Audience | Festival of American Music I & II | March 2023

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 1 MAR. 4

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 2 MAR. 10-11

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PROGRAMS

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 1

March 4, 2023

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 2

THEATRE INFORMATION

The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater) 501 West Main Street; Brown Theatre, 315 W. Broadway; and Old Forester’s Paristown Hall, 724 Brent Street. Tickets: Louisville Orchestra Patron Services, 502.587.8681 or LouisvilleOrchestra.org.

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

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MESSAGE FROM OUR FESTIVAL PARTNERS

The Journeys of Faith program in the Festival of American Music has been a wonderful catalyst for building and deepening relationships between members of the Jewish and Black communities in Louisville. It has been a tremendous honor to work with clergy from across the city and LO leadership to more fully unlock the potential of this music to bring people together.

The juxtaposition of Leonard Bernstein’s Age of Anxiety with Joel Thompson’s Awaken The Sleeper in the festival program spurred our communities to gather and examine texts literally from the Bible to Baldwin. It was tremendously exciting to think about the ways in which these ancient and modern texts speak to many of the same hopes, dreams, and of course, anxieties we experience today. Our collaborative study helped us find commonalities in our stories and interpretations that we might have otherwise missed, and it also enabled us to tease out the differences in the ways in which our communities have experienced life in Louisville, Kentucky.

We often think of relationships as happening organically and without effort, but that’s simply not the case. Relationships are seeded and grown with care and intentionality. The deep engagement that comes with discussion and appreciation of music, text, and personal stories is a wonderful foundation for relationships that I hope will continue to bear fruit for many years to come.

Rabbi Ben Freed Keneseth Israel Congregation

Establishing connection across race, religion, and culture is one of the most powerful things that we can do to bring about the Beloved Community! In partnership with the Louisville Orchestra, Black congregations in the Christian Tradition and Jewish Congregations are centering music, the study of Sacred Texts, and conversation to strengthen understanding between communities and thereby pave a path forward toward a brighter more inclusive future. I am excited by the possibilities of what the future of this partnership holds!

Rev. Dr. Corrie Shull Senior Pastor Burnett Avenue Baptist Church

POPS SERIES

March 18

Back to the 80’s

April 7

The Texas Tenors

CLASSICS SERIES

April 1

Rach & Bartok

May 13 From Silence to Splendor

COFFEE SERIES

May 12 From Silence to Splendor

FAMILY SERIES

March 26

Cultures Crossing

FILM CONCERT SERIES

April 21

Harry Potter in Concert

The Order of the Phoenix

TEDDY ABRAMS, MUSIC DIRECTOR

Named Musical America’s 2022 Conductor of the Year, Teddy Abrams is the widely acclaimed Music Director of the Louisville Orchestra. In his ninth season as Music Director, Abrams launches the Orchestra’s groundbreaking Creators Corps – a fully funded residency for three composers – and the Orchestra goes on tour across Kentucky in a first-ofits-kind multiyear funding commitment from the Kentucky State Legislature.

Abrams’s rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an all-star cast that included Rhiannon Giddens and Jubilant Sykes, as well as Jecorey “1200” Arthur, with whom he started the Louisville Orchestra Rap School. Abrams’s work with the Louisville Orchestra has been profiled on CBS Sunday Morning, NPR, The Wall Street Journal, PBS’ Articulate, and PBS NewsHour.

Highlights of the 2022-2023 season include guest conducting engagements with the Cincinnati, Kansas City, Utah, Colorado, and Pacific Symphonies, a return to conduct the Orchestre Philharmonique du Luxembourg, and his debut with the Tiroler Symphonieorchester Innsbruck.

Abrams has been Music Director and Conductor of the Britt Festival Orchestra since 2013, where, in addition to an annual three-week festival of concerts, he has taken the orchestra across the region in the creation of new work –

including Michael Gordon’s Natural History, which was premiered on the edge of Crater Lake National Park in partnership with the National Parks Service, and was the subject of the PBS documentary Symphony for Nature; and Pulitzer Prize-winning-composer Caroline Shaw’s Brush, an experiential work written to be performed in Summer 2021 on the Jacksonville Woodlands Trail system.

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 recorded on Decca Gold. They performed the work with the National Symphony Orchestra at the Kennedy Center in 2019. In addition to The Order of Nature, Teddy and the Louisville Orchestra recorded All In in 2017 with vocalist Storm Large. Most recently, he released Space Variations, a collection of three new compositions for Universal Music Group’s 2022 World Sleep Day.

As a guest conductor, Abrams has worked with such distinguished ensembles as the Los Angeles Philharmonic; Chicago, San Francisco, National, Houston, Pacific, Indianapolis, Milwaukee, Vancouver, Colorado, Utah, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Sarasota and Florida Orchestras. Internationally, he has worked with the Royal Scottish National Orchestra, Orchestre Philharmonique du Luxembourg, and the Malaysian Philharmonic. He served as Assistant Conductor of the Detroit Symphony from 2012 to 2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony.

PHOTO BY JON CHERRY

KENT HATTEBERG, CONDUCTOR + CHORUSMASTER

KENT HATTEBERG is the Founder and Artistic Director of the Louisville Chamber Choir and Director of Choral Activities at the University of Louisville, where he directs the Collegiate Chorale and Cardinal Singers and teaches graduate and undergraduate courses in conducting, choral literature, and choral techniques. He earned the Bachelor of Music degree in piano and voice summa cum laude from the University of Dubuque and the master’s and doctoral degrees in choral conducting from The University of Iowa, where he studied with Don V Moses and directed the renowned Old Gold Singers. Named a Fulbright Scholar in 1990, Dr. Hatteberg studied conducting in Berlin with Uwe Gronostay while pursuing research on Felix Mendelssohn. He conducted the world premiere of Mendelssohn’s Gloria in 1997. He previously taught at Sam Houston State University in Huntsville, TX, Washington High School in Cedar Rapids, IA, and Solon Jr.-Sr. High School in Solon, IA.

Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator, most recently in Poland, Korea, the Philippines, China, Hungary, Austria, Spain, and the U.S. He is co-director of the Kentucky Musicians Abroad, a program that affords students from across the state of Kentucky the opportunity to perform and tour in Europe.

Dr. Hatteberg was named a University of Louisville Faculty Scholar in 2002, KMEA College/University Teacher of

the Year in 2004, and was selected for the International Who’s Who in Choral Music in 2007. He received the 2008 KCDA Robert A. Baar Award for choral excellence, the University of Dubuque Career Achievement Award in 2008, and the University of Louisville Distinguished Faculty Award for Outstanding Scholarship, Research, and Creative Activity in the Performing Arts in 2010 and 2015.

Choirs under his direction at the University of Louisville have been featured at numerous international festivals, symposia, and competitions, including Cardinal Singer performances in Korea (2019, 2015, 2013, 2010, 2009), Thailand (2019), Croatia (2018), Austria (2018), Slovenia (2018), Germany (2022, 2017, 2011, 2005, 2004, 2003), China (2017, 2016, 2010), Taiwan (2015, 2010), Singapore (2015), Vietnam (2013), Cuba (2012), Estonia (2007), Latvia (2007), Spain (2006), and Japan (2005).

"Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator"

A MESSAGE FROM THE CREATORS CORPS

TJ COLE, composer

I’ve come to really fall in love with Louisville. I was born and raised in the south (near Atlanta) but have spent most of my adult life in the north. Even though I hadn’t lived in Louisville, I immediately felt a certain kind of comfort and home here. I’ve found connection with so many interesting people, from locals who’ve grown up here to new comers who have migrated in (like myself). There is a particularly special support that I’ve found here, from the other two creators, Lisa and Tyler, from the LO team, from new friends and concert go-ers, from my local baristas and bartenders (shout out to FULL STOP where I’ve had many lattes while editing music).

I’ve honestly been very hesitant to write new works for orchestras, often because they can be quite traditional and conservative in their creative decision making and I have sometimes been met with resistance when asking to try something different. I’m so surprised, in the best possible way, at how open and excited the LO and Teddy are to not only work with composers, but give us the space and time to experiment with and expand upon our craft. We have been given a lot of trust, and it allows us to create and share our best possible work. This is a really special ensemble in a really special community, and I feel a lot of gratitude to be a part of it.

TYLER TAYLOR, composer

I was born and raised here in Louisville, and it was in this city that I discovered music. I started playing the horn in late elementary school and exploring composition just a couple years later. I had incredible teachers who supported and fostered my musicianship throughout my schooling. By the time I was in college, I had studied with several of the horn players from the LO and several of my professors at University of Louisville were also members of the Louisville Orchestra – this orchestra and its members have played a significant role in shaping the musician I have become.

I moved back to Louisville in the Summer of 2020 after having been gone for 5 years to study at Eastman and Indiana University. Of course, there was nothing for anyone at this time and the connections and relationship I had with the city had changed drastically. Even as someone who was raised here, finding community in the aftermath of the events of 2020 was profoundly difficult both musically and personally.

For me, the Creators Corps is a full-circle event that shows what can happen when people make meaningful connection in their community, or in my case, re-connect with their community. I have dreamed of working with this orchestra in this capacity since I was a student at University of Louisville over a decade ago. The orchestra and its musicians have

proven time and time again their musical excellence and their commitment to this initiative. It seems rare to find an orchestra that is as willing and open as this one, the Louisville Orchestra!

This position also allows me to help shape the relationship of this orchestra with the community it serves through education programs. I created an after-school composition workshop for Jefferson County Public School students grades 4-12 to help address a gap in musical education I experienced when I was a student. Over the course of this program, students will write pieces that will be workshopped and performed

by LO members. This is an incredible, artistically affirming experience that builds strong relationships between the students and the orchestra. Last, I cannot overstate the significance of the camaraderie and friendship I have experienced during this residency –old bonds have been strengthened and new ones have been forged. Lisa and TJ have quickly become close friends and their presence in my life is something I’m incredibly grateful for. I am inspired by their artistry and fulfilled by their finding community in my hometown. I look forward to continued collaboration with Teddy, musicians of the orchestra, and my fellow creators!

THE LOUISVILLE ORCHESTRA, 2022-2023

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster

Julia Noone, Associate Concertmaster

James McFaddenTalbot, Assistant Concertmaster

Mrs. John H. Clay Chair

Katheryn S. Ohkubo

Stephen Taylor

Scott Staidle

Nancy Staidle

Heather Thomas

Patricia Fong-Edwards

Dillon Welch

SECOND VIOLIN

Natsuko Takashima, Interim Principal

LG&E-KU Foundation Chair

Kimberly Tichenor, Assistant Principal

Christopher Robinson, Interim

Mary Catherine Klan Chair

Andrea Daigle

Cynthia Burton

Charles Brestel

Open

Judy Pease Wilson

Blaise Poth

VIOLA

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

Jim and Marianne Welch Chair

Lillian Pettitt, Assistant Principal

Carole C. Birkhead

Chair, Endowed by Dr. Ben M. Birkhead

Cecilia Huerta-Lauf, Interim

Christina Hinton*

James B. Smith Chair

Endowed by Susannah S. Onwood

Allison Olsen

Lindy Tsai

Alan Ohkubo, Interim

BASS

Brian Thacker, Interim Principal

Vincent Luciano, Assistant Principal

Robert Docs

Karl Olsen

Jarrett Fankhauser

Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Open

PICCOLO

Open

Alvis R. Hambrick Chair

OBOE

Alexandr Vvedenskiy, Principal

Betty Arrasmith

Chair, Endowed by the Association of the Louisville Orchestra

Trevor Johnson*, Assistant Principal

Jennifer Potochnic ‡

ENGLISH HORN

Trevor Johnson*

Philip M. Lanier Chair

CLARINET

Andrea Levine, Principal Brown-Forman Corp. Chair

Robert Walker

Kate H. and Julian P.

Van Winkle Jr. Chair

Ernest Gross

BASS CLARINET

Ernest Gross

BASSOON

Matthew Karr, Principal

Paul D. McDowell Chair

Francisco Joubert

Bernard

HORN

Jon Gustely, Principal

Edith S. & Barry Bingham

Jr. Chair

Diana Wade Morgen

Gary † and Sue Russell Chair

Scott Leger, Assistant Principal/Third Horn

Stephen Causey

TRUMPET

Alexander Schwarz, Principal

Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

Noah Dugan

James Recktenwald

TROMBONE

James Seymour, Interim Principal

Brett Shuster ‡

BASS TROMBONE

J. Bryan Heath

TUBA

Andrew Doub, Principal

TIMPANI

Open, Principal

Mr. and Mrs.† Warwick

Dudley Musson Principal

Timpani Chair

Michael Launius ‡

PERCUSSION

John Pedroja, Principal

HARP

Rachel Miller, Interim Principal

* On leave

‡ Denotes Auxiliary Musician

† Deceased

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

LO CLASSICS

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 1

Saturday, March 4, 2023 • 7:30PM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor | TJ Cole, synthesizer

Keisha Dorsey, speaker | Amanda Majeski, soprano

Kent Hatteberg, chorus master

Louisville Chamber Choir & University of Louisville Collegiate Chorale, Kent Hatteberg, director

Youth Performing Arts School Chamber Choir, Jacob Cook, director

Boys Choir, with students from Western Middle School for the Arts, Katie Cook, director

Noe Middle School, Russell Cooper, director

Johnson Middle School, Nicholas Claussen, director

TJ COLE Phenomenal of the Earth (World Premiere)

Sunbloom - Oceanunderground - FiremistWoodmigration - Waterfallcave - StormriseWindborealis - Moonbow - Sunbloom

TJ Cole, synthesizer

Olga NEUWIRTH Masaot / Clocks Without Hands

INTERMISSION

Continued on next page...

Continued from previous page...

Leonard BERNSTEIN Symphony No. 3, "Kaddish"

I. Invocation - Kaddish 1

II. Din-Torah - Kaddish 2

III. Scherzo - Kaddish 3 Finale

Amanda Majeski, soprano Keisha Dorsey, speaker Louisville Chamber Choir

Festival Sponsors:

Creators Corps Sponsors:

Owsley Brown II Family Foundation

Owsley Brown III Philanthropic Foundation

William M Wood Foundation

Edie Nixon

Anonymous

Link to extended Program Notes

Please silence all electronic devices before the concert begins. The use of cameras and recording devices is prohibited. Please be mindful of your fellow concert attenders if you choose to access the extended program notes during the performance.

PROGRAM NOTES

FESTIVAL OF AMERICAN MUSIC: JOURNEYS OF FAITH 1

March 4, 2023

by Laurie Shulman ©2023 |

ONE MINUTE NOTES MASAOT / CLOCKS WITHOUT HANDS

Austria’s Olga Neuwirth is interested in literature, cinema, and painting, all of which lend her music diverse layers. Masaot / Clocks Without Hands originated as a commission from the Vienna Philharmonic commemorating the centennial of Gustav Mahler’s death. Mahler’s commingling of styles fascinated Neuwirth. Her Mahler ‘tribute’ conflated with a dream she had about her grandfather (whom she never met), in which he shared his stories. Neuwirth has written, “I wanted to explore this musical phenomenon and the ‘ancient fragrance from fabled times’ – specifically the childhood and adolescence of my grandfather on the Danube... Masaot / Clocks Without Hands evolved out of the multi-voiced sound of my fragmented origins and my desire for an uninterrupted flow, determined throughout the piece by constantly interchanging cells.” The result is a glorious cacophony that can resemble a Jackson Pollack spatter painting, or a cinematic dream sequence with one image dissolving as another comes into focus.

PHENOMENAL OF THE EARTH TJ Cole

When I found out I was accepted into the Creator Corps program, one of my first thoughts was, “I hope they’ll let me write a synthesizer concerto about the Earth and perform the synthesizer part,

First North American Serial Rights Only

SYMPHONY NO. 3, “KADDISH”

Leonard Bernstein’s Third Symphony, Kaddish, combines text from the Jewish prayer for the dead with a substantial narrated text that Bernstein wrote himself. He began work on it in the mid-1950s. By the time he completed it late in 1963, John F. Kennedy had been assassinated. Bernstein decided to dedicate the work to the memory of the martyred president. Bernstein’s Kaddish is more like an oratorio than a symphony. It consists of three settings of the Kaddish prayer, each for different performing forces and, more importantly, communicating different moods. The trajectory is from darkness to light and joy. Kaddish is an ambitious and sprawling work, encompassing the musical diaspora in which Bernstein lived. He flirts with twelve-tone music and borrows freely from jazz and American dance rhythms. Popular-style melodies metamorphose into complex counterpoint. The role of the narrator is crucial, articulating the composer’s internal crisis of faith. Ultimately, Bernstein’s music is as personal as his speaker’s words: one man’s struggle with the issue of faith.

even though I’ve never soloed with an orchestra and I don’t know a lot about nature.” Thankfully, Teddy and the LO team welcomed my idea without hesitation.

Not having much time to compose the piece, I found myself turning to nature

whenever and wherever I could for inspiration. The most vibrant memories I have are playing in my yard with my cat under a big tree, watching brightly colored sunsets while driving down I-65, visiting Seneca Park with Tyler Taylor and hitting stones against each other to see how they sounded, harvesting kale in my yard, walking past the autumn red trees in Shelby Park during a rainstorm, and watching a flock of birds flying in a V formation over Logan Street Market. I found so much beauty and joy in collecting inspiration in Louisville, and I believe that the spirit of these little moments made their way into the piece. One of the most formative parts of my writing process was being able to stay at the Bernheim Arboretum and Research

Forest. My time at Bernheim consisted of a few dreamy days of hiking interspersed with fervent writing. Instead of feeding off of my mostly urban surroundings, I was able to exist and create in an environment that immediately felt gradual, spiritual, balanced, cleansing, and focused. During a rehearsal, Lisa Bielawa leaned over and said to me, “This piece isn’t working in musical time. It’s working in nature time.”

I want to extend a ginormous thank you to Jenny Zeller and Hannah ColemanZaitzeff of the Bernheim Forest for setting up my stay, Teddy Abrams and Jacob Gotlieb for their support, the entire LO team for their dedication, and Lisa and Tyler for their incredible friendship.

ARTIST BIOGRAPHY

TJ COLE, composer (b. 1993)

TJ Cole (they/she) is a composer and synthesizer performer, originally from the suburbs of Atlanta. They are currently in a yearlong residency with the Louisville Orchestra, part of the inaugural year of the Louisville Orchestra Creators Corps, where they are writing new large-scale works for orchestra and organizing community engagement projects throughout Louisville, Kentucky.

They have been commissioned by the Baltimore Symphony Orchestra, Carnegie Hall, the Cincinnati Symphony Orchestra,

the Louisville Orchestra, the New Haven Symphony Orchestra, Nashville in Harmony, Intersection, Time for Three, the Sun Valley Summer Symphony, Play On Philly!, the Music in May Festival, Music in the Vineyards, the Lake Champlain Chamber Music Festival, One Book One Philadelphia, the Bakken Trio, among others.

Their music has been performed by various ensembles including the Minnesota Orchestra, the Atlanta Symphony Orchestra, the Utah Symphony, Ensemble Connect, the St. Louis Symphony Orchestra, the St. Paul Chamber Orchestra, the Detroit Symphony Orchestra, the Curtis Symphony Orchestra, the Interlochen Arts Academy Orchestra, the Dover Quartet, the Bakken Trio, the

ARTIST BIOGRAPHY

Nebula Ensemble, among others. They have also worked on numerous projects with Time for Three as an orchestrator and arranger, and served as a composerin-residence at the Cabrillo Festival of Contemporary Music in 2014.

In 2019, they collaborated with Eric Huckins (Astral Artists) and the Aquinas Center in Philadelphia on an after-school program for children ages 6-12 that aimed to foster emotional self-awareness and expression through music and creativity.

− Cincinnati Enquirer

TJ has also been a singer-songwriter, producer, and engineer in the fully electronic synth-pop band, Twin Pixie, which focused on making music at the intersection of queerness, pop culture, and the supernatural.

TJ has participated in composition programs including the Minnesota Orchestra Composer Institute, the Lake Champlain Chamber Music Festival, and the New Emerging Artists Festival, and studied with Samuel Adler for a summer at the Freie Universität Berlin. They have won two ASCAP Morton Gould Young Composer awards (2014 and 2020), including the Leo Kaplan Award in 2020 for their string sextet 'Playtime'.

TJ has also been involved with musicrelated community engagement projects. They collaborated with bassist Ranaan Meyer as an orchestrator on his project, The World We All Deserve Through Music, and with First Person Arts by co-curating and performing in a musical story slam. During a yearlong ArtistYear Fellowship (2016-17), TJ was able to co-run and collaborate in musical performances and songwriting workshops with residents of Project HOME, a Philadelphia-based organization fighting to end chronic homelessness.

As part of the 2022-23 Louisville Orchestra Creator-Corps residency, TJ is curating and composing music to be paired with children’s stories that will be performed across Louisville Free Public Libraries. They are also partnering on a project with VOICES of Kentuckiana, an LGBTQ+ and alliances community chorus based in Louisville.

TJ received their Bachelor's degree in composition from the Curtis Institute of Music, and studied at Interlochen Arts Academy. Their mentors include John Boyle Jr., Jennifer Higdon, David Ludwig, and Richard Danielpour.

Other than music, TJ also enjoys cooking, sewing, video games, swing sets on playgrounds, and playing with their cat, Zucchini.

Olga Neuwirth was born in Graz, Austria and studied at the Vienna Academy of Music and

San Francisco Conservatory of Music. While in the United States, she also studied painting and film at San Francisco Art College.

Her composition teachers included Adriana Hölszky, Tristan Murail and Luigi Nono. She sprang to international

"Mystical, slightly minimalist quality, with imaginative orchestral tone painting"

OLGA NEUWIRTH, composer (b. 1968)

prominence in 1991, at the age of 22, when two of her mini-operas with texts by Nobel prize-winner Elfriede Jelinek were performed at the Vienna Festwochen. Since then her works have been presented worldwide.

Highlights include two portrait concerts at the Salzburg Festival (1998); her multi-media opera Baa-Lambs Feast (1993/1998) after Leonora Carrington; Clinamen/Nodus for Pierre Boulez and the London Symphony Orchestra (2000); composer-in-residence at the Lucerne Festival in 2002 and in 2016; the world première of her music-theatre work Lost Highway (2003) after David Lynch; two new operas while living in New York (2010/11) – The Outcast-Homage to Herman Melville and American Lulu,

based on Alban Berg’s ‘Lulu’; composerin-residence at the Elbphilharmonie in Hamburg and the Berliner Musikfest in 2019; and an opera for the Vienna State Opera with costumes by Comme des Garçons.

With Nobel Prize winning novelist Elfriede Jelinek, Neuwirth has created two radio plays and three operas. Her opera Lost Highway, based on the film by David Lynch, premiered in 2003 and won a South Bank Show Award for the production presented by English National Opera at the Young Vic in 2008.

For over 30 years Olga Neuwirth’s works have explored a wide range of forms and genres: operas, radio-plays, soundinstallations, art-works, photography

and film-music. Aside from composing, she realizes sound installations for art exhibitions and short films and has written several articles and a book on the topic. One of her multi-media installations was presented at the documenta 12 in Kassel in 2007. In March 2017 her 3D sound-installation in collaboration with IRCAM was inaugurated at Centre Pompidou in Paris for its 40th anniversary.

In many works she fuses live-musicians, electronics and video into audio-visual experiences and calls her main aesthetics an “Art-in-between”. Among numerous prizes, she was the first-ever woman to receive the Grand Austrian State Prize in the category of music (2010).

In 2012 Olga Neuwirth completed two new operas while living in NYC: The Outcast on Hermann Melville, and American Lulu, a version of Alban Berg’s Lulu which was premiered in Berlin and subsequently given a new production in Bregenz, Edinburgh and London in 2013, and then in Vienna in 2014. In early 2015 she completed a film score for a silent film and a feature film by Franz/ Fiala, which premiered at the Venice Film Festival, and the orchestral work Masaot / Clocks without Hands for the Vienna Philharmonic Orchestra. It was premiered in Cologne and had its US premiere in February 2016 at Carnegie Hall under the baton of Valery Gergjev.

At the Salzburg Festival her Eleanor Suite for blues singer, drum-kit-player and ensemble was premiered in August 2015. Her 80 minute electronic / space / ensemble piece Le Encantadas based on the acoustics of a Venetian church received its premiere at Donaueschingen

and had further performances at the Festival d’Automne à Paris in 2016 and 2017. She received the prestigious Roche Commission for the Lucerne Festival in 2016 for her percussion concerto Trurliade–Zone Zero and was Composerin-residence at the festival for the second time. In 2017 she collaborated with Pritzker prize winning architect Peter Zumthor and with NY based Asymptote Architects. Besides several concerts for her 50th birthday in 2018, Lost Highway and The Outcast could be seen in new productions, Lost Highway under the direction of Yuval Sharon and The Outcast under Netia Jones. The BBC Proms programmed Aello - ballet mécanomorphe in August 2018 for Claire Chase and the Swedish Chamber Orchestra.

Her opera Orlando after Virginia Woolf was premiered at the Vienna State Opera in December 2019 with huge international success. She was the first woman to be commissioned by the Vienna State Opera in the 150-year history of the house. Orlando was released on DVD in the winter of 2021 on the Unitel label.

Keyframes for a Hippogriff - in memoriam Hester Diamond was commissioned by the New York Philharmonic under the baton of John Adams for their Project 19 – an initiative to commission 19 new works by 19 women composers. Co-commissioned by the Berlin Philharmonic Orchestra, Royal Stockholm Philharmonic Orchestra and BBC Proms, it is the largest women-only commissioning initiative in history.

During the Coronavirus pandemic Neuwirth created a cycle of diverse pieces called CoroAtion Cycle and is now working on a new opera based on an old

Manga story, with a libretto written in 2019 by Neuwirth and American novelist Barry Gifford.

In 2020 she was awarded the Robert Schumann-Preis für Dichtung und Musik and in 2021 she was awarded the prestigious Wolf Prize together with Stevie Wonder. Olga Neuwirth was appointed as a composition professor at the University of Music and Performing Arts in Vienna, Austria in 2021.

LEONARD BERNSTEIN, composer (1918-1990)

Leonard Bernstein (né Louis Bernstein) was born in Lawrence, Massachusetts on August 25, 1918 to Ukrainian Jewish immigrants. Bernstein studied piano and went on to attend Harvard where he studied with Walter PIston. He then went on to study piano, composition and conducting (with Fritz Reiner) at the Curtis Institute of Music. While at Harvard, Bernstein met Aaron Copland and the two would remain friends for the rest of their lives. Post Curtis, Bernstein continued his studies at Tanglewood and in 1943 became the Assistant Conductor for the New York Philharmonic (he would become Music Director in 1958 and eventually given the title of Laureate Conductor). Throughout the remainder of the 1940s, Bernstein’s fame as a conductor grew exponentially. While Bernstein had composed smaller works in the early 1940s, he expanded his scope to include the Jerome Robbins ballet Fancy Free (1944) that led to

the musical On the Town (1944) with longtime friends Betty Comden and Adolph Green.

In 1951, Bernstein premiered Charles Ives’ Symphony No. 2 with the New York Philharmonic (a piece that had been composed 50 years earlier). Bernstein branched out into television through the CBS program Young People’s Concert As early as 1947, Jerome Robbins had approached Bernstein about a contemporary version of Romeo and Juliet but it wasn’t until almost a decade later that all the key components came together to produce West Side Story (1957). Along with Stephen Sondheim (libretto/ lyrics), and Arthur Laurent (book), Bernstein’s score captured the essence of the Upper West side of New York City in the 1950s. West Side Story would win two Tonys (it lost Best Musical to The Music Man) and the 1961 movie adaptation won 10 Oscars including Best Picture.

In 1970, Bernstein was commissioned by Jacqueline Kennedy Onassis to compose a piece for the opening of the Kennedy Center slated for 1972. Bernstein had been a great friend of President John F. Kennedy and Mrs. Kennedy so it seemed appropriate for him to create a grand work for this momentous occasion

Throughout his musical life, Bernstein championed contemporary composers from around the world and continued a flourishing conducting and teaching career. A lifelong heavy smoker, Bernstein was diagnosed with emphysema in his 50s. Time ran out on October 14, 1990 when Bernstein died from a heart attack at age 72. Not only was Bernstein a major conducting and composing figure of the latter half of the 20th century, but he also left a wealth of major

recordings, a legacy of embracing arts education and for many of a certain generation, the first introduction to classical music through his televised concerts.

AMANDA MAJESKI, soprano (b. 1984)

Internationally renowned American lyric soprano, Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America), “sings with remarkable commitment and radiance of tone... She sounds exquisite.” (The Guardian), and “Majeski’s well-rounded soprano... is so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.” (Financial Times) Her 201920 season includes four debuts with the Nürnberger Symphoniker, New York Philharmonic, Teatro dell’Opera di Roma, Teatro Real Madrid and performances with Lyric Opera of Chicago.

Majeski’s season commences with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to his Vier letzte Lieder conducted by Kahchun Wong. She then returns to Lyric Opera of Chicago, the company that launched her international career, for her house role debut as Donna Elvira in Don Giovanni, followed by her debut with the New York Philharmonic as a soprano soloist in Mozart’s Mass in C minor under the direction of Jaap van Zweden. She will also perform Hugo Wolf’s Italienisches

Liederbuch at the 92nd Street Y, alongside bass-baritone Philippe Sly and pianist Julius Drake. Her season continues with a debut with Teatro dell’Opera di Roma, as the title role in Janáček’s Káťa Kabanová. The season closes with her reprisal as Marta in Weinberg’s The Passenger at Teatro Real Madrid for its Spanish premiere — a role she debuted at Lyric Opera of Chicago for which the Chicago Tribune hailed her as “radiant” and “immensely touching” adding that “she has done nothing finer.”

Highlights from her previous season include rave reviews for her Royal Opera House Káťa Kabanová, “If there is a more compelling solo performance on the operatic stage this year than Amanda Majeski’s in the title role of Janacek’s opera, I will need a new stock of superlatives...

I unhesitatingly say that you are unlikely to encounter a Katya more profoundly acted than by the American soprano, nor more strikingly sung.”

- The Times

Her 2018-19 season also included her concert debuts with the Sydney Symphony, Colorado Symphony, Music of the Baroque, and her debut at Staatsoper Stuttgart as the title role in Iphigénie en Tauride was praised as “Amanda Majeski in the title role has a voluminous, cleansounding and beautiful soprano. She is the ideal person for this role” (Kultura Extra), as well as a return to Santa Fe Opera as Fiordiligi in Così fan tutte in a new production under conductor Harry Bicket and director R. B. Schlather.

Ms. Majeski made her Metropolitan Opera debut on the opening night of the 2014-2015 season as Countess Almaviva in a new production of Le nozze di Figaro conducted by James Levine, which was broadcast in HD internationally and on PBS across the United States. Since then, she has returned for revivals of Le nozze di Figaro and Don Giovanni, both conducted by Fabio Luisi, and a new production of Così fan tutte conducted by David Robertson which was a featured HD broadcast in the 2017-2018 season. An alumna of the Ryan Opera Center, she made her mainstage Lyric debut with only a few hours’ notice as Countess Almaviva conducted by Andrew Davis. Named “Best Breakout Star” by Chicago Magazine, she has since continued her relationship with Lyric audiences as Vitellia in La clemenza di Tito, Eva in Die Meistersinger von Nürnberg, the Marschallin in Der Rosenkavalier and as Marta in The Passenger, hailed as a “shattering, star-making performance” by the Chicago Classical Review.

She made her critically-acclaimed role debut as the Marschallin in Claus Guth’s new production of Der Rosenkavalier at Oper Frankfurt, where she has also been seen as the Goose-Girl in Humperdinck’s Königskinder, Vreli in Delius’s A Village Romeo and Juliet, and the title role in Dvořák’s Rusalka. Ms. Majeski made her European debut at the Semperoper Dresden where her performances included new productions of Alcina and La clemenza di Tito, as well as revivals of Le nozze di Figaro and Capriccio. Her significant international debuts include the Glyndebourne Festival as Countess Almaviva and Eva, Opernhaus

Zürich as Marguerite in a new production of Faust, as well as the Paris Opera and Teatro Real as Vitellia in La clemenza di Tito. She made her debuts at the National Centre for the Performing Arts in Beijing as Eva in Kasper Holten’s new production of Die Meistersinger von Nürnberg and her debut at Teatro Colón as Cleopatra in Handel’s Giulio Cesare. Her US career also includes performances with Opera Philadelphia as Donna Elvira in Don Giovanni, Pittsburgh Opera as Blanche de la Force in Poulenc’s Dialogues des Carmélites, and her Washington National Opera debut as the Countess in Le nozze di Figaro. Ms. Majeski’s long-standing relationship with the Santa Fe Opera includes her debut in Vivaldi’s Griselda as Ottone in a production by Peter Sellars, subsequently appearing as Countess Madeleine in Capriccio and her first performances of the Composer in Richard Strauss’s Ariadne auf Naxos to rave reviews.

On the concert stage, Ms. Majeski made her debut with the Hong Kong Philharmonic as Gutrune in Richard Wagner’s Götterdämmerung conducted by Jaap van Zweden which will be released commercially on Naxos Records as the final installment of their Ring Cycle. She has appeared with the Los Angeles Philharmonic at the Hollywood Bowl in Ludwig van Beethoven’s Ninth Symphony conducted by Gustavo Dudamel and sang her first performances of Strauss’ Vier letzte Lieder at Philadelphia’s Verizon Hall with the Curtis Orchestra conducted by Karina Canellakis. She debuted with Sinfonieorchester Aachen singing Berg’s Sieben frühe Lieder and Mozart’s Requiem, has been heard in concert singing

Agathe’s arias from Der Freischütz with conductor Erik Nielsen and the Civic Orchestra of Chicago and the soprano solo in Mahler’s Symphony No. 4 with the Quad City Symphony. She also sang Gounod’s Marguerite in concert with Washington Concert Opera under Antony Walker, Bach’s Magnificat under Sir Gilbert Levine in Chicago, Mahler’s Symphony No. 4 with the Richmond Symphony Orchestra at the Kennedy Center and the title role in Stanisław Moniuszko’s Halka at the Bard Music Festival. She made her New York City recital debut at Carnegie’s Weill Recital Hall under the auspices of the Marilyn Horne Foundation and returned for her solo recital debut at Carnegie Hall in 2014.

Ms. Majeski holds degrees from the Curtis Institute of Music and Northwestern University. She was a member of San Francisco Opera’s Merola Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. Awards include the George London Foundation Award, first prize of the Palm Beach Opera Vocal Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation.

KEISHA DORSEY, speaker

Keisha Dorsey is a millennial native Louisvillian living in the Shively area. Keisha grew up in Portland and moved to the North Shively/West Louisville area, where she was elected as Councilwoman for District 3 in November 2018, and took

office on January 7th, 2018. Keisha holds an undergraduate degree in Biological Studies from Oakwood College, an HBCU and attended the University of Louisville for her Master’s in Public Health.

Keisha is a highly accomplished political and healthcare professional, but her passion lies within the realm of arts and culture. Her body of work spans from her early days with the local theatrical group, CIA (Christians in Action) to the Alabama Hall of Fame, and the World Choir Games Winner, Oakwood University Aeolians. In 2016, Keisha stepped into her first major lead role in the Faith Works Studio production of Esther. Keisha has been performing with Faith Works company since 2014. As of recently much of her energy has shifted from not just being a performer but advocating for Faith Works as it nurtures and cultivates talent within cultures and populations of people that are often overlooked.

Keisha is joining the cast of The Color Purple as Nettie, who through her evolution becomes as an advocate for human and women’s rights, while she explores the world on her own terms. It is this place where Keisha and Nettie find themselves intertwined, due to their natural curiosity of life being equally intellectual and empathetic and interlaced with a profound since of self. Keisha hopes to not just bring Nettie to life, but to take Nettie with her on as she journeys to ‘BECOME’.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive COFFEE SERIES SPONSOR

COFFEE SERIES

FESTIVAL OF AMERICAN MUSIC:

JOURNEYS OF FAITH 2

Friday, March 10, 2023 • 11AM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor | Sebastian Chang, piano

Tyler TAYLOR Revisions (World Premiere)

Leonard BERNSTEIN Symphony No. 2, The Age of Anxiety

Part I: The Prologue

The Seven Ages (Variations 1-7)

The Seven Stages (Variations 8-14)

Part II: The Dirge

The Masque

The Epilogue

Sebastian Chang, piano

Please

Festival Sponsors:

Creators Corps Sponsors:

Owsley Brown II Family Foundation

Owsley Brown III Philanthropic Foundation

William M Wood Foundation

Edie Nixon

Anonymous

Link to extended Program Notes

silence all electronic devices before the concert begins. The use of cameras and recording devices is prohibited. Please be mindful of your fellow concert attenders if you choose to access the extended program notes during the performance.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

CLASSICS SERIES SPONSOR

LO CLASSICS

FESTIVAL OF AMERICAN MUSIC:

JOURNEYS OF FAITH 2

Saturday, March 11, 2023 • 7:30PM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor | Jecorey Arthur, narrator | Sebastian Chang, piano

Joel THOMPSON (text by James Baldwin) To Awaken the Sleeper

Tyler TAYLOR Revisions (World Premiere)

Jecorey Arthur, narrator

INTERMISSION

Leonard BERNSTEIN Symphony No. 2, The Age of Anxiety

Part I: The Prologue

The Seven Ages (Variations 1-7)

The Seven Stages (Variations 8-14)

Part II: The Dirge

The Masque

The Epilogue

Sebastian Chang, piano

Festival Sponsors:

Creators Corps Sponsors:

Owsley Brown II Family Foundation

Owsley Brown III Philanthropic Foundation

William M Wood Foundation

Edie Nixon

Anonymous

Link to extended Program Notes

Please silence all electronic devices before the concert begins. The use of cameras and recording devices is prohibited. Please be mindful of your fellow concert attenders if you choose to access the extended program notes during the performance.

FESTIVAL OF AMERICAN MUSIC: JOURNERYS OF FAITH 2

March 10-11, 2023

by Laurie Shulman ©2023 | First North American Serial Rights Only

ONE MINUTE NOTES

SYMPHONY NO. 2, "THE AGE OF ANXIETY"

Leonard Bernstein’s provocative subtitle for his Second Symphony, “The Age of Anxiety,” is drawn from a poem by W.H. Auden. Written in the 1940s, it explores the empty lives of three men and one woman who meet in a New York City bar. All four are trying to solve their problems through drinking. They take a taxi back to the woman’s apartment, lapsing into a collective melancholy on the way. Upon arrival at her place, they embark on a wild party, attempting to recapture the gaiety that drew them together at the bar. Eventually the guilt of their escapist living yields to spiritual faith.

Bernstein’s symphony comprises two large parts, each subdivided into three sections. Part I consists of a Prologue, ‘The Seven Ages,’ and ‘The Seven Stages.’ Part II opens with a Dirge, followed by Masque and a concluding Epilogue. The Age of Anxiety contains no vocal music. Bernstein suggests all the action and human interplay of Auden’s poem using purely instrumental means. He took Auden’s poem as a point of departure rather than as a literal programme. The prominent solo piano part, which reaches its zenith in Part II’s Masque section, derives from Bernstein’s sense of personal identification with the

REVISIONS

Tyler Taylor

Revisions draws its inspiration from the historical relationship – or lack thereof –between the saxophone and the

poem: the pianist as autobiographical protagonist. The Epilogue – his closing expression of faith — brings the journey to a satisfying end. It is the symphony’s ultimate message.

TO AWAKEN THE SLEEPER

Atlanta-based Joel Thompson is only in his 30s, but he has already made a name for himself as a composer. To Awaken the Sleeper, for narrator and orchestra, was a co-commission from the Colorado Music Festival and the Louisiana Philharmonic. Thompson chose texts from the writings of James Baldwin, which he describes as “a beacon for me, a source of comfort: a way for me to focus my craft.” Thompson’s instrumental interludes between narrated passages serve as meditations on Baldwin’s words; for example, when he speaks of “ignorance, allied with power” we hear ominous military music underscored by snare drum. Later, a reference to “seas of blood” evokes the Civil War with a fleeting quotation from “Dixie.” Ultimately Baldwin’s text and Thompson’s music challenge us to redefine ourselves with a new behavioral vocabulary that both accepts today’s reality and makes for a better future. That challenge is powered by hope and determination.

orchestra. In Europe, the instrument’s creator Adolph Sax was known as an arrogant and difficult man whose new and advanced instruments threatened to disrupt the scene as it was. His

PROGRAM NOTES

reputation, alongside the performers’ general fear and distrust of change, kept his instruments from being widely used at the time. In early 20th century America, the saxophone had become an instrument associated with Jazz and black expressions of music, and therefore associated with a race of people who were viewed as inferior by a majority in the classical scene. Classical music institutions, the orchestra being a prime example, were not known for welcoming these expressions, or things associated with them, into their traditions. In both cases, the saxophone was viewed as a potential threat – unworthy infiltrators of something sacred. Thus, the saxophone, with few exceptions, became a family of instruments othered by the orchestra.

I have experienced the residue of this attitude toward the saxophone in my lifetime with composers and performers frequently perpetuating the erroneous idea that saxophones do not blend well with orchestral instruments and therefore do not belong. The saxophone’s specifically engineered ability to blend well with orchestral instruments, in addition to the tremendous strides made by saxophone players in the last

50 years, has proven the instrument to be extremely versatile and valuable in many contexts, including the symphony orchestra. Even still, we rarely see them included.

Lately, I have thought about how an instrument or a group of instruments’ “meaning” or connotation can be used to inform dramatic musical scenarios. In a broad sense, these scenarios create abstract analogies for socialpolitical happenings. In the case of Revisions, the saxophone’s history comes charged with immense dramatic and symbolic potential.

The presence of the saxophone quartet, seated alongside the string section principals, creates a dramatic tension within the orchestra as part of a scenario that explores power dynamics, unity, division, companionship, and finding a sense of place.

I offer Revisions to you with many thanks to Teddy Abrams and the Louisville Orchestra for their trust in and commitment to my work, and to my fellow Creators Lisa and TJ for their unending support and friendship.

ARTIST BIOGRAPHY

TYLER TAYLOR, composer (b. 1992)

Tyler Taylor is a composerperformer from Louisville, KY.

Tyler’s recent pieces are explorations of the

different ways identity can be expressed in musical scenarios. Common among these pieces is a sense of contradiction – sometimes whimsical, sometimes alarming – that comes from the interaction of diverse musical layers. This expression of contradiction comes from his experiences as a person of mixed race; being raised on hip hop and R&B while inheriting a European

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tradition of “classical art music” as his primary form of musical expression; and pursuing a career in a field that generally lacks representation of his demographic.

Tyler is currently a full time resident composer at the Louisville Orchestra as part of the inaugural installation of their Creators Corps residency program. In

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professional settings, including the Louisville Ballet and the Owensboro Symphony. He maintains a studio of young horn players in Louisville and southern Indiana.

ARTIST BIOGRAPHY

Tyler holds degrees from Indiana University (Doctor of Music with minors in Music Theory & Horn Performance), the Eastman School of Music (Master of Music), and the University of Louisville (Bachelor of Music).

SEBASTIAN CHANG, piano (b.

1988)

Sebastian Chang's first major performance as a piano soloist was of his composition Concertino for Piano and Orchestra with the Tokyo Symphony at the age of 9. Sebastian obtained his B.M. in Composition from the Curtis Institute of Music and an M.M. in Composition from the University of Southern California. From '16-'18, Sebastian was the Resident Composer for the Louisville Orchestra. Sebastian is the youngest three time BMI Student Composer Awards recipient. He received his first award at the age of 14 (receiving the Carlos Surinach Prize that year for being the youngest recipient), his second award at the age of 17, and third award at the age of 19. BMI has since reduced the maximum amount of awards per individual from three to two. Sebastian is a Davidson Fellow Laureate through the Davidson Institute for Talent Development.

Sebastian's compositions have been performed by the Detroit Symphony Orchestra, the Philadelphia Orchestra, the Tokyo Symphony Orchestra, the Pacific Symphony, the Britt Festival Orchestra, the Louisville Chamber

Choir, the NouLou Chamber Players, the Louisville Ballet, and the Louisville Orchestra. His Symphony, premiered in January '15 by the Louisville Orchestra, is subject of Episode 9: First Symphony” of the Music Makes a City Now documentary. Between Heaven and Earth, based on oil paintings of visual artist Vian Sora, premiered on February '18, performed by the Louisville Orchestra & Louisville Chamber Choir at the Kentucky Center in Louisville, KY. Cryptogenic Infrastructure Fantasy for violin, clarinet, piano, and timpani, premiered in July '18 at the Maltz Performing Arts Center as part of ChamberFest Cleveland. It received its second performance at St. Stephen's Anglican Church in Calgary, Canada, in December '18. Sebastian's Piano Concerto "The Empress," for piano and full orchestra, premiered on June 17, '22, in Jacksonville, Oregon, by the Britt Festival Orchestra, featuring the composer as piano soloist. His new Piano Trio No. 2 “Beyond Silence” premiered Sunday, November 20, '22, perf performed by the Trio Barclay at the Irvine Barclay Theatre.

He is Louisville Orchestra’s first-call pianist. He worked the summer '22 Britt Orchestra Season as Orchestral Pianist following the premiere of his Piano Concerto. He is an instructor in the Instrumental Music conservatory at the Orange County School of the Arts.

Sebastian freelances around Orange County & Los Angeles as a keyboardist. His publishing company is Sebastian Press, registered under the American Society of Composers, Authors, & Publishers (ASCAP).

ARTIST BIOGRAPHY

JOEL THOMPSON, composer (b. 1988)

Joel Thompson, best known for the choral work, Seven Last Words of the Unarmed, is an artist and educator currently serving as composer-in-residence with the Houston Grand Opera (HGO). Committed to creating spaces for healing and community through music, Thompson has collaborated with the New York Philharmonic, Atlanta Symphony Orchestra, Minnesota Orchestra, Tallahassee Symphony Orchestra, Chicago Sinfonietta, Colorado Music Festival, and also serves as composer-inresidence at the New Haven Symphony Orchestra. His opera, The Snowy Day, based on the beloved children’s book by Ezra Jack Keats, was commissioned and premiered by the Houston Grand Opera in December 2021.

JECOREY ARTHUR, narrator (b. 1992)

Jecorey "1200"

Arthur is an award-winning teacher, musician, and activist from the West End of Louisville, KY. He earned his nickname “1200” after teaching himself to produce hip hop on a KORG D-1200 studio at age 12. A decade later he earned his Bachelor's of Music Education and Master's of Arts in Teaching at the University of Louisville. He most recently

earned the title of Councilman, as the youngest elected official in city history, representing Louisville Metro Council District 4.

Mr. Arthur — your new favorite music teacher (New York Times), has served hundreds of thousands of students around the world in public schools, community centers, and beyond, including a tour to Boys and Girls Clubs of America, a cultural exchange with De Montfort University in England, an artist-in-residency at New York City's 92nd Street Y, and digitally as host of The Music Box, peaking at #3 on podcast charts for kids education.

As a musician, Arthur has performed at the Percussive Arts Society International Convention, Big Ears Festival, Forecastle Festival, and Jungfrau Erzählfestival; performed as a soloist with the Stereo Hideout Brooklyn Orchestra and the Pittsburgh, Baltimore, Indianapolis, Nashville, Columbus, and Oregon Symphony Orchestras; performed as the first hip hop artist with the Louisville Orchestra including world premieres of folk opera The Way Forth and rap opera The Greatest: Muhammad Ali, where he starred as his hometown hero; and composed music for theatre, film, television, radio, podcast, and studio albums.

As an activist, Arthur has produced multi-media educational content about the state of Black America, organized hundreds of events hiring thousands of regional artists, and used the arts to advocate for policy change. In 2020 his activism led him to being elected to represent Louisville Metro Council District 4, representing downtown and surrounding neighborhoods. As a

PHOTO BY RACHEL SUMMER CHEONG

member of the American Descendants of Slavery (ADOS) Foundation — he writes policy, organizes campaigns, and trains activists across the U.S.. Arthur has been featured on Al Jazeera, PBS, BET, BBC, CBC, NPR, NYT, and more.

Arthur is a professor at the Historically Black College and University — Simmons College of Kentucky, an artist roster member of the Inner-City Muslim Action Network (IMAN), and an endorsed artist with Salyers Percussion. In 2019 he became a BMe Genius Fellow, using his reward to help open the Parkland Plaza, an outdoor green space, community venue, and natural playground in his childhood neighborhood. The plaza is curated with residents alongside 1200 LLC, the independent music agency specializing in compositions, performances, and events that Arthur founded. Since joining Louisville Metro Council, he has legislated dozens of policies focused on abolishing poverty. You can follow Arthur's work online at @jecoreyarthur, @1200llc, and @parklandplaza.

JAMES BALDWIN, author (1924–1987)

James Baldwin was a American essayist, novelist, playwright writer, and civil rights activist who is best known for his semi-autobiographical novels and plays that center on race, politics, and sexuality. He was an important voice, particularly in the late 1950s and early 1960s, in the United States and, later, through much of western Europe. James

Baldwin was born in Harlem, New York, in 1924. He was reared by his mother and stepfather David Baldwin, a Baptist preacher, originally from New Orleans, Louisiana. During his early teen years, Baldwin attended Frederick Douglass Junior High School, where he met his French teacher and mentor Countee Cullen, who achieved prominence as a poet of the Harlem Renaissance. Baldwin went on to DeWitt Clinton High School, where he edited the school newspaper Magpie and participated in the literary club.

After graduating from high school in 1942, he had to put his plans for college on hold to help support his family, which included seven younger children. He took whatever work he could find, including laying railroad tracks for the U.S. Army in New Jersey.

In 1948, feeling stifled creatively because of the racial discrimination in America, Baldwin traveled to Europe to create what were later acclaimed as masterpieces to the American literature canon. While living in Paris, Baldwin was able to separate himself from American segregated society and better write about his experience in the culture that was prevalent in America. Baldwin took part in the Civil Rights Movement, becoming close friends with Medgar Evers, Reverend Martin Luther King Jr., Malcolm X, Maya Angelou, Nina Simone, and Lorraine Hansberry. The deaths of many of these friends influenced his novels and plays and his writing about race relations in America.

Baldwin’s works helped to raise public awareness of racial and sexual oppression. His honest portrayal of his personal experiences in a national

context challenged America to uphold the values it promised on equality and justice. He explored these topics in such works as Go Tell It on the Mountain, Notes of a Native Son, The Fire Next Time, Giovanni’s Room, If Beale Street Could Talk, and Another Country. Baldwin firmly believed sexuality was fluid and should not be divided into strict categories, an idea that would not be acceptable until modern day. Through his popularity and writings produced at home and abroad, Baldwin contributed as an agent of change to the artistic and intellectual traditions in American society.

Baldwin remained an outspoken observer of race relations in American culture. He would branch out into other forms of creative expression, writing poetry and screenplays, including treatments for the Autobiography of Malcolm X that later inspired Spike Lee’s feature film, Malcolm X. He also spent years as a college professor at the University of Massachusetts at Amherst and Hampshire College. Baldwin died at this home in St. Paul de Vence, France, on December 1, 1987, of stomach cancer at age 63. Baldwin’s unfinished manuscript Remember This House was the subject of the critically acclaimed 2016 Raoul Peck film, I Am Not Your Negro.

W.H. AUDEN (1907 – 1973)

English poet, playwright, critic, and librettist

Wystan Hugh Auden exerted a major influence on the poetry of the 20th century. Auden grew up in Birmingham, England

and was known for his extraordinary intellect and wit. His first book, Poems, was published in 1930 with the help of T.S. Eliot. Just before World War II broke out, Auden emigrated to the United States where he met the poet Chester Kallman, who became his lifelong lover. Auden won the Pulitzer Prize in 1948 for The Age of Anxiety. Much of his poetry is concerned with moral issues and evidences a strong political, social, and psychological context. While the teachings of Marx and Freud weighed heavily in his early work, they later gave way to religious and spiritual influences. Some critics have called Auden an antiRomantic — a poet of analytical clarity who sought for order, for universal patterns of human existence. Auden’s poetry is considered versatile and inventive, ranging from the tersely epigrammatic to book-length verse, and incorporating a vast range of scientific knowledge. Throughout his career, he collaborated with Christopher Isherwood and Louis MacNeice, and also frequently joined with Chester Kallman to create libretti for musical works by Benjamin Britten, Igor Stravinsky, and Wolfgang Amadeus Mozart. Today he is considered one of the most skilled and creative mid-20th century poets who regularly wrote in traditional rhyme and meter.

LOUISVILLE ORCHESTRA 2022-2023 BOARD of DIRECTORS

Mr. Andrew Fleischman

Chair

Mr. Lee Kirkwood

Immediate Past Chair

Mrs. Carole Birkhead*

Mrs. Christina Brown

Mrs. Maggie Faurest

Mrs. Ritu Furlan

Mrs. Mariah Gratz

Mr. Jordan Harris

Mrs. Paula Harshaw

EXECUTIVE

Graham Parker

Chief Executive

Nathaniel Koch

Chief of Staff

Megan Giangarra

Mrs. Carol Hebel*

Ms. Wendy Hyland

Mr. Brian Kane

Mr. Don Kohler, Jr.

Mrs. Karen Lawrence

Carol Barr Matton

Mr. Joseph Miller

Mr. Guy Montgomery

Mr. Khoa Nguyen

Dr. Teresa Reed

Mr. Jeff Roberts

Mr. Bruce Roth

Mrs. Denise Schiller

Mrs. Winona Shiprek*

Mr. Gary Sloboda

Mr. Dennis Stilger Jr.

Mrs. Lindsay Vallandingham

Mrs. Susan Von Hoven

Mr. James S. Welch Jr.

Mrs. Mary Ellen Wiederwohl

Mr. Robert H. Wimsatt

*Denotes Life Member

LOUISVILLE ORCHESTRA ADMINISTRATION

CREATORS CORPS

Lisa Bielawa

Composer

TJ Cole

Composer

EDUCATION & COMMUNITY

Sarah Lempke O’Hare

Director of Education & Community Partnerships

Jenny Baughman

Office Administrator & Patron Services Associate

Drea Wells Executive Assistant

IN HARMONY COMMONWEALTH TOUR

Arricka Dunsford

Kentucky Tour Project Manager

Emily Smith

Kentucky Tour Project Coordinator

ARTISTIC OPERATIONS

Adam Thomas Interim Director of Artistic Operations

Adrienne Hinkebein

Director of Orchestra Personnel

Jake Cunningham Operations Manager

Murphy Lamb

Personnel & Operations Assistant

Bill Polk

Stage Manager

Chris Skyles

Librarian

Tyler Taylor Composer

Jacob Gotlib

Creators Corps Program Manager

DEVELOPMENT

Holly Neeld

Director of Development

Edward W. Schadt

Director of Endowment Giving

Zaq Andel

Special Events Manager

Jessica Burleson Institutional Giving Manager

Jonathan Wysong

Development Manager

MARKETING & COMMUNICATIONS

Mallory Kramer Director of Marketing

Nancy Brunson Communications & Content Manager

Serena Haming

Marketing & Promotions Manager

Education & School

Programs Manager

Elizabeth Etienne

State Community Partnerships & Engagement Manager

Allison Cross

Local Community Partnerships & Engagement Manager

FINANCE

Tonya McSorley

Chief Financial Officer

Stacey Brown Controller

Cheri Reinbold

Staff Accountant

PATRON SERVICES

Carla Givan Motes

Director of Patron Services

Shane Wood

Patron Systems Manager

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC.

EXECUTIVE OFFICERS

Lindsay Vallandingham

President

Mona Sturgeon Newell

Immediate Past President

Helen Davis

VP Communications

Pam Brashear

VP Education

Jeanne James & Suzanne Spencer VP Hospitality Co-Chairs

Marguerite Rowland

VP Membership

Michele Oberst

VP Ways & Means

Susan Smith

Recording Secretary

Sue Bench

Corresponding Secretary

Ann Decker Treasurer

Rita Bell

Parliamentarian

Carol Hebel, Winona Shiprek, & Anne Tipton

President's Appointments

ALO BOARD of DIRECTORS

Margie Harbst

Paula Harshaw

John Malloy

Marcia Murphy

Nancy Naxera

Roycelea Scott

Mollie Smith

Carol Whayne

LOUISVILLE ORCHESTRA CONTRIBUTORS

Annual gifts provide funding that is critical to the success of our mission to bring diverse programming and educational opportunities to our community. The Louisville Orchestra gratefully acknowledges the following donors of record for the period of 1/1/2022-12/31/2022.

CONDUCTORS SOCIETY (FOUNDER)

$250,000+

Christina L. Brown

Jim and Irene Karp

William and Susan Yarmuth

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Anonymous

Laura Lee Brown & Steve Wilson

Owsley Brown III

Brook and Pam Smith

CONDUCTORS SOCIETY (VIRTUOSO)

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Anonymous

Betty Moss Gibbs

Frank and Paula Harshaw

Mrs. Edie Nixon

David Jones and Mary Gwen Wheeler

James and Marianne Welch

CONDUCTORS SOCIETY (BENEFACTOR)

$25,000 - $49,999

Brian Kane

Warwick Dudley MussonCONDUCTORS SOCIETY (SUPPORTER)

$10,000 - $24,999

Anonymous (4)

Edith S. Bingham

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David † and Patricia Daulton

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Denise Schiller

Thomas Noland † and Vivian Ruth Sawyer

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Herbert and Barbra Melton

John and Patricia Moore

Dianne M. O'Regan

Marla Pinaire

Clifford Rompf

Mr. & Mrs. Robert W. Rounsavall III

Ellen and Max Shapira

Gary and Amy Sloboda

Richard Stephan

Ann and Glenn Thomas

Ruth and Bryan Trautwein

Susan and Michael Von Hoven

Jeanne D. Vuturo

Dr. Joan and Robert Wimsatt

CONDUCTORS SOCIETY

(MEMBER)

$3,000 - $4,999

John † and Theresa Bondurant

Dr. and Mrs. Bruce Burton

Thomas A. Conley III

Mr. and Mrs. Thomas Donan

Shirley Dumesnil

Mr. and Mrs. William L. Ellison Jr.

Lee and Rosemary Kirkwood

Colin and Woo McNaughton

Norman and Sue Pfau

Steve Robinson

Marianne Rowe

Russell and Theresa Saunders

Mr. and Mrs. Joseph Sireci

Susan and Raymond Smith

Robert and Silvana Steen

Dr. Gordon Strauss and Dr. Catherine N. Newton

Mr. and Mrs. Kevin Wardell

Maud C. Welch

Mary Ellen Wiederwohl and Joel Morris

Dale R. Woods

PRELUDE

$1,500 - $2,999

Hon. and Mrs. Jerry E. Abramson

John Alagia

Dr. Fredrick W. Arensman

David B. Baughman

Dr. Stephen and Jeannie Bodney

Bethany Breetz and Rev. Ronald Loughry

John B. Corso

Mr. and Mrs. Daniel L. Dues

Rev. John G. Eifler

Dr. and Mrs. Eugene C. Fletcher

Randall L. and Virginia † I. Fox

John R. Gregory

June Hampe

Kenneth and Judy Handmaker

Mrs. Spencer E. Harper, Jr.

Mr. Thomas Klammer

Mr. and Mrs. Bill Lamb

Margaret Lanier

Drs. Eugene & Lynn Grant March

Lynn and Roy Meckler

Joseph B. Miller

Mona and John Newell

Miriam Ostroff

Fred and Claudia Pirman

Dr. and Mrs. Timothy B. Popham

Gordon and Patty Rademaker

Ms. Ann Reyolds

Rev. Edward W. Schadt

Alleine Schroyens

Dr. Anna Staudt

Mary C. Stites

Lindsay Vallandingham

Elizabeth B. Vaughan

Carolyn Marlowe Waddell

Roger and Janie Whaley

Stephen and Patricia Wheeler

Dr. & Mrs. Nathan Zimmerman

SONATA

$500 - $1,499

Anonymous (5)

David and Madeleine Arnold

Mr. and Mrs. Robert Ayotte

Joseph and Linda Baker

Miriam Ballert

John and Mary Beth Banbury

Lynne A. Baur

Stephen and Sharon Berger

Cornelia Bonnie

Dr. and Mrs. Lawrence H. Boram

Charles C. Boyer

Samuel and Sue Bridge

Mr. and Mrs. Bruce Broussard

Mr. and Mrs. Henry H. Brown

Drs. Frank and Carolyn Burns

Sally V.W. Campbell

Michael and Nancy Chiara

Larry Sloan and Helen K. Cohen

George and Frances Coleman

Jeff and Marjorie Conner

Mr. and Mrs. David Contarino

Robert Cox

Betsey Daniel

Marguerite Davis

Kate and Mark Davis

Carol W. Dennes

Pat DeReamer and Cynthia DeReamer Rollins

Dr. John and Mrs. Dee Ann Derr

Judy Dickson

James and Etna Doyle

Susan Ellison

Dan and Ellen Baker Finn

George and Mary Lee Fischer

Dr. Marjorie Fitzgerald

Nancy Fleischman

Leslie and Greg Fowler

Mr. Ed R. Garber

Mary Louise Gorman

John and Mary Greenebaum

Mary C Hancock

Mrs. Martha Hardesty

Barbara B. Hardy

John D. Harryman

Dr. Mary Harty

Carl Helmich Jr.

Chris and Marcia Hermann

Thomas and Patrice Huckaby

Mrs. Susan M. Hyland

Barbara Jarvis

Dean Karns

Warren Keller

Karl and Judy Kuiper

Amy and Matthew Landon

Portia Leatherman

Samuel and Stephanie Levine

Cantor David Lipp and Rabbi Laura Metzger

Mrs. Sallie Manassah

Anne Maple

Mrs. Nancy Martin

Joan McCombs

Susan S. Means

Bob and Barbara Michael

Ms. Kellie L. Money

Biljana N. Monsky

Ronald and Debra Murphy

Dr. Naomi J. Oliphant

Mr. and Mrs. Edwin Olliges Jr.

Mr. and Mrs. Howard Pearl

Sharon Pfister

Mr. Timothy Pifer

Ms. Margaret Plattner

Arthur Pratt

Mr. and Mrs. Joseph A. Pusateri

Dr. and Mrs. Mark M. Prussian

Carol Clow Pye

David Ray and Jean Peters

Sharon Reel

Douglas Rich

Embry Rucker and Joan MacLean

Marilyn Schorin

Mr. and Mrs. Ronnie Seale

Ruth Simons

Tamina and Edward Singh

Mr. Joseph Small

Carole Snyder

Dr. Joern Soltau

Richard O. Spalding

Katherine Steiner

Mary and John Tierney

Mr. Robert Townsend

Mr. and Mrs. Steve Underwood

Linda and Chris Valentine

Matt and Kathy Watkins

Kendrick and Claudia Wells

John T. Whittenberg

Raleigh and Roberta Wilson

Michelle Winters

Jonathan and Stephi Wolff

Jeanne and Paul Zurkuhlen

DUET

$250 - $499

Anonymous (5)

Karen O'Leary and William Abrams

Mrs. Mary Alexander-Conte

Bryce and Danielle Armstrong

Dr. and Mrs. Joe F. Arterberry

George Bailey

Dr. Crump W. Baker and Dr. Alta M. Burnett

John T. Ballantine

Donna Benjamin

Janice Blythe

Bill Bolte

George Borrmann

Mr. Jonathan Braden

Doris Bridgeman

Mr. Barlow Brooks

Betty and Randolph Brown

Rebecca Bruner

Dr. and Mrs. Jeffrey P. Callen

Janet Campisano

Julia Carey

Dr. Atif Chowghury

Judith K. Conn

Chenault M. Conway

Ms. Annette Coxon

Virginia B. Cromer

Mr. Dale Curth

Mrs. Sandra Curtis

Ms. Doris Davis

Mr. Lee Davis

Mr. Brent Densford

Mr. John Dersch

Mr. Leonidas D. Deters and Ms. Penny Shaw

LO CONTRIBUTORS

Robert and Sandra Duffy

Uwe and Kathy Eickmann

Dr. James Eisenmenger

Ann-Lynn Ellerkamp

Dr. Walter Feibes

Ms. Judy Fieldhouse

Mr. Bart Fisher

Mr. Geoffrey Fong

William and Ilona Franck

Leslie K. Friesen

Ms. Pamela Gadinsky

Ron Gallo

Edmund R. Goerlitz

Ellen and Richard Goldwin

Timothy and Natalie Healy

David Sickbert and Thomas Hurd

Ms. Vivien Jacoby

Alec Johnson and Rachel Grimes

Dr. Surinder Kad

Judy Kaleher

Elizabeth Malcolm Kelly

Michasl Kemper and Annette Grisanti

Ms. Susan U. Kimbrough

James Krauss-Jackson

Dr. and Mrs. Ronald Levine

Philip Lichtenfels

Karen M. Long

Gretchen Mahaffey

Michael Maloff

William Martinez

Dr. and Mrs. Ronald Morton

Carla and Barry Motes

Ms. Susan Neal

Ms. Martha C. Nichols

Susan Norris

Robert Paris

Kathleen Pellegrino

Dianna and Peter Pepe

Curtis Peters

Doug Elstone and Russ Powell

John and Katherine Robinson

Lynne Rodeheffer

David Rodger

Vicki Romanko

Isaac B. Rosenzweig

Barbara Sandford

Drs. Edwin and Marcia Segal

Susan G. Zepeda and Dr. Fred Seifer

Dr. Lyne Seldon

Dr. and Mrs. Saleem Seyal

John and Barbara Sinai

Richard and Terri Smith

Dr. and Mrs. Temple B. Stites

Lynda Stuart

Dr. and Mrs. Gerald F. Sturgeon

William F. and Barbara J. Thomas

Dr. and Mrs. Robert S. Tillett Jr.

Mr. Warren Townsend

Susan and David Vislisel

Patricia Walker

Dennis and Julie Walsh

Sharon Welch

Crawford and Alice Wells

Ms. Carolyn Williams

Ms. Francis Wirth

Mr. Larry Wood

Grace Wooding

Mark Wourms

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, Director of Leadership Giving at 502.587.8681 or ESchadt@LouisvilleOrchestra.org.

Doris L. Anderson

Gloria and Steve Bailey

Bethany Breetz and Rev. Ronald Loughry

Mr. and Mrs. Gary Buhrow

Douglas Butler and Jamey Jarboe

Walter D. Clare

Stanley † and Dr. Claudia Crump

Janet R. Dakan

Betty Moss Gibbs

Dr. Albert G. † and Anita Ades Goldin

Louise and Jay Harris

Mr. † and Mrs. Charles W. Hebel, Jr. Henry V. Heuser, Jr.

Dr. Carl E. Langenhop †

Mrs. Philip Lanier

Sheila G. Lynch

Mr. and Mrs. † Warwick

Dudley Musson

Dr. Naomi Oliphant

Susannah S. Onwood

Paul R. Paletti, Jr.

Sharon Pfister

Gary † and Sue Russell

Rev. Edward W. Schadt

Rev. Gordon A. and Carolyn Seiffertt

Robert Taylor and Linda Shapiro

Dr. Peter and Margaret

Fife Tanguay

Rosemary Rommell Toebbe †

Elizabeth Unruh †

Kevin and Linda Wardell

Dr. and Mrs. Richard S. Wolf

† Denotes deceased

LOUISVILLE ORCHESTRA ENDOWMENT, INC. CONTRIBUTORS

The following people have made contributions or pledges to the Louisville Orchestra Endowment, Inc. as of February 1, 2023

Mr. and Mrs. James R. Allen

Gloria and Steve Bailey

Gary and Virginia Buhrow

Douglas Butler & Jamey Jarboe

Joseph and Deborah Caruso

Walter Clare Chenault Conway

Katherine Eirk

Betty Moss Gibbs

Jay and Louise Harris

Charles † and Carol W. Hebel, Jr.

Henry V. Heuser, Jr.

Margaret Lanier

Arthur J. and Mary C.

Lerman Charitable Fund

LG&E-KU Foundation

Elizabeth & Guy Montgomery

Susannah S. Onwood

Sharon Reel

Gary † and Sue Russell

Rev. Edward W. Schadt

Rev. Gordon & Carolyn Seiffertt

Robert Taylor & Linda Shapiro

Kevin and Linda Wardell

Jim and Marianne Welch

† Denotes deceased

THE

SOCIETY CORPORATE & FOUNDATION MEMBERS

FOUNDER | $250,000

The Maxine and Stuart Frankel Foundation for Art

Robert Wood Johnson Foundation

William M. Wood Foundation

SUSTAINER | $100,000+

VIRTUOSO | $50,000+

BENEFACTOR | $25,000+

Brooke Brown Barzun

Philanthropic Foundation

Humana Foundation

Ina B. Bond Ashbourne Charitable Fund

League of American Orchestras

SUPPORTER| $10,000+

Atria Senior Living Group

Augusta Brown Holland

Philanthropic Foundation

Caesars Foundation of Floyd County

City of Windy Hills

Consortium for Christian Unity Norton Foundation

Gheens Foundation

The Glenview Trust Company

Carol Barr Matton Charitable Foundation

PATRON | $5,000+

Anonymous Foundation

Arthur K. Smith

Family Foundation

The Eye Care Institute and Butchertown Clinical Trials

General Dillman Rash Fund

MEMBER | $3,000+

Habdank Foundation

Roth Family Foundation, Inc.

University of Louisville

School of Music

Wimsatt Family Fund

The Malcolm B. Bird Charitable Foundation

Snowy Owl Foundation

Woodrow M. and Florence G. Strickler Fund

COURTESY

• As a courtesy to the performers and other audience members, please silence all mobile devices.

• 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

• 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.

ACCESSIBILITY

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. 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.

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.

EVENTS CALENDAR

MARCH

Mar. 25 - Apr. 21

StageOne Family Theatre: The Miraculous Journey of Edward Tulane

The Kentucky Center, Bomhard Theater stageone.org

10

Paul Thorn in Concert

8PM

The Kentucky Center, Bomhard Theater

kentuckyperformingarts.org

11

The Dark Side of the Wall: Echoes Through the Wall 8PM, The Brown Theatre

KentuckyPerformingArts.org

17

Drive-By Truckers

7:30PM, Old Forester's Paristown Hall

KentuckyPerformingArts.org

18

The Sinatra Experience with David Halston

7:30PM, The Brown Theatre

KentuckyPerformingArts.org

18

Louisville Orchestra

DECADES: Back to the 80s

7:30PM

The Kentucky Center, Whitney Hall louisvilleorchestra.org

24 Comedian Rodney Carrington

7PM

The Kentucky Center, Whitney Hall

KentuckyPerformingArts.org

31 Louisville Orchestra Rach & Bartók

7:30PM

The Ogle Center, IUS louisvilleorchestra.org

APRIL

11-16

PNC Broadway in Louisville: Ain't Too Proud: The Life and Times of the Temptations

The Kentucky Center, Whitney Hall

KentuckyPerformingArts.org

For more arts and entertainment recommendations, visit Audience502.com

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