Audience - Louisville Orchestra - February 2019

FEBRUARY 2019

MUSICIAN HIGHLIGHTS

Audience® is the official program guide for:

Cheri Lyon Kelley, First Violin.......................................................6

Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville Publisher The Audience Group, Inc. G. Douglas Dreisbach Editor Kay Tull Managing Editor Joseph Grove Creative Director Jeff Tull Design Kay & Jeff Tull Sales & Marketing G. Douglas Dreisbach Account Executive Michelle Bair Printing V. G. Reed & Sons

Jonathan Mueller, Viola..........................................35

PROGRAM KENTUCKY SPRING: Festival of American Music 1 Classics Concert, February 23, 2019................ 9

THE JAZZ INFLUENCE: Festival of American Music 2 Coffee Concert, March 8, 2019 Classics Concert, March 9, 2019.................... 30

Staff and Support.............................................................42 Services..............................................................................46 Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway).

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Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair Bob Bernhardt, Principal Pops Conductor

FIRST VIOLIN Gabriel Lefkowitz, Concertmaster Fanny and Charles Horner Concertmaster Chair Julia Noone, Assistant Concertmaster National City Bank Chair Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair Stephen Taylor Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards Maria Semes SECOND VIOLIN Robert Simonds, Principal Claire and Lee Lenkoff Chair Kimberly Tichenor, Assistant Principal Devonie Freeman Mary Catherine Klan Violin Chair, Endowed by Chase Elisa Spalding Andrea Daigle Charles Brestel Patricia Ann Jenkins Endowed Chair James McFadden-Talbot Judy Pease Wilson Blaise Poth VIOLA Jack Griffin, Principal Aegon Chair 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

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CELLO Nicholas Finch, Principal Thomas Mattingly and Anita Grenough Abell Memorial Chair Joseph Caruso, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead Christina Hinton Dr. Edward Leo Callahan Chair Allison Olsen Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro Deborah Caruso Julia Preston BASS Bert Witzel, Principal Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation Michael Chmilewski FLUTE Kathleen Karr, Principal Elaine Klein Chair Jake Chabot Donald Gottlieb Philip M. Lanier Chair PICCOLO Donald Gottlieb Alvis R. Hambrick Chair OBOE Alexander Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra Trevor Johnson, Assistant Principal Edgar J. Hinson III Chair Jennifer Potochnic † ENGLISH HORN Trevor Johnson CLARINET Andrea Levine, Principal Brown-Forman Corp. Chair Robert Walker Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair A U D I E N C E

BASS CLARINET Ernest Gross General Dillman A. Rash Chair BASSOON Matthew Karr, Principal Paul D. McDowell Chair Christopher Reid † HORN Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair Bruce Heim † TRUMPET Open, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Daniel Kassteen* Stacy Simpson, Interim

TROMBONE Donna Parkes, Principal PNC Bank, Kentucky, Inc. Chair Brett Shuster † 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 Mark Tate † HARP Mary Julian Rapier, Principal The Humana Foundation Chair KEYBOARD Grace Baugh-Bennett † Margaret S. Comstock Piano Chair †Auxiliary musician *On leave

TEDDY ABRAMS Music Director An unusually versatile musician, Teddy Abrams is the widely-acclaimed Music Director of the Louisville Orchestra and Music Director of the Britt Festival Orchestra.

An advocate for the power of music, Abrams has fostered inter-disciplinary collaborations with organizations such as the Louisville Ballet, the Center for Interfaith Relations, Oregon Shakespeare Festival, the Speed Art Museum and the Folger Shakespeare Library. His rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero.

Teddy makes his debut with the National Symphony Orchestra in the 2018–19 season in a program built around a commission by Lera Auerbach, and he appears with the Utah, Wichita, Eugene and Elgin Symphonies. He celebrated Leonard Bernstein’s centenary with an all-Bernstein program at the Kennedy Center on what would have been his 100th birthday. Recent guest conducting highlights include engagements with the Los Angeles Philharmonic; the San Francisco, Houston, Milwaukee, Vancouver, Colorado and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. He recently conducted the Indianapolis Symphony Orchestra with Time for Three for a PBS special.. 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 (NWS). He has conducted the NWS in Miami Beach, in Washington, D.C. and at Carnegie Hall, and recently returned to conduct the NWS on subscription concert with Joshua Bell as soloist.

An accomplished pianist and clarinetist,

Abrams has appeared as a soloist with a number of orchestras—including playconducting the Ravel Piano Concerto with the Fort Worth Symphony and the Jacksonville Symphony—and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, Time for Three and John Adams, in addition to annual appearances at the Olympic Music Festival.

Abrams was a protégé of Michael Tilson Thomas from the age of eleven, and studied conducting with Otto-Werner Mueller and Ford Lallerstedt at the Curtis Institute of Music, and with David Zinman at the Aspen Music Festival; he was the youngest conducting student ever accepted at both institutions. Abrams is also an award-winning composer and a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) were webcast to hundreds of schools throughout South Florida.

Abrams has performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest, and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009. He has held residencies at the La Mortella music festival in Ischia, Italy, and at the American Academy in Berlin. Teddy was a proud member of the San Francisco Symphony Youth Orchestra for seven seasons and graduated from the San Francisco Conservatory of Music with a bachelor of music, having studied piano with Paul Hersh.

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MUSICIAN HIGHLIGHT CHERI LYON KELLEY First Violin

A violinist’s relationship with their instrument is, well…personal, unique, rather intimate actually. After all, the violin is our voice. The sound I hear in my head is my violin. In high school my parents made a huge sacrifice for me and purchased a beautiful French violin for my future education and career. I named “him” Pierre. Perfect, I thought, for a Paris 1839 beauty. Pierre took me through college, lessons with renowned violin pedagogue Ivan Galamian, Tanglewood, quartet coaching with the Tokyo String Quartet, and my winning audition with the Louisville Orchestra.

I loved that violin and still do. But then one day Pierre became “second fiddle.”

Here’s our story.

Orchestrated by my husband’s boss, we met two New Albany brothers, William and Earl Hedden, both retired businessmen who were also amateur musicians. Mr. Earl played the cello and Mr. Will the violin. For years they met in the home of Hattie Speed on weekends to read chamber music with music-loving friends. When one of these friends passed away, his remarkable old Italian violin from Cremona, Italy—the city in which Stradivari and Guarneri lived and worked—was acquired by Mr. Will who loved and admired this instrument, often just opening the case to gaze at its marvelous craftsmanship.

Years later, at the age of 100, Mr. Will passed away. This beautiful Cremonese violin was inherited by his nephew, who wanted the instrument to continue its life here in Kentuckiana, honoring his dear uncle. Unbeknownst to me, he gifted the 6

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violin to the Louisville Orchestra with the stipulation that I, alone, was to play it as long as I remained a member.

What an honor! And I now had a new voice! Mr. Will’s violin is a Giovanni Battista Ceruti, circa 1810. His chamber music friend had bought it from a traveling Chicago dealer in January of 1901. The Ceruti has spent over half of its life right here in Kentuckiana! Now it’s time in our story to fast forward another two decades.

The year was 2000 and I owned “Pierre,” but not the Ceruti. However, Tom and I were now in a position to make an offer to the LO Board of Directors to buy the Ceruti from the Orchestra. Understanding that this would fulfill Mr. Hedden’s nephew’s desire to honor his uncle, the Board approved the sale and this glorious instrument, my own true voice, was mine. We became permanently and joyfully united! I still find my eyes tearing with emotion when I tell our story. I am blessed to have a beautiful example of Italian craftsmanship in my hands—an instrument with a history so dear to me and this community. Now that is an amazing relationship!

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No Intermission

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES Saturday, February 23, 2019 • 8 p.m.

The Kentucky Center • Whitney Hall

CLASSICS SERIES SEASON SPONSOR

KENTUCKY SPRING: Festival of American Music 1 TEDDY ABRAMS, conductor

Program AARON COPLAND

Appalachian Spring

Andrea Schermoly, choreographer Natalia Ashikhmina (Matriarch) • Rob Morrow (Counselor) • Lexa Daniels (Wife) • Mark Krieger (Husband) • Community Members: Erin Langston Evans • Annie Honebrink • Emily Reinking O’Dell • Ashley Thursby • Brienne Wiltsie • Aubrielle Whitis • John Brewer • Justin Michael Hogan • Sanjay Saverimuttu • Phillip Velinov • Trevor Williams • Kristopher Wojtera

Intermission

RACHEL GRIMES (1) Got Ahold of Me (2) Postcard from Pauline (3) Patsy (4) Sisterhood of Man (5) Red House School (6) The Hysterical Society (7) Nowhere on Earth (8) There Is No Other

The Way Forth (9) The Spells (10) Fontaine Ferry (11) For So Long (12) Dix River Doxology (13) Dolly (14) Bill of Sale (15) End of Dominion (16) Sara (17) A New Land

– Pause –

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T imbre Cierpke, harp + soprano (Woman/Pauline/Sister/Wife/Pee Wee Queen) • Scott Moore, violin + vocalist • Erica Pisaturo, violin • Laura De St. Croix, viola • Charlie Patton, cello • Cecilia Huerta-Lauf, cello • Aaron May, double bass • Rachel Grimes, piano + vocalist (Margaret/Daughter/Sister) • Martha Neal Cooke, vocalist (Patsy) • Jecorey Arthur, percussion + vocalist (Frederick/Henry) • Stephen Webber, actor + vocalist (Nephew/Carney/Son/Orator/Man/Preacher) • Doris Smith, vocalist (Dolly) • Sadie Dunn, soprano (Elizabeth) • Mara Miller, alto • Tim Roscoe, tenor (Abraham) • Benton Quarles, bass • Joe Manning, vocalist (Hoy) • Laquida Garner, vocalist (Sara) • Catharine Axley, film co-director, creator + editor *Members of SONUS, Timbre Cierpke, Director ^Members of Eastern High School, Women’s Choir, Lori Knapke, Director Members of the University of Louisville Collegiate Chorale, Kent Hatteberg, Director

The Community and Congregation Soprano Sadie Dunn* Lorin Bridges Sarah Byrd Brittany Carwile Jessica Heinz Seungah Kwon Hannah Lee Sylvia Santoso Megan Ansert^

Taylor Drane^ Abby Harrigan^ Molly Nevitt^

Lilly Dale^ Abby Guest^ Imani Smith^

Alto Mara Miller* Adelaide Hincks Seunggyeong Seo Tamia Yates Isabel Ayala^

Tenor Tim Roscoe* Seon Hwan Chu Tim Clay Michael Colavita Andrew Miller

See Teddy Abrams’

bio on page

Nico Palania Isaac Pendley Bass Benton Quarles* Cameron Carnes Andrew Durham Matthew Houston Nathaniel Mo Zach Willman

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

Lyrics, credits and sources availabe at www.louisvilleorchestra.org/the-way-forth-rachel-grimes Tonight’s performance has also received generous funding from our Supporting Sponsors, Michael and Chandra Rudd, and our Commission Sponsors, the Maxine and Stuart Frankel Foundation for Art.

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Andrea Schermoly, Andrea Giselle Schermoly was born in South Africa. She trained at the National School of the Arts, Johannesburg and on full scholarship at Rambert Ballet and Contemporary School and shortly thereafter on full scholarship at The Royal Ballet School, London. She competed internationally as a member of The South African National Rhythmic Gymnastics Team. She danced professionally for Boston Ballet Company and Netherlands Dance Theater.

Schermoly is the resident choreographer at Louisville Ballet Company. She has choreographed for Ballet Met, Royal New Zealand Ballet, Cape Dance Company, Kansas City Ballet Company, State Street Ballet, Grand Rapids Ballet Company, Louisville Ballet Company, Santa Barbara Dance Theater, Festival Ballet Theater, Ballet Theatre Afrikan, Quixotic Cirque Noveau, Boston Ballet 2, Joffrey Ballet Concert Group, The Juilliard School Solos Evening, and directed and choreographed a dance narrative film for The Ashley

choreographer

Bouder Project presented at The Joyce Theater, NYC, which went on to be presented by San Francisco Dance Film Festival. She was awarded the “Outstanding Choreographer” award in 2012, 2013 and 2017 at Youth America Grand Prix. In 2014 she choreographed at Lincoln Center for YAGP’s 15th anniversary gala evening with dancers Maria Kochetkova (principal San Francisco Ballet) and Joaquin de Luz (principal New York City Ballet). The piece has since been re-staged at “Buenos Aires International Dance Gala” Argentina, and “Stars of the 21st Century Gala” at the Champs Élysées, Paris. Schermoly has choreographed for feature films, commercials and music videos, including Beautiful Now, Bunheads, Justin Bieber/Poo Bear and Deorro music video and choreographically assisted on projects as Budweiser’s Super Bowl commercial and Star Trek into Darkness.

She’s created work for principal dancers attending international galas. She has upcoming creations with Royal New Zealand Ballet, Louisville Ballet, Cape Town City Ballet and Santa Barbara Dance Theater.

Appalachian Spring is transportive, optimistic and timeless. The original story will remain the anchor point to Andrea Shermoly’s choreography as she pays homage to Martha Graham’s work in style, intent and history to bring the score to life. Schermoly seeks to achieve this by adding more dancers and correlating contemporary stories that take on the same perils and excitement that come with young love.

As with Martha Graham’s Appalachian Spring, this treatment is an optimistic testament to a great country, the courage of the people in it, and the simple resilience of the human spirit.

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Louisville Ballet

Louisville Ballet, led by Artistic + Executive Director Robert Curran, is an evolved but accessible form of artistic expression that boldly and beautifully communicates stories both classic and new. They exist to move, to evoke emotion, to provoke thought and to challenge perceptions. They are artists, athletes and activists. They are inventors and inspirers. They have been one of the

nation’s leading ballet companies since 1952. As the Official State Ballet of Kentucky, they have hosted some of ballet’s biggest names, including Mikhail Baryshnikov, Twyla Tharp and Wendy Whelan; performed for tens of thousands of people; and reached over 20,000 school children throughout the commonwealth with educational programs annually.

N a t a l ia A s h i k h m ina , M a t r i a r c h Born in Bratsk, Russia, Natalia Ashikhmina graduated from the world-renowned Novosibirsk Ballet Academy studying under Tatiana Sulimova and Tatiana Kapustina.

She accepted Vyacheslav Gordeyev’s invitation and became the youngest prima ballerina of the Russian National Ballet in Moscow, where she worked with Andrey Kudeline and partnered with Yuri Burlaka. Eldar Aliev offered Ms. Ashikhmina a position with Ballet Internationale in Indianapolis, where she worked with Irina Kolpakova and Vladilen Simeonov. She joined Louisville Ballet as a principal dancer in 2006.

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Here, she had the privilege of working with Bruce Simpson, Helen Starr, Alun Jones, Harald Uwe Kern and a multitude of wonderful choreographers and stagers. Her repertoire includes Princess Aurora in The Sleeping Beauty, Giselle, Nikiya in La Bayadere, Belle in Beauty and the Beast, The Sylph (La Sylphide), Val Caniparoli’s Vivacé and over 100 performances as Odette/Odile in Swan Lake. Ms. Ashikhmina won the Audience Award at the 1998 International Ballet Competition Arabesque, a gold medal at the 1999 Competition of Professional Ballet Academies in Russia, performed at the 2004 Gala des Etoiles in Montreal and holds a master of fine arts degree from the Novosibirsk Choreographic College.

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Rob Morrow, Counselor Rob Morrow began his ballet training in New Orleans, La., with Delta Festival Ballet and went on to train at renowned schools such as Virginia School of the Arts and The Joffrey Ballet School of NYC. Professionally, he’s danced for Nashville Ballet, Delta Festival Ballet and Dayton Ballet. Some of his favorite

roles with Louisville Ballet include Hail in Val Caniparoli’s Seasons, Robert North’s Troy Game, Adam Hougland’s Rite of Spring and Ten Beautiful Objects, George Balanchine’s Theme and Variations, and St. Gaudens in Val Caniparoli’s Lady of the Camellias. Rob would like to thank his family and friends for their love and support.

L e x a D ani e l s , W i f e Originally from Stoneham, Mass., Lexa Daniels began her dance training at the Northeast School of Ballet under the direction of Denise Cecere. She continued her education at the University of Utah, graduating magna cum laude with a B.F.A. in ballet. Ms. Daniels began her professional career

with Portland Ballet in Maine before joining Louisville Ballet as a trainee in 2014. In her two years as a trainee, she enjoyed performing in a variety of ballets, including Giselle, Coppélia, The Brown-Forman Nutcracker, Suite en Blanc, and Balanchine’s Square Dance, Concerto Barocco and Western Symphony.

Ms. Daniels joined Louisville Ballet as a company dancer in 2016.

Mark Krieger, Husband Mark Krieger, a Virginia native, studied dance under Jefferson Baum at Grand Valley State University in Michigan.

In 2004, Mr. Krieger joined Ballet Tucson,

where he danced for two seasons before joining Columbia City Ballet. He spent the last five years with the Columbia City Ballet as a Principal Dancer. Mark has been a member of Louisville Ballet since 2012.

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L o u i s v i l l e B a l l e t D an c e r s JOHN AARON BREWER John began dancing in his hometown of Greenville, S.C. He continued his training at the Miami City Ballet School under artistic director Edward Villella. Mr. Brewer has worked with companies such as Pittsburgh Ballet Theatre, Richmond Ballet and First State Ballet Theatre until joining Louisville Ballet in 2016.

ERIN LANGSTON EVANS Born in Dallas, Texas, Erin Langston Evans began her dance training at the age of three. After moving to Birmingham, Ala., she continued her training at the Alabama Ballet School under the direction of Wes Chapman and Roger Van Fleteren and attended summer intensives at the American Ballet Theatre. She furthered her education at Butler University,where she received her bachelor of arts in dance pedagogy. While at Butler, she studied with a talented faculty and performed roles in The Sleeping Beauty and Swan Lake, among others. Since joining Louisville Ballet as a trainee in 2011 and then as a company member in 2013, Evans has had the opportunity to perform a variety of roles, including Marie in Val Caniparoli’s The Nutcracker, Sérénade in Serge Lifar’s Suite en Blanc, a Soloist in Paquita and a Cygnet in Swan Lake. She has also been featured in George Balanchine’s Concerto Barocco and Theme and Variations, Adam Hougland’s Cold Virtues, and roles in all of the full-length ballets.

JUSTIN MICHAEL HOGAN Justin Michael Hogan is from nearby Cincinnati, Ohio, where he received his 14

initial training at the School for the Creative and Performing Arts. He furthered his education and training at Mercyhurst University, earning his B.A. in dance performance and choreography.

Professionally, Hogan began his career at the North Carolina Dance Theatre (now Carolina Ballet) under the direction of Jean-Pierre Bonnefoux and Patricia McBride and then joined St. Louis Ballet, directed

by Gen Horiuchi. In 2012, Mr. Hogan joined Louisville Ballet. Since then, he has had the wonderful opportunity to work with Bruce Simpson, Alun Jones and Helen Starr, and choreographers Daniel Riley, Lucas Jervies, Val Caniparoli and Adam Hougland, among others.

ANNIE HONEBRINK A native of Fort Mitchell, Ky., Annie Honebrink joined the company in 2010.

Ms. Honebrink performed in a wide variety of ballets, including George Balanchine’s Western Symphony, Adam Hougland’s Rite of Spring, Val Caniparoli’s The Seasons, Robert Curran’s Coppelia, Mikelle Bruzina’s Sansei, and the Kingdom of the Shades from La Bayadere. She has also enjoyed dancing Marie in Val Caniparoli’s The Brown-Forman Nutcracker. Honebrink trained with the Cincinnati Ballet Otto M. Budig Academy and danced with the Cincinnati Ballet company’s corps de ballet as a CBII her junior and senior years of high school.

EMILY REINKING O’DELL Originally from Fort Wayne, Ind., Emily Reinking O’Dell trained and danced at Fort Wayne Ballet under the direction of

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Michael Tevlin, Judy Jacob and Robert Kelley. She earned her BSOF in ballet and arts administration from Indiana University, studying with Violette Verdy, Leslie Peck and Jacques Cesbron. Ms. O’Dell joined Louisville Ballet upon graduation and has worked under Alun Jones, Helen Starr, Bruce Simpson and Robert Curran. Some of her most memorable classical roles include Fairy of Charm in Sleeping Beauty, Winter Fairy in Cinderella, Rose in The Nutcracker and Two Swans in Swan Lake.

Some of her favorite contemporary roles have been Balanchine’s Serenade, Rubies, Theme and Variations, as well as Nine Sinatra Songs, Going for Baroque and Tethered Pulse. Her favorite moments have been working with Adam Hougland to create new works such as Cold Virtues, Made to be Broken, Union and, above all, performing the Chosen One in his Rite Of Spring.

SANJAY SAVERIMUTTU Sanjay Saverimuttu is from Boca Raton, Fla., where he trained at Boca Ballet Theatre,and also attended A.W. Dreyfoos School of the Arts. He graduated from Stanford University with a bachelor of science degree in biology, all while continuing his dance training. He also studied abroad in Cape Town, South Africa, teaching ballet at Dance for All, a dance education organization servicing township youth. He was a dancer for Launch 7 with Northwest Dance Project.

Since joining Louisville Ballet in 2012, he has had the opportunity to dance in many classical full lengths as well as a variety of works by acclaimed choreographers such as Adam Hougland, Val Caniparoli and George Balanchine. Mr. Saverimuttu is also an aspiring choreographer and has had works featured in Choreographers’ 16

Showcase and Prelude for Botanica. He was also a participant in the 2016 Visions Choreographic Competition at Ballet Arkansas.

ASHLEY THURSBY Ashley Thursby grew up in Richmond, Mo., and began her studies in tap, jazz and ballet from Tammie Sullard and Tanya Duncan. She received her formal training at age nine from the Kansas City Ballet School on full merit scholarship and went on to study at The School of American Ballet, San Francisco Ballet School, LINES Pre-professional Program and Jillana. She studied ballet and journalism through Indiana University’s Jacobs School of Music, where she was coached by Violette Verdy, Helen Starr, Cynthia Gregory, Deborah Wingert and Michael Vernon. Thursby was awarded the Friends of Music Scholarship and the National Society of Arts and Letters award.

In 2008 she joined Louisville Ballet and enjoys dancing in the classics as well as contemporary works by Val Caniparoli, Ma Cong, Adam Hougland and Amy Seiwert. Ashley is a passionate advocate for the power that performance art can give to a community, and was honored in receiving the 2015 Artist Enrichment Grant for her choreography through the Kentucky Foundation for Women.

PHILLIP VELINOV Born in Bulgaria’s capital, Phillip Velinov began training at the State Choreographic School in Sofia, later transferring to the Alabama School of Fine Arts on a full scholarship. Following graduation, he joined the Alabama Ballet and won the first full performing arts scholarship in the 150-year history of Birmingham-

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Southern College completing B.A. in dance with honors. Maestro Rumen Rachev, Dame Sonia Arova, Thor Sutowsky, Professor Mira Popovich, Vladilen Simeonov, Irina Kolpakova, Bruce Simpson, Alun Jones and Helen Starr have all played an instrumental role in shaping Velinov as an artist. He was a soloist with Ballet Internationale (Indianapolis) prior to joining Louisville Ballet as a principal dancer in 2006. Mr. Velinov received diplomas at the 1998 and 2002 Varna International Ballet Competitions and won the 1998 Birmingham Fine Arts Society Award for Excellence in Dance. Repertoire highlights include a wide spectrum of roles: Albrecht (Giselle); Prince Siegfried (Swan Lake); The Golden Slave (Scheherazade); The Nutcracker, Sugar Plum Cavalier, Drosselmeyer (The Nutcracker); Nana the dog (Peter Pan); Basilio, Espada, Gamache, Lorenzo (Don Quixote); Puck (Midsummer Night’s Dream); and Twyla Tharp’s “That’s Life” (Nine Sinatra Songs).

BRIENNE WILTSIE Brienne Wiltsie grew up in Pittsburgh, Pa., and danced professionally with Pittsburgh Ballet Theatre’s company after training in both their high school and graduate training programs. Her love of being on stage then brought Ms. Wiltsie to Louisville, where she enjoyed performing with Louisville Ballet for two seasons (2009-11). Her favorite performances include Twyla Tharp’s Nine Sinatra Songs; Val Caniparoli’s The Seasons; and her all-time favorite classic, Swan Lake. Brienne also loved having the opportunity to join the cast of the Nutcracker Key West in 2014 and 2016!

This year marks the beginning of Ms. Wiltsie’s eighth year teaching in The Louisville Ballet School—she feels incredibly fortunate to work with the pre-professional students and the Louisville Ballet Youth Ensemble. She couldn’t be happier to be dancing with Louisville Ballet this season.

KRISTOPHER WOJTERA Kristopher Wojtera began his ballet studies at the National Ballet School in Gdansk, Poland. He danced with the Polish National Theatre in Warsaw, where he performed roles in variety of classical and contemporary works throughout Poland and Europe. Upon moving to the United States, he became a soloist with Columbia City Ballet (South Carolina). In 2003 he joined Louisville Ballet as a first soloist, where he portrayed the lead roles in works such as Giselle, The Three Musketeers, Don Quixote, The Lady of Camellias, and Theme and Variations, among others. He has performed as a guest artist with the Ballet Theatre Midwest (Ohio), the North Atlanta Dance Theatre, the San Antonio Metropolitan Ballet, the Carolina Ballet and others. In 2007, he was invited to perform Swan Lake with the English National Ballet. Mr. Wojtera is honored to have participated in the National Choreographers Initiative in Irvine, Calif., for four consecutive years. In 2014 he had the privilege to perform in Johan Kobborg, Alina Cojocaru & Friends Ballet Gala in Sarasota, Fla.

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P r o g r a m N ot e s Aaron Copland Appalachian Spring Aaron Copland was born in Brooklyn in 1900 and died in Peekskill, New York, in 1990. He composed his ballet Appalachian Spring on a commission from the Elizabeth Sprague Coolidge Foundation in 1943–1944 and it was first performed at the Library of Congress in Washington, D.C. in 1944. Copland’s music for the ballet won the Pulitzer Prize for Music in 1945 as well as the Music Critics Circle of New York Award. The original score was for a tiny orchestra of thirteen players; in 1945 Copland arranged most of the ballet’s music into a suite for larger orchestra. In 1954 Copland prepared a full-orchestra version of the complete score for Eugene Ormandy. The score of the full-orchestra version calls for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, harp, piano and strings.

In 1942, Mrs. Elizabeth Sprague Coolidge invited Martha Graham to create three new ballets for the Coolidge Foundation’s annual Fall Festival. Three composers were engaged to write new ballet scores for the event: Paul Hindemith, Darius Milhaud and Aaron Copland. Copland’s contribution would go on to become his most popular and oft-performed work: Appalachian Spring.

The scenario of the ballet as printed in the score describes “a pioneer 18

celebration in spring around a newlybuilt farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmerhusband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”

Copland produced several versions of the work. The original full-length ballet was scored for a mere thirteen players. He later derived a Suite for full orchestra—the version most commonly heard—excising about eight minutes of music he thought would not stand on its own without the choreography. In 1954 Eugene Ormandy, conductor of the Philadelphia Orchestra, prevailed upon Copland to create a full-orchestra version of the complete ballet; in this concert we will hear this version of the piece, with the missing music restored.

Copland’s note for the premiere of the Suite describes the sections of the work:

1. Very slowly. Introduction of the characters, one by one, in suffused light.

2. Fast. Sudden burst of unison strings in A-major arpeggios starts the action. A sentiment both exalted and religious gives the keynote to this scene.

3. Moderate. Duo for the Bride and her Intended—scene of tenderness and passion.

4. Quite fast. The revivalist and his

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flock. Folksy feelings—suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride—presentiment of motherhood.

Extremes of joy and fear and wonder.

6. Very slowly (as at first). Transition scenes reminiscent of the introduction.

7. Calm and flowing. Scenes of daily activity for the Bride and her Farmerhusband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published later under the title The Gift to be Simple. The melody I borrowed and used almost literally is called “Simple Gifts.”

It is at this point that the full-length version diverges from the Suite. The three sections that have been restored are all short, but they give a much deeper context to both the ballet and its music: set in a time just before the Civil War, the ballet was not as uniformly idyllic as we assume from hearing the Suite. The first of the restored sections represents an abolitionist sermon by the Revivalist; its dark, jagged music reflects the hellfire of the Revivalist and the Bride’s fear that her husband might be taken from her, perhaps never to return. In the next section we hear the Mother’s calm music transformed into something much more ardent and fearful. The Husband’s love music is similarly transformed; in the slow passage for strings alone he waves goodbye. The return of the jagged music begins the final restored section; here the Bride, the Mother, and the other women of the town lament the coming of war.

The music now rejoins the Suite, and we rejoin Copland’s description:

8. Moderate. Coda. The Bride takes A U D I E N C E

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her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayer-like passage. We hear a last echo of the principal theme sung by a flute and solo violin.”

At the end of the ballet, the Husband stands behind the Bride and places his hand on her shoulder; with the context given us by these restored passages, it seems clear that he has gone off to war and is being seen in the Bride’s imagination.

Long before he composed Appalachian Spring, Copland began to heed the advice given by that incomparably beautiful Shaker tune “Simple Gifts”; in fact, its sentiments seem to sum up this period of his career.

As a young man, Copland composed brash, dissonant, jazz-tinged works that pleased the critics yet left audiences unmoved. So he performed a musical about-face: “I felt that it was worth it to see if I couldn’t say what I had to say in the simplest terms possible.” This change of attitude yielded a rich lode of accessible and instantly popular works such as El Salon Mexico, Rodeo and Lincoln Portrait—all culminating in Appalachian Spring.

As the song goes: ’Tis the gift to be simple ’Tis the gift to be free ’Tis the gift to come down Where we ought to be And when we find ourselves In the place just right ’Twill be in the valley Of love and delight.

Just so. ~ Mark Rohr

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R a c h e l G r i m e s , c o m p o s e r , p ian o an d vocalist: Margaret/Daughter/Sister Rachel Grimes is a Kentucky composer and pianist who creates music for chamber ensembles, orchestras, film and collaborative live performances. Her work has been performed by ensembles such as the Louisville Orchestra, Kansas City Symphony, Knoxville Symphony, A Far Cry, Longleash and the Dublin Guitar Quartet.

Recent highlights include the premiere of The Blue Hour, a commission for the string orchestra A Far Cry and mezzo-soprano Luciana Souza, with co-composers Caroline Shaw, Sarah Kirkland-Snider, Shara Nova and Angélica Negrón, an appearance as a guest curator and performer at the Festival of Faiths, and a live original film score performance of People on Sunday at the National Gallery of Art and the Film Society of Lincoln Center with cellist Erik Friedlander and guitarist Matthew Nolan.

Releases include the recent soundtrack The Doctor From India, Through the

Sparkle (with astrïd on Gizeh Records 2017), The Clearing (Temporary Residence), Book of Leaves, Marion County 1938, If Then Not When with King’s Daughters & Sons (Chemikal Underground), and numerous albums with ground-breaking indie chamber group Rachel’s (Quarterstick/Touch and Go). Her music is played regularly on National Public Radio, WNYC, and Performance Today, and has been featured in Smithsonian Magazine, The New Yorker and the Oxford American.

She has performed worldwide as a solo pianist, and as a collaborator with various artists and ensembles as far as Taipei, Portland and Amsterdam. Her music has been licensed to numerous film and TV works and to multi-media installations internationally. She recently contributed an essay and live recordings from her performances at the Big Ears Festival to the upcoming Kate Joyce photography book Big Ears Knoxville (Hat & Beard Press). www.rachelgrimespiano.com

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C a t h a r in e A x l e y ,

film co-creator

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Catharine Axley is a documentary filmmaker and editor who seeks stories of empowerment through subjects that defy expectations.

She is a director at Paper Bridge Films and is currently directing ATTLA, a feature documentary co-produced by ITVS and Vision Maker Media. Her films have played at festivals including the San Francisco International Film Festival, DOC NYC, Harlem International Film Festival and the

United Nations Association Film Festival.

She was a Regional Finalist for the 2014 Student Academy Awards and an official nominee for the David L. Wolper Award at the 2015 International Documentary Association Awards. Axley is currently teaching as a scholar-in-residence at the University of Kentucky. She holds an M.F.A. from Stanford University and a B.A. in history and ethnicity, race & migration from Yale University. http://www.catharineaxley.com/

T i m b r e C i e r p k e , h a r p an d s o p r an o : Woman/Pauline/Sister/Wife/Pee Wee Queen As a harpist, vocalist, composer and songwriter, Timbre Cierpke is pioneering new sounds in both classical and popular music, drawing from both worlds to create a truly unique sound.

Ms. Cierpke has recorded and performed with notable artists such as Jack White (White Stripes), Tom Jones, bluegrass legend Ricky Skaggs, as well as rock bands like mewithoutYou and the Chariot, racking up over 50 albums credits so far. As a harpist, she has performed all over the world, including performing her own compositions with full orchestra in cathedrals throughout Scandinavia. She has played harp in over a dozen symphonies, including the

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London Symphony Orchestra. As a vocalist, Cierpke has performed in cathedrals throughout Europe, as well as singing in a premiere of Eric Whitacre’s City and the Sea at Carnegie Hall. Ms. Cierpke fronts her neoclassical folk-rock band “Timbre,” which has toured extensively in Europe and America. Their latest album, Sun & Moon, has been called “exquisite” (PopMatters) and “a gorgeous tapestry of audible poetry.”

(Earmilk) SputnikMusic said of the album, “If there were ever anything approaching a universal definition for harmonious, or beautiful, it might just be somewhere inside Sun & Moon.” timbremusic.com.

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S t e p h e n W e b b e r , a c t o r an d v o c a l i s t : N e p h e w / C a r n e y / S on / O r ato r / M a n / P r e ac h e r As a member of the internationally acclaimed SITI Company since 1994, Stephen Webber has created roles in 29 of the shows built by the company and directed by Anne Bogart, almost all of which have toured extensively. The venues that these shows have been seen in are some of the most renowned theaters in the world, including The Kennedy Center; The Brooklyn Academy of Music Next Wave Festival; American Repertory Theater; Actors Theater of Louisville including seven Humana Festivals; The Wexner Center for the Arts; Chicago’s Court Theater; The Magic Theater; UCLA Performing Arts; The Krannert Center for the Performing Arts; and the Joyce Theater in New York.

Off-Broadway Mr. Webber has performed

Scott Moore,

at New York Theatre Workshop, Classic Stage Company, the BAM Next Wave Festival, Dance Theatre Workshop, The Joyce Theater in American Document and Continuos Replay (with the Bill T Jones/Arnie Zane Dance Company) and with En Garde Arts. In 2013 he performed in the New York premier of Roland Schimmelpfennig’s The Golden Dragon at Playco directed by Ed Iskandar. Internationally he has performed at Dublin Arts Festival, Edinburgh International Festival, Singapore Arts Festival, Israel Festival, Teatroiberoamericano (Bogota), Maastricht Arts Festival (Holland), Melbourne Arts Festival, The Tbilisi Gift Festival, The Red Theater in Abu Dhabi and twice at the Toga International Arts Festival in Toga-Mura, Japan.

v i o l in an d v o c a l i s t

Scott Moore was born and came of age in rural Kentucky. He began his career as a violinist and composer as a four-year-old in New York. He’s been a soloist with a number of orchestras (including multiple appearances with the LO), played Mozart for the Archduke of Austria, and given an impromptu recital in Carnegie Hall for an audience of ghosts. He’s been an organic farmer and a professional driver, learned fiddle tunes from old-timers in the hills of eastern Kentucky, drunk bourbon with rock stars on a steam-powered riverboat, and played music on four continents.

“Staggeringly versatile and gifted” (LEO

Weekly), Moore has built a formidable reputation as a performer, composer and studio musician in a variety of genres, from classical to rock, jazz, bluegrass and beyond. As a longtime member of the 23 String Band, he performed across the country as a crowd favorite at festivals like Rockygrass, Grey Fox, ROMP, Forecastle, Festival of the Bluegrass and many more.

Since 2016, he has produced three original scores for the Louisville Ballet, composing, performing and recording the music for William’s Folly, Lady Lear and Tempest. In 2018 he began performing, from memory, the complete Sonatas and Partitas for Solo

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Violin by J.S. Bach. And with the Scott Moore Band, he has produced two as-yetunreleased albums, blurring the lines between acoustic and electric back porch folk and vintage rock-n-roll: a combustible

mix of electric violin pyrotechnics, twangy guitar chimings, vocal harmonies, original songwriting, creative arrangements and grooves guaranteed to put a wiggle in your middle.

Erica Pisaturo, Erica Pisaturo grew up outside of Boston, Massachusetts, where as a young violinist she received her formal training from the New England Conservatory Preparatory School. An alumna of Bowdoin College with emphases in music and art history, she was also a member of a number of orchestras in New England, including Symphony by the Sea and the Cape Ann Symphony. After moving to the south to

v i o l in

complete her M.F.A. in historic preservation at Savannah College of Art and Design, Ms. Pisaturo began longstanding engagements with the Savannah Philharmonic, Hilton Head Symphony, Coastal Symphony and Macon Pops. She moved to Louisville in 2017, where she divides her time between her roles as a freelance musician and new mom.

Laura De St. Croix, Praised for her warm and beautiful sound, violist Laura De St. Croix brings enthusiasm and energy to her performances. Since moving to Louisville in 2015, she has created a busy performing schedule for herself. She has appeared with the Louisville Orchestra, Lexington Philharmonic, Chattanooga Symphony and Orchestra Kentucky of Bowling Green. Last season she appeared as guest principal violist with the Lexington Philharmonic and performed in leadership positions with other orchestras throughout Kentucky. An avid chamber musician and teacher, Ms. De St. Croix is co-director of NouLou Chamber Players, Louisville’s premier local, musician-run chamber ensemble.

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viola

She has been on faculty for chamber music festivals across the country. Laura coordinates the chamber music program for the Louisville Youth Orchestra, called LYO Master Artists Chamber Players, which is in its second season. She maintains a home studio in addition to teaching in several area schools. De St. Croix holds performance degrees from Texas Tech University and University of Minnesota. Her teachers and mentors include Korey Konkol, Renee Skerik, Laura Bossert, Terry King and Alice Preves. She is happy to share in the unique and diverse musical culture in Louisville, and is honored and excited to collaborate with Rachel Grimes on her project, The Way Forth.

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Charlie Pat ton, Charlie Patton grew up in a musical family in the deep south. Though classical cello was his primary focus as a young musician, his love of folk music inspired him to explore a variety of instruments, including mandolin, guitar, bass, clarinet and saxophone. While studying cello at the University of Louisville, he met a fellow student, Ben Sollee, whose innovative approach to the cello fueled his own desire to incorporate the cello into folk music. Since that time, he has immersed himself in many different genres of music, using lessons learned from other instruments to inform his technique. Mr. Patton holds a

cello

bachelor of music in cello performance from the University of Louisville School of Music. He has appeared with the Mississippi Symphony Orchestra and has been a frequent contributor to the Sclater Chamber Music Series at Mississippi College. He has performed with Ben Sollee and Scott Carney and is a member of Niles Foley, along with violinist Scott Moore. In 2014 he was a featured artist at Great Big Yam Potatoes festival. He served as the Director of Children’s Music for St. Matthews Episcopal Church in Louisville and is currently performing with a number of ensembles in the metro area.

C e c i l ia H u e r t a - L a u f , Described as “an assured soloist” with “fearless technique,” Dr. Cecilia HuertaLauf brings passion and heart to her performances as an accomplished cellist.

A native of Dickson, Tenn., she began playing the cello at age 4 and made her solo debut with the Nashville Symphony Orchestra at age 16. Cecilia has enjoyed tenures with groups such as the Civic Orchestra of Chicago, the Discovery Ensemble, Florida Grand Opera, and the Henry Mancini Institute Orchestra & founding String Quartet, and founding administrative director and principal cellist of the Boston Latin-American Orchestra. Ms. Huerta-Lauf has won a number of awards, including a semifinalist in the Carlos Prieto International Cello Competition. Locally, she is the

cello

co-director of NouLou Chamber Players; has performed as assistant principal of the Paducah Symphony Orchestra, principal of Louisville Ballet Orchestra, and substitutes with the Louisville Orchestra; serves as President of the Chamber Music Society of Louisville Board; and as a teacher, she has a full private studio and guest coaches at Louisville Youth Orchestra and Youth Performing Arts School. She has participated in music festivals across the United States, Canada, France and Italy.

Degrees include pre-college at Vanderbilt University, B.M. at DePaul University in Chicago, M.M. at the New England Conservatory of Music in Boston, and her D.M.A. at University of Miami in Florida. www.cellohuerta.com

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Aaron May, Aaron May is a Louisville-based multiinstrumentalist and educator, performing on both double and electric basses, and teaching private and orchestral ensembles. Mr. May has appeared on stages with a numerous orchestras, including the Evansville Philharmonic, Orchestra Kentucky, the Owensboro Symphony Orchestra and the Paducah Symphony Orchestra. He has performed internationally at the Meer Dan Woorden Festival in the Netherlands and with the Rome Festival Orchestra in Italy.

A contributor to Louisville’s rich independent music scene, May has been a member of various groups, including Temporary Residence recording artist

double bass

Parlour. He can be heard on Rachel Grimes’ albums The Clearing, Marion County 1938 and The Way Forth. Mr. May recently worked with American singer songwriter/experimental musician Shannon Wright on her score for the Guillaume Nicloux film To The Ends of The World (Les Confins Du Monde), which premiered at the 2018 Cannes Festival.

An equally accomplished educator, Mr. May has taught for the String Academy and Community Music Program at the University of Louisville School of Music, and is currently on faculty at Fern Creek High School, where he is director of orchestral studies.

J e c o r e y A r t h u r , p e r c u s s i o n an d Frederick/Henry Jecorey “1200” Arthur is an awardwinning music educator, performer, composer, producer and community organizer from West Louisville, Kentucky.

He earned the nickname “1200” after teaching himself how to use a KORG D-1200 digital recording studio at age 12, and a decade later earned his B.M.E. and M.A.T. in music education at the University of Louisville. As an educator he has taught music to thousands of students of all-ages in Jefferson County Public Schools, Boys and Girls Clubs of America, and beyond. As a performer he has played Forecastle Festival and New York City’s 92nd Street Y, as well as stages with the Louisville Orchestra, Stereo 26

vocalist:

Hideout Brooklyn Orchestra, Pittsburgh Symphony Orchestra, Indianapolis Symphony Orchestra, Nashville Symphony Orchestra, Columbus Symphony Orchestra and Oregon Symphony Orchestra. Mr. Arthur is currently the Music Education Manager for 90.5 WUOL Classical Louisville at Louisville Public Media, Professor of Percussion Studies at Simmons College of Kentucky, a member of the IMAN Artist Roster, endorsed by Salyers Percussion, and serves as the Executive Director for Athiri, a nonprofit he founded where artists lead youth in service-learning projects to better their communities.

1200llc.com

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P r o g r a m N ot e s RACHEL GRIMES The Way Forth This evening’s performance is the world premiere for this new work, which was orchestrated by the composer for the Louisville Orchestra and conductor Teddy Abrams. The original work for chamber ensemble calls for soprano soloist, vocalists/ narrators, harp, piano, two violins, viola, two cellos, bass, percussion and SATB choir. The score of the full-orchestra version calls for the solo ensemble, SATB choir, plus two flutes, two oboes, two clarinets (with bass clarinet), clarinet solo for the conductor, two bassoons, two horns, one trumpet, one trombone, timpani, percussion, harp and strings.

What to do with all of these random mysterious photos, letters, deeds, clippings, this gorgeous 1908 scrapbook, this ancient Scottish family Bible…? Who is this woman with the piercing gaze?

Why is this woman wearing men’s clothing and sporting a cigar? Is this the old house that burned? So, he really was a miner ’49er…and how are we related to him? Why didn’t she finish her college degree until she was 61?

These were some of the questions my brother and I asked our parents and relatives over the last few years as we sorted our way through the memorabilia of past generations of Kentuckians. These questions led to a few answers…and many more questions. An examination of my family history branched out, leading to other families who had crossed paths, and formed a framework for probing, understanding and reconciling the larger Kentucky history and even larger history of expansion and settlement in the United States. I became very interested in

aspects of these stories that hadn’t been told, the people who weren’t named, the stories of our collective family, warts and all.

As I tried to put together family trees and storylines, my imagination took off, filling in the blanks. Lyrics and words would pop into my head during dog walks, and connections and clues would wake me in the middle of the night. I wanted to know more about these people’s lives, especially my grandmothers’ and many great-grandmothers’, of whom I had only a few photos, postcards and traces of pioneer-era lore. Sitting at the piano, the music soon began to take shape.

The Way Forth opens with “Got Ahold of Me,” with a current-day “Woman” wondering why these voices and objects from the past have grabbed her. The following songs weave back in time through a postcard, a personal account of a long life on a farm, traces of folk tunes, names, places and rivers, all woven into an emotional fabric of yearning, nostalgia, grief and the rich intimacies of everyday life.

“Patsy” and “Sara” recall their stories in their own words, excerpted from historic sources. Patsy Treadway, from Winchester, looks back on her life and work on a mid-nineteenth century farm. Sara Katherine Simpson Jones, from Lincoln County, goes to work for a family in town so that she will be able to attend high school. “There Is No Other” shares the female perspective on the intimacies of marriage in youth, middle-age and near the end of life. The words of “Red House School” are edited from an autobiography written by my maternal grandmother, Margaret Ruth Baldwin Leedy, highlighting her rural

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teaching career. “Sisterhood of Man” brings together the voices of many women through time, and its musical theme recurs in “Nowhere on Earth” and “Dolly.”

During my research, troubling themes emerged. As I read more on early Kentucky history—largely written by a very few privileged white men, recording the deeds and accomplishments of other notable white men—the stories routinely glossed over people without titles or voting rights and dehumanized most others by referring to them as objects of desire, savages or slaves. Modern day editors and researchers added dynamic new dimensions to these stories of “winning the wilderness.” The recent book, Women of Boonesborough by Harry Enoch and Anne Crabb, pulls together fragments of known history of the women who lived in the pioneer fort.

Among them was an enslaved woman named Dolly, brought by Colonel Richard Callaway on the 1775 Boone expedition from North Carolina into Kentucky. She was one of two women on the trip through Cumberland Gap to establish Fort Boonesborough. While on that journey, she was raped, presumably

by Callaway, and a child was born nine months later, the first child born in the fort. Until very recently, Dolly has never been named, as this founding mother is known only as “A Negro Woman” on the D.A.R. monument at Fort Boonesborough State Park.

With the help of researcher Paula Falvey, we pieced together fragments of the story of Dolly’s child, Frederick. He was likely sold to friends of the Callaways, the Hart family. Frederick Hart was probably freed after his military service in the War of 1812, and subsequently married Judith Brown of Frankfort. Their 28

son Henry Hart was a notable violinist and composer who lived in Evansville and Indianapolis, Ind. Hart, his pianist wife, Sarah Smith, and their daughters performed as a popular band in the area.

In The Way Forth, Hart’s hit song from 1873, “Good Sweet Ham,” is included in a medley with some of my paternal grandmother Dorothy Susan Newland Grimes’ favorite popular tunes that she taught me when I was young. Together, these tunes comprise the musical time-travel in “Fontaine Ferry.”

Throughout The Way Forth, the congregation and the community are observers and participants, and the next several songs weave in slivers of church music as the scope widens to include a narrator’s reflections on a place battered by greed, civil war, bigotry and the destruction of natural resources. “Dix River Doxology” reframes a familiar protestant refrain in praise of the great river. “Bill of Sale” is the community’s lament on the hideous practice of slavery as they hear the distant voice of an enslaved woman named Susan, listed along with her three children in a Newland family document Madison County in 1824. “End of Dominion” documents the 1775 swindling of indigenous hunting ground from the Cherokee people in an attempt to establish the 14th colony. Shifting voices through time detail the continued plundering of land and animals and the brutal treatment of oppressed peoples, all ending in an abrupt and colliding confusion.

Toward the end of “Sara,” the community leaves us with her Simpson/ Jones family motto: And with the roots of the past, we shall the branches of the future. The work closes with the only instrumental, “A New Land.” With the continuing evolution of the rights of

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women and minorities, I believe we are moving toward an end of the culture of dominion and we can come together to treasure and protect our lands, waters and all the creatures, great and small, with the same vigilance and love that we have previously given to our factions of belief and tribe.

In March 2017, I took a brief trip with filmmaker Catharine Axley into central Kentucky to begin capturing landscape footage of some of the places named in these lyrics with the goal of combining impressionist imagery with close-ups of archival photos and documents. We filmed vignettes of everyday activities women have repeated across generations. We’ve captured fleeting moments all across our state and are working towards a full-length film edited to the recorded score.

Three weeks after our initial shoot, on the night before the chamber ensemble was to premiere this work, my brother collapsed and died of a massive heart attack. The grief and loss overwhelmed me. In the months that followed, I assumed that this work would never see the light of day, and I did not care if it did. It was only when I went to review the initial film footage later in the summer that I realized I needed to keep working on the music and the film, to honor the music and stories my brother and I shared for 43 years. While working on the orchestrations for the Louisville Orchestra, my mother’s health greatly worsened, and she passed away on October 6, 2018. Her sweetness, sharp wit and zest for independence flavors many moments throughout this piece.

The Way Forth is dedicated with love to my brother, Edward Sterling Grimes, and to my mother, Lou Jean Leedy Grimes.

Wholehearted and grateful thanks to Alec Johnson and Carissa Stolting for unending feedback and loving support, and to Dan Forte, Erin Palmer and Kim Baker of The Kentucky Center and to Teddy Abrams and the Louisville Orchestra for bringing this new work to life.

With deep gratitude to Scott, Erica, Laura, Charlie, Cecilia, Aaron, Timbre, Stephen, Jecorey, SONUS, Rob Simonds, Evan Vicic, Anne Gauthier, Chris Greenwell, Joan Shelley, Nathan Salsburg and Sean Johnson for their wonderful musical contributions, arrangement ideas, bowings and patience.

Creation and production of this music and film is supported by The Kentucky Center for the Performing Arts, Owsley Brown Presents, Kentucky Foundation for Women and the Puffin Foundation. With special thanks to Larry and Tess Johnson, Susanne Frank, Bettie Wheeler, Doris Smith, Joe Manning, Angela Lombardi, Bill Ed Leedy and the extended Leedy family, Nancy Ann Hill, Virginia Carol Hill, Sam Adams, Owsley Brown, Augusta and Gill Holland, Jim and Marianne Welch, David and Betty Jones, Emily Bingham and Stephen Reilly, Martha Neal and Graham Cooke, Julie and Laman Gray, Marilyn Foulke, Janet Levitan, Catherine Sutton, Paula Falvey, Bob and Mary Rounsavall, Martha and Michael Hardesty, Jan Grayson and Susan Moreman, Peter and Ellen Maloney, Ribhu Kaul, Anne Flatte, Noelle Panapento, Mitchell McCarthy, Lueboe Press, and Kriech-Higdon Photography.

Album and film to be released fall 2019. To support the completion of this work, tax deductible donations may be made through The Kentucky Center. For more information and an online donation portal, please visit rachelgrimespiano.com.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES Friday, March 8, 2019 • 11 a.m. (no intermission) The Kentucky Center • Whitney Hall

COFFEE SERIES SEASON SPONSOR

Additional support provided by: John and Sharon Malloy

CLASSICS SERIES Saturday, March 9, 2019 • 8 p.m.

The Kentucky Center • Whitney Hall

CLASSICS SERIES SEASON SPONSOR

Additional support for Saturday’s performance provided by: Kaplan Johnson Abate & Bird LLP and Jana and John Dowds

THE JAZZ INFLUENCE: Festival of American Music 2 Teddy Abrams, conductor • Measha Brueggergosman, soprano • Ansyn Banks, trumpet • Craig Wagner, electric guitar • UofL Student Jazz Quintet: Blase Groody, tenor saxophone; Isaac Stephens, trumpet; Chad O’Brien, trombone; Jailynn Lake, bass; Pedro Augusto, drumset • Emily Black, vocalist • Haley De Witt, vocalist

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Program

GABRIEL EVENS Run For It [World Premiere • LO Commission] UofL Student Jazz Quintet: Blase Groody, tenor saxophone • Isaac Stephens, trumpet • Chad O’Brien, trombone • Jailynn Lake, bass • Pedro Augusto, drumset TYSHAWN SOREY For Bill Dixon and A. Spencer Barefield [World Premiere • LO Commission] Ansyn Banks, trumpet • Craig Wagner, electric guitar [Saturday performance only] GEORGE GERSHWIN Rhapsody in Blue Teddy Abrams, piano

Saturday Intermission

MICHAEL TILSON THOMAS Four Preludes on Playthings of the Wind Measha Brueggergosman, soprano • Emily Black, vocalist • Haley De Witt, vocalist

Support for the LO Commissions provided by Owsley Brown II Family Foundation

F in d T e d d y A b r a m s ’

bio on page

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

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M e a s h a B r u e g g e r g o s m an , Motivated and hungry for new experiences, Ms. Brueggergosman’s career effortlessly embraces the broadest array of performance platforms and musical styles and genres.

Ms. Brueggergosman began her career predominantly committed to the art of the song recital and has presented innovative programs at Carnegie Hall, Washington’s Kennedy Center, London’s Wigmore Hall, both the Konzerthaus and Musikverein in Vienna, Madrid’s Teatro Real, as well as at the Schwarzenberg, Edinburgh, Verbier and Bergen Festivals with celebrated collaborative pianists Justus Zeyen, Roger Vignoles, Julius Drake and Simon Lepper.

On the opera stage, her recent highlights include the roles of Giulietta and Antonia in Les contes d’Hoffmann, Elettra in Idomeneo, Jenny in Weill’s Mahagonny, Emilia Marty in Janáček’s Věc Makropulos, Hannah in Miroslav Srnka’s Make No Noise and Sister Rose in Jake Heggie’s Dead Man Walking. On the concert platform she has worked with the Orchestre de Paris, the Philadelphia Orchestra, the San Francisco Symphony and New World Symphony Orchestras and conductors such as Daniel Barenboim, Michael Tilson Thomas, Franz Welser-Möst, Sir Andrew Davis, Gustavo Dudamel and Daniel Harding.

In the 2018/19 season her forthcoming highlights include her 32

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operatic debut at Finnish National Opera for performances as Giulietta in The Tales of Hoffmann, a return to the Barbican London in recital, an appearance at Carnegie Hall with the New World Symphony, performances as Elettra in Ideomeneo at Opera Atelier, Los Angeles Philharmonic with Sir Michael Tilson Thomas, and the Rundfunk Sinfonie Orchester Berlin and Vladimir Jurowski.

Her first recording for Deutsche Grammophon, Surprise, includes works

by Schoenberg, Satie and Bolcom and is one of the most highly regarded debut albums of recent years. Her subsequent disc Night and Dreams, which features songs by Mozart, Brahms, Strauss, Schubert, Debussy, Duparc and Fauré, won several awards; and her recording of the Wesendonck Lieder with Franz Welser-Möst and the Cleveland Orchestra earned her a Grammy nomination.

Off the stage, Brueggergosman is just as active: she recently released her memoir Something Is Always On Fire published by Harper Collins, she appears regularly on primetime TV (most recently advocating on behalf of contemporary Canadian literature); and leading Canadian children across the country in song, in celebration of the nationwide campaign for music education.

Measha Brueggergosman champions the education and involvement of new audiences and holds several honorary doctorates and ambassadorial titles with international charities.

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U o f L S t u d e n t J a z z Q u in t e t The jazz quintet performing featured in Run For It consists of current students in The Jamey Aebersold Jazz Studies Program at the University of Louisville School of Music. The extraordinary skill and talent of these students reflects the high quality of this music program.

On trumpet, Isaac Stephens is a junior pursuing a bachelor’s of music degree in jazz saxophone performance. He is a gifted multi-instrumentalist who is rapidly making a name for himself as a professional.

Chad O’Brien is a freelance trombonist,

composer/arranger and music educator.

He is pursuing master of music degrees in both instrumental (trombone) and jazz performance. On tenor saxophone, Blase Groody is a senior saxophone performance major who is also involved with hip-hop and rock music. Bassist Jailynn Lake-Noel grew up in Gahanna, Ohio, and has been performing since the age of nine. She is currently a junior majoring in music therapy and jazz.

Finally, Pedrinho Augusto is a drummer, percussionist and educator from Brasília, Brazil. He is soon completing his master’s degree in jazz Performance.

A n s y n B an k s , Ansyn Banks joined the Uof L Jazz faculty in 2006. He holds degrees from Ohio Wesleyan University (B.M.—music education) and Indiana University (M.M.— jazz studies; D.M.—brass pedagogy). In addition to teaching jazz trumpet, Ansyn teaches jazz styles and analysis, jazz improvisation, and directs UofL’s jazz combo program. Originally from Ohio, Ansyn has performed with Dick Oatts, Harry Pickens, Chuck Marohnic, Hank Marr, Gene Walker, Melvin Rhyne and many other jazz artists. Ansyn has

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adjudicated and performed at various high school jazz festivals, and teaches at Jamey Aebersold’s summer workshops.

During his tenure in Indiana, Ansyn frequently performed with the BuselliWallerab Jazz Orchestra, and the Steve Allee Big Band. Ansyn also enjoys performing R&B music. He has performed with The Mighty Dells, The Temptations, The Temptations Review, Aretha Franklin, The Four Tops and other R&B artists.

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C r ai g W a g n e r , Equally at home in many styles, Craig Wagner has performed on four continents from settings as intimate as The Cavern Club and Blue Note to festivals as sprawling as Bonnaroo and Lollapalooza. In addition to his work with the Louisville Orchestra, Craig has performed with the LA

Emily Bl ack,

Philharmonic, Philadelphia Orchestra and Britt Festival Orchestra and worked with conductors Michael Tilson Thomas and Erich Kunzel. This spring he will play at Carnegie Hall with the New World Symphony. Craig is a jazz faculty member at the University of Louisville and Bellarmine University. His most recent recording is a duo album with Carly Johnson, It’s Pretty Standard.

vocalist

Described as a “sleek and glistening vocal talent” (San Francisco Chronicle), American soprano Emily Yocum Black is quickly emerging as a versatile and accomplished performer of varying genres of music.

She has performed concerts and major works with the Louisville Orchestra (Bernstein’s Mass, 2015), American Bach

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electric guitar

Soloists, Tafelmusik Baroque Orchestra, the Jackson Symphony Orchestra and Bourbon Baroque. She was the 2018 winner of the Sherrill Milnes Opera Award at the American Traditions Vocal Competition and will be returning in 2019 as a quarterfinalist. Ms. Black currently resides in Paducah, Kentucky, with her husband, Fowler, where she teaches private voice. www.emilyyocumblack.com.

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MUSICIAN HIGHLIGHT JONATHAN MUELLER Viola

As we hurry through our busy lives, we often try to slow down and “live in the moment.” We do yoga, meditate, keep a journal or listen to music. For professional musicians, though, it seems that our whole profession is an exercise in mindfulness. We spend countless hours practicing minute details. When we rehearse, we put all our focus into playing in-sync.

We watch, listen and react to all that is surrounding us. Even so, we are reading music that was written by someone else, from another time, under different circumstances. To find a style of music that is entirely “in the moment” one must search no further than Jazz. Improvisation, the bedrock of Jazz, is the act of playing something spontaneous. It is music that is made up on the spot. Nothing is written down. It comes entirely from the mind of the musician.

I grew up in a musical family (father plays guitar, mother plays piano, older sister plays violin and younger brother plays cello), and I began taking violin lessons through the Suzuki method when I was 6. The Suzuki method stresses aural skills through repetitive listening, so my musical ear continued to grow as I progressed through the repertoire. The one thing that wasn’t emphasized in the Suzuki method was improvisation. My interest in that didn’t begin until I switched to the viola at age 13.

It was around that time that I began to appreciate improvisational rock music from the 1960s (Pink Floyd, Led Zeppelin and Jimi Hendrix were among my favorites).

Then, in 1995, I stumbled upon the band Phish. Unlike most rock or jazz groups where one-person solos over the rest of the band, Phish perfected a form of group improvisation. Their “jamming” involves active listening by all its members to create segments of music created entirely on the spot.

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By the late 1990s I began jamming with fellow musicians from my high school and was soon sitting in with their bands at live shows. As I entered college, I continued to collaborate with musicians that had similar interests in improvisational music and even took a jazz improvisation course at Indiana University with the David Baker.

Since joining the Louisville Orchestra in 2006, I have been fortunate enough to showcase my improvisational skills on a few occasions. In 2009, I, along with a few fellow musicians, performed solos in the last movement of the Voodoo Violin Concerto by Daniel Bernard Roumain.

Then, in the spring of 2017, I played a solo on amplified viola during Teddy

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Abrams’ arrangement of Uptown Funk at Ben Folds’ Louisville Orchestra concert.

It has been a blessing to be able perform with all my esteemed colleagues in the Louisville Orchestra for the past 12 seasons. They inspire me daily and have always supported my love of improvisation. I must also give my appreciation to Teddy Abrams. His free spirit and shared love of improvisation has brought much needed excitement and variety to many Louisville Orchestra concerts. Thank you, Louisville, for supporting new and exciting styles of music and encouraging YOUR orchestra to strive to be the most interesting one in the world.

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P r o g r a m N ot e s GABRIEL EVENS Run For It Gabe Evens (b.1972) is the Assistant Professor of Jazz Piano, Composition and Arranging at the University of Louisville, Jamey Aebersold Jazz Studies Program. He has performed throughout the United States and in Malaysia, Singapore, Spain and France and has played with the Malaysian Philharmonic Orchestra, the Miami City Ballet Orchestra, the University of North Texas Symphony and Concert Orchestras, the UNT One O’Clock Lab Band and the University of Miami Concert Jazz Band.

As an arranger and composer, Evens has released seven CDs of original music, written commissions for Sheena Easton and Kate McGarry with the Cape Symphony Orchestra, and for Nneena Freelon with the John Brown Big Band. He has had numerous compositions performed by chamber and large ensembles from the Malaysian Philharmonic Orchestra to the UNT One O’Clock Lab Band.

Evens is a certified teacher of the Alexander Technique, holds an M.A. in jazz piano performance from the University of Miami, and a D.M.A. in performance, major injazz studies (composition emphasis) from the University of North Texas.

Run For It is a hard-driving, frenetic composition for jazz quintet and orchestra. This quick moving arrangement avoids traditional orchestra concerto accompaniment, integrating the orchestra and jazz ensemble as partners.

The opening melodic statement is a rapid conversation between orchestra and jazz band. As each new soloist enters, the orchestra slows incrementally, providing a different landscape for the improvised solo. Finally, an unaccompanied trombone cadenza ignites a renewed energy from the jazz band and is ultimately joined by the orchestra for the recapitulation.

TYSHAWN SOREY For Bill Dixon and A. Spencer Barefield Newark-born multiinstrumentalist and composer Tyshawn Sorey (b. 1980) is celebrated for his incomparable virtuosity, effortless mastery and memorization of highly complex scores, and an extraordinary ability to blend composition and improvisation in his work. He has performed nationally and internationally with his own ensembles, as well as artists such as John Zorn, Vijay Iyer, Roscoe Mitchell, Muhal Richard Abrams, Wadada Leo Smith, Marilyn Crispell, George Lewis, Claire Chase, Steve Coleman, Steve

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Lehman, Robyn Schulkowsky, Evan Parker, Anthony Braxton and Myra Melford, among many others.

The New York Times has praised Sorey for his instrumental facility and aplomb, “He plays not only with galeforce physicality, but also a sense of scale and equipoise”; The Wall Street Journal notes Sorey is “a composer of radical and seemingly boundless ideas.” The New Yorker recently noted that Sorey is “among the most formidable denizens of the in-between zone…an extraordinary talent who can see across the entire musical landscape.”

Sorey has received support for his creative projects from The Jerome Foundation, The Shifting Foundation, Van Lier Fellowship, and was recently named a 2017 MacArthur fellow. The Spektral Quartet, Ojai Music Festival and International Contemporary Ensemble (ICE) have commissioned his works, which exemplify a penchant for a thorough exploration of the intersection between improvisation and composition.

Sorey also collaborates regularly with ICE as a percussionist and resident composer.

Future commissions include a residency at the Berlin Jazz Festival and Carnegie Hall’s 125 Commissions Project in partnership with Opera Philadelphia supporting a new work for tenor Lawrence Brownlee addressing themes associated with Black Lives Matter.

As a leader, Sorey has released seven critically acclaimed recordings that feature his work as a composer, multiinstrumentalist and conceptualist including his latest Pillars (Firehouse 12 38

Records, 2018), among many others.

Pillars has been praised as “an immersive soundworld… sprawling, mysterious… thrilling” (Rolling Stone), and has been named as one of BBC Radio 3’s Late Junction 2018 albums of the year.

In 2012, he was selected as one of nine composers for the Other Minds Festival, where he exchanged ideas with such like-minded peers as Ikue Mori, Ken Ueno and Harold Budd. In 2013, Jazz Danmark invited him to serve as the Danish International Visiting Artist. He was a 2015 recipient of the Doris Duke Impact Award. Sorey has taught and lectured on composition and improvisation at Columbia University, The New School, The Banff Centre, Wesleyan University, International Realtime Music Symposium, Hochschule für Musik Köln, Berklee College of Music, Massachusetts Museum of Contemporary Art and The Danish Rhythmic Conservatory. His work has been premiered at Lincoln Center’s Mostly Mozart Festival, Ojai Music Festival, The Kitchen, Walt Disney Hall, Roulette, Issue Project Room and the Stone, among many other established venues and festivals.

GEORGE GERSHWIN Rhapsody in Blue

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George Gershwin was born in Brooklyn, New York, in 1898 and died in Hollywood in 1937.

He composed Rhapsody in Blue in 1924 and before the ink was dry it

was performed by the Paul Whiteman big band in New York with Gershwin as soloist.

The work was later scored for orchestra by Ferde Grofé. The Rhapsody calls for solo piano, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 3 saxophones, 3 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion and strings.

More than anything, George Gershwin wanted to bring the folk music of America—jazz—to the concert hall. But despite his enormous success on Broadway, Gershwin was highly selfconscious about his lack of formal training—so much so that he actually sought lessons from the best classical composers around. This amused them: Ravel reportedly asked him, “Why do you want to be a Ravel when you are a perfectly fine Gershwin?” In a story that is almost certainly apocryphal, Gershwin is said to have written Stravinsky asking for lessons and what fee the composer charged. Stravinsky replied by asking what annual salary Gershwin made. When Gershwin supplied a nifty six-digit figure, Stravinsky is said to have written back, “How about my taking lessons from you?”

Gershwin was able to shake off his perceived inadequacies and compose big, Tchaikovsky-esque works that used popular music elements as their basic materials. Classical composers had been able to dabble in jazz before, but Gershwin proved that the street ran both ways.

It turned out that band leader Paul Whiteman shared Gershwin’s desire to bring jazz to the concert hall and was acting on it. He had already scheduled a

concert of “symphonic jazz” for New York’s Aeolian Hall when he asked the 25-year-old Gershwin to supply a “jazz concerto.” Gershwin had only a month to compose the work and he was already busy, but inspiration came on a train trip to Boston: “I suddenly heard—and even saw on paper—the complete construction of the Rhapsody, from beginning to end…. I heard it as sort of a musical kaleidoscope of America—of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.”

Gershwin completed the Rhapsody in a week, except for some of the solo piano parts: “I was so pressed for time that I left them to be improvised at the first concert. I could do that as I was to be the pianist.”

The Rhapsody’s first performance was an enormous success. It took place before an audience of luminaries from the world of “serious” music, and it made Gershwin a name to be taken as seriously in the concert hall as in the musical theater. ~ Mark Rohr

MICHAEL TILSON THOMAS Four Preludes on Playthings of the Wind

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“In my early college years I began, on my own, to explore the work of American poets that had been introduced to us in high school. It was 39

exciting, and even shocking, to discover the range, power and real messages of these writers. Walt Whitman and Emily Dickinson were the most life changing.

But William Carlos Williams, Hart Crane, and e.e. cummings were not far behind.

“Carl Sandburg was also one of them. I read his collection Smoke and Steel and reveled in the images of speed, power and outcry that were there. One of the poems, ‘Four Preludes on Playthings of the Wind,’ immediately grabbed my attention. It seemed like a kind of honky-tonk ‘Ozymandias’—a mixture of Percy Bysshe Shelley and Vachel Lindsay.

“In 1976 I got the idea of setting the poem to music and did a rough improvised version that I played from time to time for friends. In 2003, spending the summer in Santa Fe, I looked over the old sketches and brought them into a more continuous form. In 2016, during a two-month composing break, I completed the composition.

Vocally, the piece is inspired by Sarah Vaughan, Leontyne Price, James Brown, and Igor Stravinsky—all artists I had the pleasure of knowing. In 2015, I realized that the piece might be perfect for the remarkable performing artist Measha Brueggergosman. We looked it over together and both felt that was so. From there the process was deciding which keys would be best for the text and expression, as well as how the voice would interact with the backup singers and the mixture of acoustic and electric instruments.

“Playthings verges back and forth in time and in style. The same materials are 40

taken up by a chamber orchestra and a bar band that develop the material in their own ways. The chamber orchestra is around twenty musicians, the bar band consists of two saxes, lead guitar, rhythm guitar, bass, trumpet, trombone, synth and drums. The realization of the score for both classical and pop musicians was a challenge and I’m grateful to Bruce Coughlin for his assistance in helping me find idiomatic solutions in organizing the first workshop of the piece.” ~ Michael Tilson Thomas

Four Preludes on Playthings of the Wind

by Carl Sandburg The past is a bucket of ashes.

1 The woman named Tomorrow sits with a hairpin in her teeth and takes her time and does her hair the way she wants it and fastens at last the last braid and coil and puts the hairpin where it belongs and turns and drawls: Well, what of it?

My grandmother, Yesterday, is gone.

What of it? Let the dead be dead.

2 The doors were cedar and the panels strips of gold and the girls were golden girls and the panels read and the girls chanted: We are the greatest city, the greatest nation: nothing like us ever was.

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The doors are twisted on broken hinges.

Sheets of rain swish through on the wind where the golden girls ran and the panels read: We are the greatest city, the greatest nation, nothing like us ever was.

3 It has happened before.

Strong men put up a city and got a nation together, And paid singers to sing and women to warble: We are the greatest city, the greatest nation, nothing like us ever was.

And while the singers sang and the strong men listened and paid the singers well and felt good about it all, there were rats and lizards who listened … and the only listeners left now … are … the rats … and the lizards.

And there are black crows crying, “Caw, caw,” bringing mud and sticks building a nest over the words carved on the doors where the panels were cedar and the strips on the panels were gold and the golden girls came singing: We are the greatest city, the greatest nation: nothing like us ever was.

The only singers now are crows crying, “Caw, caw,” And the sheets of rain whine in the wind and doorways.

And the only listeners now are … the rats … and the lizards.

4 The feet of the rats scribble on the door sills; the hieroglyphs of the rat footprints chatter the pedigrees of the rats and babble of the blood and gabble of the breed of the grandfathers and the greatgrandfathers of the rats.

And the wind shifts and the dust on a door sill shifts and even the writing of the rat footprints tells us nothing, nothing at all about the greatest city, the greatest nation where the strong men listened and the women warbled: Nothing like us ever was.

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LOUISVILLE ORCHESTRA 2018–19 BOARD OF DIRECTORS Mr. John P. Malloy, President † Mr. James S. Welch, Jr., Immediate Past President † The Honorable Jerry Abramson Mrs. Carole Birkhead ∞ Mrs. Christina Brown Ms. Staci Campton Mr. Steve Causey Mr. Christopher Coffman Dr. Christopher Doane Mrs. Jana C. Dowds Mr. Andrew Fleischman † Mrs. Kendra Foster † Mrs. Ritu Furlan † Mr. Bert Griffin Mrs. Paula Harshaw Mrs. Carol Hebel †∞

Ms. Wendy Hyland Mrs. Ingrid Johnson Mr. Scott Justice Mr. Brian Kane Dr. Virginia Keeney ∞ Mrs. Beth Keyes Mr. Lee Kirkwood Mr. Don Kohler, Jr. Mrs. Bella Portaro-Kueber Mrs. Karen Lawrence Ms. Clara Markham † Mr. Guy Montgomery Mrs. Mona Newell † Ms. Donna Parkes Mr. Timothy L. Peace † Mr. R. Ryan Rogers Mr. Alex Rorke

Mr. Bruce J. Roth † Mr. Michael D. Rudd Mrs. Medora Safai Mr. Kenneth Sales Mrs. Denise Schiller Mrs. Winona Shiprek † Mr. Gary Sloboda Mr. William Summers, V Mrs. Kim Tichenor † Mrs. Susan Von Hoven † Mrs. Mary Ellen Wiederwohl † Mr. Robert H. Wimsatt * denotes Ex-Officio ∞denotes Life Member †denotes Executive Committee

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC. Mona Newell, President Pat Galla, Past-President Marguerite Rowland, Vice President Membership Liz Rorke, Vice President Education

Executive Officers Winona Shiprek, Anne Tipton, Paula Harshaw, co-chairs—Vice President Hospitality Randi Austin, Vice President Communications Michele Oberst, Vice-President Ways & Means

Board of Deanna Heleringer Sara Huggins Peg Irvin Jeanne James Madeline Ledbetter

Markie Baxter June Allen Creek Helen Davis Margie Harbst Carol Hebel

Carolyn Marlowe, Recording Secretary Sue Bench, Corresponding Secretary Ann Decker, Treasurer Rita Bell, Parliamentarian Janet Falk, President’s Appointment

Directors Marcia Murphy Nancy Naxera Dottie Nix Roycelea Scott Ruth Scully

Mollie Smith Suzanne Spencer Harriet Treitz Carol Whayne Suzanne Whayne

UpTempo STEERING COMMITTEE Staci Campton, President Colin Blake, Past-President Derek Miles, Treasurer Frank Austin, Secretary

Kathleen Elliot Brian Goodwin Nathaniel Gravely Ben Moore

Jonathan Mueller Michael Oldiges Colin Triplett Evan Vicic

LOUISVILLE ORCHESTRA STAFF Carla Givan Motes, Director of Patron Services & Ticket Operations Adrienne Hinkebein, Interim General Manager Tonya McSorley, Chief Financial Officer Edward W. Schadt, Interim Director of Development Michelle Winters, Director of Marketing and Public Relations Laura Atkinson, Assistant Personnel Manager Alissa Brody, Assistant to the Music Director McKayla Chandler, Development Coordinator Jake Cunningham, Operations Manager Kim Davidson, Receptionist/ Accounts Payable Clerk Nathaniel Koch, Executive Assistant Taylor Morgan, Development Associate 42

Heather O’Mara, Marketing and PR Manager Angela Pike, Receptionist Bill Polk, Stage Manager Cheri Reinbold, Staff Accountant Jenny Seigle Baughman, Education Coordinator Chris Skyles, Librarian Shane Wood, Patron Services Coordinator CaSandra Zabenco, Controller

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SUPPORTING SPONSORS CONDUCTORS SOCIETY (FOUNDER) ($200,000+)

CONDUCTORS SOCIETY (SUSTAINER) ($75,000–$199,999)

CONDUCTORS SOCIETY (VIRTUOSO) ($50,000–$74,999)

CONDUCTORS SOCIETY (BENEFACTOR) ($25,000–$49,999)

CONDUCTORS SOCIETY (SPONSOR) ($5,000–$24,999)

THE LEADER IN BUSINESS BANKING

IN-KIND SPONSORS Axxis Bandy Carroll Hellige Colonial Designs of St. Matthews Gist Piano Center

Heine Brothers Coffee The Piano Shop The Kentucky Center for the Performing Arts Strothman & Company PSC Louisville Public Media Vincenzo’s O’Neil Arnold Photography Vintage Printing Phoenix Lighting

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Louisville Orchestra Contributors Annual gifts to the Louisville Orchestra provide funding that is critical to the success of our mission in bringing diverse programming and educational opportunities to our community. Your support of the Louisville Orchestra demonstrates a commitment to a tradition of live orchestral music with a passionate dedication to artistic excellence. The Louisville Orchestra gratefully acknowledges the following donors of record for the period November 1, 2017 through November 30, 2018. For further information on how you can support the Louisville Orchestra, please contact Edward W. Schadt, Interim Director of Development, at 502-585-9413 or eschadt@louisvilleorchestra.org.

Mrs. Sheila G. Lynch Mr. and Mrs. John P. Malloy Mr. and Mrs. Guy Montgomery Mr. and Mrs. John Moore Mr. Joseph A. Paradis III Mr. and Mrs. Alexander Rorke Conductors Society (Sustainer) Mr. and Mrs. Bruce J. Roth $100,000 - $249,999 Mr. and Mrs. Robert W. Rounsavall Mr. Owsley Brown III III Mr. and Mrs. David A. Jones, Sr. Mr. Kenneth L. Sales Mr. and Mrs. Brook Smith Mrs. Denise C. Schiller Mr. and Mrs. James S. Welch, Jr. Rev. Alfred R. Shands III Mr. Gene Stotz † Conductors Society Mr. and Mrs. Joseph Shiprek $75,000 - $99,999 Mr. and Mrs. William C. Ballard, Jr. Paul and Missy Varga Mr. and Mrs. Greg Weishar Mrs. Jane Feltus Welch Conductors Society (Virtuoso) Mr. and Mrs. Orme Wilson $50,000 - $74,999 Dr. and Mrs. Richard Wolf Mr. and Mrs. George S. Gibbs III Anonymous (1) Mr. and Mrs. Frank Harshaw Jefferson County Public Schools Conductors Society (Patron) Mr. and Mrs. William Yarmuth $5,000 - $9,999 Anonymous (1) Mr. Teddy Abrams Conductors Society (Benefactor) Mr. and Mrs. Steve Bailey Mrs. Gladys Bass $25,000 - $49,999 Ambassador Matthew Barzun and Dr. and Mrs. David P. Bell Bob and Nora Bernhardt Brooke Brown Barzun Ms. A. Cary Brown and Dr. Steven Dr. and Mrs. Paul Brink Mr. Garvin Brown Epstein Mr. Steven Wilson and Ms. Laura Mrs. Sally V. W. Campbell Mr. and Mrs. Roger Cude Lee Brown Mrs. Elizabeth Davis Gill and Augusta Holland Dr.† and Mrs. Charles E. Dobbs Mr. Brian Kane Mr. and Mrs. Thomas E. Dunham Kentucky Arts Council Mr. and Mrs. George E. Fischer Mr. Warrick Dudley Musson Mr. and Mrs. Andrew Fleischman Louisville Metro Government Mr. Thomas Turley Noland, Jr. and Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Vivian Ruth Sawyer Mr. and Mrs. Matthew Hamel Michael and Chandra Rudd Mr. † and Mrs. William M. Street Ms. Wendy Hyland Mr. and Mrs. Bill Lamb Kenneth and Kathleen Loomis Conductors Society (Sponsor) Mr. and Mrs. Herbert S. Melton III $10,000 - $24,999 Mr. David E. Mueller Apellis Pharmaceuticals, Inc. Mr. and Mrs. Ronald J. Murphy Mrs. Edith S. Bingham Mr. and Mrs. Kent Oyler Mrs. Ina Brown Bond Mr. George Robert Reed † Susan Casey Brown Beulah and Kenneth Rogers Chase Bank Mr. and Mrs. Gary M. Russell Mr. and Mrs. David C. Daulton Ms. Helga Schutte Mr. and Mrs. Paul Diaz Ruth W. and Bryan W. Trautwein Jana and John Dowds Mr. and Mrs. Michael Von Hoven Ms. Kendra D. Foster and Mr. Mr. and Dr. Robert Wimsatt Turney Berry Mr. Richard Wolf Mrs. Ritu Furlan Anonymous (2) Mrs. Spencer E. Harper, Jr Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Conductors Society $3,000 - $4,999 Mr. David A. Jones, Jr. and Ms. Mr. and Mrs. John T. Bondurant Mary Gwen Wheeler Mr. Stephen P. Campbell and Dr. Mr. and Mrs. Scott Justice Heather McHold Dr. Virginia Keeney Mr. Christopher Coffman Mr. and Mrs. Lee Kirkwood Mr. and Mrs. Donald F. Kohler, Jr. Rev. John G. Eifler Mr. and Mrs. Donald Finney Mr. and Mrs. Lee Leet Conductors Society (Founder) $250,000+ Mrs. Christina L. Brown Anonymous (1)

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Doug and Jill Keeney Ms. Nana Lampton Thomas and Judith Lawson Mr. Thomas Lewis Drs. Eugene and Lynn Gant March Mr. and Mrs. James B. McArthur Mrs. Glynn Morgen Dr. and Mrs. Ronald Morton Mr. and Mrs. Dominick Pagano Mr. and Mrs. Tim Peace Mrs. William P. Peak Dr. Carmel Person Ms. Marla Pinaire Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham Mr. and Mrs. Gordon J. Rademaker Lee W. and Barbara Robinson Mr. Robert Roberts Mr. Clifford Rompf Mr. Karl P. Roth Mr. and Mrs. Russell Saunders Ms. Jan Scholtz Mr. Joseph Sireci Prelude Ms. Susan W. Smith $1,500 - $2,999 Mr. Sheryl G. Snyder and Ms. Hon. and Mrs. Jerry E. Abramson Jessica Loving Agan Development Dr. Anna Staudt Mr. and Mrs. John F. Cunningham Mr. Brandon Sutton Mr. David and Mrs. Cynthia Collier Ms. Ann Thomas Ms. Lynne Bauer Dr. Juan Villafane Mr. and Mrs. Wendell Berry Mr. Richard Wolf Dr. Stephen and Jeannie Bodney Dr. and Mrs. Nathan Mr. and Mrs. Gary Buhrow Mr. and Mrs. Rick Zoeller Mr. William F. Burbank Mr. and Mrs†. William P. Carrell Sonata Mrs. Evelyn T. Cohn $500 - $1,499 Mr. Thomas A Conley Mr. and Mrs. William M. Altman Mr. John B. Corso David and Madeleine Arnold Mr. and Mrs. John F. Cunningham Dr. Claire Badaracco Ms. Marguerite Davis Ms. Stephanie Barter Ms. Gayle A. DeMersseman Mr. and Mrs. Mike Bauer Dr. and Mrs. Christopher Doane Mrs. Mary J. Beale Mr. Daniel L. Dues Rev. and Mrs. † Harlan BeckMr. Edward and Mrs. Shirley emeyer Dumesnil Mr. Hans Bensinger Mr. and Mrs. William L. Ellison, Jr. Eunice F. Blocker Dr. Vilma Fabre Dr. and Mrs. Lawrence H. Boram Dr. and Mrs. Eugene Fletcher Mr. and Mrs. Erle B. Boyer Randall L. and Virginia †. Fox Mr. and Mrs. Hewett Brown David and Regina Fry Mr. William Carroll Mr. and Mrs. Vincenzo Gabriele Mrs. Helen K. Cohen Dr. Karen Abrams and Dr. Jeffrey Mr. and Mrs. George F. Coleman Glazer Ms. Rhonda L. Collins Mrs. Toni Goldman Mr. and Mrs. Richard L. Conklin Mr. Bert Greenwell June Allen Creek Mr. and Mrs. John R. Gregory Ms. Linda Dabney Mr. and Mrs. Joost Grubben Mrs. Janet R. Dakan Ms. June Hampe Ms. Carol W. Dennes Mrs. Mary C. Hancock Dr. and Mrs. John W. Derr Mr. and Mrs. Ken Handmaker Ms. Judy Dickson Mrs. Carol Hartlage Mr. and Mrs. James Doyle Mr. John Huber Ms. Nancy Fleischman David Sickbert and Thomas Hurd Mr. Joseph Glerum Jean M. and Kenneth S. Johnson Ms. Mary Louise Gorman Mr. and Mrs. Clyde Foshee Mr. and Mrs. Owen C. Hardy Mr. and Mrs. Allan Latts Mr. and Mrs. Colin McNaughton Dr. and Mrs. David H. Neustadt Mr. and Mrs. Norman E. Pfau, Jr. Mr. Stephen Reily and Ms. Emily Bingham Mr. Ryan Rogers Ms. Marianne Rowe Rev. Edward W. Schadt Mr. and Mrs. Gary Sloboda Mr. and Mrs. Julian Shapero Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett Dr. and Mrs. Peter Tanguay Mr. and Mrs. James R. Voyles Mrs. Carolyn Marlowe Waddell Mr. and Mrs. Kevin Wardell Ms. Maud Welch Ms. Mary Ellen Weiderwohl and Mr. Joel Morris

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Dr. and Mrs. Richard L. Goldwin Mr. and Mrs. Laman Gray Michael R. and Martha Hardesty Mrs. Barbara B. Hardy Dr. Frederick K. Hilton Mrs. Maria Hardy-Webb Jacktivist Mark and Amy Johnson Mr. Alec Johnson Dr. and Mrs. David Karp Mr. and Mrs. William Kissel Mr. & Mrs. Gary Knupp Mr. and Mrs. Louis F. Korb Dr. and Mrs. Forrest Kuhn Mr. and Mrs. Karl D. Kuiper Ms. Lorna Larson Mrs. Portia Leatherman Mr. and Mrs. David J. Leibson Dr. Leonard Leight Cantor David Lipp and Rabbi Laura Metzger Eileene J. MacFalls Ms. Stephanie Massler Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Mr. and Mrs. Steve Miller Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Dr. Alton E. Neurath, Jr. Mrs. Amy Newbanks-Letke Mr. and Mrs. John Newell Dr. Charles R. Oberst Dr. and Mrs. Lynn L. Ogden Old National Bank Ms. Karen O’Leary Dr. Naomi J. Oliphant Mr. and Mrs. Edwin Olliges, Jr. Mrs. Miriam Ostroff Ms. Kathleen Pellegrino Mr. and Mrs. John Potter Mr. Charles F. Pye Mr. Douglas Rich Mr.Embry Rucker and Ms. Joan MacLean Mr. Steve Robinson Mr. David C. Scott Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff Ms. Ruth Simons Dr. and Mrs. Arthur J. Slavin Mr. Larry Sloan Mr. and Mrs. Richard E. Smith Mrs. Carole Snyder Mr. and Mrs. David Sourwine Mr. and Mrs. Robert Steen Mr. Richard Stephan Mrs. Donna M. Stewart Dr. and Mrs. T. Bodley Stites Mrs. Mary Stites Mary and John Tierney Mrs. Rose Mary Rommell Toebbe Mr. and Mrs. Bryan and Ruth Trautwein Mr. and Mrs. James Valdes Mr. and Mrs. Robert W. Vaughan Mr. and Mrs. Stephen F. Wheeler Mr. and Mrs. James I. Wimsatt Mr. and Mrs. Frank Wood Mr. Jonathan Wolff Mrs. Tinker Zimmerman Jeanne and Paul Zurkuhlen Anonymous (3)

Duet $250 - $499 Another Place on 7th, Inc. & Jimmy Can’t Dance Boe and Judith Ayotte Mr. and Mrs. James Baribeau Mr. David B. Baughman Mr. and Mrs. Donald Baxter Mr. and Mrs. William D. Beaven Mr. Bruce Blue John and JoElle Bollman Ms. Cornelia Bonnie Mrs. Elaine B. Bornstein Mr. Samuel G Bridge Mr. and Mrs. Jay Brodsky Ms. Carolyn S. Browning Dr. Bruce Burton Ms. Rebecca Bruner Dr. and Mrs. Jeffrey P. Callen Will and Kathy Cary Mr. and Mrs. Arthur O. Cromer Ms. Betsey Daniel Ms. Micah Daniels Kate and Mark Davis Mr.† and Mrs. Gordon Davidson Mrs. Pat Dereamer Mr. Leonidas D. Deters Mr. and Mrs. Robert Duffy Ms. Deborah A. Dunn Pat Durham Builder, Inc. Ms. Susan Ellison Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Dr. Marjorie Fitzgerald Leslie and Greg Fowler Mr. Gene Gardner Mr. and Mrs. Lawrence Gettleman Mrs. Gila Glattstein Mr. and Mrs. Edward Goldstein Gravely Brewing LLC Dr. Muriel Handmaker Mr. John D. Harryman Mr. Carl Helmich Dr. Susan Herlin † Chris and Marcia Hermann Mr. Lawrence Herzog Dr. and Mrs. Jonathan Hodes Mr. Richard Humke Dr. and Mrs. Robert H. Hunter II Mr. and Mrs. Richard W. Iler Mr. Mike Kallay Mrs. Annora Karr Ms. Jan S. Karzen Mr. Warren Keller Ms. Stephanie Kelly Mr. and Mrs. William P. Kelly III Marjorie and Robert Kohn Ms. Laura Larcara Dr. and Mrs. Robert G. Lawrence Dr. and Mrs. Ronald Levine Mr. and Mrs. Thad Luther Mr. and Mrs. Joseph Lyons Margaret Brandt and Albert Lyons Ms. Anne Maple Joan McCombs Mr. William Mitchell Mrs. Biljana N. Monsky Ms. June E. Morris Barry and Carla Givan Motes Michael B. Mountjoy Marti and Hubert Mountz Ms. Mary Margaret Mulvihill Ms. Joan Musselman Betsy L. Owen-Nutt

Ms. Joan Pike Dr. and Mr. Dwight Pridham Psi Iota Xi Sorority, Alpha Pi Chapter Mr. Mitchell Rapp Mr. John S. Reed II Dr. John Roberts and Dr. Janet Smith Mr. John Robinson Mr. Ryan Rogers Mrs. Vicki Romanko Rev. James Rucker Mrs. Barbara Sandford Mr. Kenichi Sato Susan G. Zepeda and Dr. Fred Seifer Ms. Louise B. Seiler Dr. and Mrs. Saleem Seyal Mr. Joseph Small Mr. and Mrs. John L. Smart Jr. Vernon M. and Peggy T. Smith Mr. William Smith Mr. Robert Steiner, M.D. Constance Story and Larry G. Pierce Ms. Anita and Ms. Rosalind Streeter Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Anna Laura and Thomas Trimbur Mr. and Mrs. Terry Waddle Mr. and Mrs. William J. Walsh III Mr. Dennis Walsh Dr. Will W. Ward Natalie S. Watson Mr. and Mrs. William W. Weber Anita and Shelton Weber Mr. Robert Weekly Mrs. Joan T. Whittenberg Mr. and Mrs. Raleigh K. Wilson Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Mr. Gene Zipperle Anonymous (2)

Horseshoe Foundation of Floyd County Irvin F. and Alice S. Estcorn Foundation Jefferson County Public Education Foundation Klein Family Foundation Louis T. Roth Foundation, Inc. Lyndon and Helen Schmid Charitable Foundation Maxine and Stuart Frankel Foundation Mildred V Horn Foundation National Endowment for the Arts Norton Foundation The Humana Foundation The Jane Flener Fund The Rawlings Foundation William E. Barth Foundation William M. Wood Foundation Wood and Hannah Foundation Woodrow M. and Florence G. Strickler Fund Anonymous (2) Robert S. Whitney Society Members of The Robert S. Whitney Society are Individuals who have generously made estate plans for the Louisville Orchestra.

For more information on ways to join the Whitney Society, please contact Edward W. Schadt, Interim Director of Development at 502-585-9413 or ESchadt@ LouisvilleOrchestra.org

Ms. Doris L. Anderson Mr. and Mrs. Gary Buhrow Mr. Douglas Butler and Ms. Jamey Jarboe Mr.† and Mrs. Stanley L. Crump Mrs. Janet R. Dakan Anita Ades Goldin Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Dr. Carl E. Langenhop Mrs. Philip Lanier Matching Gifts Mr. and Mrs.† Warwick Dudley Hardscuffle, Inc. for Hon. Jerry Musson Abrams Dr. Naomi Oliphant Kindred Healthcare for Mr. WilMr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell liam Altman The Humana Foundation for Mr. Rev. Edward W. Schadt Thomas Turley Noland, Jr. and Rev. Gordon A. and Carolyn Seiffertt Vivian Ruth Sawyer Dr. Peter Tanguay and Margaret Fife Tanguay Foundation Partners Rose Mary Rommell Toebbe Adolf and Sarah van der Walde Dr. and Mrs. Richard S. Wolf and Isreal Rosenbloum Fund Arthur K. Smith Family Founda- Anonymous tion †Denotes deceased Caroline Christian Foundation Community Foundation of Louisville Cralle Foundation, Inc. Forecastle Foundation, Inc. Gardner Foundation, Inc. General Dillman Rash Fund Gheens Foundation Gilbert Foundation Habdank Foundation Hearst Foundation

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Theatre Services Courtesy • As a courtesy to the performers and other audience members, please turn off all audible message systems. Those who expect emergency calls, please check your beepers at the main lobby coat check and report your seat location to the attendant.

• The emergency phone number to leave with babysitters or message centers is (502) 562-0128.

Be sure to leave your theater and seat number for easy location.

• Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular.

An ID must be left as a deposit.

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

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

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

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

Accessibility Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights.

Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces.

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

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

Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), (502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

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