Audience | Louisville Orchestra | November-December 2021 by Audience502

NOVEMBER-DECEMBER 2021

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October 7, 2021 – January 2, 2022 This exhibition examines the artwork that has shaped our collective imagination of the supernatural and paranormal and asks why America is haunted. Image: Agatha Wojciechowsky American (born Germany), 1896-1986 aw 0323, 1963 Watercolor on paper Courtesy of the Collection of Steven Day, New York, NY

This exhibition is organized by the Minneapolis Institute of Art and has been made possible in part by the National Endowment for the Humanities, the Terra Foundation for American Art, and the National Endowment for the Arts. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

Support for this exhibition provided by: The Ford Foundation Alan and Shelly Ann Kamei David A. Jones, Jr. and Mary Gwen Wheeler Northern Trust Robert Lehman Foundation Lopa and Rishabh Mehrotra

Media sponsorship from:

Support for contemporary exhibitions comes from: Augusta and Gill Holland

Exhibition season sponsored by: Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Debra and Ronald Murphy

NOV.-DEC. 2021

Audience® is the official program guide for:

PROGRAMS

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

Schumann & Brahms November 20, 2021...........................................................9

Publisher The Audience Group, Inc. G. Douglas Dreisbach Managing Editor Amy Higgs Founding Publishers Jeff and Kay Tull Creative Director Rhonda Mefford

Jingle Bell Concert and Holiday POPS November 27, 2021...................................................16-17 Messiah December 3-5, 2021........................................................22 Support and Staff....................................................38 Services.................................................................. 42

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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FREE NEW SERIES Families are invited to join Louisville Orchestra ensembles for interactive storytelling through music performances at these Louisville Free Public Library branches.

CMY

Northeast Regional

12/8/2021

Crescent Hill

12/20/2021

Southwest Regional

12/21/2021

Shively

1/13/2022

Western

2/1/2022

Fairdale

2/17/2022

Shawnee

2/22/2022

Middletown

2/22/2022

Highlands-Shelby Park

4/4/2022

Bon Air

4/6/2022

South Central Regional

4/7/2022

Portland

4/7/2022

To learn more visit

LouisvilleOrchestra.org/family-partnerships

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A N OT E F R O M G O V E R N O R B E S H E A R

Since the beginning of this pandemic, Kentucky has been committed to being a leader in our nation’s effort to defeat COVID-19. Each day, we have been laser focused

on protecting the health and safety of every citizen in the commonwealth while ensuring Kentucky is positioned to thrive in a post COVID-19 economy.

Defeating this pandemic has required collaboration among every Kentuckian, industry and business sector in the commonwealth. The success we have experienced in Kentucky is the direct result of your willingness to do the right thing by wearing a mask and receiving your shot of hope. The spread of COVID-19 created new challenges for every business in the nation, and the performing arts is no exception. Nationally, the decision to embark on a 17-month intermission reinforced the industry’s commitment to protecting artists, performers and patrons was a top priority. Despite the pause, local venues and arts organizations in Kentucky found creative ways to offer programming. These efforts not only allowed patrons to experience the arts, but also provided critical revenue for artists until they could safely return to the stage. I commend Kentucky Performing Arts and many of their partners for joining in these creative productions. Now, as we focus on sprinting out this pandemic, performing arts are in need of our support. The arts and culture sector is a critical economic engine contributing nearly $4.9 billion annually to Kentucky’s economy. With vaccinations readily available to individuals 12 and over, the performing arts sector has the resources necessary to safely return to the stage for all of us to enjoy. Last month, the Louisville Orchestra returned to the stage for their new season and will continue with more fantastic performances this month. I encourage each of you to take advantage of these incredible opportunities to experience arts and culture. After a long intermission, I guarantee you will not be disappointed! Sincerely,

Andy Beshear 63rd Governor of the Commonwealth of Kentucky

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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 6th 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. 6

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

FIRST VIOLIN

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

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

SECOND VIOLIN

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 McFadden-Talbot Judy Pease Wilson Blaise Poth

VIOLA

Jack Griffin, Principal Evan Vicic, Asst 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 & 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

BASS

Brian Thacker, Interim Principal Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Philip M. Lanier Chair

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, Asst Principal Jennifer Potochnic †

CLARINET

Andrea Levine, Principal Brown-Forman Corp. Chair

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

Ernest Gross A U D I E N C E

ENGLISH HORN Trevor Johnson

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

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 7

TICKET

GIVEAWAYS

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A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

BROWN-FORMAN FOUNDATION CLASSICS SERIES PRESENTING SPONSOR

LO CLASSICS

SCHUMANN & BRAHMS Saturday, November 20, 2021 • 8PM The Kentucky Center, Whitney Hall Edwin Outwater, conductor Jorge Federico Osorio, piano Louise FARRENC Robert SCHUMANN

Overture No. 2 in E-flat Major, Op. 24 (7 min.) Concerto for Piano in A Minor, Op. 54 (31 min.) I. Allegra affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace Jorge Federico Osorio, piano

INTERMISSION Witold LUTOSŁAWSKI

Little Suite (“Mala Suita”) (11 min.) I. Fife II. Hurra Polka III. Song IV. Dance

Johannes BRAHMS

Variations on a Theme of Haydn, Op. 56a (19 min.) St. Anthony Chorale: Andante Var. I: Poco piu animato Var. II: Piu vivace Var III: Con moto Var IV: Andante con moto Var. V: Vivace Var. VI: Vivace Var. VII: Graziosa Var. VIII: Presto non troppo Finale: Andante

Additional support provided by

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

F E AT U R E D M U S I C I A N S EDWIN OUTWATER Edwin Outwater is a visionary conductor who is reinventing the concert experience with major orchestras and institutions throughout the world. Equally adept at interpreting canonical masterworks, premiering new commissions, and connecting audiences with repertoire beyond the mainstream, he is, in the words of Michael Tilson Thomas, “one of the most innovative conductors on the scene today.”

Outwater’s recent projects include “Sound Health,” a collaboration with soprano Renée Fleming, The Kennedy Center, and the National Institutes of Health, as well as a jazz version of Mussorgsky’s Pictures at an Exhibition, with Wynton Marsalis, the Jazz at Lincoln Center Orchestra, and the Chicago Symphony. He also appeared with the Orchestra of St. Luke’s at Carnegie Hall in a concert for families featuring a world premiere of composer Caroline Shaw, narrated by actor John Lithgow. A long association with the San Francisco Symphony continues this season with S&M2, a collaboration with Metallica and the opening performance at San Francisco’s new Chase Center arena. A frequent conductor and curator of

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F E AT U R E D M U S I C I A N S their SoundBox series, he returns for a performance with composer Missy Mazzoli. He also conducts and hosts “Holiday Gaiety,” an LGBTQ holiday concert he created with drag performer Peaches Christ, now in its third year. Outwater has previously served as San Francisco Symphony Director of Summer Concerts (2014-2017), Resident Conductor (2001-2006), and Wattis Foundation Music Director of the San Francisco Symphony Youth Orchestra (2001-2005). As Music Director of the KitchenerWaterloo Symphony from 2007-2017, Outwater revitalized the orchestra and brought it international acclaim. He led notable world premieres from a wide range of composers, including Nico Muhly, Nicole Lizée, Richard Reed Parry, Owen Pallett, and many others. Outwater also recorded From Here On Out, the Kitchener-Waterloo-Symphony’s 2011 Analekta release of music by Muhly, Radiohead’s Jonny Greenwood, and Arcade Fire’s Richard Reed Parry, a recording for which NPR Music praised Outwater for guiding “dexterous performances by musicians who play the music like they own it.” A native of Santa Monica, California, Edwin Outwater graduated cum laude in English literature from Harvard University, where he was music director of the Bach Society Orchestra and the a cappella group Harvard Din and Tonics, and he wrote the music for the 145th annual production of the Hasty Pudding Theatricals. He received his degree in conducting from UC Santa Barbara, where he studied with Heiichiro Ohyama and Paul Polivnick, besides studying music theory and composition with John Stewart, Joel Feigin, and Leonard Stein.

JORGE FEDERICO OSORIO Jorge Federico Osorio has been lauded throughout the world for his superb musicianship, powerful technique, vibrant imagination, and deep passion. He is the recipient of several international prizes and awards, including the prestigious Medalla Bellas Artes, the highest honor granted by Mexico’s National Institute of Fine Arts. Osorio has performed with many of the world’s leading ensembles, including the symphony orchestras of Atlanta, Chicago, Cincinnati, Dallas, Detroit, Milwaukee, Philadelphia, Pittsburgh, Seattle, and the National Symphony Orchestra of Mexico; the Israel, Warsaw, and Royal Philharmonics; RTÉ National Symphony Orchestra (Dublin), Sinfonica Nazionale della Rai (Torino), São Paulo Symphony Orchestra (OSESP), Moscow State Orchestra, Orchestre Nationale de France, Philharmonia Orchestra, and the Concertgebouw Orchestra. He has collaborated with such distinguished conductors as Rafael Frühbeck de Burgos, James Conlon, Bernard Haitink, Manfred Honeck, Mariss Jansons, Lorin Maazel, Juanjo Mena, Jorge Mester, Carlos Miguel Prieto, Robert Spano, Klaus Tennstedt, and Jaap van Zweden, among many others. His concert tours have taken him to Asia, North, Central and South America, and Europe, where he has performed in Amsterdam, Berlin, Brussels, Dublin, Düsseldorf, Leipzig, Stuttgart, and Torino.

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F E AT U R E D M U S I C I A N S A prolific recording artist, Osorio has documented a wide variety of repertoire, including a solo Brahms CD that Gramophone proclaimed “one of the most distinguished discs of Brahms’ piano music in recent years."

A prolific recording artist, Osorio has documented a wide variety of repertoire, including a solo Brahms CD that Gramophone proclaimed “one of the most distinguished discs of Brahms’ piano music in recent years.” Orchestral recordings include Beethoven’s five Piano Concertos and Choral Fantasy; 12

Photo by Todd Rosenberg

Osorio has given recitals recently in Los Angeles (The Wallis Annenberg Center for the Performing Arts); Mexico City and Xalapa, Mexico; Aix en Provence, France; Highland Park, Illinois (Ravinia Festival); San José, Costa Rica; and Rio de Janeiro, Brazil. Other recitals during the past few seasons have taken place in Berkeley, California (Cal Performances), Boston, and Chicago, where he has appeared on Symphony Center’s distinguished Piano Series on four separate occasions. He has also given two recitals in New York City at Lincoln Center’s Alice Tully Hall, both of which were highly acclaimed by Allan Kozinn of The New York Times. North American festival appearances have included the Hollywood Bowl, Mainly Mozart, Bard, Newport, Grant Park, and Ravinia, where he performed all five Beethoven Concerti with the Chicago Symphony Orchestra under the direction of Maestro Conlon in two consecutive evenings.

both Brahms Concertos; and concertos by Chávez, Mozart, Ponce, Rachmaninov, Ravel, Rodrigo, Schumann, Tchaikovsky, and Weinberg. An avid chamber music performer, Osorio has served as artistic director of the Brahms Chamber Music Festival in Mexico; performed in a piano trio with violinist Mayumi Fujikawa and cellist Richard Markson; and collaborated with Yo-Yo Ma, Ani Kavafian, Elmar Oliveira, Henryk Szeryng, and the Pacifica and Moscow Quartets. He began studying the piano at the age of five with his mother, Luz María Puente, and later attended the conservatories of Mexico, Paris, and Moscow, where he worked with Bernard Flavigny, Monique Haas, and Jacob Milstein. He also studied with Nadia Reisenberg and Wilhelm Kempff. Highly revered in his native Mexico, Osorio resides in the Chicagoland area, where he serves on the faculty at Roosevelt University’s Chicago College of Performing Arts. Jorge Federico Osorio is a Steinway Artist.

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P R O G R A M N OT E S SCHUMANN & BRAHMS November 20, 2021 • 8PM By Laurie Shulman | First North American Serial Rights Only

ONE-MINUTE NOTES

France’s Louise Farrenc had a distinguished career as pianist, composer, professor, and scholar. Best known for her chamber music, she only wrote five pieces for orchestra: two overtures and three symphonies. Her attractive Overture No. 2 comprises a slow introduction and a lively allegro, reminiscent of both Weber and Mendelssohn.

at a time when Poland was a Communist state. He was encouraged to celebrate Polish folk culture, and thus chose his themes from a rural area east of Krakow. He synthesized the regional source material with his own original ideas, using full orchestra for maximum color. The four movements pulsate with vibrant energy.

Witold Lutosławski composed his Little Suite on commission from Polish radio,

Brahms’s Variations on a Theme of Haydn exist in two versions: one for two pianos, the other for full orchestra. Both works are actually based on the St. Anthony Chorale, a tune Haydn had used in a wind partita (but not actually by Haydn). Its irregular fivemeasure phrases appealed to Brahms. His masterful variations respect the original chorale and salute Haydn’s instrumentation. The resulting orchestral tapestry is one of Brahms’s finest symphonic works.

PIANO CONCERTO IN A MINOR, OP. 54 ROBERT SCHUMANN (1810-1856) We tend to think of Robert Schumann as the quintessential romantic composer. Music historians cite his emphasis on self-expression and lyricism as dominant characteristics in

his compositions. Both traits shine forth in his piano music, which is the realm in which he was most comfortable. Solo keyboard works dominate his early output, and the piano figured prominently in much of his other music throughout his career. While most of the early solo compositions predate his marriage to the pianist Clara Wieck, the Piano Concerto was specifically written with Clara in mind. She was the concerto's first interpreter and remained its great champion throughout

A love song for Schumann's gifted wife Clara, the Piano Concerto epitomizes the romantic approach to the solo concerto. Idiomatic writing makes it a favorite of pianists. Audiences love the piece for its passion, whimsy, and brilliance. Musicians remain enchanted by the elasticity of its monothematic first movement and by Schumann’s marriage of discipline and exuberance in the finale.

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P R O G R A M N OT E S the balance of her lengthy and stellar performing career. If Schumann was the prototypic romantic, his piano concerto is the apotheosis of the romantic concerto. That it grew out of Robert and Clara's legendary love affair only adds to its cachet. The mental illness that eventually caused Schumann's death gave rise to intense, exhaustive bouts of work. Schumann was a manic-depressive. His pattern was to focus obsessively on one genre for a period, then move with equal absorption to another. Just as he concentrated on piano music in the 1830s to the virtual exclusion of all other genres, in 1840 he poured forth an astonishing number of songs and song cycles. The following year, 1841, he shifted his attention to the orchestra, drafting his first two

symphonies, the Overture, Scherzo and Finale, Op.52, and a Phantasie for piano and orchestra in A minor. This last became the first movement of the Piano Concerto. Clara and Robert were married in September 1840 in Leipzig. Following several ensuing years of intense work and high productivity, Robert suffered a serious mental breakdown in 1844. That October, the couple visited Dresden, where Robert's health and spirits seemed to improve. Shortly thereafter they moved to Dresden. There, in spring 1845, Robert added an Intermezzo and Finale to the existing Phantasie. The two movements were the only substantive composing he accomplished during that first troubled year in Dresden,

UPCOMING EVENTS NOVEMBER Nov. 10 – Dec. 30

A Christmas Story Derby Dinner Playhouse

DECEMBER 4–5

Old Louisville Holiday Home Tour Old Louisville

11 & 18

The Best Christmas Pagent Ever StageOne Family Theater

11 – 23

The Nutcracker The Louisville Ballet Whitney Hall 14

Fortune Feimster: 2 Sweet 2 Salty 6PM & 8PM, Bomhard

David Sedaris 8PM, Brown Theatre

JANUARY, 2022 6

Ashley McBryde This Town Talks Tour 8PM, Brown Theatre For more of our preferred arts and entertainment recommendations, visit Audience502.com.

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Yuja Wang premieres Abrams Concerto Louisville Orchestra Teddy Abrams, conductor Yuja Wang, piano Whitney Hall

15 Irresistible John Williams Louisville Orchestra Bob Bernhardt, conductor Whitney Hall

18-23

CATS PNC Broadway in Louisville Whitney Hall

P R O G R A M N OT E S but they gave music one of its undisputed masterpieces. As Wilfrid Mellers has noted: The Piano Concerto is largely a monothematic, even a monorhythmic, piece, yet its vitality flows and sings. It compels us, rather than forcibly compelling itself; even its orchestration glows, shedding inhibition as it follows and enriches the soloist's fantasy. Virtuosity for Schumann was never exhibitionism, nor was it nervous excitement. ... It was an emotional liberation; and it is no accident that the Concerto ... should have been so closely associated with Clara. Schumann's concerto is unfailingly pianistic, for example in the sympathetic arpeggio figuration that underlies the clarinet's C major statement of the second theme (really the main theme transposed). Schumann's cadenza at the end of the first movement is less a flashy showpiece than a test of musicianship, poetry and passion. Its tense chordal passages and trills are a thrilling springboard for the galloping coda that closes the movement. The slow movement, called Intermezzo, is a delightful dialogue between soloist and orchestra, and one of Schumann’s happiest scoring efforts. An allusion to the first movement theme provides a smooth and delicious transition to the sparkling finale, whose pianistic brilliance and rhythmic exuberance are well-nigh irresistible. Schumann thought of this concerto as "something between symphony, concerto, and grand sonata." He made the whole add up to something greater than any one of those three, bequeathing to us a war horse whose glint does not tarnish.

LITTLE SUITE WITOLD LUTOSŁAWSKI (1913-1994) POLISH PIONEER When he died 27 years ago, Witold Lutosławski was the senior statesman among Poland's composers. Along with his younger contemporary Krzysztof Penderecki (1933-2020), he led a 20th-century Renaissance in Polish music, drawing international attention to new music behind the Iron Curtain during the most stifling years of Communist rule. Lutosławski earned his reputation as a formalist. He retained it as a master orchestrator and daring experimenter over the course of a long and fruitful life. His career took some surprising turns, not only because of political upheaval in Poland, but also because he was open-minded. He shifted directions several times, continually exploring. Microrhythms and microtones, the coloristic potential of various instrumental combinations, and the very process of music-making are some of the areas he addressed in his music. Early in his career, he embraced Polish folk music and a neo-Bartókian synthesis of ethnic material into a personal musical language. The original chamber orchestra version of Little Suite (1950) falls into this category. It was a commission from Polish Radio in Warsaw, whose orchestra emphasized popular and folk music. Lutosławski sought out his source material in the village of Machów, east of Krakow. Those melodies were the springboard for his imagination.

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P R O G R A M N OT E S He revised and expanded the suite in 1951 in the version we hear. Its four movements vibrate with the energy and bold character of folk dance. Taking advantage of the orchestra’s colors, he pairs piccolo with snare drum in the opening Fife. The lively Hurra Polka plays rhythmic tricks, superimposing triple meter on a fast dance in duple meter. Lutosławski’s orchestral gift shines forth in the instrumental dialogue of Dance, while his ternary Dance metamorphoses two folk dances. Throughout, Little Suite teems with life, celebrating Polish regional culture viewed through Lutosławski’s distinctive lens. VARIATIONS ON A THEME BY HAYDN, OP.56A JOHANNES BRAHMS (1833-1897) One of Franz Joseph Haydn's important early biographers was an organist, composer and music historian by the name of Carl Ferdinand Pohl (1819-1887). Late in 1870, Pohl showed Johannes Brahms the score of a divertimento attributed to Haydn called Feldpartita, whose second movement was a setting of the traditional pilgrims' march known as Chorale St. Antoni. Brahms was quite taken by the work's unusual scoring for oboes, horns, bassoons, and serpent [a sixteenthcentury bass cornett] and the rich potential of the simple, asymmetrical melody. Three years later he selected the chorale theme as the subject for variations. That work, the Variations on a Theme by Haydn, so absorbed him that two major versions ensued: the first for 16

two pianos, then the orchestral piece we hear this evening. Brahms scholar Michael Musgrave calls the Variations Brahms's finest score; certainly it is the most important orchestral work to precede the First Symphony. Other than substituting contrabassoon for the original serpent, Brahms preserved the original Feldpartita instrumentation, emphasizing the lovely woodwind timbres throughout the variations. The result is a work transparent in texture and largely free of the densely woven sound generally associated with Brahms's symphonies. The chorale theme, introduced by winds and pizzicato strings at the outset, is recognizable throughout each variation, with rhythm and harmony strictly observed. Brahms's principal technique of elaborating on the theme is counterpoint: from simple inversion of parts to more intricate fugal textures. His contrapuntal sophistication never interferes with the work's transcendent beauty, however, and one leaves a performance of this lovely piece humming the noble theme for days afterward.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

LO FAMILY

HOLIDAY POPS & JINGLE BELL CONCERT Saturday, November 27, 2021 • 11AM The Kentucky Center, Whitney Hall Bob Bernhardt, conductor Tony DeSare, piano + vocals Louisville Youth Choir, Terri Foster, artistic/executive director Leroy ANDERSON Samuel COLERIDGE-TAYLOR Arranged by Baynes Via OLATUNJI Arranged by Brooks John RUTTER John WILLIAMS

Lucas RICHMAN

Sleigh Ride (3 min.) Christmas Overture (5 min.) Betelehemu (5 min.) Louisville Youth Choir “Shepherd’s Pipe Carol” (3 min.) Louisville Youth Choir Three Holiday Songs from Home Alone (3 min.) III. “Merry Christmas, Merry Christmas” Louisville Youth Choir Hanukkah Festival Overture (6 min.)

Edward POLA/George WYLE Arranged by Vanacore

“It’s the Most Wonderful Time of the Year” (3 min.) Tony DeSare, piano + vocals

Kim GANNON/Walter KENT Arranged by Barton

“I’ll Be Home for Christmas” Tony DeSare, piano + vocals

Sammy CAHN/Jule STYNE Arranged by Firth

“Let It Snow!” Tony DeSare, piano + vocals

J. Fred COOTS/Haven GILLESPIE Arranged by DeSare/Firth Tony DESARE John FINNEGAN

“Santa Claus is Comin’ to Town” Tony DeSare, piano + vocals 20 Versions of "Jingle Bells" Tony DeSare, piano + vocals Christmas Singalong Tony DeSare

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

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

LO POPS

HOLIDAY POPS Saturday, November 27, 2021 • 8PM The Kentucky Center, Whitney Hall Bob Bernhardt, conductor | Tony DeSare, piano + vocals Louisville Youth Choir, Terri Foster, artistic/executive director Louisville Orchestra Pops Series is presented by Frank and Paula Harshaw in celebration of Bob Bernhardt’s 40th season at the LO.

ACT I Leroy ANDERSON

Sleigh Ride (3 min.)

Samuel COLERIDGE-TAYLOR Arranged by Baynes

Christmas Overture (5 min.)

Edward POLA/George WYLE Arranged by Vanacore

“It’s the Most Wonderful Time of the Year” (3 min.) Tony DeSare, piano + vocals

Kim GANNON/Walter KENT Arranged by DeSare

“I’ll Be Home for Christmas” (3.5 min.) Tony DeSare, piano + vocals

Sammy CAHN/Jule STYNE Arranged by DeSare

“Let It Snow!” (3.5 min.) Tony DeSare, piano + vocals

Robert WENDEL

Christmas a la Valse! (6 min.)

Via OLATUNJI Arranged by Whalum John RUTTER John WILLIAMS

Betelehemu Louisville Youth Choir Shepard’s Pipe Carol (3 min.) Louisville Youth Choir Three Holiday Songs from Home Alone (3 min.) III. “Merry Christmas, Merry Christmas” Louisville Youth Choir

INTERMISSION

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 18

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ACT II Alan SILVESTRI

Suite from The Polar Express (6 min.)

Lucas RICHMAN

Hannukkah Festival Overture (6 min.)

Hugh MARTIN/Ralph BLANE Arranged by Barton Tony DESARE Orchestration by Firth J. Fred COOTS/Haven GILLESPIE Arranged by DeSare Tony DESARE John FINNEGAN

"Have Yourself a Merry Little Christmas” (4 min.) Tony DeSare, piano + vocals “Christmas for You and Me” (4 min.) Tony DeSare, piano + vocals Santa Claus is Comin’ to Town (2 min.) 20 Versions of “Jingle Bells” (8 min.) Tony DeSare, piano + vocals Christmas Singalong (6 min.) Tony DeSare

Additional support provided by the Weishar Family Foundation. Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

HAPPY HOLIDAYS FROM YOUR LOUISVILLE ORCHESTRA Enjoy this special video featuring a selection of holiday classics to get you in the spirit of the season

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F E AT U R E D M U S I C I A N TONY DESARE Tony DeSare performs with infectious joy, wry playfulness, and robust musicality. Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs, to Carnegie Hall, to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old school class around the

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globe. DeSare has four top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, Today Show and his music has been posted by social media celebrity juggernaut, George Takei. DeSare has also collaborated with YouTube icons Postmodern Jukebox. DeSare’s most recent release, Lush Life, debuted at No. 2 on the Billboard Traditional Jazz Chart. Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel's Love Always, Santa, Lifetime's Nanny Nightmare, and Lifetime's new A Welcome Home Christmas. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook. His compositions include a wide-range of romantic, funny, and soulful sounds that can be found on his top-selling recordings. DeSare releases new recordings, videos of standards, and new originals regularly on his YouTube channel, iTunes and Spotify. Follow Tony on Facebook, Twitter, Instagram and subscribe on YouTube to stay connected. Tony DeSare is a Yamaha Artist.

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ai163577808675_TeddyAdPlacement.pdf

11/1/21

10:48 AM

CMY

Congratulations

Teddy Abrams Musical America 2022

Conductor of the Year A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor PRESENTED BY

MESSIAH by George Frideric Handel Friday, December 3, 2021 • 7:30PM Cathedral of the Assumption Saturday, December 4, 2021 • 7:30PM St. Michael Catholic Church Sunday, December 5, 2021 • 3PM Most Sacred Heart of Jesus, Jeffersonville

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

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 22

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

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

Scene 2

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

Scene 3

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

Scene 4

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

Scene 5

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

INTERMISSION 15 Minutes

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

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

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

Scene 3

"His ascension"

Scene 5

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

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

"The world and its rulers reject the Gospel"

Scene 7

"God's triumph"

42. Recitative, tenor: He that dwelleth in heaven 43. Air, tenor: Thou shalt break them with a rod of iron 44. Chorus: Hallelujah!

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

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

Scene 2

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

Scene 4

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

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 24

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K E N T H AT T E B E R G , C O N D U C TO R + C H O R U S M A S T E R KENT HATTEBERG is Artistic Director of the Louisville Chamber Choir and Director of Choral Activities at the University of Louisville, where he directs the Collegiate Chorale and Cardinal Singers and teaches graduate and undergraduate courses in conducting, choral literature, and choral techniques. He earned the Bachelor of Music degree in piano and voice summa cum laude from the University of Dubuque and master’s and doctoral degrees in choral conducting from the University of Iowa, where he studied with Don V Moses and directed the renowned Old Gold Singers. Named a Fulbright Scholar in 1990, Dr. Hatteberg studied conducting in Berlin with Uwe Gronostay while pursuing research on Felix Mendelssohn. He conducted the world premiere of Mendelssohn’s Gloria in 1997. He has taught at Sam Houston State University in Huntsville, TX, Washington High School in Cedar Rapids, IA, and Solon Jr.-Sr. High in Solon, IA. Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator, most recently in Poland, Korea, the Philippines, China, Hungary, Austria, Spain, and the U.S. He is co-director of the Kentucky Ambassadors of Music, a program that affords students from across the state of Kentucky the opportunity to perform and tour in Europe. Dr. Hatteberg was named a University of Louisville Faculty Scholar in 2002, KMEA College/University Teacher of the Year in 2004, and was selected for the International Who’s Who in Choral

"Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator" Music in 2007. He received the 2008 KCDA Robert A. Baar Award for choral excellence, the University of Dubuque Career Achievement Award in 2008, and the University of Louisville Distinguished Faculty Award for Outstanding Scholarship, Research, and Creative Activity in the Performing Arts in 2010 and 2015. Choirs under his direction at the University of Louisville have been featured at numerous international festivals, symposia, and competitions, including Cardinal Singer performances at the Seoul Oratorio Festival (2019), the Zadar (Croatia) International Choir Competition (2018), the 2017 Xi’an International Choral Festival (China), the 13th China International Chorus Festival (2016), the Taipei International Choral Festival (2015 and 2010), the Singapore International Choral Festival (2015), the Cuba/United States Choral Symposium in Havana (2012), the Beijing International Choral Festival (2010), and the 7th World Symposium on Choral Music in Kyoto, Japan (2005). The Collegiate Chorale and Cardinal Singers have performed at several national and regional conventions in the United States, most recently with the Chorale at the National Collegiate Choral Organization (NCCO) National Convention in College Park, Maryland in November 2019 and the Cardinal Singers at the American Choral Directors Association (ACDA) National Convention in Minneapolis in March 2017.

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SOLOISTS ERIN KEESY, SOPRANO Erin Keesy is an alumna of the University of Louisville where she received a Bachelor of Music in Vocal Performance. She received her master's degree and Artist Diploma in Opera from the College-Conservatory of Music in Cincinnati. She has made solo appearances with the Cincinnati POPS Orchestra, the Louisville Orchestra, Butler Philharmonic, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and performed as a young artist with the Cincinnati Opera. Most recently, she performed the role of Agathe in Queen City Opera’s Der Freischütz. She also made her international solo debut earlier this year in Seoul, South Korea singing the soprano solos in Mendelssohn’s Elijah with the Seoul Oratorio Festival. She also performs frequently with Cincinnati’s Vocal Arts Ensemble. Ms. Keesy is a member of the voice faculty at the University of Louisville and looks forward to continuing work with her students in the spring. KATHERINE CALCAMUGGIO DONNER, MEZZOSOPRANO Katherine Calcamuggio Donner is an award-winning mezzo-soprano. Ms. Calcamuggio has been featured in important role and company debuts across the United States, eliciting kudos for her “soaring, rich voice” (The Miami Herald), her “polished musical and dramatic characterizations” 26

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

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SOLOISTS soloist with these ensembles. He has performed locally with the Kentucky Opera, Louisville Orchestra, Louisville Chorus, and the former Choral Arts Society of Louisville. Mr. Case is currently a Director of Children’s Choirs at Second Presbyterian Church where he enjoys sharing the love of music with others. He is a lover of choral music and an avid supporter of the arts in Louisville.

"American baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters." CHAD SLOAN, BARITONE American baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters. Engagements for the past few seasons have included Pooh-Bah in The Mikado with Kentucky Opera, Die Zauberflöte with Arizona Opera, Carmina Burana with the Lexington Philharmonic, Flagstaff Symphony, and South Bend Symphony, singing The Herald in Britten’s The Burning Fiery Furnace with BalletOpéra-Pantomime of Montreal, joining the Louisville Orchestra for Portrait of Robert Schumann, an appearance with

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

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

HANDEL'S MESSIAH PERSONNEL SOPRANO Won Joo Ahn Sarah Byrd Brittany Carwile Sarah Coleman Danielle Curtsinger Haley De Witt Erin Shina

ALTO Claire Bridges Amy Parker Cuenca Jill Felkins Paige Harpring Addie Hincks Young eun Kim Amy Powell Emily Smith

TENOR Kristofer Anderson Rob Carlson Ricky Case Seon Hwan Chu Bill Coleman Dylon Crain Joshua Hamilton Justin Romney Blake Wilson

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BASS Bennett Alldredge Austin Echols Matthew Houston Siwon Kim Kyle King Peter Lovett John W. Mathre Ethan McCollum Phillip Morgan Ben Powell

P R O G R A M N OT E S MESSIAH December 3-5, 2021

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

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

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

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P R O G R A M N OT E S gentlemen their swords so a larger audience would fit in the hall and more money could be raised. Messiah was a sensation. The Dublin Journal said, “Words are wanting to express the exquisite delight it afforded to the admiring crowded audience.” Handel hoped to duplicate the success of Messiah in London, but at first it seemed a lost cause. Where his Old Testament oratorios were well-received, the New Testament Messiah seemed somehow to have crossed a line: there were many who objected to the story of Jesus being turned into “entertainment” given that theaters were considered dens filled with shady characters of loose morals. Over the course of several years, Handel put on Messiah three times, but it was received with utter indifference on each occasion. It was only when Handel harkened back to Messiah’s original purpose—a production intended to raise money for charities—that Messiah not only succeeded but became the musical fixture it is today. In 1750, Handel offered to produce his Messiah at a concert to benefit London’s Foundling Hospital, a “Hospital for the Maintenance and Education of Exposed and Deserted Young Children” – and somehow the public’s perception of the work changed overnight. So many clamored for tickets and had to be turned away at the door that a repeat performance had to be hastily organized. The public’s reaction was ecstatic, and the Foundling Hospital’s coffers were filled. The benefit performance was repeated annually and the practice of performing Messiah every season — a now 250 year tradition of standing —began. Messiah differs from Handel’s other oratorios. For one thing, it relies 30

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

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

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

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

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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.

... But The Holiday Shopping Is Where The Real Fun Begins... KMAC Shop offers a festive array of artfully KMACShop curated holiday gifts in all price points. Shop in person or online and visit our website to learn more about our holiday events and private shopping appointments. www.kmacmuseum.org

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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...” 36

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

M E S S I A H L I B R E T TO 42. (Recitative, tenor) He that dwelleth in Heav'n shall laugh them to scorn; The Lord shall have them in derision. (Psalm 2:4) Scene 7: “God’s Triumph” 43. (Air, tenor) Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel. (Psalm 2:9) 44. (Chorus) Hallelujah: for the Lord God Omnipotent reigneth. (Revelation 19:6) The kingdom of this world is become the kingdom of our Lord, and of His Christ; and He shall reign for ever and ever. (Revelation 11:15) King of Kings, and Lord of Lords. (Revelation 19:16) Hallelujah!

PART III

"Messiah is unique among works of sacred music. From widely scattered snippets of biblical text it makes an extraordinary unity of spirit and of faith. Though its long tradition began as a Lenten observance, its transformation into a Christmas experience is altogether fitting. Conceived as an act of charity, it is far more than a sacred offering from a generous man; it is one of the gifts of life itself."

“A Hymn of Thanksgiving for the final overthrow of Death” Scene 1: “The promise of bodily resurrection and redemption from Adam’s fall”

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

45. (Air, soprano) I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. (Job 19:25-26) For now is Christ risen from the dead, the first fruits of them that sleep. (I Corinthians 15:20)

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

46. (Chorus) Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. (I Corinthians 15:21-22) Scene 2: “The Day of Judgement and general Resurrection” 47. (Accompagnato, bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment,

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

A U D I E N C E

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. Scott Justice Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Karen Lawrence Mrs. Carol Barr Matton Mr. Joseph Miller Mr. Guy Montgomery Mrs. Mona Newell Mr. Khoa Nguyen Dr. OJ Oleka Mr. Timothy L. Peace 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. 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 Patron Services Associate

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

DEVELOPMENT

Bert Griffin Chief Development Officer Erynn McInnis Grant Writer Edward W. Schadt Director of Leadership Giving Jonathan Wysong Development Manager

FINANCE

Tonya McSorley Chief Financial Officer CaSandra Zabenco Controller Cheri Reinbold Staff Accountant Angela Pike Receptionist

EDUCATION & COMMUNITY

Sarah Lempke O’Hare Director of Education and Community Engagement Jennifer Baughman Education and 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

Adam Thomas Artistic Coordinator and Assistant to the Music Director

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 Jeane James & Suzanne Spender VP Hospitality Co-Chairs Marguerite Rowland VP Membership

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 Randi Austin Helen Davis Janet Falk Margie Harbst Paula Harshaw Sara Huggins Jeanne James John Malloy Marcia Murphy Nancy Naxera Roycelea Scott Mollie Smith Susan Smith Harriet Treitz Carol Whayne Suzanne Whayne

THE CONDUCTORS CONDUCTORS SOCIETY AND THE SOCIETYCORPORATE CORPORATE & FOUNDATION FOUNDATIONMEMBERS MEMBERS FOUNDER| $250,000+ Owsley Brown II Family Foundation William M. Wood Foundation

SUSTAINER | $100,000 - $249,000 Crankstart Foundation Harshaw Family Foundation Jasteka Foundation

VIRTUOSO | $50,000 - $99,999

Maxine and Stuart Frankel Foundation for Art The Diaz Family Foundation

BENEFACTOR | $25,000 - $49,999

LOUISVILLE

Augusta Brown Holland Philanthropic Foundation Brooke Brown Barzun Philanthropic Foundation

SPONSOR | $10,000 - $24,999 Arthur K. Smith Family Foundation Carol Barr Matton Charitable Foundation Clifton Foundation Gheens Foundation Norton Foundation Roth Family Foundation Weishar Family Foundation

MEMBER | $3,000 - $9,999 Altsheler-Durell Foundation Paristown Preservation Trust LLC Barr Foundation William H. Smith Fund General Dillman Rash Fund Woodrow M. and Florence Strickler Fund Gilbert Foundation University of Louisville School of Music G.S.R. Foundation Habdank Foundation Lyndon and Helen Schmid Charitable Foundation Mildred V. Horn 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, 2020 to August 31, 2021. CONDUCTORS SOCIETY (FOUNDER) $250,000+ Christina L. Brown Owsley Brown III Lindy B. Street CONDUCTORS SOCIETY (SUSTAINER) $100,000 - $249,999 William and Julie Ballard Ms. Cary Brown and Dr. Steven E. Epstein Laura Lee Brown & Steve Wilson Jim and Sara Haynes David Jones and Mary Gwen Wheeler Jim and Irene Karp James and Marianne Welch William and Susan Yarmuth CONDUCTORS SOCIETY (VIRTUOSO) $50,000 - $74,999 Anonymous (2) Betty and George Gibbs Brian Kane Mr. & Mrs. Robert W. Rounsavall III CONDUCTORS SOCIETY (BENEFACTOR) $25,000 - $49,999 Anonymous (2) Steve and Gloria Bailey Elizabeth W. Davis Gill and Augusta Holland Warwick Dudley Musson Bruce and Marcia Roth Brook and Pam Smith Mr. and Mrs. James R. Voyles CONDUCTORS SOCIETY (SUPPORTER) $10,000 - $24,999 Anonymous (2) Gladys Bass † Dr. and Mrs. David P Bell Edith S. Bingham Marilyn and Brooks Bower Dr. and Mrs. Bruce Burton David and Patricia Daulton Elisabeth U. Foshee Matthew and Lena Hamel Louise and Jay Harris Charles † and Carol Hebel Scott Justice Mary Kohler Estate of Dr. Carl E. Langenhop Kenneth and Kathleen Loomis Sheila G. Lynch Carol Barr Matton Guy and Elizabeth Montgomery John and Patricia Moore Dianne M. O'Regan Marla Pinaire Dr. Teresa Reed Barbara and Lee Robinson Michael and Chandra Rudd Kenneth L. Sales Denise Schiller Rev. Alfred Shands † Winona and Joseph Shiprek Gary and Amy Sloboda Dennis Stilger Jr. Weishar Family Foundation Jane Feltus Welch

Orme and Mary Wilson Dr. Joan and Robert Wimsatt Mary Bert and Dr. Richard Wolf Jason Zachariah

CONDUCTORS SOCIETY (PATRON) $5,000 - $9,999 Teddy Abrams Barbara Berman Mr. and Mrs. J. McCauley Brown Mr. Stephen P. Campbell and Dr. Heather McHold Walter Clare Thomas A. Conley III Susan Diamond Nan Dobbs Mr. and Mrs. Thomas E. Dunham Mr. and Mrs. William L. Ellison Jr. Andrew and Trish Fleischman Kendra Foster and Turney Berry Ritu Furlan Denise and Phillip Gahm Thelma Gault Mary Louise Gorman Owen and Eleanor Hardy Dan and Lisa Jones Elizabeth and Mike Keyes Kate and Allan Latts Herbert and Barbra Melton Carolyn Neustadt Norman and Sue Pfau Fred and Claudia Pirman Jeff and Paula Roberts Russell and Theresa Saunders Max and Ellen Shapira Mr. and Mrs. Joseph Sireci Dr. Gordon Strauss and Dr. Catherine N. Newton Ann and Glenn Thomas Maud Welch CONDUCTORS SOCIETY (MEMBER) $3,000 - $4,999 Dr. Stephen and Jeannie Bodney John and Theresa Bondurant David and Regina Fry Joseph Glerum June Hampe Mrs. Spencer E. Harper, Jr. David Sickbert and Thomas Hurd Wendy Hyland Thomas and Judith Lawson Raulee Marcus Joseph Miller Kent and Katherine Oyler Rev. Edward W. Schadt Carole Snyder Dr. Anna Staudt Robert Steen Linda and Chris Valentine Mr. and Mrs. Robert W. Vaughan Susan and Michael Von Hoven Carolyn Marlowe Waddell Mr. and Mrs. Kevin Wardell Mary Ellen Wiederwohl and Joel Morris Dr. and Mrs. Nathan Zimmerman PRELUDE $1,500 - $2,999 Anonymous (2) Hon. and Mrs. Jerry E. Abramson Joseph and Linda Baker Tanya and Wendell Berry

Cornelia Bonnie Dr. and Mrs. Lawrence H. Boram Garvin Brown IV Jennifer Buttrick Michael and Nancy Chiara Evelyn T. Cohn John B. Corso Dr. Christopher Croot Marguerite Davis Gayle DeMersseman Judy Dickson Gerald Doss Mr. and Mrs. Daniel L. Dues Rev. John G. Eifler Dr. Vilma Fabre George and Mary Lee Fischer Dr. Karen Abrams and Dr. Jeffrey Glazer Bert Greenwell John R. Gregory Dr. Misty and Mr. Bert Griffin Kenneth and Judy Handmaker Tamina and Edward Kim Paul and Wendy Kubitskey Amy and Matthew Landon Cantor David Lipp and Rabbi Laura Metzger Bethany Breetz and Rev. Ronald Loughry W. Bruce Lunsford Drs. Eugene and Lynn Gant March Jennifer and Charles Marsh Lynn and Roy Meckler Elizabeth Merdian Dr. and Mrs. Ronald Morton Dr. Sean Muldoon Susannah S Onwood Joseph A. Paradis III Mrs. William P. Peak Dr. Carmel Person Joan Pike Dr. and Mrs. Timothy B. Popham John and Eugenia Potter Embry Rucker and Joan MacLean Alleine Schroyens Ruth Simons Constance Story and Larry G. Pierce Dr. and Mrs. Peter Tanguay Beverly J. Tilmes James Van Daalen Roger and Janie Whaley Richard T. Wolf Frank and Keitt Wood Hon. and Mrs. John Yarmuth

SONATA $500 - $1,499 Anonymous (5) Harold Adams Karl Adams Carlyn and Bill Altman Cheryl Ambach Lisa Archer Dr. Fredrick W. Arensman David and Madeleine Arnold Boe and Judith Ayotte Miriam Ballert John and Mary Beth Banbury Clarence and Mary Barton Tom and Marceline Barton Mike and Gail Bauer David B. Baughman

A U D I E N C E

Lynne A. Baur Wm. David and Judy Beaven Hans Bensinger Doris Bridgeman Virginia and Gary Buhrow Jane Burbank Mary Burkhart Drs. Frank and Carolyn Burns Dr. and Mrs. Jeffrey P. Callen Dave Calzi Joanne Caridis William Carrell II Joan Chandler Karen and Robert Chatham Patricia Chervenak Mike and Sue Chmilewski Lee Cochran George and Frances Coleman Cynthia and David Collier Susan Collins Carolyn Congleton, DVM Judith K. Conn Jeff and Marjorie Conner Brian Cook Jill and William Cooper Arthur and Virginia Cromer Stephen Cross Linda Dabney Betsey Daniel Lorie and Robert Davenport Kate and Mark Davis Robert and Ann Decker Carol W. Dennes Pat DeReamer and Cynthia DeReamer Rollins James and Etna Doyle Uwe and Kathy Eickmann Ann-Lynn Ellerkamp Kathleen Elliott Susan Ellison Bert and Jane Emke Mr. and Mrs. Eric V. Esteran Janet G. Falcone Mrs. Fred Ferris Nancy Fleischman Dr. and Mrs. Eugene C. Fletcher Leslie and Greg Fowler James R. Gillespie Edward and Linda Goldstein John and Jody Hamilton Mary C. Hancock Michael R. † and Martha Hardesty Barbara B. Hardy Karen R. Harris James and Sara Haynes Timothy and Natalie Healy Carl Helmich Jr. Dr. Fred Hendler Susan J. Herlin Chris and Marcia Hermann William Hoffman Dr. William Hoffman Jane Hoke Denise Holmgren Thomas and Patrice Huckaby Brad Hughes Mr. and Mrs. W. Richard Jones Danielle B. Kannapell Richard Kaukas Warren Keller William † and Elizabeth Kelly William and Teresa Kissel

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 Barbara and Gary Knupp Donald and Ann Kohler Mr. Phillip Kollin and Ms. Brooke Heisel The Edwards-Kuhn Family Dr. and Mrs. Forrest S. Kuhn Karl and Judy Kuiper Margaret Lanier Phillip Lanier Dr. and Mrs. Robert G. Lawrence Portia Leatherman Willard and Lynnette LeGette Dr. and Mrs. Leonard Leight † Samuel and Stephanie Levine Philip Lichtenfels Mr. and Mrs. Joseph Lyons Anne Maple Emma March David McAfner Joan McCombs Patrcia McHugh Robert and Grace McKeel Colin and Woo McNaughton Susan S. Means Kathryn Mershon Bob and Barbara Michael William Mitchell Biljana N. Monsky Abigail L. Mueller Ronald and Debra Murphy Mr.and Mrs. Robert B. Nesmith Alton E. Neurath Jr. Susan Norris Dr. and Mrs. Lynn L. Ogden Dr. Naomi J. Oliphant Devon Oser William and Joana Panning John and Lue Peabody Jean Pettitt Arthur Pratt Joseph A. Pusateri Charles † and Carol Clow Pye Tracy Redmon Douglas Rich Mary Jo Ridenour Dr. Jon H. Rieger Marsha Roberts John Robinson Robert Rudd Medora Safai Susan G. Zepeda and Dr. Fred Seifer Earl Shiring Jr. Jennifer Shumaker Mark Slafkes Richard and Terri Smith Sharon Smith Vernon M. and Peggy T. Smith Cathy and Kenney Snell Richard O. Spalding Eileen Spears Katherine Steiner Richard Stephan Mary C. Stites Dr. and Mrs. Temple B. Stites William E. Summers V William F. and Barbara J. Thomas Ron and Mary Thompson John Tiano Ruth and Bryan Trautwein Samuel Tyler Sally Vail Lindsay Vallandingham Jeanne D. Vuturo Robert and Ann Wade Ronald and Charlotte Walford

Jane Walsh William and Alice Walsh Joyce and Jim Walters Suzanne Warner Matt and Kathy Watkins Betty S. Weaver Anita and Shelton Weber William and Ginny Weber Robert Weekly Kendrick Wells III Prudence Westholm Stephen and Patricia Wheeler Joan T. Whittenberg Shirley and James Whyte Susan Harris Wilburn Emily and Ellington Willingham James Wimsatt and Rebecca Beal Jonathan and Stephi Wolff Dr. Janice W. Yusk Jeanne and Paul Zurkuhlen

DUET $250 - $499 Anonymous (9) Michael and Barbara Abell Marilyn Abrams Doris L. Anderson Corrine and Matthew Anderson Walter and Lynne Anderson Dr. and Mrs. Joe F. Arterberry Cindy Bagley George Bailey Mary Kay H. Ballard John Bates Nancy Beasley Becky Becherer Carol G. Behr Leah Berry Dr. Rebecca and William Biles Sara Blake and Kingsley Durant Eunice F. Blocker Bruce Blue and Louise Auslander Richard Boland and Annette Rudd Elaine B. Bornstein Dennis and Joan Brennan Rebecca Bruner Michael Campbell Julia Carey James C. Carpenter Mr. and Mrs. William P. Carrell † Will and Kathy Cary Helen K. Cohen Paul Contois Virginia J. Copenhefer Robert Cox Janet R. Dakan Roger Dalton Mr. Leonidas D. Deters and Ms. Penny Shaw Deborah A. Dunn Stephen B. Ellis Mr. James Engler Dr. Walter Feibes Dan and Ellen Baker Finn Carl and Roberta Fischer Mr. and Mrs. Carl T. Fischer William and Ilona Franck Dr. and Mrs. Anthony George Ted and Judy Gibson Ellen and Richard Goldwin Pamela Greene Stephen and Susan Grissom James W. Gruneisen Jane Haase Lee and John Hancock Dr. Mary Harty

Lawrence Herzog Dr. Frederick K. Hilton Dr. Robert Howell Jr. Brett Hudspeth Meredith Hughes Robert Hughes Carl and Donna Hulsewede Benjamin Jacoby Alba Jennings Alec Johnson and Rachel Grimes Anne Joseph Judy Kaleher Dr. Bob S. Kanovitz Dean Karns Annora Karr Maureen Kelly Stephanie Kelly James and Rebecca King Jim Kinsman Margot Kling Marjorie and Robert Kohn Stanley Krol Suzanne Kueber Dwight Kyle Peter K. Lauf Elizabeth S. Lavin Mr. and Mrs. John Lepper Stanley and Kathy Levinson Bette Levy Thomas M. Lewis Charlotte Elam Lowe Robert Maddox Gretchen Mahaffey Michael McCullough Kathryn McFadden-Riddle Matthew McGarvey Fred McMorris and Peggy Underwood Charles and Marjorie Miesner Anthony Minstein Dr. and Mrs. Gerald L. Moore Douglas Moran Glynn Morgen June E. Morris Jennifer Munson Dr. Ian and Stephanie Mutchnick Mona and John Newell Dr. OJ Oleka Mr. and Mrs. Edwin Olliges Jr. Louise Pass Kathleen Pellegrino Lynn Pereira Robert Petrokubi Doug Elstone and Russ Powell Dr. Sarah Cox and Mr. Dwight D. Pridham Gordon and Patty Rademaker Ann Lawrence Ramser Drexel and Patricia Rankin Mitchell and Cindee Rapp Irene M. Rawlings Heather Reesor David Rodger Bill and Judy Rudd Barbara Sandford Dr. David Sawyer Courtney and Brandon Schadt Margaret Schmidt Louise B. Seiler Marshall and Terrie Sellers Gregg and Leisa Siebert Dave Sipes Donald Snow Lauren Songer Danielle Spalenka Frances Squires

A U D I E N C E

Natalie Stephens Donna M. Stewart Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Mr. and Mrs. William Theuer Mary and John Tierney Dr. and Mrs. Robert S. Tillett Jr. Alison Torpey Waverly and Brenda Townes Jean Trager Anna Laura and Thomas Trimbur Michael Turley James Valdes and Ana Danies Ericus VanKleef Gordon and Cassandra Varner Tom Wakefield Bonnie Walker Don Walker Dennis and Julie Walsh Linda Watson Martha F. Watson Crawford and Alice Wells James and Carole Whitledge James R. Wilkinson Edward Williams Melanie Wood Mark Wourms Jimmie York

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. Dr. Carl E. Langenhop† Mrs. Philip Lanier Mr. and Mrs. † Warwick Dudley Musson Dr. Naomi Oliphant Susannah S. Onwood Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Bob Taylor and Linda Shapiro Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf

† Denotes deceased

T H E AT R E S E R V I C E S COURTESY • As a courtesy to the performers and other audience members, please turn off all audible message systems. Those who expect emergency calls, please check your beepers at the main lobby coat check and report your seat location to the attendant. • The emergency phone number to leave with babysitters or message centers is (502) 562-0128. Be sure to leave your theater and seat number for easy location. • Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular. An ID must be left as a deposit. • Cameras and recording devices are not allowed in the theaters. • Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances. Please remain seated after the performance until the lights are brought up. • Children should be able to sit in a seat quietly throughout the performance. • To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket.

ACCESSIBILITY Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights. Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces. Audio Description is available for selected performances for patrons who are blind or have low vision. Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing. Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), (502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

A U D I E N C E

Calling all Kentucky artists! Home, not to be taken for granted Claudia Hammer (Louisville)

Harvest Time Sallie Clay Lanham (Frankfort)

Beauties of the Bluegrass Linda Pierce (Hopkinsville)

Sir Sean Connery Allyson Coffren (Fort Thomas)

The Gathering Mikey Winsor (Lexington)

ARE YOU A KENTUCKY ARTIST WHO WOULD LIKE YOUR WORK FEATURED AT THE STATE CAPITOL IN FRANKFORT? GOVERNOR ANDY BESHEAR & FIRST LADY BRITAINY BESHEAR INVITE KENTUCKIANS TO LEND THEIR ARTISTIC TALENTS TO THE

TEAM KENTUCKY GALLERY!

APPLY BY NOVEMBER 29 HTTPS://GOVERNOR.KY.GOV/TEAM-KENTUCKY-GALLERY