SEPTEMBER 2019
SEPTEMBER 2019
HOLLYWOOD HITS SEPTEMBER 21
FROM THE NEW WORLD SEPTEMBER 27 SEPTEMBER 28
OCTOBER 9 KFC YUM! CENTER LOUISVILLE, KY GET TICKETS NOW AT LIVENATION.COM OR THE KFC YUM! CENTER BOX OFFICE
SEPTEMBER 2019
FEATURED MUSICIAN Trevor Johnson Assistant Principal Oboe....................................... 9 Audience® is the official program guide for: Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville
PROGRAMS LO POPS: Hollywood Hits The Kentucky Center for the Arts, Whitney Hall September 21, 2019.................................................................. 13
Publisher The Audience Group, Inc. G. Douglas Dreisbach
HILLIARD LYONS COFFEE SERIES: From the New World The Kentucky Center for the Arts, Whitney Hall September 27, 2019................................................... 14
Managing Editor Joseph Grove
BROWN-FORMAN CLASSICS: From the New World The Kentucky Center for the Arts, Whitney Hall September 28, 2019................................................... 19
Creative Directors Jeff and Kay Tull Graphic Layout Rhonda Mefford Sales & Marketing G. Douglas Dreisbach Printing V. G. Reed & Sons
Support and Staff...............................................................28 Services. .............................................................................30 Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777. Reserve wheelchair seating or hearing devices at time of ticket purchase.
© Copyright 2019 The Audience Group, Inc. Reproduction in whole or part without written permission is prohibited.
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.
SEPTEMBER 2019
HOLLYWOOD HITS SEPTEMBER 21
502.212.5177 Email: JG rove @T he A udience G roup . com Website: A udience 502. com Phone:
FROM THE NEW WORLD SEPTEMBER 27 SEPTEMBER 28
To read this program in a digital format, visit Audience502.com.
MESSAGE FROM THE CEO Dear Friends, On behalf of all of the Louisville Orchestra musicians, administrative staff, Board of Directors, Principal Pops Conductor Bob Bernhardt, and Music Director Teddy Abrams, I am delighted to welcome you to our 2019-2020 performance season. We launch each of our flagship series with incredible programs that showcase YOUR Louisville Orchestra and bring to you a diverse array of offerings guaranteed to stir your soul. The music from some of the most iconic films of our time open our LO Pops Series. The Hilliard Lyons Coffee Series’ audiences will be treated to reprisals of original LO commissions written for Louisville and its orchestra by Witold Lutosławski, Jacques Ibert, and our founder, Robert Whitney. The Brown-Forman Signature Classics Series welcomes four musicians selected as a part of New York’s premier classical music station WQXR’s “19 for 19”: Artists to Watch in the Coming Year. This is the only time in 2019 so many of the honorees are gathered in one performance and includes violinists Anne Akiko Meyers and Elena Urioste, mezzo-soprano J’Nai Bridges, and our own Teddy Abrams. Looking ahead to next month, we’ll visit the sea and explore music inspired by water in a performance featuring Debussy’s great La Mer, plus Seaborne, a mixed-media work for a percussion sextet and string orchestra by Garth Neustadter. In late October, we present the culmination of Violins of Hope—a community-wide collaboration of events, exhibits, performances, and experiences created to educate, inspire, and remember. The violins are a collection of restored instruments played by Jewish musicians during the Holocaust. Music makes a city and we are honored to provide the soundtrack to this community. We thank you all for joining us on this journey and would like to extend our deepest gratitude to our sponsors and annual fund contributors for their role in making these concerts happen. Enjoy the performance!
Robert Massey Chief Executive Officer
4
A U D I E N C E
Underneath Everything The remarkable diversity of the Sonoma Coast allows us to craft Chardonnays as distinct as the land.
Please enjoy our wines responsibly.
A U D I E N C E
Š2019 Sonoma-Cutrer Vineyards, Windsor, Sonoma County, ca
5
T E D D Y A B R A M S , M U S I C D I R E C TO R Teddy Abrams is the widelyacclaimed Music Director of the Louisville Orchestra and the Britt Festival Orchestra. As an advocate for the power of music, Abrams has fostered interdisciplinary collaborations with organizations including 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. Abrams’ work with the Louisville Orchestra has been profiled on CBS News Sunday Morning, NPR, and in The Wall Street Journal. Abrams recently collaborated with Jim James, vocalist and guitarist for My Morning Jacket, on the song cycle "The Order of Nature," which they premiered with the Louisville Orchestra in 2018 and will perform with the National, Seattle, and Colorado Symphonies this season. Also in 2019-20, Abrams makes his debut as guest conductor with the Orchestre Philharmonique du Luxembourg and the Sarasota Orchestra and returns to the San Francisco Symphony in his subscription debut. Highlights from the 2018-19 season included his debut with the National Symphony Orchestra in a celebration of Leonard Bernstein’s centenary at the Kennedy Center on what would have been his 100th birthday and engagements with the Utah, Wichita, Eugene, and Elgin Symphonies, and the Sun Valley Music Festival. Recent guest conducting highlights include engagements with the Los Angeles Philharmonic; Houston, Milwaukee, Vancouver, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. He has enjoyed a longstanding relationship with the Indianapolis Symphony and recently 6
conducted them with Time for Three for a special recorded for PBS. 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. 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 and the Jacksonville Symphonies—and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, and John Adams. Dedicated to exploring new and engaging ways to communicate with a diverse range of audiences, Abrams co-founded the Sixth Floor Trio in 2008. They continue to tour regularly throughout the U.S. Abrams was a protégé of Michael Tilson Thomas from the age of 11 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 a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) were webcast to hundreds of schools throughout South Florida. Abrams performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009. He has held residencies at the La Mortella music festival in Ischia, Italy, and at the American Academy in Berlin. Teddy was a proud member of the San Francisco Symphony Youth Orchestra for seven seasons and graduated from the San Francisco Conservatory of Music with a Bachelor of Music, having studied piano with Paul Hersh.
A U D I E N C E
A U D I E N C E
7
B O B B E R N H A R D T, P R I N C I PA L P O P S C O N D U C TO R For nearly four decades, Bob Bernhardt has been a constant presence with the Louisville Orchestra. Starting in 1981 as Assistant Conductor, then as Associate Conductor, then as Principal Guest Conductor of Kentucky Opera and now in his 23rd season as Principal Pops Conductor, he continues to bring his unique combination of easy style, infectious enthusiasm, and wonderful musicianship to the city and orchestra he loves. Bernhardt is concurrently in his fifth season as Principal Pops Conductor of the Grand Rapids Symphony in Michigan and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and is now in his 27th year with the company. He is also, since 2012, an Artist-in-Residence at Lee University in Cleveland, Tenn. Previously, he was Music Director and conductor of the Amarillo Symphony, the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic. In the past decade, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, New Jersey Symphony, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, Fort Worth Symphony, and Santa Barbara 8
"...he continues to bring his unique combination of easy style, infectious enthusiasm and wonderful musicianship." Symphony, all of which were rewarded with return engagements. He has a continuing 13-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. His professional opera career began with the Birmingham Civic Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons, and with his own company in Chattanooga, he conducted dozens of fully staged productions in a genre he adores. Born in Rochester, New York, he holds a Master’s degree from the University of Southern California’s School of Music, where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York, where he was an Academic All-American baseball player. (While not all the research is in, Bernhardt believes that he is the only conductor in the history of music to be invited to spring training with the Kansas City Royals. After four days, they suggested to him a life in music.) His children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Signal Mountain, Tenn.
A U D I E N C E
F E AT U R E D M U S I C I A N TREVOR JOHNSON, ASSISTANT PRINCIPAL OBOE Hello and thanks for coming to our concert! I have been Assistant Principal Oboe with the Louisville Orchestra since 1995—nearly 25 years. I have also been playing English horn with the Louisville Orchestra for about five years. I’m very glad to be part of this time in the Louisville Orchestra’s history. So much positive growth is going on—peoplerelated, music-related and communityrelated. I look forward to all the good things on the horizon, too! Even after all of these years in the Orchestra, I still enjoy what I do. There’s something about double reed playing that is both an art and a craft. In some ways, I create my instrument daily. Making my reeds for the instrument is mostly a rewarding experience, although there are some challenging days from time to time! I live in Jeffersonville, Indiana, and I’m always happy to see the large audiences we draw for our Music Without Borders performances at the Ogle Center. Southern Indiana is also proud of the Louisville Orchestra. I’m looking forward to more performing opportunities on the Indiana side of the river. When I’m not playing in the Louisville Orchestra, I teach private oboe lessons at my home and at Campbellsville University, and recently have become a driver for Uber and Lyft! I seem to be known as “that driver who plays the classical music.” When I explain that I am a musician in the Louisville Orchestra,
“There’s something about double reed playing that is both an art and a craft." invariably people are impressed and bring up their experiences with the Orchestra. It’s gratifying to learn how wide our reach is. Today, during the second movement of the Dvořák symphony you will hear one of the best-known English horn solos in the repertoire, based on the spiritual, “Goin' Home.” I truly enjoy playing this because it is so well-suited to the sound and expressive nature of the instrument. I greatly appreciate the opportunity to perform it. Thank you again for being here and please enjoy music "From the New World!"
A U D I E N C E
9
—CREATE A— FAMILY TRADITION
A CHRISTMAS CAROL based on the book by Charles Dickens
adapted by Barbara Field | directed by Drew Fracher
Nov. 23–Dec. 23, 2019
BEST SEATS AVAILABLE NOW! 502.584.1205 ActorsTheatre.org 10
A U D I E N C E
THE LOUISVILLE ORCHESTRA, 2019-2020 Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor
FIRST VIOLIN
Gabriel Lefkowitz, Concertmaster Julia Noone, Assistant Concertmaster Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair
Stephen Taylor Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards Maria Semes
SECOND VIOLIN
Robert Simonds, Principal* Kimberly Tichenor, Assistant Principal Devonie Freeman Andrea Daigle Charles Brestel James McFadden-Talbot Judy Pease Wilson Blaise Poth
VIOLA
Jack Griffin, Principal Evan Vicic, Assistant Principal Jacqueline R. and Theodore S.Rosky Chair Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair
Jennifer Shackleton Jonathan Mueller Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor Meghan Casper
CELLO
Nicholas Finch, Principal
Lillian Pettitt, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead
BASS CLARINET
Christina Hinton Allison Olsen Lindy Tsai Julia Preston
Matthew Karr, Principal
BASS
Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair
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
Ernest Gross
BASSOON
Paul D. McDowell Chair
Francisco J. Joubert Bernard
HORN
Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair
TRUMPET
Alexander Schwarz, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Stacy Simpson, Interim
PICCOLO
TROMBONE
Donald Gottlieb
Donna Parkes, Principal
OBOE
BASS TROMBONE
Alexander Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra
J. Bryan Heath
Trevor Johnson, Assistant Principal
TIMPANI
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
TUBA
Andrew Doub, Principal James Rago, Principal Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair
PERCUSSION
John Pedroja, Principal
*On leave
11
12
A U D I E N C E
Teddy Abrams, Music Director | Bob Bernhardt, Principal Pops Conductor
LO POPS Presented by Lee and Rosemary Kirkwood
HOLLYWOOD HITS Saturday, September 21, 2019 • 8PM The Kentucky Center, Whitney Hall
Bob Bernhardt, conductor a Schirmer Theatrical/Greenberg Artists co-production John WILLIAMS Henry MANCINI (Arr. Jeff Tyzik)
“Raiders March” from Indiana Jones and the Raiders of the Lost Ark (1981) "The Pink Panther" from The Pink Panther (1963)
Henry MANCINI
"Moon River” from Breakfast at Tiffany’s (1961)
Henry MANCINI
"Peter Gunn" from the TV Series Peter Gunn (1958-61)
Kenneth ALFORD, (Ed. Clark McAlister) Elmer BERNSTEIN, (Ed. Patrick Russ) (Arr. Jeff Tyzik)
“Colonel Bogey March” from The Bridge on the River Kwai (1958) “To Kill A Mockingbird” from To Kill a Mockingbird (1963) “The Best of Bond” from Dr. No (1962), The Spy Who Loved Me (1977), Live and Let Die (1973), For Your Eyes Only (1981), and Thunderball (1965)
INTERMISSION (20 minutes) John WILLIAMS (Arr. by Jeff Tyzik)
Michael GIACCHINO John BARRY (Arr. Nic Raine) (Arr. Jeff Tyzik)
“Superman March” from Superman (1978) “The Great Westerns Suite” from The Magnificent Seven (1960), How the West Was Won (1962), Silverado (1985) and Dances with Wolves (1990) “Star Trek: Into Darkness Suite” from Star Trek: Into Darkness (2013) “Out of Africa – Main Title” from Out of Africa (1985) “The Big Movie Suite” from Gone With the Wind (1939), Ben Hur (1959), Laura (1944), Dr. Zhivago (1965), Lawrence of Arabia (1962), The Way We Were (1973) and Rocky (1976)
ALL ARRANGEMENTS LICENSED OR PURCHASED BY SCHIRMER THEATRICAL, LLC Additional support for this performance is made possible by: 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
13
Teddy Abrams, Music Director | Bob Bernhardt, Principal Pops Conductor
COFFEE SERIES SEASON SPONSOR
COFFEE SERIES
FROM THE NEW WORLD Friday, September 27, 2019 • 11AM The Kentucky Center, Whitney Hall
Teddy Abrams, conductor Witold LUTOSLAWSKI Jacques IBERT Robert WHITNEY
Fanfare for Louisville (2 min.) Louisville Concerto (12 min.) Concertino (13 min.) I. Allegro II. Adagio III. Tempo di menuetto IV. Allegro vivace
Antonín DVORAK
Symphony No. 9 in E Minor, Op. 95 ‘From the New World’ (40 min.) I. Adagio – Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco
Additional support for this performance provided by: McGriff Insurance Services Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited.
14
A U D I E N C E
P R O G R A M N OT E S FROM THE NEW WORLD Friday, September 27, 2019 • 11AM by Laurie Shulman ©2019 | First North American Serial Rights Only
ONE-MINUTE NOTES Don’t plan to sit back and relax today: Lutosławski’s Fanfare for Louisville will knock your socks off! This piece accomplishes everything a fanfare should in barely more than a minute, with mind-boggling brass and thrilling electricity. Jacques Ibert’s Louisville Concerto was one of the first of more than 400 works by living composers that our orchestra commissioned, beginning in the early 1950s. Ibert’s score is a lively large-scale concert overture, with brilliant writing for strings, winds, brass, and percussion.
Robert Whitney’s Concertino salutes classical heritage in the same affectionate manner as Prokofiev’s “Classical Symphony.” Whitney opens with a brisk march driven by motor rhythms. A mournful, romantic Adagio follows, then a dainty, whimsical Minuet. His bouncy and perky finale concludes with a madcap chase scene! The New World Symphony was the culmination of Dvořák’s years in the U.S. Bohemian dance blends with spirituals and Native American music in its themes, thereby combining the New World with the Old. Listen for the beloved “Goin' Home” melody in the slow movement.
"This For little more than a minute Lutosławski keeps us on the edge of our seats."
FANFARE FOR LOUISVILLE (1986) WITOLD LUTOSŁAWSKI (1913-1994) POLISH PIONEER When he died 25 years ago, Witold Lutosławski was the senior statesman among Poland's composers. Along with his younger contemporary Krzysztof Penderecki (b. 1933), he led a 20th-century Renaissance in Polish music, drawing international attention to new music behind the Iron Curtain during the most stifling years of Communist rule.
orchestrator and daring experimenter over the course of a long and fruitful life. His career took some surprising turns, not only because of political upheaval in Poland, but also because he was open-minded. He shifted directions several times, continually exploring. Microrhythms and microtones, the coloristic potential of various instrumental combinations and the very process of music-making, are some of the areas he addressed in his music.
Lutosławski earned his reputation as a formalist. He retained it as a master
Some of his early works, such as the popular Concerto for Orchestra (1950-
A U D I E N C E
15
P R O G R A M N OT E S 54) embraced Polish folk music and a synthesis of that ethnic material into a personal musical language. His middle-period works employed more adventurous 20th-century approaches, but never at the expense of formal clarity. Late in life, he developed a new process he called “chain technique,” with overlapping strands of musical material. He wrote the Fanfare we hear in 1986. It bursts out of the gate with a full-brass big chord in no familiar harmony. For little more than a minute, Lutosławski keeps us on the edge of our seats with riveting brass and punctuating percussion. Don’t expect to doze through this concert! LOUISVILLE CONCERTO (1953) JACQUES IBERT (1890-1962) The French composer Jacques Ibert (pronounced ee-BARE) was a contemporary of the vibrant group known as Les Six (Louis Durey, Arthur Honegger, Darius Milhaud, Germaine Tailleferre, Georges Auric, and Francis Poulenc), who dominated French music between the First and Second World Wars. Probably closer in spirit to Milhaud than the others, Ibert charged much of his music with wit and irreverence that Erik Satie would have applauded. Little of his music is known outside France. [“Ports of Call”], which once enjoyed enormous popularity, remains Ibert’s best known orchestral score. Although Ibert composed extensively for stage and film, his best music is for orchestra. He was fascinated by the 16
colors and timbres of wind instruments, which figure prominently in his writing. Two of his three concertos are for wind instruments, and the third, for cello, features a chamber orchestra consisting of six solo winds plus a string quintet. He wrote Louisville Concerto in 1953 at the request of Robert Whitney and the Louisville Orchestra. Clearly not a concerto in the traditional sense, it shows off the entire orchestra, but it is not exactly a concerto for orchestra either. Rather, it is a concert overture on steroids, grown to 11 minutes’ duration. The structure is a cross between rondo and variation, with a fugal episode thrown in for good measure. Observant listeners will recognize several motives that recur—sometimes transformed— between the vigorous section and the contrasting episodes. In its quirky dissonance, the music is sometimes reminiscent of Stravinsky in his neoclassical mode. The atmosphere is almost always jazzy and upbeat, with an overwhelming sense of optimisim and exuberance. There is a lot going on at once, with swooping upward gestures and a joyous cacophony. Ibert’s mastery of the orchestra comes through loud and clear. CONCERTINO (1961) ROBERT WHITNEY (1904-1986) Robert Whitney was a seminal figure in the Louisville Orchestra’s history. When the orchestra was founded in 1937, he was its first conductor. Ten years later, he worked with Mayor Charles Farnsley to establish a program of commissioning,
A U D I E N C E
P R O G R A M N OT E S performing and recording new works. This bold initiative made the Louisville Orchestra the first orchestra to form its own record label. Whitney’s musical and organizational efforts played a significant role in gaining the orchestra a proud international reputation.
SYMPHONY NO. 9 IN E MINOR, OP. 95 ("FROM THE NEW WORLD") ANTONIN DVORAK (1841-1904) MISUNDERSTOOD MASTERPIECE
Whitney wrote a note for the premiere of his Concertino in March 1961: My ‘Concertino’, as its diminutive title would indicate, is made up of four brief movements, simple and direct in style and light-hearted in character. A polyphonic texture prevails and a liberal use is made of solo instruments somewhat in the concertante style. The whole piece harks back in spirit to an earlier time. The opening Allegro is in the ancient ritornello form, the Adagio is a florid instrumental song, the Tempo di Minuetto makes a bow to the rococo and a lively rondo brings things to a conclusion. The Concertino’s only purpose, I fear, is to gratify the author’s pleasure in indulging in the sheer fun of manipulating musical materials that have caught his fancy. These materials, as a matter of fact, have been in his mind for a long time but have only recently taken shape in this Concertino. He will be deeply gratified if any others share his pleasure in this indulgence. Whitney’s writing is skilled, humorous, firmly tonal and entertaining. He offers plenty of cameo solos for the orchestra’s principal players (such as the perky, imitative duet for flute and bassoon that opens the finale). This appealing work deserves to be heard and is a proud part of the Louisville Orchestra’s distinguished heritage.
These words of Dvořák are uncannily apt when considering the familiar, beloved and misunderstood "New World" Symphony. Sketched and written between December 1892 and May 1893, when Dvořák had come to New York to head the new American Conservatory, the piece was ridiculed at its premiere because of its alleged incorporation of American Indian tunes. The critics did acknowledge the symphony's individuality and its unique amalgam
The Colonel of ComiCs: Zombies, Anti-Heroes and the Art of Tony Moore
oCTober 23, 2019 Kentucky Center for the Performing Arts Tickets at kentuckycenter.org kentuckytotheworld.org
Republic Bank Foundation Speaker Series
A U D I E N C E
Audience 1/4 vert_KTW_ Moore.indd 1
17
8/7/19 10:33 PM
P R O G R A M N OT E S of Czech and American elements. In fact, Dvořák never intended to directly appropriate American Negro or Indian folk song. Some years later, in 1900, he wrote to his former student Oscar Nedbal declaring of the "New World" Symphony: "I have only composed in the spirit of such American national melodies." The result is a symphony with extraordinary and spontaneous emotional appeal. If the "New World" has its formal lapses, it amply compensates for them with rhythmic punch and a wealth of memorable, singable melodies that have made this symphony his most popular work. The most famous movement is, of course, the delicious Largo, which opens with a startling series of coloristic modulations from distant keys: E-major to D-flat major. The immortal "Goin' Home" melody is said to have been
inspired by Dvořák's consideration of Longfellow's Hiawatha as a potential opera subject. He was drawn to the legend; nothing came of that project, but his mind was clearly churning with ideas stimulated by his exposure to Negro and Native American musical culture. His English horn solo has become one of the best known melodies in all of classical music. Structurally, the first movement is the strongest. Its rhythmic profile manifests itself in one form or another in all of the succeeding movements. Dvořák wrote a true scherzo for this symphony rather than the Czech furiant he favored in so many other large instrumental works. And in his finale, he incorporates quotations from each of the preceding movements to cyclically unify the symphony.
Ghost PRESENTS
SEPTEMBER 21 - OCTOBER 5 THE KENTUCKY CENTER FOR THE ARTS WWW.STAGEONE.ORG
18
A U D I E N C E
Teddy Abrams, Conductor
SIGNATURE CLASSICS SERIES SEASON SPONSOR
SIGNATURE CLASSICS Additional generous support provided by David and Betty Jones
FROM THE NEW WORLD Saturday, September 28, 2019 • 8PM The Kentucky Center, Whitney Hall
Teddy Abrams, conductor Anne Akiko Meyers, violin • J’Nai Bridges, mezzo-soprano • Elena Urioste, violin Adam SCHOENBERG
Orchard in Fog (25 min.) I. Frail II. Dancing III. Farewell Song Anne Akiko Meyers, violin
Georges BIZET
"Scene" and "Habanera" from Carmen (5 min.) J’Nai Bridges, mezzo-soprano
George GERSHWIN
“My Man’s Gone Now” from Porgy and Bess (5 min.) J’Nai Bridges, mezzo-soprano
Camille SAINT-SAENS
"Mon coeur s'ouvre à ta voix” from Samson and Dalila (5 min) J'Nai Bridges, mezzo-soprano
Maurice RAVEL
Tzigane, Rhapsody for Violin + Orchestra (10 min.) Elena Urioste, violin
INTERMISSION (20 minutes) Antonín DVORAK
Symphony No. 9 in E Minor, Op. 95 ‘From the New World’ (40 min.) I. Adagio – Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco
The live broadcast of this performance on WUOL and WQXR is made possible thanks to a gift by Owsley Brown III. 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
19
F E AT U R E D M U S I C I A N S Anne Akiko Meyers is one of the most internationally renowned and respected classical musicians performing today. Known for her passionate performances, purity of sound, deeply poetic interpretations, innovative programming and best-selling recordings, Anne frequently performs with the world’s top orchestras and presents ground-breaking recitals. She has expanded the modern violin repertoire with commissions, performances and recordings of important new works. Meyers begins the 2019-2020 season performing the Barber Violin Concerto at Ravinia with James Gaffigan and the Lucerne Symphony Orchestra and the European debut of Adam Schoenberg’s Orchard in Fog (a work written for and premiered by Meyers in 2018) at the Enescu Festival in Romania. In October, she appears with Kristjan Järvi and the MDR Leipzig Radio Symphony Orchestra at the Leipzig Gewandhaus in Germany and Sapporo’s Kitara Hall and Tokyo’s Suntory Hall in Japan. In May, Anne will return to Estonia to perform Arvo Pärt’s music with the Estonian National Symphony Orchestra for a special televised broadcast. Anne was the featured soloist in several performances celebrating the opening of the Arvo Pärt Centre in Estonia, by special invitation of the legendary composer himself. She also performed Schindler’s List for a Great Performances television special honoring John Williams, also at the composer’s personal invitation. 20
Anne premiered Rautavaara’s Fantasia and Mason Bates’ Violin Concerto with the Helsinki Philharmonic and Jan Söderblom, live-streamed worldwide and also premiered Fantasia in Japan. Anne was Billboard’s top-selling traditional classical instrumental soloist in 2014 and many of her 37 albums have debuted at #1 on Billboard classical charts. She recently released her 37th album, Mirror in Mirror and her recording of Rautavaara’s Fantasia was selected as the only classical instrumental work on NPR’s 100 best songs of 2017. She performs on the Vieuxtemps Guarneri del Gesù, dated 1741, considered by many to be the finest sounding violin in existence. Please visit anneakikomeyers.com for more info. J’Nai Bridges, known for her “plush-voiced mezzo-soprano” (The New York Times), has been heralded as “a rising star” (Los Angeles Times), gracing the world's top stages. Her 2019-2020 operatic engagements in the U.S. this season include her debut at The Metropolitan Opera, singing the role of Nefertiti in Philip Glass’ opera Akhnaten and her house and role debut at Washington National Opera performing Dalila in Samson et Dalila. Bridges will sing the title role of Carmen for the first time in Europe at the Dutch National Opera and will make her debut with the Festival d’Aix-en-provence singing Margret in a new production of Wozzeck, conducted by Sir Simon Rattle.
A U D I E N C E
F E AT U R E D M U S I C I A N S Bridges opens her season with her Tanglewood Festival debut, performing Beethoven’s Ninth Symphony with the Boston Symphony Orchestra. She continues her concert repertoire by making her debut with San Antonio Symphony in Mahler’s Symphony No. 2 and debuting with the New Jersey Symphony in Handel’s Messiah. Bridges also performs an art song recital with the Philadelphia Chamber Music Society and closes her season by making her debut at the BBC Proms at the Royal Albert Hall in Beethoven’s Ninth Symphony with Chineke! Orchestra and Friends. To learn more about J’Nai Bridges visit jnaibridgesmezzo.com/ Elena Urioste, violinist, hailed by The Washington Post as “a drop-dead beauty who plays with equal parts passion, sensuality, brains and humor,” is a first prize winner in the Sphinx and Sion International Violin competitions and was more recently selected as a BBC New Generation Artist. In addition to recital and chamber music appearances at
Carnegie Hall, the Kennedy Center, London’s Wigmore Hall and the Marlboro, Moab and Sarasota music festivals, she has performed with such major U.S. orchestras as the Boston Pops, Philadelphia Orchestra, Cleveland Orchestra, and American Composers Orchestra; the New York, Los Angeles and Buffalo Philharmonics; and the Chicago, San Francisco, National, Atlanta, Baltimore, Detroit, and Pittsburgh symphonies. Urioste has appeared in the U.K. with the Hallé Orchestra, Philharmonia Orchestra, BBC Symphony, and Royal Liverpool Philharmonic, among others and in France and Hungary with the Orchestre National de Lille, Orchestra Dohnányi Budafok and MAV Orchestra. She has performed extensively in recital with pianists Michael Brown and Tom Poster; with the latter she recorded her most recent album, Estrellita, released in 2018 on the BIS label. Her 2019-20 season includes engagements with the Atlantic Classical Orchestra, Louisville Orchestra, Minnesota Orchestra, and the Rogue Valley, San Diego and Virginia symphonies. Urioste is a graduate of the Curtis Institute of Music and completed graduate studies at The Juilliard School. For a more detailed bio, visit elenaurioste.com.
A U D I E N C E
21
P R O G R A M N OT E S FROM THE NEW WORLD Saturday, September 28, 2019 • 8PM by Laurie Shulman ©2019 | First North American Serial Rights Only ONE-MINUTE NOTES Orchard in Fog takes its name from a photograph. Adam Schoenberg’s musical narrative follows the path of an old man who was married in that orchard years ago, as he contemplates death. The second movement is a lively reminiscence of youth, while the finale brings acceptance and peace. Carmen’s "Habanera" is arguably the most famous aria in all opera. Sultry and sexy, the Gypsy heroine sets forth her philosophy of love: live for the moment. She emphasizes that loving her could have dangerous consequences. “My Man’s Gone Now,” from Gershwin’s Porgy and Bess, is a different kind of
ORCHARD IN FOG: CONCERTO FOR VIOLIN AND ORCHESTRA (2018) ADAM SCHOENBERG (B.1980) Adam Schoenberg is a rising star in American music. Currently teaching at Occidental College in Los Angeles, he is much in demand, with commissions in place for the next several seasons. He has served as composer in residence with orchestras in Fort Worth, Kansas City and Vanderbilt University and is the recipient of numerous awards including MacDowell Fellowships and ASCAP awards. Last season’s highlights included the 22
love song: a desolate lament for Serena’s murdered husband. Gershwin captures the raw suffering in the young widow’s grief. When Ravel heard a Hungarian violinist improvise in Gypsy style, he was captivated—and immediately decided to write a virtuoso piece for her. Tzigane blends Gypsy drama with dazzling bravura technique. The "New World Symphony" was the culmination of Dvořák’s years in the USA. Bohemian dance blends with spirituals and Native American music in its themes, thereby combining the New World with the Old.
San Diego premiere of Orchard in Fog, his violin concerto written for Anne Akiko Meyers. “It’s a very unusual concerto,” Schoenberg allows. “Typical concerti have a flashy first movement, a lyrical second movement, then a fast finale. Anne is such a profound musician, I think her slow, lyrical playing is one of her strengths. When she adjusts her vibrato in any capacity, you feel her emotional power.” Schoenberg focused on that strength with an 11-minute first movement that is meditative and reflective: The concerto’s overall arrangement is slow-fast-slow. The piece takes its name from Adam Laipson’s wintertime photograph
A U D I E N C E
P R O G R A M N OT E S of an apple orchard in New Salem, Massachusetts, Schoenberg’s home town; he and his wife were married there. Laipson gave the couple the photograph as a wedding gift; it hangs in their bedroom. “I’ve been waking up to this beautiful, haunting image every day for years and I am continually drawn to it,” Schoenberg says. “When Anne asked me to write a concerto, a narrative inspired by this image and place immediately came to mind.” His composer’s note explains that narrative: Orchard in Fog tells the story of an aging man visiting the orchard where he was married many years ago. It is the dead of winter; he is weak and tired, nearing the end of his life. Movement I (Frail) is reflective and represents the present day, with melodies more melancholic than hopeful. Movement II (Dancing) is a memory. The old man looks back on his life and the beautiful moments he had with his wife. This long dance is built on a layering technique, where something new happens nearly every eight measures. Movement III (Farewell Song) gradually brings us back to the present day and to the orchard where the old man’s journey began. This is his farewell song to his love and to the life that he has known. Whereas movement I was more somber in tone, this movement gives us a glimmer of hope and acceptance. Schoenberg is based in Los Angeles, where he directs the composition and film scoring program at Occidental College. He attended Oberlin College
(where he was also the table tennis champion) and subsequently earned master’s and DMA degrees at Juilliard. He and his wife, the screenwriter Janine Salinas Schoenberg, are proud parents of two sons, Luca and Leo. "HABANERA" FROM CARMEN (1875) GEORGES BIZET (1838-1875) No opera has ever captivated the international stage like Carmen. Bizet’s glorious melodies and sparkling orchestration make it all the more surprising to learn that the opera was not immediately a hit at its Paris premiere in 1875. Bizet shattered the conventions of staid, middle-class opéra-comique, which mandated a happy ending. Instead, he introduced seduction, theft, deceit, infidelity, and on-stage murder to a shocked and disapproving Parisian audience. Certainly Carmen’s subsequent worldwide success has vindicated any doubt stemming from conservative critics in late-19th-century Paris. Still, this plot must have been quite a jolt at the time. Carmen’s sultry "Habanera" is an example of music that we find irresistible, but it also helps to explain why some material in the opera may have been considered risqué. In the opera, she is declaring her philosophy of love: it is to be seized for the moment. She makes it clear that her love, in particular, may have dangerous consequences. Carmen’s sinuous, frankly sexy melodic line against the pizzicato background of the strings presents one of the most arresting contrasts in all opera.
A U D I E N C E
23
P R O G R A M N OT E S “MY MAN’S GONE NOW” FROM PORGY AND BESS GEORGE GERSHWIN (1898-1937) ARR. BY ROBERT RUSSELL BENNETT One of the great ironies of American music is that George Gershwin’s Porgy and Bess was a failure when it was first performed in 1935. The critics panned it and the production was unsuccessful. Today, Porgy and Bess is widely regarded as Gershwin’s masterpiece and a half dozen of its songs have become part of the American canon. “My Man’s Gone Now” is sung by Serena, the same character who lulls her infant with “Summertime” at the opera’s beginning. She is mourning the murder of her husband Robbins at the hands of Crown. Gershwin’s music emulates sighing and wailing in an evocative complement to Serena’s desolate grief. TZIGANE, CONCERT RHAPSODY FOR VIOLIN AND ORCHESTRA MAURICE RAVEL (1875-1937) During the 1920s, Maurice Ravel was a frequent visitor to England, where he regularly attended musical events. At a private British musicale during a 1922 visit, the Hungarian violinist Jelly d'Arányi performed Ravel's violin/cello sonata with Hans Kindler. Intrigued by her playing, the composer asked d'Arányi to play some Gypsy melodies. She complied and Ravel grew increasingly absorbed 24
in the unfamiliar scale patterns and compelling rhythms of the Eastern European tradition. Fascinated, he encouraged her to continue until the wee hours of the morning. By then, he had resolved to compose a violin work especially for her. Fully two years later, the piece took final shape. Ravel only completed it days before d'Arányi premiered it on April 26, 1924. In the interim, he had drawn further inspiration from the virtuoso music of Paganini and Liszt. Tzigane, his synthesis of Gypsy flavor with 19th-century virtuoso technique, is a landmark in the violin literature. This work admirably demonstrates his uncanny ability to assimilate and process the musical style of another country. Solo violin opens Tzigane with an extended, dramatic introduction, the structure is episodic, as the subtitle "Concert Rhapsody" implies. The violin, presenting formidable challenges with pizzicati, quadruple stops, virtuoso figuration and a concluding perpetual motion. SYMPHONY NO. 9 IN E MINOR, OP. 95 ("FROM THE NEW WORLD") ANTONIN DVORAK (1841-1904) MISUNDERSTOOD MASTERPIECE These words of Dvořák are uncannily apt when considering the familiar, beloved and misunderstood "New World" Symphony. Sketched and written between December 1892 and May 1893, when Dvořák had come to New York to
A U D I E N C E
P R O G R A M N OT E S head the new American Conservatory, the piece was ridiculed at its premiere because of its alleged incorporation of American Indian tunes. The critics did acknowledge the symphony's individuality and its unique amalgam of Czech and American elements. In fact, Dvořák never intended to directly appropriate American Negro or Indian folk song. Some years later, in 1900, he wrote to his former student Oscar Nedbal declaring of the "New World" Symphony: "I have only composed in the spirit of such American national melodies." The result is a symphony with extraordinary and spontaneous emotional appeal. If the "New World" has its formal lapses, it amply compensates for them with rhythmic punch and a wealth of memorable, singable melodies that have made this symphony his most popular work. The most famous movement is, of course, the delicious Largo, which opens with a startling series of coloristic modulations from distant keys: E-major to D-flat major. The immortal "Goin' Home" melody is said to have been inspired by Dvořák's consideration of
Longfellow's Hiawatha as a potential opera subject. He was drawn to the legend; nothing came of that project, but his mind was clearly churning with ideas stimulated by his exposure to Negro and Native American musical culture. His English horn solo has become one of the best known melodies in all of classical music.
"...but his mind was clearly churning with ideas stimulated by his exposure to Negro and Native American musical culture." Structurally, the first movement is the strongest. Its rhythmic profile manifests itself in one form or another in all of the succeeding movements. Dvořák wrote a true scherzo for this symphony rather than the Czech furiant he favored in so many other large instrumental works. And in his finale, he incorporates quotations from each of the preceding movements to cyclically unify the symphony.
A U D I E N C E
25
L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Annual gifts 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 February 28, 2019. For further information on how you can support the Louisville Orchestra, please contact Edward W. Schadt, Interim Director of Development, at 502.587.8681 or eschadt@louisvilleorchestra.org.
CONDUCTORS SOCIETY (FOUNDER) $250,000+ Mrs. Christina L. Brown Anonymous (1)
CONDUCTORS SOCIETY (SUSTAINER)
$100,000 - $249,999 Mr. and Mrs. William Ballard 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 (VIRTUOSO)
$50,000 - $99,999 Mr. and Mrs. George S. Gibbs III Mr. and Mrs. Frank Harshaw Lee and Rosemary Kirkwood
CONDUCTORS SOCIETY (BENEFACTOR)
$25,000 - $49,999 Ambassador Matthew Barzun and Brooke Brown Barzun Ms. A. Cary Brown and Dr. Steven Epstein Mr. Steven Wilson and Ms. Laura Lee Brown Mr. Brian Kane Mr. Warrick Dudley Musson Michael and Chandra Rudd Mr. † and Mrs. William M. Street
CONDUCTORS SOCIETY (SPONSOR)
$10,000 - $24,999 Apellis Pharmaceuticals, Inc. Mrs. Ina Brown Bond Susan Casey Brown Chase Bank Mr. and Mrs. David C. Daulton Mr. and Mrs. Paul Diaz Jana and John Dowds Ms. Kendra D. Foster and Mr. Turney Berry Mrs. Ritu Furlan Mrs. Spencer E. Harper Jr. Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Gill and Augusta Holland Mr. David A. Jones, Jr. and Ms. Mary Gwen Wheeler Mr. and Mrs. Scott Justice Dr. Virginia Keeney† Mr. and Mrs. Donald F. Kohler, Jr. Ms. Nana Lampton Mr. and Mrs. Lee Leet Mrs. Sheila G. Lynch Mr. and Mrs. Guy Montgomery Mr. Thomas Turley Noland, Jr. and Vivian Ruth Sawyer Mrs. Miriam Ostroff Mr. Joseph A. Paradis III Ms. Bella Portaro-Kueber
26
Mr. and Mrs. Alexander Rorke Mr. and Mrs. Bruce J. Roth 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 Mr. and Mrs. John T. Bondurant Dr. and Mrs. Paul Brink Mr. Garvin Brown Mrs. Elizabeth Davis Dr. † and Mrs. Charles E. Dobbs Mr. and Mrs. Thomas E. Dunham Mr. and Mrs. Andrew Fleischman Mr. and Mrs. Clyde Foshee Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Mr. and Mrs. Matthew Hamel Kenneth and Kathleen Loomis Mr. and Mrs. Herbert S. Melton III Mr. and Mrs. Robert W. Rounsavall III Mr. and Mrs. Gary M. Russell Mr. and Mrs. Gary Sloboda Ruth W. and Bryan W. Trautwein Paul and Missy Varga Mr. and Mrs. Michael Von Hoven Mr. and Mrs. James R. Voyles Mr. and Dr. Robert Wimsatt Dr. and Mrs. Richard Wolf WDRB Fox 41 Anonymous (2)
CONDUCTORS SOCIETY
$3,000 - $4,999 Mr. William F. Burbank Mr. Stephen P. Campbell and Dr. Heather McHold Mr. Christopher Coffman Mr. and Mrs. William L. Ellison, Jr. Mr. and Mrs. Donald Finney David and Regina Fry Mr. and Mrs. Joost Grubben Mr. and Mrs. Owen C. Hardy Robert Massey and Lisa Ponton Mr. and Mrs. Colin McNaughton Mr. and Mrs. David E. Mueller Dr. and Mrs. David H. Neustadt Mr. and Mrs. Kent Oyler Mr. and Mrs. Norman Pfau Mr. Stephen Reily and Ms. Emily Bingham Mr. Steve Robinson
Mr. Ryan Rogers Beulah and Ken Rogers Mr. Clifford Rompf Rev. Edward W. Schadt Mr. and Mrs. Julian Shapero Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett Mrs. Carolyn Marlowe Waddell Mr. and Mrs. Kevin Wardell Ms. Maud Welch Ms. Mary Ellen Wiederwohl and Mr. Joel Morris Anonymous (1)
PRELUDE
$1,500 - $2,999 Agan Development Mr. Campbell Brown Mrs. and Mr. Wendell Berry Dr. Stephen and Jeannie Bodney Mr. 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 Mr. Edward and Mrs. Shirley Dumesnil Mr. Daniel L. Dues Rev. John G. Eifler Mr. and Mrs. Bert Emke Dr. Vilma Fabre Dr. and Mrs. Eugene Fletcher Randall L. and Virginia † Fox 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 Mr. John Huber David Sickbert and Thomas Hurd Ms. Wendy Hyland Jean M. and Kenneth S. Johnson Mr. and Mrs. Kim Mr. and Mrs. Louis F. Korb Mr. and Mrs. Allan Latts Thomas and Judith Lawson Mr. Thomas Lewis Mr. and Mrs. John P. Malloy 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 Dr. Carmel Person Ms. Marla Pinaire Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham
A U D I E N C E
Mr. and Mrs. Gordon J. Rademaker Mrs. Robert Roberts Lee W. and Barbara Robinson Ms. Marianne Rowe Mr. and Mrs. Russell Saunders Ms. Jan Scholtz Mrs. Alleine Schroyens Mr. and Mrs. Joseph Sireci Mr. and Mrs. Raymond Smith Ms. Susan W. Smith Mr. Sheryl G. Snyder and Ms. Jessica Loving Dr. Anna Staudt 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 David and Madeleine Arnold Ms. Lynne Baur 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. and Mrs. Hewett Brown Mr. and Mrs. Gary Buhrow Mrs. Sally V. W. Campbell 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 Ms. Linda Dabney Mrs. Janet R. Dakan Ms. Betsey Daniel Ms. Carol W. Dennes Ms. Judy Dickson Dr. and Mrs. Christopher Doane Mr. and Mrs. James Doyle Ms. Susan Ellison Ms. Nancy Fleischman Mr. and Mrs. Vincenzo Gabriele Mrs. Gila Glattstein Mr. Joseph Glerum Mr. and Mrs. Laman Gray Mr. and Mrs. Fred Greaves Mr. and Mrs. John R. Gregory Mrs. Mary C. Hancock Dr. Frederick Hilton Michael R. and Martha Hardesty Maria Hardy-Webb Ms. Carol Hartlage
L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Mr. and Mrs. Timothy Healy Mr. Carl Helmich Dr. Susan J. Herlin Dr. Frederick K. Hilton Mrs. Maria Hardy-Webb Jacktivist Mr. and Mrs. Paul Breckenridge Jones Ms. Stephanie Kelly Mr. and Mrs. William Kissel Mr. & Mrs. Gary Knupp Mr. and Mrs. Karl D. Kuiper Mrs. Philip Lanier Mrs. Portia Leatherman Mr. and Mrs. Samuel M. Levine Cantor David Lipp and Rabbi Laura Metzger Ms. Stephanie Massler Joan McCombs Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Mr. William Mitchell Mr. and Mrs. Ronald J. Murphy Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Dr. Alton E. Neurath, Jr. Dr. and Mrs. Robert G. Lawrence Mrs. Amy Newbanks-Letke Mr. and Mrs. John Newell Dr. and Mrs. Lynn L. Ogden Ms. Karen O'Leary Dr. Naomi J. Oliphant 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. Corky S. Sachs Jan Scholtz Ms. Helga Schutte Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff Ms. Ruth Simons Mr. Larry Sloan Mrs. Carole Snyder Mr. and Mrs. David Sourwine Mr. Robert Steen Ms. Katherine Steiner Mr. Richard Stephan Mrs. Donna M. Stewart Dr. and Mrs. T. Bodley Stites Mrs. Mary Stites Mr. William E. Summers V Mary and John Tierney Mrs. Rose Mary Rommel 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 Mr. and Mrs. William M. Altman Another Place on 7th, Inc. & Jimmy Can’t Dance Boe and Judith Ayotte Mr. David B. Baughman Mr. and Mrs. Donald Baxter Bruce Blue and Louise Auslander Barry and Andrea Bernson John and JoElle Bollman Samuel and Sue Bridge Mr. Samuel G. Brennan Dr. Bruce Burton Ms. Rebecca Bruner Mr. Douglas Butler and Ms. Jamie Jarboe Mr. and Mrs. William Cary Mr. David M. Carney Mr. Michael Coleman June Allen Creek Mr. and Mrs. Arthur O. Cromer Kate and Mark Davis Mrs. Pat Dereamer Mr. Leonidas D. Deters and Ms. Penny Shaw Mr. and Mrs. Robert Duffy Ms. Deborah A. Dunn Mrs. Ann-Lynn Ellerkamp Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Leslie and Greg Fowler Mr. Gene Gardner Mr. and Mrs. Ted F. Gibson Mr. and Mrs. Edward Goldstein Dr. and Mrs. Richard L. Goldwin Gravely Brewing LLC Dr. Muriel Handmaker Ms. Deanna Heleringer 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 Kindred Healthcare Marjorie and Robert Kohn Mrs. Elizabeth Kuhn Dr. and Mrs. Forrest Kuhn Ms. Laura Larcara Mr. and Mrs. Richard Leezer Dr. Leonard Leight Dr. and Mrs. Charlie Leonard Mr. and Mrs. Fred Levein Dr. and Mrs. Ronald Levine Ms. Karen M. Long Mr. and Mrs. Albert Lyons Mr. and Mrs. Joseph Lyons Mr. Albert Lyons and Ms. Margaret Brandt Mr. and Mrs. John Malish Dr. Daniel McAninch 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. James T. Nolen 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 Ms. Louise B. Seiler Mr. and Mrs. John Sinai 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. Sodrel 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. Robert Wade Mr. Dennis Walsh Mr. and Mrs. William J. Walsh III Dr. Will W. Ward Natalie S. Watson Anita and Shelton Weber Mr. and Mrs. William W. Weber Mr. Robert Weekly Mr. and Mrs. Raleigh K. Wilson Mrs. Michelle Winters Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Susan G. Zepeda and Dr. Fred Seifer Mr. Gene Zipperle Anonymous (2)
MATCHING GIFTS
Hardscuffle, Inc. for Hon. Jerry Abramson Hardscuffle, Inc. for Ms. Nana Lampton Kindred Healthcare for Mr. William Altman ExxonMobil Foundation for Mr. David E. Mueller The Humana Foundation for Mr. Thomas Turley Noland, Jr. and Vivian Ruth Sawyer
FOUNDATION PARTNERS
Adolf and Sarah van der Walde and Israel Rosenbloum Fund Arthur K. Smith Family Foundation Caroline Christian Foundation Community Foundation of Louisville
A U D I E N C E
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 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 William M. Wood 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 Mr. and Mrs.† Warwick Dudley Musson Dr. Naomi Oliphant Mr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Anonymous
†Denotes deceased
27
LOUISVILLE ORCHESTRA 2019-2020 BOARD of DIRECTORS Mr. John P. Malloy Chair + Mr. Lee Kirkwood Chair-Elect + Mr. James S. Welch, Jr. Immediate Past Chair + Mrs. Ritu Furlan Treasurer + Mr. Timothy L. Peace Secretary + Mr. Andrew Fleischman General Council + Mr. Bruce Roth Chair Governance Committee +
The Honorable Jerry Abramson Mrs. Carole Birkhead* Mrs. Christina Brown Mr. Christopher Coffman Mr. Christopher Doane Mrs. Kendra Foster + Mr. Bert Griffin Mrs. Paula Harshaw Mrs. Carol Hebel* + Ms. Wendy Hyland Mrs. Ingrid Johnson Mr. Scott Justice Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Bella Portaro-Kueber
Mrs. Karen Lawrence Mr. Guy Montgomery Mr. R. Ryan Rogers Mr. Alex Rorke Mr. Michael D. Rudd Mrs. Medora Safai Mr. Kenneth Sales Mrs. Denise Schiller + Mrs. Winona Shiprek* + Mr. Gary Sloboda Mr. William Summers, V Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl + Mr. Robert H. Wimsatt * denotes Life Member + denotes Executive Committee
LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE
Robert Massey, Chief Executive Officer Nathaniel Koch, Executive Assistant
ARTISTIC OPERATIONS Matthew Feldman, Director of Artistic Operations
LEARNING AND COMMUNITY
Taylor Morgan, Patron Advancement Manager
Jennifer Baughman, Learning and Community Coordinator
Shane Wood, Patron Systems Manager
Blake-Anthony Johnson, Director of Learning and Community
Heather O’Mara, Marketing and Public Relations Manager
ADVANCEMENT
FINANCE
Adrienne Hinkebein, Orchestra Personnel Manager
Courtney Glenny, Director of Corporate Partnerships
Tonya McSorley, Chief Financial Officer
Alissa Brody, Artistic Coordinator and Assistant to the Music Director
Carla Givan Motes, Director of Patron Services
CaSandra Zabenco, Controller
Michelle Winters, Director of Marketing
Cheri Reinbold, Staff Accountant
Edward W. Schadt, Director of Leadership Giving
Kim Davidson, Receptionist / Accounts Payable Clerk
Stephen Koller, Graphic Design Manager
Angela Pike, Receptionist
Jake Cunningham, Operations Manager Bill Polk, Stage Manager Chris Skyles, Librarian
ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC . EXECUTIVE OFFICERS Mona Newell President
Marguerite Rowland Vice President Membership Liz Rorke Vice President Education Winona Shiprek, Anne Tipton, and Paula Harshaw Co-chairs, Vice President Hospitality Randi Austin Vice President Communications Michele Oberst Vice President Ways & Means 28
Carolyn Marlowe Recording Secretary Sue Bench Corresponding Secretary Ann Decker Treasurer Rita Bell Parliamentarian Carol Hebel President’s Appointment
ALO BOARD of DIRECTORS Markie Baxter June Allen Creek Helen Davis A U D I E N C E
Janet Falk Margie Harbst Deanna Heleringer Sara Huggins Peg Irvin Jeanne James Marcia Murphy Nancy Naxera Dottie Nix Roycelea Scott Ruth Scully Molly Smith Suzanne Spencer Harriet Treitz Lindsay Vallandingham Carol Whayne Suzannne Whayne
UPTEMPO STEERING COMMIT TEE Staci Compton President
Derek Miles Treasurer
Colin Blake Past-President
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
S E R I E S & C O R P O R AT E S P O N S O R S CONDUCTORS SOCIETY | FOUNDER | $250,000+
CONDUCTORS SOCIETY | SUSTAINER | $100,000-$249,999
CONDUCTORS SOCIETY | VIRTUOSO | $50,000-$99,999 Lee & Rosemary Kirkwood
CONDUCTORS SOCIETY | BENEFACTOR | 25,000-$49,999
CONDUCTORS SOCIETY | SPONSOR| $10,000-$24,000
CONDUCTORS SOCIETY | MEMBER | $2,500-$9,999
IN KIND SPONSORS Axxis
Gist Piano Center
Bandy Carroll Hellige
Heine Brothers Coffee
Louisville Public Media
Colonial Designs of St. Matthews
The Kentucky Center for the Performing Arts
O’Neil Arnold Photography
A U D I E N C E
Phoenix Lighting
Vincenzo’s
Strothman & Company PSC
Vintage Printing
29
T H E AT R E S E R V I C E S COURTESY
ACCESSIBILITY
• 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.
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.
MARK YOUR CALENDAR! YOUTH PERFORMING ARTS SCHOOL
2019-20 PERFORMANCE SEASON
JEFFERSON COUNTY PUBLIC SCHOOLS
ANON
BY NAO KA MI IIZU
(YMOUS)
September November 20-21, 22-23 27-28 December 6-7
MOLIÈRE’S
February 21-23
March 6-7, 13-14
April 16-17, 23-25
Most performances are free and begin at 7 p.m. TM
Purchase tickets at www.ypas.org. For more information, call 485-8355. Student and senior citizen discounts are available. www.jefferson.kyschools.us Equal Opportunity/Affirmative Action Employer Offering Equal Educational Opportunities
30
A U D I E N C E
KENTUCKY WOMEN: ENID YANDELL JULY 17, 2019 – JANUARY 12, 2020
To celebrate her 150th birthday, the Speed is presenting a fresh
look at Enid Yandell’s career, contextualizing the world in which she lived, as a young woman living and working in turn-of-the-century Louisville, Paris, and New York City.
Exhibition season support provided by: Dav Fam Art Fund Cary Brown and Steven E. Epstein Paul and Deborah Chellgren Debra and Ronald Murphy Eleanor Bingham Miller
speedmuseum.org
FRIDAY NIGHT HOURS
OPEN LATE ‘TIL A U D I E N C E
31
You love a thrilling show. We love steady performance. At Dupree, no-load, tax-free municipal bond funds take center stage. In fact, municipal bond funds are always in the spotlight. So, if you think you’re ready to get in on this fixed-income act, talk to Dupree.
Talking tax-free bond funds since 1979 Dupree-Funds.com | 800-866-0614
Before investing, carefully consider information contained in the Dupree Mutual Funds prospectus, including the Funds’ objectives, risks, and expenses. A Dupree Mutual Funds prospectus is available online at www.dupree-funds.com or by calling 1-800-866-0614. Dupree Mutual Funds are not available in all 50 states. See the prospectus to learn where Dupree Mutual Funds are available. Securities are offered through the Funds’ Transfer agent, Dupree & Company, Inc., a FINRA member. All investments involve risk, including possible loss of principal. Consult the Funds’ prospectus for a more complete discussion of the Funds’ risks. “No load” mutual funds are offered by open-end investment companies that impose no sales charge (load) to purchase or redeem shares. Investors can buy and sell shares directly from the fund company rather than through a broker. Other fees and expenses that apply to a continued investment in Dupree Mutual Funds are described in the prospectus. Dupree Mutual Funds’ single state bond funds offer dividend income that is “tax free” from federal and state income taxes (and AMT) in the state corresponding to each fund. Residents of states other than the state “named” in the title of the fund may be taxed at the state level. A redemption or exchange of fund shares and any capital gains distribution by Dupree Mutual Funds may be taxable.