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PROGRAMS

Kentucky Performing Arts Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Reclaimed Treasures April 30, 2022....................................................................9

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

Fantastique May 13 & 14, 2022...........................................................21 Support and Staff.................................................... 33 Services.................................................................. 38

Founding Publishers Jeff and Kay Tull Creative Director Rhonda Mefford Sales & Marketing G. Douglas Dreisbach Printing V.G. Reed & Sons

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: The Kentucky Center Box Office, 502.584.7777 or KentuckyPerformingArts.org. Reserve wheelchair seating or hearing devices at time of ticket purchase.

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MESSAGE FROM THE LOUISVILLE ORCHESTRA On behalf of Your Louisville Orchestra, let me welcome you to our final two classics concerts of the season. If this is your one-hundredth or your first, you are in for a treat. In classic Louisville Orchestra style, Teddy Abrams has conceived programs that encourage us all to think bigger and more deeply about our community, our country, and our future. Oh, and have a good time! In our Reclaimed Treasures program, the first in a multiseason series, we celebrate and contemplate the journey of Black and Jewish composers and writers in our country and also with your Louisville Orchestra. In Erich Korngold’s sweeping Violin Concerto in D Major, you hear a new American sound from a Jewish composer who escaped Germany in the 1930s, to make his mark in Hollywood as one of the great movie composers of all time. The soloist for the piece is our very own Associate Concertmaster, Julia Noone. Opening the program, we hear Notturno by the Jewish composer, Ernst Toch, who also escaped Nazi persecution and certain death by fleeing to America and finding his voice as a modern and esoteric writer. This piece was commissioned by the Louisville Orchestra in 1953. In the final work on the program, the LO and Louisville Chamber Choir present the breathtaking The Ordering of Moses: A Sacred Oratorio by R. Nathaniel Dett. Dett, who battled racism to have his brilliant work played and heard, was one of the first conservatory-educated Black musicians in the U.S. Ever wondered about how much phones, computers, the ‘cloud’ is running our life? Ever wondered if there are forces at play bigger than ourselves — the classic ‘human vs machine’? If so, stick around for the final concert of the season, as trust me, Berlioz wondered about exactly the same thing in his masterpiece, Symphonie fantastique. Our protagonist journeys through stages of life, facing tests and conquests from forces bigger than himself — you will see how it ends in the final notes of the concert. Before the Berlioz, Adam Schoenberg’s new work Automation tackles the newest question of how much computers could take over our lives as he flawlessly blends together the acoustic power of the solo cello and orchestra with computer-generated music and sound, together with a brand-new invented instrument, the halldorophone. Artificial Intelligence is all around us and in this new work, you will see it take over the orchestra before your very ears and eyes. But first on the program is the world premiere of Kimani Bridges’ inventive STATiC. Commissioned by the Louisville Orchestra, this adventuresome music explores what sounds can be created with the instruments and the performers themselves, creating “an uneasy and unpredictable sound." I am hoping that these concerts will remind you of the power of live music, of hearing music in the community and that Your Louisville Orchestra is always ready to stimulate and entertain. See you in the parks this summer, and then back again here in the fall as we start a dazzling new season of concerts.

Graham Parker Interim Executive Director 4

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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 An unusually versatile musician, Teddy Abrams is the widelyacclaimed Music Director of the Louisville Orchestra. Now in his eighth season as Music Director, Teddy has fostered interdisciplinary collaborations with the Louisville Ballet and Speed Art Museum, and led Louisville’s cultural response to the pandemic with the Lift Up Lou initiative. Among other works, the 202122 season includes the world premieres of Teddy’s new piano concerto written for Yuja Wang and a concerto for timba band and orchestra composed by Grammyaward winner Dafnis Prieto. Teddy's rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an allstar cast that included Rhiannon Giddens and Jubilant Sykes, as well as Jecorey “1200” Arthur, with whom he started the Louisville Orchestra Rap School. Abrams’ work with the Louisville Orchestra has been profiled on CBS Sunday Morning, NPR, The Wall Street Journal, PBS’ Articulate, and the PBS NewsHour. Teddy 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 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 6

and performed this past summer on the Jacksonville Woodlands Trail system. Abrams 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. Teddy Abrams records on Universal Music Group’s Decca Gold Label. In addition to The Order of Nature, Teddy and the Louisville Orchestra recorded All In in 2017 with vocalist Storm Large. Teddy’s most recent recording was an original track, “Fourth Mode,” as part of UMG’s World Sleep Day. Highlights of Teddy’s 2021-22 season include engagements with the Buffalo Philharmonic, Sarasota Orchestra, Pacific Symphony, and New World Symphony. He appears as a featured speaker at the Rancho Mirage Writers Festival. As a guest conductor, Teddy has worked with such distinguished ensembles as the Los Angeles Philharmonic; the San Francisco, National, Houston, Indianapolis, Milwaukee, Vancouver, Colorado, Utah, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. 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 2012-2014. 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

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...continued on page 33

THE LOUISVILLE ORCHESTRA, 2021-2022 Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster Julia Noone, Associate Concertmaster Katheryn S. Ohkubo Heather Thomas Mrs. John H. Clay Chair

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

Stephen Taylor Scott Staidle Nancy Staidle Patricia Fong-Edwards Chelsea Sharpe, Interim

Jennifer Shackleton Jonathan Mueller

SECOND VIOLIN

Meghan Casper

Julia Cash, Interim Principal

LG&E-KU Foundation Chair

Kimberly Tichenor, Assistant Principal Maria Semes* Mary Catherine Klan Chair

Christopher Robinson, Interim Andrea Daigle Cynthia Burton Charles Brestel James McFaddenTalbot Judy Pease Wilson Blaise Poth

Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor

CELLO

Nicholas Finch, Principal Jim & Marianne Welch Chair

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

Christina Hinton James B. Smith Chair Endowed by Susannah S. Onwood

Allison Olsen Lindy Tsai Julia Preston

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Donald Gottlieb

PICCOLO

Donald Gottlieb Alvis R. Hambrick Chair

OBOE

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

Trevor Johnson, Assistant Principal Jennifer Potochnic ‡

ENGLISH HORN Trevor Johnson

Philip M. Lanier Chair

CLARINET

Andrea Levine, Principal Brown-Forman Corp. Chair

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

Ernest Gross

BASS CLARINET

BASS

Brian Thacker, Interim Principal Open Robert Docs Karl Olsen, Acting Assistant Principal

Ernest Gross

BASSOON

Matthew Karr, Principal Paul D. McDowell Chair

Francisco Joubert Bernard

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

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HORN

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

Diana Wade Morgen Gary † and Sue Russell Chair

Brooke Ten Napel, Interim Assistant Principal/Third Horn Stephen Causey

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

Stacy Simpson ‡ James Recktenwald

TROMBONE

Donna Parkes, Principal* Brett Shuster, Interim Principal Nathan Siler ‡

BASS TROMBONE J. Bryan Heath

TUBA

Andrew Doub, Principal

TIMPANI

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

PERCUSSION

John Pedroja, Principal

HARP

Open, Principal * On leave ‡ Denotes Auxiliary Musician † Deceased

B O B B E R N H A R D T, P R I N C I PA L P O P S C O N D U C TO R This season we celebrate the 40 seasons that Bob Bernhardt has been a constant presence with the Louisville Orchestra. Starting in 1981 as Assistant Conductor, then as Associate Conductor at the LO, then as Principal Guest Conductor of Kentucky Opera, and now in his 24th season as Principal Pops Conductor, he continues to bring his unique combination of easy style, infectious enthusiasm, and wonderful musicianship to the city and orchestra he loves. Bernhardt is concurrently in his sixth season as Principal Pops Conductor of the Grand Rapids Symphony in Michigan, and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and is now in his 28th year with the company. He is also, since 2012, an Artist-in-Residence at Lee University in Cleveland, Tennessee. Previously, he was Music Director and conductor of the Amarillo Symphony, the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic. In the past decade, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, New Jersey Symphony, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, Fort Worth Symphony and Santa Barbara Symphony, all of which were rewarded with return engagements. 8

He has a continuing fourteen-year relationship with the Edmonton Symphony, conducting there several times each season, and as Festival Conductor for their Labor Day festival, Symphony Under the Sky. He made his debut with the Boston Pops in 1992 at the invitation of John Williams and has been a frequent guest there ever since. Recently, he returned to the podiums in Vail, Boston, Nashville, Detroit, Edmonton, Florida, Grand Rapids, Las Vegas, Baltimore, Santa Barbara, Portland (ME), Louisiana, and Rochester, and made his debut with the Utah Symphony, Portland Symphony (OR), Calgary Philharmonic, and the National Arts Centre Orchestra in Ottawa. His professional opera career began with the Birmingham Civic Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons, and with his own company in Chattanooga, where he conducted dozens of fully staged productions in a genre he adores. Born in Rochester, New York, he holds a master’s degree from the University of Southern California’s School of Music where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York, where he was an Academic All-American baseball player. (While not all the research is in, Bernhardt believes that he is the only conductor in the history of music to be invited to spring training with the Kansas City Royals. After four days, they suggested to him a life in music.) His children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Signal Mountain, Tennessee.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director CLASSICS SERIES SPONSOR

LO CLASSICS

RECLAIMED TREASURES Saturday, April 30, 2022 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Julia Noone, violin Marquita Richardson, soprano | Kendra Beasley, mezzo-soprano Ricky Lynn Case, tenor | Phillip Morgan, baritone | Kyle King, bass Louisville Chamber Choir, Kent Hatteberg, chorusmaster Ernst TOCH Erich Wolfgang KORNGOLD

Notturno, Op. 77 (11 min.) Violin Concerto in D Major, Op. 35 (24 min.) I. Moderato nobile II. Romance: Andante III. Finale: Allegro assai vivace Julia Noone, violin

INTERMISSION R. Nathaniel DETT

The Ordering of Moses (50 min.) "Go Down, Moses" "Is it Not I, Jehovah!" "Interlude" "And When Moses Smote the Water" "March of the Israelites Through the Red Sea" "The Egyptians Pursue" "Sing Ye to Jehovah" Marquita Richardson, soprano Kendra Beasley, mezzo-soprano Ricky Lynn Case, tenor Phillip Morgan, baritone Kyle King, bass Louisville Chamber Choir

Concert Sponsors: Jewish Heritage Fund for Excellence Jeff and Paula Roberts 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

opus noun

any artistic work, especially one on a large scale. Like many arts organizations, the Louisville Orchestra faced the issue of closed venues due to the COVID pandemic. The Opus 21 Society, a group of music lovers, came together to say “Music is essential to Louisville and who we are as a community. Our orchestra impacts all facets of the city and cannot go away.” Together, the Opus 21 Society members made sure the Louisville Orchestra had the funding needed to continue to make music.

Their support made possible: • Education NTI outreach to 49,565 students and 150 teachers • Louisville Orchestra Virtual Edition Online Concert Season • Presented over 200 produced music and educational videos and 10 live concerts • Reached audiences in 50 states and 12 countries • Provided free to thousands of music lovers

• Free Outdoor Community Concerts

Anonymous (1)

Jim and Sara Haynes

Julie and Bill Ballard

Humana

Christina Lee Brown

Jim and Irene Karp

Laura Lee Brown and Steve Wilson

Lindy B. Street

Mr. Owsley Brown, III

Marianne and Jim Welch

Cary Brown and Steve Epstein

Mary Gwen Wheeler and David Jones, Jr.

Brown-Forman Foundation

William Wood Foundation

Fund for the Arts

William and Susan Yarmuth

Mr. and Mrs. Frank Harshaw “Music is the universal language...” 10

-HENRY WADSWORTH LONGFELLOW A U D I E N C E

ONE-MINUTE NOTES An Austrian native, Ernst Toch spent his early career in Germany, until forced to flee the Nazis in the 1930s. He was naturalized as an American citizen in 1940 and eventually settled on the West Coast. His later works emphasize the orchestra and include seven symphonies between 1951 and 1964. Notturno, which was a Louisville Orchestra commission, is representative of his mature style. A single movement in three-part form, it suggests caprice and mystery, treating the orchestra with delicacy and imagination. Pay attention to the only percussion instrument, a xylophone. It plays an important role! Erich Wolfgang Korngold’s Concerto for Violin, Op. 35 is the quintessential neoromantic showpiece. More than 75 years ago, this underrated concerto heralded Korngold’s return to serious concert music after a successful career composing many of Hollywood’s greatest film scores. Korngold based the concerto on themes from his movie music, but developed them in a purely classical style, giving the work the appeal of movie music within a classical idiom. His Concerto became a

favorite of the legendary Jascha Heifetz; in fact, the slow movement Romance was designed to show off Heifetz’s lyricism. Korngold’s rondo finale opens with a bang and closes with a burst of fireworks. Nathaniel Dett devoted his career to the study of spirituals and other music of the formerly enslaved Americans. Educated primarily at Oberlin College-Conservatory and the Eastman School of Music, he was a seminal figure in education at historically Black colleges, and left a significant imprint on the musical life of the institutions where he taught. The Ordering of Moses originated as his Master’s thesis in composition at Eastman; however, Dett continued to revise it for a number of years afterward. It was warmly received at its Cincinnati premiere in May 1937, and is enjoying a rediscovery in the 21st century. The libretto addresses the Israelites’ passage through the Red Sea under Moses’s leadership, the doomed fate of the pursuing Egyptians, and the rejoicing of the Israelite people after their deliverance. The spiritual “Go Down, Moses” figures prominently in the score, which is poignant, dramatic, and cinematic in scope.

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P R O G R A M N OT E S NOTTURNO, Op.77 ERNST TOCH (1887-1964) Anyone who has been a devoted choral singer knows about Geographical Fugue, Ernst Toch’s piece for speaking chorus whose text consists entirely of place names with distinctive rhythms. Most music lovers would be hard-pressed to name another composition by this Austrianborn composer. Toch was an anomaly and a prodigy of sorts. He was self-taught, writing classical-style string quartets in his teens. He began his higher education in medical school, then won a composition prize that awarded him a fellowship at the Frankfurt Conservatory. Abandoning medicine, he eventually joined the faculty at the Mannheim Musikhochschule, where he remained until 1929. By then, he had moved beyond his conservative early style, and was regarded as a musical modernist; indeed, some thought of him as avant-garde. Both that style shift and his Judaism rendered him "undesirable" in the early 1930s, as Hitler consolidated power. Toch fled Germany, and by 1935 had landed in New York. Eventually, he found his way to the West Coast, where he composed film scores and some chamber music. After the war, and through the 1950s, Toch was more focused on orchestral music and enjoyed considerable success. 12

His Third Symphony (1955) won the Pulitzer Prize in Music in 1956. The Notturno was commissioned by the Louisville Orchestra in 1953. Toch composed it in Peterborough, New Hampshire in September 1953, when he was in residence at the MacDowell Colony. Robert Whitney and the Louisville Orchestra premiered Notturno on 2 January, 1954. Contemporary accounts indicate that Toch intended his title in the sense of Shakespeare’s A Midsummer Night’s Dream, rather than as a Chopinesque nocturne. The piece is a nostalgic essay in free ternary form, opening with a sinuous conversation among the high woodwinds and the xylophone. String and woodwind choirs continue the dialogue. Mysterious and shadowy, they form layers of sound moving forward at different speeds. A contrasting middle section is more scherzo-like: skittering, and a tad nervous. Throughout, Toch maintains a light touch with his orchestra, preferring transparent textures to density. His Notturno is painted in watercolors, not oil. CONCERTO IN D FOR VIOLIN AND ORCHESTRA, Op. 35 ERICH WOLFGANG KORNGOLD (1897-1957) Remember all those swashbuckling and romantic Errol Flynn films from the 1930s and 1940s — The Sea Hawk, The Adventures of Robin Hood, Captain Blood, Anthony Adverse, and The Private Lives of Elizabeth and Essex? A substantial

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P R O G R A M N OT E S part of their aura was the sweeping, lush music of Erich Wolfgang Korngold, unquestionably one of the greatest film composers in Hollywood history. But what is he doing in the concert hall?

Austrian child prodigy The same Erich Wolfgang Korngold who composed so many wonderful Hollywood scores was one of the great child composition prodigies of the last century. As an adolescent, he produced scores that drew both admiration and awe from such prominent composers as Richard Strauss and Gustav Mahler. He published a piano trio at age 12; by the time he was 16, both Artur Nikisch and Felix Weingartner had conducted his orchestral compositions in Vienna.

Two short operas were produced in Munich before his 19th birthday, and the opera for which he is best known, Die tote Stadt [The Dead City] received simultaneous premières in Cologne and Hamburg in 1920, when Korngold was just 23. His meteoric career expanded to cinema in 1929, when he began working with the Austrian director Max Reinhardt. Inevitably, involvement in the film industry took him across the Atlantic to Hollywood. Because of the rise of Nazism, Korngold eventually settled permanently in Hollywood and changed his citizenship in 1943. He was an unquestioned star among Hollywood composers, with a dozen important scores to his credit in addition to those for the Flynn films.

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P R O G R A M N OT E S After his father’s death in September 1945, however, Korngold felt the need to return to abstract musical composition. The Violin Concerto was one of the first works he completed after making that decision.

Two legendary violinists The Concerto roots extend back to the mid-1930s. Korngold was friendly with the Polish violinist Bronislaw Huberman, who founded the Palestine Orchestra in 1937. (That orchestra was the forerunner to the Israel Philharmonic.) Hubermann had long urged Korngold to write a concerto for him, and the Viennese expatriate blocked out such a work in the late 1930s. Huberman declined to set a date for the premiere, however, and Korngold shelved the project in 1939 after hearing another less gifted violinist read it through. In 1945, the legendary Jascha Heifetz got wind through his manager that Korngold’s concerto was languishing, unfinished. Hubermann’s health was by then declining; he died in 1947. Heifetz became the new concerto’s great champion. He played the world première on February 15, 1947 in St. Louis, with Vladimir Golschmann conducting, and the New York premiere two months later, in April 1947. Heifetz’s 1953 recording with Alfred Wallenstein and the Los Angeles Philharmonic remains a classic interpretation and did much to establish Korngold’s concerto in the repertoire. Korngold declined to dedicate the concerto to Heifetz, instead giving that honor to Alma Mahler Werfel as a condolence gift following the death of her third husband, Franz Werfel, in 1945. Nevertheless, he was keenly aware of how valuable was Heifetz’s advocacy. 14

In his note for the premiere, Korngold wrote: In spite of its demand for virtuosity in the finale, the work with its many melodic and lyric episodes was contemplated rather for a Caruso of the violin than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.

Roots in film music Listeners familiar with Korngold’s film work will recognize both style and content in the concerto. The opening theme is adapted from his music for Another Dawn, another Errol Flynn film from 1939. Less obvious connections to music from the scores to Juarez (1939) and Anthony Adverse (1936) are also discernible. The horn call in the finale derives from music in The Prince and the Pauper (1937). Inevitably, these links came back to haunt Korngold. After the New York premiere, Olin Downes of The New York Times disparaged the new work as “a Hollywood concerto.” Irving Kolodin of The New York Sun earned a dubious measure of critical immortality by dismissing the piece as “more corn than gold.” The Concerto deserves far better. Korngold was certainly not the first serious composer to turn his gifts to Hollywood. Film scores have been an honorable avenue for composition since the silent movie era. Other distinguished 20th-century composers who wrote for cinema are Vaughan Williams, Walton, Shostakovich, Prokofiev, and Copland. One reason that Korngold and his musico-cinematic contemporaries — Max Steiner, Franz Waxman,

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P R O G R A M N OT E S Alfred Newman, Miklos Rosza and others — were so successful is that they understood the great traditions of Western music and were able to write with considerable mastery. Korngold, having grown up in Vienna, was steeped in the musical language and culture of Wagner, Strauss, Brahms, and Mahler. In many respects he was the last of the great romantics. His joyous, extroverted concerto attests to his gifts as a melodist. The virtuosic violin part, particularly in the finale, is remarkably well-suited to the instrument, fully exploiting its capacity to sing operatically. THE ORDERING OF MOSES R. NATHANIEL DETT (1882-1943) Canadian-born Nathaniel Dett has been a neglected footnote to music history for the better part of the last century. Today, his music and accomplishments are being reassessed, gaining respect and admiration. Dett’s family moved to Niagara Falls in the early 1890s, when he was 11. In 1908 he became the first African-American to be admitted to the Oberlin College Conservatory in Ohio. (The College had accepted African American students since the 1830s, but Dett was the first to matriculate in music.) After completing his degree there in composition and piano, he served on the faculties of several Black colleges in Tennessee, Missouri, North Carolina and — most notably — Virginia’s Hampton Institute [now University] from 1913 to 1932.

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To learn more visit: KYLottery.com 15

P R O G R A M N OT E S The choir he founded there grew to become an internationally touring group with an emphasis on African-American sacred music. He established the college’s music program, including the development of a concert series that drew major performing artists to Hampton. During summers, when he was freed of teaching obligations, Dett was able to further his formal education at several schools with prestigious music programs, including Harvard, Columbia, and Penn. He also worked briefly with the legendary Nadia Boulanger in Fontainebleau, France. The Eastman School of Music awarded Dett an MM in composition in 1932. (By that time, he had already received two honorary doctorates, from Oberlin and Howard University.) The Ordering of Moses was Dett’s Master’s thesis composition at Eastman. He worked on it for nearly a decade, continuing to revise it well after the conferral of his degree. The libretto — drawn from the Biblical Book of Exodus and Lamentations and some folk sources — related the story of the passage of the Israelites through the Red Sea under Moses’s leadership. The parallel with the plight of African-Americans in this country is implicit. At the time of the premiere in 1937, Dett wrote: The Moses here depicted is not the Moses familiarized to us by the other arts; especially by the work of Michelangelo, whose statue of the patriarch has become symbolic. At the time of this ‘ordering’, Moses was a shepherd, on a hillside, undoubtedly a young man — which explains the part being assigned to a tenor voice. 16

The oratorio undertakes to tell the familiar story of the Exodus – Moses demanding that Pharaoh permit the Israelites to depart, their passing through the Red Sea which parted its waters and allowed them to cross dry-shod, the pursuit of the Egyptians and their catastrophe when the waters engulfed them. The opening phrase, given out by the cellos, is a sort of rhythmic motto, which appears frequently in the course of the work. After an orchestral introduction the baritone, answered by the chorus, sings of the travail of the Israelites in their bondage. It seeks musically to portray the cries of a people as elemental as were the Jews at the time of the Exodus. Later, with the alto solo as a sort of precentor [one who directs a church choir], the wail is continued until the trio of solo voices, soprano, alto, and bass, sing a more hopeful passage, to which the chorus supplies a humming accompaniment. This is followed by cries of mercy which grow more vehement. Then, the orchestra again suggesting the opening motto, the chorus sings of the voice in the burning bush which is followed by a most expressive fugue, first stated by the basses, in the familiar Negro spiritual “Go Down Moses." Dett’s thematic material included three Negro melodies and two Jewish melodies. He also drew on pentatonic and whole-tone scales, minor scales with a raised sixth, and other modal harmonic languages. The score abounds in musical text painting: the rattling of percussion chains to illustrate the Israelites’ enslavement; sighing figures when the Voice of

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P R O G R A M N OT E S

"The Ordering of Moses is wonderfully descriptive and dramatic and makes for compelling listening."

Israel sings “And Zion sigheth in her mourning”; and flickering string figures when the chorus sings of “a burning bush, flaming.” As Dett acknowledged, the cello’s opening “Go Down, Moses” motive recurs regularly, and the recurring spotlight on solo cello often serves as a sort of Greek chorus, providing connective musical tissue between sections. Dett’s music is often cinematic in its sweep, for example in its joyous outburst at “When Moses smote the water” and the sea gives way. The ensuing extended orchestral interlude vividly depicts the

pursuit of the Egyptians, and their demise as the Red Sea closes in on them. Dett’s concluding section overflows with the joy of deliverance; the chorus sounds a delirious cacophony of church bells. The Ordering of Moses is wonderfully descriptive and dramatic and makes for compelling listening. It is a welcome addition to modern choral literature.

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.

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

Check out our full list of preferred restaurants at Audience502.com. A U D I E N C E

ARTIST BIOGRAPHY JULIA NOONE (B. 1989) Violinist Julia Noone is the Associate Concertmaster of the Louisville Orchestra. She has appeared as soloist with the LO on multiple occasions, including a performance of Mozart's Sinfonia Concertante during her first full season with the orchestra, and will perform the Korngold Violin Concerto during the 2021-2022 season. In 2019, Julia performed on The Tonight Show with Jimmy Fallon with LO music director Teddy Abrams, Jim James, and several

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LO colleagues to promote the orchestra’s new album The Order of Nature. Julia has performed as a guest Concertmaster of the Royal Scottish National Orchestra, the Jacksonville Symphony, and Orchestra Kentucky, and as a guest Principal Second of the Rochester Philharmonic Orchestra. She has additionally performed with the Boston, Indianapolis, Pittsburgh, and St. Louis Symphony Orchestras as an auxiliary musician. During the summer, Julia is a member of the Sun Valley Music Festival in Sun Valley, Idaho. Prior to Louisville, Julia was a Fellow at the New World Symphony in Miami, where she regularly performed as Concertmaster and was the featured soloist in Szymanowski's Second Violin Concerto after winning the NWS Concerto Competition. Also while at New World, Julia traveled to Medellín, Colombia to perform Tchaikovsky's Violin Concerto as part of the NWS's exchange with Iberacademy. Julia spent multiple summers performing with the Moritzburg Academy, the Schleswig-Holstein Musik Festival, and the Tanglewood Music Center, where she was awarded the Jules C. Reiner Violin Prize and served as Concertmaster regularly. Other summer festival engagements include a performance as Concertmaster for Bach's St. Matthew Passion with the Spoleto Festival USA and two seasons as Assistant Concertmaster of Charlottesville Opera. Julia received her bachelor's degree from the New England Conservatory, where she was a student of Masuko Ushioda.

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P R O G R A M N OT E S THE ORDERING OF MOSES by R. Nathaniel Dett

A Sacred Oratorio THE WORD All Israel’s children sorely sighed, And unto God they sorely cried, All Israel’s children sighed And unto God they cried 'Neath Egypt’s king they hard were tried CHORUS By reason of their bondage THE VOICE OF ISRAEL O Lord, behold my affliction. My heart is turned within me; A dark’ning cloud is Thy anger, Thy hand is hard against me. My eyes and heart fail with grieving; I walk alone in deep shadows Oppressed and captive is Judah; And Zion sigheth in her mourning. CHORUS O Lord! TRIO God looked on Israel, And heard her children groaning; He looked on her children groaning, And had respect unto her. Mercy Lord. CHORUS And from a burning bush, flaming, God spake unto Moses saying Go down, Moses, Way down in Egypt’s land; Tell Pharaoh:"Let my people go!" Thou shalt lead thy people To the promised land.

MOSES Lord! Who am I to go unto Pharaoh, And why should I lead the children of Israel! How shall they know Thou sendest me? What name shall I say unto them? What signs or wonders show? I am not eloquent; Have no gift of speech; Am slow of tongue. CHORUS And God spake unto Moses, Spake unto Moses saying THE VOICE OF GOD Who hath made a man dumb, Or who hath made his mouth speak? Is it not I, Jehovah? God of your fathers? Now therefore, go, And I will be thy mouth. I will instruct thee What thou shalt say! Go down, Moses CHORUS Go down, Moses, Way down in Egypt’s land Tell Pharaoh Let My people go! MEDITATION OF MOSES THE WORD And when Moses smote the water, The children all passed over; When Moses smote the water, The sea gave way. Rejoice, children, and be glad. The sea gave way, And when they reached the other shore O hallelujuah

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MOSES I will praise Jehovah, For he hath triumphed gloriously; The horse and his rider He has o’er thrown in the midst of the sea! He is my God and I will praise Him; He has become the rock of my salvation. CHORUS Hallelujah, hallelujah, Let us praise Jehovah. THE WORD Then did the women of Israel Gather with timbrels and dances; And Miriam, gifted with prophecy, Answered exhorting them, saying MIRIAM Come, let us praise Jehovah, For His triumph is glorious; The clouds and fire are His chariots, The winds and waves obey Him. Now all the armies of Pharaoh Are sunk as stones in deep waters. The deeps stood up as the mountains, When Thou didst blow Thy breath upon them. THE WOMEN Hallelujah, Hallelujah! MOSES Sing ye to Jehovah, For He hath triumphed gloriously. CHORUS Thy right hand, O Lord, Is become glorious in power; Pharaoh’s hosts thou hast cast In the depths of the sea! MOSES Sing ye Praise to Jehovah, Sing ye. CHORUS He is King of kings; He is Lord of lords. Sing together, praise Jehovah, 20

Great God of our fathers. Praise the great I Am That I Am; Hallelujah, He is a Man of War. Mighty is Jehovah, Mighty in battle He has overthrown His foes O’ Praise Him Sing unto Him who hath triumphed Sing to Jehovah, Praise the Lord Whose right hand is our salvation. Great I Am That I Am. MOSES O praise ye, Praise Jehovah, Praise His holy name! MIRIAM O praise ye, Praise ye Jehovah, Praise His holy name! MOSES I will sing unto Jehovah, For He has triumphed gloriously. MIRIAM The horse and his rider He hath thrown into the sea! MOSES Jehovah is my strength and my song! MIRIAM And He is become my salvation! MOSES He is my God, and I will praise Him! MIRIAM My fathers’ God, and I will exalt Him. MOSES Thou, Lord, in Thy loving kindness Hast led the people, whom Thou hast redeemed! MIRIAM and MOSES Jehovah shall reign forever and ever!

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director

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FANTASTIQUE Friday, May 13, 2022 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Yves Dhar, cello Adam SCHOENBERG Hector BERLIOZ

Automation (23 min.) WORLD PREMIERE Yves Dhar, cello Symphonie fantastique, Op. 14 (49 min.) I. Rêveries, Passions II. Un bal (A Ball) III. Marche au supplice (March to the Scaffold) IV. Songe d'une nuit du sabbat (Dream of the Witches’ Sabbath) V. Songe d'une nuit du sabbat (Dream of the Witches' Sabbath)

Coffee Concert Sponsor: Arthur J. and Mary Celeste Lerman Charitable Foundation Automation was commissioned by Justin M. Sullivan, in honor of his son Alec Baker Sullivan.

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HALLDOROPHONE FEATURED INSTRUMENT IN AUTOMATION BY ADAM SCHOENBERG

The halldorophone (Icelandic: dórófónn) is a cello-like electronic instrument created by artist and designer Halldor Úlfarsson. The halldorophone is designed specifically to feedback the strings, making use of the phenomena of positive feedback to incite the strings to drone. The instrument gained some recognition in early 2020 when composer Hildur Guŏnadóttir won the Academy Award for her original soundtrack to the movie Joker, some of which was composed with a halldorophone. Halldorophones are purpose-built electro acoustic string instruments, based on the premise of using electronically induced feedback in a coupled system of strings allowing for the creation of somewhat controlled, timbrally rich drones. In the halldorophone, a positive feedback loop is induced in a coupled system of eight strings via electromagnetic pickups and a speaker cone in the soundbox of the instrument, more specifically the vibration of each string is individually detected with a dedicated single coil pickup the levels of which can be 22

trimmed before being amplified and sent to the speaker, which vibrates the whole system including feedback. Mimicking the major characteristics of a cello, it also has four sympathetic strings running below the fingerboard which are not directly accessible for bowing or plucking but are rather electronically manipulated. All strings have the potential to be electronically included in or excluded from the feedback loop. Feedbacking string instruments is a well-known method of coloring and generating sound, as such the halldorophone introduces nothing fundamentally new but rather attempts to identify what is particular to this method of string excitation in comparison to other string instrument configurations and consequently what ergonomics and control-features are appropriate for such an instrument. The instrument has been developed through a few successive user-centered design iterations to include the features comprising the third iteration of the instrument existing today.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor Graham Parker, Interim Executive Director CLASSICS SERIES SPONSOR

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FANTASTIQUE Saturday, May 14, 2022 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Yves Dhar, cello KiMani BRIDGES STATiC (10 min.) WORLD PREMIERE LO COMMISSION Adam SCHOENBERG Automation (23 min.) WORLD PREMIERE Yves Dhar, cello

INTERMISSION Hector BERLIOZ

Symphonie fantastique, Op. 14 (49 min.) I. Rêveries, Passions II. Un bal (A Ball) III. Scéne aux champs (Scene in the Country) IV. Marche au supplice (March to the Scaffold) V. Songe d'une nuit du sabbat (Dream of the Witches’ Sabbath)

Concert Sponsors: FANTASTIQUE is produced in Recognition of Service to the Orchestra of Lee and Rosemary Kirkwood by Brooks and Marilyn Bower. The LO commission of Kimani Bridges' STATiC is sponsored by Rabbit Hole Distillery. Yves Dhar's performance is sponsored by Eye Care Institute and Butchertown Clinical Trials. Automation was commissioned by Justin M. Sullivan, in honor of his son Alec Baker Sullivan.

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ARTIST BIOGRAPHY YVES DHAR (B.1981) Captivating audiences with his lush tone “that might be described as something akin to rich old wood” (Boston Musical Intelligencer), Yves Dhar has earned a worldwide reputation as a “technically and interpretatively outstanding” (STRAD) cellist. Known for his charm, innovation, and innate ability to connect with audiences, the Franco-American is invited by leading orchestras, presenters and arts organizations to perform on the world’s major stages. In 2021/22, Dr. Dhar returned to the stage with a focus on premiering new projects developed in quarantine during the COVID-19 pandemic. At the forefront of these fresh productions is the groundbreaking Automation, a cinematic concerto for cello, halldorophone, electronics, and visual projections, composed by Adam Schoenberg, to be premiered with Teddy Abrams and the Louisville Orchestra in May 2022. Automation features Dhar as live soloist pitted against a holographic Artificial Intelligence (AI) cellist as the work explores the complex relationships between humans and artificial intelligence. Dhar also co-produced Strings of Life, a work for solo cello, electronics, and visual projections, in collaboration with composer Ricardo Romaneiro and visual artist Mauricio Ceppi, to be premiered in June 2022 at the Cell NYC. With solo cello centered around a quadrophonic sound system and immersed among hanging 24

strings of fabric that light up with videomapped projections, Strings of Life is a live audiovisual exploration of the emotions – denial, anxiety, isolation, virtual connectedness experienced under quarantine. Past highlights include appearances at Carnegie Hall, and Lincoln Center (New York); the Kennedy Center (DC); Orchestra Hall, Ravinia Festival, and Chicago Cultural Center (Chicago); Disney Hall (LA); National Arts Center (Ottawa); Berliner Festspiele; Téatro Nacional (Dominican Republic); Panama Jazz Festival; Centro Cultural Kirchner (Buenos Aires), COEX Theater (Seoul), and the Thailand National Cultural Center (Bangkok). Dhar has featured as soloist with the orchestras of Houston, Green Bay, Edmonton, Florida, Dominican Republic, Córdoba (Argentina), and Juilliard, with which he performed William Schuman’s A Song of Orpheus at David Geffen (Avery Fisher) Hall as part of the Juilliard School’s Centennial Celebration in 2006. Dhar is equally in demand as a chamber musician and has collaborated with artists such as Sir Simon Rattle, Itzhak Perlman, Miriam Fried, Christian Tetzlaff, Cho-Liang Lin, Gilbert Kalish, Ralph Kirshbaum, Mischa Dichter, Isabel Leonard, and members of the Emerson, Cleveland, Guarneri, and Orion Quartets. Outside the classical world, he has shared the stage with Christina Aguilera, Sting, Arijit Singh, Vampire Weekend, Tony Bennett, Dennis DeYoung (Styx), Chick Corea, Robin Williams, and Bert from Sesame Street. He has recorded over 30 albums in collaboration with other artists and has appeared, recorded and written for TV, film and ads (Annie; Allure; HBO’s The Plot Against America; Budweiser, Disney, VISA, Micoli Studio).

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ARTIST BIOGRAPHY Dhar is a founding member of the genre-defying Bohemian Trio and the cutting-edge Secret Quartet. He followed his passion for arts advocacy, entrepreneurship and engaging new audiences as a fellow of Ensemble Connect (formerly ACJW), which featured life-changing presentations at Rikers Island, schools for special needs, children’s cancer wards, and NYC flash mobs. He continues this work as a member of Decoda, the official affiliate ensemble of Carnegie Hall, and co-founded the nonprofit organizations New Docta (to nurture and mentor Latin American talent), and Cello Makes Everything Better (to make classical music more accessible and relevant to mainstream audiences).

Dr. Dhar joined the faculty of Vassar College in 2018. He was a pupil of Aldo Parisot at Yale University where he graduated cum laude with a Bachelor of Arts in History (Medieval Mediterranean Studies), a Master of Music, and an Artist Diploma. He further studied in Joel Krosnick and Darrett Adkins’s studio at the Juilliard School where he earned his Doctor of Musical Arts degree and served as teaching assistant to Mr. Krosnick from 2006 to 2009. He has also worked with Paul Katz at the New England Conservatory. He plays an 1842 Jean-Baptiste Vuillaume cello. In his leisure time, he loves to learn about and taste the great wines of Burgundy and Bordeaux, and is a zealous supporter of the Chicago Cubs, Tampa Bay Buccaneers, Tampa Bay Lightning, and Arsenal FC.

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ONE-MINUTE NOTES Louisville native KiMani Bridges is a flutist and composer, currently studying composition at Indiana University. Her latest work, STATiC, was commissioned by the Louisville Orchestra. Bridges has written: “STATiC is an orchestral work that moves between being still and having constant movement. This effect piece uses many extended techniques and colors, building a collection of textures that can be described as: mysterious, anxious, stressful, uneasy, light, and calm. With STATiC, we are exploring the capabilities of the orchestra and what sounds can be created with the instruments and the performers themselves. Exploring the use of the voice and air, the expressiveness in pitch (pitch bends, timbral trills, glissandi), the use of the various harmonic series, and cluster chords. As a characteristic, this piece uses graphic notation to create an uneasy and unpredictable sound: a wave of feelings.” Expect the unexpected and you will not be disappointed. Adam Schoenberg’s Automation is a unique hybrid: a concerto featuring not only cello, but also pre-recorded cello, halldorophone [a feedback instrument that sort of looks like a cello], electronics, and visual projections. He describes it as a ‘Cinematic Concerto’ that explores the conflicts and connections between man and machine. The soloist and his

holographic artificial intelligence [AI] counterpart interact on stage with the orchestra. Automation asks probing questions. Can a technically superior yet emotionless machine create music that moves us? How will humans react when faced with the possibility of being replaced? A vision of a haunting future imagined in an adapted soloist + orchestra format, Automation promises to be a visceral experience that will leave you talking about what it truly means to be human. Macabre sounds play a significant role in the music of Hector Berlioz, who was a master of orchestral special effects. Nowhere is this more apparent than in his most celebrated work, the Symphonie fantastique. Nearly two centuries after its first performance, this splendid symphony still sounds fresh, even slightly dangerous. And so it is, for Berlioz’s subject was the obsessive love of a young artist driven to opiates by his passion for a woman. His obsession takes musical form in a recurrent theme, the idée fixe [fixed idea], that returns throughout the symphony, gradually transformed and distorted. The second movement waltz is one of the great ballroom scenes in the symphonic literature. The concluding March to the Scaffold is a field day for the brasses. With its sonic kaleidoscope, the Symphonie fantastique remains a popular favorite.

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P R O G R A M N OT E S STATiC (2021) KIMANI BRIDGES (B. 2000) WORLD PREMIERE

Louisville native KiMani Bridges might still be a composition student at Indiana University’s Jacobs School of Music, but she has already garnered national attention and acclaim for her music. A flutist and composer, she had performed at Walt Disney World and the Field Museum before graduating from DuPont Manual Magnet High School/Youth Performing Arts School. In 2020 she won the NextNotes High School Creator Award. That same year, the Los Angeles Chamber Orchestra and New York City’s Kaufman Center premiered Bridges’s The Flower, which went on to win the 2020 G. Schirmer Prize. This past November, three of her works were premiered at the Louisville Festival of Faiths. One of them, Uplifted, was performed by Bridges, Teddy Abrams, Adam McCord, Matt Hawkins, and Terry O’Mahoney. Her composer’s note in the score to STATiC follows: STATiC is an orchestral work that moves between being still and having constant movement. This effect piece uses many extended techniques and colors, building a collection of textures that can be described as mysterious, anxious, stressful, uneasy, light, and calm. With STATiC, we are exploring the capabilities of the orchestra and what sounds can be created with the instruments and the performers themselves. Exploring the use of the voice

and air, the expressiveness in pitch (pitch bends, timbral trills, glissandi), the use of the various harmonic series, and cluster chords. As a characteristic, this piece uses graphic notation to create an uneasy and unpredictable sound: a wave of feelings. This adventuresome score stretches many of the musicians. Some players are instructed to whisper nonsense syllables. The tuba player speaks certain phrases through the instrument. Other players are asked to yell, to sing while playing, to breathe fast as if hyperventilating, and to laugh in an exaggerated fashion. Collectively, these auxiliary sounds enhance both mood and the sound palette in STATiC. The content is anything but static, migrating through stages of light and dense textures, sections of calm, mystery, drama, anxiety, craziness, and intensity, ultimately returning to calm. AUTOMATION ADAM SCHOENBERG (B. 1980) WORLD PREMIERE Adam Schoenberg is a rising star in American music. Currently, on the faculty at Occidental College in Los Angeles, he is much in demand, with commissions in place for the next several seasons. He has served as composer in residence with orchestras in Fort Worth, Kansas City, and Vanderbilt University, among others, and is the recipient of numerous awards including MacDowell Fellowships and ASCAP awards. Schoenberg’s latest work, Automation, is a single-movement for cello, halldorophone, electronics,

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P R O G R A M N OT E S and orchestra that he describes as a ‘Cinematic Concerto’ exploring the conflicts and connections between man and machine. His composer’s note elaborates: Automation is about the complicated, co-dependent relationship between man and machine, humans and technology. Divided into six discrete sections, it begins with the solo cellist, electronics, and orchestra. The music, somber and reflective, embodies our daily experience in a modern, technology-driven world. In the second section, absent the electronics, the soloist represents those who have spent their careers working in industries that are either disappearing or being outsourced to other countries. How do we sustain our hopes and dreams in the age of innovation and technology? As the section progresses, the live cellist is being “scanned” by the machines, and an AI cello (prerecorded cello) emerges. In the next section, “Learning Mode,” the AI Cello (played on a processed cello and halldorophone) attempts to learn the solo cellist’s music, but then “detunes” itself before suddenly breaking away. Initially, the solo cellist believes he is in control; however, the AI eventually asserts its complete independence. In the fourth section, a battle between the two forces emerges with highly aggressive, agitated, and fearsome music. The AI machine begins to take over and surpass the human. As material from the opening solo filters back through speakers, the prerecorded cello with newly added electronics emerges as the featured soloist. This section represents society’s obsession with performance, output, and productivity. 28

Section five begins with the live halldorophone on stage in complete darkness, as if all hope for humanity has been lost. Within this potentially dystopian future overrun by technology, our species is on the verge of extinction. In an attempt to resolve this epic struggle between man and machine, the orchestra introduces a sense of hope. The halldorophone gradually dissolves, and the orchestra emerges as a guiding light. In the final section. we rediscover what makes us human; the music proceeds as a more traditional acoustic concerto. The cellist, shedding electronics in favor of a lush orchestral score, takes us on a seven-minute reflective journey. In Automation’s final moments, ambient electronics creep back in, reminding us that we will remain dependent on technology. But, as humans, can we truly learn to live in harmony with machines? Or will AI ultimately prevail? Automation was commissioned by Justin M. Sullivan in honor of his son, Alec Baker Sullivan, and is dedicated to my dear friend, cellist Yves Dhar. The sound design and electronics were created by Adam Schoenberg, Alex Brinkley, and Gabriel Bethke. – A.S. Schoenberg’s experience in film music has served him well. He is an expert at establishing atmosphere. Slower, ruminative portions of Automation unfold with aching lyricism, while the ‘Battle’ and other sections teem with the motoric insistence of factory automation. Schoenberg knows how to build and sustain suspense. Attentive audience members will be rewarded with multiple layers of activity proceeding at their own pace, sometimes in tandem, elsewhere

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P R O G R A M N OT E S in conflict. It makes for satisfying, engrossing listening, with an ending that captures the questions posed in Schoenberg’s composer’s note. Adam Schoenberg attended Oberlin College (where he was also the table tennis champion) and subsequently earned master’s and DMA degrees at Juilliard. The Louisville Orchestra last performed his music in 2019, when Anne Akiko Meyers was the soloist in his violin concerto, Orchard in Fog. Schoenberg has been nominated twice for Grammy awards, and he won an Emmy in 2018 for his documentary film score for That Far Corner: Frank Lloyd Wright in Los Angeles. When Adam is not composing, he is teaching composition and film scoring at Occidental, and hanging out with his wife, TV writer and playwright Janine Salinas Schoenberg; their two children Luca and Leo; and their dog, Copland. SYMPHONIE FANTASTIQUE HECTOR BERLIOZ (1803-1869) For Hector Berlioz, Beethoven epitomized the power and expressive potential of the symphony. He was thrilled by Beethoven's expansion of the symphonic concept in the "Pastoral" and "Choral" symphonies. In France, a country where symphonic music took a subservient role to the all-important operatic stage, Berlioz set his unorthodox ambitions on carrying on the Beethovenian spirit. Berlioz's passion for the literary works of Goethe

and Shakespeare was to find lifelong expression in his symphonic music. The Symphonie fantastique, while not directly based on either Shakespeare or Goethe, has become irrevocably associated with a Shakespearean actress on tour in Berlioz's France.

In Irish femme fatale Harriet Smithson made her Parisian début in 1827 as Juliet and Ophelia, in English performances of Shakespeare's plays. She created a sensation, and Berlioz, like all of Paris, flocked to the theatre to see her perform. Though he did not understand English well, Berlioz was sufficiently familiar with Romeo and Juliet and Hamlet to project his literary ardor onto the female protagonist of each. He fell headlong in love with the comely Irish actress. Starting in 1828, he wrote to her for almost two years, but she did not respond to even those letters he had taken the trouble to frame in English. The young composer's romantic passion was undimmed. By February 1830 Berlioz was in such a keyed-up emotional state that he "could scarcely endure — or distinguish between — moral and physical pain," as he wrote to his father. In this agitated, precarious frame of mind, Berlioz began composing the Symphonie fantastique. Two months later it was finished, the creative efflorescence of his unrequited love.

Opium and hallucination As one might expect from such impassioned origins, the symphony is an intensely personal expression. Written on the eve of the 1830 July Revolution, the Symphonie fantastique is the quintessential expression of its age.

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P R O G R A M N OT E S Frankly autobiographical, it bears the subtitle "Episode in the Life of an Artist." The basic premise is that a sensitive young artist, rejected by the woman he loves, has taken a potentially fatal dose of opium in a suicide attempt. Rather than dispatching him to his destiny, opium catalyzes a series of hallucinatory dreams reflecting the artist's unstable state. These visions culminate in the nightmare-induced belief that he has murdered his beloved and is being led to the scaffold for execution. Such lurid experiences process themselves in his drugged mind as music, which we hear. We live in a society where such escapist drug use and suicide are unacceptable social behavior. But opium was not illegal

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in Berlioz's day; it was widely prescribed as a pain-killer and far more readily available than it is today. Indeed, the 1822 publication of Thomas De Quincey's Confessions of an English Opium-Eater created quite a stir, and Goethe himself had contributed to the fashionable status of romantic suicide — especially that inspired by unrequited love — as early as 1774 with The Sorrows of Young Werther. Berlioz was, one might say, on the cutting edge: unconventional enough to be deemed risqué, but stopping shy of the offensive.

Berlioz the iconoclast: breaking with tradition Musically this adventurous program required considerable adjustments to the traditional four movement symphonic form. To begin with, Berlioz expanded his symphony to five movements. A precedent had been set with the Beethoven Sixth ("Pastoral") symphony; Berlioz adopted that idea to allow for greater exploration of the hero's different emotional states. Next, anticipating Wagner and to some extent Liszt, he assigned a musical theme to the beloved, calling it an idée fixe; the term is borrowed from psychology. This theme, introduced in the first movement and varied or transformed in each of the subsequent movements, becomes an integrating component that serves both structural and narrative purposes. As a recurrent melodic idea, it makes the symphony a cyclic composition. As an auditory reminder of the program, the idée fixe turns the Symphonie fantastique into a dramatic work, even though it has no singers, actors, or staging. With this, his first unquestioned masterpiece, Berlioz

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P R O G R A M N OT E S turned a sharp corner with the romantic symphony and never looked back.

Five movements: a tour through Berlioz’s symphony Berlioz's Symphonie fantastique is in both C-major and C-minor, using that tonal ambiguity to heighten the sense of psychological imbalance. In the first movement, our hero first encounters his ideal woman, the beloved, and capitulates to her charms. He starts out in a state of sadness, somewhat meditative, but his newfound obsessive passion wreaks great changes on him — and in the music. In the next vision (the second movement) we are with our hero at a gala ball, where he glimpses the beloved through the crowd of dancing couples. The key changes to F-major for the appearance of the beloved; her impact on the artist is clear. Berlioz was proud of the effect that the Adagio ("Scene in the Country") always had on the public and himself. Two shepherds (English horn and offstage oboe) discuss life in a mournful duet; thunder on the horizon disturbs the meditative atmosphere in an eloquent portent of impending doom. The concluding two movements of the symphony are among the bestknown excerpts in the entire symphonic literature. We see the dreamer marching to his own execution, having been condemned to death for the murder of his beloved. In the diabolical finale, witches and other ghoulish specters assemble for a death orgy. Berlioz twists the idée fixe, distorting it to a macabre, spectral scherzo idea. Is this his revenge for unrequited love?

“... Oh my friend, I am indeed wretched – inexpressibly! ... Today it is a year since I saw HER for the last time ... Unhappy woman, how I loved you! I shudder as I write it – how I love you!” − Excerpt from a letter to composer and pianist, Ferdinand Hiller, from Hector Berlioz

The last movement is famous for its incorporation of the medieval Dies Irae chant, with ophicleides brought in to reinforce the brass section. Berlioz quite rightly thought them ugly; his vulgarization of the chant melody was intentional. It is but one example of innovative orchestration in this remarkable orchestral showcase. The Symphonie fantastique was also the first major orchestral work in which harp, English horn, and bells were used.

P.S. The Rest of the Story The postscript to the Harriet Smithson story is that Berlioz did marry her in 1833 when her career was in decline. The marriage failed. Berlioz biographer Hugh MacDonald has raised the tantalizing possibility that another woman, Camille Moke, may have also figured in the tempestuous events that resulted in the Symphonie fantastique. She and Berlioz were involved in a liaison in the early months of 1830 and were briefly engaged. She later married Ignaz Pleyel, heir to the piano manufacturing firm. The possibility of an addition in the cast of characters sends us to the concert hall with an entirely fresh perspective on Berlioz's youthful masterpiece.

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TEDDY ABRAMS ...continued from p. 6... number of orchestras — including playconducting the Ravel Piano Concerto with the Fort Worth Symphony in 2017 and the Jacksonville Symphony in 2013 — and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, Time for Three, and John Adams, in addition to annual appearances at the Olympic Music Festival. Dedicated to exploring new and engaging ways to communicate with a diverse range of audiences, Abrams co-founded the Sixth Floor Trio in 2008. Together, they founded and direct GardenMusic, the music festival of the world-renowned Fairchild Tropical Garden in Miami; they continue to tour regularly throughout the U.S. Abrams was a protégé of Michael Tilson Thomas from the age of eleven, 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 an award-winning composer and a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) were 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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LOUISVILLE ORCHESTRA 2021-22 BOARD of DIRECTORS Mr. Lee Kirkwood Chair Mr. Andrew Fleischman Chair-Elect Mr. James S. Welch, Jr. Immediate Past Chair Mrs. Carole Birkhead* Mrs. Christina Brown Mrs. Ritu Furlan Mrs. Mariah Gratz Mrs. Paula Harshaw Mrs. Carol Hebel*

Mrs. Michelle Hawk Heit Ms. Wendy Hyland Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Karen Lawrence Mrs. Carol Barr Matton Mr. Joseph Miller Mr. Guy Montgomery Mr. Khoa Nguyen Dr. OJ Oleka Dr. Teresa Reed Mr. Jeff Roberts Mr. Bruce Roth

Mrs. Denise Schiller Mrs. Winona Shiprek* Mr. Gary Sloboda Ms. Min Son Mr. Dennis Stilger, Jr. Mr. William Summers, V Mrs. Lindsay Vallandingham Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl Mr. Robert H. Wimsatt *denotes Life Member

LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE Graham Parker Interim Executive Director Nathaniel Koch Executive Administrator Megan Giangarra Office Administrator & Patron Services Associate Jacob Gotlib Creative Neighborhood Residency Program Manager

ARTISTIC OPERATIONS Matthew Feldman Director of Artistic Operations Jake Cunningham Operations Manager Adrienne Hinkebein Orchestra Personnel Manager Bill Polk Stage Manager

Adam Thomas Artistic Coordinator & Assistant to the Music Director

DEVELOPMENT Bert Griffin Chief Development Officer Edward W. Schadt Director of Leadership Giving Jonathan Wysong Development Manager

FINANCE Tonya McSorley Chief Financial Officer Stacey Brown Controller Cheri Reinbold Staff Accountant Angela Pike Receptionist

Chris Skyles Librarian

EDUCATION & COMMUNITY Sarah Lempke O’Hare Director of Education & Community Engagement Jennifer Baughman Education & Community Engagement Coordinator

MARKETING & COMMUNICATIONS Michelle Winters Director of Marketing Arricka Dunsford Marketing & Communications Strategist Stephen Koller Graphic Designer

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 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 34

Michele Oberst VP Ways and Means Susan Smith Recording Secretary Sue Bench Corresponding Secretary Ann Decker Treasurer Rita Bell Parliamentarian Carol Hebel, Winona Shiprek, & Anne Tipton President's Appointments A U D I E N C E

ALO BOARD of DIRECTORS Margie Harbst Paula Harshaw Sara Huggins John Malloy Carolyn Marlowe Marcia Murphy Nancy Naxera Roycelea Scott Ruth Scully Mollie Smith Harriet Treitz Carol Whayne

THETHE CONDUCTORS CORPORATE & FOUNDATION FOUNDATION MEMBERS CONDUCTORSSOCIETY SOCIETY CORPORATE AND MEMBERS FOUNDER| $250,000+ The Andrew W. Mellon Foundation William M. Wood Foundation

SUSTAINER | $100,000+ Jewish Heritage Fund for Excellence Jasteka Foundation

VIRTUOSO | $50,000+

BENEFACTOR | $25,000+ Brooke Brown Barzun Philanthropic Foundation The Diaz Family Foundation Kindred Foundation LOUISVILLE

SUPPORTER | $10,000+ Anonymous Augusta Brown Holland Philanthropic Foundation City of Windy Hills GSR Foundation Gheens Foundation The Glenview Trust Company

Carol Barr Matton Charitable Foundation Roth Family Foundation, Inc. University of Louisville School of Music Weishar Family Foundation Wimsatt Family Fund

PATRON | $5,000+ Anonymous Foundation Bass Family Foundation The Eye Care Institute General Dillman Rash Fund

Arthur K. Smith Family Foundation Woodrow M. and Florence G. Strickler Fund WDRB Fox 41

MEMBER | $3,000+ Arthur H. Keeney Ophthalmic Fund Habdank Foundation

A U D I E N C E

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 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 March 1, 2021 to February 28, 2022.

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

CONDUCTORS SOCIETY (SUSTAINER) $100,000 - $249,999 Owsley Brown III

CONDUCTORS SOCIETY (VIRTUOSO) $50,000 - $74,999 Anonymous William and Julie Ballard Betty and George † Gibbs Frank and Paula Harshaw

CONDUCTORS SOCIETY (BENEFACTOR)

$25,000 - $49,999 Anonymous Brian Kane Warwick Dudley Musson Elizabeth and Justus Schlichting Jason Zachariah

CONDUCTORS SOCIETY (SUPPORTER)

$10,000 - $24,999 Anonymous (3) Edith S. Bingham Marilyn and Brooks Bower David † and Patricia Daulton Nan Dobbs Andrew and Trish Fleischman Elisabeth U. Foshee Ritu Furlan Louise and Jay Harris Carol Hebel Lee and Rosemary Kirkwood Donald and Ann Kohler Mary Kohler Kenneth and Kathleen Loomis W. Bruce Lunsford Sheila G. Lynch Carol Barr Matton Guy and Elizabeth Montgomery John and Patricia Moore Thomas Noland † and Vivian Ruth Sawyer Dianne M. O'Regan Dr. Teresa Reed Bruce and Marcia Roth Winona and Joseph Shiprek Gary and Amy Sloboda Dennis Stilger Jr. Mr. and Mrs. James R. Voyles James and Marianne Welch Jane Feltus Welch

CONDUCTORS SOCIETY (PATRON) $5,000 - $9,999 Steve and Gloria Bailey Dr. and Mrs. David P Bell Barbara Berman Mark Bird Ms. Cary Brown and Dr. Steven E. Epstein Elizabeth W. Davis

Susan Diamond Ms. Donna Emerson Thelma Gault Joseph Glerum Matthew and Lena Hamel Owen and Eleanor Hardy Wendy Hyland Elizabeth and Mike Keyes Tim and Shannon Peace Marla Pinaire Fred and Claudia Pirman Jeff and Paula Roberts Dr. Gordon Strauss and Dr. Catherine N. Newton Ann and Glenn Thomas Ruth and Bryan Trautwein Susan and Michael Von Hoven Dr. Joan and Robert Wimsatt Mary Bert and Dr. Richard Wolf

CONDUCTORS SOCIETY (MEMBER)

$3,000 - $4,999 Teddy Abrams Dr. Stephen and Jeannie Bodney John and Theresa Bondurant Christina L. Brown Dr. and Mrs. Bruce Burton Thomas A. Conley III Mr. and Mrs. Donan Mr. and Mrs. William L. Ellison Jr. David and Regina Fry Mary Louise Gorman Mariah Gratz June Hampe Kent and Katherine Oyler Dr. Carmel Person Norman and Sue Pfau Steve Robinson Clifford Rompf Mr. and Mrs. Joseph Sireci Robert Steen Thomas and Anita Grenough Abell Endowment Fund Mr. and Mrs. Kevin Wardell Maud Welch

PRELUDE

$1,500 - $2,999 Dr. Fredrick W. Arensman Mr. Stephen P. Campbell and Dr. Heather McHold Brian Cook Marguerite Davis Gerald Doss Mr. and Mrs. Daniel L. Dues Rev. John G. Eifler Bert Greenwell Kenneth and Judy Handmaker David Sickbert and Thomas Hurd Allison Jacobs Estate of Margot Kling Thomas and Judith Lawson Bethany Breetz and Rev. Ronald Loughry John and Sharon Malloy Drs. Eugene and Lynn Gant March Jennifer and Charles Marsh Lynn and Roy Meckler Glynn Morgen Mona and John Newell

Joseph A. Paradis III Eugenia and John Potter Gordon and Patty Rademaker Sharon Reel Marianne Rowe Rev. Edward W. Schadt Alleine Schroyens Susan and Raymond Smith Carole Snyder Richard O. Spalding Dr. Anna Staudt Richard Stephan Mary C. Stites Constance Story and Larry G. Pierce Beverly J. Tilmes Elizabeth B. Vaughan Mr. and Mrs. Robert W. Vaughan Dr. Juan Villafane Carolyn Marlowe Waddell Kendrick Wells III Mary Ellen Wiederwohl and Joel Morris Dr. and Mrs. Nathan Zimmerman

SONATA

$500 - $1,499 Anonymous (4) Mr. Karl Adams Carlyn and Bill Altman Cheryl Ambach David and Madeleine Arnold Joseph and Linda Baker Miriam Ballert John and Mary Beth Banbury Tom and Marceline Barton Mike and Gail Bauer David B. Baughman Lynne A. Baur Stephen and Sharon Berger Tanya and Wendell Berry Cornelia Bonnie Dennis and Joan Brennan Bruce Broussard Mr. and Mrs. Henry H. Brown Virginia and Gary Buhrow Drs. Frank and Carolyn Burns Karen and Robert Chatham Patricia Chervenak Michael and Nancy Chiara George and Frances Coleman Cynthia and David Collier Jill and William Cooper Robert Cox Betsey Daniel Robert and Ann Decker Carol W. Dennes Dr. John and Mrs. Dee Ann Derr Judy Dickson James and Etna Doyle Ann-Lynn Ellerkamp Dan and Ellen Baker Finn George and Mary Lee Fischer Mr. and Mrs. Carl T. Fischer Julie and Laman Gray Jr MD Mary C. Hancock Barbara B. Hardy Carl Helmich Jr. Chris and Marcia Hermann Barbara Jarvis

A U D I E N C E

Anne Joseph Danielle B. Kannapell Warren Keller Tamina and Edward Kim The Edwards-Kuhn Family Dr. and Mrs. Forrest S. Kuhn Karl and Judy Kuiper Dwight Kyle Margaret Lanier Kate and Allan Latts Portia Leatherman Willard and Lynnette LeGette Samuel and Stephanie Levine Cantor David Lipp and Rabbi Laura Metzger Mrs. Sallie Manassah Anne Maple Ms. Nancy Martin Joan McCombs Elizabeth Merdian Kathryn Mershon Bob and Barbara Michael William Mitchell Abigail L. Mueller Ronald and Debra Murphy Mr. and Mrs. Robert B. Nesmith Dr. and Mrs. Lynn L. Ogden Dr. Naomi J. Oliphant Mr. and Mrs. Edwin Olliges Jr. Miriam Ostroff Sharon Pfister Joan Pike Arthur Pratt Joseph A. Pusateri Carol Clow Pye Douglas Rich Dr. Jon H. Rieger † Embry Rucker and Joan MacLean Robert Rudd Denise Schiller Dr. and Mrs. Saleem Seyal Ellen and Max Shapira Ruth Simons Mark Slafkes Mr. Sheryl G. Snyder and Mrs. Jessica Loving Eileen Spears Katherine Steiner Dr. and Mrs. Temple B. Stites Mary and John Tierney Dr. and Mrs. Paul E. Tipton Robert and Ann Wade Joyce and Jim Walters Manning G. Warren III Matt and Kathy Watkins William and Ginny Weber Roger and Janie Whaley Emily and Ellington Willingham Raleigh and Roberta Wilson Michelle Winters Jonathan and Stephi Wolff Frank and Keitt Wood Dr. Janice W. Yusk

DUET

$250 - $499 Anonymous (8) Michael and Barbara Abell Ms. Mary Beth Adams Doris L. Anderson Dr. and Mrs. Joe F. Arterberry

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 Mary Kay H. Ballard John Bates Nancy Beasley Wm. David and Judy Beaven Sara Blake and Kingsley Durant Eunice F. Blocker Bruce Blue and Louise Auslander Janice Blythe Mr. Daryl Booth Will and Kathy Cary Jeff and Marjorie Conner Paul Contois Chenault M. Conway Virginia J. Copenhefer Virginia B. Cromer Kate and Mark Davis Pat DeReamer and Cynthia DeReamer Rollins Traci and John Eikenberry Dr. Walter Feibes Mr. Matthew L. Feldman Nancy Fleischman Leslie and Greg Fowler Leslie K. Friesen Ed Garber Edward and Linda Goldstein Mrs. Connie Goodman Pamela Greene Dr. Misty and Mr. Bert Griffin Dr. Mary Harty Lawrence A. Herzog Jane Hoke Thomas and Patrice Huckaby Alec Johnson and Rachel Grimes Doris B. Jones Dean Karns

Dr. and Mrs. David Karp Richard Kaukas Barbara and Gary Knupp Mr. Phillip Kollin and Ms. Brooke Heisel Stanley Krol Lawrence Lambert Nana Lampton Mrs. Phillip Lanier Elizabeth S. Lavin Dr. and Mrs. Robert G. Lawrence Mr. Fred Levein Dr. and Mrs. Ronald Levine Thomas M. Lewis Gretchen Mahaffey Ms. Erynn McInnis Carla and Barry Motes William and Marilou Nash Ms. Susan Neal Dr. OJ Oleka Susannah S Onwood William and Joana Panning Don and Jan Parson John and Lue Peabody Kathleen Pellegrino Dianna and Peter Pepe Lynn Pereira Judith N. Petty Dr. and Mrs. Timothy B. Popham Doug Elstone and Russ Powell Mitchell and Cindee Rapp John Robinson David Rodger Vicki Romanko Bill and Judy Rudd Barbara Sandford

Courtney and Brandon Schadt Margaret Scharre Susan G. Zepeda and Dr. Fred Seifer Rev. Alfred Shands Richard and Terri Smith Vernon M. and Peggy T. Smith Dr. and Mrs. Gerald F. Sturgeon Mr. and Mrs. William Theuer William F. and Barbara J. Thomas Ron and Mary Thompson Dr. and Mrs. Robert S. Tillett Jr. Anna Laura and Thomas Trimbur Linda and Chris Valentine Lindsay Vallandingham Jeanne D. Vuturo Dennis and Julie Walsh Suzanne Warner Betty S. Weaver Anita and Shelton Weber Stephen and Patricia Wheeler Joan T. Whittenberg Susan Harris Wilburn Grace Wooding Judith and John Youngblood

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 502-585-9413 or ESchadt@LouisvilleOrchestra.org.

Anonymous Doris L. Anderson Mr. and Mrs. Gary Buhrow Douglas Butler and 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 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 and 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

EVENTS CALENDAR MAY 7 85° West Music Festival Presents Janet Jackson and New Edition 7PM, Lynn Family Stadium seatgeek.com 14 Leon Bridges 8PM, Louisville Palace louisvillepalace.com 14 Fantastique Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org 14 Flo Milli Live 8PM, Old Forester's Paristown Hall kentuckyperformingarts.org

15 Rodney Crowell 7PM, Bomhard Theater kentuckyperformingarts.org 16 Kentucky to the World and KPA Present DIVING DEEP: Chris Fischer's Journey to Save Sharks and Bring Balance to Our Oceans 6:30PM, Bomhard Theater kentuckyperformingarts.org 24 Valerie June with Rachel Maxann 8PM, Old Forester's Paristown Hall kentuckyperformingarts.org

May 25-July 22 Kentucky Shakespeare Twelfth Night Central Park kentuckyshakespeare.org

29 As I Lay Dying 7PM, Old Forester's Paristown Hall kentuckyperformingarts.org

27-29 Forcastle Festival Waterfront Park forecastlefest.com

JULY

JUNE 7-19 Hamilton PNC Broadway in Louisville Whitney Hall louisville.broadway.com 24-25 My Morning Jacket Iroquois Amphitheater (Friday) Waterfront Park (Saturday) productionsimple.com

A U D I E N C E

14 91.9 WFPK Presents The Mavericks 'En Español' World Tour (rescheduled) 8PM, Brown Theatre kentuckyperformingarts.org

The Mavericks

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 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.

A U D I E N C E

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THE SPEED ART MUSEUM PRESENTS

CODE

SANFORD BIGGERS

Codeswitch is the first survey of quilt-based works— inspired, in part, by the rich creative legacies of African American quilters—produced by the American interdisciplinary artist Sanford Biggers. The works, part of Biggers’s Codex series, consist of mixed-media paintings and sculptures done directly on or made from antique American quilts. Members see it all for free! Advanced ticket purchase strongly encouraged. Visit speedmuseum.org

Sanford Biggers: Codeswitch was co-organized by Rivers Institute for Contemporary Art & Thought, New Orleans, and the Bronx Museum of the Arts, New York, and curated by Andrea Andersson (Founding Director and Chief Curator, Rivers Institute) and Sergio Bessa (former Director of Curatorial Programs, Bronx Museum). The exhibition and catalog are made possible by the Rockefeller Brothers Fund: Culpeper Arts & Culture Program, Henry Luce Foundation, National Endowment for the Arts, Beth Rudin DeWoody, Marianne Boesky Gallery, Massimo De Carlo, David Castillo Gallery, Monique Meloche Gallery, Baldwin Gallery, and Yale University Press.

Leading sponsors: Brooke Brown Barzun & Matthew Barzun Stephen Reily and Emily Bingham Contributing sponsors: Hardscuﬄe, Inc. Jeﬀrey and Susan Callen Colin and Woo Speed McNaughton Lopa and Rishabh Mehrotra

Exhibition season sponsored by: Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Arthur J. and Mary Celeste Lerman Charitable Foundation Debra and Ronald Murphy

Image: Sanford Biggers American, b. 1970 Quilt 35 (Vex), 2014 Antique quilt fragments,treated acrylic, and tar on antique quilt.

Exhibition opening sponsor:

Laura Lee Brown and Steve Wilson

2035 S. 3rd Street Louisville, KY 40208