Louisville Orchestra | October 2019 | From the Sea

SEPTEMBER 2019

OCTOBER 2019

FROM THE SEA OCTOBER 11

OCTOBER 12

VIOLINS OF HOPE OCTOBER 25

OCTOBER 26

LITTLE FEAT OCT. 11

KING DIAMOND

ROY ORBISON & BUDDY HOLLY – HOLOGRAM TOUR

ELVIS COSTELLO & THE IMPOSTERS

NICK OFFERMAN

ALICE COOPER

OCT. 30

NOV. 08

NOV. 16 NOV. 17

NOV. 19

WORLD OF DANCE LIVE

WILD KRATTS LIVE 2.0

GOO GOO DOLLS

THE PIANO GUYS

NOV. 12

NOV. 23

WILCO

WE WILL ROCK YOU – THE MUSICAL

NOV. 11

NOV. 13 INCUBUS

NOV. 15

@LOUISVILLEPALACE

NOV. 22

NOV. 26

THE ELF ON THE SHELF: A CHRISTMAS MUSICAL

NOV. 30 & DEC. 1

@LVILLEPALACE

TICKETS AVAILABLE AT THE VENUE BOX OFFICE OR ONLINE AT WWW.LOUISVILLEPALACE.COM FOR PREMIUM SEATS EMAIL PALACEPREMIUMSEATING@LIVENATION.COM.

OCTOBER 2019

FEATURED MUSICIAN Audience® is the official program guide for: Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Julia Noone Assistant Concertmaster........................................ 8

PROGRAMS From the Sea The Kentucky Center for the Arts, Whitney Hall October 11-12, 2019..........................................10

Publisher The Audience Group, Inc. G. Douglas Dreisbach

Violins of Hope The Kentucky Center for the Arts, Whitney Hall October 25-26, 2019..........................................20

Managing Editor Joseph Grove Creative Directors Jeff and Kay Tull Graphic Layout Rhonda Mefford Sales & Marketing G. Douglas Dreisbach Printing V. G. Reed & Sons

Support and Staff...............................................................30 Services. .............................................................................34

Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway).

Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777.

Reserve wheelchair seating or hearing devices at time of ticket purchase.

Copyright 2019 The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited. ©

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MESSAGE FROM ROBERT MASSEY Dear Friends, Welcome to Whitney Hall. On behalf of all of the Louisville Orchestra musicians, administrative staff, and Board of Directors, I thank you for sharing this symphonic experience with us. This month, we present two powerful performances on both our Hilliard Lyons Coffee and Brown-Forman Signature Classics Series.

From the Sea explores that essential element of life— water. From the mythological sea nymphs of The Oceanides to Seaborne, a work by Grammy-Award winning composer Garth Neustadter, this program offers an expansive look at music depicting bodies of water. Next is Violins of Hope, which features instruments that survived the Holocaust and were restored with great love and devotion. They have been touring the world with a powerful message. Several of our musicians will perform on these instruments in a concert of remembrance and celebration.

I’m delighted to announce that the Louisville Orchestra’s newest recording, The Order of Nature, will be released this month. This is the second album the Orchestra has recorded under Teddy Abrams and is a collaboration between the Orchestra, Abrams, and Louisville-native and My Morning Jacket lead singer, Jim James. It was recorded live in one take in April 2018 as part of the Orchestra’s Festival of American Music.

To you, our patrons, sponsors, and donors, we extend our deepest gratitude for your role in making these exciting and impactful artistic productions possible.

Enjoy the performance!

Robert Massey Chief Executive Officer

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T E D D Y A B R A M S , M U S I C D I R E C TO R Teddy Abrams is the widelyacclaimed Music Director of the Louisville Orchestra and the Britt Festival Orchestra.

As an advocate for the power of music, Abrams has fostered interdisciplinary collaborations with organizations including the Louisville Ballet, the Center for Interfaith Relations, Oregon Shakespeare Festival, the Speed Art Museum and the Folger Shakespeare Library. His rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero. Abrams’ work with the Louisville Orchestra has been profiled on CBS News Sunday Morning, NPR and in The Wall Street Journal.

Abrams recently collaborated with Jim James, vocalist and guitarist for My Morning Jacket, on the song cycle "The Order of Nature," which they premiered with the Louisville Orchestra in 2018 and will perform with the National, Seattle, and Colorado Symphonies this season. Also in 2019-20, Abrams makes his debut as guest conductor with the Orchestre Philharmonique du Luxembourg and the Sarasota Orchestra and returns to the San Francisco Symphony in his subscription debut.

Highlights from the 2018-19 season included his debut with the National Symphony Orchestra in a celebration of Leonard Bernstein’s centenary at the Kennedy Center on what would have been his 100th birthday and engagements with the Utah, Wichita, Eugene and Elgin Symphonies, and the Sun Valley Music Festival. Recent guest conducting highlights include engagements with the Los Angeles Philharmonic; Houston, Milwaukee, Vancouver, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. He has enjoyed a longstanding relationship with the Indianapolis Symphony and recently 6

conducted them with Time for Three for a special recorded for PBS. He served as Assistant Conductor of the Detroit Symphony from 2012-2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony.

An accomplished pianist and clarinetist, Abrams has appeared as a soloist with a number of orchestras—including playconducting the Ravel Piano Concerto with the Fort Worth Symphonies and the Jacksonville—and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, and John Adams. Dedicated to exploring new and engaging ways to communicate with a diverse range of audiences, Abrams co-founded the Sixth Floor Trio in 2008.

They continue to tour regularly throughout the U.S. Abrams was a protégé of Michael Tilson Thomas from the age of 11 and studied conducting with Otto-Werner Mueller and Ford Lallerstedt at the Curtis Institute of Music and with David Zinman at the Aspen Music Festival; he was the youngest conducting student ever accepted at both institutions.

Abrams is also a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) was webcast to hundreds of schools throughout South Florida.

Abrams performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009. He has held residencies at the La Mortella music festival in Ischia, Italy, and at the American Academy in Berlin. Teddy was a proud member of the San Francisco Symphony Youth Orchestra for seven seasons and graduated from the San Francisco Conservatory of Music with a Bachelor of Music, having studied piano with Paul Hersh.

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THE LOUISVILLE ORCHESTRA, 2019-2020 Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster Julia Noone, Assistant Concertmaster Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair

Stephen Taylor Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards Maria Semes

SECOND VIOLIN

Christina Hinton Allison Olsen Lindy Tsai Julia Preston

BASSOON

BASS

HORN

Bert Witzel, Principal* Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation Michael Chmilewski

FLUTE

Matthew Karr, Principal Paul D. McDowell Chair

Francisco J. Joubert Bernard Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair

TRUMPET

Alexander Schwarz, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

Robert Simonds, Principal* Kimberly Tichenor, Assistant Principal Devonie Freeman Andrea Daigle Charles Brestel James McFadden-Talbot Judy Pease Wilson Blaise Poth

Kathleen Karr, Principal

VIOLA

Alexander Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra

BASS TROMBONE

Trevor Johnson

Andrew Doub, Principal

ENGLISH HORN

TIMPANI

Jack Griffin, Principal Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair

Jennifer Shackleton Jonathan Mueller Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor Meghan Casper

CELLO

Nicholas Finch, Principal Lillian Pettitt, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Elaine Klein Chair

Jake Chabot Donald Gottlieb Philip M. Lanier Chair

PICCOLO

Donald Gottlieb

OBOE

Trevor Johnson

CLARINET

Andrea Levine, Principal Brown-Forman Corp. Chair Robert Walker Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair

James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Stacy Simpson, Interim

TROMBONE

Donna Parkes, Principal J. Bryan Heath

TUBA

James Rago, Principal Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair

PERCUSSION

John Pedroja, Principal

*On leave

BASS CLARINET Ernest Gross

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F E AT U R E D M U S I C I A N JULIA NOONE, ASSISTANT CONCERTMASTER I am thrilled to be embarking on my fourth season as Assistant Concertmaster of the Louisville Orchestra. Before I moved to the land of bourbon and horses, I was living in Miami, Fla., as a member of the New World Symphony, a pre-professional training orchestra designed to prepare new generations of orchestral musicians to lead the orchestras of tomorrow. I share this experience with many other musicians you see onstage with the Louisville Orchestra, including even Maestro Teddy Abrams.

While in Miami, we were taught not only to master our instruments and navigate the vast difficulties of performing with an orchestra, but also how to be leaders in an orchestral world that is constantly evolving. Specifically, we were consistently challenged to present innovative programming and concert formats, just as we do here in the Louisville Orchestra on a weekly basis!

Many of my favorite memories from the past three seasons with the LO are of concerts that could hardly even be referred to as “classical.” It was so much fun last year to play Teddy Abrams’ suite of Jim James’ music with the Dude himself at center stage (and I imagine many of my LO colleagues scored some major cool points with their kids for being a part of that show). We blurred the boundaries of classical music again last season with Michael Tilson Thomas’ Four Preludes on Playthings of the Wind, a ground- and genre- breaking work 8

"It is a pleasure to be able to expand our horizons and explore so many different forms of musical performance on this stage." of epic proportions, and then with another of our Maestro’s monumental works, The Greatest, a multi-faceted rap opera depicting Muhammad Ali’s extraordinary life through music, dance, poetry, and theater. It is a pleasure to be able to expand our horizons and explore so many different forms of musical performance on this stage and I’m so excited to share another groundbreaking season with you, our passionately adventurous audience!

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THREE SQUARE MEALS DOWN ON THE BELEVEDERE

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

LO COFFEE SERIES SPONSOR

LO COFFEE SERIES Sponsored by Hilliard Lyons

FROM THE SEA Friday, October 11, 2019 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor The Percussion Collective:

Svet Stoyanov, Ji Hye Jung, Sam Um, Gwendolyn Dease, Mari Yoshinaga, and Garrett Arney

Kjell van Sice, film Jean SIBELIUS Garth NEUSTADTER

The Oceanides, Op. 73 (11min) Seaborne (30 min) I. Above II. At III. Within The Percussion Collective + Kjell van Sice, film

Claude DEBUSSY

La mer (23 min) I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and the Sea)

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

SIGNATURE CLASSICS SERIES SERIES SPONSOR

LO SIGNATURE CLASSICS SERIES Sponsored by Brown-Forman

FROM THE SEA Saturday, October 12, 2019 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor The Percussion Collective:

Svet Stoyanov, Ji Hye Jung, Sam Um, Gwendolyn Dease, Mari Yoshinaga, and Garrett Arney

Kjell van Sice, film Jean SIBELIUS Garth NEUSTADTER

The Oceanides, Op. 73 (11min) Seaborne (30 min) I. Above II. At III. Within The Percussion Collective + Kjell van Sice, film

INTERMISSION (20 minutes) John Luther ADAMS Claude DEBUSSY

Become River (16 min) La mer (23 min) I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and the Sea)

Additional support for this program made possible by John and Sharon Malloy.

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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F E AT U R E D M U S I C I A N S THE PERCUSSION COLLECTIVE, GUEST ARTISTS

ROBERT VAN SICE IS ONE OF THE world's foremost performers of contemporary music for marimba, having premiered more than 100 pieces, including many of today’s seminal works for the instrument.

At the pinnacle of his career, van Sice has assembled a stunning collection of young artists who are reinventing the concert experience. The Percussion Collective transcends the medium of percussion through uncommon performance experiences that engage audiences at a profound emotional level. The hallmarks of van Sice’s musical approach—precise execution, sonic refinement, and dynamic onstage communication—are all on display in the most vivid manner to date. Drawing from an incomparably rich bouquet of talent, The Percussion Collective flexes in size, offering exquisitely curated programs for an array of venues and settings.

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The roster of The Percussion Collective includes some of the world’s most esteemed and dynamic young voices in the art form. They are drawn from the Chamber Music Society of Lincoln Center, Camerata Pacifica, the Pittsburgh New Music Ensemble as well as faculty members from universities such as Miami’s Frost School of Music, Michigan State University, the University of Massachusetts, Vanderbilt’s Blair School of Music, and the University of Kansas.

Featuring players from Europe, Asia, and the U.S., this new generation of virtuosi represent the leading edge of innovation in concert conception and performance.

For the full bio and to learn more about The Percussion Collective, visit www.thepercussioncollective.com.

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P R O G R A M N OT E S FROM THE SEA October 11, 2019, 11AM • October 12, 2019, 8PM

by Laurie Shulman ©2019 | First North American Serial Rights Only ONE-MINUTE NOTES The Oceanides is a rare exception in Sibelius’s works: inspired by Greek mythology rather than Finnish.

Oceanides were sea nymphs, daughters of Neptune, and the sweep of the sea flows through this tone poem.

Garth Neustadter’s Seaborne is a multimedia partnership with filmmaker Kjell van Sice, expanding our perception of water from above, at surface level, and submerged. Vibrant mallet percussion instruments take center stage to enhance van Sice’s vivid imagery.

Many of John Luther Adams’ works deal with the environment. This one makes

THE OCEANIDES, OP.73 (AALLOTTARET) JEAN SIBELIUS (1865-1957) Nearly all the Sibelius tone poems have origins in The Kalevala, the Finnish national epic. The Oceanides is an exception. Sibelius had a lifelong passion for Greek, Latin, and the marvels of classical antiquity. This work is an expression of that love.

In Greek mythology, the Oceanides were sea nymphs, regarded as the daughters of Oceanus. They lived in rivers, streams, and other waters. Not surprisingly, Sibelius’s music swells with the tidal pull

a river delta out of four orchestral ‘choirs,’ with the instrumental groups arranged on graduated risers. Adams’ piece addresses unspoilt areas of the outdoors where civilization has not intruded.

Each movement of Debussy’s symphonic masterpiece La mer reflects aspects of the sea’s quicksilver moods.

Debussy was inspired by the visual arts, particularly Japanese paintings.

His subtitle, “Three Symphonic Sketches,” supports the visual association. The play of sunlight and wind upon water is the dominant premise. Debussy spins orchestral magic in this magnificent score.

"Arches, wave figures, rocking strings, and harp glissandi suggest the lapping of water onto shoreline and the surge of larger waves." of the sea. Arches, wave figures, rocking strings, and harp glissandi suggest the lapping of water onto shoreline and the surge of larger waves. The Oceanides has often been compared to Debussy’s La mer (1903-05), which preceded it by a decade. While Sibelius’ piece does employ the whole tone and modal scales characteristic of Debussy’s impressionist style, the music bears many Sibelian traits. These include woodwind tunes

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P R O G R A M N OT E S in delicate, melodious thirds, pedal points in the brass and timpani, and shimmering strings.

The Oceanides opens with a whispering ripple of strings. A slow crescendo extends over 10 minutes, growing to a splendid climax. Despite the expanded orchestra, Sibelius seems at pains to show how delicately a large ensemble can be deployed. Most of the piece is hushed and subdued, yet the writing is brilliant and luminous, with unusual touches. The double basses, for example, are mostly independent from the cellos, and the timpani play almost constantly, often with a significant harmonic role.

SEABORNE GARTH NEUSTADTER (B.1986) Garth Neustadter is an Emmy Award-winning composer and multiinstrumentalist.

His works have been commissioned, performed, and recorded by artists including Grammy Award-winning violinist Hilary Hahn, mezzo-soprano Denyce Graves, and Japanese-American violinist Ryu Goto. A graduate of the Yale School of Music, Neustadter resides in Los Angeles, where he composes scores for film, television, and concert music projects. An active performer, he is on the roster of LA Opera and LA Master Chorale.

Written for The Percussion Collective, Seaborne originated as a piece for six percussionists and video projection.

This performance is the premiere of the orchestral version, for percussion and strings. In collaboration with filmmaker 14

"This work explores our perception of water from aerial, surface, and underwater vantage points."

Kjell van Sice, Neustadter has addressed our endangered oceans. Both music and film explore three distinct perspectives of the sea. Neustadter explains: This work explores our perception of water from aerial, surface, and underwater vantage points. Water possesses an inherent motion and rhythm, and I am interested in reflecting the tension between the potential and kinetic energies we observe, as well as our perception of time. Musically, my language attempts to find a balance between gestures that feel almost primal or ancient juxtaposed against more modern and familiar textures. Often, motifs are introduced in simple ensemble unisons, gradually developing and evolving in ways that might emulate a communal improvisatory experience.

Overall, I attempt to create a strong synergy and synesthesia with the photography, in that our perception of color and light is strongly reflected in the music throughout.

Van Sice adds, “Although the surface layer of water is thinner than a hair, the way in which it interacts with light and the forces of wind and currents make it the most dynamic and every-changing natural phenomenon.” Neustadter’s fluid writing for the six keyboards (four of which are pitched mallet instruments) is a vivid complement to van Sice’s gorgeous cinematography.

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P R O G R A M N OT E S BECOME RIVER JOHN LUTHER ADAMS (B.1953) Based in Alaska from 1978 until 2014, Adams has long been closely associated with the arctic climate and landscape of his adopted home. He is also active in environmental activities. His music is profoundly influenced by nature and the primordial power of the great outdoors.

He does not write in traditional forms.

Instead, his music draws its impetus from the unspoiled world where civilization has not intruded: infinite, mysterious, endlessly varied in its lights and shadows.

As a teenager, Adams played drums in rock bands. An early passion for Frank Zappa led him to the iconoclastic music of Edgard Varèse and the vast, enigmatic scores of Morton Feldman.

Adams has found his own elemental roots and inspiration in the frozen tundra of Alaska, the unique climatic and geographical environment that was his home for so long. More recently, he has found his musical impetus in warmer climates, both desert and seaside. His compositions are sonic evocations of the deep connections between landscape and the human spirit.

Since 2014, he has divided his time between the desert of rural Mexico and New York City. Also in 2014, Adams won a Pulitzer Prize for Become Ocean, which was commissioned by Ludovic Morlot and the Seattle Symphony. He interrupted work on Become Ocean to write Become River for Steven Schick and the St. Paul Chamber Orchestra.

The score specifies an orchestra organized in four instrumental choirs, spatially arranged on the stage as an interlocking network of musical streams on five levels. Adams observes, “From a single high descending line, this music gradually expands into a delta of melodic streams flowing toward the depths. I now imagine this river and its related ocean as part of a larger series of pieces encompassing desert, mountain, tundra and perhaps other landscapes and waterscapes.”

LA MER CLAUDE DEBUSSY (1862-1918) La mer is Debussy's paean to the sea. These three movements embody that most mercurial of natural wonders, the endless undulations of large bodies of water.

In its evocation of the play of light upon water and wave upon wave, it is the quintessential impressionist work in music.

Few figures in music have been better qualified to cross-pollinate among the various arts. Debussy was highly cultured and well-read. He likely had several literary works in mind while working on La mer, such as Edgar Allan Poe's The Narrative of Arthur Gordon Pym, with its amazing evocations of the sea.

In the visual arts, Debussy's grounding was equally strong. He was well acquainted with both Western and Eastern art, and held strong opinions about both. He considered J.M.W. Turner (1775-1851) to be "the finest creator of mystery in art." Among Japanese artists,

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P R O G R A M N OT E S his favorites were Ando Hiroshige (1797-1858) and Katsushika Hokusai (1760-1849), the outstanding printmakers of the 19th century who exerted a powerful influence on Degas, van Gogh, and Gauguin. Debussy requested his publisher to reproduce Hokusai’s "The Hollow of the Wave Off Kanagawa," on the cover of La mer's full score.

Association with Debussy's music has contributed to that painting's remarkable fame.

La mer consists of three movements that Debussy called "symphonic sketches." They are, of course, more ambitious in scale than mere sketches: full symphonic movements, though not in the sense of an 18th- or 19th-century symphony. We are provided no program per se beyond the movement titles,

"While his score is filled with melodic fragments, it is the sweep of orchestral detail bringing the infinite variety of the water to musical life that holds our attention." which translate to "From Dawn 'til Noon on the Sea," "Play of the Waves," and "Dialogue of the Wind and the Sea." Debussy eschews the kind of melody that one hums. While his score is filled with melodic fragments, it is the sweep of orchestral detail bringing the infinite variety of the water to musical life that holds our attention. Felicitous orchestral touches abound, but the parts for harp and muted brass, especially in the second movement, reward careful listening.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

LO COFFEE SERIES SPONSOR

LO COFFEE SERIES Sponsored by Hilliard Lyons

VIOLINS OF HOPE Friday, October 25, 2019 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Commentary by Avshalom Weinstein, Violins of Hope Kathleen Karr, flute • Gabriel Lefkowitz, violin • Catherine Blades, narrator

Paul SCHOENFIELD

John WILLIAMS

Klezmer Rondos (10 min) II. – Kathleen Karr, flute Three Pieces from Schindler’s List (14 min) I. Schindler’s List II. Jewish Town (Krakow Ghetto – Winter ’41) III. Remembrances Gabriel Lefkowitz, violin

Michael TILSON THOMAS

From the Diary of Anne Frank (36 min) Catherine Blades, narrator

Additional support for this performance provided in memory of Armand Ostroff by Miriam Ostroff and In honor of Miriam Ostroff by Frank and Paula Harshaw

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

SIGNATURE CLASSICS SERIES SERIES SPONSOR

LO SIGNATURE CLASSICS SERIES Sponsored by Brown-Forman

VIOLINS OF HOPE Saturday, October 26, 2019 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Commentary by Avshalom Weinstein, Violins of Hope Kathleen Karr, flute • Gabriel Lefkowitz, violin Catherine Blades, narrator • Andrea Schermoly, choreographer Judith, Erica De La O • Holofernes, Mark Krieger Countrymen of Bethulia/ Assyrian Army: Justin Michael Hogan, Minh-Tuan Nguyen, Aleksandr Schroeder, David Senti, Trevor Williams, Sanjay Saverimuttu, Phillip Velinov Paul SCHOENFIELD

Klezmer Rondos (10 min) II. – Kathleen Karr, flute

William SCHUMAN

Judith, A Choreographic Poem for Orchestra (24 min) Judith, Erica De La O Holofernes, Mark Krieger Countrymen of Bethulia/ Assyrian Army: Justin Michael Hogan, Minh-Tuan Nguyen, Aleksandr Schroeder, David Senti, Trevor Williams, Sanjay Saverimuttu, Phillip Velinov Louisville Ballet • Andrea Schermoly, choreographer

INTERMISSION (20 minutes) John WILLIAMS

Three Pieces from Schindler’s List (14 min) I. Schindler’s List II. Jewish Town (Krakow Ghetto – Winter ’41) III. Remembrances Gabriel Lefkowitz, violin

Michael TILSON THOMAS

From the Diary of Anne Frank (36 min) Catherine Blades, narrator

Additional support for this performance provided in memory of Armand Ostroff by Miriam Ostroff and In honor of Miriam Ostroff by Frank and Paula Harshaw Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

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P R O G R A M N OT E S ABOUT VIOLINS OF HOPE

VIOLINS OF HOPE IS A PROJECT of concerts and exhibits of a private collection of violins, violas, and cellos all gathered since the end of World War II. All instruments belonged to Jews before and during the war. Many were donated by survivors, some arrived through family members or friends, and many simply carry Stars of David as a decoration— an identity tag that declares they are instruments of Jewish heritage.

All these instruments have a common denominator—they had to do with that war. To be more specific, they had to do with the Holocaust, the systematic murder of more than 6 million people by the Third Reich. The instruments bear witness to the death or survival of the musicians who played them.

They are symbols of hope and ask us to remember. We celebrate with them to remember that life is good, and celebrate it for those who perished as well as for those who survived.

Violin makers Amnon Weinstein and Avshalom Weinstein, father and son, 20

work in Tel Aviv and Istanbul and own this collection. When word spread that Amnon donated his work to restore the first violin brought to him by the granddaughter of a victim, dozens more instruments found their way to his workshop. He then started seeking out violins that were played by Jews in the camps and ghettos. Both father and son dedicate their expertise as luthiers and their endless love to ensure that those instruments, many of which were rather cheap and unsophisticated, get a new beautiful makeover and recovered their musical voices.

Since coming to Louisville, the violins have been featured in educational, memorial, interfaith, and concert presentations. Every event has been an act of love and a celebration of the human spirit.

“Violins of Hope is a monument to the six million people who can no longer speak.”

—Amnon Weinstein

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F E AT U R E D A R T I S T S Kathleen Karr, Flute Kathleen Karr is the Principal Flute of the Louisville Orchestra and Flute Professor at the University of Louisville. In 2012, she was awarded the Distinguished Teaching Professor Award for the University of Louisville. A frequent soloist with the Louisville Orchestra, Karr most recently performed the Mozart G Major Flute Concerto with the Louisville Orchestra during the 2014-15 season. She has taught flute and chamber music at the Interlochen Arts Camp (Interlochen, Michigan), Bellarmine University, Centre College, and Indiana University Southeast.

Karr has twice performed at the National Flute Association's annual convention (Las Vegas in 2012 and Washington D.C. in 2015). She is a founding member of the Kentucky Center Chamber Players and the flutist with the Grawemeyer Players. She has performed masterclasses and recitals throughout Mexico, Israel, and the U.S.

Karr has performed with the Fort Wayne Philharmonic, the Huntsville Symphony, the North Charleston Pops, Chautauqua Symphony Orchestra, and the Orquestra Sinfonica da Mineria in Mexico City.

She received her Bachelor of Music degree from Northwestern University and her Master of Music degree from the State University of New York at Stony Brook.

Mrs. Karr is an Altus Flutes Performing Artist. Photo by Chris Witzke Louisville Ballet, led by Artistic + Executive Director Robert Curran, is an evolved but accessible form of artistic expression that boldly and beautifully communicates stories both classic and new. They exist to move, to evoke emotion, to provoke thought and to challenge perceptions. They are artists, athletes and activists. They are inventors and inspirers. They have been one of the nation’s leading ballet companies since 1952. As the Official State Ballet of Kentucky, they have hosted some of

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F E AT U R E D A R T I S T S ballet’s biggest names, including Mikhail Baryshnikov, Twyla Tharp and Wendy Whelan; performed for tens of thousands of people; and reach more than 20,000 school children throughout the Commonwealth with educational programs annually.

Andrea Schermoly, choreographer Andrea Giselle Schermoly was born in South Africa. She trained at the National School of the Arts, Johannesburg and on full scholarship at Rambert Ballet and Contemporary School and on full scholarship at The Royal Ballet School, London. She competed

Aesthetics in Jewelry

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internationally as a member of The South African National Rhythmic Gymnastics Team. She danced professionally for Boston Ballet Company and the Netherlands Dance Theater.

Schermoly has choreographed for Ballet Met, Royal New Zealand Ballet, Cape Dance Company, Kansas City Ballet Company, State Street Ballet, Grand Rapids Ballet Company, Louisville Ballet Company, Santa Barbara Dance Theater, Festival Ballet Theater, Ballet Theatre Afrikan, Quixotic Cirque Noveau, Boston Ballet 2, Joffrey Ballet Concert Group, The Juilliard School solos evening, and directed/choreographed a dance narrative film for The Ashley Bouder Project presented at The Joyce Theater, NYC, which went on to be presented

by San Francisco Dance Film Festival.

She was awarded the “Outstanding Choreographer” award in 2012, 2013 and 2017 at Youth America Grand Prix.

In 2014 she choreographed at Lincoln Center for YAGP’s 15th anniversary gala evening on dancers Maria Kochetkova (principal San Francisco Ballet) and Joaquin de Luz (principal New York City Ballet). The piece has since been re-staged at ‘Buenos Aires International Dance Gala'Argentina and ‘Stars of the 21st Century Gala’ in the Champs Élysées, Paris. Andi has choreographed for a number of feature films, commercials and music videos in Hollywood including “Beautiful Now,” “Bunheads,” Justin Bieber/Poo Bear and Deorro music video and choreographically assisted on projects as 'Budweiser Superbowl Commercial’ and ‘Star Trek into Darkness’. She's created work for principal dancers attending international galas including Ana Sophia

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F E AT U R E D A R T I S T S Scheller (NYCB), Nicolai Gorodiski (PB), Chase Finlay (NYCB), Lauren Lovette (NYCB) and Adiarys Almeida. She has upcoming creations with Royal New Zealand Ballet, Cirio Collective and Santa Barbara Dance Theater.

Gabriel Lefkowitz, violin A native of the Boston area, violinist Gabriel Lefkowitz is in his fourth season as Concertmaster of the Louisville Orchestra. A versatile musician of the 21st century, Lefkowitz is also an active soloist, conductor, and composer.

Highlights of Lefkowitz's 2019-2020 season include performances of the Stravinsky Violin Concerto (early October) and a return to the podium (October/ November) as conductor for a program of Mendelssohn, Haydn, and Brahms as part of the LO's far reaching Republic Bank Music Without Borders Series. He will also perform the Florence Price Violin Concerto No. 1 with the McConnell Arts Center Chamber Orchestra in Columbus, Ohio (February).

Recent guest engagements include performances of Mozart’s Violin Concerto No. 4 with the Cape Cod Chamber Orchestra, Mozart’s Violin Concerto No. 5 with the Oak Ridge Symphony, Philip Glass’ Violin Concerto No. 1 with the Ocala Symphony, and performing as guest concertmaster with the Britt Festival Orchestra and the Buffalo Philharmonic Orchestra.

Lefkowitz holds a bachelor’s degree from Columbia University, where he graduated magna cum laude in three years.

He earned a Master’s in violin performance at The Juilliard School, where he studied with Joel Smirnoff and Masao Kawasaki.

As a point of particular interest to tonight's program, Lefkowitz's father, Ronan Lefkowitz, in addition to being a long time member of the Boston Symphony Orchestra violin section, is a founding and long-time member of the Hawthorne String Quartet, who in association with the Terezin Music Foundation has been performing and presenting music composed in concentration camps during the Holocaust for several decades.

Catherine Blades, narrator Catherine Blades is an actress and singer originally from Cedar Rapids, IA. She moved to New York City in 2009 when she was cast in the Broadway revival of Bye Bye Birdie starring John Stamos. Theatre Credits: Minnie Fay in Hello, Dolly! at the Goodspeed Opera House. Blades can be seen as Young Trish in the Marvel Netflix Original series Jessica Jones. Other television credits include: The Loudest Voice in the Room (Showtime), Elementary (CBS) and, Blue Bloods (CBS). She won the Best Actress award at the New York Winter Film Festival for her work in the independent feature film Cheerleader which is now streaming on Amazon. Blades is very excited to be working with the Louisville Orchestra!

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P R O G R A M N OT E S VIOLINS OF HOPE Friday, October 25, 2019 • 11AM | Saturday, October 26, 2019 • 8PM

by Laurie Shulman ©2019 | First North American Serial Rights Only ONE-MINUTE NOTES Paul Schoenfield identifies strongly with his Jewish heritage. Klezmer Rondos celebrates the overlooked importance of flute in Eastern European klezmer bands, fusing raucous popular culture with concert music.

The haunting strains of the title music to Steven Spielberg’s Schindler’s List lead off these Three Pieces from John Williams’ Oscar-winning score. The other two pieces recall suffering in the Warsaw ghetto and somber remembrance today of the Holocaust.

William Schuman’s Judith, after the Biblical tale, was a Louisville Orchestra collaboration with the legendary choreographer Martha Graham. Because the original choreography has been lost, the LO has commissioned this new version from Andrea Schermoly for performance with the Louisville Ballet.

Cinema’s beloved Audrey Hepburn provided the impetus for Michael Tilson Thomas’s From the Diary of Anne Frank. He and Hepburn selected favorite passages for the text, and Tilson Thomas composed with the rhythms and cadences of Hepburn’s voice in crafting this orchestral showpiece with narrator.

KLEZMER RONDOS [MOVEMENT II] (1989) PAUL SCHOENFIELD (B.1947) Michigan-based Paul Schoenfield has lived extensively in Israel. That geographical spread sums up Schoenfield in a nutshell: diverse, welltraveled, and eclectic. He was educated at Converse College in South Carolina, Pittsburgh’s Carnegie Mellon University, and the University of Arizona, where he completed a Doctor of Musical Arts in composition in 1970, studying with the American composer and pianist Robert Muczynski.

"An important thread in his compositions has been his Jewish heritage. Klezmer Rondos is a prime example, merging the popular music of Central European klezmer bands with today’s concert music..."

An important thread in his compositions has been his Jewish heritage. Klezmer

Schoenfield wrote Klezmer Rondos for flutist Carol Wincenc with funding from

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Rondos is a prime example, merging the popular music of Central European klezmer bands with today’s concert music, much in the same way that composers as different as Haydn, Brahms, Ravel, and Bartók fused Gypsystyle into their own art music.

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P R O G R A M N OT E S an NEA Consortium Commission grant.

Although clarinet is the most common instrument associated with klezmer, Schoenfield knew that both violin and flute played important roles in these traditional ensembles. He also wished to incorporate the role of the badkhn, a klezmer cross between jester, emcee, singer, and entertainer often featured at Jewish weddings in the old country.

Schoenfield’s second movement is written in Yiddish theater song style.

Schoenfield has written: “[It] is based on the Yiddish poem by M. Wirt, Mirele.

As the tenor saxophone trolls the text of the poem, the flute musically describes the action of its central character, a girl named Mirele.” (As related in Wirt’s verses, Mirele is a maiden so lovely that she can afford to reject all her suitors.

The poem warns that she will live to regret that decision in her old age, when her beauty has faded.)

Schoenfield uses Eastern European modal scales, some elements of Gypsy style, and Jewish folk tunes and dances.

He also incorporates some Romanian folk elements. They add up to a stylistic hodgepodge that somehow fuses into delightful entertainment music.

JUDITH: A CHOREOGRAPHIC POEM WILLIAM SCHUMAN (1910-1992) William Schuman is a prime example of an important mid-20th century composer who has

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P R O G R A M N OT E S been all but eclipsed by the popularity of Gershwin, Copland, and Bernstein.

Arguably America’s most distinguished 20th-century symphonist, Schuman was—at first—an unlikely candidate for that august designation. As a boy he studied violin, but he was more focused on popular music and jazz. He appeared headed toward a career as a popular song writer, collaborating extensively with Frank Loesser (who went on to fame with such Broadway classics as The Most Happy Fella and Guys and Dolls).

His world changed at age 19 when he heard the New York Philharmonic live.

The next day, he withdrew from NYU, quit his part-time job, and registered for courses in harmony and counterpoint at Malkin Conservatory. He advanced rapidly, supporting himself through writing jazz band arrangements

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and working in his father’s printing business. In 1935 he earned a degree from Columbia, then studied privately with Roy Harris, one of America’s most prominent composers at the time.

"Judith was commissioned by the Louisville Orchestra for the legendary choreographer Martha Graham. Graham created the choreography and danced the title role in the premiere on January 4, 1950."

William Schuman went on to a stellar career, including two Pulitzer Prizes in music and the gold medal from the American Academy of Arts and Letters in 1982. His academic career was equally distinguished: ten years on the faculty of Sarah Lawrence College (1935-45), after which he led the Juilliard School from 1945 to 1962. During his tenure, he fostered the establishment of the Juilliard Quartet as ensemble-in-residence, appointed many distinguished colleagues to the composition faculty, and created Juilliard’s Dance Division.

Schuman left Juilliard to assume the presidency of Lincoln Center, then under construction as Manhattan’s new center for the performing arts.

His Eighth Symphony was premiered during the New York Philharmonic’s inaugural season at Lincoln Center.

Both the music and the choreography for Judith were commissioned by the Louisville Orchestra. The legendary Martha Graham choreographed and danced the title role in the premiere

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P R O G R A M N OT E S on January 4, 1950. Robert Whitney conducted. The ballet scenario is based on the tale of Judith in the Apocrypha.

The Assyrian general Holofernes had deprived the Israelites of their water supply. Judith, a widow, prayed for God to give her, a woman, the strength and courage to save her people and restore their water.

She cast off her widow’s weeds and dressed herself in seductive clothing, then went to Holofernes’ military camp.

After three days, she found her way to his tent. Besotted by her beauty, he ordered a feast prepared, and drank wine excessively. Judith took advantage of his inebriation to decapitate him.

Her courageous act restored water and joy to her people. The bloody scene as been immortalized by many painters, most notably Michelangelo in the Sistine Chapel.

Schuman’s score follows the five principal scenes in the ballet. They share musical ideas set forth in the opening Adagio, which illustrates the suffering and desperation of the thirsty Israelites. Judith prepares herself for travel to the enemy camp with chirping woodwinds, jagged brass exclamations, and some jazzy rhythms. An oboe solo heralds a quieter section, as Judith patiently awaits her best opportunity to approach Holofernes without being detected as an infiltrator. Holofernes’s debauched banquet begins with pizzicato strings, driving to a wild climax—the beheading—as the orchestra’s brass and timpani join the revelry. In a solemn procession, Judith departs from the camp holding the general’s severed head.

At the end, her people are able to celebrate their deliverance by the brave widow.

THREE PIECES FROM SCHINDLER’S LIST JOHN WILLIAMS (B.1932) Steven Spielberg’s epic 1993 cinematic drama, Schindler’s List, made a wallop of an impact on anyone who saw it. The true story of Oskar Schindler, who saved the lives of approximately 1,000 Jews by employing them in Nazi factories, remains shattering whether one reads about it or sees Spielberg’s film. Who can forget the image of the little girl in the red coat? Equally haunting is John Williams’s theme from the film, which was recorded on the original soundtrack

by Itzhak Perlman. The soundtrack won an Oscar for Mr. Williams at the 1994 Academy Awards. The title music, which opens these Three Pieces, is the score’s most famous excerpt.

“Jewish Town—Krakow Ghetto, Winter ’41” begins with a plaintive violin solo before the orchestra drifts in to flesh out Williams’s portrait of the ghetto’s bleak conditions. The desolation escalates to hopelessness. Finally, “Remembrances” looks back upon the Holocaust from a sorrowful modern vantage point, with a fleeting reference to the title music.

FROM THE DIARY OF ANNE FRANK FOR NARRATOR AND ORCHESTRA (1990) MICHAEL TILSON THOMAS (B. 1944) Michael Tilson Thomas has had a distinguished career as a conductor, serving as principal conductor of the London Symphony Orchestra from

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P R O G R A M N OT E S 1988-95 and leading the San Francisco Symphony since 1995. He also founded Miami’s New World Symphony. A steadfast champion of new music, he has been a pioneer in reinventing the concert experience and has worked on many multimedia projects.

Tilson Thomas is himself a composer of note and is drawn to literature. Three of his five works for soloist and orchestra have literary origins: Whitman Songs (1999), Poems of Emily Dickinson (2002) and From the Diary of Anne Frank.

The legendary British actress and humanitarian Audrey Hepburn was the impetus for this work. She had thought of using Anne Frank’s words in music.

A great proponent of UNICEF, she facilitated the composers commission from Maestro Tilson Thomas. She and the composer selected favorite parts of Frank’s text, then she sent him a recording of her reading those excerpts.

He has said that he composed to reflect the rhythms and lilt of her voice, but also tapping into his own Yiddish heritage. He describes From the Diary of Anne Frank as a big set of symphonic variations and a showpiece for virtuoso orchestra.

Tilson Thomas led the premiere in Philadelphia in March 1990. The narrator was Audrey Hepburn, to whom the score is dedicated. We hear the revised version, from 1992.

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L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Annual gifts to the Louisville Orchestra provide funding that is critical to the success of our mission in bringing diverse programming and educational opportunities to our community. Your support of the Louisville Orchestra demonstrates a commitment to a tradition of live orchestral music with a passionate dedication to artistic excellence. The Louisville Orchestra gratefully acknowledges the following donors of record for the period May 1, 2018 through August 31, 2019. For further information on how you can support the Louisville Orchestra, please contact Edward W. Schadt, Director of Leadership Giving, at 502-585-9413 or eschadt@louisvilleorchestra.org.

CONDUCTORS SOCIETY (FOUNDER) $250,000+ Mrs. Christina L. Brown Anonymous (1)

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$100,000 - $249,999 Mr. and Mrs. William Ballard Mr. Owsley Brown III † Mr. and Mrs. David A. Jones, Sr. Mr. and Mrs. Brook Smith Mr. and Mrs. James S. Welch, Jr.

CONDUCTORS SOCIETY $75,000 - $99,999

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$50,000 - $74,999 Association of the Louisville Orchestra Mr. and Mrs. George S. Gibbs III Mr. and Mrs. Frank Harshaw Lee and Rosemary Kirkwood

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$25,000 - $49,999 Ambassador Matthew Barzun and Brooke Brown Barzun Ms. A. Cary Brown and Dr. Steven Epstein Mr. Steven Wilson and Ms. Laura Lee Brown Mr. Brian Kane Mr. Warrick Dudley Musson Michael and Chandra Rudd Mr. † and Mrs. William M. Street

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Mr. Thomas Turley Noland, Jr. and Vivian Ruth Sawyer Mrs. Miriam Ostroff Mr. Joseph A. Paradis III Ms. Bella Portaro-Kueber Mr. and Mrs. Alexander Rorke Mr. and Mrs. Bruce J. Roth Mrs. Denise C. Schiller Rev. Alfred R. Shands III Mr. and Mrs. † Donald Sorenson Mr. and Mrs. Joseph Shiprek Mr. and Mrs. Greg Weishar Mrs. Jane Feltus Welch Mr. and Mrs. Orme Wilson Anonymous (1)

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$5,000 - $9,999 Mr. Teddy Abrams Mr. and Mrs. Steve Bailey Mrs. Gladys Bass Dr. and Mrs. David P. Bell Bob and Nora Bernhardt Mrs. Edith S. Bingham Mr. and Mrs. John T. Bondurant Dr. and Mrs. Paul Brink Mr. Garvin Brown Mrs. Elizabeth Davis Dr. † and Mrs. Charles E. Dobbs Mr. and Mrs. Thomas E. Dunham Mr. and Mrs. Andrew Fleischman Mr. and Mrs. Clyde Foshee Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Mr. and Mrs. Matthew Hamel Kenneth and Kathleen Loomis Mr. and Mrs. Herbert S. Melton III Mr. and Mrs. Robert W. Rounsavall III Mr. and Mrs. Gary M. Russell Mr. and Mrs. Gary Sloboda Ruth W. and Bryan W. Trautwein Paul and Missy Varga Mr. and Mrs. Michael Von Hoven Mr. and Mrs. James R. Voyles Mr. and Dr. Robert Wimsatt Dr. and Mrs. Richard Wolf WDRB Fox 41 Anonymous (2)

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Mr. and Mrs. Norman Pfau Mr. Stephen Reily and Ms. Emily Bingham Mr. Steve Robinson Mr. Ryan Rogers Beulah and Ken Rogers Mr. Clifford Rompf Rev. Edward W. Schadt Mr. and Mrs. Julian Shapero Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett Mrs. Carolyn Marlowe Waddell Mr. and Mrs. Kevin Wardell Ms. Maud Welch Ms. Mary Ellen Wiederwohl and Mr. Joel Morris Anonymous (1)

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$1,500 - $2,999 Agan Development Mr. Campbell Brown Mrs. and Mr. Wendell Berry Dr. Stephen and Jeannie Bodney Mr. William P. Carrell Mrs. Evelyn T. Cohn Mr. Thomas A Conley Mr. Brian Cook Mr. John B. Corso Mr. and Mrs. John F. Cunningham Ms. Marguerite Davis Ms. Gayle A. DeMersseman Mr. Gerald Doss Mr. Edward and Mrs. Shirley Dumesnil Mr. Daniel L. Dues Rev. John G. Eifler Mr. and Mrs. Bert Emke Dr. Vilma Fabre Dr. and Mrs. Eugene Fletcher Randall L. and Virginia † Fox Dr. Karen Abrams and Dr. Jeffrey Glazer Mrs. Toni Goldman Ms. Mary Louise Gorman Mr. Bert Greenwell Ms. June Hampe Mr. and Mrs. Ken Handmaker Mr. John Huber David Sickbert and Thomas Hurd Ms. Wendy Hyland Jean M. and Kenneth S. Johnson Jan S. Karzen Mr. and Mrs. Kim Mr. and Mrs. Louis F. Korb Mr. and Mrs. Allan Latts Thomas and Judith Lawson Mr. Thomas Lewis Mr. Robert Loeffler Mr. and Mrs. John P. Malloy Drs. Eugene and Lynn Gant March Mr. and Mrs. James B. McArthur Mr. Scott Meyer Mrs. Glynn Morgen

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Dr. and Mrs. Ronald Morton Mr. and Mrs. Dominick Pagano Mr. and Mrs. Tim Peace Mrs. William P. Peak Dr. Carmel Person Ms. Marla Pinaire Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham Mr. and Mrs. Gordon J. Rademaker Mrs. Robert Roberts Lee W. and Barbara Robinson Ms. Marianne Rowe Mr. and Mrs. Russell Saunders Ms. Jan Scholtz Mrs. Alleine Schroyens Mr. and Mrs. Joseph Sireci Mr. and Mrs. Raymond Smith Ms. Susan W. Smith Mr. Sheryl G. Snyder and Ms. Jessica Loving Dr. Anna Staudt Mr. Brandon Sutton Dr. and Mrs. Peter Tanguay Ms. Ann Thomas Dr. Juan Villafane Mr. Richard Wolf Hon. and Mrs. John Yarmuth Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller

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$500 - $1,499 Hon. and Mrs. Jerry E. Abramson David and Madeleine Arnold Ms. Lynne Baur Mr. and Mrs. Mike Bauer Mr. and Mrs. Donald Baxter Mrs. Mary J. Beale Mr. Hans Bensinger Eunice F. Blocker Ms. Cornelia Bonnie Dr. and Mrs. Lawrence H. Boram Mr. and Mrs. Jay Brodsky Mr. and Mrs. Hewett Brown Mr. and Mrs. Gary Buhrow Mrs. Sally V. W. Campbell Mr. William Carroll Mr. and Mrs. Michael Chandler Mrs. Helen K. Cohen Mr. and Mrs. George F. Coleman Ms. Rhonda L. Collins Mr. David and Mrs. Cynthia Collier Ms. Linda Dabney Mrs. Janet R. Dakan Ms. Betsey Daniel Ms. Carol W. Dennes Ms. Judy Dickson Dr. and Mrs. Christopher Doane Mr. and Mrs. James Doyle Ms. Susan Ellison Ms. Nancy Fleischman Mr. and Mrs. Vincenzo Gabriele Mrs. Gila Glattstein Mr. Joseph Glerum Mr. and Mrs. Laman Gray Mr. and Mrs. Fred Greaves

L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Mr. and Mrs. John R. Gregory Mrs. Mary C. Hancock Dr. Frederick Hilton Michael R. and Martha Hardesty Maria Hardy-Webb Ms. Carol Hartlage Mr. and Mrs. Timothy Healy Mr. Carl Helmich Dr. Susan J. Herlin Dr. Frederick K. Hilton Mrs. Maria Hardy-Webb Jacktivist Mr. and Mrs. Paul Breckenridge Jones Ms. Stephanie Kelly Mr. and Mrs. William Kissel Mr. & Mrs. Gary Knupp Mr. and Mrs. Karl D. Kuiper Mrs. Philip Lanier Mrs. Portia Leatherman Mr. Joseph Leichty Mr. and Mrs. Samuel M. Levine Cantor David Lipp and Rabbi Laura Metzger Ms. Stephanie Massler Joan McCombs Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Mr. William Mitchell Mr. and Mrs. Ronald J. Murphy Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Dr. Alton E. Neurath, Jr. Dr. and Mrs. Robert G. Lawrence Mrs. Amy Newbanks-Letke Mr. and Mrs. John Newell Dr. and Mrs. Lynn L. Ogden Ms. Karen O'Leary Dr. Naomi J. Oliphant Mr. and Mrs. John Potter Mr. Charles F. Pye Mr. Emmett Ratterman Mr. Douglas Rich Mr. Embry Rucker and Ms. Joan MacLean Mr. David C. Scott Mr. and Mrs. Robert H. Sachs Mrs. Corky S. Sachs Jan Scholtz Ms. Helga Schutte Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff Ms. Ruth Simons Mr. Larry Sloan Mrs. Carole Snyder Mr. and Mrs. David Sourwine Mr. Robert Southerland Mr. Robert Steen Ms. Katherine Steiner Mr. Richard Stephan Mrs. Donna M. Stewart Dr. and Mrs. T. Bodley Stites Mrs. Mary Stites Mr. William E. Summers V Mary and John Tierney Mrs. Rose Mary Rommel Toebbe Mr. and Mrs. Robert W. Vaughan Mr. and Mrs. Stephen F. Wheeler Mr. and Mrs. James I. Wimsatt

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$250 - $499 Mr. and Mrs. William M. Altman Another Place on 7th, Inc. & Jimmy Can’t Dance Boe and Judith Ayotte Mr. and Mrs. Joseph O. Baker Mr. and Mrs. William D. Beaven Mr. David B. Baughman Mr. and Mrs. Donald Baxter Bruce Blue and Louise Auslander Barry and Andrea Bernson John and JoElle Bollman Samuel and Sue Bridge Mr. Samuel G. Brennan Dr. Bruce Burton Ms. Rebecca Bruner Mr. Douglas Butler and Ms. Jamie Jarboe Dr. and Mrs. Jeffrey P. Callen Mr. and Mrs. William Cary Mr. David M. Carney Mr. Michael Coleman June Allen Creek Mr. and Mrs. Arthur O. Cromer Kate and Mark Davis Mrs. Pat Dereamer Mr. Leonidas D. Deters and Ms. Penny Shaw Mr. and Mrs. Robert Duffy Ms. Deborah A. Dunn Mrs. Ann-Lynn Ellerkamp Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Leslie and Greg Fowler Mr. Gene Gardner Mr. and Mrs. Ted F. Gibson Mr. and Mrs. Edward Goldstein Dr. and Mrs. Richard L. Goldwin Gravely Brewing LLC Dr. Muriel Handmaker Ms. Deanna Heleringer Mr. Lawrence Herzog Dr. and Mrs. Jonathan Hodes Mr. Richard Humke Mr. and Mrs. Richard W. Iler Dr. and Mrs. David Karp Mrs. Annora Karr Mr. Warren Keller Kindred Healthcare Marjorie and Robert Kohn Mrs. Elizabeth Kuhn Dr. and Mrs. Forrest Kuhn Ms. Laura Larcara Mr. and Mrs. Richard Leezer Dr. Leonard Leight Dr. and Mrs. Charlie Leonard Mr. and Mrs. Fred Levein Dr. and Mrs. Ronald Levine Ms. Karen M. Long Mr. and Mrs. Albert Lyons Mr. and Mrs. Joseph Lyons Mr. Albert Lyons and Ms. Margaret Brandt Mr. and Mrs. John Malish Dr. Daniel McAninch Mrs. Biljana N. Monsky

Ms. June E. Morris Mrs. Rita Moore Barry and Carla Givan Motes Marti and Hubert Mountz Ms. Mary Margaret Mulvihill Ms. Joan Musselman Mr. Robert B. Nesmith Mr. and Mrs. James T. Nolen Mr. and Mrs. Edwin Olliges, Jr. Dr. and Mrs. Vaughn Payne Mr. and Mrs. Peter Pepe Ms. Joan Pike Psi Iota Xi Sorority, Alpha Pi Chapter Mr. Mitchell Rapp Dr. and Mrs. George Reazin Dr. and Mrs. Mark Richardson Dr. John Roberts and Dr. Janet Smith Mr. John Robinson Mrs. Cynthia D. Rollins Rev. James Rucker Mrs. Barbara Sandford Mr. Kenichi Sato Mr. and Dr. Brandon Schadt Ms. Louise B. Seiler Mrs. Lisa Shannon Mr. and Mrs. John Sinai Mr. Joseph Small Mr. and Mrs. John L. Smart Jr. Mr. and Mrs. Richard E. Smith Vernon M. and Peggy T. Smith Mr. William Smith Mr. and Mrs. Donald L. Sodrel Constance Story and Larry G. Pierce Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Anna Laura and Thomas Trimbur Mr. and Mrs. Terry Waddle Mr. and Mrs. Robert Wade Mr. Dennis Walsh Mr. and Mrs. William J. Walsh III Dr. Will W. Ward Natalie S. Watson Anita and Shelton Weber Mr. and Mrs. William W. Weber Mr. Robert Weekly Mr. and Mrs. Raleigh K. Wilson Mrs. Michelle Winters Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Susan G. Zepeda and Dr. Fred Seifer Mr. Gene Zipperle Anonymous (2)

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Arthur K. Smith Family Foundation Caroline Christian Foundation Community Foundation of Louisville Cralle Foundation, Inc. Forecastle Foundation, Inc. Gardner Foundation, Inc. General Dillman Rash Fund Gheens Foundation Gilbert Foundation Habdank Foundation Hearst Foundation Horseshoe Foundation of Floyd County Irvin F. and Alice S. Estcorn Foundation Jefferson County Public Education Foundation Louis T. Roth Foundation, Inc. Lyndon and Helen Schmid Charitable Foundation Maxine and Stuart Frankel Foundation for Art Mildred V Horn Foundation National Endowment for the Arts Norton Foundation The Humana Foundation The Jane Flener Fund The Rawlings Foundation William E. Barth Foundation William M. Wood Foundation Woodrow M. and Florence G. Strickler Fund Anonymous (2)

ROBERT S. WHITNEY SOCIETY Members of The Robert S. Whitney Society are Individuals who have generously made estate plans for the Louisville Orchestra.

For more information on ways to join the Whitney Society, please contact Edward W. Schadt, Interim Director of Development at 502-585-9413 or ESchadt@LouisvilleOrchestra.org Ms. Doris L. Anderson Mr. and Mrs. Gary Buhrow Mr. Douglas Butler and Ms. Jamey Jarboe Mr.† and Mrs. Stanley L. Crump Mrs. Janet R. Dakan Anita Ades Goldin Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Dr. Carl E. Langenhop Mrs. Philip Lanier Mr. and Mrs.† Warwick Dudley Musson Dr. Naomi Oliphant Mr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Anonymous † Denotes deceased

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LOUISVILLE ORCHESTRA 2019-2020 BOARD of DIRECTORS Mr. John P. Malloy, Chair Mr. Lee Kirkwood, Chair-Elect Mr. James S. Welch, Jr., Immediate Past Chair Mrs. Ritu Furlan, Treasurer + Mr. Timothy L. Peace, Secretary + Mr. Andrew Fleischman, General Council + Mr. Bruce Roth, Governance, Committee Chair +

The Honorable Jerry Abramson Mrs. Carole Birkhead* Mrs. Christina Brown Mr. Christopher Coffman Mr. Christopher Doane Mrs. Kendra Foster + Mr. Bert Griffin Mrs. Paula Harshaw Mrs. Carol Hebel*+ Ms. Wendy Hyland Mrs. Ingrid Johnson Mr. Scott Justice Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Bella Portaro-Kueber Mrs. Karen Lawrence

Mr. Joseph Miller Mr. Guy Montgomery Mr. R. Ryan Rogers Mr. Alex Rorke Mr. Michael D. Rudd Mrs. Medora Safai Mr. Kenneth Sales Mrs. Denise Schiller+ Mrs. Winona Shiprek*+ Mr. Gary Sloboda Mr. William Summers, V Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl+ Mr. Robert H. Wimsatt * denotes Life Member + denotes Executive Committee

LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE

LEARNING & COMMUNITY

Nathaniel Koch, Executive Assistant

Jennifer Baughman, Learning and Community Coordinator

Robert Massey, Chief Executive Officer

ARTISTIC OPERATIONS Matthew Feldman, Director of Artistic Operations Adrienne Hinkebein, Orchestra Personnel Manager Alissa Brody, Artistic Coordinator and Assistant to the Music Director

Blake-Anthony Johnson, Director of Learning and Community

ADVANCEMENT

Joanne Caridis, Director of Individual Giving Courtney Glenny, Director of Corporate Partnerships Carla Givan Motes, Director of Patron Services

Jake Cunningham, Operations Manager

Edward W. Schadt, Director of Leadership Giving

Bill Polk, Stage Manager

Michelle Winters, Director of Marketing

Chris Skyles, Librarian

Kevin Brost, Patron Service Assistant

Stephen Koller, Graphic Design Manager Taylor Morgan, Patron Advancement Manager Heather O’Mara, Marketing and Public Relations Manager Shane Wood, Patron Systems Manager

FINANCE

Tonya McSorley, Chief Financial Officer CaSandra Zabenco, Controller Cheri Reinbold, Staff Accountant Kim Davidson, Receptionist / Accounts Payable Clerk Angela Pike, Receptionist

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC .

EXECUTIVE OFFICERS Mona Newell, President

Marguerite Rowland, Vice President Membership Liz Rorke, Vice President Education Winona Shiprek, Anne Tipton, and Paula Harshaw, Co-chairs, Vice President Hospitality Randi Austin, Vice President Communications Michele Oberst, Vice President Ways & Means

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Carolyn Marlowe, Recording Secretary Sue Bench, Corresponding Secretary Ann Decker, Treasurer Rita Bell, Parliamentarian Carol Hebel, President’s Appointment

ALO BOARD of DIRECTORS Markie Baxter June Allen Creek Helen Davis A U D I E N C E

Janet Falk Margie Harbst Deanna Heleringer Sara Huggins Peg Irvin Jeanne James Marcia Murphy Nancy Naxera Dottie Nix Roycelea Scott Ruth Scully Molly Smith Suzanne Spencer Harriet Treitz Lindsay Vallandingham Carol Whayne Suzannne Whayne

UPTEMPO STEERING COMMIT TEE Laura Songer, President

Frank Austin, Secretary

Staci Compton, Past-President

Colin Blake Neil Curtis Kathleen Elliot Brian Goodwin

Derek Miles, Treasurer

Nathaniel Gravely Ben Moore Jonathan Mueller Thomas Neirynck Khoa Nguyan Michael Oldiges

Colin Triplett Lauren Songer Evan Vicic

S E R I E S & C O R P O R AT E S P O N S O R S CONDUCTORS SOCIETY | FOUNDER | $250,000

CONDUCTORS SOCIETY | SUSTAINER | $100,000-$249,999

CONDUCTORS SOCIETY | VIRTUOSO | $50,000-$99,999 Lee & Rosemary Kirkwood

CONDUCTORS SOCIETY | BENEFACTOR | 25,000-$49,999

CONDUCTORS SOCIETY | SPONSOR| $10,000-$24,000

CONDUCTORS SOCIETY | MEMBER | $2,500-$9,999

IN KIND SPONSORS Axxis

Gist Piano Center

Bandy Carroll Hellige

Heine Brothers Coffee

Louisville Public Media

Colonial Designs of St. Matthews

The Kentucky Center for the Performing Arts

O’Neil Arnold Photography

A U D I E N C E

Phoenix Lighting

Vincenzo’s

Strothman & Company PSC

Vintage Printing

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T H E AT R E S E R V I C E S COURTESY

ACCESSIBILITY

• As a courtesy to the performers and other audience members, please turn off all audible message systems.

Those who expect emergency calls, please check your beepers at the main lobby coat check and report your seat location to the attendant.

Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights.

• The emergency phone number to leave with babysitters or message centers is (502) 562-0128.

Be sure to leave your theater and seat number for easy location.

Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces.

• Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular. An ID must be left as a deposit.

• Cameras and recording devices are not allowed in the theaters.

• Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances. Please remain seated after the performance until the lights are brought up.

• Children should be able to sit in a seat quietly throughout the performance.

• To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket.

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Audio Description is available for selected performances for patrons who are blind or have low vision.

Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing.

Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V),(502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

A U D I E N C E

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When you took hold of that wheel, you unleashed a world of possibilities.

Keep on exploring them.

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THE ILLUSTRATED GUIDE TO HUNTER S. THOMPSON Through November 10, 2019

FRIDAY NIGHT HOURS!

OPEN LATE ‘TIL Exhibition season support provided by: Dav Fam Art Fund Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Debra and Ronald Murphy Eleanor Bingham Miller

2035 S 3rd Street Louisville, KY 40208 502.634.2700

speedmuseum.org