Audience | Fifths of Beethoven & The Gilded Age | Louisville Orchestra | January 2023

CREATORS CORPS

Tyler Taylor

TJ Cole

Lisa Bielawa

oct. 21, 2022 – jan. 22, 2023

Image: Alphonse Mucha Detail of Gismonda, 1894 Color lithograph 851 16 × 293⁄16 in.

Alphonse Mucha: Art Nouveau Visionary is organized by the Mucha Foundation, Prague. The exhibition is curated by Tomoko Sato.

Czech-born Alphonse Mucha (1860 – 1939) was one of the most celebrated artists in Paris at the turn of the 20th century. As an influential force behind the Art Nouveau movement, he created sumptuous posters and advertising—promoting such everyday products as cigarette papers and tea biscuits—that transformed the streets of Paris into open-air art exhibitions. Alphonse Mucha: Art Nouveau Visionary celebrates the Mucha Trust Collection’s first major U.S. tour in 20 years, featuring a vast array of posters, illustrations, ornamental objects, and rarely seen sculpture, photographs, and self-portraits. Support for this exhibition provided by: Media sponsorship from: Exhibition season sponsored by: Debra and Ronald Murphy Arthur J. and Mary Celeste Lerman Charitable Foundation The Sociable Weaver Foundation

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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.

Our digital footprint is stronger than ever. We keep performing arts enthusiasts “in the know” with show previews, reviews, photo galleries, ticket offers, and more.

MESSAGE FROM THE LOUISVILLE ORCHESTRA

As the year turns from December to January, from 2022 to 2023, we all will likely wish friends and family a “Happy New Year”. That phrase is filled with many possibilities: optimism, fresh starts, uncertainty, and potential. The new year presents an opportunity for discovery and adventure couched in the frame of the necessary predictability of days, months and years.

At the Louisville Orchestra we embrace adventure and discovery at every turn, whether that be the first hearing of classic repertoire or the first hearing of a freshly written piece. It is in our LO DNA to be daring. 2023 promises to be a fantastic time to explore many programs the Louisville Orchestra has to offer.

Starting with our first performances of the New Year, we will hear new works from our Louisville Orchestra Creators Corps in three separate concerts. In our January 13th and 14th offerings, we will discover Lisa Bielawa's Send the Carriage Through. Lisa, TJ and Tyler are all making Louisville their home for a year and acting as a living, creative force within our community. Don’t miss a chance to hear their distinctive voices in January and March on signature Classics shows conducted by Teddy!

In March, the Louisville Orchestra continues its tradition of sharing music with the next generation of listeners, as every 4th and 5th Grade public school student is invited to a MakingMUSIC concert here in Whitney Hall. Going back to our very founding in 1937, MakingMUSIC has been the gateway to discovery and delight for our audiences of the future.

In April, we have the honor of welcoming to Louisville, a musician who needs no introduction: Yo-Yo Ma. Yo-Yo joins us in Louisville for a one-night only concert and gala, displaying his distinctive gifts as a soloist and joining Teddy and the Orchestra in a program highlighting our own remarkable history and future.

Finally, just as our season winds down here in Louisville and right after Derby, we share your Louisville Orchestra with our friends across Kentucky, as we embark on a week of concerts in Appalachia. This is the beginning of our multi-week touring schedule ending in Spring 2024, where we will criss-cross the State, sharing and collaborating with musicians and audiences alike.

2023 promises to be a very “Happy New Year” at your Louisville Orchestra and we invite you along to share every special moment with us!

Graham Parker Chief Executive

CLASSICS SERIES

March 4 and 11

Festival of American Music Journeys of Faith & The Literary Influence April 1 Rach & Bartok May 13 From Silence to Splendor

COFFEE SERIES March 10 Festival of American Music The Literary Influence May 12 From Silence to Splendor

POPS SERIES

January 28

Hollywood’s Golden Age February 25 Aretha: A Tribute March 18 Back to the 80’s April 7 The Texas Tenors

FAMILY SERIES

January 22 Lights, Camera, Action! March 26

Cultures Crossing April 21 Harry Potter in Concert The Order of the Phoenix

PHOTO BY JON CHERRY

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.

A MESSAGE FROM THE CREATORS CORPS

The first thing I noticed about the Creators Corps initiative when it was announced in the Spring of 2021 was that composers would be embedded in the Louisville community in order to create meaningful connections with the people for and with whom they would be making music. The second thing I noticed was that there would be three Creators at one time, living down the street from one another, sharing the journey. These two structural details had me hooked. They showed me that the LO has a unique vision of the role a musical creator can play in our communities and in the field at large.

It is heartening to see so much advocacy for artists as we re-find our bearings after a disorienting and difficult few years. It has been, admittedly, a struggle for many of us — and, no doubt, for many of you reading this message. But many of us composers are also seeking to be empowered as advocates ourselves, not just advocated for. In fact, for me this desire has only become stronger. The Creators Corps framework supposes that the stereotype of the Creative Genius who is locked away composing, misunderstood by his milieu, might be worth reexamining.

We Creators — TJ Cole, Tyler Taylor and I — may have different styles and inspirations, come from different generations and backgrounds, and have different things to say — but all three of us are guided by a deep connection with music’s role in the world, and the possibilities of the composer as citizen of that world. I do not wish to be locked

away from shared humanity while I create! In fact, I hope my listeners learn more about themselves than about me through their experience of my work. In order to invite that kind of experience, I need to place myself in the town square, and listen. The Creators Corps has done just that — plopped me down in the town square, and given me both time to listen and a little instant family to help me process it all over coffees and the occasional Bourbon.

The LO and Teddy, himself a gifted and visionary leader, have unlocked/opened the door to the Louisville community for us, welcoming and energizing our own individual and unique visions for music-making in civic life. On our block in Shelby Park, we are always there for each other — for bouncing ideas around, cheerleading, relaxing and always nurturing one another. We ignite each other’s imaginations. With deep investment, we leverage, then celebrate, each milestone in each other’s creative process.

We have formed a kind of intergenerational think-tank. While I am proud and honored to be a big sister to TJ and Tyler, I am also learning an enormous amount from these tremendously talented two, because we are sharing our inmost creative thinking with each other as we work. As more and more local musicians and artists of all ages — plus the superb guest artists that come to Louisville to work with the LO — come into our circle, this idea world grows. It is about the future, what we have learned as artists and as people in the past few years, and how orchestras, composers, cities and communities can use this knowledge to build new meaning together.

— Lisa Bielawa

PHOTO BY DESMOND WHITE

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster

Julia Noone, Associate Concertmaster Open, Assistant Concertmaster Mrs. John H. Clay Chair Katheryn S. Ohkubo Stephen Taylor Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards

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

James McFaddenTalbot 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

OBOE

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

Trevor Johnson*, Assistant Principal Jennifer Potochnic ‡

FLUTE

Kathleen Karr, Principal Elaine Klein Chair Jake Chabot Open

PICCOLO Open

Alvis R. Hambrick Chair

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 COFFEE CONCERT

FIFTHS OF BEETHOVEN

Friday, January 13, 2023 • 11AM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor Jonathan Biss, piano

Ludwig van BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro Jonathan Biss, piano

Lisa BIELAWA Send the Carriage Through (world premiere)

Ludwig van BEETHOVEN Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Allegro III. Allegro

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.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

LO CLASSICS

FIFTHS OF BEETHOVEN

Saturday, January 14, 2023 • 7:30PM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor Jonathan Biss, piano

Ludwig van BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” I. Allegro II. Adagio un poco mosso III. Rondo: Allegro Jonathan Biss, piano

Lisa BIELAWA Send the Carriage Through (world premiere)

Ludwig van BEETHOVEN Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

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.

ARTIST BIOGRAPHY

LUDWIG VAN BEETHOVEN (1770-1827)

Along with Mozart and Bach, many consider Ludwig van Beethoven as the other most recognizable of classical composers. And that is classical with a small “c”, as he and his music cannot be defined as being indicative solely of the Classical Era of music history. Beethoven is often referred to as the “giant” who straddles the Classical and Romantic periods, as the music he composed later in his life had a great influence on the composers following him in the Romantic Era.

Born in Bonn, Germany in December of 1770, his actual birthdate was not recorded. However, we do know that he was baptized on December 17th, so as the custom and law of the day was to baptize a baby within 24 hours of its birth, December 16, 1770 has been widely accepted as his date of birth. His uncle and namesake was the Kapellmeister of the city and prominent musician. His father was a court singer and alcoholic who wanted his young son to be a money-generating piano prodigy like Mozart. Stories from neighbors tell of the young boy crying and standing for hours playing the keyboard and his father beating him when he made mistakes. Although the “prodigy thing” never worked out, Beethoven was undoubtedly a musical genius who, because of his father’s inability to provide income, began at an early age to support his family and two younger brothers —

something that became a pattern in his life. His first work was published in 1782 at the age of 12. By that time, a most-likely dyslexic Beethoven had left his failing studies at school to study composition privately and soon after at 14 assumed the post of Assistant Court Organist.

The young Beethoven traveled to Vienna twice, in 1787 and 1792, to seek to study with the “superstars” of the day, particularly Mozart. That he ever studied or even met with Mozart cannot be confirmed, but the older composer was obviously aware of him as we know he publicly predicted a great future for Beethoven one day. He did, however, on the second trip study with Franz Joseph Haydn and also Antonio Salieri, after Mozart’s death the two greatest living composers in the city. Beethoven had not yet been recognized as a composer, but had gained fame as a pianist. With the help of adoring Viennese patrons, in 1794 he moved permanently to Vienna and made his public debut on March 29, 1795, most likely playing his Piano Concerto No. 1. Famously deaf, the condition began to affect him as early as 1796. By the turn of the 19th century, it had begun to have its devastating effect. Famous for his temper, he wrote in what has been named the “Heiligenstadt Testament”: “(you who) say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you and I would have ended my life — it was only my art that held me back. Ah, it seemed impossible to leave the world until I had brought forth all that I felt was within me."

ARTIST BIOGRAPHY

A great many of his most famous works were written from 1803 – 1812 called his “Heroic” period, while he was progressively becoming deaf, including the two we will hear performed in this concert.

Beethoven never married, but had a mysterious and brief affair with his “Immortal Beloved” believed by most scholars now to be Antonie Brentano, a wealthy married woman and philanthropist originally from Vienna. It was to her he dedicated the “Diabelli Variations” and she most likely was the subject of his song cycle “An die ferne Geliebte” (“To the Distant Beloved”).

Beethoven died March 26, 1827. His legacy as one of the greatest composers, and indeed geniuses, who ever lived cannot be denied. He excelled in and influenced all forms of music including symphonies, concertos, sonatas, string quartets, art song and even opera, although he composed only one, Fidelio.

LISA BIELAWA (B.1968) Composer, producer, and vocalist

Lisa Bielawa is a Rome Prize winner in Musical Composition and takes inspiration for her work from literary sources and close artistic collaborations. Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times. She is the recipient of the 2017 Music Award from the American Academy of Arts

& Letters and a 2020 Discovery Grant from OPERA America’s Opera Grants for Female Composers. She was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018 and is Artist-in-Residence at Kaufman Music Center in New York for the 2020-2021 season.

Bielawa consistently executes work that incorporates community-making as part of her artistic vision. She has created music for public spaces in Lower Manhattan, the banks of the Tiber River in Rome, on the sites of former airfields in Berlin in San Francisco, and to mark the 30th anniversary of the fall of the Berlin Wall. In 1997 Bielawa co-founded the MATA Festival, which celebrates the work of young composers, and for five years she was the artistic director of the San Francisco Girls Chorus.

She received a 2018 Los Angeles Area Emmy nomination for her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch's Accuser, created with librettist Erik Ehn and director Charles Otte. Vireo was filmed in twelve parts in locations across the country and features over 350 musicians. Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCETLink and Single Cel. In February 2019, Vireo was released as a two CD + DVD box set on Orange Mountain Music.

Recent concert highlights for Bielawa include the New York premiere of her violin concerto Sanctuary at Carnegie Hall by Jennifer Koh and the American Composers Orchestra (ACO), conducted by Marin Alsop. Sanctuary was co-commissioned by the Orlando

Philharmonic (which premiered the piece), Carnegie Hall, ACO, and the Boston Modern Orchestra Project (BMOP). The piece is inspired by the layered meanings of the word ’sanctuary’ within American consciousness, and is the culmination of a large-scale research project Bielawa undertook during her fellowship at the American Antiquarian Society. Other highlights include the world premiere of Voters’ Litany, a commission from the Cathedral Choral Society that marked the centennial of the 19th Amendment, which was premiered at the National Cathedral in Washington, DC; and Land Sea Sky, a commission from the Radcliffe Choral Society (RCS) premiered by RCS with members of BMOP. Bielawa describes Land Sea Sky as, “a joyful retelling of three young women's stories of journeying.” The work is a response to young people facing a pandemic-interrupted education and an uncertain path forward. Bielawa’s music has been premiered at the NY PHIL BIENNIAL, Lincoln Center, Carnegie Hall, The Kennedy Center, SHIFT Festival, Naumburg Orchestral Concerts, National Cathedral, Rouen Opera, MAXXI Museum in Rome, and Helsinki Music Center, among others. Orchestras that have championed her music include The Knights, Boston Modern Orchestra Project, and the Orlando Philharmonic. Premieres of her work have been commissioned and presented by the Chamber Music Society of Lincoln Center, Brooklyn Rider, Seattle Chamber Music Society, Radio France, and more. She is recorded on the Tzadik, TROY, Innova, BMOP/ sound, Supertrain Records, Cedille, Orange Mountain Music and Sono Luminus labels.

Born in San Francisco into a musical family, Lisa Bielawa played the violin and piano, sang, and wrote music from early childhood. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale University, and became an active participant in New York musical life.

For more information, please visit www.lisabielawa.net.

PROGRAM NOTES

FIFTHS OF BEETHOVEN January 13 & 14, 2023

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

ONE MINUTE NOTES

PIANO CONCERTO NO. 5 IN E-FLAT MAJOR, OP. 73 “EMPEROR”

Beethoven’s Fifth Piano Concerto, known as "Emperor," does not refer to any particular monarch, although it does bear a dedication to the composer’s student and patron, Archduke Rudolph of Austria. The nickname “Emperor” attached itself somewhat later but incurred skepticism early. The English editor and writer Sir George Grove (of Grove’s Dictionary of Music and Musicians fame) dismissed the label in the 1870s as ‘inauthentic.’ The term has stuck because the concerto seems imperial: unfolding in large, commanding gestures that suggest power, poise, and confidence. Hallmarks of Beethoven’s heroic style — the key of E-flat major, march rhythms, and quasi-military themes — strengthen the association, which seems fitting to this marvelous concerto.

One of Beethoven’s innovations in the ‘Emperor’ Concerto is his placement of the piano cadenza at the beginning of the first movement, rather than toward the end. Notice the interaction between piano and orchestra, when one is playing and the other is not; their interchange is a model of concerto dialogue. The French composer Hector Berlioz called Beethoven’s slow movement ‘the very image of grace.’ Equally graceful is the subtle, seamless transition to the finale –no pause after the slow movement! Gloriously optimistic, the finale positively sparkles.

SYMPHONY NO. 5 IN C MINOR, OP. 67

The stormy Fifth Symphony communicated a different spectrum of feelings, generally summarized as a journey form struggle to triumph. After its second performance in Leipzig, on 23 January 1809, the local press reported that the first movement was “…a very serious, somewhat gloomy yet fiery allegro, noble…with a lot of originality, strength and consistency — a worthy movement which offers rich pleasure even to those who cling to the old way of composing a symphony.”

Beethoven had clearly seized upon a new way of composing. That reviewer two centuries ago deserves credit for recognizing the revolutionary qualities of Beethoven’s Fifth, which continues to thrill and astound listeners. Two hundred years have not dulled its ability to raise the hair on the back of our necks.

That famous opening motive is the grist for the entire first movement — and recurs in the third! Beethoven counters his turbo-charged opening with a poetic and refined slow movement. Notice the importance of the cellos as a melody instrument, particularly in the third movement. C Major, the Viennese key of sunlight, brightened the finale: triumph over adversity. The resolute, optimistic conclusion is heightened by expanded instrumentation: this was the first symphony in which Beethoven used piccolo, contrabassoon, and trombones, all in the finale.

PROGRAM NOTES

LISA BIELAWA is a composer, vocalist and producer. She often draws on literary sources and close personal collaborations in her compositions. Her premiere tonight is part of the Louisville Orchestra’s Creators Corps season. The new piece, Send the Carriage Through, was a response to watching the funeral of Queen Elizabeth II of England last May. “As I watched the astounding choreography of the procession, I ruminated: what does the way we enshrine people who are gone, especially great leaders, say about us?” she writes.

With her thoughts turning to the two Beethoven works on this program, she pondered: “I began to imagine a piece in which we could take a ride through this colorful history of musical leadership. How many different forms can (musical) leadership take? ... What began as a rumination on greatness and mortality took on more and more playfulness and joy as my relationship with Louisville became more and more colorful and engaged. I began to celebrate the exhilaration of music-making as a team sport, a kind of relay race in which one could literally ‘pass the baton,’ sometimes leading, sometimes following.”

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 Fare

Downtown Repeal Oak-Fired Steakhouse Yes (502) 716-7372 101 West Main St. Upscale steakhouse on historic Whiskey Row

Downtown Jeff Ruby’s Steakhouse Yes (502) 584-0102 325 West Main St. (Galt House Hotel) Premium steaks & seafood

Downtown Mayan Cafe Yes (502) 566-0651 813 E. Market St. Farm-to-table Mexican & Pan-Latin cuisine

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 fare & cocktails

Downtown Proof on Main Yes (502) 217-6360 702 W. Main St. Modern fare with local flavor

Highlands Seviche Yes (502) 473-8560 1538 Bardstown Rd. Upscale Latin American cuisine

Downtown Swizzle Yes (502) 252-2500 140 N. Fourth St., 25th Floor Sexy. Swanky. Social.

Crescent Hill Volare Italian Ristorante Yes

Audience502.com.

Email info@theaudiencegroup.com or call 502.212.5177.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

COFFEE SERIES SPONSOR

LO COFFEE CONCERT

THE GILDED AGE

Friday, February 3, 2023 • 11AM

The Kentucky Center, Whitney Hall

Alasdair Neale, conductor Jon Gustely, horn

Richard STRAUSS Horn Concerto No. 1 in E-flat major, Op. 11 I. Allegro II. Andante III. Allegro Jon Gustely, horn

Maurice RAVEL Valses nobles et sentimentales

I. Modéré II. Assez lent III. Modéré IV. Assez animé V. Presque lent VI. Assez vif VII. Moins vif VIII. Epilogue

Richard STRAUSS Suite from Der Rosenkavalier, Op. 59

Concert Sponsor:

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.

ARTIST BIOGRAPHY

MAURICE RAVEL (1875-1937)

Late 19th – early 20th century composer, Maurice Ravel was born JosephMaurice Ravel on March 7, 1875, in Ciboure, France. His mother was of Basque origin, which explains Ravel’s fascination with the music of Spanish cultures. At the age of 14 he entered and began studies at the prestigious Paris Conservatory with Gabriel Faure. Ravel’s style was decidedly at odds with the more conservative leanings of the Conservatory and its administration at the time. He rejected all things Wagnerian and leaned more toward impressionism and neo-classicism. For this reason, he was repeatedly denied the Conservatory’s prestigious “Prix de Rome” which caused quite a scandal in the musical world. He was a member of the musically revolutionary society “Les Apaches” which included other composers as Stravinsky, who became a life-long friend.

During World War I Ravel tried to join the French Army as an airman, but his age and health prevented that. Instead, he witnessed the horrors of war while driving trucks to and from the battlefields. He chronicled his wartime experience musically with works such as Le tombeau de Couperin, composed between 1914 and 1917. Each movement is dedicated to a friend of Ravel's who died in the war. After the death of Debussy in 1918, Ravel was widely viewed as the greatest of the living French composers, much to the delight of his former teacher, Gabriel Faure.

In 1928, Ravel made a successful tour of the United States as a pianist and conductor. By this time he had gained international fame. And it was at the end of the 1920’s that he wrote his most famous piece, Bolero, which holds the distinction of being one of the most recorded pieces of classical music. Of it Ravel said, "I've written only one masterpiece – Boléro. Unfortunately, there's no music in it."

Ravel was not only a composer and pianist, but a gifted orchestrator of both his own and other’s works.

Most notably he was the orchestrator of Mussorgsky’s piano work Pictures at an Exhibition, which has become the preferred performance interpretation of that piece.

Ravel suffered a head injury in a taxi accident in 1932. This may have had some bearing on an already existing brain condition which eventually led to his death. After an unsuccessful attempt at surgery to relieve his pain, he died on December 28, 1937. Igor Stravinsky noted, “His final years were cruel, for he was gradually losing his memory and some of his coordinating powers, and he was, of course, quite aware of it.”

RICHARD STRAUSS (1864 – 1949) German composer and conductor Richard Strauss (no relation to the Strauss’s of “Waltz Fame”) was born on

ARTIST BIOGRAPHY

June 11, 1864 to a well-established family in the beautiful cultural city of Munich. His father was the principal horn of the Court Opera in Munich. His mother came from the prominent Pschorr family of beer brewing. As a child, Strauss was definitely a “Wunderkind” beginning piano at age four, attending orchestra rehearsals and learning theory and orchestration by five, and writing his first composition at the age of six. By the age of ten he was exposed to the operas of Wagner, which had a great influence on his entire musical life, despite his criticism of it at first. By the age of 18, Strauss had secured the position of Assistant Conductor of the Meiningen Court Orchestra under the legendary Hans von Bülow. After

von Bülow’s abrupt retirement in 1886, Strauss became interim conductor where he made the acquaintance of one of his other great influencers musically, Johannes Brahms.

After leaving Meiningen in 1886, Strauss assumed positions at the Bavarian State Opera, as assistant conductor at the Bayreuth Festival (where he became lifelong friends with Cosima Wagner), and as Kapellmeister to the Duke of Weimar. During this period, he began to compose in a form for which he became famous — the tone poem. From 1889 - 1898 he composed Don Juan, Death and Transfiguration, Till Eulenspiegel’s Merry Pranks, Also Sprach Zarathustra, Don Quixote, and Ein Heldenleben. By 1898 he had reached international

ARTIST BIOGRAPHY

fame as a composer and conductor and assumed the position of the principal conductor of the Staatskapelle Berlin. In 1904 he embarked on a North American tour and began composing his third opera, Salome which went on to have much success. From this period on Strauss composed, with librettist Hugo von Hoffmanstahl, a string of acclaimed operas, including in 1911, his most beloved, Der Rosenkavalier. He went on to become the conductor of the Vienna State Opera and co-founder of the Salzburg Festival.

In 1933 Strauss was appointed principal conductor of the Bayreuth Festival and head of the Nazi’s music division. Strauss’s beloved daughter-in-law was

Jewish, and thus, in the eyes of the Third Reich, his grandchildren were also Jews. His apparent acquiescence to the Nazi regime was done to protect them. He also used his position as head of the Reichsmusikkammer to protect and preserve the compositions and rights of German composers who were frowned upon by the Nazis. Writings have been discovered that show his disdain for the antisemitic policies of the Nazi Regime and also the Nazis full intention of ejecting him once they had “their own musical style” established. He attempted to rescue relatives of his daughter-in-law from the concentration camps, but for the most part was unsuccessful. When Strauss became openly critical of the Nazi policies against Jews, Chancellor Goebbels threatened his family and so Strauss decided that he must remain silent to continue to protect them. At the end of World War II his house in GarmischPartenkirchen was to be occupied as a command post by American and Allied forces. When the American troops entered the home, the 81-year old Strauss descended the stairs saying, “I am Richard Strauss, the composer of Rosenkavalier and Salome. A Major Kramers in the group was a huge fan of Strauss’s music and had a sign placed on the lawn that said “Off Limits”. Another American soldier who happened to be an oboist learned that the house belonged to Strauss. He visited him several times and asked if the composer had ever considered writing an oboe concerto. Six months later an oboe concerto by Strauss was published with the dedication “suggested by an American soldier.”

Richard Strauss died in that villa on September 8, 1949 at the age of 85.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

LO CLASSICS

THE GILDED AGE

Saturday, February 4, 2023 • 7:30PM

The Kentucky Center, Whitney Hall

Alasdair Neale, conductor | Jon Gustely, horn

Richard STRAUSS Horn Concerto No. 1 in E-flat major, Op. 11 I. Allegro II. Andante III. Allegro Jon Gustely, horn

Maurice RAVEL Ma Mère l’Oye (Mother Goose) I. Prélude II. Danse du rouet et scéne III. Pavane de la belle au bois dormant IV. Les entretriens de la belle et de la bête V. Petit poucet VI. Laideronnette, impératrice des pagodes VII. Le jardin féerique

INTERMISSION

Maurice RAVEL Valses nobles et sentimentales I. Modéré II. Assez lent III. Modéré IV. Assez animé V. Presque lent VI. Assez vif VII. Moins vif VIII. Epilogue

Richard STRAUSS Suite from Der Rosenkavalier, Op. 59

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

THE GILDED AGE February 3 & 4, 2023

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

ONE MINUTE NOTES

Richard Strauss was an excellent pianist and violinist, and made a name for himself early on as a gifted conductor. He also knew quite a bit about French horn. His father, Franz Strauss, was principal horn of the Munich Court Opera Orchestra from 1847 to 1889. Richard was only 19 when he began work on his marvelous First Horn Concerto. It is a concise work, without pause between its movements. Strauss takes a relaxed approach to sonata form in the opening section, adopting a rondo for his finale. Throughout, his melodies breathe with the spirit, enthusiasm, and the healthy lungs of a young man with the world before him, ready to conquer.

Maurice Ravel had roots in the Basque country in the southwest of France, and Basque culture influenced many of his works. In Ma mère l’oye [Mother Goose], he favored neither the Basque region nor its neighbor Spain, but a more universal land of make believe inspired by the beloved tales of a 17th-century French author. Ravel’s original Mother Goose Suite of five pieces was a four-hand piano duo for the children of close friends. He eventually orchestrated it and expanded the music into a ballet

score. Each movement captures the imaginary fantasy of such familiar tales as Tom Thumb, Beauty and the Beast, and the Fairy Garden.

Ravel’s Valses nobles et sentimentales is a salute to Franz Schubert, whose delightful waltzes for one piano, four hands have yielded countless hours of pleasure to pianists. The title translates to ‘Noble and Sentimental Waltzes.’ It is really a description of two types, easily distinguishable because Ravel alternates the character of these miniature jewels. Valse nobles et sentimentales was an important predecessor to Ravel’s La valse, but this work has more intimacy and elegance. It is vintage Ravel.

Strauss’s most beloved opera, Der Rosenkavalier, was conceived as a tribute to Mozart. He deployed a large, late romantic orchestra in an opulent 18th-century setting. Waltzes course through the score. With delicious irony, Strauss awards the most famous of them to the boorish Baron Ochs, who provides much of the comic relief in the plot.

Ultimately, Rosenkavalier is a love story with comic and sentimental moments. The orchestral Suite encompasses both aspects, sweeping us along in the irresistible panache of Strauss’s music.

ARTIST BIOGRAPHY

ALASDAIR NEALE, CONDUCTOR

Alasdair Neale is the Music Director of the New Haven Symphony Orchestra, Sun Valley Music Festival (SVMF) and Marin Symphony. Mr. Neale began his appointment with the New Haven Symphony Orchestra at the start of the 2019-2020 season. His appointment came after an extensive international search and marked for him a return to the city where he lived, studied and began his professional career more than 30 years ago.

This season marks twenty-six years at the helm of the Sun Valley Music Festival (formerly Sun Valley Summer Symphony). As Music Director of the SVMF, Mr. Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America. Among the many celebrated guest artists that Mr. Neale has brought to this festival are: Emanuel Ax, Joshua Bell, Renée Fleming, Audra McDonald, Midori, Itzhak Perlman, Gil Shaham, Jean-Yves Thibaudet, Yuja Wang and the Mormon Tabernacle Choir.

As Music Director of the Marin Symphony since 2001, Mr. Neale has been hailed for invigorating the orchestra and establishing it as one of the finest in the Bay Area. Under Mr. Neale’s direction, the Marin Symphony was chosen as one of several distinguished orchestras to participate in Magnum Opus, a groundbreaking, decade-long

commissioning project bringing new music to the San Francisco Bay Area and beyond. Osvaldo Golijov, Kevin Puts, Kenji Bunch, David Carlson, and Avner Dorman were among the composers represented in the project.

Mr. Neale’s appointment with the Marin Symphony followed 12 years as Associate Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. During that time he conducted both orchestras in hundreds of critically acclaimed concerts both here and abroad. Under Mr. Neale’s direction, the Youth Orchestra became one of the finest young ensembles in the world, receiving consistent rave reviews for performances in San Francisco, as well as on tour in Amsterdam, Leipzig, Moscow, St. Petersburg, Madrid, Paris, Prague, Dublin, Copenhagen, and Vienna. From 2001 to 2011, Mr. Neale served as Principal Guest Conductor of the New World Symphony. From 2001 to 2014, he served on the faculty of the San Francisco Conservatory of Music. He has guest conducted numerous orchestras around the world, including the New York Philharmonic, Dallas Symphony, Saint Louis Symphony, Houston Symphony, Toronto Symphony, Seattle Symphony, St. Paul Chamber Orchestra, Honolulu Symphony, Fort Worth Symphony, Kansas City Symphony, Colorado Symphony, Nashville Symphony, San Antonio Symphony, Florida Orchestra, Phoenix Symphony, Royal Scottish National Orchestra, Orchestre National de Lyon, Sydney Symphony, Real Filharmonia de Galicia, l’Orchestre Métropolitan du Grand-Montréal, Radio Sinfonie Orchester Stuttgart,

ARTIST BIOGRAPHY

Auckland Philharmonia, Orchestra of St. Gallen (Switzerland), MDR Leipzig, NDR Hannover, Trondheim Symphony, Orchestre du Capitole de Toulouse, Ensemble Orchestral de Paris, and at the Aspen Music Festival. In March 2002, he collaborated with director Peter Sellars and composer John Adams to open the Adelaide Festival with a production of the oratorio El Niño.

Mr. Neale’s discography includes a recording of Aaron Jay Kernis’ Colored Field with the San Francisco Symphony, featuring English horn player Julie Ann Giacobassi which won France’s Diapason d’or award following its release. He may also be heard on New World Records conducting the ensemble Solisti New York in a recording of new flute concertos. Alasdair Neale appears on the Bay Brass recording "Sound the Bells", released in March 2011 on the Harmonia Mundi label and nominated for a GRAMMY for Best Small Ensemble Performance.

Neale holds a Bachelor’s degree from Cambridge University and a Master’s from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in San Francisco and New Haven.

JON GUSTELY, HORN

Jon Gustely has held principal horn positions in major orchestras in Europe, the United States and Mexico. Before joining the Louisville Orchestra as Principal Horn in 2007, he was Principal Horn of the National Opera of Belgium under

the batons of Sir John Pritchard and Sylvan Cambreling, the Mexico City Opera with Eduardo Mata, the Mexico City Philharmonic with Jorge Mester and the Orquesta Sinfonica de la Mineria with Carlos Miguel Prieto.

He is a frequent soloist and chamber musician in Europe, the United States and Mexico. Recent engagements have included Strauss’ Second Horn Concerto with the Mexico City Philharmonic, Strauss’ First Concerto with the Sinfonica de Monterrey, Haydn’s First Concerto with the Bellas Artes Chamber Orchestra, and the Schumann Konzertstuck with the Orquesta Sinfonica de la Mineria.

Other prestigious orchestras that Jon has performed with include the Orchestre de la Suisse Romande, St. Louis Symphony, Cincinatti Symphony, Indianapolis Symphony and the St. Paul Chamber Orchestra.

Jon recently accompanied the Pittsburgh Symphony Orchestra as Associate Principal Horn on a European tour which included a live recording of the Mahler 2nd symphony in the Musikverein in Vienna, Austria.

Jon is a founding member of the wind octet Sinfonietta Ventus with whom he has toured Europe, the United States and Mexico and has also recorded four compact discs.

Recent chamber music collaborations include performances with the pianist Jorge Federico Osorio and the Latin American String Quartet and the Brahms Trio here in Louisville with pianist Nada Loutfi and violinist Robert Simmonds.

Jon was recently appointed adjunct horn faculty at Bellarmine University, here in Louisville.

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 Mrs. Paula Harshaw 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. OJ Oleka

Dr. Teresa Reed Mr. Jeff Roberts

EXECUTIVE

Graham Parker

Chief Executive

Nathaniel Koch

Chief of Staff

Mr. Bruce Roth Mrs. Denise Schiller Mrs. Winona Shiprek* Mr. Gary Sloboda

Mr. Dennis Stilger Jr. 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

Megan Giangarra Office Administrator & Patron Services Associate

Arricka Dunsford Kentucky Tour Project Manager

ARTISTIC OPERATIONS

Open Director of Artistic Operations

Jake Cunningham Operations Manager

Adrienne Hinkebein Director of Orchestra Personnel

Murphy Lamb Production Assistant

Bill Polk Stage Manager

Chris Skyles Librarian

Adam Thomas Artistic Coordinator & Assistant to the Music Director

Tyler Taylor Composer

Jacob Gotlib

Creators Corps Program Manager

DEVELOPMENT

Holly Griffitt Neeld Director of Development

Edward W. Schadt Director of Leadership 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

EDUCATION & COMMUNITY

Sarah Lempke O’Hare

Director of Education & Community Partnerships

Jennifer Baughman

Education & Community Programs Manager

Elizabeth Etienne State Community Partnership Manager

Allison Cross Local Community Partnership 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 & Liz Rorke VP Education Co-Chairs

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

Sara Huggins

Jeanne James

John Malloy

Marcia Murphy

Nancy Naxera Roycelea Scott Mollie Smith Carol Whayne

FOUNDER | $250,000

The Maxine and Stuart Frankel Foundation for Art William M. Wood Foundation

SUSTAINER | $100,000+ VIRTUOSO | $50,000+

BENEFACTOR | $25,000+

Brooke Brown Barzun Philanthropic Foundation Humana Foundation

League of American Orchestras

SUPPORTER| $10,000+

Anonymous Foundation Atria Senior Living Group

Augusta Brown Holland Philanthropic Foundation Caesars Foundation of Floyd County

City of Windy Hills Gheens Foundation

The Glenview Trust Company Carol Barr Matton Charitable Foundation Roth Family Foundation, Inc.

PATRON | $5,000+

Anonymous Foundation Arthur K. Smith Family Foundation Bass Family Foundation The Eye Care Institute and Butchertown Clinical Trials

MEMBER | $3,000+

University of Louisville School of Music Wimsatt Family Fund

General Dillman Rash Fund

The Malcolm B. Bird Charitable Foundation Woodrow M. and Florence G. Strickler Fund

Arthur H. Keeney Ophthalmic Fund Habdank Foundation

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 October 1 to October 31, 2022.

CONDUCTORS SOCIETY (FOUNDER) $250,000+ Christina L. Brown Jim and Irene Karp

CONDUCTORS SOCIETY (SUSTAINER)

$100,000 - $249,999 Anonymous (2) Laura Lee Brown & Steve Wilson Owsley Brown III Brook and Pam Smith William and Susan Yarmuth

CONDUCTORS SOCIETY (VIRTUOSO)

$50,000 - $74,999 Anonymous Betty Moss Gibbs Frank and Paula Harshaw Mrs. Edie Nixon David Jones & Mary Gwen Wheeler James and Marianne Welch

CONDUCTORS SOCIETY (BENEFACTOR)

$25,000 - $49,999

Carol Hebel Brian Kane Warwick Dudley Musson Elizabeth and Justus Schlichting Winona and Joseph Shiprek

CONDUCTORS SOCIETY (SUPPORTER)

$10,000 - $24,999 Anonymous (2) Edith S. Bingham

Walter Clare Linda Dabney David † and Patricia Daulton Andrew and Trish Fleischman Elisabeth U. Foshee Ritu Furlan Louise and Jay Harris Lee and Rosemary Kirkwood Donald and Ann Kohler

Mary Kohler Kenneth and Kathleen Loomis Sheila G. Lynch

Carol Barr Matton Guy and Elizabeth Montgomery John and Patricia Moore Thomas Noland † and Vivian Ruth Sawyer Dr. Teresa Reed Jeff and Paula Roberts Bruce and Marcia Roth Denise Schiller

Dennis Stilger Jr. Lindy B. Street

Elizabeth Helm Voyles and James R. Voyles

Jane Feltus Welch Mr. Tom Wimsett

CONDUCTORS SOCIETY (PATRON)

$5,000 - $9,999

Steve and Gloria Bailey Dr. and Mrs. David P Bell Ms. Cary Brown and Dr. Steven E. Epstein Elizabeth W. Davis Susan Diamond Nan Dobbs Ms. Donna Emerson

Thelma Gault

Joseph Glerum

Matthew and Lena Hamel

Owen and Eleanor Hardy

Elizabeth and Mike Keyes

Patricia Buckner McHugh Herbert and Barbra Melton

Dianne M. O'Regan

Tim and Shannon Peace

Marla Pinaire

Clifford Rompf 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

Shirley Dumesnil

Mr. and Mrs. William L. Ellison Jr. Mariah Gratz

Drs. Eugene & Lynn Grant March Dr. Carmel Person

Norman and Sue Pfau

Steve Robinson

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

Teddy Abrams Hon. and Mrs. Jerry E. Abramson David B. Baughman

Dr. Stephen and Jeannie Bodney Bethany Breetz and Rev. Ronald Loughry John B. Corso Marguerite Davis

Mr. and Mrs. Daniel L. Dues Rev. John G. Eifler

Dr. and Mrs. Eugene C. Fletcher Randall L. and Virginia † I. Fox David and Regina Fry John R. Gregory June Hampe Kenneth and Judy Handmaker

Allison Jacobs

Mr. and Mrs. Bill Lamb

Margaret Lanier John and Sharon Malloy

Joseph B. Miller Lynn and Roy Meckler

Glynn Morgen Mona and John Newell

Sharon Pfister

Fred and Claudia Pirman Dr. and Mrs. Timothy B. Popham Eugenia and John Potter Gordon and Patty Rademaker

Sharon Reel Ms. Ann Reyolds

Mr. & Mrs. Robert W. Rounsavall III Marianne Rowe

GSR Foundation Rev. Edward W. Schadt

Alleine Schroyens Dr. Anna Staudt

Mary C. Stites

Lindsay Vallandingham Elizabeth B. Vaughan

Carolyn Marlowe Waddell Stephen and Patricia Wheeler Dr. & Mrs. Nathan Zimmerman

SONATA

$500 - $1,499 Anonymous (5) Carlyn and Bill Altman

Cheryl Ambach Dr. Fredrick W. Arensman David and Madeleine Arnold Boe and Judith Ayotte Joseph and Linda Baker Miriam Ballert

John and Mary Beth Banbury Lynne A. Baur

Stephen and Sharon Berger Janice Blythe 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 Michael and Nancy Chiara Larry Sloan and Helen K. Cohen George and Frances Coleman Cynthia and David Collier Jeff and Marjorie Conner Mr. and Mrs. David Contarino

Robert Cox Betsey Daniel Robert and Ann Decker Carol W. Dennes

Pat DeReamer & Cynthia DeReamer Rollins Dr. John and Mrs. Dee Ann Derr

Judy Dickson James and Etna Doyle Deborah A. Dunn

Susan Ellison Dan and Ellen Baker Finn Carl † and Roberta Fischer 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 Mrs. Susan M. Hyland

Barbara Jarvis

Anne Joseph Dean Karns

Warren Keller Tamina and Edward Kim Karl and Judy Kuiper

Dwight Kyle Amy and Matthew Landon Kate and Allan Latts Portia Leatherman

Samuel and Stephanie Levine

Cantor David Lipp and Rabbi Laura Metzger

Gretchen Mahaffey

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. Miriam Ostroff

Sharon Pfister

Mr. Timothy Pifer

Ms. Margaret Plattner

Arthur Pratt

Mr. and Mrs. Joseph A. Pusateri

Carol Clow Pye

David Ray and Jean Peters

Douglas Rich

Embry Rucker and Joan MacLean

Marilyn Schorin

Mr. and Mrs. Ronnie Seale

Dr. and Mrs. Saleem Seyal

Ruth Simons

Mark Slafkes

Mr. Joseph Small Mr. Sheryl G. Snyder and Mrs. Jessica Loving Dr. Joern Soltau

Richard O. Spalding

Katherine Steiner

Dr. and Mrs. Temple B. Stites Mary and John Tierney

Dr. and Mrs. Paul E. Tipton

Mr. and Mrs. Steve Underwood

Linda and Chris Valentine

Dr. Manning G. Warren III

Matt and Kathy Watkins

Kendrick Wells III

Roger and Janie Whaley

John T. Whittenberg

Raleigh and Roberta Wilson Michelle Winters

Jonathan and Stephi Wolff Frank and Keitt Wood Jeanne and Paul Zurkuhlen

DUET

$250 - $499

Anonymous (4) Ms. Mary Beth Adams

Mrs. Mary Alexander-Conte

Bryce and Danielle Armstrong

Dr. and Mrs. Joe F. Arterberry

George Bailey

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

John T. Ballantine

Donna Benjamin

Sara Blake and Kingsley Durant

Bill Bolte

Mr. Daryl Booth

George Borrmann

Mr. Jonathan Braden

Dennis and Joan Brennan

Doris Bridgeman

Mr. Barlow Brooks

Betty and Randolph Brown

Janet Campisano

Julia Carey

Will and Kathy Cary Dr. Atif Chowghury Judith K. Conn

LOUISVILLE ORCHESTRA CONTRIBUTORS

Chenault M. Conway

Virginia B. Cromer

Mr. Dale Curth

Mrs. Sandra Curtis

Ms. Doris Davis

Mr. Lee Davis

Mr. Brent Densford

Mr. John Dersch

Uwe and Kathy Eickmann

Traci and John Eikenberry

Dr. James Eisenmenger

Dr. Walter Feibes

Ms. Judy Fieldhouse

Mr. Bart Fisher

Mr. Geoffrey Fong

William and Ilona Franck

Leslie K. Friesen

Ms. Pamela Gadinsky

Ron Gallo

Ed Garber

Edmund R. Goerlitz

Ellen and Richard Goldwin

Mrs. Connie Goodman

Timothy and Natalie Healy

Lawrence A. Herzog

David Sickbert & Thomas Hurd

Ms. Vivien Jacoby

Dr. Surinder Kad

Dr. and Mrs. David Karp

Michasl Kemper & Annette Grisanti

Ms. Susan U. Kimbrough

James Krauss-Jackson

Stanley Krol

Dr. and Mrs. Forrest S. Kuhn

Lawrence Lambert

Mr. Fred Levein

Dr. and Mrs. Ronald Levine

Karen M. Long

Michael Maloff

William Martinez

Ms. Eddie-Sue McDowell

Dr. and Mrs. Ronald Morton Carla and Barry Motes

William and Marilou Nash

Ms. Susan Neal

Ms. Martha C. Nichols

Susan Norris

Mr. David Nuermberger

Robert Paris

Kathleen Pellegrino

Dianna and Peter Pepe

Curtis Peters

Judith N. Petty

Doug Elstone and Russ Powell Mitchell and Cindee Rapp John and Katherine Robinson Lynne Rodeheffer

David Rodger

Vicki Romanko

Isaac B. Rosenzweig

Bill and Judy Rudd

Barbara Sandford Courtney and Brandon Schadt

Margaret Scharre Susan G. Zepeda and Dr. Fred Seifer Dr. Lyne Seldon

John and Barbara Sinai Richard and Terri Smith

Donna M. Stewart Lynda Stuart

Dr. and Mrs. Gerald F. Sturgeon William F. and Barbara J. Thomas Dr. and Mrs. Robert S. Tillett Jr. Mr. Warren Townsend Anna Laura and Thomas Trimbur Susan and David Vislisel Patricia Walker 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.

Anonymous Doris L. Anderson

Ms. Bethany A. Breetz and Rev. Ronald L. Loughry Mr. and Mrs. Gary Buhrow Douglas Butler & Jamey Jarboe Walter Clare

Mr. † and Mrs. Stanley L. Crump

Janet R. Dakan

Betty Moss Gibbs

Anita Ades Goldin

Louise and Jay Harris

Mr. † and Mrs. Charles W. Hebel, Jr.

Mr. Henry 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

Mr. † and Mrs. Gary M. Russell Rev. Edward W. Schadt

Rev. Gordon A. and Carolyn Seiffertt

Dr. Peter Tanguay & Margaret Fife Tanguay

Bob Taylor and Linda Shapiro

Rose Mary Rommell Toebbe †

Elizabeth Unruh †

Kevin and Linda Wardell

Dr. and Mrs. Richard S. Wolf

† Denotes deceased

JANUARY

4-8

Kentucky Shakespeare Presents Pride and Prejudice

The Kentucky Center

January 4-February 12 Grumpy Old Men the Musical Derby Dinner Playhouse derbydinner.com

13-28

DOT by Coleman Domingo Pandora Productions Henry Clay Theatre pandoraprods.org

15

Comedian Louis C.K. 7:30PM, Louisville Palace louisvillepalace.com

22

Louisville Orchestra Lights, Camera, Action! 3PM, Old Forester's Paristown Hall louisvilleorchestra.org

25-26

Comedian Theo Von: Return of the Rat Tour 8PM, The Kentucky Center, Whitney Hall kentuckyperformingarts.org

27

Deathcab for Cutie 8PM Old Forester's Paristown Hall kentuckyperformingarts.org

28

Louisville Orchestra Hollywood's Golden Age 7:30PM, The Kentucky Center louisvilleorchestra.org

28 Lucero 8PM, Headliners Music Hall productionsimple.com

January 28- February 11

StageOne Family Theatre The Giver The Kentucky Center, Bomhard Theater kentuckyperformingarts.org

FEBRUARY

14-19

Annie - A Broadway in Louisville Performance

The Kentucky Center, Whitney Hall kentuckyperformingarts.org

25

Bobby Weir & Wolf Bros. 7:30PM, Louisville Palace LouisvillePalace.com

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.

Since 2011, the Kentucky Center for African American Heritage has been a member of the Kentucky Tourism, Arts, and Heritage Cabinet. As a quasi-state agency, the Heritage Center is dedicated to a statewide mission to preserve, promote, and advance the culture and heritage of African Americans in Kentucky and the legacy shared throughout the African Diaspora.

For over a decade, the He r itage Center’ s operation has been l o cated in the heart o f Louisville’s historic Russel l neighborh o od o n the f o rmer Louisville Street Railwa y Comple x known as the “ Trolley Barn,” b u ilt in 1876 . The impo s ing 68,000 sq. ft. camp u s p r ovide s multiple venues where ed u c a tion, en r ichment , and ente r t a inment happens.

Permanent exhibitions in the Brown-Forman Great Hall and other galleries across the Heritage Center campus include “A Salute to Muhammad Ali: A Life of Inspiration,” “Black Freedom Struggle in Kentucky,” “Brigadier General Charles Young: Soldier, Educator, Diplomat & Civil Rights Advocate,” “The Legends of Great African American Jockeys,” “Two Centuries of Black Louisville and “A Self-Guided Tour of Louisville’s Civil Rights History ” In addition to rotating and permanent exhibitions throughout the year, the Heritage Center produces, curates, and hosts educational, enrichment, and entertainment programs with performances of all types for children and adults alike.