Louisville Orchestra|December 2019 | Handel's Messiah & Teddy Talks Mahler by Audience502

DECEMBER 2019

Handel's Messiah DEC 5, 6, 7, 8

Mahler's Fifth JAN 17

JAN 18

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This is too. Getting away from the rat race was the right call. Now, you can keep the good times rolling.

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DECEMBER 2019

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

FEATURED MUSICIAN Scott Staidle Violin...................................................................... 7

PROGRAMS Messiah December 5-8, 2019............................................8

Publisher The Audience Group, Inc. G. Douglas Dreisbach Managing Editor Amy Higgs

Mahler 5 / Teddy Talks Mahler January 17-18, 2020..........................................25

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

Support and Staff.........................................................33 Services............................................................................38 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.

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A TRIBUTE TO TEDDY

Presenting sponsors Jim and Marianne Welch are joined by Morgan James and Teddy.

Well-wishers gathered to celebrate Teddy Abrams for his five years as music director of the Louisville Orchestra. Held at Ashbourne Farms on Saturday, November 9, attenders enjoyed cocktails, a gourmet dinner, and an all-Gershwin concert featuring Teddy and vocalist Morgan James.

Susan and Bill Yarmuth, CEO Robert Massey, Cathy and John Yarmuth

(far left)

Sara Haynes, Paula Harshaw, Jane Welch, Jim Haynes (below left)

Jim Welch with Hollis and Greg Weishar (below)

Pam and Paul Thompson

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WOODFORD RESERVE KENTUCKY STRAIGHT BOURBON WHISKEY, 45.2% ALC. BY VOL., THE WOODFORD RESERVE DISTILLERY, VERSAILLES, KY. WOODFORD RESERVE IS A REGISTERED TRADEMARK. ©2019 BROWN-FORMAN. ALL RIGHTS RESERVED.

QUALITY IS WHAT WE ARE JUDGED AGAINST. IF WE AREN’T GREAT, NOTHING ELSE MATTERS. A U D I E N C E

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

SECOND VIOLIN

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

VIOLA

Jack Griffin, Principal Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair

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

BASS CLARINET

Christina Hinton Allison Olsen Lindy Tsai Julia Preston

Matthew Karr, Principal

BASS

Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair

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

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Donald Gottlieb Philip M. Lanier Chair

PICCOLO

Donald Gottlieb Alvin R. Hambrick Chair

OBOE

Ernest Gross

BASSOON

Paul D. McDowell Chair

Francisco J. Joubert Bernard

HORN

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

TROMBONE

Donna Parkes, Principal

BASS TROMBONE J. Bryan Heath

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

TUBA

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

Trevor Johnson Trevor Johnson

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

CLARINET

PERCUSSION

CELLO

Robert Walker Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair

Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair

Nicholas Finch, Principal

ENGLISH HORN Andrea Levine, Principal Brown-Forman Corp. Chair

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Andrew Doub, Principal

TIMPANI

John Pedroja, Principal

*On leave

F E AT U R E D M U S I C I A N SCOTT STAIDLE, VIOLIN First of all, I want to thank everyone who supports the Louisville Orchestra. I have been a member of the first violin section since 1980. Having started playing guitar before the violin, I have always been interested in several genres of music. Initially, my primary violin teacher was Alvaro De Granda, assistant concertmaster of the Cleveland Orchestra. After attending Eastman School of Music and the University of Michigan, I received a Bachelor of Music in violin performance and applied strings. While at U of M, I studied violin with Gustav Rosseels and viola with Robert Courte. Both were founding members of the Paganini String Quartet. Besides being a performer, I’m an ASCAP arranger/composer and publisher. For the Louisville Orchestra pops concerts, I have created the orchestral arrangements for Mel Tillis, Nashville’s Bryan White and Sondre Lerche among others. Currently, I now have four books that are in the catalog of international music publisher Mel Bay. These include violin duets, violin/viola duets and string quartets. My book, Wedding Music for Two Violins, was a favorite on their best seller list. In my recording studio I have created two of my own CD’s, Nuts for the Holidays and Halloween Music by Scott Staidle. Also, I’ve recorded and orchestrated music with Days of the New, a platinum

"I performed with Robert Plant and Jimmy Page on the “No Quarter Tour.” Playing violin onstage with actual members of Led Zeppelin was a thrill of a lifetime." recording group from the Louisville area. While with DOTN, I played electric violin on “LA Woman” on The Doors' Stoned Immaculate CD. Last, but not least, I performed with Robert Plant and Jimmy Page on the “No Quarter Tour.” Playing violin onstage with actual members of Led Zeppelin was a thrill of a lifetime.

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For the love of the Bluegrass. November 15, 2019 – March 1, 2020 Image Charles W. Waite (American, active Cincinnati, Ohio, 1890s) Latonia, 1894, Oil on canvas, 36” H x 72” W, Speed Art Museum, Museum purchase and gift of Helen Alexander Exhibition support provided by Ashbourne Farms Roberto Coin / Davis Jewelers PNC Wealth Management

Jackson Family Wines Gainesway Farm Justice Real Estate Mr. and Mrs. George Hoskins Austin and Janie Musselman William McMahan Nina Bonnie Mr. and Mrs. Tracy Farmer Susan and Allan Lavin Carol and Charles Hebel Hardscuffle, Inc.

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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

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

MESSIAH by George Frideric Handel Thursday, December 5, 2019 • 7:30PM Cathedral of the Assumption Additional Support by Joe and Winona Shiprek Friday, December 6, 2019 • 7:30PM Second Presbyterian Church Additional Support by the Melton Family in appreciation for Covenant Classical Academy and Community Presbyterian Church Saturday, December 7, 2019 • 7:30PM St. Michael Catholic Church Additional Support by United Mail Sunday, December 8, 2019 • 3PM Most Sacred Heart of Jesus, Jeffersonville, IN

Kent Hatteberg, conductor + chorusmaster, Louisville Chamber Choir Erin Keesy, soprano | Katherine Calcamuggio Donner, alto Ricky Lynn Case II, tenor | Chad Sloan, bass

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

PART 1 "The prophecy and realisation of God's plan to redeem mankind by the coming of the Messiah" Scene 1

"Isaiah's prophecy of salvation" 1. Symphonia/Overture 2. Accompagnato, tenor: Comfort ye my people 3. Air, tenor: Ev’ry valley shall be exalted 4. Chorus: And the glory of the Lord

Scene 2

"The coming judgment" 5. Accompagnato, bass: Thus saith the Lord of Hosts 6. Air, alto: But who may abide the day of His coming 7. Chorus: And He shall purify

Scene 3

"The prophecy of the Virgin Birth" 8. Recitative, alto: Behold, a virgin shall conceive 9. Air and Chorus, alto: O thou that tellest good tidings to Zion 10. Accompagnato, bass: For behold, darkness shall cover the earth 11. Air, bass: The people that walked in darkness 12. Chorus: For unto us a Child is born

Scene 4

"The appearance of the Angels to the Shepherds" 13. Pifa (“Pastoral Symphony”) 14a. Recitative, soprano: There were shepherds abiding in the field 14b. Accompagnato, soprano: And lo, the angel of the Lord 15. Recitative, soprano: And the angel said unto them 16. Accompagnato, soprano: And suddenly there was with the angel 17. Chorus: Glory to God in the highest

Scene 5

"Christ's redemptive miracles on earth" 18. Air, soprano: Rejoice greatly, O daughter of Zion 19. Recitative, alto: Then shall the eyes of the blind be open'd 20. Duet, alto & soprano: He shall feed His flock like a shepherd 21. Chorus: His yoke is easy

INTERMISSION 15 Minutes

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 10

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PART II "The accomplishment of redemption by the sacrifice of Christ, mankind's rejection of God's offer, and mankind's utter defeat when trying to oppose the power of the Almighty" Scene 1

"The redemptive sacrifice, the scourging and the agony on the cross" 22. Chorus: Behold the Lamb of God 23. Air, alto: He was despised 26. Chorus: All we like sheep 27. Accompagnato, tenor: All they that see Him 28. Chorus: He trusted in God

Scene 3

"His ascension"

Scene 5

"Whitsun, the gift of tongues, the beginning of evangelism"

33. Chorus: Lift up your heads 38. Air, soprano: How beautiful are the feet of them 39. Chorus: Their sound is gone out into all lands Scene 6

"The world and its rulers reject the Gospel" 42. Recitative, tenor: He that dwelleth in heaven

Scene 7

"God's triumph" 43. Air, tenor: Thou shalt break them with a rod of iron 44. Chorus: Hallelujah!

PART III "A Hymn of Thanksgiving for the final overthrow of Death" Scene 1

"The promise of bodily resurrection and redemption from Adam's fall" 45. Air, soprano: I know that my Redeemer liveth 46. Chorus: Since by man came death

Scene 2

"The Day of Judgement and general Resurrection" 47. Accompagnato, bass: Behold, I tell you a mystery 48. Air, bass: The trumpet shall sound

Scene 4

"The glorification of the Messianic victim" 53. Chorus: Worthy is the Lamb

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

K E N T H AT T E B E R G , C O N D U C TO R + C H O R U S M A S T E R KENT HATTEBERG is 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 has taught at Sam Houston State University in Huntsville, TX, Washington High School in Cedar Rapids, IA, and Solon Jr.-Sr. High 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 Ambassadors of Music, 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 12

"Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator" 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 at the Seoul Oratorio Festival (2019), the Zadar (Croatia) International Choir Competition (2018), the 2017 Xi’an International Choral Festival (China), the 13th China International Chorus Festival (2016), the Taipei International Choral Festival (2015 and 2010), the Singapore International Choral Festival (2015), the Cuba/United States Choral Symposium in Havana (2012), the Beijing International Choral Festival (2010), and the 7th World Symposium on Choral Music in Kyoto, Japan (2005). The Collegiate Chorale and Cardinal Singers have performed at several national and regional conventions in the United States, most recently with the Chorale at the National Collegiate Choral Organization (NCCO) National Convention in College Park, Maryland in November 2019 and the Cardinal Singers at the American Choral Directors Association (ACDA) National Convention in Minneapolis in March 2017.

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SOLOISTS ERIN KEESY, SOPRANO Erin Keesy is an alumna of the University of Louisville where she received a Bachelors of Music in Vocal Performance. She received her Masters degree and Artist Diploma in Opera from the College-Conservatory or Music in Cincinnati. She has made solo appearances with the Cincinnati POPS orchestra, the Louisville Orchestra, Butler Philharmonic, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and performed as a young artist with Cincinnati Opera. Most recently, she performed the role of Agathe in Queen City Opera’s Der Freischütz. She also made her international solo debut earlier this year in Seoul, South Korea singing the soprano solos in Mendelssohn’s Elijah with the Seoul Oratorio Festival. She also performs frequently with Cincinnati’s Vocal Arts Ensemble. Ms. Keesy is a member of the voice faculty at the University of Louisville and looks forward to continuing work with her students in the spring. KATHERINE CALCAMUGGIO DONNER, MEZZOSOPRANO Katherine Calcamuggio Donner is an award-winning mezzo-soprano. Ms. Calcamuggio has been featured in important role and company debuts across the United States, eliciting kudos for her “soaring, rich voice” (The Miami Herald), her “polished musical and dramatic characterizations”

(Kurt Weill Newsletter) and her “fine coloratura technique” (Philadelphia Inquirer). Favorite operatic appearances include leading roles in HMS Pinafore as Buttercup (Union Avenue Opera), Bon Appetit as Julia Child (Opera on the James), Ariadne auf Naxos as Komponist (University of Michigan), Hansel and Gretel as Hansel (Syracuse Opera) and Giulio Cesare as Sesto (Florida Grand Opera). The past several seasons, Ms. Calcamuggio has been performing as a mezzo-soprano soloist with orchestras in Handel’s Messiah, Verdi’s Requiem, Beethoven’s Ninth Symphony and as the soprano soloist in John Corigliano’s Mr. Tambourine Man. An active recitalist, she has been traveling across the country with the Piatigorsky Foundation performing recitals. Ms. Calcamuggio received her DMA from University of Michigan and is currently an Assistant Professor of Voice at University of Louisville. RICKY LYNN CASE II, TENOR Ricky Case is a proud Louisville native. He attended the University of Louisville and studied under Daniel Weeks. During his time at the University of Louisville, he was highly involved with the Opera Theatre, where he had numerous opportunities to collaborate with composers such as Jake Heggie and Daron Hagen. He performed in the Collegiate Chorale and the Cardinal Singers, and was often featured as a

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SOLOISTS soloist with these ensembles. He has performed locally with the Kentucky Opera, Louisville Orchestra, Louisville Chorus, and the former Choral Arts Society of Louisville. Mr. Case is currently a Director of Children’s Choirs at Second Presbyterian Church where he enjoys sharing the love of music with others. He is a lover of choral music and an avid supporter of the arts in Louisville. CHAD SLOAN, BARITONE American baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters.

Engagements for the past few seasons have included Pooh-Bah in The Mikado with Kentucky Opera, Die Zauberflöte with Arizona Opera, Carmina Burana with the Lexington Philharmonic, Flagstaff Symphony, and South Bend Symphony, singing The Herald in Britten’s The Burning Fiery Furnace with BalletOpéra-Pantomime of Montreal, joining the Louisville Orchestra for Portrait of Robert Schumann, an appearance with Eighth Blackbird in a new work titled Killing the Goat by Andrew McManus, Owen Hart in Dead Man Walking with Kentucky Opera, and Fauré’s Requiem with the Louisville Ballet & Kentucky Opera. Other recent engagements for Mr. Sloan include Adario in Rameau’s Les Sauvages with Bourbon Baroque, Carmina Burana with Fox Valley Symphony and Columbia Pro Cantare, Bach’s WeihnachtsOratorium with Louisville Choral Arts Society, Brahms’ Liebeslieder Waltzer at Twickenham Music Festival, Britten’s War Requiem at Lawrence Conservatory, Lee Hoiby’s This is the Rill Speaking with Opera Memphis, Prosdocimo in Rossini’s Il turco in Italia with Tacoma Opera, Vaughan Williams’ Dona nobis pacem with the Lexington Philharmonic, Captain Von Trapp in The Sound of Music with Anchorage Opera, Mercutio in Roméo et Juliette with Dayton Opera and the Bar Harbor Music Festival, the cover of Willy Wonka in The Golden Ticket with Atlanta Opera, Pluto in Telemann’s Orpheus for New York City Opera, Belcore in L’elisir d’amore with Kentucky Opera, John Brooke in Little Women with Utah Opera, and Figaro in Il barbiere di Siviglia with Bar Harbor Music Festival. Sloan is currently an Associate Professor of Voice at the University of Louisville.

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LOUISVILLE CHAMBER CHOIR Kent Hatteberg, Artistic Director The Louisville Chamber Choir was formed in the fall of 2013 by Artistic Director Kent Hatteberg with a mission to present exceptional musical experiences that nurture community appreciation of choral singing through quality performances, recordings, and collaborations. Comprised of musicians drawn from the Louisville Metropolitan Area and beyond, the Louisville Chamber Choir is dedicated to the highest levels of ensemble performance. Since its inception, the Louisville Chamber Choir has dedicated itself to fulfilling its mission through collaborations, recordings, and performance. Recently, the Choir partnered with WUOL to record Thomas Tallis’s Spem in alium in 360O video and audio, creating a virtual reality experience that married classical choral music with cutting edge technology. The Choir also performs regularly with the Louisville Orchestra to present diverse and exciting works. Recent partnerships include Leonard Bernstein’s Chichester Psalms (2013), Carl Orff’s Carmina Burana (2014), Bernstein's Mass (2015), Gustav Mahler’s Symphony No. 2 (2016), War + Peace (2018), Mozart’s Requiem and Monteverdi’s Vespers (2018), and George Frideric Handel’s Messiah (2015-18). The Louisville Chamber Choir recently released a Christmas recording that has met with widespread acclaim. The recording was featured on WUOL in December 2017 and contains a mixture of familiar seasonal songs with new carols. The Choir is preparing to release its next recording in 2020. The Choir's performances encompass a wide range of composers from Gabrieli and Byrd to Ēriks Ešenvalds and Eric Whitacre. The Choir presents concerts that engage audiences through technical expertise and emotional expression. Each singer brings his or her musicality and merges it with the other singers to create a synergy between choir, conductor, and audience.

HANDEL'S MESSIAH PERSONNEL SOPRANO Sarah Tubbesing Coleman Callie Cowart Danielle Curtsinger Haley De Witt Emily Furnish Erin Shina Elizabeth Smith Brooke Thornsberry Kelli White Weaver

ALTO Claire Bridges Michelle Capdau Marybeth Christman Lydia Cox Amy Parker Cuenca Paige Harpring Addie Hincks Amy Powell Madeleine West

TENOR Rob Carlson Ricky Lynn Case II Seon Hwan Chu Bill Coleman Josh Hamilton Micah Lamb Sam Soto Geoffrey Wallace Blake Wilson

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BASS Bennett Alldredge Austin Echols Phill Hatton Peter Lovett Ethan James McCollum Nathaniel Mo Phillip Morgan Nick Pappe Benjamin Powell Daniel L. Reid Liam Resener 15

P R O G R A M N OT E S MESSIAH December 5-8, 2019

George Frideric Handel was born in Halle, Germany in 1685 and died in London in 1759. He composed Messiah in 1741, and led the first performance in the New Music Hall, Dublin in 1742. The text, taken entirely from biblical passages, was assembled by Charles Jennens. The score calls for soprano, alto, tenor, and bass soloists, chorus, 2 oboes, bassoon, 2 trumpets, timpani, strings, and continuo.

Handel spent most of his adult life living in London, composing dozens of Italianstyle operas for a city that couldn’t get enough of them. They were usually successful, but not always; both he and his opera company neared the brink of financial ruin more than once. Eventually Londoners lost their thirst for opera, and though Handel tried desperately to keep his string of successes going, it was no use. Yet just as his operas began failing, oratorios were becoming the next big thing in London. Oratorios are really operas in disguise; the difference is that oratorios portray biblical subjects and are meant to be presented in concert form. But oratorios use orchestra, chorus and soloists, and they contain arias, duets, ensembles, choruses, and recitatives, along with the occasional orchestral movement. They were a hit with the public, and Handel supplied as many as could be consumed, including such masterworks as Saul, Israel in Egypt, and of course Messiah. When Handel composed Messiah, his finances were at a low ebb. Two of his operas had failed in succession, and 16

rumors began that he would leave England altogether. When he was invited to Dublin by William Cavendish, Third Duke of Devonshire, he welcomed the change of scenery and hoped that his trip would fatten his purse at the same time. Handel put on a series of six subscription concerts of his works featuring himself as organ soloist. They were a smashing success—so much so that another series of six were promptly scheduled and Handel became the toast of the town. Messiah, however, was not part of Handel’s profit-making enterprise. Before he left for Ireland he was asked to compose a work for a concert that would benefit three Dublin charities: Mercer’s Hospital, The Charitable Infirmary, and a society for the relief of imprisoned debtors. (Though he was in some difficulty himself, Handel was always quick to aid a charitable cause.) He completed Messiah in an astonishing 24 days, just before he sailed for Ireland. By the time Messiah was performed in Dublin at Eastertime, Handel’s popularity there had become so great that a huge audience was expected; ladies were advised to forego their hoops and

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P R O G R A M N OT E S gentlemen their swords so a larger audience would fit in the hall and more money could be raised. Messiah was a sensation. The Dublin Journal said, “Words are wanting to express the exquisite delight it afforded to the admiring crowded audience.” Handel hoped to duplicate the success of Messiah in London, but at first it seemed a lost cause. Where his Old Testament oratorios were well-received, the New Testament Messiah seemed somehow to have crossed a line: there were many who objected to the story of Jesus being turned into “entertainment” given that theaters were considered dens filled with shady characters of loose morals. Over the course of several years, Handel put on Messiah three times, but it was received with utter indifference on each occasion. It was only when Handel harkened back to Messiah’s original purpose—a production intended to raise money for charities—that Messiah not only succeeded but became the musical fixture it is today. In 1750, Handel offered to produce his Messiah at a concert to benefit London’s Foundling Hospital, a “Hospital for the Maintenance and Education of Exposed and Deserted Young Children” – and somehow the public’s perception of the work changed overnight. So many clamored for tickets and so many had to be turned away at the door that a repeat performance had to be hastily organized. The public’s reaction was ecstatic, and the Foundling Hospital’s coffers were filled. The benefit performance was repeated annually and the practice of performing Messiah every season—a now 250 year tradition of standing—began. Messiah differs from Handel’s other oratorios. For one thing, it relies

heavily on its choruses to deliver its narrative. For another, it has no plot; it is not a biography of Jesus and there is no dramatic action. In fact, it has no characters at all. It is, rather, a musical exegesis of the Christian faith. It is not really about “what” or “how” at all—it is about “why.” Messiah’s music is remarkable in its scope, its depth, and its sheer beauty. It is a long work, but it doesn’t seem so: Handel’s music is a study in balanced proportion and exquisite pacing. There are three large sections. Part I begins with an unsettled, minor-key orchestral

"In 1750, Handel offered to produce his Messiah at a concert to benefit London’s Foundling Hospital... and somehow the public’s perception of the work changed overnight." Sinfonia. It continues with words from the prophet Isaiah and others, predicting the coming of the Messiah, giving the circumstances of his birth, and relating God’s plan for the redemption of Mankind. Part II tells of Man’s rejection of Jesus, his passion, and his resurrection. Part III is a hymn of thanksgiving that death is finally overcome. Messiah’s arias are where Handel is at his most poignant and his most personal. The highlights are far too numerous to mention, but among them are the joyous “Ev’ry valley shall be exalted” and “O thou that tellest;” the wandering music of “The people that walked in the darkness;” and the glorious interplay of “The trumpet shall sound.” But the real power of Messiah lies in

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P R O G R A M N OT E S its choruses. It is there that Handel transcends the individual and reaches for the universal, in the jubilant “And the glory of the Lord;” the mesmerizing melismas of “And He shall purify;” the innocent and sunny “For unto us a child is born;" the utterly remarkable “Glory to God;" and the magnificent trilogy of choruses that conclude the work, culminating in the monumental “Amen.” And of course, there is “Hallelujah.” The reason why people in many places— though not all—traditionally stand up for the “Hallelujah” chorus is not known. Some say that King George II stood during the “Hallelujah” chorus at an early performance, and of course, when the king stands up, everybody stands up. Whether the king was saluting the brilliant music, was suddenly wakened by

it, or merely needed to stretch his legs is unclear. Some object to the practice as a disruption to the music, while others feel it adds a charming spirit to the occasion. In any case, this chorus is perhaps the best-known piece of classical music ever written, and rightly so. Neither a biography nor a catechism, Messiah is unique among works of sacred music. From widely scattered snippets of biblical text it makes an extraordinary unity of spirit and of faith. Though its long tradition began as a Lenten observance, its transformation into a Christmas experience is altogether fitting. Conceived as an act of charity, it is far more than a sacred offering from a generous man; it is one of the gifts of life itself.

Help us give these stars an encore performance Do you have some love to spare? The Arrow Fund needs financial support and foster homes to give abused animals another chance for a happy life. Make a difference today by visiting us online.

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M E S S I A H L I B R E T TO Messiah Libretto George Frideric Handel MESSIAH (1742) A Sacred Oratorio | Charles Jennens, librettist

PART I “The prophecy and realization of God’s plan to redeem mankind by the coming of the Messiah” Scene 1: Isaiah’s prophecy of salvation 1. (Sinfonia /Overture) 2. (Accompagnato, tenor) Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God. (Isaiah 40:1-3) 3. (Air, tenor) Ev'ry valley shall be exalted, and ev'ry moutain and hill made low; the crooked straight and the rough places plain. (Isaiah 40:4) 4. (Chorus) And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. (Isaiah 40:5) Scene 2: The coming judgement

6. (Air, alto) But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner's fire. (Malachi 3:2) 7. (Chorus) And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness. (Malachi 3:3) Scene 3: “The prophecy of the Virgin Birth” 8. (Recitative, alto) Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us. (Isaiah 7:14; Matthew 1:23) 9. (Air and Chorus, alto) O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your God! (Isaiah 40:9) Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee. (Isaiah 60:1)

5. (Accompagnato, bass) Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land. And I will shake all nations; and the desire of all nations shall come. (Haggai 2:6-7)

10. (Accompagnato. bass) For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of Thy rising. (Isaiah 60:2-3)

The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts. (Malachi 3:1)

11. (Air, bass) The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah 9:2)

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M E S S I A H L I B R E T TO 12. (Chorus) For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the mighty God, the Everlasting Father, the Prince of Peace. (Isaiah 9:6)

15. (Recitative, soprano) And the angel said unto them: "Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord." (Luke 2:10-11)

Scene 4: “The appearance of Angles to the Shepherds”

16. (Accompagnato, soprano) And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying: (Luke 2:13)

13. Pifa ("Pastoral Symphony") 14a. (Recitative, soprano) There were shepherds abiding in the field, keeping watch over their flocks by night. (Luke 2:8) 14b. (Accompagnato, soprano) And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. (Luke 2:9)

17. (Chorus) "Glory to God in the highest, and peace on earth, good will towards men." (Luke 2:14) Scene 5: “Christ’s redemptive miracles on earth” 18. (Air, soprano) Rejoice greatly, O daughter of Zion; shout, O daughter of

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M E S S I A H L I B R E T TO Jerusalem! Behold, thy King cometh unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen. (Zecharaiah 9:9-10)

He gave His back to the smiters, and His cheeks to them that plucked off His hair: He hid not His face from shame and spitting. He was despised. (Isaiah 53:6)

19. (Recitative, alto) Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. (Isaiah 35:5-6)

26. (Chorus) All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on Him the iniquity of us all. (Isaiah 53:6)

20. (Duet, alto & soprano) He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. (Isaiah 40:11) Come unto Him, all ye that labour, come unto Him that are heavy laden, and He will give you rest.Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. (Matthew 11:28-29) 21. (Chorus) His yoke is easy, and His burden is light. (Matthew 11:30) INTERMISSION

PART II “The accomplishment of redemption by the sacrifice of Christ, mankind’s rejection of God’s offer, and mankind’s utter defeat when trying to oppose the power of the Almighty” Scene 1: “The Redemptive sacrifice, the scorging and the agony on the cross” 22. (Chorus) Behold the Lamb of God, that taketh away the sin of the world. (John 1:29) 23. (Air, alto) He was despised and rejected of men, a man of sorrows and acquainted with grief. (Isaiah 53:3) 22

27. (Accompagnato, tenor) All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: (Psalm 22:7) 28. (Chorus) "He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him." (Psalm 22:8) Scene 3: “His ascension” 33. (Chorus) Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, The Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.(Psalm 24:7-10) Scene 5: “Whitsun, the gift of tongues, the beginning of evangelism.” 38. (Air, soprano) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things. (Isaiah 52:7; Romans 10:15) 39. (Chorus) Their sound is gone out into all lands, and their words unto the ends of the world. (Romans 10:18; Psalm 19:4) Scene 6: “The world and its rulers reject the Gospel” 42. (Recitative, tenor) He that dwelleth

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M E S S I A H L I B R E T TO in Heav'n shall laugh them to scorn; The Lord shall have them in derision. (Psalm 2:4)

in the twinkling of an eye, at the last trumpet. (I Corinthians 15:51-52)

Scene 7: “God’s Triumph”

48. (Air, bass) The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

43. (Air, tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel. (Psalm 2:9) 44. (Chorus) Hallelujah: for the Lord God Omnipotent reigneth. (Revelation 19:6) The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. (Revelation 11:15) King of Kings, and Lord of Lords. (Revelation 19:16) Hallelujah!

PART III “A Hymn of Thanksgiving for the final overthrow of Death”

For this corruptible must put on incorruption and this mortal must put on immortality. (I Corinthians 15:52-53) Scene 4: “The glorification of the Messianic victim” 53. (Chorus) Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. (Revelation 5:12-14)

Scene 1: “The promise of bodily resurrection and redemption from Adam’s fall” 45. (Air, soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. (Job 19:25-26) For now is Christ risen from the dead, the first fruits of them that sleep. (I Corinthians 15:20) 46. (Chorus) Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. (I Corinthians 15:21-22) Scene 2: “The Day of Judgement and general Resurrection”

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47. (Accompagnato, bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment, A U D I E N C E

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

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MAHLER 5 Friday, January 17, 2020 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor

Gustav MAHLER

Symphony No. 5 in C-sharp Minor (68 min) I. Trauermarsch II. Stürmisch bewegt III. Scherzo IV. Adagietto V. Rondo-Finale

Additional support for this concert provided by Susan Casey Brown

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 MAHLER SYMPHONY NO.5 January 17, 2020, 11AM by Laurie Shulman ©2019 | First North American Serial Rights Only ONE-MINUTE NOTES Mahler is associated with large orchestras, lengthy symphonies, and plenty of angst. His Symphony No. 5 in C-sharp Minor delivers on all counts, yet it dates from one of the happiest times in his troubled life: his courtship of the young Viennese beauty Alma Maria Schindler, whom he married in March 1902. Cast in five large movements, the symphony clocks in at well over an

SYMPHONY NO. 5 IN C-SHARP MINOR GUSTAV MAHLER BORN 7 JULY, 1860 IN KALISCHT, BOHEMIA DIED 18 MAY, 1911 IN VIENNA, AUSTRIA Middle-period Mahler: instruments without voices Mahler’s symphonies divide into two principal categories: those that are exclusively instrumental and those that employ the human voice. His First Symphony (1889) was instrumental; the next three incorporated soloists and chorus in varying degrees. For his Fifth through Seventh Symphonies, he returned to the concept of a purely instrumental symphony. The Eighth embrace voices again; the final two (including the unfinished Tenth) are instrumental. 26

hour. And what a roller-coaster of an hour it is! The path is a gradual one from tragedy to triumph. Along the way, Mahler unfolds a series of marches, waltzes, Austrian ländler, and a chorale. His moods are chameleonlike: frenzied, tender, desperate, joyous. The musical landscape is so varied that we are never bored. More often than not, we are riveted.

Historians have traditionally regarded the Fifth, Sixth and Seventh Symphonies as the culmination of Mahler's middle period. The break from vocal resources in Mahler's Fifth Symphony was an affirmation of his commitment to absolute music, and he denied that any specific programme or extra-musical association applied to the music of the Fifth. Whirlwind romance, passionate symphony The background of the Fifth Symphony is intimately tied to Mahler's romance with Alma Maria Schindler (1879-1964), whom he married in March 1902. Mahler began work on the Fifth Symphony during the summer of 1901. During the season he was exceedingly busy as conductor of the Vienna Court Opera, and he tended to do most of his composing during the summers. When he met Alma at the home of mutual friends in November 1901, he was 41; she was 22. She was

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P R O G R A M N OT E S the daughter of a prominent Austrian landscape painter. Well-educated, wellborn, and musically talented, Alma was also considered to be one of Vienna's great beauties. Mahler was smitten, and the love affair developed rapidly. Barely four months later she was already pregnant when they were married. According to Mahler's close friend Natalie Bauer-Lechner, Mahler proposed to Alma by sending her the Adagietto of this symphony. The movement is his love song to his bride, and one cannot help but think that the entire work is at least in part inspired by the passion Alma brought forth in Mahler. The newlyweds spent their first summer together on holiday in Maiernigg, Austria, where Mahler continued work on the symphony. He completed the orchestration the following winter and conducted the first performance in Cologne in October 1904. Dissatisfied, Mahler began to revise. A letter to Alma the week of the premiere reads: The Scherzo is the very devil of a movement! I see it is in for a peck of troubles! Conductors for the next 50 years will all take it too fast and make nonsense

of it; and the public--oh, heavens, what are they to make of this chaos of which new worlds are for ever being engendered?... What are they to say to this primeval music, this foaming, roaring, raging sea of sound?...Oh, that I might give my symphony its first performance 50 years after my death!

"Mahler proposed to Alma by sending her the Adagietto of this symphony. The movement is his love song to his bride, and one cannot help but think that the entire work is at least in part inspired by the passion Alma brought forth in Mahler." He was to continue the revision process for the rest of his life. The Leipzig house of C.F. Peters published the symphony in 1905, but Mahler wrote to Peters in June 1910 requesting more alterations. The version that is performed today was not published until 1964.

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P R O G R A M N OT E S The conducting connection Mahler’s extensive experience as a conductor gave him an encyclopedic knowledge and understanding of the orchestra's capabilities. He took pains to notate interpretive details. Like most of his scores, the Fifth Symphony is scrupulously marked. It indicates subtle changes of tempo and dynamics and the articulation of individual instruments, as well as descriptive adjectives intended to shape the musical character of a particular passage. He was keenly aware of the Fifth Symphony’s technical difficulties. One of his champions was the Dutch conductor Willem Mengelberg (1871-1951), who did much to further Mahler's career in western Europe. During preparations for the Concertgebouw Orchestra's Dutch premiere of the Fifth Symphony early in 1906, Mahler wrote to Mengelberg: The rehearsals, as you have proposed them, are a bit on the short side. I definitely ought to have three rehearsals for the symphony! Would it not be possible for me to squeeze in one rehearsal somehow on the Tuesday?... Besides, dear Mengelberg, the Fifth is very, very difficult. Please hold thorough preliminary rehearsals, otherwise we shall have a shambles! I shall be hissed if the performance is not brilliant...Enclosed is the score with a multitude of revisions, all of which are extremely important. The sound and shape of Mahler The Fifth Symphony shares certain characteristics with all of Mahler's work. First is the enormous orchestra, used with great imagination and often taxing the normal ranges of the individual 28

instruments. Second is Mahler's harmony, which stretches traditional tonality to its furthest limits; it is no accident that Mahler's most influential protegés were Arnold Schoenberg and Alban Berg. A third Mahlerian trademark is the formal variety. Mahler's score specifically designates three parts and five movements to the symphony. The first two movements are bound together in spirit and by their musical material; they constitute the first part. The central scherzo is the second part. The last two movements are played without pause, thus forming the third part.

"Psychologically speaking, the Fifth proceeds from tragedy to triumph." What makes the Fifth Symphony different from its predecessors? Mahler's extraordinary use of counterpoint is a distinguishing feature of this symphony. We know that he had been studying the music of Bach. His composing cottage at the summer retreat in Maiernigg contained the literary works of Goethe and Kant and the music of Bach. Another unusual factor is its lack of reliance upon an extra-musical idea. Musicians’ corner Psychologically speaking, the Fifth proceeds from tragedy to triumph. The work opens with a lone trumpet announcing a funeral march. Listeners familiar with Mahler's music will note a strong relationship to the opening movement in his Fourth Symphony; the ensuing march derives from a song in his cycle Des Knaben Wunderhorn.

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P R O G R A M N OT E S Mahler's music wails with grief. He paints a huge canvas of cosmic emotion, using enormous brushstrokes of sound for the largest possible gesture. The second movement grows directly out of the first, functioning as a huge development section. The tonality changes to A Minor. (To designate the Fifth Symphony as being in C-sharp Minor is something of a misnomer, for the work only begins in that key.) Its emotional climax occurs with a spacious chorale in D Major, prophetic of hope and sunshine amidst the relentless clouds of the funeral music. Mahler's Scherzo marries the Austrian Laendler to the Viennese waltz, with a sprinkling of operetta for good measure. At sixteen minutes' duration, it is one of the longest scherzi in the repertoire. One needs its spaciousness in order to fully emerge from the trauma of the first two movements. Sometimes flirtatious, often peasant-like, the Scherzo provides an opportunity for every section in the orchestra to shine; a solo horn is featured. Tender and dreamy, the Adagietto completely alters the psychological makeup of the work. Mahler scored the movement for strings and harp alone, thereby creating an atmosphere of intimacy. The key of F Major, traditionally associated with pastoral themes, underscores that feeling. With this slow movement, Mahler took a significant step in a direction that was to characterize his later work: more emphasis on strings, and a new lyricism not present in his earlier compositions. The Adagietto provides the transition, the catharsis through which the triumph and ecstasy of the finale become possible.

"Tender and dreamy, the Adagietto completely alters the psychological makeup of the work. Mahler scored the movement for strings and harp alone, thereby creating an atmosphere of intimacy." Affirmative finale: triumph trumps tragedy D Major returns to conclude the symphony: the key of both the second movement chorale and the Scherzo. Mahler indicates that the key choice is no accident by quoting from the earlier chorale. Formally it is a rondo. Through its several sections it binds together the energy of the first two movements, suffusing it with the positive warmth of the Scherzo and the tenderness of the Adagietto. Mahler opens the finale with singable melodies that he later merges with the transcendent chorale of the second movement. Rather than restating one idea after another in retrospect, Mahler weaves the musical strengths of his symphony all together into a larger, stronger fabric. The effect is electrifying: brilliant polyphonic writing and a magnificent orchestral sonority. The dramatic weight has shifted from the first movement to the last movement. The emergence of triumph over tragedy is complete.

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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 30

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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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

SIGNATURE CLASSICS SERIES SPONSOR

SIGNATURE CLASSICS

TEDDY TALKS MAHLER Saturday, January 18, 2020 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Gustav MAHLER

Symphony No. 5 in C-sharp Minor (BREAKDOWN)

INTERMISSION (20 minutes) Gustav MAHLER

Symphony No. 5 in C-sharp Minor (68 min) I. Trauermarsch II. Stürmisch bewegt III. Scherzo IV. Adagietto V. Rondo-Finale

Additional support for this concert provided by Susan Casey Brown

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

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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 October 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) CONDUCTORS SOCIETY (SUSTAINER) $100,000 - $249,999 Mr. and Mrs. William Ballard Mr. Owsley Brown III † Mr. and Mrs. David A. Jones, Sr. Mr. and Mrs. James S. Welch, Jr. CONDUCTORS SOCIETY $75,000 - $99,999

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Tim and Shannon 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. Geoffrey M. White Mr. Richard Wolf Hon. and Mrs. John Yarmuth Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller SONATA $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 Mr. and Mrs. Michael Chiara 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 Mr. M. F. Geary Mrs. Gila Glattstein Mr. Joseph Glerum Mr. and Mrs. Laman Gray

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. Fred Greaves 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 Scott McReynolds 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 Mr. Jonathan Wolff Mrs. Tinker Zimmerman Jeanne and Paul Zurkuhlen Anonymous (3) DUET $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. Russ Powell and Mr. Doug Elstone 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) MATCHING GIFTS Hardscuffle, Inc. for Hon. Jerry Abramson Hardscuffle, Inc. for Ms. Nana Lampton Kindred Healthcare for Mr. William Altman ExxonMobil Foundation for Mr. David E. Mueller The Humana Foundation for Mr. Thomas Turley Noland, Jr. and Vivian Ruth Sawyer

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FOUNDATION PARTNERS Adolf and Sarah van der Walde and Israel Rosenbloum Fund 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 Leadership Giving 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 Louise and Jay 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

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 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

Mrs. Mona Newell Dr. Teresa Reed 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

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 Janet Falk A U D I E N C E

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

UPTEMPO STEERING COMMIT TEE Lauren 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-$24,999

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

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Phoenix Lighting

Vincenzo’s

Strothman & Company PSC

Vintage Printing

Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you! Area of Town

Restaurant Name

Reservations

Phone

Address

Notes

Downtown

Repeal Oak-Fired Steakhouse

Yes

(502) 716-7372

101 West Main St.

New steakhouse worth trying and great location.

Downtown

Jeff Ruby’s Steakhouse

Yes

(502) 584-0102

325 West Main St. (Galt House Hotel)

Premium steaks & seafood

Downtown

Bristol Bar & Grille

Yes

(502) 582-1995

614 West Main St.

Wide variety of local favorites

Downtown

Walker’s Exchange

Yes

(502) 272-1834

140 N. 4th St. (Galt House Hotel)

Casual Southern Contemporary

Crescent Hill

Pat’s Steakhouse

Yes

(502) 893-2062

2437 Brownsboro Rd.

Premium steaks since 1958

Crescent Hill

Porcini Restaurant

Yes

(502) 894-8686

2730 Frankfort Ave.

Fine Northern Italian cuisine

Highlands

Jack Fry’s

Yes

(502) 452-9244

1007 Bardstown Rd.

High-end Southern fate & cocktails

Check out our full list of preferred restaurants at Audience502.com

Whiskey Row’s exclusive oak-fired steaks and rare bourbon selection awaits you.

REPE ALLOUISVI LLE .COM

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LOUISVILLE L ANDMARK

DISCOVER THE PAST IN THE PRESENT AT LOUISVILLE’S LOCUST GROVE

Locust Grove

Locust Grove is where Louisville begins—where curiosity is welcome, and every day is a day for exploration. Built in 1792, this National Historic Landmark and historic house museum has welcomed artists, presidents, adventurers, and pioneers of early Kentucky, and was the final home of General George Rogers Clark, hero of the American Revolution and founder of the city of Louisville. This house was here at the beginning—the beginning of Louisville, of Kentucky, and the United States. Built in 1792 by William Croghan, an Irish immigrant and veteran of the American Revolution, Locust Grove was home to four generations of Louisville families and over 70 enslaved individuals. Croghan operated Locust Grove as a farm and was also involved in surveying the area before and after

Kentucky became the fifteenth state. Open for tours from February through December, Locust Grove is the perfect spot to explore the early nineteenth century through the daily lives of the people who lived and worked there and hear the stories of all who contributed to the history of the site. From the eight Croghan children born and raised in the house, to the enslaved individuals who built the house and farmed the land, there are many contributions to the rich history of the grounds. Locust Grove is also the only site still standing west of the Appalachian Mountains where Lewis and Clark visited together. During the daily tours, visitors will explore the restored historic house and hear about the people who frequented its parlors, as well as venture out into the A U D I E N C E

outbuildings and grounds to learn about the lives and stories of the enslaved community. This small farm distillery demonstrates the intersection between agriculture and alcohol at special events throughout the year, taking guests through the step by step process of turning grain, fruit, and water into spirits using 19th century methods. Annual events such as Gardeners’ Fair in May, a Free Fourth of July celebration, and the 18th Century Market Fair in October allow guests to immerse themselves in the stories of the past and be surrounded by the natural beauty of 55 acres of gardens and grounds. Christmastide 1816, on December 7, 2019 brings the past to life as the Croghan family entertains their friends and neighbors by candlelight into the evening with music, games, crafts, and more. The site is celebrating its third century as part of Louisville’s great story. Come learn something old every day at Locust Grove and discover the present in the past. Historic Locust Grove is a 55- acre 18th century historic site located at 561 Blankenbaker Lane. For more information, visit LocustGrove.org or call 502-897-9845. 37

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

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Our Roots Run Deep. Deeply connected to our Louisville home for 165 years, Middleton Reutlinger has intentionally sustained our status as an independent mid-size firm by developing close, personal working relationships with our local, national and international clients. Our team of 50+ attorneys offer a broad range of services to a diverse client base. Our focus? Successfully meeting your legal needs with cost-effective solutions, wherever you need us.

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502.584.1135 MiddletonLaw.com

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