HILBERT CIRCLE THEATRE

Transcription

Krzysztof Urbański, Music Director
Jack Everly, Principal Pops Conductor
A Tribute to Alfred Hitchcock: Films + Orchestra
Music in Cosmos: The Voyager Golden Record
Holst’s The Planets
2015 - 2016 | JANUARY | VOLUME 4
1
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THE PROGRAM BOOK
Programs
17 January 15,16, 2015
22 January 22, 23, 2015
23 January 24, 2015
38 January 29, 30, 2015
39 January 31, 2015
Featured Articles
13 Music In My Life
15 ISO Musicians Around Town
20 Music in the Cosmos: The Voyager
Golden Record
36 The Planets
53 Arts in Indy
Departments
11 ISO Profile
79 Hilbert Circle Theatre Information
Support
54 Endowment
58 Lynn Society
60 Annual Fund
64 Tribute Gifts
65 Why I Give
68 Corporate Sponsors
4
2015-2016
Hilbert Circle Theatre
Artists
9 Indianapolis Symphony Orchestra
18 Richard Kaufman
24 Krzysztof Urbański
25 Shannon Love
36 Dr. David Wolf
40 Jun Märkl
41 Wolfgang Brendel
42 Women’s Chorus, Indianapolis
Symphonic Choir
The Indianapolis Symphony Orchestra
9 Musicians of the ISO
10 Board of Directors
69 Indianapolis Symphony Orchestra
Association
70 Administration
WELCOME
Dear friends –
For as long as I can remember, I have been fascinated by science,
particularly with the study of space. I imagine how gratifying
it could be to explore the universe in an attempt to find the
answers to “why.” Sometimes, there might be proof of the eternal
mysteries of life, and other times, there might be the great
unknown, the question that might never be solved.
For that reason, I find there much similarity between science and
music! They are fields of endless possibilities. Composers leave us
proof of their existence, their musical scores, their writings, and
if we are lucky, their interpretations. Other times, we might just
have the notes on a page, and it’s up to our own imaginations and curiosity to wonder what it
all means.
For three weekends, I have the privilege of bringing together my two passions – science and
music – to the Hilbert Circle Theatre stage. The ISO’s Cosmos Music Festival presents many
classical masterworks in space, about space, and inspired by space. In the first weekend,
Music in the Cosmos, the ISO is performing classical masterworks by Mozart, Beethoven and
Stravinsky. These pieces of music are on a time capsule inside two Voyager spacecraft right
now as they travel outside our solar system! The next weekend, the ISO presents Holst’s The
Planets. I then return for the finale on Feb. 5-6 for The Cosmos in Music, when we perform the
works featured in one of the most influential films of all time, 2001: A Space Odyssey.
The Cosmos Music Festival also includes special pre-concert music by our own ISO musicians,
plus presentations, exhibits and special displays in the lobby by our partners at Purdue
University and The Children’s Museum of Indianapolis.
I hope you will enjoy our cosmic ride.
Sincerely,
Krzysztof Urbański
Music Director
5
‘S
2 0 T H A N N I V E R SA RY
PRESENTED BY
The Metropolitan Youth Orchestra (MYO) is a youth and family development program of the Indianapolis Symphony Orchestra.
The program is designed to use the life skills learned through music instruction to engage youth in activities that discourage
at-risk behaviors and keep them committed to staying in school. MYO groups always involve children and adults
practicing, performing and learning together.
MYO PLAY-A-THON AT
COMMUNITY DAY
PAST EVENT
Sunday, September 27, 2015,
2PM – 5PM
45 Monument Circle
MYO CLASSICAL CONCERT
Sunday, January 24, 2016, 3PM
45 Monument Circle
Join the MYO as we showcase all of our young people and
parents in a memorable classical performance that ends
with our stunning, signature finale.
*With guests: Philharmonic Orchestra of Indianapolis
and the Phillips Music Guild of Indianapolis
MYO 20th ANNIVERSARY
CELEBRATION CONCERT
MYO END OF SEASON
PICNIC CONCERT
Sunday, April 10, 2016, 3PM
45 Monument Circle
Sunday, May 22, 2016, 3PM
Location To Be Announced
Partnering with local jazz musicians and
celebrating 20 years of the Metropolitan Youth
Orchestra, MYO and friends perform jazz
standards and program favorites.
Help us to send off an amazing season and our 20th
anniversary as we celebrate Family in the way we do
it best – with music, food, and fun.
* ALL MYO CONCERTS AND EVENTS ARE FREE AND OPEN TO THE PUBLIC
For more information visit us on our website or find us on Facebook, Twitter
or Instagram: www.indianapolissymphony.org/education/myo
The 32nd annual Celebration of Black History
concert with your Indianapolis Symphony Orchestra
FREE CONCERT - RESERVE YOUR TICKETS TODAY!
TUESDAY, FEBRUARY 9 t 7:30PM
The ISO’s Celebration of Black History concert is a highlight of the
winter season, as we honor the significant impact of African-American
culture on symphonic music. This special performance also features
18-year old violinist Adé Williams, the 2012 Junior Division winner
of the Sphinx Competition.
Adé Williams
PRESENTING SPONSORS:
MEDIA PARTNER: WTLC
www.IndianapolisSymphony.org
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ECISIONS MADE
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MUSICIANS OF THE INDIANAPOLIS SYMPHONY ORCHESTRA
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
Oboe
Jennifer Christen, Principal
The Frank C. Springer Jr. Chair
Sharon Possick-Lange
Roger Roe, Assistant Principal
English Horn
Roger Roe
The Ann Hampton Hunt Chair
Clarinet
David A. Bellman, Principal
The Robert H. Mohlman Chair
Cathryn Gross
The Huffington Chair
Samuel Rothstein, Assistant
Principal
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
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
Jack Brennan, Principal
The Thomas N. Akins Chair
Craig A. Hetrick, Assistant Principal
Percussion
Braham Dembar, Principal
Craig A. Hetrick
Harp
Diane Evans, Principal
The Walter Myers Jr. Chair
Keyboard
The Women’s Committee Chair
Endowed in honor of Dorothy
Munger
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.
9
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*
Heather Hall
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
Michael P. O’Neil
Marc Nichols
Jackie Nytes
Kay Pashos
Alice K. Schloss
Natalie Schneider
Yvonne H. Shaheen*
Christopher Slapak
J. Albert Smith Jr.
Mary Ann Sullivan
Marianne Williams Tobias
Pete Ward
Nick Weber
David Wilcox
Ralph V. Wilhelm*
James C. Zink Sr.
Jennifer Zinn
Carolyn S. Hardman
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
Mayor Gregory A. Ballard
Bob Anker
Sen. Dan Coats
Stephen E. DeVoe
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 begins his ninth
season with the ISO and alongside 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 the beloved Classical Christmas concert in
December.
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 a three-week festival, “Out of this World,” 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. Upcoming special
events include the 30th anniversary of IPL Yuletide Celebration and the 20th anniversary celebration of the
ISO’s youth and family development program, the Metropolitan Youth Orchestra.
11
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MUSIC IN MY LIFE
Cathryn Gross was born in El Paso, Texas and began the
study of the clarinet at age 8. She earned a B.M. degree
from the Eastman School of Music and an M.M. from the
Indiana University School of Music. Her major teachers
have included Eli Eban, James Campbell, Charles Neidich
and Alfred Prinz. She has been with the ISO since the
2002-2003 season.
What inspired you to play the clarinet?
I first heard the clarinet in an orchestra concert on TV in
second grade. I had always been fascinated by music, but
the sound of the clarinet was unlike anything I had ever
heard. On a class field trip, we attended a show at the
Rochester Philharmonic, which I will never forget. I loved
hearing the orchestra play and there was a particular
sound that intrigued me. When they went around to
demonstrate the different instruments, I knew clarinet was
the one for me.
What is your favorite memory with the ISO?
My favorite memories with the ISO include playing and performing with great musicians
each week and sharing what I love with our patrons. It is always exciting to play a wide variety
of concerts and different styles of music; no two concerts are exactly the same. When the
audience is captured by the music, it is rewarding. There is an ‘edge of the seat’ feeling and a
silent chill in the theater. It is captivating when there are long applauses and you can tell the
audience is having a great time.
How do you spend your time outside of performing?
I am a founding member for the Circle City Winds, which focuses on art leadership training
for Indianapolis businesses. I also enjoy teaching, making beaded jewelry, playing with my
dogs Ginger and Oliver, and most recently completing a few half marathons. It is so powerful
crossing the finish line after setting a goal and training hard to accomplish it. Nothing beats
that feeling!
What works are you looking forward to playing this year with the ISO?
There is a lot to look forward to this season! I’m looking forward to The Rite of Spring because
I get to play E-flat Clarinet. I love that piece because it is very fun to play the auxiliary
instruments. The Planets is also a very exciting piece. The powerful sound of the orchestra
really blows you away! It’s great to have a clarinet soloist in March, Kari Kriikku. I am also
looking forward to Shostakovich’s 10th Symphony and Rachmaninoff Piano Concerto No. 2 in
March, as well as Beethoven’s 6th Symphony (“Pastorale”) and the Duruflé Requiem in May.
Why do you love live music?
Live music is real. It is purely spontaneous and in the moment. People are sharing their craft,
their truest gifts, and offering them willingly. It is the richest form of people genuinely offering
themselves. Without it, we lose a sincere connection to one another.
13
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ISO MUSICIANS AROUND TOWN
Bassoonist Michael
Muszynski and Principal
Oboe Jennifer Christen will
be participating in the third
annual Butler University
Double Reed Day on January
23, 2016. The event is free
with a closing recital at 4 p.m
at the Schrott Center for the
Arts.
The Evansville Philharmonic
will be playing Principal Trombone James Beckel’s Concerto for Brass and Orchestra on
January 23. On February 23, Beckel’s piece The Glass Bead Game will be played by the
University of Kansas band with Paul Popiel conducting.
St. Paul’s Music Presents ICARUS, A Jazz Concert at St. Paul’s Episcopal Church, 6050 N. Meridian
Street on Sunday January 31, 2016 at 6 p.m. Admission is free and open to the public. The
Icarus Ensemble is made up of ISO Musicians Dean Franke, violin, Peter Hansen, bass, and
Mark Ortwein, winds, along with regular ISO extras Jon Crabiel, percussion, and Gary
Walters, piano. The Icarus Ensemble plays an eclectic mix of classical, jazz, pop, and original
compositions. Their debut CD is available in the HCT lobby, on iTunes and on CD Baby.
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FRIDAY, FEBRUARY 12, 11AM & 8PM
SATURDAY, FEBRUARY 13, 8PM & SUNDAY, FEBRUARY 14, 3PM
JACK EVERLY, CONDUCTOR t TONY DESARE & FRANKIE MORENO,VOCALISTS
Ol’ Blue Eyes gets a special 100th birthday celebration at the
Hilbert Circle Theatre as Jack Everly, vocalists Tony DeSare and
Frankie Moreno and the Indianapolis Symphony Orchestra pay
tribute to one of the best selling and most influential artists
ofdall
time
Frankfrom
Sinatra.
Note: Ad sizes spec’
were
only–0.125”
outer edge, had to
BUY NOW AT 317.639.4300 OR VISIT INDIANAPOLISSYMPHONY.ORG
16
Title Sponsors:
Premier Sponsor: Raymond James & Associates, Inc.
A TRIBUTE TO ALFRED HITCHCOCK: FILMS + ORCHESTRA
JAN 15, 16
The Stratford Coffee Pops Series/Program Three †
Friday, January 15, 2016, at 11 a.m.
Printing Partners Pops Series/Program Four
Friday, January 15, 2016, at 8 p.m.
Saturday, January 16, 2016, at 8 p.m.
RICHARD KAUFMAN, Conductor
A Symphonic Night at the Movies — Hitchcock
Lyn Murray
To Catch A Thief (1955)
Starring: Cary Grant
Opening Title and The Cat Escapes
Bernard Herrmann
Vertigo (1958)
Starring: James Stewart, Kim Novak
Opening titles (Saul Bass) and Rooftop Chase
Scene d’amor
Dmitri Tiomkin
Strangers on a Train (1951)
Starring: Farley Granger, Robert Walker
Opening titles and Feet to the Station
The Murder? — The Tennis Match —The Carousel — The End
INTERMISSION - Twent y M inutes
Charles Gounod
Funeral March of a Marionette
Hitchcock by Himself
(Theme from Alfred Hitchcock Presents)
Dmitri Tiomkin
Dial M for Murder (1954)
Starring: Ray Milland, Grace Kelly, Robert Cummings
Opening titles and A Perfect Marriage
The Setup — The Murder
The Inspector’s Handbag — A Perfect Ending
Bernard Herrmann
North by Northwest (1959)
Starring: Cary Grant, Eva Marie Saint
Opening titles (Saul Bass) — Drunk Driving
Escape with Me — On Top of Mt. Rushmore
Premiere Sponsor
Associate Sponsor
†
Complimentary coffee and pastries courtesy of Marsh Supermarkets, LLC.
Recording or photographing any part of this performance is strictly prohibited.
17
JAN 15, 16
RICHARD KAUFMAN, Conductor
Richard
Kaufman
has devoted
much of his
musical life to
conducting
and
supervising
music for film
and television
productions,
as well as
performing
film and
classical music in concert halls and on
recordings. The 2015-16 concert season
marks Kaufman’s 25th season as Principal
Pops Conductor of Pacific Symphony. He also
holds the permanent title of Pops Conductor
Laureate with the Dallas Symphony, and is in
his tenth season with the Chicago Symphony
Orchestra concert series, CSO at the Movies.
This past May, Kaufman made his conducting
debut with the Boston Pops, stepping in on
short notice for John Williams.
Kaufman regularly appears as a guest
conductor with symphony orchestras
throughout both the United States and
around the world including Cleveland,
Atlanta, St. Louis, London, Calgary,
Edmonton, Liverpool, the RTE Concert
Orchestra in Dublin, Rotterdam, and
the Royal Scottish National Orchestra.
In addition to conducting “traditional”
concert presentations, Kaufman often leads
performances of complete film scores in
concert, synchronizing the music to the
actual film as it is shown on the screen above
the orchestra. These legendary film titles
include Singin’ in the Rain, The Wizard of Oz,
Psycho, Casablanca, The Bride of Frankenstein,
and Pirates of the Caribbean, Home Alone, On
the Waterfront, and Star Trek. He has also
conducted numerous silent films in concert.
18
Kaufman received the 1993 Grammy Award
in the category of Best Pop Instrumental
Performance. In addition to his two
recordings with the London Symphony
Orchestra, he has recorded CDs with the
Nuremberg Symphony, the New Zealand
Symphony Orchestra and the Brandenburg
Philharmonic in Berlin.
As a violinist, Kaufman performed on
numerous film and television scores
including Jaws, Close Encounters of the Third
Kind, Saturday Night Fever and (in a moment
of desperation) Animal House. He has
recorded with artists including John Denver,
Burt Bacharach, Neil Sedaka, The Carpenters,
and Ray Charles.
Kaufman has served as music director and
conductor for numerous musicals, including
a national tour of Sweet Charity starring Juliet
Prowse, the first national tours of Company
(for Hal Prince), and Two Gentlemen of Verona
(for the New York Shakespeare Festival). He
has conducted numerous musicals for the
Los Angeles and San Francisco Civic Light
Operas (for one of these, he was nominated
by the San Francisco Theater Critics for
Outstanding Music Direction).
Born in Los Angeles, Kaufman began
violin studies at age 7, played in the Peter
Meremblum California Junior Symphony,
and was a member of the Young Musicians
Foundation Debut Orchestra. He attended
the Berkshire Music Festival at Tanglewood
in the fellowship program, and earned a B.A.
in Music from California State University,
Northridge. Kaufman lives in Southern
California with his wife, Gayle, a former
dancer in film, television, and on Broadway.
His daughter, Whitney is a graduate (with
honors) from Chapman University in Orange,
California, and was a member of the cast of
the National Tour of Mamma Mia for 2 and a
half years.
THURSDAY, FEBRUARY 25
HAPPY HOUR 5PM
CONCERT 6:30PM
Enjoy pre-concert complimentary food and drink samples from area restaurants and
vendors followed by a 60-minute concert featuring Time for Three with the ISO performing
the music of Led Zeppelin, Joni Mitchell, Dave Matthews Band, and many more!
BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL 317.639.4300
The Orchestra Moves
Vince Lee, Conductor
Jaunary 26 | February 16 & 17 | April 5 | May 10, 17 & 18
For students in grades 3-6.
SCARIM
MOZART
OFFENBACH
J. STRAUSS
BIZET
FILHO
BEETHOVEN
STRAVINSKY
A Simple Melody
Overture to The Marriage of Figaro
“Can-Can” from Orpheus in the Underworld
On the Beautiful Blue Danube Waltzes
“Toreador Song” from Carmen, Act II
“Cidade Maravilhosa”
Movement I Allegro Con Brio from Symphony No. 5 in C Minor, Op. 67
“Finale” from The Firebird Suite (1919)
INDIANAPOLISSYMPHONY.ORG
19
JAN 22, 23
MUSIC IN THE COSMOS: THE VOYAGER GOLDEN RECORD
WEEK 1: Music In The Cosmos — The Voyager Golden Record
What is the Voyager Golden Record?
In 1977, twin spacecraft Voyager 1 and 2 launched into space carrying a record-shaped time capsule
containing 115 photographs, greetings in 55 languages, a 12-minute collection of Earthly sounds and
90 minutes of music – in many different genres. It was NASA’s hope that once the Voyager reached
any possible life forms after more than 40,000 years in space, extra-terrestrials would get a glimpse
into the sights, sounds, cultures and creative expressions of our humankind.
The Music on the Voyager Golden Record
There are 27 musical tracks on the Voyager Golden Record representing many different cultures, time
periods and genres of music. The pieces in bold are featured for the ISO’s first concert weekend of the
Cosmos Festival.
1. Bach, Brandenburg Concerto No. 2 in F. First
Movement, Munich Bach Orchestra, Karl
Richter, conductor.
2. Java, court gamelan, “Kinds of Flowers,” recorded by
Robert Brown.
3. Senegal, percussion, recorded by Charles Duvelle.
4. Zaire, Pygmy girls’ initiation song, recorded by Colin
Turnbull.
5. Australia, Aborigine songs, “Morning Star” and
“Devil Bird,” recorded by Sandra LeBrun
Holmes.
6. Mexico, “El Cascabel,” performed by Lorenzo
Barcelata and the Mariachi México.
7. “Johnny B. Goode,” written and performed by Chuck
Berry.
8. New Guinea, men’s house song, recorded by Robert
MacLennan.
9. Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s
Nest,”) performed by Goro Yamaguchi.
10. Bach, “Gavotte en rondeaux” from the Partita No.
3 in E major for Violin, performed by Arthur
Grumiaux.
11. Mozart, The Magic Flute, Queen of the Night aria,
no. 14. Edda Moser, soprano. Bavarian
State
Opera, Munich, Wolfgang Sawallisch, conductor.
12. Georgian S.S.R., chorus, “Tchakrulo,” collected by
Radio Moscow.
13. Peru, panpipes and drum, collected by Casa de la
Cultura, Lima.
14. “Melancholy Blues,” performed by Louis Armstrong
and his Hot Seven.
20
15. Azerbaijan S.S.R., bagpipes, recorded by Radio
Moscow.
16. Stravinsky, Rite of Spring, Sacrificial Dance,
Columbia Symphony Orchestra, Igor Stravinsky,
conductor.
17. Bach, The Well-Tempered Clavier, Book 2,
Prelude and Fugue in C, No.1. Glenn Gould,
piano.
18. Beethoven, Fifth Symphony, First Movement,
the Philharmonia Orchestra, Otto Klemperer,
conductor.
19. Bulgaria, “Izlel je Delyo Hagdutin,” sung by Valya
Balkanska.
20. Navajo Indians, Night Chant, recorded by Willard
Rhodes.
21. Holborne, Paueans, Galliards, Almains and Other
Short Aeirs, “The Fairie Round,” performed
by David Munrow and the Early Music Consort of
London.
22. Solomon Islands, panpipes, collected by the
Solomon Islands Broadcasting Service.
23. Peru, wedding song, recorded by John Cohen.
24. China, ch’in, “Flowing Streams,” performed by Kuan
P’ing-hu.
25. India, raga, “Jaat Kahan Ho,” sung by Surshri Kesar
Bai Kerkar.
26. “Dark Was the Night,” written and performed by
Blind Willie Johnson.
27. Beethoven, String Quartet No. 13 in B flat, Opus
130, Cavatina, performed by Budapest String
Quartet.
PRE-CONCERT PERFORMANCES
JAN 22, 23
Pre-concert performances by
Members of the Indianapolis Symphony Orchestra
Friday, January 22, 2016 - 7 p.m.
Saturday, January 23, 2016 - 4:30 p.m.
Johann Sebastian Bach
(1685-1750)
Prelude and Fugue No. 1 in C Major from the
Well-Tempered Clavier, Book 2, BWV 870
Sylvia Scott, Harpsichord
Gavotte en rondeaux from Partita No. 3 in E, BWV 1006
Zachary De Pue, Violin
Ludwig van Beethoven
(1770-1827)
Cavatina from String Quartet No. 13, Op. 130 in B-flat
Sherry Hong, Peter Vickery, Violin
Amy Kniffen, Viola
Austin Huntington, Cello
Brandenburg Concerto No. 2, BWV 1047
Allegro - Andante - Allegro assai
Philip Palermo, Peter Vickery, Jennifer Greenlee, Violin 1
Mary Anne Dell’Aquila, Victoria Griswold, Lisa Scott, Violin 2
Mike Chen, Terry E. Langdon, Viola
Perry Scott, Anne McCafferty, Cello
Sylvia Scott, Harpsichord
Additional activities
Enjoy interactive exhibits provided by Space Grant Affiliate groups with
Purdue University.
Check out other tracks from the Golden Record provided by Indy CD and Vinyl.
Thank you to our Cosmos Music Festival partners:
The Children’s Museum of Indianapolis, Purdue University,
Indy CD and Vinyl, and Sun King Brewery.
Artists and repertoire subject to change.
21
JAN 22, 23
Lilly Classical Series/Program Seven
Saturday, January 23, 2016, at 5:30 p.m.
KRZYSZTOF URBAŃSKI, Conductor
SHANNON LOVE, Soprano
(1770-1827)
Symphony No. 5 in C Minor, Op. 67
Allegro con brio
Andante con moto
Scherzo: Allegro
Allegro
Wolfgang Amadeus Mozart
(1756-1791)
“Der Hölle Rache kocht in meinem Herzen”
(“Hell’s vengeance boils in my heart”)
from Die Zauberflöte (The Magic Flute)
Shannon Love, Soprano
Igor Stravinsky
(1882-1971)
Le Sacre du printemps (The Rite of Spring)
Part I: The Adoration of the Earth
Introduction
The Augurs of Spring (Dances of the Young Girls)
Ritual of Abduction
Spring Rounds
Ritual of the Rival Tribes
Procession of the Sage: The Sage
Dance of the Earth
Part II: The Sacrifice
Introduction
Mystic Circles of the Young Girls
Glorification of the Chosen One
Evocation of the Ancestors
Ritual Action of the Ancestors
Sacrificial Dance
The Mohlman Performance of Classical Music is endowed by Ina M. Mohlman and the late Robert H. Mohlman.
Premiere Sponsor
22
Associate Sponsors
Length of performance is approximately one hour and forty minutes.
TELAMON PALLADIUM SERIES
JAN 24
Telamon Palladium Series/Program Seven
Sunday, January 24, 2016, at 3 p.m.
The Center for the Performing Arts (Palladium)
(1770-1827)
Symphony No. 5 in C Minor, Op. 67
Allegro con brio
Andante con moto
Scherzo: Allegro
Allegro
Wolfgang Amadeus Mozart
(1756-1791)
“Der Hölle Rache kocht in meinem Herzen”
(“Hell’s vengeance boils in my heart”)
from Die Zauberflöte (The Magic Flute)
Shannon Love, Soprano
Igor Stravinsky
(1882-1971)
Le Sacre du printemps (The Rite of Spring)
Part I: The Adoration of the Earth
Introduction
The Augurs of Spring (Dances of the Young Girls)
Ritual of Abduction
Spring Rounds
Ritual of the Rival Tribes
Procession of the Sage: The Sage
Dance of the Earth
Part II: The Sacrifice
Introduction
Mystic Circles of the Young Girls
Evocation of the Ancestors
Ritual Action of the Ancestors
Sacrificial Dance
Associate Sponsor
Length of performance is approximately one hour and forty minutes.
23
JAN 22-24
Provence with Thomas Hampson. He also
continues as Principal Guest Conductor of the
Tokyo Symphony Orchestra.
“That he is no mere flashy wunderkind of the
baton was shown by the freshly invigorated
playing he drew from the CSO …his keen
musical instincts and vigorous way of
translating his ideas into orchestral sound
that has both shape and meaning” (Chicago
Tribune), Krzysztof Urbański enters the fifth
season of his highly acclaimed tenure as
Music Director of the Indianapolis Symphony
Orchestra.
As Chief Conductor and Artistic Leader of
Trondheim Symphony Orchestra, highlights of
his five years with the orchestra include two
tours (first with concerts in Germany, Austria
and Poland and second at the International
Chopin Music Festival), and a fully staged
production of Carmen as his first foray into
opera, which this season he conducts with the
Indianapolis Symphony Orchestra.
In September 2015, Urbański formally
became Principal Guest Conductor of NDR
Sinfonieorchester Hamburg and this season he
takes them to the Beethoven Easter Festival in
Warsaw, Wroclaw, Katowice and Aix-en-
24
Following a hugely successful debut with
the Münchner Philharmoniker in July 2015,
when he conducted Carmina Burana before
a capacity crowd of 8,000, Urbański returns
to the orchestra in 2015/16 for Lutosławski’s
Concerto for Orchestra. His 2014-15 season
culminated with him receiving the prestigious
Leonard Bernstein Award when he returned to
conduct the Schleswig-Holstein Akademie at
the Schleswig-Holstein Festival. Notably, he is
the first conductor to have ever received the
award.
In 2015-16 Urbański will conduct the Danish
National Symphony Orchestra, Orchestre
Philharmonique de Radio France and the
Tonhalle-Orchester Zürich. Other recent
debuts include Berliner Philharmoniker and
Oslo Philharmonic Orchestra. Engagements
further ahead include Netherlands Radio
Orchestra, returning to the London Symphony
Orchestra, Philharmonia Orchestra and Wiener
Symphoniker for the annual Beethoven
Symphony No. 9 New Year’s concerts.
In North America, Urbański debuts with the
San Francisco Symphony and The Cleveland
Orchestra as well as returning to the
Toronto Symphony Orchestra, Los Angeles
Philharmonic and Washington’s National
Symphony Orchestra. Other recent U.S. debuts
have included the New York Philharmonic,
Chicago Symphony and Pittsburgh Symphony
orchestras.
Soprano
Shannon Love
is a native of the
United States,
born in Ponca
City, Oklahoma.
Since her
debut on the
operatic stage
in 2005, she has
performed the
roles of Violetta
Valéry (La
Traviata), Queen
of the Night (Die Zauberflöte), Lauretta (Gianni
Schicchi), Cunegonde (Candide), Fiordiligi (Così
fan tutte), Sofia (Il Signor Bruschino), Queen Tye
(Akhnaten), and many more.
In November of 2013, Shannon was honored
to be a participant in the American Voices
Festival and Master Class Series at the Kennedy
Center in Washington, D.C., hosted by Renée
Fleming. The following January, she won first
place at the Tulsa district Metropolitan Opera
National Council Auditions, going on to take
third place at the regional level. Additional
JAN 22-24
awards include first place in the Graduate
Women division of the Texoma Regional NATS
Competition and 1st Place in the National
Society of Arts and Letters Bloomington
District competition in February of 2015.
In 2013, Shannon was hired as a Victoria J.
Matrobuono Young Artist with New Jersey
Opera, and again as a Des Moines Metro Opera
Young Artist for the Summer of 2014. Ms. Love
recently appeared as the soprano soloist as a
part of The Priest’s US National Tour in Carmel,
IN, and will be reprising the role of Violetta in
a new production of La Traviata with Arbor
Opera Theater in June, 2015.
Shannon is an alumna of the Jacobs School
of Music at Indiana University, where she
received her master’s degree in vocal
performance as a Barbara and David Jacobs
Fellow. Musical theater experience includes
the role of Baby June in Gypsy and the
premier role of Jane Cratchit in Lyric Theater
Oklahoma’s production of A Country Christmas
Carol, created by Ron Kaehler and Albert
Evans.
25
JAN 22-24
NOTES
By Marianne Williams Tobias
The Marianne Williams Tobias Program Note Annotator Chair
SYMPHONY NO. 5 IN C MINOR, OP. 67
LUDWIG VAN BEETHOVEN
Born December 16, 1770, in Bonn, Germany
Died March 26, 1827, in Vienna, Austria
It had to be one of the most amazing concerts
of all time: December 22, 1808. Beethoven
had been given the free use of the Theater-ander-Wien for a concert of his own. The event,
lasting some five hours in an unheated theater,
offered a marathon parade of new works to an
audience that remained spellbound (though
tested on a Herculean scale) for the evening of
“new music.” The program featured premieres
of Beethoven’s Symphony No. 6, followed by
the aria Ah! Perfido, two movements from the
Mass in C Major, the fourth piano concerto,
Symphony No. 5, and the entire Choral Fantasy.
An unrehearsed orchestra, a soprano trembling
with stage fright and freezing temperatures
could not dampen the wonder of the music.
Beethoven worked on several works
simultaneously, and as it happened, all of
these were at the starting gate. It was the fifth
symphony that jolted the audience to attention
with its shockingly wild drive and tension
incorporated in unrelenting vehemence.
Reviewers, however, gave relatively short
shrift to No. 5. The poet Goethe said that “it is
merely astounding, grandiose.” A year later, the
romantic novelist E. T. A. Hoffman, in Allgemeine
musikalische Zeitung, hoisted the flag and gave
his florid viewpoint: “Radiant beams shoot
through the deep night of this region, and we
become aware of gigantic shadows which,
rocking back and forth, close in on us and
destroy all within us except the pain of endless
longing — a longing in which every pleasure
that rose up amid jubilant tones sinks and
succumbs. Only through this pain, which, while
consuming but not destroying love, hope and
joy, tries to burst our breasts with a full voiced
general cry from all the passions, do we live on
as captivated beholders of the spirits.”
The fifth symphony was completed in 1808,
although sketches appear as early as 1800 and
26
more frequently in the
composer’s notebooks
between 1804-1806.
After completion,
Beethoven wrote to
his patron, Count Franz
von Oppersdorff, “Your
symphony is, at last,
ready, but in case you
do not want it, let me
know … I am not well, and I am being treated
for an injured finger. Things are going badly
with me. The cost is 300 florins and the balance
is due.”
1808 was a terrible time for Beethoven.
Impending deafness frightened him to the
core, the Emperor Napoleon was marching
over his homeland, and his brother had married
a wretched woman whom he called “Queen of
the Night.” Money was short. Music alone made
life bearable, and through music, he became a
master of his destiny. That journey is reflected
in the iconic fifth. And through this, Beethoven
comprehensively speaks for and to us all.
The opening begins with a thunderclap: the
famous four-note motto theme, three quick
Gs and a long E flat, proclaimed fortissimo.
Momentum generated by the repetition of
the first three notes is dramatically halted in
an extended fourth tone. The composer holds
us breathless and then insistently repeats the
three notes on a lower tone and again holds
us tight on the fourth. After this unbelievable
introduction, Beethoven unleashes a
movement unlike any other in his time. From
the opening kernel, he developed a symphonic
masterpiece, demonstrating a new symphonic
principal: the potential of a single gesture to
generate an enormous piece. Rhythms are
torrential, but the single focus on the motto
insists upon that underlying idea. Sometimes
the idea screams, sometimes whispers or
pants in the depths of the orchestra, but
it is unstoppable. A lyrical second theme
introduced by French horn is beautiful but
overwhelmed by the rage and insistence of
NOTES
the opening grip. A turbulent development
continues the obsession with the opening
motto, not uttered in tight integration. Within a
traditional recapitulation, Beethoven stops the
action with an expressive oboe cadenza, and
then he moves us into a long coda, hammering
the motto again and again into our soul.
“This is one of the most powerfully integrated
movements in all symphonic literature.”
(Edward Downes)
His second movement, Andante con moto, spins
a series of four variations on two main ideas.
Violas and cellos first sing a richly declaimed
song before clarinets, flute and bassoons
chant a sturdier, more assertive idea. Although
writing double variations on these two ideas,
Beethoven cannot resist allowing rhythmic
allusions to the opening cell to persist.
The third movement, Allegro, is a scherzo rather
than a traditional minuet and trio. Ominously,
hushed cellos and basses restlessly stir the first
musical ideas before French horns emerge with
a strong theme, again referencing the opening
idea. Themes spar back and forth. A dramatic
pianissimo section, underscored by muttering
timpani, charges the atmosphere before an
extended crescendo moves directly to the
brilliant finale.
The fourth movement ratchets up instrumental
color by the addition of piccolo, contrabassoon
and three trombones. (This was the first time
trombones appeared in a symphony orchestra.)
A panoply of themes occupies the enlarged
canvas and palette. Trombones are invoked to
lead the extroverted march-like theme, which
sets the stage for the greater dimensions.
While the contrabassoon adds depth, the
piccolo provides glitter. Within the exuberant
mood, Beethoven leads us to his triumphant
coda, now stressing the light of C Major for
54 measures. Michael Steinberg has written,
“This victory symphony was a new kind of
symphony, and Beethoven’s invention here of a
path from strife to triumph became a model for
symphonic writing to the present day.”
The fifth spoke a musical language no one had
heard before. Paul Bekker noted, “In Beethoven,
JAN 22-24
a composer arose who completely understood
the possibilities of the art. He knew the secret
forces of his spiritual kingdom…. He was
artist enough to enforce his will.” The musical
mission lay far beyond entertainment. We are
also provided a window into what was yet to
come from the Beethoven sound, as well as
his conviction that music was a critical and
elevating force for life. “Beethoven broke all the
rules and turned out pieces of breathtaking
rightness. He had the real goods, the stuff
from Heaven, the power to make you feel at
the finish: Something is right with the world.”
(Leonard Bernstein)
The ISO’s last performance of Symphony
No. 5 in C Minor, Op. 67 was in March, 2013
conducted by Krzysztof Urbański.
“DER HÖLLE RACHE KOCHT IN MEINEM HERZEN” FROM
THE MAGIC FLUTE
WOLFGANG AMADEUS MOZART
Born January 27, 1756 in Salzburg, Austira
Died December 5, 1791 in Vienna, Austria
Mozart’s Magic Flute was one of his great
triumphs. It is a comic opera, light hearted
in its story, spectacular in its jaunty, witty
music, delivered in Singspiel style — spoken
dialogue and singing, similar to a Broadway
show. At the same time, it is full of serious and
political messages. The story is a mixture of fun
and high ideals, of Masonic philosophy and
high jinx, of brotherhood and love affairs, of
melodrama and rational philosophy.
The composer’s life at this time was anything
but happy. Mozart was in dire need of money,
was in bad health and his wife was very sick.
He needed a hit, and to that commercial end
collaborated with the prominent writer, actor,
producer, and personal friend, Schikaneder to
provide a suitable libretto. This was completed
in 1789.
Schikaneder was popular, and his “machine
comedies”, produced by his “rowdy group of
actors” had been very popular throughout
Austria and Germany. Slapstick comedy, and
heavy special effects were hallmarks of his
27
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JAN 22-24
NOTES
dramatic fare. The combination with Mozart
was dynamite. During its first ten years, The
Magic Flute was presented two hundred and
thirty-three times in the original theater, and
radiated out over Europe. Its American premiere
occurred in New York on April 17, 1833.
Mozart conducted the Overture’s premiere on
September 28, 1791 at the Freihaus Theater
auf der Wieden. He also conducted the opera
premiere, September 30, 1791. He managed to
conduct two successive productions before ill
health forced him to take to his bed. The opera
ran for 100 performances, and it was said that
Mozart held a watch on his sickbed, timing the
opera as it unfolded. He died after performance
number 67.
The story is a mixture of fun and high ideals,
of Masonic philosophy and high jinx, of
brotherhood and love affairs, of melodrama
and serious thought. Within this context
Mozart sent his final message of personal
conviction and standards of living, which had
been confirmed by his membership in the
Freemasons, on January 7, 1785, admitted into
the Zur Wohltätigkeit Lodge in Vienna. There, he
was in familiar company. Other contemporary
members of this Lodge were Joseph Haydn, his
patron Prince Lichnowsky, his father Leopold,
Michael Puchberg and Gottfried van Swieten,
two of his most important patrons, Anton
Stadler (clarinetist) and Angelo Solimon, a good
friend.
Mozart strongly identified with and embraced
the rationalist and Enlightenment component
of Masonic philosophy, represented by the
faction known as the Illuminati. One of their
dangerous ideas was that those born in low
circumstances could share nobility, that nobility
automatically accorded to the aristocrats by
birth was fraudulent. These were dangerous
thoughts, and the government was wary.
For several years the political/social stance of
Freemasonry and its connection to The Magic
Flute was worrisome to the Austrian monarchy,
which was anxiously witnessing revolutionary
events in France. The opera’s ethical symbolism
was overtly provocative. It seemed that
30
the characters in the opera were thinly
veiled representations for members of the
government (the Prince, for example was really
Emperor Joseph II.) The Viennese government
sought and encouraged any new interpretation
of The Magic Flute was which would divert
attention from the Masonic content and
the implicit treason. In 1794 an important,
“interpretation” (pleasing to the government)
appeared under the title “The grand opera,
The Magic Flute was clearly explained so as to
understand its true meaning.”
Like the libretto, Mozart’s music was filled with
references to Freemasonry starting with a trio
of chords, which begins the Overture. The
initiation ceremony for a freemason begins
with the applicant knocking three times on
the door of a Lodge. Reference to the number,
three appears constantly throughout the
opera — for example, in the opening key
of E flat major (three flats) the Three Ladies
(attendants to the Queen) the Three Spirits,
the tri-partite dissection of the serpent,
three couples dominate the plot, three boys
announce the three ordeals the lovers Tamino
and Pamina must endure before they unite.
There are three temples: Wisdom, Reason, and
Nature. Connection to Freemason philosophy
is unmistakable.
The Queen of the Night is Pamina’s mother. In
Act II, she sings Der Hölle Rache (The Revenge
from Hell) when she discovers that her
daughter has converted to her kidnapper’s
philosophy and she swears retribution. At this
time, she gives her terrified daughter a dagger,
and insists that she kill her rival, Sarastro.
If Pamina does not kill him, she is subject
to possible death and certainly to being
disowned and cursed.
This aria demands every ounce of control,
endurance, and skill from a soprano coloratura.
Its vocal range spans more than two octaves.
The Queen’s threats are clearly declaimed,
interspersed with dazzling, bel canto style
vocalizing. Like the Overture, this aria is often
separated from the full opera as a stand-alone
performance.
NOTES
JAN 22-24
“DER HÖLLE RACHE KOCHT IN MEINEM HERZEN” FROM THE MAGIC FLUTE
Der Hölle Rache kocht in meinem Herzen,
Tod und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro
Todesschmerzen,
so bist du meine Tochter nimmermehr.
The vengeance of hell boils in my heart;
Death and despair blaze around me!
If not by your [intercession] Sarastro feels the
pains of death,
Then you will be my daughter nevermore.
Verstossen sei auf ewig,
verlassen sei auf ewig,
zertrümmert sein auf ewig
alle Bande der Natur.
Outcast be forever,
Forsaken be forever,
Shattered be forever
All the bonds of nature
wenn nicht durch dich Sarastro wird
erblassen!
Hört, hört, hört, Rachegötter,
hört, der Mutter Schwur!
If not by your [intercession] Sarastro turns
pale [in death]!
Hear ye, hear ye, hear ye, gods of
vengeance, hear the mother’s oath!
The ISO’s last performance of “Der Hölle Rache
kocht in meinem Herzen” was July 2001
conducted by Alfred Savia.
help of archeologist and folklorist Nikolai
Roerich (an ex pat living in Paris) to “ensure
authenticity.” As the piece developed, he
worked closely with Roerich, and during 19121913 the Rite of Spring was referred to as “our
child.” The composer was so indebted that he
dedicated the score to Roerich. For a while, he
viewed his “fantasy” as a possible symphony,
but was persuaded by Serge Diaghiler to turn it
into a ballet.
LE SACRE DU PRINTEMPS (THE RITE OF SPRING)
IGOR STRAVINSKY
Born June 18, 1882 in Oranienbaum, Russia
Died April 6, 1971 in New York City, NY
“We have a duty to music: namely to invent it.”
- Igor Stravinsky
In 1910, Stravinsky was the toast of Paris. At this
time he produced his lush ballet, The Firebird
to satisfied, gentile acclaim and more cultural
delight. Little did the Parisian world know
that simultaneously he was hatching a plan
to write a fantasy piece in various episodes
describing a violent, ruthless pagan ritual. “In
my imagination,” the composer recalled, ”I
saw a solemn pagan rite: wise elders, seated
in a circle, watching a young girl dance
herself to death whom they are offering as a
sacrifice to the god of Spring in order to gain
his benevolence.” In 1911, while in Clarens,
Switzerland, he felt ready to jot down the first
notes of his Rite.
One year earlier, in 1910, he had enlisted the
On May 28, 1913, he changed a few ideas, and
the following day, Rite of Spring was produced
at the Theatre des Champs Elysees to an
astonished audience. In place of the elegance
of classical ballet, the dancers gyrated their
pelvises; arms and legs were sharply bent.
“When the curtain rose on a group of knockkneed pigeon-toed long-braided Lolitas
jumping up and down in hideous costumes,
the audience went berserk. But the visual
shock was nothing compared to the music.
The United States premier in 1924 emerged in
a concert version, but Stravinsky noted about
both premieres that his intention was “to send
them all to hell.”
Upon hearing the brash, frightening score,
the first-time audience dissolved into angry
shouts, catcalls, whistles, and fistfights in the
31
JAN 22-24
NOTES
aisles degenerated into a riot. Diaghilev raced
backstage to turn the lights on and off to calm
the attendees but to no avail. On the side, the
choreographer Vaslav Nijinsky mounted a chair
and screamed step numbers to the dancers
who were unable to hear the music. Camille
Saint-Säens ran from the theater in a fury. The
conductor, Pierre Monteux, who had thought
Stravinsky was ”raving mad” stood his ground
on the podium “apparently impervious and as
nervous as a crocodile. It is still almost incredible
to me that he actually brought the orchestra
through to the end,” Stravinsky recalled.
Monteux anticipated that the music might cause
a scandal — he was wrong. It was a revolution.
Police were called, and Stravinsky was infuriated.
“I have never been that angry. The music was
so familiar to me. I loved it and I could not
understand why people who had not heard it
wanted to protest in advance.” He blamed part
of the melee on the dancing itself, and in his
autobiography noted “the poor boy (Nijinsky)
knew nothing of music and was saddled with a
task beyond his capacity.”
What was so infuriating? Besides the overt
sexuality of the subject and depiction of a
primordial world, harmonic dissonance, frenzied
rhythmic changes and unpredictable offbeat
accents, savage ostinati (repeated patterns)
wild dynamics, and distorted, quirky melodies
were incoherent. When quoting folk music, the
composer added notes or subtracted notes
(permutations) without changing the beat,
thus bending melodic lines “out of shape.” The
entire tonal system of Western music was at
risk. George Perle wrote that “the intersecting of
inherently non-symmetrical diatonic elements
with inherently non-diatonic symmetrical
elements seems to be the defining principle of
the musical langue of Le Sacre and the source of
the unparalleled tension and conflicted energy
of the work.”
Play-by-Play Description by Stravinsky and
Roerich
First Part: Adoration of the Earth, the Spring
Celebration
“It takes place in the hills. The pipers pipe and
young men tell fortunes (Augurs of Spring), the
32
old woman enters. She knows the mystery of
nature and how to predict the future. Young
girls with painted faces come in from the river
in single file. They dance the Spring Dance.
Games start (Dance of Abduction) and the
Spring Khorovod (Spring Rounds), the people
divide into two groups opposing each other
(Ritual of the Rival Tribes). The procession of
wise old men (Procession of the Sage) follows.
The oldest and wisest interrupts the spring
games, which comes to a stop. The people
pause, trembling before the great action.
The old men bless the earth. The Kiss of the
Earth (The Sage) follows and the people dance
passionately on the earth, sanctifying it and
becoming one with it (Dance of the Earth).”
The introduction is based on a Lithuanian folk
tune sung by solo bassoon in pungent high
register. With the Augurs of Spring, stamping,
brutal-beat accents initiate the section, which
set everybody on edge. An E major triad with
a seventh chord in E-flat on top adds to the
chaos. The chord is hammered out in the
strings in a stream of eighth notes. An English
horn plays an insistent ostinato figure. A Ritual
of Abduction (presto) is breathless. Spring
Rounds (marked tranquillo) displays melodies
of a tight and narrow melodic range, singing
over a stream of dissonant parallel chords. The
Ritual of the Rival Tribes area offers a four note
melody, heard between explosive outbursts of
the full orchestra. The scene calms somewhat
with the arrival of the wise man and the
Procession of the Sage. With the final Dance
of the Earth, the concluding section of Part I
rises to a frenetic pitch of excitement with tiny
fanfare-like figures peppering the horns, wild
swirling violins and heavy syncopated chords
in brass and winds.
The Second Part: The Great Sacrifice (from
Stravinsky and Roerich)
“At night the virgins hold mysterious games,
walking in circles (Mystic Circles of the Young
Girls). One of the virgins honors her, the chosen
one, with a martial dance (Glorification of the
Chosen One). They invoke the ancestors and
entrust the chosen one to the old wise men
(Ritual Action of the Ancestors). She sacrifices
herself in the presence of the old men in the
NOTES
great hold dance, the great sacrifice (Sacrificial
Dance).”
JAN 22-24
contemporary music. A kind of manifesto
work…it has not ceased to engender first
polemics, then praise, and finally, the necessary
clarification.” Aaron Copland, in his 1951 Norton
Lecture series at Harvard, considered The
Rite of Spring to be “the foremost orchestral
achievement of the twentieth century.”
The section begins with an introduction
describing the pagan night. In the Mystic Circles
of the Young Girls, marked andante con moto,
the string choir is divided into thirteen parts. A
melancholy folk-like melody migrates among
violins, horns and oboes.
Conclusion
During his long lifespan,
turns the orchestra into one
Stravinsky spoke in many
big percussion source.
voices. After he moved to
Rhythms move amid
New York City in 1969,
Delivering
changing meters: 5/8,
Stravinsky explained that
outstanding
9/8, 7/8, 4/8. Evocation of
he went there “so that
the Ancestors comes with
he could mutate faster.”
performances
dramatic crescendi from
Philip Glass noted, “he
in print
timpani and bass drum
never stopped inventing
coupled with alternate
himself.” He was far more
simple fanfares from winds
than provocateur. By the
and brass. The Ritual Action
twenties and thirties he
of the Ancestors offers a
was writing tamed-down
pulsating accompaniment,
music in neo-classical style,
which rises to an
using traditional forms such
enormous tutti climax,
as symphony, fugues, and
caped by a swaggering
concerti grossi. “Music is
theme for four horns
incapable of expressing
before subsiding
anything but itself,”
to almost nothing.
he trumpeted. He
Finally, we come to the
was fearless. He
germ, which generated
was intense. He
the whole piece — the
was determined. He
Sacrifical Dance. Herein,
was audacious. Time
the victim dances herself
Magazine (June 8,
to death. As the horror
1998) concluded,
unfolds, the rhythms
“There is not a
control the momentum,
composer who lived
never releasing the
during his time or is
unforgiving tension.
alive today who (has not been) touched and
sometimes transformed by his work.”
The Legacy
Did Stravinsky merely blow the top off of
This is the first time the ISO has performed Le
Western music in a momentary manic fit? In
Sacre du printemps (The Rite of Spring).
his Poetics of Music the composer noted “As for
myself, I experience a sort of terror when, at the
moment of setting to work…I have the feeling
that everything is permissible to me. Will I then
have to lose myself in this abyss of freedom?”
Pierre Boulez has noted, “The Rite of Spring
serves as a point of reference to all who seek to
establish the birth certificate of what is called
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JAN 29, 30
THE PLANETS
WEEK 2: THE PLANETS
Additional Activities
Arrive an hour prior to concert time to hear from The Children’s Museum of
Indianapolis’ Scientist-in-Residence, former Astronaut Dr. David Wolf.
Check out the live exhibition in the ISO lobby provided by The Children’s Museum
of Indianapolis.
Enjoy drink samples from Sun King Brewery.
Dr. David
Wolf, a 28-year
NASA veteran
and astronaut,
has spent 168
days in space
and conducted
seven
spacewalks
over four
separate
missions
including
Space Shuttles
Columbia, Atlantis, Discovery, and Endeavor
as well as the International Space Station,
Russian Space Station MIR, and Spacelab.
Prior to being selected as an astronaut,
he led teams producing medical research
instrumentation for spaceflight, including
novel state of the art technology for threedimensional tissue engineering. A medical
doctor, electrical engineer, and inventor,
Wolf has been awarded 17 U.S. patents,
36
received the NASA Exceptional Engineering
Achievement Medal, and was named the
NASA Inventor of the Year.
As part of the Medical Sciences Division at the
Johnson Space Center in Houston, Wolf was
responsible for development of the American
Flight Echocardiograph, utilized in space for
investigating cardiovascular physiology in
microgravity. He served as chief engineer
for design of the Space Station Medical
Facility as well as the ‘Space Bioreactor,’ a
tissue engineering and cancer research
biotechnology program. This technology is
now utilized on earth for “state of the art”
three-dimensional tissue culture.
Wolf considers the Hoosier state his home
on earth. Born and raised in Indianapolis, he
is a graduate of North Central High School,
Indiana University (School of Medicine) and
Purdue University (School of Engineering). The
recipient of awards and special honors from
these schools, he has also been granted an
honorary doctorate from Indiana University.
THE INDIANAPOLIS SYMPHONY ORCHESTRA’S
IS SOON TO BE ANNOUNCED
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317.639.4300 t IndianapolisSymphony.org
37
JAN 29, 30
THE PLANETS
Lilly Classical Series/Program Eight
Saturday, January 30, 2016, at 7 p.m.
JUN MÄRKL, Conductor
WOLFGANG BRENDEL, Baritone
WOMEN’S CHORUS, INDIANAPOLIS SYMPHONIC CHOIR
ERIC STARK, Artistic Director
Paul Hindemith
(1895-1963)
Die Harmonie der Welt Symphony
Musica Instrumentalis
Musica Humana
Musica Mundana
Richard Wagner
(1813-1883)
“O du, mein holder Abendstern”
(“Song to the Evening Star”) from Tannhäuser
Wolfgang Brendel, Baritone
Gustav Holst
(1874-1934)
The Planets, Op. 32
Mars, the Bringer of War
Venus, the Bringer of Peace
Mercury, the Winged Messenger
Jupiter, the Bringer of Jollity
Saturn, the Bringer of Old Age
Uranus, the Magician
Neptune, the Mystic
The performance of a guest artist is endowed by the Jean D. Weldon Guest Artist Fund.
Premiere Sponsor
Associate Sponsors
38
Length of performance is approximately one hour and fifty minutes.
DUKE ENERGY 317 SERIES
JAN 31
Duke Energy 317 Series
Sunday, January 31, 2016, at 3 p.m.
Avon High School
ERIC STARK, Artistic Director
Paul Hindemith
(1895-1963)
Die Harmonie der Welt Symphony
Musica Instrumentalis
Musica Humana
Musica Mundana
Richard Wagner
(1813-1883)
“O du, mein holder Abendstern”
(“Song to the Evening Star”) from Tannhäuser
Wolfgang Brendel, Baritone
Gustav Holst
(1874-1934)
The Planets, Op. 32
Mars, the Bringer of War
Venus, the Bringer of Peace
Mercury, the Winged Messenger
Jupiter, the Bringer of Jollity
Saturn, the Bringer of Old Age
Uranus, the Magician
Neptune, the Mystic
Associate Sponsor
Length of performance is approximately one hour and fifty minutes.
39
JAN 29-31
Jun Märkl has long been known as a highly
respected interpreter of the core Germanic
repertoire from both the symphonic and
operatic traditions, and more recently for
his refined and idiomatic explorations of the
French impressionists. His long-standing
relationships at the state operas of Vienna,
Berlin, Munich and Semperoper Dresden have
in recent years been complemented by his
Music Directorships of the Orchestre National
de Lyon (2005-11) and MDR Symphony
Orchestra Leipzig (to 2012). For the 14/15 and
15/16 seasons he is Principal Conductor to
the Basque National Orchestra and Principal
Conductor of Pacific Music Festival (Japan)
for 2015. He guests with the world’s leading
orchestras, including the Cleveland Orchestra,
Philadelphia Orchestra, NHK Symphony
Orchestra, Czech Philharmonic, Munich
Philharmonic, Oslo Philharmonic, Tonhalle
Orchester Zürich.
In 2012 he was honored by the French Ministry
of Culture with the Chevalier de l’Ordre
des Arts et des Lettres in recognition of his
achievements in Lyon, notably his hugely
successful nine-disc Debussy cycle with the
orchestra on Naxos. He also toured with
the orchestra to Japan and major European
halls and festivals such as the Salle Pleyel,
Amsterdam Concertgebouw, BBC Proms, Bad
Kissingen, Rheingau and Luzern. With MDR
he toured to Spain and the Baltics, made
regular appearances in the Berlin Konzerthaus
and Cologne Philharmonie, and conducted
Schumann’s rarely-heard opera Genoveva at
the Rotterdam Opera Festival.
40
In 2014/15 Märkl returns to the Orchestre
National de Lyon and also to the Netherlands
Radio Philharmonic, Oslo Philharmonic,
Helsinki Philharmonic, Tonkuenstler Vienna
and Hamburgische Staatsorchester, all of
whom invite him frequently. He is also often
invited to several leading North American
orchestras, notably Atlanta, Baltimore,
Cincinatti, Dallas, Indianapolis and St Louis.
In addition, he has conducted many times
at NHK Symphony Tokyo, Pacific Music
Festival Sapporo and with the Mito Chamber
Orchestra, and recently accepted the position
of Invited Professor at the Kunitachi School of
Music in Tokyo. In January 2015 he conducted
the Yomiuri Nippon Symphony Orchestra for
the first time.
Märkl has been a regular guest at the State
Operas of Vienna, Munich and Semper Oper
Dresden, and was until 2006 Permanent
Conductor of the Bavarian State Opera in
Munich. He made his Royal Opera House
debut with Götterdämmerung in 1996 and at
the Metropolitan Opera with Il Trovatore in
1998, has conducted complete Ring cycles at
the Deutsche Oper and at the New National
Theatre in Tokyo, and toured to Japan in 2007
with the Semper Oper Dresden (Tannhäuser).
Opera projects 2014-15 include Fidelio in
Hamburg and in Cincinnatti, Rosenkavalier in
Budapest, and Idomeneo in Tokyo.
Born in Munich, his (German) father was
a distinguished Concertmaster and his
(Japanese) mother a solo pianist. Märkl
studied violin, piano and conducting at the
Musikhochschule in Hannover, going on to
study with Sergiu Celibidache in Munich and
with Gustav Meier in Michigan. In 1986 he won
the conducting competition of the Deutsche
Musikrat and a year later won a scholarship
from the Boston Symphony Orchestra to study
at Tanglewood with Leonard Bernstein and
Seiji Ozawa. Soon afterwards he had a string
of appointments in European opera houses
followed by his first music directorships at the
Staatstheater in Saarbrücken (1991-94) and at
the Mannheim National theater (1994-2000).
Wolfgang
Brendel is one
of the most
sought-after
baritones of
his generation.
Born in Munich,
Brendel was
handpicked at
the age of 16
to attend the
Wiesbaden
Conservatory of
Music. Brendel
debuted as Gugliemo in Cosi fan Tutte at the
Pfalztheater Kaiserslautern in 1969, where he
was discovered by the General Director of the
Bavarian State Opera, Dr. Güenther Rennert,
and the renowned conductor, Wolfgang
Sawallisch, who brought him to perform at
the Bayerischestaatsoper in Munich. Since
then Brendel has worked with world famous
conductors and companies throughout
a lauded career that has brought him to
perform at major opera houses worldwide.
This wealth of experience has contributed to
his effectiveness as a teacher and mentor to
American and International students alike.
INDIANAPOLIS
JAN 29-31
Before his appointment as Professor of Voice
with the Jacobs School of Music, Brendel
was a professor of voice at the Munich
Hochschule für Musik und Theater. His artistic
home for the greater part of his career was
the Bayerische Staatsoper in Munich. Brendel
established his primacy as the star Munich
baritone of his era across an extraordinary
range of roles, from Mozart to Verdi to
Wagner and beyond.
In 1973, he achieved acclaim as Pelléas in a
new production by Jean-Pierre Ponelle of
Debussy’s Pelléas et Mélisande. He made his
Metropolitan Opera debut in 1975 at the
age of 27. Brendel has performed on all the
major opera stages in Germany and Europe,
in Tokyo and in the United States. In 1997,
he was awarded the Bundesverdienstkreuz
(The Order of Merit of the Federal Republic of
Germany).
He regularly conducts seminars and master
classes in the United States and abroad.
Brendel continues to perform opera and
lieder.
SYMPHONY ORCHESTRA
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41
JAN 29-31
Soprano
Deborah Anderson
Shallen Atkinds
Marilyn Baumgardt
Alyssa Beck
Victoria Bedwell
Emily Bertram
Laura Brueckmann
Emily Christine Carson
Michelle Cohen
*Cindy Colter
Suzie Dodds
Jacqueline Eastman
Cassie Garcia
Diane Hall
Danielle Hartman
Anna Hassler
Mary Lou Hayden
*Ann Hill
Karen Jacobs
*Kathy Jensen
Jessica Johnson
*Patricia K. Johnson
Debbie Jones
Quay Kester
Kendra Kirby
Justine Koontz
Kennedy Luton
Christina Merriott
Rebecca Mickelson
Kelly Miller
Faith Alexander
*Carole S. Arthur
Reba Baker
*Janice Bilby
Suzanna Blahna
Katherine Bolinger
Kara Bougher
Melissa Brown
Ann Carlson
Ali Darley
*Kathy Dean
Kimberly DiCamilla
Jodi L. Drake
Holly Erickson
*Ann M. Gerritsen
Dana Goot
Jane E. Gosling
*Mary Gosling
Molly Harris
Katie L. Hilton
Janet Hock
Laura Howie-Walters
Kristin Ingersoll
Jan Kennicutt
Susan Kniola
Katherine T.
Landschulz
Claudia J. MacRae
Lisa Marchal
Jaclyn Martin
*Mary Jo Moss
Laura Nagle
Shari Norris
Diana Pannell
Erin Quandt
Julie Query
Joanna Luisi Reinhardt
*Micci Richardson
Lauren Richmond
*Ingrid Rockstrom
Olesya Savinkova
Carol Love Selby
Stephanie Shaw
Crystal Sheward
Anna Pranger Sleppy
*Deborah Smith
Kayla Smith
Valerie Stevens
Kathy Tackitt
Coleen Walker
Pamela Walters
*Faedra Weiss
Suellen Williams
Judith Ann Wilson
Mary Jo Wright
Katherine Sinclair
Margaret Strodtbeck
Gwen Swart
*Carol Gossett Thorne
Dana L. Voigt
Valerie Voigt
*Renee Wargel
Elaine Weiss
Lydia Wells
Donna K. White
Dixie L. Williams
Terran Williams
*Anita Willis
Sandy Winter
Emily Zoss
Alto
David Duncan, Keyboard Artist
Rose Massela
Phyllis McCormack
*Rose M. Mullen
Yvonne Nichols
Kathy Martin-O’Neil
Julie L. Paavola
Becky Peterson
*Judy Roudebush
*Marie Schaekel
Sydney Schafer
Michael Davis, Assistant Artistic Director
*Denotes a Steffen Singer. The Steffen Singers, named in honor of the Symphonic Choir’s founding conductor Elmer Steffen, are persons who have dedicated 20+
years of their life to the Indianapolis Symphonic Choir as singing members.
The Indianapolis Symphonic Choir is proud to be one of central Indiana’s most established and
dynamic musical institutions and 2015/2016 marks its 79th season. Among the most active symphonic
choruses in the nation, this organization reaches in excess of
25,000 persons each season with more than 25 performances
and a comprehensive educational/outreach program. The
approximately 200 volunteer singers demonstrate the Choir’s
commitment to musical excellence through their talent
and dedication during each forty-two-week season. The
organization is led by a professional staff and governed by a
volunteer Board of Directors.
The Symphonic Choir is the choral partner of the Indianapolis
Michael Pettry
Eric Stark
Symphony Orchestra, having been founded in 1937 at the
Executive Director
Artistic Director
Orchestra’s request to perform the great choral/orchestral
repertoire. Over the years, this partnership has remained at the
very core of the Choir’s existence and exhibits the very best of collaborative ideals — two successfully
independent arts organizations combining their strengths to create beautifully lasting musical
results. In addition to collaborative performances with the ISO, the Symphonic Choir presents its own
performances, educational initiatives and events each season. 2015-2016 marks the 14th season under
the artistic direction of Dr. Eric Stark.
Upcoming Indianapolis Symphonic Choir performances include December’s Festival of Carols,
performed at the Scottish Rite Cathedral and The Palladium at the Center for the Performing Arts, as
well as Bach’s St. John Passion at the Christel DeHaan Fine Arts Center.
McCready and Keene, Inc. |
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Serving the Indianapolis
Symphony Orchestra for
more than 45 years.
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42
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43
INDIANAPOLIS SYMPHONY ORCHESTRA
MAESTRO open
13TH ANNUAL
MAY 9, 2016
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RESERVE NOW
For sponsorship opportunities or to register your team:
Contact Carol Ann Arnell at
[email protected] 317.262.5225
44
NOTES
JAN 29-31
By Marianne Williams Tobias
The Marianne Williams Tobias Program Note Annotator Chair
DIE HARMONIE DER WELT SYMPHONY
PAUL HINDEMITH
Born November 16, 1895 in Hanau, Germany
Died December 28, 1963 in Frankfort, Germany
Since ancient times, man has speculated about
the universe and about music. Sometimes
the universe was endowed with musical
components, and the two subjects were
mixed. Plato wrote about the music of the
spheres; Aristotle wrote about Pythagorean
harmony. In this case, the music and harmony
related somewhat more to mathematics than
to sound. But the groundwork was laid for a
confluence of the topics. The metaphysical
principle that that the sun, moon and planets
emit a “hum” was part of the mixing of music
and the cosmos — how this was perceived,
linked, and considered changed as the
centuries moved ahead.
In the sixth century, Boethius used
Pythagorean ideas as a basis for a five volume
work titled Fundamentals of Music. Music,
according to Boethius, is comprised of three
parts: musica mundane (music of the cosmos),
musica humana (unifying body and soul), and
musica instrumentalis (music production in
singing and instruments). For those interested
in deep analysis see Explorations of Universal
Order and Beauty in Paul Hindemith’s Die
Harmonie der Welt Symphony.
Paul Hindemith’s Die Harmonie der Welt
Symphony was derived from his five act
opera of the same name, which the composer
described as “developing passages from
the opera.” It premiered January 25, 1951.
Curiously, the libretto was not finished until
1956, the music was not complete until August
1957, and the opera finally premiered May 30,
1961 at the Munich Opera Festival with the
composer conducting.
Hindemith’s opera focused on the life of the
German mathematician, astronomer, and
philosopher Johannes Kepler. (1571-1630)
Kepler’s writings had fascinated Hindemith for
many years, especially
his treatise, which was
published in 1619;
Harmonices mundi
(Harmony of the World)
and consisted of five
chapters. Pythagoras’
teachings on harmony
were very influential
to Kepler’s thinking —
one of the most important was the idea that
tonal relationships express not only the laws
of sound but have spiritual dimension as well.
Additionally, Kepler included his thinking
about Die Harmonie der Welt, the sounds
planets make while rotating around the
sun and the harmonies therein. In this case,
harmonia also means, “to fit together.” (See
Book III of Kepler’s treatise). It is important to
note that Kepler used geometrically generated
musical ratios, not those of Pythagoras.
The symphony has three movements, each
titled from the parts of music as defined
by Boethius. In order, these are musica
instrumentalis, musica humana, and musica
mundana. Hindemith explained, “The three
movements are pieces of music from an opera
adapted for concert performance. They are
about the life and work of Johannes Kepler,
the contemporary events that encouraged or
hindered him, and the search for the harmony
that doubtless rules the Universe.”
Musica instrumentalis begins with a huge
orchestral statement: timpani and brass
open the vast spectacle of the cosmos. This
quickly subsides for winds passage singing
a mysterious tune while timpani provide
substantial thundering and violins bustle. A
vast surge occurs before submission to the
low winds. A snare drum introduces a sturdy
march, which absorbs all orchestral segments,
rumbling ahead before violins sing a slow
lyrical passage, joined by celli and winds.
Suddenly, a perky theme bubbles forth from
the piccolo. The music becomes filled with
energy, and darkness abates. Alternating
45
JAN 29-31
NOTES
sections converse as horns and timpani
declaim grandeur and mystery. Violins recall
their lyrical statement with flute and piccolo,
before the March returns for a momentary
recall. The ending is dramatic with a ferocious
climax.
Musica humana begins slowly, ponderously,
with violins producing a softly spoken
meandering theme colored by occasional
brass participation. The mood is
contemplative, somewhat questioning,
colored by different choirs and instrumental
solos summoned to speak independently
within the orchestral context. How small,
how fragile mankind seems in its place within
the cosmos. One climactic point raises the
volume, but the flute, which has an extensive
solo, dissipates this. The movement ends with
violins singing mournfully, wisps of melodies
and soft pizzicati create mystery until the
music dissolves into the vast silence.
Musica mundana opens in the lower regions of
the orchestra, speaking slowly with gravitas.
46
Gradually, the subdued mood grows into
more speculation and questioning, similar to
musica humana. Sparkling winds introduce
a more energetic section (still sotto voce),
which animates violins and timpani into a
small march, and stops suddenly for solo flute.
Just as suddenly, the music concludes into
overwhelming and all enveloping darkness.
This is the first time the ISO has performed Die
Harmonie Der Welt Symphony.
“O DU, MEIN HOLDER ABENDSTERN” (SONG TO THE EVENING
STAR) FROM TANNHÄUSER
RICHARD WAGNER
Born May 22, 1913 in Leipzig, Germany
Died February 13, 1883 in Venice, Italy
Tannhäuser was a German minnesinger as
well as a poet. It was reported also that he
took part in the Crusade of 1228. In his poetry
he was most famous for his BuBlied (Poem of
Atonement) and it was this hymn, which made
him prominent. He died in 1265, but the story
NOTES
and myth of his life lived on, especially vivified
in the opera by Wagner titled Tannhäuser and
the song Contest at the Wartburg. (Wartburg
Castle). Originally he intended to call the opera
Der Venusberg, but his publisher dissuaded
him, citing “objectionable allusions.” What
was objectionable? The reflection on morality
and sexuality in the score — a matter which
Baudelaire identified as “the struggle between
two principles of love: flesh and spirit.” For this,
many have called the work Wagner’s most
controversial opera.
Wagner’s three act, fifth opera, Tannhäuser,
premiered in Dresden on October 19, 1845.
Wagner claimed in A Communication to
My Friends that he acted “entirely without
reflection in choosing the medieval subject
of Tannhäuser, selecting the topic “in a wholly
arbitrary manner without critical awareness
although he was well aware of Heine’s poem
Tannhäuser: A Legend, which had appeared in
1837.
Wagner completed his own libretto in 1843,
the score in 1844, and the orchestration by
1845. On April 4, 1859 Tannhäuser premiered
at the Stadt Theater in New York, the first
Wagner opera to be produced in the U.S.
In 1861, the opera premiered in Paris, after
JAN 29-31
164 rehearsals. However, Parisians were not
enthused, and the composer withdrew the
production after three performances. The first
performance was constantly interrupted, and
on the third performance, dog whistles were
used in the streets to protest. Wagner left Paris
immediately, and forever. He revised with the
score for many years after this experience, and
only three weeks before he died he told his
wife “I still owe the world Tannhäuser.”
O du, mein holder Abendstern (Song to the
Evening Star) baritone aria comes from the
Third Act. In this part, Wolfram (another
minnesinger who had defeated Tannhäuser in
a singing contest) prays for the evening star to
guide his beloved (now deceased) Elisabeth
to heaven. Tannhäuser, recently returned from
Rome where he failed to receive forgiveness
for his sins, collapses and dies by her coffin.
Both Tannhäuser and Wolfram loved Elisabeth,
but Wolfram insisted throughout that his love
was platonic.
The ISO’s last performance of O Du, Mein Holder
Abendstern (Song to the Evening Star) from
Tannhäuser was in March 1954 conducted by
Fabien Sevitzky.
“O DU, MEIN HOLDER ABENDSTERN” FROM TANNHÄUSER
Wie Todesahnung Dämm rung deckt die Lande,
umhüllt das Tal mit schwärzlichem Gewande;
der Seele, die nach jenen Höhn verlangt,
vor ihrem Flug durch Nacht und Grausen bangt.
Da scheinest du, o lieblichster der Sterne,
dein Sanftes Licht entsendest du der Ferne;
die nächt’ge Dämm rung teilt dein liebeStrahl,
und freundlich zeigst du den Weg aus dem Tal.
Like a portent of death, twilight shrouds the earth
and envelops the valley in its sable robe;
the soul, that yearns for those heights,
dreads to take its dark and awful flight.
There you shine, o fairest of the stars,
and shed your gentle light from afar;
your friendly beam penetrates the twilight gloom
and points the way out from the valley.
O du, mein holder Abendstern,
wohl grüsst’ ich immer dich so gern:
vom Herzen, das sie nie verriet,
grüsse sie, wenn sie vorbei dir zieht,
wenn sie entschwebt dem Tal der Erden,
ein sel’ger Engel dort zu werden!
O my fair evening star,
I always gladly greeted thee:
from a heart that never betrayed its faith,
greet her when she passes,
when she soars above this earthly valley
to become a blessed angel in Heaven!
47
BIZET’S
Carmen
Featuring Oksana Volkova as “Carmen”
Krzysztof Urbański, Conductor
A story full of passion, love and betrayal, it has become the most popular opera seen by audiences all
over the world. Don’t miss this special event as Krzysztof Urbański leads the Indianapolis Symphony Orchestra
in a semi-staged production of Georges Bizet’s Carmen.
F R I D AY, J U N E 1 0 , 2 0 1 6 , 8 P M
|
S U N D AY, J U N E 1 2 , 2 0 1 6 , 3 P M
H I L B E R T C I R C L E T H E AT R E
BUY TICKETS AT INDIANAPOLISSYMPHONY.ORG, OR CALL 317.639.4300.
INDIANAPOLIS SYMPHONY ORCHESTRA
RESERVED WN SEATING! EXCLUSIVE PRE-SALE ACCESS TO TABLES! WAIVED FEES!
To enjoy all of these benefits PLUS discounted tickets for the remainder of the Marsh Symphony on the Prairie
season, purchase 3 or more 10-ticket value packs. Value packs on sale for $180 through April 1st.
To buy now, call Group Sales Manager, Joshua Shuck, at 317.231.6788.
48
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49
JAN 29-31
NOTES
THE PLANETS. OP. 32
GUSTAV HOLST
Born Sept 21, 1874 in Cheltenham
Died May 25, 1934 in London, England
In 1913, Gustav Holst visited Majorca. While
there he became acquainted with astrology,
which became a lifelong interest. He wrote to
a friend:
by astrology, and in private parties liked
to give “astrological readings” and casting
horoscopes for his friends. He stands in a
long continuum of philosophers, musicians,
scientists, and artists who have pondered
the mysteries of the cosmos and man’s
relationship to it.
Holst characterizes The Planets as follows:
The first planet, Mars, the Bringer of War, was
“As a rule, I only study things which suggest
completed in August 1914. The entire Suite
music to me….recently I became acquainted
was completed in 1917. Its aggressive, wild
with astrology and the character of each
nature marches in with an insistent (ostinato)
planet suggested logs to me, and I have
5/4 rhythm proclaimed by the strings playing
been studying astrology fairly closely.”
col legno battato, with the wood of the
Imogen Holst, the composer’s
bow on a single tone. The
daughter, recalled that Alan
Planets is known to have a
Leo’s What is a Horoscope was
low atmospheric pressure,
one of her father’s favorite
which creates turbulent,
Listen for the repeated
books. In the book, Leo
vast windstorms. Horns
violin and glockenspiel
described the planets, giving
and brass fanfares add to
each a small description,
figures near the beginning the military aspects of the
and expanding upon the
planet’s characterization,
of the movement as
astrological significance of
and the movement is filled
they imitate the winged with gigantic climaxes as
each. The Planets, Holst’s
most popular work, reflect
the scene violently depicts
messenger’s telegraph.
his characterization of the
battles, rage, and produces
planets,with the exception of
a triumphal march. D
The earth and Pluto (which
flat and C tonalities are
had not yet been discovered.)
sometimes combined to give an edgy
polytonality. One of the highlights is the solo
Central to astrological thought is the
accorded to the euphonium. The movement
power of divination, forecasting, and
closes with heavy brass and percussion.
fateful determination via the character and
placement of the planets, following the
Conductor Sir Adrian Boult remembered; “I
maxim “as above, so below.” Today many
well remember (Holst) saying the he wanted
call it a pseudoscience because of its nonthe stupidity of war to stand out…I say
empirical basis, putting far more reliance on
definitely that rushing Mars is not putting its
the science of astronomy, which developed
stupidity first.” (Interview with Trevor Harvey
from astrological inquiries. Stephen Hawking, in 1974)
a British theoretical physicist, cosmologist,
and professor of mathematics at Cambridge
Venus, the Bringer of Peace, arrives via a solo
University, stated that “Most scientist
horn with a small theme answered by soft
don’t believe in astrology because it is not
flutes. A second theme is sung by solo violin.
consistent with our theories that have been
Everything is at peace, colored “by delicate
tested by experiment.” However, the allure
orchestral pastels”, oscillating chords from
of astrology has continued despite such
flutes and harps, and the sweet sound of the
debunking, and it continues to draw us into
tinkling celesta.
its system and mystery. Holst was very taken
MERCURY
50
NOTES
Mercury, the winged messenger, was the last
planet to be composed. The planet via solo
violin scurries about amid fast orchestral
figurations and light, darting gestures
from muted violins. Holst considered this
movement to reflect the “process of human
thought.”
JAN 29-31
took from Leo’s book in which the planet
is described a “subtle and mysterious”,
occupying at that time the far edges of the
solar system. Holst marks it to be played
‘sempre pp throughout’, calling for the sound
to be softly evoked by cymbals played with
felt sticks and the timpani with wooden
one. Basically, there is no real melody or
reliable rhythm to hang on to. Rippling harp
figuration and high-pitched violins create
an atmosphere of enormous distance to the
planet. At midpoint, a female chorus sings
a wordless song, from offstage, “beckoning
as it recedes into the infinite unknown.” (Paul
Serotsky) Holst indicated that the door to the
chorus be silently closed at
the ending.
Jupiter, the Bringer of Jollity, arrives with
blaring horns. The music continually
rejoices and dances, possibly influenced
by Holst’s interest in English folk dances. In
the central section, the strings sing a stately
tune (sometimes extracted for a patriotic
hymn titled “I vow to thee my country, an
event which displeased the
composer) before closing in a
flashing coda. The abundance
of happiness and good will is
Close your eyes when you
palpable throughout.
NEPTUNE
hear the invisible choir
Holst was amazed and even
dismayed by the worldwide
success of The Planets, and
a one point commented,
“Every artist ought to
pray that he may not be a
success.”
Saturn, the Bringer of Old
and transport yourself
Age, was Holst’s favorite
into the coldness and
movement. The music
begins with a restless
expansiveness of space.
portrayal of the beginning
of human life (26 measures
An Addendum:
of sharp syncopated chords,)
Pluto was discovered in
continuing into a march-like
1930, four years before
section for middle age, and finally arriving at
Holst’s death, but he never wrote a part for
a dirge-like melody depicting the ravages of
it. The British composer Colin Matthews later
old age. Subsequently, however, the music
composed Pluto, the Renewer to “round out
assumes a resigned serenity, a peaceful
the set”, connecting his contribution to the
maturity, which is one of the experiences of
final bars of Neptune, changing a few bars of
old age as well. Holst commented, “Saturn
Neptune for the connection. Mr. Matthews
not only brings physical decay but also a
explained: “When Kent Nagano asked me
vision of fulfillment.”
to add Pluto to The Planets I had mixed
feelings. To begin with, The Planets is a very
The magician Uranus arrives with a four
satisfying whole, and one, which makes
note spell, a musical representation of
perfect musical sense. Neptune ends the work
Holst’s name, declaimed by the brass. The
in a way wholly appropriate for Holst — an
music opens with spooky chords, colored
enigmatic composer, always likely to avoid
by unstable major/minor tonalities. Holst
the grand gesture if he could do something
churns the orchestra through high drama
unpredictable instead. How could I begin
and turbulence, including a manic dance. The again, after the music has completely faded
close is quiet and sinister.
away as if into outer space? And, even though
Pluto was discovered four years before Holst’s
Neptune, the Mystic, offers a chilling
death in 1934, I am certain that he never once
conclusion. This is the only title that Holst
thought to write an additional movement (he
51
JAN 29-31
NOTES
was in any case decidedly ambivalent about
the work’s huge popularity). In addition, the
matter of Pluto’s status as a planet has for
some time been in doubt — it may well be
reclassified (together with its tiny satellite
Charon) as no more than an asteroid, thrown
way out of the main asteroid belt between
Mars and Jupiter, or ‘captured’ by the sun’s
gravitational field.…The only possible way
to carry on from where Neptune leaves off
is not to make a break at all, and so Pluto
begins before Neptune has quite faded,
necessitating a slight change to the ending.
The movement soon took on an identity of
its own, following a path, which I seemed to
be simply allowing to proceed as it would:
in the process I came perhaps closer to Holst
than I had expected, although at no point
did I think to write pastiche. At the end the
music disappears, almost as if Neptune had
been quietly continuing in the background.
Pluto is dedicated to the memory of Holst’s
daughter Imogen, with whom I worked for
many years until her death in 1984, and who
I suspect would have been both amused and
dismayed by this venture.”
“Mr. Matthews’ Pluto takes as its starting
point solar winds, and the music is full of
swift, swirling passages. It ends quietly.” Pluto
has since been de-classified as a “full status”
planet in 2006, receiving the new status of
“dwarf planet” and given the number 134340.
The ISO’s last performance of The Planets
was in March 2012 conducted by Krzysztof
Urbański.
Don’t miss the final weekend of the
Cosmos Music Festival on Feb. 5 and
6, when the ISO performs the classical
masterpieces from one of the most
influential movies of our time,
2001: A Space Odyssey.
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
52
ARTS IN INDY
Dance Kaleidoscope
Dance Kaleidoscope presents Voices of a Generation: The Folk/
Rock Generation, February 25 through March 6 at IRT. This all
new dance concert celebrates the freedom of expression,
empowerment and upheaval in 1960’s America. Music will
include Simon and Garfunkel, Joni Mitchell and more.
Tickets at DanceKal.org or 635-5252.
Indianapolis Children’s Choir
Join the Indianapolis Children’s Choir (ICC) for a pair of very
special concerts as we continue our 30th anniversary season.
On March 13 at Hilbert Circle Theatre, Voices of Youth (7PM) and
Tapestry of Song (3PM) will be an nostalgic journey through
past ICC tours — across the country and the world. The choirs
will sing selections from these past voyages, and ICC alumni
will share their favorite memories of traveling with the ICC and
spreading music across the globe. To buy tickets, go to icchoir.
org/30tix. The ICC’s music education programs involve students
from ages 18 months to 18 years. To enroll a child, attend a
concert, or make a financial donation, call 317.940.9640.
Indianapolis Symphonic Choir
Sing with one of the nation’s most respected choruses! The
Indianapolis Symphonic Choir will audition new singers in
February to be a part of the second-half of this performance
season. The Choir is comprised of 200 singers under the
direction of Eric Stark and rehearses weekly for 3 hours from
September to June. Reaching audiences numbering over
25,000 persons annually, the Choir is the choral partner of the
ISO but remains a separate non-profit arts institution founded
in 1937. For more information about the 2015/2016 season
and auditions, visit indychoir.org or call (317) 940-9057.
New World Youth Orchestras
The New World Youth Orchestras continues its 34th season
with a mid-winter concert on February 21 at the Hilbert Circle
Theatre. This concert will feature Shostakovich’s mighty Fifth
Symphony, as well as the Junior Winner of our annual 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
53
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
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 JANE AND FRED SCHLEGEL PRINCIPAL VIOLA CHAIR
Endowed by Jane and Fred Schlegel
THE ASSISTANT PRINCIPAL CELLO CHAIR
Endowed anonymously
THE RANDALL L. TOBIAS CELLO CHAIR
Endowed by Randall L. Tobias
THE DR. AND MRS. ROBERT L. RUDESILL CELLO CHAIR
Endowed by Dr. and Mrs. Robert L. Rudesill
Anne Duthie McCafferty, Cello
THE SIDNEY AND KATHY TAUREL PRINCIPAL FLUTE CHAIR
Endowed by Sidney and Kathy Taurel
Karen Evans Moratz, Principal Flute
THE JANET F. AND DR. RICHARD E. BARB PICCOLO CHAIR
Endowed by Janet F. and Dr. Richard E. Barb
Rebecca Price Arrensen, Piccolo
THE FRANK C. SPRINGER JR. PRINCIPAL OBOE CHAIR
Endowed by Frank C. Springer Jr.
Jennifer Christen, Principal Oboe
54
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 W. BROOKS AND WANDA Y. FORTUNE
PRINCIPAL TRUMPET CHAIR
Endowed by W. Brooks and Wanda Y. Fortune
THE DR. AND MRS. CHARLES E. TEST TROMBONE CHAIR
Endowed by Dr. and Mrs. Charles E. Test
THE THOMAS N. AKINS PRINCIPAL TIMPANI CHAIR
Endowed anonymously
Jack Brennan, Principal Timpani
THE WALTER MYERS JR. PRINCIPAL HARP CHAIR
Endowed anonymously in honor of Walter Myers Jr.
Diane Evans, Principal Harp
THE DOROTHY MUNGER PRINCIPAL KEYBOARD CHAIR
Endowed by the Women’s Committee of the
Indianapolis Symphony Orchestra
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”
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
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
55
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
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 GRAND LOBBY
THE MUSIC LIBRARY OFFICE
Underwritten by the Musicians and Staff of the
Indianapolis Symphony Orchestra in memory of
Richard Grymonpré
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
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
56
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57
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
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
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
58
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 Major Gifts, with questions about
or [email protected].
The Lynn Society at
59
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 November 16, 2015. 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.
Cathy Springer-Brown
Phyllis & Gary Schahet
$100,000 AND ABOVE
Anonymous
Michael & Mary Ann Browning
Jeff & Cassandra Short
Anonymous
Anthem Blue Cross and Blue Shield
Mr. & Mrs. Walter P. Bruen, Jr.
Christopher A. Slapak & Michael J.
Ms. Christel DeHaan
Arthur Jordan Foundation
Mike & Pat Byers
Robertson
Mr. Jim S. Irsay
Barnes & Thornburg LLP
Ms. Jane Conley
Mr. Kevin D. Taylor
B. M. “Marti” Ripberger
BMO Harris Bank
Dexter & Rosemary Cooley
Roberta & Bill Witchger
Yvonne H. Shaheen
Budweiser Zink Distributing Co, LLC
Stephen & Andrea Cranfill
Dr. Christian Wolf & Elaine
Randall & Deborah Tobias
Chase
David & Consuelo Davis
Holden-Wolf
The Clowes Fund
Jack Everly & Ty A. Johnson
Jim & Rita Zink
Delaware Community Foundation
Ms. Carol J. Feeney
Anonymous
Duke Energy
Dr. & Mrs. Richard W. Garrett
Arts Council of Indianapolis and the
Erie Insurance
Michael & Beth Gastineau
ADL Charitable Trust
City of Indianapolis
ExactTarget
Gary Ginstling & Marta Lederer
Buckingham Foundation Inc.
The Christel DeHaan Family
Indiana Arts Commission
Mr. & Mrs. Larry Glasscock
Citizens Energy Group
Foundation
MacAllister Machinery Company, Inc.
Charles & Susan Golden
CNO Financial Group
Efroymson Family Fund
National Endowment for the Arts
Mr. & Mrs. Thomas W. & Mary
Community Health Network
Eli Lilly and Company
Navient
P. Grein
Dorsey Foundation
The Herbert Simon Family Foundation
Nicholas H. Noyes Jr. Memorial
Steve L. Hamilton & Keith O.
Dow AgroSciences
Indianapolis Power & Light Company
Foundation
Norwalk
Elba L. & Gene Portteus Branigin
Indianapolis Symphony Orchestra
Printing Partners
Richard & Elizabeth Holmes
Foundation Inc.
Association
R.B. Annis Educational Foundation
Mr. & Mrs. W. Seymour Holt
The Glick Family Foundation
Lilly Endowment, Inc.
Raymond James & Associates, Inc.
Dr. Sharon Hoog
The Frenzel Family Charitable Lead
The Margot L. and Robert S. Eccles
Roche Diagnostics
Peter & Emily Howard
Trust
Fund, a fund of CICF
Scott A. Jones Foundation
Dr. Ann H. Hunt
Hendricks County Community
Marsh Supermarkets, LLC.
St.Vincent Health
Dr. and Mrs. Ronald Iacocca
Foundation
Nina Mason Pulliam Charitable Trust
Telamon Corporation
Dr. & Mrs. Raymond V. Ingham
Indiana Members Credit Union
Ruth Lilly Philanthropic Foundation
The Martin D. & Mary J. Walker
Carlyn Johnson
The Indiana Rail Road Company
Charitable Foundation
Kimra Kidd
Indiana University Health Partners
FOUNDERS’ SOCIETY, MUSIC DIRECTOR
Drs. Sandra & Charles Kinsella
Industrial Dielectrics Holdings
($50,000+)
FOUNDERS’ SOCIETY, FIRST CHAIR
Ned & Wendy Kirby
Ann and Gordon Getty Foundation
Rollin & Cheri Dick
($10,000-$19,999)
Mrs. James L. Kittle, Sr.
and the League of American
Kay F. Koch
Anonymous (2)
David H. Kleiman
Orchestras
Sarah & John Lechleiter
The Honorable & Mrs. Alex M. Azar II
Don & Jen Knebel
OneAmerica Financial Partners, Inc.
Ann M. & Chris Stack
Mr. & Mrs. Robert Bader
Dr. & Mrs. Eugene P. Kroeff
Ricker’s
Charlene & Joe Barnette
James E. & Patricia J. LaCrosse
Ronald McDonald House Charities of
Richard D. Wood
Mr. & Mrs. Barry J. Bentley
Nancy Lilly
Central Indiana and McDonald’s of
Maestro Raymond Leppard & Dr. John
Dr. Richard E. Lindseth
Central Indiana
C. Bloom
Greg & Alexandra Loewen
Shaheen Family Foundation
The Glick Fund, a fund of Central
Bryan & Elaine Brenner
Dr. & Mrs. Carlos Lopez
Terry Lee Hyundai
Indiana Community Foundation
Dr. & Mrs. Thomas A. Broadie
Ms. Karen Mangia & Mr. Thom
Tobias Family Foundation
Vincent & Robyn Caponi
England
FOUNDERS’ SOCIETY, CONCERTMASTER
Mr. & Mrs. Daniel P. Carmichael
Mr. & Mrs. Morris Maurer
FOUNDERS’ SOCIETY
($20,000-$49,999)
Mr. & Mrs. James M. Cornelius
($5,000-$9,999)
Stacy A. Maurer
Christina Bodurow
Mr. Daniel Corrigan
Anonymous (7)
Mr. & Mrs. Bruce McCaw
Trent & Amy Cowles
Fred & Priscilla Crawford
Mr. & Mrs. Jeffrey M. Adams
Robert H. McKinney
Ann Dettwiler
Mr. & Mrs. James E. Dora
Thomas N. Akins
Virginia Melin
Phil & Colleen Kenney
Erin & Scott Dorsey
Teresa & Don Altemeyer
Mr. & Mrs. Dayton Molendorp
Dr. & Mrs. E. Henry Lamkin, Jr.
Mr. & Mrs. John Fazli
Bob & Pat Anker
Ellie, Weber & Emaline Morse
Mr. & Mrs. Eli Lilly II
Craig & Mary Fenneman
Mr. Aasif Bade
Jerry & Anne Moss
Dr. Gordon & Carole Mallett
Don & Carolyn Hardman
Drs. Douglas & Deborah Balogh
John & Carolyn Mutz
Mrs. F. Bruce Peck, Jr.
Allan & Kathy Hubbard
Ms. Sarah Barney
Mr. & Mrs. Charles J. O’Drobinak
Dr. Kenneth & Mrs. Debra Renkens
Bob & Rhonda Kaspar
Dr. & Mrs. John E. Batchelder
Michael P. & Leanne M. O’Neil
Mr. David Rodgers
Joseph & Kathy Kessler
Mr. & Mrs. Michael Becher
Holly & John Pantzer
Robert & Alice Schloss
Timothy J. & Cindy Konich
Suzanne B. Blakeman
Kay Pashos & Neal Steinbart
Dr. & Mrs. Eugene Van Hove
Dr. Gwen & Mr. Robert Krivi
Charles & Joyce Boxman
Mr. & Mrs. Thomas J. Pence
Martin & Mary Walker
Drs. W.H. & K.T. Landschulz
Mr. & Mrs. John Bratt
Donald & Karen Perez
David & Eleanor Wilcox
Mr. E. Kirk McKinney, Jr.
Donald & Barbara Broadlick
Bart Peterson
Kathy & Ralph Wilhelm
Karen Mersereau & Dr. Michael Helms
Charles W. Brown
Zeb & Barbara Portanova
Mrs. Nancy Ann Morris
Mr. Richard F. Brown & Mrs
Mary Frances Rubly
Walt & Mary Prouty
60
ANNUAL FUND
Dr. & Mrs. Robert L. Rudesill
Mr. & Mrs. Fred 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
Hsiu-Chiung Yang & Marian Mosior
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
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
Lacy Foundation
The Julia L. and Andre B. Lacy
Charitable Fund, a fund of CICF
Macy’s
McCaw Family Foundation
Meridian Dermatology
Merrill Lynch
MusicCrossroads
NextGear Capital
Regions Bank
The Rock Island Refining Foundation
Skiles Detrude
Vectren Corporation
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
Trudy W. Banta
Dr. & Mrs. Richard Barb
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
Christian & 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
Dr. & Mrs. C. Conrad Johnston
Mr. & Mrs. John Jokantas
Daniel H. Joseph
Dr. Louis N. Jungheim & Dr. Thalia
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
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
Marlyne Sexton
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
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
Chubb Group of Insurance Companies
DB Engineering LLC
Enflora Flowers for Business
Ernst & Young LLP
Fifth Third Bank
Firestone Building Products and
Industrial Products
First Person
Hoosier Park at Anderson
Ice Miller LLP
Indiana American Water Co., Inc.
Indiana Farm Bureau Insurance
Indiana Spine Group
ITT Technical Institutes
J M Smith Foundation
Jungclaus-Campbell Co., Inc.
Dr. Michael J. Helms, DPM
The National Bank of Indianapolis
RBC Wealth Management
SEI Investments
The Shaw-Burckhardt-Brenner
Foundation
Sheila Fortune Foundation
Skyline Club, Indianapolis
Smoke Free Indy
The Stratford
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
Frank & Katrina Basile
James & Lynda Beckel
Ms. Susan Bever
Jay & Julie Bishop
Mr. Benjamin & Mrs. Ashley Blair
Mr. & Mrs. Jesse L. Bobbitt
Carla & George Boder
Dr. & Mrs. W. C. Bonifield
Terry & Robert L. Bowen
Mr. C. Harvey Bradley Jr.
Alice Brown & Randy Trowbridge
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
Gracia & Jim Floyd
Dr. Norm & Adrienne Fogle
Dr. & Mrs. Mark Foglesong
Dick & Brenda Freije
Joe & Kathy Grahn
Mr. & Mrs. Berl J. Grant
Mr. & Mrs. Robert Gregory
Ms. Julie Griffith
John & Chichi Guy
Bob Hallam
Joseph L. Hanley
Mr. & Mrs. Richard A. Harrison
Mr. & Mrs. Jerome T. Henning
Mr. & Mrs. Gerald V. Hinchman
Mr. & Mrs. V. William Hunt
Mr. Gerald R. Jenn
Holly & Scott Johnson
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
61
ANNUAL FUND
Mr. & Mrs. Ralph E. 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
Eric Moy
Elizabeth & William Murphy
Mr. & Mrs. Daniel Mytelka
Tim & Nancy Nagler
Timothy S. Needler
Mr. Carl & Dr. Loui Lord Nelson
Tom & Nancy Newlin
Mr. & Mrs. John S. Null
Jackie Nytes
Mrs. Martha O’Connor
Dorit & Gerald Paul
Allen H. Pekar
Mr. Lee & Mrs. Patricia Perkinson
Beverley & Bill Pitts
Lois & John 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. John Ruhl
Col. & Mrs. Cecil Salter
Dave & Marcia Sapp
Jerry & Rosie Semler
Randall & Amy Shepard
Mr. & Mrs. Jeff Smithburn
Mr. & Mrs. Larry Speer
Rita & Larry Steinberg
Ed & Barbara Steward
R. H. Temple
Mrs. David Thiel
Jerry & Linda Toomer
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
Ken & Wendy Yerkes
Josephine Yu
Batt Family Foundation
Conrad Indianapolis
Endowment Development Services
Gracia E. Johnson Foundation
The Indianapolis Recorder
The Jenn Foundation
Mallor Grodner LLP
Marni McKinney Foundation
62
McKinney Family Foundation
Mike Watkins Real Estate Group Inc
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 (7)
Kate & Dan Appel
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
Ms. Susan Bates
Spencer & Marcia Bavender
Mr. Brett & Mrs. Shari Bayston
Eric & Elaine Bedel
Dr. & Mrs. Steven C. Beering
Mr. & Mrs. Henry B. Blackwell
Kirk & Sharon Boller -- Bottom-Line
Performance Inc
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
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
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. & Mrs. James F. Gallagher
Mr. & Mrs. Raymond Gibson
Marianne Glick
Dr. Lawrence I. Goldblatt
Thomas & Nancy Grembowicz
Mrs. C. Perry Griffith
Mr. & Mrs. Peter Grossman
Jerry & Kathleen Hacker
Dr. & Mrs. Jim Hamby
Kenneth & Barbara Hamilton
Mr. & Mrs. Lucius O. Hamilton
Velda Hamman
Ms. Lisa Heid
Mr. & Mrs. Eugene E. Henn
Mike & Noel Heymann
Mrs. Sue Hirschman
C. Jane Hodge
Mrs. Ginny Hodowal
Mrs. Jill Hoyle
Carolyn Humke
Krisztina & Ken Inskeep
Mrs. Ninalou Isaacson
Ethan & Joyce Jackson
David L. Johnson & Anne Nobles
Mr. & Mrs. Richard 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
Dr. Erik L.Lindseth
Mr. & Mrs. William Lindstaedt
Mr. Tom Linebarger
Mr. & Mrs. John D. Long
Lowell & Penelope Lumley
Carey Lykins
Mr. Kevin Malley & Mr. Ronald
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
Jack & Judy Myers
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
James & Raymond Luther-Pfeil
Gayle L. Phillips
Larry & Nancy Pugh
Roger & Anna Radue
Jo & Chris Rathbun
Bob & Carol Reynolds, Barnes &
Thornburg
Mr. Robert F. & 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. Andreas Sashegyi
Roderick & Anne Scheele
Roger & Barbara Schmenner
Paul & Martha Schmidt
David & Kitty Sedgley
Jonathon & Donna Sedgwick
John Seest
Mr. & Mrs. Henry E. Sleeth
Marian Small
Nancy C. & James W. Smith
Christy & Jeffery Soldatis
Dennis Sponsel
Betty & Alan Stanford
T.S. Sun
Richard & Lois Surber
Nela Swinehart & Lonn Bayha
Steven & Robin Tames
Mr. John Tan
Phillip A. Terry
Mr. & Mrs. Robert Thomas
The Throm Family
Douglas L. Tillman
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
J. Anne Werry
L. Alan & Elizabeth Whaley
Mr. & Mrs. Frederic Wiese, Jr.
Forrest Williamson
Mr. & Mrs. Meredith L. Wilson
Bob & Debbie Wingerter
Mr. & Mrs. Robert Witt
Jim & Karen Wolf
Mrs. Edna Woodard
Turner & Diann Woodard
Mrs. Irene Yacko
Diana & Dan Yates
Mary Ann & Gene Zink
Sue & John Zinser
Anonymous
The Ruth E. Stilwell Endowment
Fund, a fund of CICF
Blankenship Vocational Services
Cavalier Family Foundation
Cole Hardwood, Inc.
Dayton Foundation
Donovan CPA
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
Straubinger Flutes
ANNUAL FUND
VIRTUOSO
($750-$999)
Anonymous (4)
Michael D. Bartley
Mark & Ann Bear
Mr. & Mrs. Robert Berger
Mr. & Mrs. George Boguslawski
Mr. & Mrs. Fred Boso
Casey Chell
Kevin M. Clements
Dan & Laura Conder
Mr. James & Mrs. June Conine
Terry & Debbie Cottingham
Daryl, Sherry & Kevin Cox
Norman Dean
Jessica R. Di Santo
Jack & Connie Douglas
Judith Erickson
Mr. Kenneth Fraza
Dr. Karen & Thomas Gallagher
Dr. Matt Gardlik
Ms. Dorothy Gitlin
Dr. Gerald & Dr. Jean 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.
Mr. Ronald N. Hermeling
Abigail W. Hohmann
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
Ms. Katherine Kovac
Mr. Robbie Kusz
Rev. Richard & Mrs. Nancy Lewer
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
Lawren Mills
Mr. Bill Moreau
Dr. Kathy Moreira
Graham Denby Morey
Dr. and Mrs. Patrick J. Murphy
Ms. Brittany Nehman
David & Diane Nesbitt
Dr. Donald and Mary Jean Orander
Muriel Patterson
Marvin C. & Anne K. Perry
Marian Pettengill
John Mainella & Michael Pettry
Janeann Pitz
Scott A. Reef
Diane Richardson
Ms. Judy Schaefer
Saundra & Tuck Schulhof
Carson & Carla Shadowen
Michael & Priscilla Shaw
Dr. & Mrs. Robert K. Silbert
Peter & Chris Smithhisler
Ms. Shelley Stiner
Mr. Bill & Mrs. Linda Strickland
Ms. Sarah Studzinski
Claudia V. Swhier
Mrs. Maggie Tatter
Ms. Sheree Toney
Paul & Gretchen Watson
Mr. & Mrs. Clark Williamson
Miss Gretchen Wolfram
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
WTTS
YOUR TICKET
TO INDY’S MOST
DYNAMIC
ARTS ORGANIZATION!
SPONSORED BY:
GET CONNECTED, MIX ’N’ MINGLE, REAP THE REWARDS!
63
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 October 22, 2015 – November 16, 2015.
Memorial Gifts
In Memory of Mr. A. LeRoy Baker
Mrs. Wanda Baker
In Memory of Dr. Kathryn Vanderwater-Piercy in
support of MYO
The Chamber of Commerce Building
Corporation
Peggy & Jack Colby
Joe Cross
Richard and Linda Hite
Jennifer Horns and Al Herms
Barry & Carol Leiter
Mr. & Mrs. Scott Lutocka
Rick and Karen Piercy
HELPING YOU RECOVER body, mind and spirit
St. Vincent Employee Assistance Program (EAP) is a counseling and referral service, designed to
assist employees and their families in overcoming personal problems. EAP counselors are trained to
deal with a wide variety of employee problems. They will offer you professional support and direction
toward resolving the problem. Services offered include:
7RS\bW¿QObW]\3dOZcObW]\]T^`]PZS[a AV]`bbS`[Q]c\aSZW\U
3RcQObW]\OZe]`YaV]âaS[W\Oà "V]c`Q`WaWa^V]\SZW\S
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If your company is interested in receiving more information about our program, please call
317.338.4900 or 1.800.544.9412.
st.vincent.org
64
CHRISTOPHER SLAPAK
WHY I GIVE
Christopher Slapak and Michael Robertson, both
doctors, made a dual-career move to Indianapolis
about 20 years ago. Concerned they would miss
the rich cultural environment of Boston, they
were pleasantly surprised to find the Indianapolis
Symphony Orchestra. Christopher has served on
the ISO Board of Directors for most of the past
decade.
Have you always lived in Indianapolis?
Christopher Slapak and Michael Robertson,
I grew up in the greater Cleveland area. I met my
Photo courtesy of Marianne Williams Tobias
lifetime partner/spouse in Chicago where we spent
seven years during medical training. Prior to moving to Indianapolis, we lived in Boston for
about 10 years.
Do you remember when you first heard classical music?
I remember my junior high orchestra played Brahms’ First Symphony — probably not a good
idea as I am sure we played it terribly! The first concert I attended was with my future spouse.
The Chicago Symphony Orchestra had a student series that we got our first year in Chicago. It
was a remarkable experience for a student to go to Orchestra Hall and hear the CSO perform.
What was the first ISO concert you ever attended?
When we moved to Indianapolis in 1996 we got tickets to individual concerts, the following
season we became season subscribers to the classical series, which we have kept ever since.
What has been your favorite musical experience with the ISO so far?
Raymond Leppard used to program thematic mid-winter and spring festivals (which I am
delighted to see ISO returning to this year). In the spring of 2000, in a series of three backto-back concerts, Raymond explored the Mozart piano concertos with three very different
pianists: Emile Naoumoff, Howard Shelly, and Imogen Cooper. The concerts were spectacular.
It is impossible to describe the transcendental nature of these performances and how
emotionally impactful they were. I think of them and am still moved to this day.
Who are your favorite composers?
We listen to the full repertoire of the classical music literature — from medieval/renaissance
music, to music composed within the past few years. However, we tend to favor the so-called
First Viennese School: Haydn, Mozart, Beethoven, and Schubert.
How is your life better with music?
Classical music is a passion in our lives. We listen to classical music every single day, it is
particularly appropriate when we are just home from work and trying to unwind from the
stresses of the work day.
What led you to donate to the ISO? Why is it important to you?
The ISO is the most important performing arts organization in the state of Indiana. It has
greatly enhanced our quality of life for the past 20 years that we have lived in Indianapolis. I
am proud to have been asked to be on the Board of Directors for most of the past decade.
65
TICKETS ARE JUST $10 FOR
STUDENTS & TEACHERS!
WE
One ticket per valid ID.
ST
STUDENTS
UDENTS
ELEMENTARY. MIDDLE SCHOOL. HIGH SCHOOL. COLLEGE.
PICTURES AT AN EXHIBITION
March 6 - 7PM
Join us for our third annual
Student & Teacher
Appreciation concert!
This year’s performance
will feature the ISO’s
Side-by-Side program,
which pairs high school
musicians alongside
professional musicians,
performing works by
Verdi, Glazunov and
Mussorgsky/Ravel.
TICKETS AT INDIANAPOLISSYMPHONY.ORG OR CALL THE BOX OFFICE AT 317.639.4300
INDIANAPOLIS
SYMPHONY ORCHESTRA
ACCESS
To ISO Patrons
CORPORATE
SPONSORSHIPS
Complimentary use of the Wood Room
Complimentary tickets and VIP Parking passes
PROMOTION
Logo on lobby signage
Company name and logo in Program Book
Name recognition from the stage
On-site Sampling and Display tables
COMMUNITY
Provide employees with volunteer opportunities
Associate your brand with an Indianapolis cultural gem
FOR MORE INFORMATION, CONTACT:
Danielle Dennis, Corporate Relations Manager
317.231.6723 | [email protected]
66
CONFERENCES | ENTERTAINMENT | CORPORATE MEETINGS
GRADUATIONS l WEDDINGS
For more information visit IndianapolisSymphony.org or call 317.231.6798.
Looking to get in
involved with Indiana’s
largest performing
performin arts organization?
We are looking for volunteers to
W
join us during oour performances!
Ben Folds with the ISO
TO GET INVOLVED VISIT: IndianapolisSymphony.org/Volunteer
or contact Donna Finney 317.231.6792 [email protected].
67
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
68
ISO ASSOCIATION
SHERRY AMLUNG / President
WENDY ADAMS / President Elect
NELA SWINEHEART / Treasurer
RITA MARTIN / Recording Secretary
CINDY OHLROGGE / Assistant Treasurer
ROBERTA GRAHAM / Corresponding Secretary CONNIE MENKE / Immediate Past President
BOARD MEMBERS, CITY GROUP & STATE UNITS
J. Dara Amlung
Mary Kay Anthony
Janet Barb
Charlene Barnette
Susan Beckett
Peg Brummit
Joannie Burgett
Faye Crabtree
Nancy Christy
E. J. Choe
Marty Davis
Rebecca Davis
Ruth Durbin – VP
Carol Edgar
Glenda Griffin
Karen Harding
Pat Hoeffken
Ruth Hudson
Kay Kinder – VP
Meme Kramer
Mable Lewis – VP
Pat McCormick – VP
Gail McDermott-Bowler
Ann McKenzie
Sue Meyer
Dorothy Miller
Peg Myers – VP
Laura Nelson
Leslie Nelson
Davine Nolcox
Sharon Paskins
Joyce Peterson
Jan Pierce – VP
Kimberly Potosnak
Barbara Ralph
Mary Richards
Carol Rohrbaugh-Mote
Cheryl Rosenfeld
Helena Rudolf
Sondra Scaggs
Betty Sisco
Susan Smithburn – VP
Sarah Stoel
Peg Strodtbeck
Linda Sykes – VP
Marge Vogel
Joanna Weiler
Mary Ellen Weitekamp
Esther Weaver
Mary Whalin
Dorothy White
Eleanor Wilcox
Jackie Williams
Margie Zaring
Lou Ramey
Martha Anne Varnes
Marian Meditch
Margaret Hansen Kahn
Kitty Baker
Ann Strong
Jean Quinn
Anna White
Helen Rudesill
Sue Maine
Dagnia Kleinops
Illene Maurer
Nancy Christy
Karen Davis
Peggy Myers
Katie Patterson
Dawn Fazli
Janet Barb
Patricia A. Quinn
Charlene Barnette
Pam Hicks
Connie Menke
PAST PRESIDENTS
Alma Ayres
Jo Latham
Sarah Goodman
Josephine Madden
Marion Fotheringham
Florence Curle
Margie Tomlinson
Jessie Burns
ASSOC ATION
PEOPLE WITH PASSION FOR MUSIC
WHAT WE DO
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THE SYMPHONY STORE
“Always Sharp! Never Flat!”
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ADMINISTRATION
EXECUTIVE OFFICE
Gary Ginstling, Chief Executive Officer
Laura Irmer, Executive Assistant
OPERATIONS
Danny Beckley, Vice President and General Manager
Orchestra Operations
K. Blake Schlabach, Orchestra Personnel Manager
L. Bennett Crantford, Assistant Personnel Manager
Bekki Witherell Quinn, Administrative Assistant
Operations and Facilities
Joanne Bennett, Director of Operations
Bethany Davis, Facilities Coordinator
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 of 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
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
Eric Salazar, ISO Association Assistant
MARKETING & COMMUNICATIONS
Sarah Ross, Director of Marketing
Anja Hoover, Associate Director of Marketing
Jennifer Welch, Art Director
Joshua Shuck, Group Sales Manager
Marci Taylor, Graphic Designer
Communications
Jessica Di Santo, Director of Communications
Leila Viera, Publications Manager
Lauren King, Digital Communications Specialist
Marianne Williams Tobias, Program Book Annotator
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
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
70
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 and ISO
musicians after select evening concerts
during Reverb.
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
Express Parking 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]!
71
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

HILBERT CIRCLE THEATRE

Transcription

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