Audience - Louisville Orchestra - March 2019 by Audience502

FEBRUARY 2019

Audience® is the official program guide for:

MUSICIAN HIGHLIGHT

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

Andrea Levine, Principal Clarinet..........................................13

PROGRAM POPS Concert: The Music of Queen March 23, 2019 ..............................................8 Coffee/Classics Concerts: TCHAIKOVSKY Piano Concerto Coffee Concert, March 29, 2019....................15 Classics Concert, March 30, 2019.................16 Staff and Support.............................................................26 Services..............................................................................34 Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). ETThe Kentucky IGITAL Tickets: Center WITH Box Office, 502.584.7777 or 1.800.775.7777.

Reserve wheelchair seating or hearing devices at time of ticket purchase.

Audience ® is published by

The Audience Group, Inc. 136 St. Matthews Avenue #300 Louisville, KY 40207 502.212.5177 Audience502.com Printed in USA

GET DIGITAL WITH AUDIENCE502! Our digital footprint is stronger than ever with Audience502. We keep performing arts enthusiasts in the know with show previews, reviews, photo galleries, ticket offers and more on the web and with social media.

Phone: 502.212.5177 E-mail: info@theaudiencegroup.com Web site: Audience502.com

To read this program in a digital format, visit Audience502.com.

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

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.

A U D I E N C E

BOB BERNHARDT Principal Pops Conductor This season, Bob Bernhardt begins his 37th consecutive year with the Louisville Orchestra as Assistant Conductor, then as Associate Conductor, then Principal Guest Conductor of Kentucky Opera, and is now in his 22nd season as Principal Pops Conductor. For nearly four decades, he’s been a constant presence with the LO and continues to bring his unique combination of easy style, infectious enthusiasm and wonderful musicianship to the city and orchestra he loves. Bernhardt is concurrently Principal Pops Conductor of the Grand Rapids Symphony in Michigan and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera. He previously spent 19 seasons as Music Director and is now in his 26th year with the company. He is also an Artist-in-Residence at Lee University in Cleveland, Tennessee. Previously, he was Music Director and conductor of the Amarillo Symphony and the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic. In the past decade, Bernhardt has made his conducting debuts with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, New Jersey Symphony, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, Fort Worth Symphony and Santa Barbara Symphony, all of which were rewarded with return engagements. He has a continuing thirteen-year relationship with the Edmonton Symphony, conducting there several times each season, and as Festival Conductor for their Labor Day Festival, Symphony Under the Sky. He

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

A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

POP SERIES March 23, 2019 • 8 p.m. The Kentucky Center • Whitney Hall

The Music of Queen MARTIN HERMAN, conductor TONY VINCENT, vocals BART KUEBLER, keyboards DANNY MIRANDA, bass STEVE ZUKOWSKY, guitar BOB HABIB, drums

Program

The Music of Queen There will be one 20-minute intermission during this performance.

Support for this concert provided by Don and Ann Kohler

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 8

A U D I E N C E

Premiering in 2009, Windborne’s Classic Rock Symphony show The Music of Queen has quickly garnered critical and fan acclaim. Who isn’t familiar with the classic tunes of Queen? It’s difficult to go out these days and not hear something from their catalog on the radio, at the movies, at the ballpark, on TV or at the grocery store. Knowing that, we wanted to stay as true to what Queen intended for our own production. Once again, the band stays as close as possible to the original recordings and the orchestra is “wrapped” around that original sound. Lots of vocals, lots of harmonic structure and a perfect group to be accompanied by an orchestra. High energy, fun music, and the familiarity of

the songs make the show a fun one both to play and to see. If you’re an average fan or someone who knows literally every song ever recorded by Queen, there’s something for you in this show. We dig deep to bring out some of the best (and sometimes forgotten) tunes that Queen and Freddie recorded over the years. Music from the albums Classic Queen, A Night at the Opera, Sheer Heart Attack, Jazz, News of the World, A Kind of Magic, The Works and many more are all featured in this show. As with all of Windborne’s shows, the orchestra soars through the tunes and adds that extra “something” that make Windborne’s shows special.

A U D I E N C E

MAR T IN HERMAN , Martin Herman has appeared as guest conductor with symphony orchestras in North America, Europe, Australia and Canada. His most recent engagements include the Buffalo Philharmonic and the Ft. Worth Symphony Orchestra with Windborne’s “Music of the Rolling Stones” and “Music of the Eagles.” He recently guest-conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal and continues as music director and arranger for “Classical Mystery Tour” in recent performances with the Sydney Symphony Orchestra in the Sydney Opera House, Seattle Symphony, Detroit Symphony, North Carolina Symphony, Long Beach Symphony, Vancouver Symphony, San Diego Symphony and Florida Orchestra. Mr. Herman also served as music director and conductor with Downtown Opera in Long Beach, California, conducting premieres of new operas in the U.S.

T ON Y V INCEN T, Tony Vincent grew up in the small town of Albuquerque, N.M., where from a young age he was exposed to the music of The Beatles and The Rolling Stones. In his early teens Vincent began writing songs heavily influenced by Depeche Mode, New Order and Tears for Fears. While attending university (Nashville, TN), Vincent started a makeshift record company out of

conductor

and the Czech Republic. In the fall of 2009, he was conductor and music director at LaMaMa Theatre in New York City where he led performances of his one-act opera, The Doctor, based on Chekhov short stories. He has served as assistant conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra. Additionally Mr. Herman has conducted several orchestra crossover projects in Amsterdam and Berlin. He studied conducting and composition at Duke University, University of Pennsylvania, and University of California, Berkeley and spent two years in Paris, France on a Fulbright Grant and U.C. Berkeley Ladd Prix de Paris where he worked as conductor and composer with the “New American Music in Europe” and “American Music Week” festivals. He has received recognition for his work in the promotion of international cultural exchange from the Trust for Mutual Understanding, New York City.

lead vocals

his dorm room and recorded a five-song EP, which led to a recording contract with EMI records. The two solo albums (Tony Vincent, One Deed) followed producing six #1 Billboard radio singles. Shortly after moving to NYC in 1997 to continue his recording career, Vincent took an unexpected detour into the world of rock-based theater, joining the cast of RENT, initially as part of the first national tour, then making his Broadway debut in the New York production in 1999.

A U D I E N C E

He was featured as Simon Zealotes in Andrew Lloyd Webber’s remake of the film Jesus Christ Superstar (2000), and when the production was revived on Broadway that same year, Vincent earned critical acclaim starring as Judas Iscariot. In 2002 Vincent originated the role of Galileo Figaro in the rock band Queen’s smash hit “We Will Rock You” in London’s West End. Vincent also fronted the band itself on several occasions, including a performance of “Bohemian Rhapsody” at Queen Elizabeth’s Golden Jubilee concert for a live audience of over one million people surrounding Buckingham Palace and over 200 million television viewers world-wide. Two years later he was invited to Las Vegas to open the North American premier of We Will Rock You (2004-2005). During this time Vincent continued to

write, and in 2008 independently released the EP A Better Way, produced by Adam Anders. In the fall of 2009, he returned to Broadway, originating the role of St. Jimmy in Green Day’s American Idiot. Vincent is best known for his appearance on the second season of NBC’s reality singing competition, The Voice. While on the show, Vincent was selected to be on “Team Cee Lo,” and made a lasting impression on fans worldwide with his final performance of The Eurythmics’ “Sweet Dreams.” After 10 long months of writing, recording and producing, Vincent released his highly anticipated studio project, In My Head, through iTunes and cdbaby on July 10th, 2012. Tony Vincent continues to write and produce for future projects, both as a solo artist, as a producer for other artists and under the band moniker Mercer.

A U D I E N C E

MUSICIAN HIGHLIGHT ANDREA LEVINE, p r i n c i p a l

Every musician I know has a piece that has a musical and personal history for them. For me, the 10th Symphony by Shostakovich is one of those pieces. I would like to take this opportunity to share some of that history and explain why I always look forward to having another chance to play it. When our marketing director Michelle Winters asked me to write a few words for this concert, it was July of 2018. I was at the Britt Festival in Oregon, preparing to play this very piece with Teddy Abrams conducting. We rehearsed it but the performance ended up being cancelled due to smoke caused by wildfires in the area. I had just played it months before during my time as interim principal clarinet of the Detroit Symphony. That particular week of playing Shostakovich 10 was the only time during the whole season that my family could attend. It meant a lot to have them there; that will bring extra meaning to the piece every time I play it.

clarinet

A few years ago, when I played my first week as guest principal of the Detroit Symphony, I played Shostakovich 10, with Leonard Slatkin conducting. I find it fitting that as I write these words, it is January of 2019, and the Louisville Orchestra is playing a concert led by Maestro Slatkin. I am very fortunate to have performed this piece several times. I have played it on six different occasions with four different orchestras (Cleveland Orchestra, Louisville Orchestra, Detroit Symphony, Britt Festival Orchestra) and six different conductors. Aside from the meaning I draw from the differing circumstances during which I have played this symphony, I also find the clarinet part to be one of the most challenging in the repertoire. Each movement has at least one clarinet solo in it, each of vastly differing character. Every time I play the piece, I hope to bring something more to it, and to be able to convey more of my musical intentions through my playing. As a musician, I have that goal every time I get the opportunity to play a major work more than once. This one even more so. As you read these words and we are performing this concert, I will hopefully have finalized my ideas for playing this work again. I hope that you as the listener will find enrichment and enjoyment in this program. I am also certain that as you read these words, I have formed new memories from playing the work that I can bring to the next time I get to play it, wherever that may be.

A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES Friday, March 29, 2019 • 11 a.m. The Kentucky Center • Whitney Hall

Tchaikovsky Piano Concerto

COFFEE SERIES SEASON SPONSOR

FRANCESCO LECCE-CHONG, conductor ANDREW VON OEYEN, piano

Program There will no intermission

PYOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 I. Allegro non troppo e molto maestoso II. Andantino semplice – Prestissimo – Tempo I III. Allegro con fuoco – Meno mosso – Allegro ANDREW VON OEYEN, piano DMITRI SHOSTAKOVICH

Symphony No. 10 in E Minor, Op. 93

II. Allegro III. Allegretto – Largo – Piu mosso IV. Andante – Allegro – L’istesso tempo

Additional support provided by the Schadt Family

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

A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES Saturday, March 30, 2019 • 8 p.m. The Kentucky Center • Whitney Hall

CLASSICS SERIES SEASON SPONSOR

Tchaikovsky Piano Concerto FRANCESCO LECCE-CHONG, conductor ANDREW VON OEYEN, piano

Program ˙

GRAZYNA BACEWICZ Overture (1943) PYOTR ILYICH TCHAIKOVSKY

Piano Concerto No. 1 in B-flat Minor, Op. 23

I. Allegro non troppo e molto maestoso II. Andantino semplice – Prestissimo – Tempo I III. Allegro con fuoco – Meno mosso – Allegro ANDREW VON OEYEN, piano intermission DMITRI SHOSTAKOVICH

Symphony No. 10 in E Minor, Op. 93

I. Moderato II. Allegro III. Allegretto – Largo – Piu mosso IV. Andante – Allegro – L’istesso tempo Additional support for Saturday’s performance provided in memory of Spencer E. Harper Jr. by Carol, Spencer III and Grafton Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.

A U D I E N C E

Francesco Lecce-Chong, American conductor Francesco Lecce-Chong has garnered acclaim for his dynamic performances, commitment to innovative programming and profound engagement in community outreach. In the 2017-2018 season Mr. Lecce-Chong was appointed Music Director and Conductor of the Eugene Symphony, following in the paths of renowned predecessors including Marin Alsop and Giancarlo Guerrero. In the same season, he became the winning Music Director candidate of the Santa Rosa Symphony, a post he assumes in 2018-2019. In summer 2018, he concluded his tenure as Associate Conductor of the Pittsburgh Symphony Orchestra with an all-Brahms program. His previous posts include Principal Conductor of the Pittsburgh Youth Symphony Orchestra and Associate Conductor of the Milwaukee Symphony under Edo de Waart. Active as a guest conductor, he has appeared with orchestras around the world including the National Symphony, Atlanta Symphony, Toronto Symphony, Milwaukee Symphony, St. Louis Symphony and Hong Kong Philharmonic and collaborated with renowned soloists such as Renée Fleming and Itzhak Perlman. In the coming year, Mr. Lecce-Chong makes his subscription debuts with the Louisville Orchestra, Louisiana Philharmonic, Colorado Symphony Orchestra and Xi’An Symphony Orchestra, returns to the Civic Orchestra in Chicago and Milwaukee Symphony as well. Mr. Lecce-Chong is equally at home with opera repertoire, having built his opera

conductor

credentials as staff conductor with Santa Fe Opera and conducted Madama Butterfly with the Milwaukee Symphony at the Florentine Opera. In Europe, he took part in masterclasses at the Lucerne Festival under Bernard Haitink as well as with the Tonhalle Orchestra in Zurich. He has worked closely with a number of internationally celebrated conductors including David Zinman, Edo de Waart, and Manfred Honeck. Also trained as a pianist and composer, Mr. Lecce-Chong champions the work of new composers and the need for arts education. As Associate Conductor of the Milwaukee Symphony Orchestra (MSO), he curated and presented the works of both active and lesser-known composers, including two works commissioned by the orchestra, as well as two U.S. premieres. He also helped create the first MSO Composer Institute, providing performance opportunities for young American composers. Mr. Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. In Milwaukee, he provided artistic leadership for the MSO’s nationally lauded Arts in Community Education program– one of the largest arts integration programs in the country. His dedication to connecting orchestras and communities continued in Pittsburgh where he gave preconcert talks, conducts concerts for school audiences and led specially designed sensory-friendly performances. Mr. Lecce-Chong is a native of Boulder, CO, where he began conducting at the age of sixteen. He is a graduate of the Mannes College of Music and Curtis Institute of Music, where he studied with Otto-Werner Mueller.

A U D I E N C E

Andrew

von

Hailed worldwide for his elegant and insightful interpretations, balanced artistry and brilliant technique, Andrew Von Oeyen has established himself as one of the most captivating pianists of his generation. Since his debut at age 16 with the Los Angeles Philharmonic and Esa-Pekka Salonen, Mr. von Oeyen has excelled in a broad spectrum of concerto repertoire — Bartók, Barber, Beethoven, Brahms, Chopin, Debussy, Fauré, Liszt, Gershwin, Grieg, Mendelssohn, Mozart, Prokofiev, Rachmaninoff, Ravel, Schumann, Shostakovich, Tchaikovsky — with such ensembles as the Philadelphia Orchestra and the symphonies of Los Angeles Philharmonic, San Francisco, Detroit, Saint Louis, Seattle, Atlanta, Cincinnati, Vancouver , Utah, Mariinsky Orchestra, Berlin Symphony Orchestra, New Japan Philharmonic, Singapore Symphony, Grant Park Orchestra, Ravinia Festival Orchestra, National Symphony, Orchestre Symphonique de Marseille, Geneva Chamber Orchestra, Spoleto Festival USA Orchestra, Slovenian Philharmonic and Slovak Philharmonic. As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel and Kurt Weill. On July 4, 2009, von Oeyen performed at the U.S. Capitol with the National Symphony in “A Capitol Fourth,” reaching millions worldwide in the multi-award winning PBS live telecast.

Oeyen,

pianist

Mr. von Oeyen has appeared in recital at Wigmore Hall and Barbican Hall in London, Lincoln Center in New York, the Kennedy Center in Washington, D.C., Boston’s Symphony Hall, Zürich’s Tonhalle, Moscow’s Tchaikovsky Hall, St. Petersburg’s Philharmonia, Dublin’s National Concert Hall, Royce Hall in Los Angeles, Herbst Theater in San Francisco, Sala São Paulo, Teatro Olimpico in Rome, in Mexico City, Hanoi, Macau, and in every major concert hall of Japan and South Korea. Festival appearances include Aspen, Ravinia, Grant Park, Mainly Mozart, Saratoga, Spoleto, and the Mariinsky’s Stars of the White Nights festival in St. Petersburg. Mr. von Oeyen’s 2018/2019 engagements include, among others, appearances with the San Francisco Symphony, Dallas Symphony, Vancouver Symphony, Louisville Orchestra, Arkansas Symphony, PKF-Prague Philharmonia, Bilbao Symphony, Biel Solothurn Symphony, Northern Czech Philharmonic and recitals throughout the US and Europe. He also releases his second album for Warner Classics, which includes Debussy’s Fantaisie pour piano et orchestre in August 2018. Mr. von Oeyen’s 2017/2018 engagements included his Vienna debut in the Wiener Konzerthaus performing Leonard Bernstein’s Age of Anxiety, appearances with The Mariinsky Orchestra, The Dallas Opera Orchestra, Prague Philharmonia, Memphis Symphony, Sarasota Orchestra, Slovenian Philharmonic, Slovak Philharmonic, Sacramento Symphony, Pasadena

A U D I E N C E

Symphony, and recitals throughout Europe and the US. He also returned to the Royal Opera House, Muscat, for the Sultanate of Oman’s New Year’s Eve Gala. In June 2016 Mr. von Oeyen signed with Warner Classics. His debut album under that label, including works for piano and orchestra by Saint-Saëns, Ravel and Gershwin, was released in 2017 to critical acclaim. In 2013 Mr. von Oeyen released an album of Debussy and Stravinsky piano works under the Delos Label (including two pieces written for him by composer, David Newman), following his 2011 award-winning album of Liszt works under the same label. 2013 also saw the release of the Chopin-Debussy-Ravel digital album Andrew von Oeyen: Live in Recital. Mr. von Oeyen, of German and Dutch origin, was born in the U.S. He began his piano studies at age five and made his solo orchestral debut at age ten. An alumnus of Columbia University and graduate of The Juilliard School, where his principal teachers were Herbert Stessin and Jerome Lowenthal, he has also worked with Alfred Brendel and Leon Fleisher. He won the prestigious Gilmore Young Artist Award in 1999 and also took First Prize in the Leni Fe Bland Foundation National Piano Competition in 2001. Mr. von Oeyen lives in Paris and Los Angeles.

A U D I E N C E

Gra yna Bacewicz Overture for Orchestra (1943) Grazyna Bacewicz was born in Łód´, Poland, in 1909 and died in Warsaw in 1969. She composed this work in 1943, and it was first performed in 1945 in Krakow by the Krakow Philharmonic under the direction of Mieczyslaw Mierzejewski. The score calls for two flutes, piccolo, two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, tuba, percussion, and strings. She is perhaps the greatest Polish composer you’ve never heard of. She began studying the violin, piano, and composition from her father at the age of five; she gave her first concert at age seven, and composed her first piece, Preludes for Piano, at 13. She later graduated summa cum laude from the Warsaw Conservatory, where she studied violin with Jósef Jarzebski, piano with Jan Turczynski, and composition with Kazimierz Sikorski. After graduation she studied composition with Nadia Boulanger in Paris and violin with André Touret and Carl Flesch. During the 1930s Bacewicz concertized extensively as a violinist and her compositions began to be heard widely. She also became the principal violinist with the Polish Radio Orchestra. During the war she lived in occupied Warsaw, where she continued to compose and performed as circumstances allowed. After the war she joined the faculty of the State Conservatory at Łód´. Her compositions were performed more and more often, and she became the first woman Polish composer to achieve 20

international acclaim. After sustaining serious injuries in an automobile accident in 1954, she had to cease performing and devote all her time to composing. Bacewicz was extremely prolific, composing four symphonies, many concertos (including seven for the violin), seven string quartets, an opera, several ballets, numerous orchestral works and songs, incidental music, and much chamber music. Along the way she seemed to have won every prize and award in sight. Her Overture is but a brief snapshot of Bacewicz’s long and fascinating career. It begins like a whirlwind, with breathless perpetual-motion, music for the strings marked with rhythmic interjections from the brass. This evolves, but only to a point: before we know it, the winds introduce a slower tempo and calmer music in the fashion of a chorale. The instrumental combinations here are simply delicious. Having had the requisite two themes we might expect a sonata form development to follow, but instead the busy opening material returns and the calmer section is left in the rear view mirror. The brass interjections become more melodic, though soon everyone seems to be about the dynamo building in the orchestra. As it does, unison rhythmic figures appear, almost shocking in their departure from the dense layers of sixteenth notes that came before. They herald the final rush to the end, where we finally can catch our breath, while those brave souls among us are left wishing for more.

A U D I E N C E

Pyotr Ilyich Tchaikovsky, P iano Concerto No. 1 in B-flat Minor, Op. 23 Piano Concerto No. 1 in B-flat Minor, Op. 23. Pyotr Ilyich Tchaikovsky was born in Votkinsk, Russia, in 1840 and died in St. Petersburg in 1893. He completed this concerto in 1875 and the work was first performed by Hans von Bülow, piano, and conductor B. J. Lang with a freelance orchestra in Boston the same year. The concerto is scored for solo piano, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. When Tchaikovsky completed his First Piano Concerto in December of 1874, he wanted to play it for a piano virtuoso— which he was not—to see if any parts of it “might be ineffective, impracticable, and ungrateful” in the piano writing. “I needed a severe but at the same time friendly critic to point out just these external blemishes.” The natural choice for such advice was Nicolai Rubinstein, the director of the

Moscow Conservatory (where Tchaikovsky taught composition) and a renowned pianist, conductor, and teacher. He had conducted the premieres of several of Tchaikovsky’s orchestral works, and his brother Anton had been Tchaikovsky’s teacher. He was also the work’s intended soloist and dedicatee. So it was that on Christmas eve Tchaikovsky played the work for Rubinstein on the piano in one of the Conservatory’s classrooms. Tchaikovsky later wrote: “I played the first movement. Not a single word, not a single comment! If you knew how stupid and intolerable the situation of a man is who cooks and sets a meal before a friend, a meal the friend then proceeds to eat—in silence! Oh for one word, for friendly abuse even, but for God’s sake, one word of sympathy, even if it is not praise! But Rubinstein was preparing his thunderbolt. I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’

A U D I E N C E

“Then a torrent poured from Nicolai Gregorievich’s mouth, gentle to begin with, but growing more and more into the sound and fury of Jupiter. My concerto, it turned out, was worthless and unplayable— passages so fragmented, so clumsy, so badly written as to be beyond rescue—the music itself was bad, vulgar—here and there I had stolen from other composers— only two or three pages were worth preserving—the rest must be thrown out or completely rewritten. An independent witness in the room might have concluded that I was a maniac, an untalented, senseless hack who had come to submit his rubbish to an eminent musician. “I was not just astounded but outraged by the whole scene. I left the room without a word and went upstairs; in my agitation and rage I could not have said a thing. Presently Rubinstein joined me and, seeing how upset I was, asked me into one of the other rooms. There he repeated that my concerto was impossible and said that if I reworked the concerto according to his demands, then he would do me the honor of playing this thing of mine at his concert. ‘I shall not alter a single note,’ I replied, ‘I shall publish the work exactly as it stands!’ And this I did.” As it turned out, both Nicolai Gregorievich and Piotr Ilyich were wrong. Whether the concerto is vulgar is best left to others; it certainly is not “worthless and unplayable.” Within a short time, Rubinstein changed his mind about the concerto, and eventually became one of its best advocates. As for Tchaikovsky, he didn’t change a single note: he changed lots of them, through several revisions, mostly intended to make the piano part more “grateful.” 22

Since this fantastic story occurred, the piece has become, as everyone knows, the most popular piano concerto ever written. The introduction to the first movement has become one of the single most widelyrecognized passages of classical music, right behind the opening bars of Beethoven’s Fifth; and not just because it leads off most of those late-night television commercials for the “100 Greatest Classical Melodies.” This opening is sheer genius. The stentorian horn calls are punctuated by massive orchestral chords. The piano enters with thunderous, eight-octave-wide arpeggios. We soon realize that, for now, the piano is playing an accompaniment to a rich, opulent melody in the strings’ lower registers. The piano picks up this tune and plays with it in a way that seems so right. The irony of it all is that this remarkable device, this unforgettable tune, is part of the first movement’s introduction, and is never heard from again! This bothers some people, but it is easy to let it pass when what follows is so incredibly inventive, so endlessly melodic. Listen for the “real” main theme of the first movement, which Tchaikovsky took from a common beggar’s tune. Listen for how Tchaikovsky incorporates a “scherzo” into the second movement. And enjoy the bumptious Ukrainian folk song that forms the basis of the last movement. We may “eat in silence,” as Tchaikovsky said, but there’s plenty of time for praise at the end.

A U D I E N C E

Dmitri Shostakovich, Symphony No. 10 in E Minor, Op. 93 Dmitri Shostakovich was born in Saint Petersburg, Russia in 1906 and died in Moscow in 1975. He composed his Tenth Symphony in 1953 and it was first performed later that year by the Leningrad Philharmonic led by Yevgeny Mravinsky. The score calls for two flutes, two piccolos, three oboes, English horn, three clarinets, E-flat clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings. Shostakovich lived much of his adult life in sheer terror. In a country where the wrong artistic choices could prove fatal, his very survival depended upon the whims of a monstrously deranged man: Joseph Stalin. Stalin toyed with the composer; he would denounce him and his music one day and confer patriotic honors on him the next. Shostakovich had seen innumerable colleagues shot or sent to the gulag, and was so convinced he

would also be arrested that he actually kept a small suitcase packed and ready by the door. That he survived was no accident. First, he had enough political acumen to play the game: he regularly renounced his own works when required and he made all the right noises at Party conferences. Second, he composed his share of boiler-plate hymns in praise of the Workersâ&#x20AC;&#x2122; Paradise. Third, and perhaps most important, he kept the true meanings of his other works to himself. In 1953 Stalin died, and the great cat-and-mouse game was finished. Within a few weeks Shostakovich was at work on his Tenth Symphony, a work that we now know is a musical summary of the Stalin era, and contains in its ferocious Scherzo a portrait of the dictator himself. The Tenth opens with some of the bleakest music ever written, its phrases halting periodically as if unsure where to go next. Eventually a solo clarinet plays a quotation from Mahlerâ&#x20AC;&#x2122;s Second

A U D I E N C E

Symphony; in the original, this melody carries the words “Man lies in direst need! Man lies in greatest pain!” These themes, and a later one in the flute, are continually transformed as the movement builds to a climax and subsides to revisit the opening material. It concludes with the stark voice of a solo piccolo. The portrait that follows is explosive and relentless, unstoppable in its fury; it is the sound of evil. The third movement is a scherzo of a different sort. Just as Bach had done centuries before, Shostakovich inserts himself into the music by fashioning a musical motto from the German transliteration of his name: DSCH becomes, in music, the notes D, E-flat, C, and B-natural. The motto appears slyly at first,

then more prominently, as if the composer has finally realized that the coast is clear. The Finale begins in melancholy, but before long bursts into a torrential downpour of notes. All is not entirely optimistic—how could it be, given what has come before?—but Shostakovich puts the stamp of his motto on the ending, and with gusto. He has outlasted his nemesis and re-emerged into the world. —Mark Rohr Questions or comments? Email markrohrprogramnotes@gmail.com

A U D I E N C E

5,000 YEARS OF CIVILIZATION REBORN

May 1 • The Kentucky Center Orderr Tickets Today! 502-584-7777 • ShenYun.com/Louisville

“A must see!” —Broadway World

“The No.1 show in the world.”

—Kenn Wells, former lead dancer of the English National Ballet

A U D I E N C E

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 † Dr. Steven Epstein 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 Neil Curtis Kathleen Elliot

Brian Goodwin Nathaniel Gravely Ben Moore Jonathan Mueller Thomas Neirynck Khoa Nguyan

Michael Oldiges Colin Triplett Lauren Songer Evan Vicic

LOUISVILLE ORCHESTRA STAFF Robert Massey, Chief Executive Officer Carla Givan Motes, Director of Patron Services & Ticket Operations Claire Friday, Interim General Manager Tonya McSorley, Chief Financial Officer Edward W. Schadt, Interim Director of Development Michelle Winters, Director of Marketing and Public Relations Alissa Brody, Assistant to the Music Director McKayla Chandler, Development Coordinator Jake Cunningham, Operations Manager Kim Davidson, Receptionist/ Accounts Payable Clerk Adrienne Hinkebein, Personnel Manager Nathaniel Koch, Executive Assistant Taylor Morgan, Development Associate 26

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

A U D I E N C E

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

A U D I E N C E

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 January 1, 2018 through January 31, 2019. 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. Conductors Society (Founder) $250,000+ Mrs. Christina L. Brown Anonymous (1) Conductors Society (Sustainer) $100,000 - $249,999 Mr. Owsley Brown III Mr. and Mrs. David A. Jones, Sr. Mr. and Mrs. Brook Smith Mr. and Mrs. James S. Welch, Jr. Conductors Society $75,000 - $99,999 Mr. and Mrs. William C. Ballard, Jr.

Mr. Thomas Turley Noland, Jr. and Vivian Ruth Sawyer Mr. Joseph A. Paradis III Mr. and Mrs. Alexander Rorke Mr. and Mrs. Bruce J. Roth Mr. Kenneth L. Sales Mrs. Denise C. Schiller Rev. Alfred R. Shands III Mr. and Mrs. † Donald Sorenson Mr. and Mrs. Joseph Shiprek Mr. and Mrs. Greg Weishar Mrs. Jane Feltus Welch Mr. and Mrs. Orme Wilson Anonymous (1)

Conductors Society (Patron) $5,000 - $9,999 Mr. Teddy Abrams Mr. and Mrs. Steve Bailey Mrs. Gladys Bass Dr. and Mrs. David P. Bell Bob and Nora Bernhardt Mrs. Edith S. Bingham Conductors Society (Benefactor) Dr. and Mrs. Paul Brink Mr. Garvin Brown $25,000 - $49,999 Ambassador Matthew Barzun and Mrs. Sally V. W. Campbell Mrs. Elizabeth Davis Brooke Brown Barzun Ms. A. Cary Brown and Dr. Steven Dr. † and Mrs. Charles E. Dobbs Mr. and Mrs. Thomas E. Dunham Epstein Mr. Steven Wilson and Ms. Laura Mr. and Mrs. Andrew Fleischman Mr. and Mrs. Clyde Foshee Lee Brown Mrs. Thelma Gault Mr. Brian Kane Mr. and Mrs. John S. Greenebaum Mr. Warrick Dudley Musson Mr. and Mrs. Matthew Hamel Michael and Chandra Rudd Mr. † and Mrs. William M. Street Mr. and Mrs. Owen C. Hardy Ms. Wendy Hyland Mr. and Mrs. Bill Lamb Conductors Society (Sponsor) Kenneth and Kathleen Loomis $10,000 - $24,999 Mr. and Mrs. Herbert S. Melton III Apellis Pharmaceuticals, Inc. Mr. David E. Mueller Mrs. Ina Brown Bond Mr. and Mrs. Ronald J. Murphy Susan Casey Brown Mr. and Mrs. Kent Oyler Chase Bank Mr. George Robert Reed † Mr. and Mrs. David C. Daulton Beulah and Kenneth Rogers Mr. and Mrs. Paul Diaz Mr. and Mrs. Robert W. Rounsavall Jana and John Dowds III Ms. Kendra D. Foster and Mr. Mr. and Mrs. Gary M. Russell Turney Berry Ms. Helga Schutte Mrs. Ritu Furlan Ruth W. and Bryan W. Trautwein Mrs. Spencer E. Harper, Jr Paul and Missy Varga Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Mr. and Mrs. Michael Von Hoven Mr. and Dr. Robert Wimsatt Gill and Augusta Holland Dr. and Mrs. Richard Wolf Mr. David A. Jones, Jr. and Ms. WDRB Fox 41 Mary Gwen Wheeler Anonymous (2) Mr. and Mrs. Scott Justice Dr. Virginia Keeney Conductors Society Mr. and Mrs. Lee Kirkwood Mr. and Mrs. Donald F. Kohler, Jr. $3,000 - $4,999 Mr. and Mrs. John T. Bondurant Ms. Nana Lampton Mr. Stephen P. Campbell and Dr. Mr. and Mrs. Lee Leet Heather McHold Mrs. Sheila G. Lynch Mr. Christopher Coffman Mr. and Mrs. John P. Malloy Mr. Edward and Mrs. Shirley Mr. and Mrs. Guy Montgomery Dumesnil Mr. and Mrs. John Moore Conductors Society (Virtuoso) $50,000 - $74,999 Mr. and Mrs. George S. Gibbs III Mr. and Mrs. Frank Harshaw Mr. and Mrs. William Yarmuth Anonymous (1)

Mr. and Mrs. Donald Finney David and Regina Fry Mr. and Mrs. Joost Grubben 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. Steve Robinson Lee W. and Barbara Robinson Mr. Ryan Rogers Mr. Clifford Rompf 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 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 Prelude $1,500 - $2,999 Agan Development Mr. Campbell Brown Mr. and Mrs. Hewett Brown Mrs. and Mr. Wendell Berry Dr. Stephen and Jeannie Bodney Mr. and Mrs. Gary Buhrow Mr. William F. Burbank Mr. and Mrs†. William P. Carrell Mrs. Evelyn T. Cohn Mr. Thomas A Conley Mr. John B. Corso Mr. and Mrs. John F. Cunningham Ms. Marguerite Davis Ms. Gayle A. DeMersseman Dr. and Mrs. Christopher Doane Mr. Daniel L. Dues Rev. John G. Eifler Mr. and Mrs. William L. Ellison, Jr. Dr. Vilma Fabre Dr. and Mrs. Eugene Fletcher Randall L. and Virginia † Fox Mr. and Mrs. Vincenzo Gabriele Dr. Karen Abrams and Dr. Jeffrey Glazer Mrs. Toni Goldman Ms. Mary Louise Gorman Mr. Bert Greenwell Ms. June Hampe Mr. and Mrs. Ken Handmaker Mrs. Carol Hartlage Mr. John Huber David Sickbert and Thomas Hurd Jean M. and Kenneth S. Johnson Mr. and Mrs. Kim Mr. and Mrs. Allan Latts Thomas and Judith Lawson

A U D I E N C E

Mr. Thomas Lewis Drs. Eugene and Lynn Gant March Mr. and Mrs. James B. McArthur Mr. Scott Meyer Mrs. Glynn Morgen Dr. and Mrs. Ronald Morton Mr. and Mrs. Dominick Pagano Mr. and Mrs. Tim Peace Mrs. William P. Peak Ms. Marla Pinaire Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham Mr. and Mrs. Gordon J. Rademaker Mr. Robert Roberts Mr. and Mrs. Russell Saunders Ms. Jan Scholtz Mr. Joseph Sireci Ms. Susan W. Smith Mr. Sheryl G. Snyder and Ms. Jessica Loving Mr. Brandon Sutton Dr. and Mrs. Peter Tanguay Ms. Ann Thomas Dr. Juan Villafane Mr. Richard Wolf Hon. and Mrs. John Yarmuth Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller Sonata $500 - $1,499 Hon. and Mrs. Jerry E. Abramson Mr. and Mrs. William M. Altman David and Madeleine Arnold Mr. and Mrs. Mike Bauer Mr. and Mrs. Donald Baxter Mrs. Mary J. Beale Mr. Hans Bensinger Eunice F. Blocker Ms. Cornelia Bonnie Dr. and Mrs. Lawrence H. Boram Mr. and Mrs. Jay Brodsky Mr. William Carroll Mr. and Mrs. Michael Chandler Mrs. Helen K. Cohen Mr. and Mrs. George F. Coleman Ms. Rhonda L. Collins Mr. David and Mrs. Cynthia Collier June Allen Creek Ms. Linda Dabney Mrs. Janet R. Dakan Ms. Betsey Daniel Ms. Carol W. Dennes Ms. Judy Dickson Mr. and Mrs. James Doyle Ms. Nancy Fleischman Mr. Joseph Glerum Mr. and Mrs. Laman Gray Mr. and Mrs. John R. Gregory Mrs. Mary C. Hancock Michael R. and Martha Hardesty Mrs. Barbara B. Hardy

Mr. and Mrs. Timothy Healy Dr. Susan J. Herlin Dr. Frederick K. Hilton Mrs. Maria Hardy-Webb Jacktivist Mr. and Mrs. Paul Breckenridge Jones 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 Mrs. Portia Leatherman Dr. Leonard Leight Cantor David Lipp and Rabbi Laura Metzger Eileene J. MacFalls Ms. Stephanie Massler Joan McCombs Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Dr. Alton E. Neurath, Jr. Mrs. Amy Newbanks-Letke Mr. and Mrs. John Newell Dr. and Mrs. Lynn L. Ogden Ms. Karen O’Leary Dr. Naomi J. Oliphant Mrs. Miriam Ostroff Mr. and Mrs. John Potter Mr. Charles F. Pye Mr. Emmett Ratterman Mr. Douglas Rich Mr.Embry Rucker and Ms. Joan MacLean Mr. David C. Scott Mr. and Mrs. Robert H. Sachs Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff Ms. Ruth Simons Mr. Larry Sloan Mrs. Carole Snyder Mr. and Mrs. David Sourwine Dr. Anna Staudt 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. Robert W. Vaughan Mr. and Mrs. Stephen F. Wheeler Mr. and Mrs. James I. Wimsatt 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. David B. Baughman Bruce Blue and Louise Auslander Ms. Lynne Bauer Mr. and Mrs. Barry Bernson John and JoElle Bollman Mr. Samuel G Bridge Mr. Samuel G. Brennan

Dr. Bruce Burton Ms. Rebecca Bruner Mr. David M. Carney Mr. Michael Coleman Mr. and Mrs. Arthur O. Cromer Kate and Mark Davis Mrs. Pat Dereamer Mr. Leonidas D. Deters Mr. and Mrs. Robert Duffy Ms. Deborah A. Dunn Mrs. Ann-Lynn Ellerkamp Ms. Susan Ellison Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Leslie and Greg Fowler Mr. Gene Gardner Mrs. Gila Glattstein Mr. and Mrs. Edward Goldstein Dr. and Mrs. Richard L. Goldwin Gravely Brewing LLC Dr. Muriel Handmaker Mr. Carl Helmich Dr. Susan Herlin † Mr. Lawrence Herzog Dr. and Mrs. Jonathan Hodes Mr. Richard Humke Mr. and Mrs. Richard W. Iler Dr. and Mrs. David Karp Mrs. Annora Karr Mr. Warren Keller Ms. Stephanie Kelly Marjorie and Robert Kohn Kindred Healthcare Ms. Laura Larcara Dr. and Mrs. Robert G. Lawrence Mr. and Mrs. Richard Leezerf Dr. and Mrs. Charlie Leonard Mr. and Mrs. Fred Levin Dr. and Mrs. Ronald Levine Ms. Karen M. Long Mr. Joseph Lyons Mr. Albert Lyons Mr. and Mrs. John Malish Dr. Daniel McAninch Mr. William Mitchell Mrs. Biljana N. Monsky Ms. June E. Morris Mrs. Rita Moore Barry and Carla Givan Motes Marti and Hubert Mountz Ms. Mary Margaret Mulvihill Ms. Joan Musselman Mr. Robert B. Nesmith Mr. and Mrs. Edwin Olliges, Jr. Dr. and Mrs. Vaughn Payne Mr. and Mrs. Peter Pepe Ms. Joan Pike Psi Iota Xi Sorority, Alpha Pi Chapter Mr. Mitchell Rapp Dr. and Mrs. George Reazin Dr. and Mrs. Mark Richardson Dr. John Roberts and Dr. Janet Smith Mr. John Robinson Mrs. Cynthia D. Rollins Rev. James Rucker Mrs. Barbara Sandford Mr. Kenichi Sato Mr. and Dr. Brandon Schadt Susan G. Zepeda and Dr. Fred Seifer Ms. Louise B. Seiler Mr. Joseph Small Mr. and Mrs. John L. Smart Jr.

Mr. and Mrs. Richard E. Smith Vernon M. and Peggy T. Smith Mr. William Smith Mr. and Mrs. Donald L. Sodrelf Constance Story and Larry G. Pierce 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 Mr. and Mrs. Raleigh K. Wilson Michelle Winters Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Mr. Gene Zipperle Anonymous (2)

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 Individua 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, Iterim 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. Matching Gifts Dr. Carl E. Langenhop Hardscuffle, Inc. for Hon. Jerry Mrs. Philip Lanier Abrams Mr. and Mrs.† Warwick Dudley Hardscuffle, Inc. for Ms. Nana Musson Lampton Dr. Naomi Oliphant Kindred Healthcare for Mr. WilMr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell liam Altman Rev. Edward W. Schadt ExxonMobil Foundation for Mr. Rev. Gordon A. and Carolyn David E. Mueller Seiffertt The Humana Foundation for Mr. Thomas Turley Noland, Jr. and Dr. Peter Tanguay and Margaret Fife Tanguay Vivian Ruth Sawyer Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Foundation Partners Anonymous Adolf and Sarah van der Walde and Isreal Rosenbloum Fund Arthur K. Smith Family Foundation †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 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 for Art 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

A U D I E N C E

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. 30

A U D I E N C E

We wonâ&#x20AC;&#x2122;t deny that being one of the most requested wines feels pretty good. But the truth is, for us, crafting consistently delicious wines is a reward in and of itself. In other words, thanks for enjoying our wines as much as we enjoy making them.

Completely Cutrer.

Please enjoy responsibly. ÂŠ201732 Sonoma-Cutrer Vineyards, Windsor, Sonoma County, A

U D I E N C E