Audience | From Silence to Splendor | May 2023

FROM SILENCE TO SPLENDOR MAY 12-13

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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.

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PHOTO OF TEDDY ABRAMS BY JON CHERRY COVER ART BY RHONDA MEFFORD

MESSAGE FROM THE LOUISVILLE ORCHESTRA

Dear Friends and Concert-goers,

On behalf of the Louisville Orchestra, I extend a warm welcome to each and every one of you. We are honored to have you here as we come together through the power of music.

As we gather to enjoy this concert, we are mindful of the recent traumatic shootings that have impacted our city and filled us with grief and sadness. Our hearts go out to all those affected, and we stand in solidarity with our community during this challenging time. It is our hope that the sounds that fill Whitney Hall today will offer a small measure of comfort and peace to all those in need.

As we reach the end of our current concert season, I specifically want to thank all the dedicated musicians of the LO for an inspired year of music-making. This includes not only our core roster of players, but the many auxiliary performers who have appeared with us throughout the year. These talented and committed musicians are the engines that drive our performances and community engagement efforts day-in and day-out, and we greatly appreciate their efforts.

We recently announced our 2023-24 season, and we want to invite all of you to join us for it. Teddy and the entire artistic team have worked hard to plan a remarkable season, and we cannot wait to share it with you.

The Orchestra also looks forward to embarking on our upcoming tour, dubbed “In Harmony – The Commonwealth Tour of the Louisville Orchestra” in which we will join with noted artists such as Tessa Lark and Chris Thile for performances in Eastern Kentucky in May, Central Kentucky in July, and Western Kentucky in September. The tour is an opportunity for us to spread the joy of music and bring people together throughout the Commonwealth. Feel free to hit the road with us!

Once again, thank you for your continued support of the Orchestra. We hope that you find solace and inspiration in the music we share today and throughout the coming year.

Sincerely,

Andrew Fleischman Board Chair

MESSAGE FROM THE LOUISVILLE ORCHESTRA

Dear Guests,

As we come to the close of yet another eventful season, I’d like to thank you for your continued support of The Louisville Orchestra. We would not be here if not for your loyalty.

As we look forward to the 2023-2024 season, we have several exciting updates to share with you. We have invested in a new online ticketing portal giving all patrons the option of receiving digital or printed tickets for subscriptions and single events. Subscribers and single ticket holders will be able to manage all aspects of the ticket-buying experience through their own personal accounts. In tandem with the new portal, our Patron Services team will expand the scope of our concierge ticketing service for subscribers and donors.

We also have interesting and innovative programming coming your way next season. We have listened to your requests and are expanding our Films in Concert offerings to a three-concert package that can be added to any other subscription package. Details are still being finalized, but watch your e-mail for the announcement. We will have more special events throughout the season including concerts at the Louisville Palace Theatre and Iroquois Amphitheater, as well as an entire community festival programmed by our new Creators Corps artists. We will continue our free Music Without Borders concerts around the city as well as our residency at the Louisville Free Public Libraries. Our Classics, Coffee, and Pops concerts will continue as always in Whitney Hall featuring beautiful standard repertoire as well as some new music and LO premieres just to keep things interesting.

We are excited and ready to take your renewal or new subscription for the next season. There is a little something for everyone to enjoy. Please take the time to review your renewal packet that was recently mailed or stop by the LO table in the lobby so we can answer any questions you may have about joining our family. And don’t forget — the Subscription Renewal Deadline is June 15th!

Have a great summer and we look forward to seeing you all in the new season.

Carla Givan Motes Director of Patron Services

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 works —

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

Abrams recently collaborated with Jim James, vocalist and guitarist for My Morning Jacket, on the song cycle The Order of Nature, which they premiered with the Louisville Orchestra in 2018 and recorded on Decca Gold. They performed the work with the National Symphony Orchestra at the Kennedy Center in 2019. In addition to The Order of Nature, Teddy and the Louisville Orchestra recorded All In in 2017 with vocalist Storm Large. Most recently, he released Space Variations, a collection of three new compositions for Universal Music Group’s 2022 World Sleep Day.

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

PHOTO BY FRANKIE STEELE

This concert is dedicated by The Louisville Orchestra in fond memory of JAMES A. RAGO

James A. Rago, 79, passed away on October 13, 2022. Jim was born in New York and grew up in Lyndhurst, New Jersey. He moved to Louisville, Kentucky in 1967 having been recruited by Jorge Mester, then conductor of the Louisville Orchestra. Jim performed as Principal Timpanist for the orchestra from 1967 – 2022. He was the longesttenured current member of the Orchestra, having performed for 55 years.

Jim graduated from Lyndhurst High School, New Jersey, and entered The Juilliard School of Music in 1961, graduating with a master's degree in 1967. He studied percussion under the acclaimed Saul Goodman, who revolutionized the design of the timpani and the art of playing, and Anthony Cirone, past Principal Percussionist with the San Francisco Symphony, who, as a high school friend, inspired him to apply to Juilliard. Jim performed at the Aspen Music Festival for many years. He was a consummate professional with exceptional musicianship, who taught a generation of students as a professor of music at the University of Louisville for 30 years. He especially enjoyed jazz and the big band sound, but classical music was his passion.

Jim loved life. To his family and friends, "Jimmy" was a smart and funny man

who always taught you something. Jim was a loving husband, father, and "Papa". He loved the Yankees, watching boxing (especially Muhammed Ali), and cooking Italian dinners. He learned to make authentic Italian Spaghetti and Meatballs from his mother! He loved being at home with his family. He said that outside the orchestra, life was all about family. He enjoyed each of his children and grandchildren and all the birthdays, holidays, ball games, and graduations that raising a big family entails. He also dabbled in oil painting and singing with the church choir. His philosophy of life was to be patient, work hard and you will find your place. Jim's life of giving musical gifts to the Louisville community will be greatly missed.

His parents, James Rago, Sr., and Helen Puntilillo Rago, preceded him in passing. He is survived by his loving wife of 29 years Cheryl Rago, his children

Angela Gordon (Ron), Susan Epps (J.R.), Carole Jenkins (David), Jeff Maddox (Patti), and Amy Stewart (Tony.) He is also proud of his grandchildren Austin and Alyssa Gordon, William and Jenna French, Frederick and Vincent Jenkins, Beatty Duncan (Autumn), Cooper Duncan, Parker, Gunnar, and J.D. Maddox. He is also survived by his sisters

Helen Lang (Billy) and Linda Oatis (Rick).

The Speed Art Museum presents Rounding the Circle: The Mary and Alfred Shands Collection, a major exhibition celebrating the extensive and significant collection of contemporary artworks assembled by the late Alfred R. Shands

III (1928-2021) and Mary Norton Shands (1930-2009). This presentation also commemorates the transformative gift of art made to the Speed Art Museum, numbering over 150 artworks.

Image: Anish Kapoor

Indian, active England, born 1954

Detail of Untitled, 1999

Stainless steel and yellow paint

The Mary Norton Shands and Alfred R. Shands III Art Collection

Bequest P2022.2.69

BUY TICKETS

bit.ly/rtc-speed

speedmuseum.org

THE LOUISVILLE ORCHESTRA, 2022-2023

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster

Julia Noone, Associate Concertmaster

James McFaddenTalbot, Assistant Concertmaster

Mrs. John H. Clay Chair

Katheryn S. Ohkubo

Stephen Taylor

Scott Staidle

Nancy Staidle

Heather Thomas

Patricia Fong-Edwards

Dillon Welch

SECOND VIOLIN

Natsuko Takashima, Interim Principal

LG&E-KU Foundation Chair

Kimberly Tichenor, Assistant Principal

Christopher Robinson, Interim

Mary Catherine Klan Chair

Andrea Daigle

Cynthia Burton

Charles Brestel

Open

Judy Pease Wilson

Blaise Poth

VIOLA

Jack Griffin, Principal

Evan Vicic, Assistant Principal

Jacqueline R. and Theodore S. † Rosky Chair

Clara Markham

Mr.† and Mrs. Charles

W. Hebel Jr. Chair

Jennifer Shackleton

Jonathan Mueller

Virginia Kershner

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

Meghan Casper

CELLO

Nicholas Finch, Principal

Jim and Marianne Welch Chair

Lillian Pettitt, Assistant Principal

Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Cecilia Huerta-Lauf, Interim

Christina Hinton*

James B. Smith Chair

Endowed by Susannah S. Onwood

Allison Olsen

Lindy Tsai

Alan Ohkubo, Interim

BASS

Vincent Luciano, Principal

Brian Thacker, Interim Assistant Principal

Robert Docs

Karl Olsen

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot

Jessica Chancey

PICCOLO

Jessica Chancey

Alvis R. Hambrick Chair

OBOE

Alexandr Vvedenskiy, Principal

Betty Arrasmith

Chair, Endowed by the Association of the Louisville Orchestra

Open, Assistant Principal

Jennifer Potochnic ‡

ENGLISH HORN

Open

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 Schiffer 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

Lasting Legacies

Sat, Oct. 14, 2023

(Un) Silent Film: Nosferatu & A Symphony of Horror

Sat, Oct. 28, 2023

FILM SERIES

The Nightmare

Before Christmas

Wed, Oct. 18, 2023

Harry Potter & the Half-Blood Prince

Wed, Jan. 17, 2024

Star Wars: The Force Awakens

Sat, Feb. 17, 2024

CLASSICS SERIES

Bolero & Friends

Sat, Nov. 18, 2023

Together in Song

Sat, Jan. 13, 2024

Magnificent Voices

Sat, Mar. 23, 2024

FAMILY SERIES

Composing A Story

Sat, Oct. 7, 2023

Santa's Symphony Spectacular

Sat, Nov. 25, 2023

Constructing An Orchestra

Sat, Feb. 3, 2024

SEASON 23 24

Mahler 6

Sat, Apr. 27, 2024

Creators Fest

Sat, May 11, 2024

POPS SERIES

POPS SERIES

Fright Night

Sat, Oct. 21, 2023

Holiday Pops

Sat, Nov. 25, 2023

Queens of Soul

Fri, Jan. 19, 2024

March Music Madness

Sat, Mar. 16, 2024

Mariachi Fiesta

Sat, Apr. 6, 2024

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

COFFEE SERIES

COFFEE SERIES SPONSOR

FROM SILENCE TO SPLENDOR

Friday, May 12, 2023 • 11AM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor | Dashon Burton, vocalist

Christopher CERRONE

Adapted from Kevin Brockmeier's "The Year of Silence"

The Year of Silence (World Premiere)

Dashon Burton, vocalist

Anton BRUCKNER Symphony No. 7 in E major, WAB 107

I. Allegro moderato

II. Adagio: Sehr feierlich und sehr langsam

IV. Finale: Bewegt, doch nicht schnell

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.

Teddy Abrams, Music Director

Bob Bernhardt, Principal Pops Conductor

Graham Parker, Chief Executive

CLASSICS SERIES

CLASSICS SERIES SPONSOR

FROM SILENCE TO SPLENDOR

Saturday, May 13, 2023 • 7:30PM

The Kentucky Center, Whitney Hall

Teddy Abrams, conductor | Dashon Burton, vocalist

Christopher CERRONE

Adapted from Kevin Brockmeier's "The Year of Silence"

The Year of Silence (World Premiere)

Dashon Burton, vocalist

INTERMISSION

Anton BRUCKNER Symphony No. 7 in E major, WAB 107

I. Allegro moderato

II. Adagio: Sehr feierlich und sehr langsam

III. Scherzo: Sehr schnell

IV. Finale: Bewegt, doch nicht schnell

CONCERT SPONSOR: Lindy Street

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.

DASHON BURTON, vocalist

Dashon Burton has established a vibrant career appearing regularly throughout the

US and Europe. Highlights of his 20222023 season include returns to the Cleveland Orchestra for Schubert Mass No. 6 with Franz Welser-Möst in Cleveland and at Carnegie Hall, and to the New York Philharmonic for Michael Tilson Thomas’ Rilke Songs led by the composer. Debut appearances this season include Mendelssohn’s Elijah with the Milwaukee Symphony led by Ken-David Masur, Stravinsky’s Oedipus Rex with the Houston Symphony and Juraj Valčuha, the world premiere of Chris Cerrone’s The Year of Silence with the Louisville Orchestra led by Teddy Abrams, and the Dvorak Requiem with the Richmond Symphony. Mr. Burton continues his relationship with San Francisco Performances as an Artist-in-Residence with appearances at venues and educational institutions throughout the Bay Area.

A multiple award-winning singer, Mr. Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethyl Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). As an original member of the groundbreaking vocal ensemble Roomful of Teeth, he won his first Grammy Award for their inaugural recording of all new commissions.

His other recordings include Songs of Struggle & Redemption: We Shall Overcome (Acis), the Grammy-nominated recording of Paul Moravec’s Sanctuary Road (Naxos); Holocaust, 1944 by Lori Laitman (Acis); and Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra. His album of spirituals garnered high praise and was singled out by the New York Times as “profoundly moving…a beautiful and lovable disc.”

Mr. Burton received a Bachelor of Music degree from Oberlin College and Conservatory, and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music.

PHOTO BY TATIANA DAUBEK

As an original member of the groundbreaking vocal ensemble Roomful of Teeth, he won his first Grammy Award for their inaugural recording of all new commissions.

KEVIN BROCKMEIER, author Kevin Brockmeier is the author of the novels The Illumination, The Brief History of the Dead, and The Truth About Celia; the story collections Things That Fall from the Sky, The View from the Seventh Layer and The Ghost Variations: One Hundred Stories; the children’s novels City of Names and Grooves: A Kind of Mystery; and a memoir of his seventh-grade year called A Few Seconds of Radiant Filmstrip. His work has been translated into eighteen languages. He has published

his stories in such venues as The New Yorker, The Georgia Review, McSweeney’s, Zoetrope, Tin House, The Oxford American, The Best American Short Stories, The Year’s Best Fantasy and Horror, and New Stories from the South.

He has received the Borders Original Voices Award, three O. Henry Awards (one, a first prize), the PEN USA Award, a Guggenheim Fellowship, and an NEA Grant. In 2007, he was named one of Granta magazine's Best Young American Novelists. He teaches frequently at the Iowa Writers’ Workshop, and he lives in Little Rock, Arkansas, where he was raised.

"The Year of Silence" by Kevin Brockmeier, © 2008 Kevin Brockmeier.

CHRISTOPHER CERRONE (b. 1984)

Christopher

Cerrone is internationally acclaimed for compositions characterized by a subtle handling of timbre and resonance, a deep literary fluency, and a flair for multimedia collaborations. Balancing lushness and austerity, immersive textures and telling details, dramatic impact, and interiority, Cerrone’s multiGRAMMY-nominated music is utterly compelling and uniquely his own. Of his compositions the New York Times says: "His compositions can seem like vessels that catch sparse rainfall for long stretches, thus setting critical terms of engagement for a listener, until a limit of storage is reached. Then, his writing sends this carefully husbanded material back outward in generous pourings."

Cerrone’s recent opera, In a Grove (libretto by Stephanie Fleischmann), jointly produced by LA Opera and Pittsburgh Opera, was called “stunning” (Opera News) and “outstanding”

(Pittsburgh Post-Gazette) in its sold-out premiere run in March 2022. Other recent projects include A Body, Moving, a brass concerto for the Cincinnati Symphony; Breaks and Breaks, a violin concerto for Jennifer Koh and the Detroit Symphony; The Insects Became Magnetic, an orchestral work with electronics for the Los Angeles Philharmonic; The Air Suspended, a piano concerto for Shai Wosner; and Meander, Spiral, Explode, a percussion quartet concerto co-commissioned by Third Coast

Percussion, the Chicago Civic Orchestra of the Chicago Symphony and the Britt Festival.

Upcoming projects include The Year of Silence, adapted from the story of the same name by Kevin Brockmeier, for the Louisville Orchestra and baritone Dashon Burton; Beaufort Scales, an oratorio for voices, electronics, and video commissioned by Lorelei Ensemble; and Nervous Systems, a new clarinet quintet that will be toured throughout the US and Australia.

Cerrone’s first opera, Invisible Cities, a 2014 Pulitzer Prize finalist, was praised by the Los Angeles Times as “A delicate and beautiful opera … [which] could be, and should be, done anywhere.” Invisible Cities received its fully-staged world premiere in a wildly popular production by The Industry, directed by Yuval Sharon, in Los Angeles’ Union Station. Both the film and opera are available as CDs, DVDs, and digital downloads. In July 2019, New Amsterdam Records released his GRAMMY-nominated sophomore effort, The Pieces that Fall to Earth, a collaboration with the LA-based chamber orchestra, Wild Up, to widespread acclaim. His most recent release, The Arching Path (In a Circle Records), features performances by Timo Andres, Ian Rosenbaum, Lindsay Kesselman, and Mingzhe Wang and was nominated for a 2022 GRAMMY. Cerrone is the winner of the 2015-2016 Samuel Barber Rome Prize in Music Composition and is currently a fellow at the Laurenz Haus Foundation in Basel, Switzerland in 2022–2023.

Christopher Cerrone holds degrees from the Yale School of Music and the Manhattan School of Music. He is

COMPOSER BIOGRAPHY

published by Schott NY and Project Schott New York and in 2021 he joined the composition faculty at Mannes School of Music. He lives in Brooklyn with his wife, Carrie Sun. To explore more, go to christophercerrone.com.

ANTON BRUCKNER

(1824 - 1896)

Austrian Romantic composer and organist

Anton Bruckner was born on September 4, 1824 in the Upper Austrian town of Ansfelden near Linz. His father, who was a schoolmaster and organist, was his

first music teacher, but as a boy of 13, Bruckner began studies as a chorister at the monastery in St. Florian. At the age of 27, he assumed the position of organist for the monastery chapel and stayed there well into his forties. While there he became acquainted with Franz Liszt. Liszt and several other composers, including Wagner, founded the New German School of Music and counted Bruckner as one of their greatest admirers.

In 1868 Bruckner accepted a post as a teacher of music theory at the Vienna Conservatory. During this time, he concentrated most of his energy on writing symphonies. These symphonies, however, were poorly received and at times criticized as being "wild" and "nonsensical." He later accepted a post

at the University of Vienna in 1875, where he attempted to make music theory a part of the curriculum. While Bruckner was residing in Vienna, the well-documented “feud” between two factions of musical styles began to wage. Bruckner’s devotion to the music of Wagner and the New German School put him at odds with influential Viennese musicians, conductors, and critics who were instead devotees of Brahms. This had an impact on performance opportunities for his symphonies and the critical reviews they received.

Bruckner did not gain prominence as a composer until he was in his 60s. He was, however, quite famous as an organist throughout his life. In 1871 he was invited to concertize in England performing six recitals on a new Henry Willis organ at Royal Albert Hall in London and five more at the Crystal Palace. It is interesting to note that this renowned organist composed no pieces for the organ. However, he is said to have discovered the melodic themes for many of his symphonies through improvisation on the “King of Instruments”.

In addition to his symphonies, Bruckner wrote Masses, motets, and other sacred choral works. In contrast to his Romantic symphonies, Bruckner's choral works are often conservative and contrapuntal in style.

Bruckner lived very simply. Numerous stories are recounted as to his determined pursuit of composition and his humble acceptance of the fame that eventually came his way. Once, after a performance of his Symphony No. 5, an enthusiastic young person approached him and said his work was the greatest creation

since Beethoven. Bruckner, overcome with emotion, and not knowing how to respond, reached in his pocket and gave the young man a silver piece, and told him he had waited his whole life just to hear someone say that.

Brucker was a deeply religious man, a devout Catholic, and the early monastic influence in his life was to have a significant effect on the composer and his music. Like J.S. Bach, Bruckner believed that music’s ultimate purpose was to praise and glorify God. His compositions have been compared to the architecture and atmosphere of the cathedrals he so frequently visited and in which he performed (more on that in our program notes following). One of his biographers, Hans Redlich, stated that Bruckner may have been "the only great composer of his century whose entire musical output is determined by his religious faith." And like Beethoven, Bruckner’s works, and particularly his symphonic output, straddle the boundary between two distinct eras of music history — the style and forms used in the early Romantic period of the 19th century and those used in the early 20th century of Modern music.

Bruckner died in Vienna on February 11, 1903. Three movements of his incomplete Symphony No. 9 premiered on the same day in Vienna with the dedication "to the King of Kings, or Lord — and I hope that He will grant me enough time to complete it."

SYMPHONY No. 7 IN E MAJOR, WAB 107

Anton Bruckner

(1824 - 1896)

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

A frequent metaphor used to describe Bruckner's music is the Gothic cathedral. One circles it on foot, observing its beauty from every angle, then enters. One visitor may be absorbed by the vaulting of the arches and the structural principles of the buttresses. Another may admire the decorative sculptures and the rose windows, remaining oblivious to the more practical aspects of construction. The cathedral is simply there, immutable, permanent. It does not go anywhere, but it exists with many facets, ready to be appreciated from every angle.

To those for whom all Gothic cathedrals look alike, all Bruckner may sound the same. Some critics hold that Anton Bruckner did not write nine symphonies, but rather composed the same symphony nine times. It is true that the Bruckner symphonies share certain traits, that some patterns prevail in all the scherzi, or in all the slow movements. But like Gothic cathedrals, Bruckner symphonies all have their own individual character and presence. Each Bruckner symphony is a space to be entered and savored. One can temporarily suspend the world around him in meditation or reverie in either place, cathedral or symphony.

Less than a decade older than Johannes Brahms, Anton Bruckner was the unheralded heir to the Viennese symphonic tradition, particularly after Robert Schumann's death. There is really no other composer "like" Bruckner. An accomplished organist, he grew up in the shadow of the Austrian Catholic church, and his early compositions were

heavily concentrated in sacred choral works. Indeed, he was intensely religious, a devout Catholic whose love of God had significant bearing on everything he composed.

But symphonies dominated his mature years, and that devoted love manifested itself in a remarkable collection of absolute music in the purest sense. Bruckner became the first major nineteenth-century symphonist after Schubert to achieve the magic number of nine symphonies, that awe-inspiring precedent set by Beethoven. In the process, as Derek Watson has noted, he evolved from symphonic mass to cosmic symphony.

By nature, Bruckner was modest, pious, and sadly lacking in self-confidence. His early symphonies were dismissed as the unplayable work of a wild man, and he thenceforth found it difficult to secure performances of his orchestral compositions. Worse, he fell into the habit of seeking out and accepting suggestions for "improvements" to his compositions, from friends, students, and professional colleagues. Because of his extreme humility, he was too willing to accept alterations to his music. This process resulted in performing cuts, re-orchestration, and even published versions that purported to promote Bruckner's music, but actually led to even greater confusion. Bruckner scholars have debated the composer's true intentions ever since, and critical editions of Bruckner's symphonies have become one of the thorniest projects in musicology.

The Seventh Symphony, which occupied Bruckner almost exclusively between September 1881 and September 1883, is remarkably free of such confusion, having been revised substantially less than its predecessors. It is one of only two Bruckner symphonies without major discrepancies in editions. Bruckner was perhaps more confident at this relatively late stage of his career (he was 60) and, with the Seventh Symphony, finally achieved the international acclaim that eluded him during his youth and middle age.

The general consensus about Bruckner tends to overemphasize the size of his orchestra. In his earlier works, he composed for an orchestra hardly larger than Beethoven's; the scoring expanded

gradually and steadily as his own concept of the symphony continued the expansion that Beethoven had launched. Beginning with the Third Symphony, Bruckner called for more brass than Beethoven; however, the Seventh is actually the first of his symphonies to incorporate the expanded horn and Wagner tuba sections mistakenly associated with all of Bruckner's music.

In form, the Seventh Symphony adheres to the basic outlines of the Viennese classical symphony in the sense that it has four movements of varying tempo and character, with a slow movement and a scherzo flanked by two large sonata-like structures. But to approach Bruckner with the idea of listening for symphonic sonata form is to court

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misunderstanding. Deryck Cooke has written:

He no doubt saw himself organizing his materials according to the sonata procedures he had studied so diligently with Kitzler...but with Bruckner so firm in his religious faith, the music has no need to go anywhere, no need to find a point of arrival, because it is already there.

Like all of Bruckner's symphonies, the Seventh opens quietly, with an ascending arpeggio that launches one of the longest themes he ever composed: 21 measures. The quietude of the beginning has been likened to Beethoven's Ninth Symphony; there are other instances of such parallels between the two works, most notably the A-B-A-B-A form of the slow movement, which is clearly indebted to that of Beethoven's Ninth. Though not in strict sonata form, Bruckner's first movement manipulates blocked theme groups that lend themselves to development and recur in a recognizable fashion.

Bruckner idolized Richard Wagner, to whom he regularly referred as "the Master." The Seventh Symphony's slow movement has its roots in Bruckner's reverence for the German composer. In a letter to the conductor Felix Mottl in January 1883, he wrote:

One day I came home and felt very sad. The thought had crossed my mind that before long the Master would die, and then the C-sharp minor theme of the Adagio came to me.

To learn more visit: KYLottery.com

One month later, still at work on the movement, he learned of Wagner's death in Venice. The sublime final pages of the Adagio are his memorial to the musician he revered above all others. (The Adagio

was also played at Bruckner's own funeral in 1896.) An enormous cymbal crash marks the movement's climax. Of questionable authenticity, that outburst is the most infamous point of contention in the entire symphony!

Few composers can match Bruckner for excitement in the realm of the scherzo. This one is like an electrical storm, driven by rumbling energy from the strings and punctuated lightning flashes from the brass section. The contrast in the Trio section is enormously effective after the restless tension that precedes it. Its Ländler rhythm [an Austrian folk dance in triple meter, rather like a slow waltz] links it to Franz Schubert, another of Bruckner's predecessors in the realm of the enlarged symphony.

All the stops are pulled for the Finale. Perhaps most clearly in the Seventh Symphony, this movement reveals Bruckner the organist. At the instrument he knew best, he was famous for his improvisations. While the Finale is hardly improvisatory, it does share the grandeur and exultation of a large cathedral organ. Bruckner builds his sound in cumulative layers, gathering power as he increases volume. For all the expansive splendor and triumph, this Finale is among Bruckner's most compact conclusions.

Bruckner's Seventh is scored for a large orchestra of woodwinds in pairs, four horns, three trumpets, three trombones, four Wagner tubas, contrabass tuba, timpani, and strings.

THE WAGNER TUBA

The so-called Wagner tuba was developed for performance in Wagner’s operas, specifically the tetralogy of the

Ring cycle. Despite its name, however, the Wagner tuba is actually closer to a French horn than a bass tuba, and is intended to be played by members of the horn section.

Wagner sought an instrument that combined characteristics of various brasses: the brightness of trumpets, the sonorous qualities of trombones, the rich tone of bass tuba. He liked the timbre of French horns, but preferred more volume. Devising the Wagner tuba allowed him to fuse the lyricism and romance of the horn sound with the more solemn, heroic qualities of the lower brass.

The instrument uses a French horn mouthpiece, but the shape of the tubing

is different from a horn: more elliptical. The bore is wide and conical, increasing gradually throughout the length of the tubing, with the bell flaring upward. The instrument has four rotary valves.

Wagner tubas come in two sizes, tenor and bass. The tenor is pitched in unison with the B-flat horn; bass Wagner tubas match the horns in F. Because the mouthpiece is identical to the French horn mouthpiece, a player may switch between horn and Wagner tuba in performance. Although the instrument has never become part of the standard orchestral complement, it does appear in works by Anton Bruckner, Richard Strauss, and Igor Stravinsky, in addition to the four operas that comprise Wagner’s Der Ring des Nibelungen

Bruckner scored for both horns and Wagner tubas in his Seventh, Eighth, and Ninth symphonies. The music is notoriously demanding for them, in part because some of the players switch between the two instruments. Shifting can be tricky, because the player does not hold the instruments the same way. Players describe the Wagner tuba as having a different feel, and say that going back and forth between the two in the Bruckner Seventh requires skill and flexibility. The instruments were devised not for additional volume, but rather for their beautiful timbre. The sound is uniquely mellow, lending a melancholy color that is only possible with the Wagner tuba.

PROGRAM NOTES

THE YEAR OF SILENCE (WORLD PREMIERE)

Christopher Cerrone (b. 1984)

"The Year of Silence" by Kevin Brockmeier, © 2008 Kevin Brockmeier

I stumbled on Kevin Brockmeier’s “The Year of Silence” in a copy of The Best American Short Stories at a friend’s house in Brooklyn in 2010. The story — about a city that went mysteriously silent for a year — was told in the first person plural by a mysterious “we,” which made it feel ancient and disembodied, like a Greek chorus. Its combination of a fantastical world with a sense of inexorable architecture strongly appealed to my sensibilities. It reminded me of another of my favorite authors, Italo Calvino, whose novel Invisible Cities I adapted into my first opera.

But, after a bit of thought, I just couldn’t see what music would add to the story. It felt so complete in its structure and sweep that I discarded the idea of a musical adaptation.

Fast forward to April 2020, and I’m sitting in my Brooklyn apartment. It’s the earliest, most uncertain part of the Covid-19 pandemic. That time, for me, combined dread and boredom.

During the day, I would wander the silent streets of Flatbush, my neighborhood that is rarely, if ever, quiet, and at night I would scroll through my books and

archives, the only noise being that of ambulances rushing through the streets.

In my scrolling, I found the file: the_ year_of_silence_all_pages.pdf. What read before as a foray into a whimsical world now felt prophetic. At that moment, I knew that I had to find a way to adapt it.

I emailed the story to my friend and collaborator Teddy Abrams. I was less soliciting a gig and more looking for confirmation from a friend whose opinion I trusted. He wrote me back a day later suggesting that we make it into a piece as soon as possible and premiere it in Louisville.

Reading the story again, I decided that the kind of draconian cuts required to make the piece into a song cycle were neither dramatically appropriate nor structurally sound, and so I chose a way to include a maximum amount of text: to use a narrator, who occasionally sings. For this part, I suggested an old friend, Dashon Burton, who has not only a beautiful baritone voice but a sonorous speaking one, too.

Instead, I let go of all my preconceived notions of what I wanted the piece to be and just wrote. I was guided entirely by the text of the story, which is so rich that it did not need any politicizing or historicizing. The story of humans becoming obsessed and fascinated and eventually bored with the mysteries of the world is a deeper and older story than any specific moment.

I used a prepared piano, strings scratching their strings, and brass players blowing air throughout their instruments to turn the orchestra into the noise of a construction site. I asked all the percussion to play freely and ignore the conductor to evoke the sound of Morse code in the distance. The hardest thing to evoke in the music was the silence, which I interpreted not as a literal lack of sound, but as a kind of warm, sustained world that envelops the listener the way the silence does in the story.

The Year of Silence was commissioned by the Louisville Symphony, Teddy Abrams, music director, and was created with the support of a residency from the Stiftung Laurenz-Haus in Basel, Switzerland.

I began writing the piece in December 2022, a few months after our American president declared the pandemic over. I wanted to capture a range of conflicting emotions: the desire to remember, the desire to forget, and the need to find meaning in a difficult time.

“As soon as possible,” given all the twists and turns of the pandemic, turned out to be three years later — pretty fast by classical music standards.

LOUISVILLE ORCHESTRA 2022-2023 BOARD of DIRECTORS

Mr. Andrew Fleischman

Chair

Mr. Lee Kirkwood

Immediate Past Chair

Mrs. Carole Birkhead*

Mrs. Christina Brown

Mrs. Maggie Faurest

Mrs. Ritu Furlan

Mrs. Mariah Gratz

Mr. Jordan Harris

Mrs. Paula Harshaw

EXECUTIVE

Graham Parker

Chief Executive

Nathaniel Koch

Chief of Staff

Megan Giangarra

Mrs. Carol Hebel*

Ms. Wendy Hyland

Mr. Brian Kane

Mr. Don Kohler, Jr.

Mrs. Karen Lawrence

Carol Barr Matton

Mr. Guy Montgomery

Mr. Khoa Nguyen

Dr. Teresa Reed

Mr. Jeff Roberts

Mr. Bruce Roth

Mrs. Denise Schiller

Mrs. Winona Shiprek*

Mr. Gary Sloboda

Mr. Dennis Stilger Jr.

Mrs. Lindsay Vallandingham

Mrs. Susan Von Hoven

Mr. James S. Welch Jr.

Mrs. Mary Ellen Wiederwohl

Mr. Robert H. Wimsatt

*Denotes Life Member

LOUISVILLE ORCHESTRA ADMINISTRATION

ARTISTIC OPERATIONS

Adam Thomas Director of Operations

Adrienne Hinkebein Director of Orchestra Personnel

CREATORS CORPS

Lisa Bielawa

Composer

TJ Cole

Composer

Office Administrator & Patron Services Associate

Drea Wells Executive Assistant

IN HARMONY COMMONWEALTH TOUR

Arricka Dunsford

Kentucky Tour Project Manager

Emily Smith

Kentucky Tour Project Coordinator

DEVELOPMENT

Holly Neeld

Director of Development

Edward W. Schadt

Director of Endowment Giving

Zaq Andel

Special Events Manager

Jessica Burleson

Institutional Giving Manager

Jonathan Wysong

Development Manager

Jake Cunningham Operations Manager

Murphy Lamb Personnel & Operations Assistant

Bill Polk Stage Manager

Chris Skyles Librarian

Kasmira Frazier Assistant Stage Manager

Trevor Johnson Production Assistant

EDUCATION & COMMUNITY

Sarah Lempke O’Hare Director of Education & Community Partnerships

Jenny Baughman Education & School Programs Manager

Elizabeth Etienne State Community Partnerships & Engagement Manager

Allison Cross Local Community Partnerships & Engagement Manager

Tyler Taylor

Composer

Jacob Gotlib

Creators Corps Program Manager

MARKETING & COMMUNICATIONS

Mallory Kramer

Director of Marketing

Nancy Brunson

Communications & Content Manager

Serena Haming

Marketing & Promotions Manager

FINANCE

Tonya McSorley

Chief Financial Officer

Stacey Brown

Controller

Cheri Reinbold

Staff Accountant

PATRON SERVICES

Carla Givan Motes

Director of Patron Services

Shane Wood

Patron Systems Manager

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC.

EXECUTIVE OFFICERS

Lindsay Vallandingham

President

Mona Sturgeon Newell

Immediate Past President

Helen Davis

VP Communications

Pam Brashear

VP Education

Jeanne James & Suzanne Spencer

VP Hospitality Co-Chairs

Marguerite Rowland

VP Membership

Michele Oberst

VP Ways & Means

Susan Smith

Recording Secretary

Sue Bench

Corresponding Secretary

Ann Decker Treasurer

Rita Bell

Parliamentarian

Carol Hebel, Winona Shiprek, and Anne Tipton

President's Appointments

ALO BOARD of DIRECTORS

Margie Harbst

Paula Harshaw

John Malloy

Marcia Murphy

Nancy Naxera

Roycelea Scott

Mollie Smith

Carol Whayne

LOUISVILLE ORCHESTRA CONTRIBUTORS

Annual gifts provide funding that is critical to the success of our mission to bring diverse programming and educational opportunities to our community. The Louisville Orchestra gratefully acknowledges the following donors of record for the period of 3/1/2022 - 2/28/2023.

CONDUCTORS SOCIETY (FOUNDER)

$250,000+

Christina L. Brown

Jim and Irene Karp

William and Susan Yarmuth

CONDUCTORS SOCIETY (SUSTAINER)

$100,000 - $249,999

Anonymous (2)

Laura Lee Brown & Steve Wilson

Owsley Brown III

Brook and Pam Smith

CONDUCTORS SOCIETY (VIRTUOSO)

$50,000 - $74,999

Anonymous

Betty Moss Gibbs

Frank and Paula Harshaw

Mrs. Edie Nixon

Mary and Ted Nixon

David Jones and Mary Gwen Wheeler

James and Marianne Welch

CONDUCTORS SOCIETY (BENEFACTOR)

$25,000 - $49,999

Victoria and Paul J. Diaz

Brian Kane

Warwick Dudley Musson

Thomas Noland † and Vivian Ruth Sawyer

Stephen Reily & Emily Bingham

CONDUCTORS SOCIETY (SUPPORTER)

$10,000 - $24,999

Anonymous (3)

Edith S. Bingham

Walter Clare

Linda Dabney

David † and Patricia Daulton

Susan Diamond

Elisabeth U. Foshee

Ritu Furlan

Ann and Doug Grissom

Louise and Jay Harris

Carol Hebel

Donald and Ann Kohler

Mary Kohler

Kenneth and Kathleen Loomis

Sheila G. Lynch

Carol Barr Matton

Guy and Elizabeth Montgomery

Dr. Teresa Reed

Jeff and Paula Roberts

Bruce and Marcia Roth

Denise Schiller

Winona and Joseph Shiprek

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

Mr. James R. Allen

Steve and Gloria Bailey

Dr. and Mrs. David P Bell

Ms. Cary Brown and Dr. Steven E. Epstein

Garvin Brown IV

Donald and Linda Finney

Nan Dobbs

Andrew and Trish Fleischman

Thelma Gault

Joseph Glerum

Matthew and Lena Hamel

Owen and Eleanor Hardy

Patricia Buckner McHugh

Herbert and Barbra Melton

John and Patricia Moore

Dianne M. O'Regan

Marla Pinaire

Clifford Rompf

Mr. and Mrs. Robert W. Rounsavall III

Ellen and Max Shapira

Gary and Amy Sloboda

Richard Stephan

Ann and Glenn Thomas

Ruth and Bryan Trautwein

Susan and Michael Von Hoven

Jeanne D. Vuturo

Maud C. Welch

Mary Ellen Wiederwohl and Joel Morris

Orme and Mary Wilson

Dr. Joan and Robert Wimsatt

CONDUCTORS SOCIETY (MEMBER)

$3,000 - $4,999

John † and Theresa Bondurant

Dr. and Mrs. Bruce Burton

Thomas A. Conley III

Mr. and Mrs. Thomas Donan

Shirley Dumesnil

Mr. and Mrs. William L. Ellison Jr.

Mrs. Maggie Faurest

Dr. and Mrs. Eugene Fletcher

Mariah Gratz

Lee and Rosemary Kirkwood

Mr. Leonard A. Loesch

Colin and Woo McNaughton

Kent and Katherine Oyler

Norman and Sue Pfau

Marianne Rowe

Russell and Theresa Saunders

Mr. and Mrs. Joseph Sireci

Susan and Raymond Smith

Robert and Silvana Steen

Dr. Gordon Strauss and Dr. Catherine N. Newton

Mr. and Mrs. Robert W. Vaughan

Carolyn Marlowe Waddell

Mr. and Mrs. Kevin Wardell

Dale R. Woods

PRELUDE

$1,500 - $2,999

Hon. and Mrs. Jerry E. Abramson

John Alagia

Dr. Fredrick W. Arensman

David B. Baughman

Debbie Berry

Dr. Stephen and Jeannie Bodney

Bethany Breetz and Rev. Ronald Loughry

Patricia Chervenak

John B. Corso

Mr. and Mrs. Daniel L. Dues

Deborah Dunn

Rev. John G. Eifler

Randall L. and Virginia † I. Fox

Mary Louise Gorman

Bert Greenwell

John R. Gregory

June Hampe

Kenneth and Judy Handmaker

Mrs. Spencer E. Harper, Jr.

Mr. Thomas Klammer

Karl and Judy Kuiper

Mr. and Mrs. Bill Lamb

Margaret Lanier

Ed and Sallie Manassah

Drs. Eugene & Lynn Grant March

Lynn and Roy Meckler

Dr. and Mrs. Timothy B. Popham

Carole Clow Pye

Gordon and Patty Rademaker

Mrs. Cheryl Rago

Ms. Ann Reyolds

Stephen and Lynne Rodeheffer

Rev. Edward W. Schadt

Alleine Schroyens

Dr. Anna Staudt

Mary C. Stites

Linda and Chris Valentine

Lindsay Vallandingham

Roger and Janie Whaley

Stephen and Patricia Wheeler

Ann Zimmerman

SONATA

$500 - $1,499

Anonymous (5)

Mrs. Mary Alexander-Conte

Carlyn and Bill Altman

David and Madeleine Arnold

Robert and Judith Ayotte

Joseph and Linda Baker

John and Mary Beth Banbury

Stephen and Sharon Berger

Mr. Neville Blakemore and Mrs. Gray Henry

Cornelia Bonnie

Dr. and Mrs. Lawrence H. Boram

Charles C. Boyer

Samuel and Sue Bridge

Mr Barlow Brooks

Mr. and Mrs. Henry H. Brown

Rebecca Bruner

Drs. Frank and Carolyn Burns

Sally V.W. Campbell

Michael and Nancy Chiara

Larry Sloan and Helen K. Cohen

George and Frances Coleman

Jeff and Marjorie Conner

Mr. and Mrs. David Contarino

Robert Cox

Betsey Daniel

Marguerite Davis

Kate and Mark Davis

Carol W. Dennes

Pat DeReamer and Cynthia

DeReamer Rollins

Dr. John and Mrs. Dee Ann Derr

Judy Dickson

James and Etna Doyle

Susan Ellison

Dr. Walter Feibes

George † and Mary Lee Fischer

Dr. Marjorie Fitzgerald

Nancy Fleischman

Leslie and Greg Fowler

Mr. Ed R. Garber

C.E. Glasscock

John and Mary Greenebaum

Mary C Hancock

Mrs. Martha Hardesty

Barbara B. Hardy

John D. Harryman

Dr. Mary Harty

James and Sara Haynes

Timothy and Natalie Healy

Carl Helmich Jr.

Chris and Marcia Hermann

Thomas and Patrice Huckaby

Mrs. Susan M. Hyland

Barbara Jarvis

Dean Karns

Warren Keller

Mr. Alfred Kelley

Dr. and Mrs. Forrest S. Kuhn

Nana Lampton

Amy and Matthew Landon

Kate and Allen Latts

Portia Leatherman

Samuel and Stephanie Levine

Thomas M. Lewis

Cantor David Lipp and Rabbi Laura Metzger

Anne Maple

Mrs. Nancy Martin

Susan S. Means

Bob and Barbara Michael

Ms. Kellie L. Money

Biljana N. Monsky

Ms. Judy Morrison

Ronald and Debra Murphy

Susan Norris

Dr. Naomi J. Oliphant

Judith Olliges

Miriam Ostroff

Mr. and Mrs. Howard Pearl

Sharon Pfister

Mr. Timothy Pifer

Ms. Margaret Plattner

Arthur Pratt

Dr. and Mrs. Mark M. Prussian

David Ray and Jean Peters

Sharon Reel

Douglas and Ann Rich

Steve Robinson

Embry Rucker and Joan MacLean

Robert Rudd

Marilyn Schorin

Mr. and Mrs. Ronnie Seale

Dr. and Mrs Saleem Seyal

Ruth Simons

Tamina and Edward Singh

Mr. Joseph Small

Carole Snyder

Dr. Joern Soltau

Katherine Steiner

Natalie and Panos Stephens

Mary and John Tierney

Mr. Robert Townsend

Mr. and Mrs. Steve Underwood

Marge Warden

Suzanne Warner

Matt and Kathy Watkins

Crawford and Alice Wells

Kendrick and Claudia Wells

John T. Whittenberg

Raleigh and Roberta Wilson

Jonathan and Stephi Wolff

Judith and John Youngblood

Jeanne and Paul Zurkuhlen

LOUISVILLE ORCHESTRA CONTRIBUTORS

DUET

$250 - $499

Anonymous (6)

Karen O'Leary and William Abrams

Bryce and Danielle Armstrong

George Bailey

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

John T. Ballantine

Mary Kay H. Ballard

Jeffrey Barr

Donna Benjamin

Sara Blake and Kingley Durant

Bill Bolte

George Borrmann

Mr. Jonathan Braden

Doris Bridgeman

Betty and Randolph Brown

Dr. and Mrs. Jeffrey P. Callen

Janet Campisano

Julia Carey

Will and Kathy Cary

Dr. Atif Chowghury

Judith K. Conn

Ms. Annette Coxon

Bonnie Cress

Virginia B. Cromer

Mr. Dale Curth

Mrs. Sandra Curtis

Ms. Doris Davis

Mr. Lee Davis

Mr. Brent Densford

Mr. John Dersch

Mr. Leonidas D. Deters and Ms. Penny Shaw

Nan Dobbs

Robert and Sandra Duffy

Uwe and Kathy Eickmann

Dr. James Eisenmenger

Ann-Lynn Ellerkamp

Ms. Judy Fieldhouse

Dr. Dan & Mrs. Ellen Baker Finn

Mr. Bart Fisher

Mr. Geoffrey Fong

William and Ilona Franck

Ms. Pamela Gadinsky

Ron Gallo

Edmund R. Goerlitz

Ellen and Richard Goldwin

David Sickbert and Thomas Hurd

Ms. Vivien Jacoby

Alec Johnson and Rachel Grimes

Dr. Surinder Kad

Judy Kaleher

Dr. and Mrs. David Karp

Elizabeth Malcolm Kelly

Michasl Kemper and Annette Grisanti

Ms. Susan U. Kimbrough

James Krauss-Jackson

Lawrence Lambert

Dr. and Mrs. Ronald Levine

Philip Lichtenfels

Karen M. Long

Gretchen Mahaffey

Michael Maloff

William Martinez

Dr. and Mrs. Ronald Morton

Carla and Barry Motes

Ms. Susan Neal

Ms. Martha C. Nichols

Susan Norris

Robert Paris

Aron Patrick

Dianna and Peter Pepe

Curtis Peters

Doug Elstone and Russ Powell

John and Katherine Robinson

David Rodger

Vicki Romanko

Isaac B. Rosenzweig

Barbara Sandford

Drs. Edwin and Marcia Segal

Susan G. Zepeda and Dr. Fred Seifer

Dr. Lyne Seldon

Ms. Penelope Shaw

John and Barbara Sinai

Richard and Terri Smith

Donna M. Stewart

Dr. † and Mrs. Temple B. Stites

Lynda Stuart

Dr. and Mrs. Gerald F. Sturgeon

William F. and Barbara J.

Thomas

Dr. and Mrs. Robert S. Tillett Jr.

Waverly and Brenda Townes

Mr. Warren Townsend

Susan and David Vislisel

Patricia Walker

Dennis and Julie Walsh

Sharon Welch

James and Carole Whitledge

Ms. Carolyn Williams

Edward Williams

Ms. Francis Wirth

Mr. Larry Wood

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 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

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 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

LOUISVILLE ORCHESTRA ENDOWMENT, INC. CONTRIBUTORS

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

Anonymous

Mr. and Mrs. James R. Allen

Gloria and Steve Bailey

Gary and Virginia Buhrow

Douglas Butler and Jamey Jarboe

Joseph and Deborah Caruso

Walter Clare

Chenault Conway

Katherine Eirk

Betty Moss Gibbs

Jay and Louise Harris

Charles † and Carol W. Hebel, Jr.

Margaret Lanier

Arthur J. and Mary C. Lerman

Charitable Fund

LG&E-KU Foundation

Elizabeth and Guy Montgomery

Susannah S. Onwood

Sharon Reel

Gary † and Sue Russell

Rev. Edward W. Schadt

Rev. Gordon and Carolyn Seiffertt

Robert Taylor and Linda Shapiro

Kevin and Linda Wardell

Jim and Marianne Welch

† Denotes deceased

FOUNDER | $250,000+

The Maxine and Stuart Frankel Foundation for Art

Robert Wood Johnson Foundation

William M. Wood Foundation

SUSTAINER | $100,000+

VIRTUOSO | $50,000+

BENEFACTOR | $25,000+

Brooke Brown Barzun Philanthropic Foundation

Humana Foundation

Ina B. Bond Ashbourne Charitable Fund

League of American Orchestras

SUPPORTER| $10,000+

Caesars Foundation of Floyd County

Consortium for Christian Unity

Gheens Foundation

Norton Foundation

Roth Family Foundation, Inc.

University of Louisville

School of Music

Atria Senior Living Group

Augusta Brown Holland

Philanthropic Foundation

The Glenview Trust Company

Carol Barr Matton Charitable Foundation

PATRON | $5,000+

Anonymous Foundation

Arthur K. Smith

Family Foundation

The Eye Care Institute and Butchertown Clinical Trials

General Dillman Rash Fund

MEMBER | $3,000+

Habdank Foundation

Wimsatt Family Fund

The Malcolm B. Bird Charitable Foundation

Snowy Owl Foundation

Woodrow M. and Florence G. Strickler Fund

COURTESY

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

• The emergency phone number to leave with babysitters or message centers is 502.562.0128. Be sure to leave your theater and seat number for easy location

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

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

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

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

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

ACCESSIBILITY

Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights. Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces.

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

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

Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call 502.566.5111 (V), 502.566.5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.