American jazz
and credited the (American) Billy Arnold’s
Novelty Jazz Band as having introduced him
to jazz when he heard them during his visit to
London in 1920. He was particularly drawn to
the freedoms of jazz and its rhythms. “Their
constant use of syncopation in the melody
NOTES
was done with such contrapuntal freedom
as to create the impression of an almost
chaotic improvisation, whereas in fact, it was
something remarkably precise.” In 1922 he
came to New York and listened to many genres
of jazz, paid close attention to the ensembles,
and wrote musical sketches.
By the time Milhaud wrote his music for the
ballet La création du monde 1923, he was
writing for a well-established popular taste.
The ballet references African creation myths
taken from Blaise Cendrar’s Anthologie negre.
Leonard Bernstein summarized: “The Creation
of the World emerges not as a flirtation but as
a real love affair with jazz.” Milhaud explained,
“This is a work making wholesale use of the
jazz style to convey a purely classical feeling.”
The ballet has five parts …
1. Chaos before Creation: slow and mysterious,
gradually growing in intensity. Listen for
elements of polytonality and the soft closure.
2. Lifting darkness and creation of trees,
plants, insects, birds and beasts: jazzy solos for
flute, oboe, and horn. Life and the making of it
is an exhilarating and delicate process.
3. Man and woman are created: increase of
movement and excitement, exuberant.
4. The desire of man and woman: beautiful
seduction music from clarinet.
5. The kiss: a beautiful conclusion, introduced
quietly by oboe, a bit of excitement, followed
by softly fluttering flutes with a tender
goodbye from the saxophone.
The ISO’s last performance of La création du
monde was October 2004, conducted by Mario
Venzago.
Cinq pièces enfantines from Ma Mère l’Oye
(Mother Goose)
Maurice Ravel
Born March 7, 1875 in Ciboure, Basse
Pyrenees
Died December 28, 1937 in Paris, France
“Old Mother Goose,
When she wanted to wander,
Would ride through the air
APRIL 22, 23
On a very fine gander.
Jack’s mother came in,
And caught the goose soon,
And mounting its back,
Flew up to the moon.”
Several nations claim ownership of the origins
of Mother Goose. Mother Goose sometimes
has been depicted as a goose or as an English
countrywoman, starring as the narrator in
16th century tales of “advice” and fairy stories.
Boston has claimed that she was the wife of
Mr. Isaac Goose of Massachusetts. France says
that the “real Mother Goose” was really the wife
of King Robert II of France. One agreed upon
fact is that in 1695, Charles Perrault produced
fairy tales titled Histories ou contes du temps
passé, subtitled “Tales of Mother Goose.” In
1729, Robert Samber produced a translation
in England. Whatever the authenticity of
her origins, Mother Goose’s rhymes and fairy
tales captured the imagination of the western
world, and she is very much a part of our
childhood.
In 1908, the French composer, Maurice Ravel,
wrote an exquisite piano suite for four hands
based on Mother Goose tales. A confirmed
bachelor, Ravel greatly enjoyed the children of
his friends, especially Mimi and Jean Godebski.
At this time, the children had started piano
lessons, and he wanted to create something
especially enticing. He commented, “ The idea
of conjuring up the poetry of childhood in
these pieces has naturally led me to simplify
my style and clarify my writing.” On a more
personal level, his biographer, G.W. Hopkins,
noted that Ravel had been “somewhat spoiled
as a child, and he retained a longing and an
affinity for the pure and uncluttered emotional
horizons of childhood. He remained a
collector of mechanical and other smallscale bric-a-brac.” All three elements would
attract the composer to spend creative time
with Mother Goose. Roland-Manuel, another
biographer, stated that “ Ma Mère l’Oye shows
us the secret of his profound nature and the
soul of a child who has never left fairyland,
who does not distinguish between the natural
and the artificial and who appears to believe
that everything can be imagined and made
57
APRIL 22, 23
NOTES
real in the material world, if everything is
infallibly logical in the mind.” The full ballet
contains Ravel’s musical fingerprint at every
turn: melodies are clear, the orchestration
is elegant, rhythms are precise, and the
harmonies evoke a delicate, magical world.
In 1912, the composer orchestrated the fourhand suite for a ballet, which was produced at
the Theatre des Arts. He added a Prelude, an
opening scene and various interludes.
The Prelude filled with delicately muted
fanfares (“the horns of Elfland”) and trembling
strings create an atmosphere of expectation
before the tale’s beginning. The opening
Dance of the Spinning Wheel (Danse du Rouet
et Scene) references the story of Princess
Florine (at first happily skipping rope and
playing) who falls asleep after pricking her
finger. The Good Fairy is called in to watch
over her in a twenty-measure tiny Pavane,
played by flute and muted violins. A brief
whistle from the Good Fairy, summons two
servants and the sleeping princess is put into
their care.
After a brief waltz interlude, we arrive at the
Conversations between Beauty and the Beast.
A clarinet sings a gentle waltz as Beauty
appears. The dialogue assigns instruments to
the characters: woodwinds chant the words
of the Beauty, and the Beast is represented by
contrabassoon. For a time Beauty rejects the
Beast (heavy orchestration) but gradually she
begins to flirt and find him more attractive.
An evil spell is magically broken with Beauty’s
assertion that “he is not a monster and is not
ugly.” The Beast emerges as a prince (harp
glissando and harmonics on solo violin) and
the two are linked in happiness (interweaving
of parts).
A second interlude leads us to Hop o’My
Thumb, (Petit Poucet) derived from Perrault’s
baroque anthology of 1697 Ravel commented
that as little boy wanders through the woods
(wandering scales from violins), “He believed
that he would easily find his path by means
of his bread crumbs, which he had scattered
wherever he had passed; but he was very
58
much surprised when he could not find a
single crumb; the birds had come and eaten
everything up!” A solo oboe describes the
winding course of Hop ‘o my Thumb and
the rhythm changes from 2/4, to 3/4, to
5/4 stretching out his walk and indicating
confusion. Violin harmonics and trills represent
forest birds from the flute.
The third section is also prefaced by an
interlude, featuring the harp, coupled
with the celesta, playing a melody with a
decidedly Oriental character. A flute provides
suitable flourishes to open the scene. Its
oriental character is further insured by Ravel’s
orchestration, which included wood block,
glockenspiel, pentatonic melodies and
xylophone. The music depicts Laideronette
“Empress of the Pagodas”; cursed into total
ugliness by a jealous witch. A Green Serpent
emerges, and the two visit a country inhabited
by pagodas (tiny people with bodies made
of jewels, crystal and porcelain.) In the
end, the Green Serpent turns into a prince;
Laideronette’s beauty is restored; and of
course, they marry…in the next section.
At this point, Ravel selects the Beauty and
the Beast story for a final bow and adds his
magical Fairy Garden (Apotheosis). Daylight
is breaking (bird calls and twittering) while
Prince Charming enters in a slow waltz. He
awakens Princess Florine with a kiss, and the
Good Fairy (summoned in Part I to protect
her during the “deep sleep”) grants them her
blessing to marry. Dancers from the other
stories gather around the two, now united by
true love, and the orchestra enthusiastically
provides glittering fanfares. With wedding
bells pealing in the background, “they live
happily ever after.”
This Suite for Orchestra selects five elements
from the ballet: Pavane, Tom Thumb,
Laideronette, Beauty and the Beats, and the
Enchanted Garden.
The ISO’s last performance of Cinq pièces
enfantines from Ma Mère l’Oye was April 2011,
conducted by Michael Francis.
OKLAHOMA!
RODGERS & HAMMERSTEIN II
Experience one of Broadway’s greatest hits!
APR 8, 9, 15, 16 at 7:30PM | APR 10 at 2PM
Musical Arts Center, Bloomington
JACOBS SCHOOL OF MUSIC
15/ 16 SEASON
CALL 812-855-7433
music.indiana.edu/operaballet
GEORGES BIZET
UIndy. Artfully done.
ART EXHIBITION:
ART & DESIGN JURIED STUDENTS
Exhibition Reception, April 4, 4–6 p.m.
April 4 – May 7
JAZZ WEEK
Featuring: Tito Carrillo,
Jamey Aebersold, Butch Miles,
and Wess “Warm Daddy” Anderson.
April 11–16 at 7:30 p.m.
THEATRE: THE LARAMIE PROJECT
Studio Theatre, Esch Hall
April 22–30 at 8 p.m.
UIndy, just 10 minutes from downtown at 1400 East
Hanna Avenue, presents more than 100 arts events a year;
most are free to the public and many are family-friendly.
317.788.3251 uindy.edu/iso
Tradition of Caring
We’ve been a vital institution in Greater Indianapolis
close to 20 years. Caregivers affiliated with Senior
Home Companions provide unequaled care in the
homes of your loved ones.
• Customized service
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At Home With Us
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ARTS IN INDY
Dance Kaleidoscope
David Hochoy is celebrating his 25th season as Artistic Director
for Dance Kaleidoscope. In addition to creating years of
artistic excellence with DK, his choreography can be seen at
the ISO and IRT. Also celebrating 25 DK seasons is lighting
designer Laura Glover. Laura also designs lighting for Time
for Three, Phoenix Theatre and the ISO. See their artistic
collaboration in Scheherazade 25, June 2-5 at Ithe RT.
Indianapolis Children’s Choir
Join the Indianapolis Children’s Choir (ICC) on Saturday, April
30 for our momentous 30th Anniversary Concerts at 3pm and
7pm. These concerts will celebrate the ICC’s 30 years as part of
the central Indiana arts community, and the legacy of retiring
Founder and Artistic Director Henry Leck, who will “pass the
baton” to incoming Artistic Director Joshua Pedde. These
historic performances will feature all new music, including the
world premiere of Dan Forrest’s epic Jubilate Deo. Tickets are
on sale now at icchoir.org. The ICC has programs for students
ages 18 months to 18 years. To enroll a child, attend a concert,
or make a donation, call 317.940.9640.
Indianapolis Symphonic Choir
The Indianapolis Symphonic Choir brings to life J. S. Bach’s
St. John Passion in a one-night-only performance on April 2
at the Christel DeHaan Fine Arts Center. Eric Stark conducts
a fresh, re-imagined interpretation that is both personal and
epic, historic yet timeless. The 40-voice Symphonic Choir
Chamber Singers unites with the Indianapolis Baroque
Orchestra in a performance that embodies the revered
choral institution’s versatility and musical savvy. For more
information and tickets, visit indychoir.org or call (317) 9409057.
New World Youth Orchestras
The New World Youth Orchestras concludes its 34th season
with a finale concert on May 8, 5pm, at the Hilbert Circle
Theatre. This concert will feature the Symphony, Philharmonic,
and Concert Orchestras, as well as the Senior Winner of our
Young Artist Competition. The New World Youth Orchestras’
mission is to develop the musical talent and nurture the
personal growth of young people in Indianapolis and central
Indiana through the rehearsal and performance of orchestra
masterworks, both traditional and contemporary. For more
information please visit www.nwyso.org.
To advertise your events in the Arts in Indy section, contact Mallory MacDermott
at [email protected] or 317.664.7812
61
Carmen
The Indianapolis Symphony Orchestra is currently seeking volunteers to help
with this year’s Marsh Symphony on the Prairie concerts.
Learn more by contacting the Volunteer Services Manager at [email protected] or 317-231-6792
make
the
arts
happen
Show your support for the arts
the next time you purchase or
renew your license plate!
Photos courtesy of Music for All
CIRCLE THEATRE
HILBERT
®
Events in Perfect
HARMONY
For more information visit
HilbertCircleTheatreIndy.org or call
Frances Heavrin at 317.231.6798.
ENDOWMENT
Endowed Orchestra Chairs, Performances and Special Endowments
Endowed orchestra chairs, performances and special endowment gifts allow our benefactors the
opportunity to be recognized for their significant gifts to the Orchestra or to honor others. We
would like to thank the following donors for their generous support of the Indianapolis Symphony
Orchestra’s Endowment Fund.
Endowed Orchestra Chairs
The Ford-West Concertmaster Chair
Endowed by Richard E. Ford in honor of his mother,
Florence Jeup Ford, and Hilda Kirkman West
Zachary De Pue, Concertmaster
The Meditch Assistant Concertmaster Chair
Endowed by Juliette, Dimitri, Marian and
Boris Meditch
Peter Vickery, Assistant Concertmaster
The Wilcox Assistant Concertmaster Chair
Endowed by David E. and Eleanor T. Wilcox
Dean Franke, Assistant Concertmaster
The Taurel Assistant Principal Second Violin Chair
Endowed by Kathy and Sidney Taurel
Mary Anne Dell’Aquila, Assistant Principal
Second Violin
The Dick Dennis Fifth Chair
Endowed in memory of Richard F. Dennis by
Carol Richardson Dennis
This Second Violin Section Chair is Seated Using
Revolving Seating
The Frank C. Springer Jr. Principal Oboe Chair
Endowed by Frank C. Springer Jr.
Jennifer Christen, Principal Oboe
The Ann Hampton Hunt English Horn Chair
Endowed by Ann Hampton Hunt
Roger Roe, English Horn
The Robert H. Mohlman Principal Clarinet Chair
Endowed by the Robert H. Mohlman Fund
David A. Bellman, Principal Clarinet
The Huffington Assistant Principal Clarinet Chair
Endowed in memory of Robert Huffington by
Clarena Huffington
Cathryn Gross, Assistant Principal Clarinet
The Robert L. Mann and Family Principal Horn Chair
Endowed by Robert L. Mann and Family
Robert Danforth, Principal Horn
The Bakken Family Horn Chair
Endowed by a gift from Dawn, Ruth and Darrell
Bakken
Jerry Montgomery, Horn
The Jane and Fred Schlegel Principal Viola Chair
Endowed by Jane and Fred Schlegel
The W. Brooks and Wanda Y. Fortune
Principal Trumpet Chair
Endowed by W. Brooks and Wanda Y. Fortune
The Assistant Principal Cello Chair
Endowed anonymously
The Dr. and Mrs. Charles E. Test Trombone Chair
Endowed by Dr. and Mrs. Charles E. Test
The Randall L. Tobias Cello Chair
Endowed by Randall L. Tobias
Ingrid Fischer-Bellman, Cello
The Dr. and Mrs. Robert L. Rudesill Cello Chair
Endowed by Dr. and Mrs. Robert L. Rudesill
Anne Duthie McCafferty, Cello
The Thomas N. Akins Principal Timpani Chair
Endowed anonymously
Jack Brennan, Principal Timpani
The Sidney and Kathy Taurel Principal Flute Chair
Endowed by Sidney and Kathy Taurel
Karen Evans Moratz, Principal Flute
The Dorothy Munger Principal Keyboard Chair
Endowed by the Women’s Committee of the
Indianapolis Symphony Orchestra
The Janet F. and Dr. Richard E. Barb Piccolo Chair
Endowed by Janet F. and Dr. Richard E. Barb
Rebecca Price Arrensen, Piccolo
Endowed Performances
The Francis W. and Florence Goodrich Dunn Annual
Classical Series Opening Concerts
Endowed by the Florence Goodrich Dunn Fund
September 18-19, 2015 – Beethoven’s “Emperor”
The Walter Myers Jr. Principal Harp Chair
Endowed anonymously in honor of Walter Myers Jr.
Diane Evans, Principal Harp
65
ENDOWMENT
The Performance of Classical Music including Major
Liturgical and Choral Music
Endowed in memory of Elmer Andrew and
Marguerite Maass Steffen by E. Andrew Steffen
October 9-10, 2015 – Beethoven’s Missa solemnis
Frank and Irving Springer Piano Performance
Endowed by Frank C. Springer Jr.
November 6-7, 2015 – Brahms’ Piano Concerto No. 1
The Paul Family Performance of Classical Music
Endowed by Dorit, Gerald, Eloise and Alison Paul
November 13-14, 2015 – Brahms’ Piano Concerto No. 2
The Frank E. McKinney, Jr. Guest Conductor Chair
Endowed by Marianne Williams Tobias
April 15-16, 2016 – André Watts
The Mrs. Earl B. Barnes Memorial Fund in Support of a
Guest Artist
Endowed Anonymously
May 7, 2016 – The Legendary Menahem Pressler
The Dennis T. Hollings Performance of Classical Music
Endowed by the Dennis T. Hollings Fund
May 20-21, 2016 – Beethoven’s “Pastoral”
Yuletide Celebration Opening Performance
First Performance December 2015
The William L. and Jane H. Fortune Guest Conductor
Chair
Endowed by Mr. and Mrs. William L. Fortune
June 3-4, 2016 – Garrick Ohlsson
Yuletide Celebration Closing Performance
Last performance December 2015
The Bishop Family Holliday Park Concert
Endowed by the Mrs. Irving M. Fauvre Fund
Summer 2016
The Mohlman Performance of Classical Music
Endowed by a gift from Ina M. Mohlman
and the late Robert H. Mohlman
January 22-23, 2016 – Beethoven’s Fifth &
The Rite of Spring
The Performance of a Summer Series Concert
Endowed by Mrs. William P. Cooling
Summer 2016 – Marsh Symphony on the Prairie
The performance of a Guest Artist
Endowed by the Jean D. Weldon Guest Artist fund
January 29-30, 2016 – The Planets
The Performance of New Music
Endowed by LDI, Ltd.
February 5-6, 2016 – Music from 2001: A Space
Odyssey
The Performance of a Young Professional Artist
Endowed by Roche Diagnostics
February 19, 2016 – Caroline Shaw and Shara
Worden
The Paul and Roseann Pitz Performance of Classical Music
Endowed by the Paul and Roseann Pitz Fund
March 4 - 5, 2016 – Rachmaninoff’s Second Piano
Concerto
The Performance of ISO Principal Chair Musicians
Endowed by the Eugene B. Hibbs Fund
March 11-12, 2016 – Don Quixote
The Marilyn K. Glick Young Composer’s Showcase
Endowed by Mr. and Mrs. Eugene B. Glick
March 18, 2016 – Nielsen’s “Inextinguishable”
Symphony
66
Special Endowments
Endowed by Stephen and Tomisue Hilbert
The Tobias Green Room
Endowed by Randall L. Tobias
The Maestro Society
August and Margaret Watanabe
Dr. and Mrs. Gordon E. Mallett
Mrs. Walter Myers Jr.
Randall L. Tobias
Jack Weldon, Maestro Society Founder, given by Penny Ogle Weldon
Mr. and Mrs. Richard D. Wood
Mr. Raymond Leppard
Dr. John C. Bloom
Edna Woodard-Van Riper
The Marianne Williams Tobias Program Annotator Chair
Endowed anonymously
Marianne Williams Tobias, Program Annotator
Artist in Residence Endowment
Endowed in memory of Hortense and Marvin Lasky
ENDOWMENT
The Paul E. and Martha K. Schmidt Conducting Study
Fellowship
Endowed by Paul E. and Martha K. Schmidt
Orchestra Box C1
This Orchestra Box Endowed by Mrs. Bailey (Gladys)
Swearingen
The Michael Ben and Illene Komisarow Maurer Young
Musicians Contest
Endowed by Michael Ben and Illene Komisarow Maurer
Orchestra Box C2
This Orchestra Box Endowed by Saundra Lee and H.
Tuck Schulhof
The Instrument Petting Zoo
Endowed by Dr. and Mrs. Gordon E. Mallett
Orchestra Box C3
This Orchestra Box Endowed by Herschel and Angela
Porter
The Indiana Series
Endowed by Mr. and Mrs. J. Irwin Miller
The Indianapolis Symphony Orchestra Vice President of
Education
The Marilyn K. Glick Young Composer’s Showcase
Endowed by Mr. and Mrs. Eugene B. Glick
The ISO Pre-School Music Education Programs
Underwritten by Friends of Ava Button
The Sarah McFarland Endowment
Endowed by the Sarah McFarland Fund
The Pitz Leadership Award
Endowed by the Paul and Roseann Pitz Fund
The Installation and Maintenance of a Theatre Pipe Organ
Endowed by the Sally Reahard Fund
The J.K Family Foundation Words on Music
Endowed by Marianne Williams Tobias, President,
J.K. Family Foundation
The Outer Lobby
Named to Recognize the Generous Gift of Ruth Lilly
to the Indianapolis Symphony Orchestra 1984
The Grand Lobby
The Box Office Lobby
Named in Honor of Generous Support from Marianne W.
and Frank E. McKinney Jr.
“The Art and Science of Music are an Enduring Reflection of
the Thoughts & Experiences of Humankind,” June 1991
Orchestra Box C4
This Orchestra Box Endowed by E. Andrew Steffen
Orchestra Box C6
This Orchestra Box Endowed by Mrs. Rhonda Kittle in
honor of her late husband, James L. Kittle
The Oval Promenade
Named to Recognize the Generous Gift of the Eli
Lilly and Company Foundation to the Indianapolis
Symphony Orchestra
October 1984
First Monday Music Club
Endowed anonymously
Stage Terrace Seating
Endowed anonymously
Special Acknowledgements
Performance of the Wurlitzer Pipe Organ
Generously underwritten by David and Eleanor
Wilcox
The New Steinway Concert Grand Piano
Given in memory of Mr. and Mrs. William H. Ball by
Mrs. Lucina B. Moxley
The Music Library Office
Underwritten by the Musicians and Staff of the
Indianapolis Symphony Orchestra in memory of
Richard Grymonpré
The ISO Association Office
Endowed by Peggy & Byron Myers
Second Floor Lobby
Named in memory of William Fortune, prominent
civic leader, by a generous gift from William L. and
Jane H. Fortune
67
LYNN SOCIETY
The Lynn Society has been established to recognize and honor those who, like Charles and Dorothy
Lynn, wish to ensure the artistic greatness of the Indianapolis Symphony Orchestra in perpetuity.
Members of The Lynn Society have notified the orchestra of their intention to make a legacy gift
through estate plans or life-income arrangements. For more information, please contact the Office
of Development at 317.713.3342.
Albert & Gail Ammons
Earleen M. Ashbrook
Ms. Nancy Ayres
Dawn, Ruth* & Darrell* Bakken
Janet F. & Dr. Richard E. Barb
Frank & Katrina Basile
Dr.* & Mrs. Paul F. Benedict
Dr. John C. Bloom
Rosanne Bonjouklian
Mrs. Charlotte Bose
Charles & Cary Boswell
Dr. Ella H. & Mr. Robert
R. Bowman
Mr. & Mrs. Charles H. Boxman
John Charles Braden &
Denton Raubenolt
Donald & Barbara Broadlick
Philip J. Burck
Alex. S. Carroll
Nancy & Chris* Christy
Ms. Patricia C. Chunn
Norman I.* & Maxine Cohen
John & Ulla Connor
Chris W. & Lesley J. Conrad
Peter Cooney
Mr. & Mrs. Ronald A. Cox
Stephen & Andrea Cranfill
Mr. & Mrs. Thomas E. Dapp
Lou & Kathy Daugherty
Edgar* & Joanne Davis
Carol Richardson Dennis
Mr. & Mrs. Richard A. & Helen J.
Dickinson
Clarita Donaldson
Mrs. Lewis A. Enkema
Mr.* & Mrs. Richard Felton
Mr. Murray R. Fischer
Dr.* & Mrs. W. Brooks Fortune
Dr. & Mrs. Larry C. Franks
Bradley S. & Teresa G. Fuson
Dr. & Mrs. Richard W. Garrett
David & Deloris “Dee”* Garrett
Ms. Patricia Garrity
Cy* & Pris Gerde
James E. & Judith A. Gillespie
David & Julie Goodrich
Mrs. Anne M. Greenleaf
John S. Griffin
Gail H. Hall
Mary & George Harless
Mike & Noel Heymann
Tom & Nora Hiatt
Clarena Huffington
Ann Hampton Hunt
Ty A. Johnson
Joan & David F.* Kahn
Swadesh & Sarla Kalsi
Bob & Rhonda Kaspar
Ms. Peg Kimberlin
Ms. Marie E. Kingdon
John J. Kloss, JD
Kay F. Koch
H. Jean Jones Kyle
James E. & Patricia J. LaCrosse
Dr. Ned & Martha Lamkin
Lawrence & Vivian Lawhead
Mr. & Mrs. Richard L. Ledman
Raymond Leppard
Mr. L. Robert Lowe Jr.
Dr. & Mrs. Gordon E. Mallett
Dr. & Mrs. Karl L. Manders
Mr.* & Mrs.* Michael Ben Maurer
Stacy Maurer
Janice & John F. McHenry
W. Jean McCormick
Alice* & Kirk* McKinney
Robert B. & Eleanor S. McNamara
Marian Y.* & Boris E. Meditch
William F. Murphy, CPA
John & Carolyn Mutz
Peggy & Byron Myers
Mr. & Mrs. Charles J. O’Drobinak
Dorit & Gerald Paul
Joan S. Paulin
Dr.* & Mrs. Bruce Peck
Marian Pettengill and Family
Mrs. Joseph D. Pierce
Dr. & Mrs. George Rapp
Josette Rathbun
Mr.* & Mrs. Elton T. Ridley
Dr. & Mrs. Robert L. Rudesill
Henry & Vel* Ryder
Jane & Fred Schlegel
Paul & Martha Schmidt
Carl & Laurel Schnepf
H. Tuck & Saundra L. Schulhof
Margaret A. Shaw
Jean & Clifton Smith
Mr. & Mrs. Clark L. Snyder
Sue K. Staton
Dr.* & Mrs. James B. Steichen
Ann R. Strong
Kathryn* & Sidney Taurel
Mrs. David Thiel
William & Karen Thompson
Ann Vaughan
Anna S. & James P. White
Mildred M. Wiese
David E. & Eleanor T. Wilcox
Mr. & Mrs.* Charles D. Williams, III
Richard D. & Billie Lou* Wood
Mr. & Mrs. C. Daniel Yates
Mike & Phyllis* Zimmermann
Anonymous (15)
*Deceased
THE INDIANAPOLIS SYMPHONY ORCHESTRA GRACIOUSLY
ACKNOWLEDGES GIFTS RECEIVED FROM THE ESTATES OF:
Anna Ross Alexander
Mrs. Raymond A. Basso
Miss Helen F. Bernheisel
Betty Thorp Boyd
Mrs. Elba L. Branigin Jr.
John F. Brennan
Mrs. Ferne Brewer
Lenore B. Brignall
Suzanne Swain Brown
H. Earl Capehart Jr.
Walter Chroniak
68
Edgar L. Conn
Allen E. & Mary Crum
John H. Darlington
J. Richard Delbauve
Vivian F. Delbrook
Suzanne S. Dettwiler
Lillian J. Duckwall
Francis W. & Florence Goodrich
Dunn
Mr. & Mrs. Don B. Earnhart
Mr. Robert A. Edwards
Mr. Francis E. Fitzgerald
Mr. Richard E. Ford
Mr. & Mrs. William L. Fortune
Nelle Godio
Mr. Raymond K. Gretencord
Carol E. Gruen
Louise W. Hanson
Dr. & Mrs. F. R. Hensel
Mr. & Mrs. Byron Hollett
Mr. Dennis T. Hollings
Emma Stutz Horn
LYNN SOCIETY
Mr. David A. Jacobs
Frances M. Johnson
Mr. E. Patrick Kane
Mr. & Mrs. E.W. Kelley
Mr. Donald M. Kercheval
Louise Lage Kirtland
Peter B. Krieg
Ruth Lilly
Mr. & Mrs. Charles J. Lynn
Doris L. Lynn
Mr. Stuart L. Main
Mr. & Mrs. Robert L. Mann
Marjorie N. McClure
Sarah Forney McFarland
Mrs. Judd R. McKay
Martha Means
Mr. & Mrs. J. Irwin Miller
Mrs. Walter Myers Jr.
Mr. Don Nicholson
Louis W. Nie, M.D.
Mr. Donald G. Nutter
Frieda Nyhart
Marcia L. O’Brien
Mrs. Joanne W. Orr
Lois Heuse Otten
Dr. F. Bruce Peck
Mr. & Mrs. Paul G. Pitz
Dr. Henry Plaschkes
Mr. Theodore N. Popoff
Patricia A. Quinn
Miss Sally Reahard
Mr. Vernley R. Rehnstrom
Peter C. & Dr. Jeanette P. Reilly
Dr. Mary Avery Root
Sanford Rosenberg
Frances M. Schager
Mrs. Raiford Scott
Mrs. Mary Schulz
Ms. Violet H. Selley
Macy M. Glendining Simmons
Jeannette Soudriette
Mr. Frank C. Springer Jr.
Mr. Charles B. Staff Jr.
Andrew Steffen
Florence Barrett Stewart
Mrs. Samuel Reid Sutphin
Dr. & Mrs. Charles E. Test
H. Richard Unkel
Mrs. Helen E. Van Arendonk
Mary Jane Wacker
Virginia M. Wagner
Margaret Warner
Penny Weldon
Harriett Denny White
Clara M. Wilmeth
Ms. Mary Wratten
Mildred R. Young
Wilma K. Young
Steven J. Zellman
Karl & Barbara Zimmer
Anonymous (5)
Remembering The ISO In Your Will
It’s easy to make a bequest to the ISO, and no amount is too small to make a difference. Here is sample
language:
“I hereby give ____% of my estate (or specific assets) to the Indiana Symphony Society, Inc., 32 East
Washington Street, Suite 600, Indianapolis, IN 46204, for its general purposes.”
YOUR LEGACY MATTERS
Remembering the ISO in your will impacts
the music we share for generations to come.
No amount is too small to make a difference.
Contact Casey Chell, Director of Development, with questions about
or [email protected].
The Lynn Society at
69
ANNUAL FUND
Indianapolis Symphony Orchestra depends on contributed income for about 43 percent of its annual budget. This
Orchestra is pleased to recognize those who make it possible for one of America’s premier music ensembles to
perform year-round in central Indiana.
Annual Fund Donor Honor Roll
It is our privilege to list the following donors who have contributed to the Indianapolis Symphony Orchestra’s Annual
Fund. Every donor is a valued partner in each achievement, both onstage and throughout our community outreach
and education programming. This listing reflects the gifts received as of February 16, 2016. Every effort has been
made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions.
Please contact the Development Office at 317.713.3343 or visit us online at IndianapolisSymphony.org to make a
donation today. Donations and general information requests may also be mailed to the Indianapolis Symphony
Orchestra at 32 East Washington Street, Suite 600, Indianapolis, IN 46204.
$100,000 and Above
Dr. Gwen & Mr. Robert Krivi
Founders’ Society
Ann and Gordon Getty Foundation
Anonymous
James E. & Patricia J. LaCrosse
($5,000-$9,999)
and the League of American
Ms. Christel DeHaan
Drs. W.H. & K.T. Landschulz
Anonymous (7)
Orchestras
Mr. Jim S. Irsay
Mr. E. Kirk McKinney, Jr.
Mr. & Mrs. Jeffrey M. Adams
Anonymous
B. M. “Marti” Ripberger
Karen Mersereau & Dr. Michael Helms
Thomas N. Akins
Anthem Blue Cross and Blue Shield
Yvonne H. Shaheen
Mrs. Nancy Ann Morris
Teresa & Don Altemeyer
Arthur Jordan Foundation
Dorit & Gerald Paul
Bob & Pat Anker
Barnes & Thornburg LLP
Randall & Deborah Tobias
Walt & Mary Prouty
Mr. Aasif Bade
BMO Harris Bank
Mary Frances Rubly
Drs. Douglas & Deborah Balogh
Budweiser Zink Distributing Co, LLC
Phyllis & Gary Schahet
Trudy W. Banta
Chase
Anonymous
Marlyne Sexton
Ms. Sarah Barney
Citizens Energy Group
Arts Council of Indianapolis and the
Jeff & Cassandra Short
Dr. & Mrs. John E. Batchelder
The Clowes Fund
City of Indianapolis
Christopher A. Slapak & Michael J.
Mr. & Mrs. Michael Becher
Delaware Community Foundation
The Christel DeHaan Family
Robertson
Suzanne B. Blakeman
Duke Energy
Foundation
Mr. Kevin D. Taylor
Charles & Joyce Boxman
Erie Insurance
Efroymson Family Fund
Roberta & Bill Witchger
Mr. & Mrs. John Bratt
Ice Miller LLP
Eli Lilly and Company
Dr. Christian Wolf & Elaine
Donald & Barbara Broadlick
Indiana Arts Commission
The Herbert Simon Family Foundation
Holden-Wolf
Charles W. Brown
MacAllister Machinery Company, Inc.
Indianapolis Power & Light Company
Hsiu-Chiung Yang & Marian Mosior
Mr. Richard F. Brown & Mrs
National Endowment for the Arts
Indianapolis Symphony Orchestra
Jim & Rita Zink
Cathy Springer-Brown
Navient
Association
Michael & Mary Ann Browning
Nicholas H. Noyes Jr. Memorial
Lilly Endowment, Inc.
Mr. & Mrs. Walter P. Bruen, Jr.
Foundation
The Margot L. and Robert S. Eccles
ADL Charitable Trust
Mike & Pat Byers
OneAmerica Financial Partners, Inc.
Fund, a fund of CICF
Buckingham Foundation Inc.
Ms. Jane Conley
R.B. Annis Educational Foundation
Marsh Supermarkets, LLC.
CNO Financial Group
Dexter & Rosemary Cooley
Raymond James & Associates, Inc.
Nina Mason Pulliam Charitable Trust
Community Health Network
Stephen & Andrea Cranfill
Roche Diagnostics
Ruth Lilly Philanthropic Foundation
Dorsey Foundation
David & Consuelo Davis
SalesForce
Dow AgroSciences
Jack Everly & Ty A. Johnson
Scott A. Jones Foundation
Founders’ Society, Music Director
Elba L. & Gene Portteus Branigin
Ms. Carol J. Feeney
St.Vincent Health
($50,000+)
Foundation Inc.
Dr. & Mrs. Richard W. Garrett
Telamon Corporation
Rollin & Cheri Dick
The Glick Family Foundation
Michael & Beth Gastineau
The Martin D. & Mary J. Walker
Kay F. Koch
Fenneman Family Foundation
Gary Ginstling & Marta Lederer
Charitable Foundation
Sarah & John Lechleiter
Fifth Third Bank
Larry C. & Lee A. Glasscock
Ann M. & Chris Stack
The Frenzel Family Charitable Lead
Charles & Susan Golden
Founders’ Society, First Chair
Richard D. Wood
Trust
Mr. & Mrs. Thomas W. & Mary
($10,000-$19,999)
Hendricks County Community
P. Grein
Anonymous (2)
Foundation
John & Chichi Guy
The Honorable & Mrs. Alex M. Azar II
The Glick Fund, a fund of Central
Indiana Members Credit Union
Steve L. Hamilton & Keith O.
Mr. & Mrs. Robert Bader
Indiana Community Foundation
The Indiana Rail Road Company
Norwalk
Charlene & Joe Barnette
Printing Partners
Indiana University Health Partners
Richard & Elizabeth Holmes
Mr. & Mrs. Barry J. Bentley
Industrial Dielectrics Holdings
Mr. & Mrs. W. Seymour Holt
Maestro Raymond Leppard & Dr. John
Founders’ Society, Concertmaster
Junior League of Indianapolis
Dr. Sharon Hoog
C. Bloom
($20,000-$49,999)
Lacy Foundation
Dr. Ann H. Hunt
Bryan & Elaine Brenner
Anonymous
Macy’s
Dr. and Mrs. Ronald Iacocca
Dr. & Mrs. Thomas A. Broadie
Christina Bodurow
Next Gear Capital
Dr. & Mrs. Raymond V. Ingham
Vincent & Robyn Caponi
Trent & Amy Cowles
Ricker’s
Carlyn Johnson
Mr. & Mrs. Daniel P. Carmichael
Ann Dettwiler
Ronald McDonald House Charities of
Kimra Kidd
Mr. & Mrs. James M. Cornelius
Phil & Colleen Kenney
Central Indiana and McDonald’s of
Drs. Sandra & Charles Kinsella
Mr. Daniel Corrigan
Dr. & Mrs. E. Henry Lamkin, Jr.
Central Indiana
Ned & Wendy Kirby
Fred & Priscilla Crawford
Mr. & Mrs. Eli Lilly II
The Sells Group
Mrs. James L. Kittle, Sr.
Mr. & Mrs. James E. Dora
Dr. Gordon & Carole Mallett
Shaheen Family Foundation
David H. Kleiman
Erin & Scott Dorsey
Mrs. F. Bruce Peck, Jr.
Terry Lee Hyundai
Don & Jen Knebel
Mr. & Mrs. John Fazli
Dr. Kenneth & Mrs. Debra Renkens
Tobias Family Foundation
Dr. & Mrs. Eugene P. Kroeff
Craig & Mary Fenneman
Robert & Alice Schloss
Vectren Corporation
Nancy Lilly
Don & Carolyn Hardman
Dr. & Mrs. Eugene Van Hove
Dr. Richard E. Lindseth
Emily and Peter Howard
Martin & Mary Walker
Greg & Alexandra Loewen
Allan & Kathy Hubbard
David & Eleanor Wilcox
Dr. & Mrs. Carlos Lopez
Bob & Rhonda Kaspar
Kathy & Ralph Wilhelm
Ms. Karen Mangia & Mr. Thom
Joseph & Kathy Kessler
England
Timothy J. & Cindy Konich
70
ANNUAL FUND
Mr. & Mrs. Morris Maurer
Stacy A. Maurer
Mr. & Mrs. Bruce McCaw
Robert H. McKinney
Virginia Melin
Mr. & Mrs. Dayton Molendorp
Ellie, Weber & Emaline Morse
Jerry & Anne Moss
John & Carolyn Mutz
Mr. & Mrs. Charles J. O’Drobinak
Michael P. & Leanne M. O’Neil
Holly & John Pantzer
Kay Pashos & Neal Steinbart
Mr. & Mrs. Thomas J. Pence
Donald & Karen Perez
Bart Peterson
Zeb & Barbara Portanova
Dr. & Mrs. Robert L. Rudesill
Fred and Bev Ruebeck
Margaret Cole Russell & Steve Russell
Mr. & Mrs. William N. Salin
Ms. Natalie Schneider
Perry & Lisa Scott
William & Faye Sigman
Maribeth & Al Smith
Susanne & Jack Sogard
Michael & Carol Stayton
Mr. & Mrs. Frank D. Walker
Pete & Lena Ward
Margaret Watanabe
Mr. & Mrs. Daniel O. Weisman
David P. Whitman & Donna L.
Reynolds
Lynn & Andy Wiesman
Jacquie & Fred Winters
Sara & Michael Zeckel
John & Linda Zimmermann
Jennifer & Michael Zinn
Ann & Gordon Getty Foundation
Barefoot Wine
The Barrington of Carmel
BKD
Bose McKinney & Evans LLP
Care Institute Group, Inc.
Charles W. Brown Foundation
Chubb Group of Insurance Companies
City of Carmel
Cornelius Family Foundation, Inc.
Deloitte & Touche LLP
DMC Holdings, Inc.
Faegre Baker Daniels
FedEx Corporation
Franklin Symphonic Council, Inc.
Hoover Family Foundation
Huntington Bank
Indiana Space Grant Consortium
James O. & Alice F. Cole Foundation
Jungclaus-Campbell Co., Inc.
The Julia L. and Andre B. Lacy
Charitable Fund, a fund of CICF
McCaw Family Foundation
Meridian Dermatology
Merrill Lynch
MusicCrossroads
The National Bank of Indianapolis
NextGear Capital
Regions Bank
The Rock Island Refining Foundation
Skiles Detrude
The Stratford
Winners Circle
Conductor’s Circle
($2,500-$4,999)
Anonymous (4)
Mr. James Adams
Dr. Albert Allen & Ms. Kathryn
Maeglin
Mr. & Mrs. Michael Alley
J. Dara & Sherry Amlung
Dr. & Mrs. Richard Barb
Frank & Katrina Basile
Mr. C. Harvey Bradley Jr.
Kenneth & Patricia Burow
Dr. & Mrs. John T. Callaghan
Elizabeth A. Chamberlin
Nancy Christy
Dave & Christie Crockett
Fred & Alice Croner
Robert Crouse & Anne Werry
James J. & Barbara Curtis
Rick & Jody Dennerline
Ms. Andrea Devoe
Steve & Mary DeVoe
Kerry Dinneed & Sam Sutphin
Mr. & Mrs. Craig Doyle
Robert W. Dyar, M.D.
Ms. Phyllis Dye Turner
Mrs. Marian Elliott
Dorothy Schultz Englehart
Dr. & Mrs. Michael E. Flaugh
Steve & Lisa Ford
Mr. & Mrs. L. D. Foster, Jr.
Dr. & Mrs. Larry C. Franks
Julia & Doug Gard
Lou Gerig
David Gerstein, M.D.
Cora A. Gibson
Steven M. Giovangelo & Gerald J.
Bedard
Bert & Martha Gorman
Jim & Roberta Graham
Dr. Christian & Mrs. June Gries
Mr. & Mrs. James Hancock
Nancy J. Harrison
Mr. Henry Havel & Ms. Mary
Stickelmeyer
Dr. David K. & Clarice F. Hennon
Clarena Huffington
Marsha A. Hutchins
Larry & Annette Hutchison
Ms. Harriet Ivey & Dr. Richard
Brashear
Mr. & Mrs. John C. Jenkins & Family
Scott & Holly Johnson
Dr. & Mrs. C. Conrad Johnston
Mr. & Mrs. John Jokantas
Daniel H. Joseph and Liu Li
Dr. Louis N Jungheim & Dr. Thalia I. Nicas
Dr. and Mrs. John E. Kalsbeck
Mr. & Mrs. Michael J. Kenniff
Peg Kimberlin
Mr. & Mrs. Joseph C. Lanning
Peg Lavagnino
Andrew & Lynn Lewis
Jim & Sarah Lootens
Andrew J Macht
Malcolm & Joyce Mallette
Mr. & Mrs. David Malson
Mary & Charles Matsumoto
Mr. & Mrs. Robert B. McNamara
Susanah M. Mead
Boris E. Meditch
Pete & Cindy Method
Flip & Cindy Miller
Milton & Margaret Miller
Jim & Jackie Morris
Dr. & Mrs. Daniel H. Mowrey
Peggy & Byron Myers
F. Timothy & Nancy Nagler
Mr. & Mrs. Guido Neels
Cindy Nichols
Mr. & Mrs. Robert H. Orr
Noel & Beth Outland
Jane & Andrew Paine
Jack & Katie Patterson
Eloise Paul & Bill Lee
Mel & Joan Perelman
Carol Phillips
Myrta J. Pulliam
Dr. & Mrs. George F. Rapp
Richard & Betty Lou Reasoner
Jasmine Reese
Mary Ann Dalton Rickert
Dr. Merrill Ritter
Tom & Ursula Roberts
Mrs. John R. Roesch
Nancy Ray Ross
Mr. & Mrs. Todd K. Rutledge
James & Mary Beth Schafer
Jane & Fred Schlegel
Klaus & Joel Schmiegel
Drs. Lei Shen and Soomin Park
Eric Siemers & Peggy Edwards
Jackie Simmons & Tom
Schnellenberger
Dr. Mike Simmons
Dick & Susan Simon
Joanne & Gerald Solomon
Dee & Tom Spencer
Drs. Pamela Steed & Peter Furno
Sydney L. Steele
Jim & Cheryl Strain
Drs. Randall & Bonnie Strate
James Sweeney
Norm & Dawn Tabler
Dr. & Mrs. Reed Tarwater
Mrs. David Thiel
Dr. & Mrs. Ron Thieme
Jeffrey & Benita Thomasson
Dr. James & Linda Trippi
Ms. Cathy Turner
Martha Anne Varnes
Joe and Sue Vertin
Jane & Hugh Watson
Dr. & Mrs. William Wheeler
Anna S. & James P. White
Bob & Marnie Wilken
James & Joyce Winner
Terence & Margaret Yen
Barrie & Margaret Zimmerman
The Ackerman Foundation
DB Engineering LLC
Donovan CPA
Enflora Flowers for Business
Ernst & Young LLP
Firestone Building Products and
Industrial Products
First Person
Hoosier Park at Anderson
Indiana American Water Co., Inc.
Indiana Farm Bureau Insurance
Indiana Spine Group
The Indianapolis Recorder
ITT Technical Institutes
J M Smith Foundation
Dr. Michael J. Helms, DPM
Mike Watkins Real Estate Group Inc
RBC Wealth Management
SEI Investments
The Shaw-Burckhardt-Brenner
Foundation
Sheila Fortune Foundation
Skyline Club, Indianapolis
Smoke Free Indy
Symphony at Sunset Group, Inc
UnitedHealthcare
Western Reserve Partners, LLC
Witham Health Services
President’s Club
($1,500-$2,499)
Anonymous (6)
Dr. & Mrs. Wayne Ambrous
Joan Baker
Nicholas Barbaro & Sue Ellen
Scheppke
Mary Ruth Barnard
Spencer & Marcia Bavender
James & Lynda Beckel
Ms. Susan Bever
Jay & Julie Bishop
Mr. Benjamin & Mrs. Ashley Blair
Mr. & Mrs. Jesse L. Bobbitt
Carla & George Boder
Kirk & Sharon Boller — Bottom-Line
Performance Inc
Dr. & Mrs. W. C. Bonifield
Terry & Robert L. Bowen
Alice Brown & Randy Trowbridge
Matt & Janette Brown
Gordon & Celia Bruder
Mr. & Mrs. John Campbell
John & Ulla Connor
Chris W. & Lesley J. Conrad
Bill & Angela Corley
Mr. & Mrs. Bert Curry
Mr. Douglas Davies
Mr. & Mrs. Gregory C. Davis
Manuel & Sally Debono
Julie & David DeWitt
Dennis K. Dickos, M.D.
Mr. & Mrs. Erold R. Diller
Mr. & Mrs. Robert M. Donovan
Mr. & Mrs. Dan Dumbauld
Miss E. Frances Eickhoff
Dr. Thomas & Paula Elam
Andrew & Irene Engel
Kristi Espiritu
John N. & Julia Luros Failey
Jim & Gracia Floyd
Dr. Norm & Adrienne Fogle
Dr. & Mrs. Mark Foglesong
Dick & Brenda Freije
Dr. Lawrence I. Goldblatt
Joe & Kathy Grahn
Mr. & Mrs. Berl J. Grant
Mr. & Mrs. Robert Gregory
Ms. Julie Griffith
Bob Hallam
Kenneth & Barbara Hamilton
Joseph L. Hanley
Mr. & Mrs. Richard A. Harrison
Ms. Lisa Heid
71
ANNUAL FUND
Mr. & Mrs. Jerome T. Henning
Mr. & Mrs. Gerald V. Hinchman
Mr. & Mrs. V. William Hunt
Mr. Gerald R. Jenn
Dr. & Mrs. Philip E. Johnston
Joan & David F. Kahn
Dana & Marc Katz
Donn & Dot Kaupke
James & Jennifer Kelley
Mr. Charles E. Kendall
Patricia Kilbury
Larry & Rose Kleiman
Mr. Doug Klitzke
Dr. Elisabeth Krug
Mr. & Mrs. George Kyle
Dr. & Mrs. Richard Lasbury
Bob & Maureen Lee
Cindy & Rick Leffler
Mr. & Mrs. Allan Litz
Ralph & Nancy Lundgren
John & Ingrid Mail
Jon D. Marhenke, M.D.
Linda & Carter Mathews
Dr. & Mrs. Ronald Maus
Ann & John McGrath
Marni McKinney
Nancy L McMillan
Mr. & Mrs. Richard Menke
Jim Miller
Mr. & Mrs. Robert E. Miller
Mrs. Ina Mohlman
Dr. & Mrs. Phillip G. Mosbaugh
Eric Moy
Elizabeth & William Murphy
Jack & Judy Myers
Mr. & Mrs. Daniel Mytelka
Timothy S. Needler
Mr. Carl & Dr. Loui Lord Nelson
Tom & Nancy Newlin
Mr. & Mrs. John S. Null
Jackie Nytes
Mrs. Martha O’Connor
Bill & Jamie Parrish
Allen H. Pekar
Mr. Lee & Mrs. Patricia Perkinson
Beverley & Bill Pitts
Lois Pless
Sue & David Powers
Christine & Ken Price
Scott & Susan Putney
Patricia L. Ragan
Mark & Susan Ridlen
Mr. & Mrs. Randall Riggs
Mr. & Mrs. Byron Robinson
Gordon & Patsy Roe
Parker & Sarah Ross
Dr. & Mrs. Randall G. Rowland
Mr. & Mrs. John & Vicky Ruhl
Col. & Mrs. Cecil Salter
Dave & Marcia Sapp
Dr. and Mrs. John F. Schaefer
Jerry & Rosie Semler
Armen and Marie-Claude Shanafelt
Michael & Priscilla Shaw
Randall & Amy Shepard
Mr. & Mrs. Jeff Smithburn
Mr. & Mrs. Larry Speer
Rita & Larry Steinberg
Ed & Barbara Steward
Richard & Lois Surber
R. H. Temple
Jerry & Linda Toomer
72
Stephen L. Tracy
Dr. James & Linda Trippi
John & Kathy Vahle
Joe & Diane Vande Bosche
Scott & Sue Webber
Courtenay & Emily Weldon
Emily A. West
Mrs. Phyllis West
Mrs. Mary Whalin
Mrs. Lucy Wick
Dr Christian Wolf and Ms Elaine
Holden-Wolf
Ken & Wendy Yerkes
Josephine Yu
Batt Family Foundation
Conrad Indianapolis
Endowment Development Services
Gracia E. Johnson Foundation
The Jenn Foundation
Mallor Grodner LLP
Marni McKinney Foundation
McKinney Family Foundation
NTN Driveshaft
Paul Family Foundation, Inc.
The Penrod Society
The Toomer Family Foundation
Van Riper Woodard Family
Foundation
Symphony Club
($1,000-$1,499)
Anonymous (9)
Kate & Dan Appel
Mr. Wilbur L. Appel, Jr.
Mr. Gregory & Mrs. Kimberly Arnott
Mr. & Mrs. Bradford H. Arthur
Mr. & Mrs. John S. Ayre
Ms. Cindy Bailey
Mrs. Taylor L. Baker
Terry & Patricia Balko
Meaghan Banks
Clay & Karen Barnes
Dean Barnhard
Mr. Walter H. Bartz
Ms. Susan Bates
Mr. Brett & Mrs. Shari Bayston
Eric & Elaine Bedel
Dr. & Mrs. Steven C. Beering
Mr. & Mrs. Henry B. Blackwell
Rev. James R. Bonke
Mrs. Jeanne Book
Erv & Priscilla Boschmann
Mr. & Mrs. R. Robert Brafford
Christine & Robert Broughton
Terri Bruksch
Mrs. Alva Buchholtz
Randall & Ann Burgess
Lorene M. Burkhart
Celeste & Derrick Burks
Helen Burnett
Donald W. Buttrey
Ms. Katharine Carr
Mr. & Mrs. E. M. Cavalier
Ray and Lisa Childers
Dan & Laura Conder
Mrs. Mary C. Crean
Joanne Meyer Davis
Rebecca & Larry Davis
Mr. Douglas B. Day
Dr. & Mrs. Frank Deane
Diantha V. DeGraw
Mr. & Mrs. Joseph E. DeGroff
Casey Chell & Daniel Duarte
Constance C. Earle
Dr. Carmel Egan & Mr. Gerard Carthy
Mr. & Mrs. Thomas J. Eggers
Ms. Linda A. Erickson
David & Julie Eskenazi
Sherry Faris
Dr. & Mrs. Harvey Feigenbaum
Linda Felton
David & Ann Frick
Mr. Carl & Mrs. Donna Gahwiler
Mr. & Mrs. James F. Gallagher
Mr. & Mrs. Raymond Gibson
Marianne Glick
Mr. Jonathan Gottlieb & Valerie
Omicioli
Thomas & Nancy Grembowicz
Mrs. C. Perry Griffith
Peter Grossman and Pauline Spiegel
Jerry & Kathleen Hacker
Kimberly J. Hadley
Dr. & Mrs. Jim Hamby
Mrs. Elizabeth Hamilton
Velda Hamman
Mr. & Mrs. Eugene E. Henn
Mike & Noel Heymann
Mrs. Sue Hirschman
C. Jane Hodge
Mrs. Ginny Hodowal
Mrs. Jill Hoyle
Ms. Lysiane Huber
Carolyn Humke
Krisztina & Ken Inskeep
Mrs. Ninalou Isaacson
Ms. Kristine Isenberg
Ethan & Joyce Jackson
David L. Johnson & Anne Nobles
Mr. & Mrs. Richard Johnson
Ty A. Johnson
Dr. & Mrs. Charles E. Jordan
Mike & Linda Jordan
Dr. & Mrs. Frederick M. Kelvin
Richard & Susan Kent
Mr. Jerald W. King
Richard & Roxanne Kovacs
Barry Kroot
Terrence & Jodi Kunstek
Mr. Eric Everett Leiter
Rev. Richard & Mrs. Nancy Lewer
Dr. Erik L. Lindseth
Mr. & Mrs. William Lindstaedt
Linebarger Janin Family Fund, a
fund of Central Indiana
Community Foundation
Mr. & Mrs. John D. Long
Lowell & Penelope Lumley
Carey Lykins
Mr. Kevin Malley & Mr. Ronal
Nobles
Mike & Jill Margetts
Benton & Sandi Marks
James R. & Rita E. Martin
Dr. & Mrs. Douglas R. Maxwell
Michael & Patricia McCrory
Craig & Kathleen McGaughey
Mr. & Mrs. Thomas McGinley
Dorothy J. McIver
Alan & Ann McKenzie
Mr. & Mrs. James Miller
Dr. Bruce & Mrs. Stefany Mitlak
Lucina B. Moxley
Dr. and Mrs. Patrick J. Murphy
Ann & Jim Murtlow
Carolyn and Blake Lee Neubauer
Mr. & Mrs. David L. Nickels
Paul Nordby
Lara Noren
Thomas & Stacy O’Leary
Michael & Lorelee Palmetier
Mrs. Karen L. Parrish
Sally & Jay Peacock
Linda Pence
Jim and Ray Luther-Pfeil
Gayle L. Phillips
Larry & Nancy Pugh
Roger & Anna Radue
Jo & Chris Rathbun
Barb and Tom Reed
Bob & Carol Reynolds, Barnes &
Thornburg
Mrs. Mary L. Rice
Jean & Lamar Richcreek
The Riggs Family
William R. & Gloria Riggs
Mr. Larry Roan
N. Clay & Amy Robbins
Joseph & Leanna Roberts
Peggy L. Robinson
Bill & Gail Rodecker
Mr. Gilva F. Sallee
Dr. & Mrs. Gary R. Sampson
Dr. & Mrs. Andreas Sashegyi
Roderick & Anne Scheele
Roger & Barbara Schmenner
Paul & Martha Schmidt
David & Kitty Sedgley
Jonathon & Donna Sedgwick
John Seest
Carson & Carla Shadowen
Mr. & Mrs. Henry E. Sleeth
Mrs. Marian Small
Nancy C. & James W. Smith
Mr. Peter & Mrs. Chris Smithhisler
Christy & Jeffery Soldatis
Dennis Sponsel
Betty & Alan Stanford
Barb Stang
T.S. Sun
Nela Swinehart & Lonn Bayha
Steven & Robin Tames
Mr. John Tan
Phillip A. Terry
Mr. & Mrs. Robert Thomas
The Throm Family
Douglas L. Tillman
Mrs. Clara Trapp
Randall Trowbridge & Alice Brown
Barbara S. Tully
Jim & Leah Turner
Lynn C. Tyler
Constance Van Valer, M.D.
Don & Coleen Walker
Dr. Kevin Waltz & Rhonda Fox Waltz
Mr. & Mrs. Bradley Warnecke
Mr. & Mrs. Charles Warren
Nick and Maureen Weber
Frank & Sandy Weddle
J. Anne Werry
L. Alan & Elizabeth Whaley
Mr. & Mrs. Frederic Wiese, Jr.
Forrest Williamson
Mr. & Mrs. Meredith L. Wilson
ANNUAL FUND
Bob & Debbie Wingerter
Mr. & Mrs. Robert Witt
Jim & Karen Wolf
Mrs. Edna Woodard
Turner & Diann Woodard
Mrs. Irene Yacko
Diana & Dan Yates
Mr. & Mrs. Leslie R. Zimmerman
Mary Ann & Gene Zink
Sue & John Zinser
Anonymous
The Ruth E. Stilwell Endowmen
Fund, a fund of CICF
Blankenship Vocational Services
Cavalier Family Foundation
Cole Hardwood, Inc.
Dayton Foundation
The Dr. Lawrence M. and Eldoris J.
Borst Family Fund of the CICF
Gracie Communications
Gregory & Appel Insurance
The Humke Foundation, Inc.
Indiana First Lady’s Charitable
Foundation, Inc.
Indiana Utility Shareholders
Association
Milestone Ventures Inc
Psi Iota Xi, Iota Tau
RSE Realty, Inc
Salin Bank & Trust
The Saltsburg Fund; Karen Lake
Buttrey (deceased), Donald W.
Buttrey
SBC Wealth Management
Straubinger Flutes
Virtuoso
($750-$999)
Anonymous (7)
Michael D. Bartley
Mark & Ann Bear
Mr. & Mrs. Robert Berger
Mr. & Mrs. George Boguslawski
Mr. & Mrs. Fred Boso
Kevin M. Clements
Mr. James & Mrs. June Conine
Terry & Debbie Cottingham
Daryl, Sherry & Kevin Cox
Patrick and Jennifer Cross
Norman Dean
Jessica R. Di Santo
Jack & Connie Douglas
Judith Erickson
Mr. Kenneth Fraza
Dr. Karen & Thomas Gallagher
Dr. Matt Gardlik
Ms. Dorothy Gitlin
Drs. Jean & Gerald Godfrey
Mr. Ray E. Gotshall & Ms. Lillian
K. Fox
John & Mary Ann Grogan
Ms. Lauren Guidotti
Mr. & Mrs. Alan Hamilton
Mr. & Mrs. Chris Hanley
Mr. & Mrs. Thomas G. Harvey, Jr.
Stephen & Susan Henson
Mr. Ronald N. Hermeling
Abigail W. Hohmann
Jack & Ruth Hoover
Larry & Marianne Jacobi
Catherine Jones
Mr. William A. & Mrs. Elizabeth
M. Kerr
Dr. & Mrs. Jerry L. Kight
Robert & Cindy Kirkpatrick
Dr. Yukiko Kitagawa
Steve & Sharon Klusman
Col. A. D. Kneessy
Howard & Sarah Knight
Mr. Richard & Mrs. Gwen Knipstein
Mr. & Mrs. Tim Konrad
Ms. Katherine Kovac
Mr. Robbie Kusz
Dennis & Karen Licht
Mr. & Mrs. Donald R. MacPherson
Reverend Dr. Joan Malick
Jeffrey & Christine Marks
Mr. & Mrs. Ken Matsumoto
Dennis & Anne McCafferty
Mr. & Mrs. Ralph McCormick
Earl Miller & Ek-Leng Chua-Miller
Lawren Mills
Mr. Bill Moreau
Dr. Kathy Moreira
Graham Denby Morey
Ms. Brittany Nehman
David & Diane Nesbitt
Dr. Donald and Mary Jean Orander
Dr. John A. & Cinda Overman
Muriel Patterson
Anne K. Perry & Marvin C. Perry, II
Marian Pettengill
John Mainella & Michael Pettry
Janeann Pitz
Scott A. Reef
Diane Richardson
Ms. Judy Schaefer
Saundra & Tuck Schulhof
Dr. & Mrs. William Segar
Dr. & Mrs. Robert K. Silbert
Ms. Shelley Stiner
Mr. Bill & Mrs. Linda Strickland
Ms. Sarah Studzinski
Claudia V. Swhier
Mrs. Maggie Tatter
Ms. Sheree Toney
Mrs. T. Marilyn Trout
Paul & Gretchen Watson
Mr. & Mrs. Clark Williamson
Miss Gretchen Wolfram
Larry E. Wollert II & Arif Kocabas
Dr. & Mrs. Steve Young
Contributed Goods and Services
($5,000 and Above)
Carol & Ken Bandy
Blue & Co, LLC
Buckingham Foundation Inc.
Conrad Indianapolis
Enflora Flowers for Business
Lynch, Incorporated
mitsch design
NUVO Newsweekly
Printing Partners
Well Done Marketing
WTTS
73
TRIBUTE GIFTS
Tribute gifts are an excellent way to honor someone who values the Indianapolis Symphony
Orchestra, and they help ensure the continued excellence of the Symphony. We gratefully
acknowledge the following tribute gifts received from January 1, 2016 - February 16, 2016.
Honor Gifts
In Honor of Yvonne Shaheen
F. Timothy and Nancy Nagler
Memorial Gifts
In Memory of Paul Haugan
Henry A. Ryan
In Memory of George Rhodes
Don and Carolyn Hardman
In Memory of Joan Burgett
Mr. & Mrs. Ralph McCormick
South Group Board, ISOA
YOUR TICKET
TO INDY’S MOST
DYNAMIC
ARTS ORGANIZATION!
SPONSORED BY:
MEMBERSHIP
IS ONLY $39!
For more information, contact Danielle Dennis
at [email protected] or visit
www.IndianapolisSymphony.org/
support/get-involved/forte
GET CONNECTED, SUPPORT THE SYMPHONY, MIX ‘N’ MINGLE, REAP THE REWARDS!
WHY I GIVE
The Clowes Fund is a family foundation that seeks to
enhance the common good by encouraging organizations
and projects that help to build a just and equitable society,
create opportunities for initiative, foster creativity and the
growth of knowledge, and promote appreciation of the
natural environment. The Clowes Fund pursues these goals
by awarding grants in the arts, education, and social services,
with a special interest in supporting projects that strengthen
the communities in which Clowes family members and the
foundation’s directors live and work.
Estherre Wohlenhaus serves as Program Assistant at The Clowes Fund, supporting the
grantmaking process through a variety of administrative and knowledge management duties.
In her spare time, you might find this accomplished equestrienne immersed in outdoor
activities, volunteering with a refugee resettlement group, engaging in some sort of adventure
ranging from a symphony concert to boxing classes, or simply spending time with friends
and family (she claims title as stand up paddle board champ at the annual Wohlenhaus family
reunion).
“The Clowes Fund (the Fund) is pleased to support The Indianapolis Symphony Orchestra not
only on the merits of the Metropolitan Youth Orchestra (MYO) program, but also as a Legacy
Grant that honors our shared history.
The Fund’s founder Dr. George H.A. Clowes served on the ISO board during its infancy. As
president, he was an ardent fundraiser for the cause. As reported in the recently published
biography, The Doc and the Duchess: The Life and Legacy of George H. A. Clowes, in 1945 he
wrote, “We shall pull the orchestra through this year and next, but only at very great cost and
sacrifice on the part of those who are really interested in keeping it alive.”
MYO aligns with the Fund’s current interests in social justice and equity, in this case, music
education for low income urban students and their families. MYO is intentional about caring
for the whole student. From engaging parents as active participants in the learning process, to
mentorship and college readiness components, MYO’s vision sees far beyond music education.
MYO gives students the opportunity to gain the skills and confidence to move forward into
economic stability.
Personally, visiting MYO’s Saturday music class and attending performances, it has been a
real joy to see the shared learning between students and their parents, as well as the skilled,
enthusiastic and encouraging instruction that ISO musicians, MYO staff and other music
instructors offer each student. Thank you, ISO and MYO, for your great work in fostering the
development of Indianapolis’ young musicians and for investing in their futures!”
Estherre Wohlenhaus
Program Assistant
The Clowes Fund, Inc.
75
CORPORATE SPONSORS
The Indianapolis Symphony Orchestra gratefully acknowledges the following companies for
their major support. To become a corporate partner, please contact the Director of
Development at 317.262.1880.
btlaw.com
Anticipation Abounds!
L E T U S E N T E R TA I N YO U
Unwind and Dine at the Stunning Home and Gardens of
Landscape Architect Ron Tisdale
Gourmet Dinner • Music by Tim Wright
Save the Date
AUGUST 7, 2016
I N D I A N A P O L I S SYM P H O N Y O R C H E S T R A A S S O C I AT I O N
Bring friends to support the ISO’s education programs!
One of the most delightful things about a garden
is the anticipation it provides.
• W.E. Johns •
ADMINISTRATION
EXECUTIVE OFFICE
Gary Ginstling, Chief Executive Officer
Laura Irmer, Executive Assistant
OPERATIONS
Danny Beckley, Vice President and General Manager
MARKETING & COMMUNICATIONS
Sarah Ross, Director of Marketing
Jennifer Welch, Art Director
Joshua Shuck, Group Sales Manager
Marci Taylor, Graphic Designer
Orchestra Operations
K. Blake Schlabach, Orchestra Personnel Manager
L. Bennett Crantford, Assistant Personnel Manager
Bekki Witherell Quinn, Administrative Assistant
Communications
Leila Viera, Publications Manager
Lauren King, Digital Communications Specialist
Marianne Williams Tobias, Program Book Annotator
Operations and Facilities
Joanne Bennett, Director of Operations
Patron Services
David Storms, Box Office Manager
Andrew Lay
Senior Customer Care Representative
Anita Blackwell
Mary Ferguson
Crystal Black
Nick Neukom
Erika Fowler
Janine Knuutila
Customer Care Representatives
Audience Services & Events
David Armstrong, Director of Audience Services
Donna Finney, Volunteer Services Manager
Kalyn Smith, House Manager
Frances Heavrin, Event Coordinator
Artistic Administration
Zack French, Director, Artistic Planning
Gregg Gleasner, Artistic Advisor
Andrew Koch, Manager, Artistic Planning
Ty A. Johnson, Senior Director, Pops Programming and Presentations
Brandy Rodgers, Manager, Pops, Yuletide Celebration & Symphonic Pops Consortium
Mallory Essig, Pops & Presentations Coordinator
DEVELOPMENT
Holly C. Johnson, Vice President
Megan Meyer, Executive Assistant to the Vice President
Casey Chell, Director of Development
Rita Steinberg, Senior Major Gift Officer
Missy Eltz, Director of Development Operations
Meg Williams, Director of Development, Corporate and
Foundation Giving
Melissa Weseli, Associate Director of Corporate Giving
Carol Ann Arnell, Special Events and Donor Benefits Manager
Danielle Dennis, Corporate Relations Manager
Sally Meyer, Foundation and Grants Manager
Cindy McHone, Gift Processing Manager
Brian Oakley, Individual Giving Manager
Caily Wolma Lee, Individual Giving Associate
78
LEARNING COMMUNITY
Beth Perdue Outland, Vice President, Community Engagement & Strategic Innovation
Linda Noble, Associate Director, Education
Betty Perry, Artistic Director, Metropolitan Youth Orchestra
Ruth Wolff, Director, ISO Learning Community
Krystle Ford, Associate Director, Metropolitan Youth
Orchestra
Perry A. Accetturo, Education Program Coordinator
FINANCE
Steve L. Hamilton, Vice President
Adam White, Controller
Candi Berry, Staff Accountant
Teaka Vest, Accounts Payable Coordinator
Information Technology
Dee Dee Fite, Director of Technology
Molly Inglish, Manager of Patron Technology
Human Resources
Larry R. Baysinger, Director
Melissa Nelis, HR Generalist
HILBERT CIRCLE THEATRE INFORMATION
Welcome to the Hilbert Circle Theatre, home of the Indianapolis Symphony Orchestra.
We are delighted you are with us and hope you enjoy the performance.
Box Office
For questions about parking, tickets,
subscriber benefits and will call, visit our Box
Office at the main entrance to the theater
(off of Monument Circle) or the satellite Box
Office at the east entrance (off Scioto Street).
Coat Checks and Restrooms
Coat checks are located on the main floor and
on the Oval Promenade on the second floor.
The second floor can be reached by staircases
on the east and west end of the theater or
elevators near the main entrance. Accessible
restrooms are located on both floors.
Emergency
In the event of an emergency, please use the
nearest exit (marked by lighted signs). This is
your shortest route out of the theater.
Ushers
For questions about Hilbert Circle Theatre
accessibility, first aid and lost and found,
please see any usher. Ushers are here to
answer your questions and to make your
concert experience enjoyable.
Subscriber Hotline
If you are a subscriber and have any ticketing
needs, please call the Subscriber Hotline at
317.236.2040, or email the ISO at subscriber@
IndianapolisSymphony.org. This dedicated
hotline is staffed during normal business
hours by our Customer Care Representatives.
You may also leave a message after hours,
and a representative will respond promptly.
Beyond the Concert
Attend The J. K. Family Foundation Words on
Music one hour before every Lilly Classical
Series concert to hear from conductors and
musicians performing that evening. Grab
a drink and mingle with friends before and
after the concert in the Encore Lounge.
Also, join us for a behind-the-scenes
discussion with special guests during First
Mondays at the ISO. For information, please
email firstmondays@IndianapolisSymphony.
org.
Parking Garage Attached to Hilbert Circle Theatre
EZ Park Garage is open on the west
side of Pennsylvania Street between
Market and Washington Streets. A
canopy connects the garage to the
Hilbert Circle Theatre lobby, giving you
a close and convenient parking option.
For evening concerts, pay on your
way in to save the time and trouble of
waiting in line after the concert.
For our Coffee Concert patrons, parking
is limited; therefore, we recommend
garages at the Circle Centre Mall.
For more information, contact the Indianapolis Symphony Orchestra at
32 East Washington Street, Suite 600, Indianapolis, IN 46204, visit us online
at IndianapolisSymphony.org or call the Hilbert Circle Theatre Box Office at
317.639.4300 or the Indianapolis Symphony Orchestra at 317.262.1100.
We welcome your comments at [email protected]!
79
Oxford proudly supports the
Indianapolis Symphony Orchestra.
Oxford is independent and unbiased — and always will be.
We are committed to providing families generational estate planning advice
and institutions forward-thinking investment strategies.
CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES
317.843.5678 ✦ WWW.OFGLTD.COM/ISO

volume 7 - Cloudfront.net

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