MAES RO Passing the Baton 2022-202336TH SEASON
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29SEPTEMBER17,2022 DancesSymphonic #1finalistconductorwith BogzaSergey 37 44 54 58 64 202222,OCTOBER AmericainMade #2finalistconductorwith VervilleTimothy 202219,NOVEMBER FlightTaking #3finalistconductorwith SelyaIsaac 20234,FEBRUARY TitanstheofClash #4finalistconductorwith VizireanuVlad 202325,MARCH DaysGolden #5finalistconductorwith LatshawCharles 20236,MAY Blues&Rhythm #6finalistconductorwith WatsonCarolyn
Through generations,the Dell Brothers has offered the best in Men’s Fashion for 107 years. The Dell Family, along with our employees, welcome you to this concert season. Welcoming great musicians and good friends makes sharing music a BALLINjoy. CUTTER & BUCK COOPER & STEWART HART SCHAEFFNER & MARX JOHNSTON & MURPHY TUXEDO SALES & RENTALS
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PRESIDENT • BOARD OF
Welcome to the 2022-2023 season of your Columbus Indiana Philharmonic (CIP). This is an exciting year for all of us. This season, our community will meet the six finalists in the running to be named our next Music Director. Each finalist will spend a week in our community, meeting our patrons (you!), working with our musicians, and showcasing their talent during one of the season's concerts. Each performance will feature music selected by the candidate, giving us the opportunity to experience a diverse variety of music this year. Throughout this important year, CIP’s leadership will be seeking your feedback on each of the candidates. One of the most critical sources of this feedback will be through audience surveys conducted at each performance. I invite you to complete these brief surveys after each concert. An online version can be accessed from your mobile device here. Hard copies will also be available at each concert if you prefer that format. At the conclusion of the season, the CIP Board will utilize your feedback to help guide our final conductor selection. Beyond our orchestral performances, we will continue to offer a variety of other musical experiences. Our Cabaret at The Commons series will continue to bring acclaimed talent to our community. If you haven’t yet attended a Cabaret, we encourage you to join us for your first show! This year, we also plan to hold smaller musical events at Helen Haddad Hall, our headquarters in downtown Columbus. This space is a wonderful performance venue that is also available for rental to host business and personal events. Youth Music Education Programs also continue to spread music throughout our community. This past summer we had record attendance at the CIP’s Strings Camp, teaching our youth about the joy of creating music, and enrollment continues to increase in the Columbus Indiana Children’s Choir. We hope that programs like these serve as the foundation for a life-long love of music, whether as a career or as a pastime. of this wonderful programming is made possible by the support of sponsors and patrons, like you. We are deeply grateful for your continuing financial and volunteer support.
Our
Raskob PresidentBoard of Directors Ella Elwood MarkAllisonMattHendersonHotekBudHuntKunkler Pamela Lego Mark JoePatrickPillarVogtWorthingtonDavidWright Patrick Andrews Vice President Jonas
Treasurer Rajesh Thyagarajan Secretary Melissa Fairbanks ImmediatePresidentPast
ChristopherRASKOB DIRECTORSChristopher Howell
8 2022-2023 SEASON
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Donnie to the 2022-2023 Columbus Indiana Philharmonic Season! This year will be unlike any we’ve had in our 36 seasons of playing music for the Columbus community. We are “Passing the Baton” of music leadership this year, featuring six conductor finalists from across the country and two very special guest conductors for our popular holiday concerts and Salute!. Each finalist has programmed their own concert in a style unique to their own personality. This will be exciting to behold! Our musicians are excited about the new programming offered this season, our Board of Directors is also eager to witness the community’s reaction, and our staff is working overtime to make this a season to remember. The orchestra is just one note on the scale. We have robust music education programs – Strings in Schools, Strings Camp, the Philharmonic Youth Orchestra, and the Columbus Indiana Children’s Choir. These education programs have seen increased enrollments. Teaching our youth the importance of arts & music education is a cornerstone of the CIP's mission. Cabaret at the Commons continues to feature celebrity talent from the studios of LA to the stages of New York’s Broadway. The fall/spring series welcomes some of the most notable Broadway talent we have had to date!
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The Helen Haddad Hall, our diamond within the Columbus community, continues to be utilized as a goto destination for weddings, receptions, and reunions. It is also being used by our local businesses and organizations as a corporate space that accomodates meetings, seminars, retreats, and more. We are pleased to have hosted the 2022 Brown Music Scholarship Competition and expect their return in 2023. Finally, are planning a chamber music series at the Helen Haddad Hall featuring our own CIP musicians and others from around the country. Stay in tune with chamber series updates via email and social media this season! Columbus Indiana Philharmonic is to future of arts & music in our community. is would support.
The last note to complete the music
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ROBINETTE Welcome
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Be sure to share our events with your friends. Thank you for the opportunity to teach your children about the world of music. Only together can we continue to Keep the Music Playing! EXECUTIVE DIRECTOR All contents © 2022-23. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Columbus Indiana Philharmonic. Connectwithus! 315 FRANKLIN STREET COLUMBUS, IN 47201 315 FRANKLIN STREET COLUMBUS, IN 47201 315 Franklin Street • Columbus, IN 47201 www.THECIP.org812-376-2638 Monday thru Friday 9:30 AM - 5:00 tickets@THECIP.orgPM Program Book Design by Katelyn Ice Marketing
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www.THECIP.org 11 JamesLIENHOOP It is my pleasure to extend warmest greetings as you gather for exceptional music presented by our very own Columbus Indiana Philharmonic. I applaud our Philharmonic for providing everyone in attendance with exciting and innovative programs for the 2022-2023 season. In addition to providing personal enjoyment, artistic and cultural activities have the ability to challenge us. The arts help us see the world through the eyes of others. By providing new or unique perspectives, intellectual stimulation or opportunities for public involvement, the arts bring about a greater sense of understanding and community. Over the past few years, our appreciation the arts has grown and we applaud those who have continued to provide opportunities for the rest of us to enjoy. A community that provides these opportunities sets itself apart from – and above – its peers. The Phil’s commitment to sharing new perspectives through music is commendable, and Columbus is proud to call it our own. We are fortunate to have the Columbus Indiana Philharmonic, many other music organizations, our downtown Arts and Entertainment District, our architecture, public art and landscapes, all in our backyard. These art forms add to the cultural vibrancy that helps us delight in a rich, meaningful and engaged life. We have much to enjoy, and that reflects well on Columbus! But, for now, enjoy the show. Bravo to The Phil – keep up the good work and thanks for another great season! MAYOR • COLUMBUS, INDIANA Jack Turner (1973-74) • Barbara Garton (1974-75) • Betty Brown (1975-76) Norm Leighty (1976-77) • Jackie Murphy (1977-78) • Sam Chizmar (1978-79) Curt DeClue (1979-80) • Chuck VanNatta (1980-81) • Gary Gron (1981-82) Susan Anderson (1982-83) • Dan McKinley (1983-84) • Phyllis Ryan (1984-85) Elizabeth Booth Poor (1985-86) • Susan Ingmire (1986-87) • Alice Curry (1987-89) William Poor (1989-91) • Bob Kaspar (1991-93) • Richard Stenner (1993-95, 1997-98) Barbara Kirr (1995-97) • Jane Hoffmeister Repp (1998-2000) • Kaye Ellen Connor (2000-02) Robert A. Orben (2002-03) • Robert J. Williams Ph.D. (2003-04) • Mark S. Elwood (2004-05) Judy Summerville (2005-06) • Tom Hinshaw (2006-07) • Elizabeth Lipson (2007-08) John Erickson (2008-09) • Tom Lego (2009-2012) • Mark Pillar (2012-2015) Peter Campbell King (2015-2017) • Sharon Sung Andrews (2017-2018) Barry Turner (2018-2020) • Melissa Fairbanks (2020-2022) Past Presidents of our Board of Directors
Your favorite melody, the laughter of a loved one, the gentle patter of rain against glass - the list goes on and on. Every day, the sounds around us play an integral part in how we connect with the things and people that we love most. Stay in tune with the soundtrack of your life If you or somone you care about is having difficulty hearing, we would appreciate the opportunity to demonstrate the difference that Patient-Centered Hearing Healthcare can make. Call today and take the first step toward better hearing, better communicating, and better living! Dr. Kristi Conner, Audiologist 3105 Middle Rd. Suite B www.lifesoundsgood.com812-372-1886Columbus
www.THECIP.org 13 If the seat next to you is empty, it doesn’t necessarily mean that no one purchased a ticket for that seat. What it could mean is that someone was unable to attend the concert and didn’t turn in the ticket for a tax credit! We’re sad that the ticketholder was unable to come, but even more sad that the seat went empty when others would have gladly purchased it. Emergencies do happen, but if you know in advance you won’t be able to attend a concert, why not give your ticket to someone else? Or, if you prefer, you may donate your ticket to us for resale! Just call the Philharmonic Box Office at 812-376-2638 by 4:00 PM the Friday before the concert to turn in your ticket. SupportAdditionalfrom Empty SEATS? CONCERTMASTER$5,000PRINCIPALCHAIR$4,000SECTIONCHAIR$3,000To sponsor a chair, contact the Columbus Indiana Philharmonic at 812-376-2638. WITHOUT YOU......THEY’RE JUST CHAIRS. FUND Achair
Donnie Robinette was born in Bloomington, Indiana and graduated from Franklin. He was employed at the Indiana Masonic Home for 22 years in various leadership roles including food services director, transportation director, and business/fraternal development director. He also chaired their 65th-69th Annual Festivals with an average of 6,000 attendees. He is a past president of multiple Masonic organizations, including his home lodge in Franklin, and has served in various capacities at many state-level officer roles in appendant organizations. He is the recipient of numerous civic and fraternal honors including Youth Advisor of the Year (DeMolay), Masonic Leader of the Year, Legion of Honor, Grand Master’s Leadership Awards, Top Ten Worshipful Master of the Year, Volunteer Leadership Award by City of Franklin, a Knight Commander of the Temple (Knights Templar) and is also a Colonel of the Honorable Order of Kentucky Colonels.
SECURING THE legacy
The Columbus Indiana Philharmonic extends its deep appreciation for the more than 200 donors who have made a lasting impact with their contribution to the Philharmonic’s Endowment Fund since its inception in 1992. This Fund, held by the Heritage Fund of Bartholomew County, provides an annual distribution that is a key source of income used to support ongoing operations. You can leave a legacy of music with a variety of planned giving options, either by making a donation to the Philharmonic’s Endowment Fund at the Heritage Fund or with another financial instrument.
Lexi joined the CIP team as the Patron Services Manager in March 2021 and was recently promoted to Patron Development Manager. Lexi is a graduate of Indiana University- Bloomington where she studied Arts Management. She sang with the IU Jacobs School of Music Singing Hoosiers and worked for multiple arts organizations including Southern Indiana Center for the Arts, where she planned and managed the organization’s Art Camp. She also worked for the Buskirk-Chumley Theatre where she enjoyed working in the Box Office, managing house during events, and marketing. During the coronavirus pandemic, she was able to work with Fund for the Arts in Louisville, learning development and fundraising skills. She has also worked with Bloomington’s Jazz Girls Day which celebrates women in Jazz. The arts have always been a part of Lexi’s life and she is excited to share her passion for music with the Columbus Indiana Philharmonic. Wearing many hats on a daily basis, Lexi manages the CIP Box Office, attends all events to manage house, oversees social media promotions, and she is the Philharmonic's Choral Coordinator while also singing as a member of the Philharmonic Chorus!
Donnie has also been a voice of many radio spots and commercials. He plays the electric bass guitar and has owned his own event planning and DJ company (DRX Mobile Sound) since 1998.
PATRON DEVELOPMENT MANAGER
Lexi enjoys baking pretzels, biscuits, bread, & more! Her grandmother taught her how to bake when she gifted her sourdough starter from the 1970s. Lexi is a total cat-lover and loves spending time with her fur baby - Twilight!
EXECUTIVE
14 2022-2023 SEASON
Meet Our Staff
DONNIE ROBINETTE DIRECTOR
LEXI SCHNEIDER
YOUR ORCHESTRA YOUR SUPPORT YOUR IMPACT To obtain additional information about planned giving, please contact the CIP
Establishing an endowment gift provides a continuous source of income and may be used to support a Philharmonic program that is important to you. Funds may be held by the Heritage Fund of Bartholomew County or another foundation of your choosing.
DEBORAH EIKENBARY CICC
EDUCATIONADMINISTRATORDIRECTOR
Endowment
VANESSA
Deborah Eikenbary has been with the Philharmonic in different capacities since its beginning, currently serving as our Columbus Indiana Children's Choir Administrator. She sang in the opening concert as a member of the Pro Musica Chorus then joined the Education Team. She and her husband, Robert, took full advantage of the Philharmonic’s educational programs when their children, Rebecca and Steven, participated in Music for Youth String Classes, Youth Orchestra, Strings Camp, Choral Festival, and sang and toured with CICC. Deborah earned degrees from the University of Evansville and Butler University. Having retired after over 40 years of teaching music in public schools, she is currently continuing her work with the CICC and serving as a church musician.
Establishing a Charitable Gift Annuity provides you with an income stream while ultimately supporting the Philharmonic’s mission. at 812-376-2638.
As a founding member of the Columbus Indiana Philharmonic orchestra, Vanessa Edwards has enjoyed seeing the organization flourish over the past 35 years. She has been the Principal Second Violin and Production Manager since 1998, the Education Director since 2004 and the Philharmonic Youth Orchestra Conductor since 2009. However, her association with the CIP goes back further. She was a participant in the first CIP (then Columbus Pro Music) strings classes in 1972. It’s only fitting that she is the CIP Education Director today and manages (and teaches many of) the CIP strings classes in the BCSC elementary schools and organizes the CIP strings camp every summer.
Vanessa has shared her love of music and the violin with thousands of children over the years. She feels very rewarded when she sees students become excited about making music and confident with their instrument. In her spare time, Vanessa enjoys spending time with her husband, Greg; Nick and Sarah, her son and daughter-in-law; her daughter Shelby and two grandchildren, Dylan and Milo. EDWARDS
Deborah says, “The Philharmonic has brought high quality musical experiences to thousands of children and adults alike. I am proud to work with such a fine part of our community.”
Bequests
Planning a future gift to the Philharmonic can help you save taxes, increase your income, pass more on to your heirs and secure a great musical future for the Philharmonic. We encourage you to consult with your attorney or tax advisor when considering a planned gift to the Columbus Indiana Philharmonic. Naming the Philharmonic as a charitable beneficiary through your will is the simplest form of a planned gift. Bequests can be either unrestricted, allowing the Philharmonic to use funds as directed by the Board, or restricted for a specific purpose. Gifts
CharitableAnnuitiesGift
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16 2022-2023 SEASON Cello SeungAh Hong, Principal Sponsored by Drs. Dale & Linda Guse William Cayanan, Associate Principal Philip Kettler, Assistant Principal Sungmin Peter Kim Jacob Thompson Axel KevinTeuinAdrianVallejosGolayKimFlynn Bass Brian McAnally, Principal Sponsored by the George E. & Catherine H. Shortle Foundation Emily Krajewski, Assistant Principal Mitchell Ballester Joseph Ippolito Flute Kathy Dell, JessicaDonnaNotablesPrincipalFluteChairM.WilsonHarris Piccolo Jessica Harris Oboe Liza Saracina, Principal Sponsored by Bob & Mary Orben Jennifer Kirby English Horn Jennifer Kirby Clarinet Samantha KeithMatthewSponsoredPrincipalJohnson-Helms,byDonnieRobinetteRockwellNorthover Bass Clarinet Keith Northover Bassoon Mackenzie Brauns, Principal Ryan EricMylesActingYamashiro,PrincipalMingyuanYang,ActingSecondLouie Contrabassoon Eric Louie Horn Scott Holben, Principal Charlotte O’Connor Dave Poncar Kenji Ulmer Meet the MUSICIANS & THEIR 2022-2023 CHAIR SPONSORS Viola Elizabeth Doubrawa, Principal Christopher Alley, Assistant Principal Esteban Hernández Parra Matthew Norman Shek Wan Li Enoch KatherineNg Deneris Logan Strawn Violin I Elina Rubio, MarisaVirginiaPabloMichelleChakLauraAnastasiaSageErinaR.JuliElinaSponsoredConcertmasterbyBen&PatBushRubio,AssociateConcertmasterEnzinger,AssistantConcertmasterSponsoredbyMark&LindaPillarHenryJenkins,AssistantConcertmasterBuchholzParkKniessAndrewsSponsoredbyPeterKingLaw,PSCChiWongKimVenteroFernándezReen,ApprenticeVotapek Violin 2 Vanessa Edwards, Principal Alice Curry Endowed Chair Cindy Chen, Assistant Principal Christa Cole Yuri DarrenKelseaSungMadelineKarenAnnaYeongleeKathrynSantosTuttleKimLarsonDurnilBowlingYeonLisaKimAuLi,Apprentice
Percussion Brian McNulty, Principal Mark AustinStempelCantrell Trumpet Eric Rodriquez, Principal Jay KeithEllsmoreBurton Trombone Matthew ChanceKylePrincipalWilliamson,MalesevichGompert Tuba Glen Dimick, Principal Timpani Jason Spangler Harp Wendy Muston, Principal Keyboard Tim Stephenson, Principal Sponsored by Ray & Betty Hass Artistic Staff Vanessa Edwards Production Manager & Librarian Layne Anspach Orchestra Manager
Best of luck to all the talented Maestros! Proud Supporter of the JAN BRINKMAN Jbrinkman@C21BR.com | 812.371.3215 W W W . J A N B R I N K M A N . C O M
www.THECIP.org 19 OUR MISSION We connect people to diverse musical experiences that create memorable moments, embody inclusiveness, and embrace life’s journey through music communityperformances,education,andevents. Why we do what we do? OUR VISION A regionally organizationperformingknownartsthatoffers a multitude of inclusive arts driven activities focused on performing, visual, and culinary art forms. Who do we want to be? OUR VALUES CollaborationsConnectionsInnovationCreativityDiversityExcellenceIntegrityPassion What drives our choices?
Musically
ARRIVING LATE. Ushers will seat latecomers at appropriate pauses in the concert. If there is a need to leave the auditorium during the concert, re-seating will happen in the same fashion. DISTRACTIONS. Please silence all noise-making electronics before entering the auditorium. Flash photography, glowing screens and audio/video recording are prohibited during concerts. CHANGE OF PLANS? Please donate unused tickets to the box office prior to the concert, so that others may attend! Season subscribers have unlimited free ticket exchanges! FOLLOW THE PHIL. Visit our website at THECIP.org and stay in tune with CIP happenings via Facebook, Instagram, Twitter, and Youtube. HANDICAPPED SEATING. Seating for audience members with accessibility needs are available for all events. Inquire when purchasing event tickets. LOST & FOUND. Turn it in to the CIP Box Office in the auditorium lobby; for inquiries, call 812-376-2638, x1 during business hours. Musically Speaking begins at 6:45 PM prior to most concerts. In these engaging, spirited and informative conversations, each Conductor Finalist will discuss the concert they programmed and share their thoughts, ideas, insights, and anecdotes - a wonderful chance to become familiar with the great music played by the orchestra. Musically Speaking is free to all concert ticket-holders. For more information, contact the CIP Box Office at 812-376-2638.
SPEAKING
NO
AConcertsdventure Each year, thousands of area 3rd and 4th grade students explore the world of orchestral music at the Adventure Concerts. These concerts blend education and entertainment, exposing young children to the various instrument families of the orchestra, encouraging them not only to enjoy music, but also to explore making music. Making music changes lives! Early Childhood Classes CICC offers two classes for caregivers with their children ages 4-5. You and your child will enjoy songs, games, folk dance, play parties and more in this active, fun one-hour class with Kaila Lifferth. For more information, contact CICC Administrator Deborah Eikenbary at cicc@thecip.org. EDUCATION programsMAKING MUSIC CHANGES LIVES Jammin’ with the Phil & Petting Zoo Jammin’ with The Phil and the Philharmonic’s Petting Zoos offer free interactive musical events for children. Contact Education Director Vanessa Edwards for more information at educate@thecip.org.
learning.
that arts
regional
The CICC Neighborhood Academy Choir is part of the ICC/CIP effort to provide a short term, after-school choral experience to serve local and schools. offers a 5-6 week introductory choral education program with the opportunity performance with the CICC Choir and members of the CIP. Past Neighborhood Choir Academies Philharmonic believes programming is a critical component to well-rounded education, therefore has a strong commitment as Concert Preview Program musicians schools hands-on Philharmonic musicians activities performances, ribbon ceremonies, receptions, ceremonies, Love Chapel Gift Concert donations
a
to education outreach initiatives, such
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where
cutting
concert
wedding
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participate in other outreach
and festivals. CICC’s annual
for
company
provides our youth the opportunity the encourage food
CICC
the Adventure
have included schools in Franklin, Batesville and Hope. Contact CICC Administrator Deborah Eikenbary at cicc@thecip.org to help underwrite this program or to request to have an NAC at your location. Neighborhood Academy Choir ChoirStaff EikenbaryDeborah AdministratorCICC FriedersdorfJill Concert & Prep AccompanistChoir NicholasKohne Baritone Coach &AssistantTechnical LifferthKaila CICC MusicChildhoodEarlyTeacher The
including many ensemble
to our local food bank. Community Outreach
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Choral Festival and Strings Camp are offered to young aspiring musicians during May and June.
The Columbus Indiana Children’s Choir is a cooperative effort between the Columbus Indiana Philharmonic and the internationally renowned Indianapolis Children’s Choir. CICC is known for its excellence in music education and performance. CICC has shared its musical artistry as frequent guests for local schools, community organizations and beyond. Members of CICC have performed and toured across the continental United States, in Hawaii, Alaska and throughout Central Europe. The CICC also performed in New York City’s Carnegie Hall and Lincoln Center. CICC is a tuition-based, educational program. CICC consists of three treble voiced choirs of children and youth in 1st thru 9th grades. Children’sIndianaChoir Melissa Garcia CICC
Summer Camps
22 2022-2023 SEASON
Columbus
DescantConcertDirectorChoirChoir ChoirDirector
Choral Festival is a weekend music camp for children graduating into grades 4-8. Participants enjoy singing, playing musical games, learning about vocal production, harmony, and much more! At Strings Camp, string musicians of all levels in grades 1-8 are encouraged to sign up for group lessons on violin, viola, cello, and bass taught by experienced instructors. Arts and crafts, swimming, miniature golf, and other outdoor fun are part of the daily schedule. Both camps culminate in performances open to the public. For more information, visit www.THECIP.org/education.
FOR CICCMOREINFO, SEE PG. 47
EducationDirector Vanessa Edwards Youth Orchestra StringsStringsStringsInvitationalCampClasses The Philharmonic Youth Orchestra hosts several musical groups from surrounding communities at the annual Invitational under the direction of PYO Music Director Vanessa Edwards. Strings Invitational EDUCATION programsMAKING MUSIC CHANGES LIVES The Philharmonic Youth Orchestra (PYO) provides an encouraging and challenging orchestral setting for middle and high school students. PYO musicians are mentored by Philharmonic musicians and perform in several concerts and ensemble groups each year, including an opportunity to perform side-by-side with the Columbus Philharmonic Orchestra. Membership is by audition. Philharmonic YouthStringsOrchestraClasses The Philharmonic offers weekly strings classes in local elementary schools, with a concert presented at the end of each semester. Beginning, intermediate and advanced classes are offered.
2. I/We are contributing a total of $ Total enclosed Pay in increments of: 2 3 4 of $ each Months to Checkinvoice:enclosed Visa Mastercard Discover American Express Card # Exp Bravo! $10,000+ Encore $7,500–$9,999 Gold Baton $5,000–$7,499 Silver Circle $2,500–$4,999 Conductor’s Circle $1,000–$2,499 Benefactor $500–$999 Sustainer $250–$499 Patron $100–$249 Friend Up to $99 You have the opportunity to help guide your gift: Use my gift to support musical programming (musicians, guest artists, and concerts) Use my gift to support youth programming Use my gift where most needed It is only through the generous support of this community that the Philharmonic is able to: • its mission to make music • Educate all ages in the joy of music • Create performances in pursuit of the highest artistic achievement • Advocate a life long interest and involvement in music Name1 (please print) CityAddress State Zip Phone Email Please list me/us as (please print) $oftotalacontributingarewe/I2 Total enclosed Two increments Three increments Four increments of $ each Months to invoice: Check enclosed Visa MasterCard Discover Card# Exp CVV# For gifts of stock, please call 812-376-2638 x2 isgiftThis3 in Memory in Honor An acknowledgement of your kindness will be sent to the person(s) listed below: Name(s) Address City State Zip DONATION LEVELS SUPPORT MUSIC & ARTS • SUPPORT THE ORCHESTRA • SUPPORT EDUCAT ION RETURN TO Columbus Indiana Philharmonic • 315 Franklin Street, Columbus, IN 47201 Questions? Call 812-376-2638 • www.thecip.org 3. This gift is: in Memory in Honor An acknowledgement of your kindness will be sent to the person(s) listed below: CityAddressName(s) State Zip 1. Name (please print) CityAddress State Zip Phone Email How should we name you in donor recognition materials? Return this form to the Columbus Indiana Philharmonic. Questions? Please contact us at: 315 Franklin Street • Columbus, IN 47201 • 812-376-2638 • THECIP.org You can donate online too! For gifts of stock, please 812-376-2638,call x4. SUPPORT MUSIC & ARTS • SUPPORT THE ORCHESTRA • SUPPORT EDUCATION 2022-2023 Annual Fund Drive
26 2022-2023 SEASON The Columbus Indiana Philharmonic is grateful for donations received between 5/1/2021 - 7/31/2022. The financial support of these individuals and organizations ensures that the Philharmonic can continue its tradition of excellence in providing concerts and music education programs that enhance Columbus’ reputation as a vibrant community dedicated to the arts. 2021-2022 Contributors Ben & Pat Bush Marc ChristineDissosway&MikeElwoodDavid&EllaElwood Victoria Craig Griffin & Christopher Raskob Rick & Alice Johnson Howard Pearcy BRAVO! $10,000+ Roger & Jan Brinkman Joe & Sher Cunningham David & Cindy Force James & Jeanne Green Ray & Betty Hass Matt & Theresa Hotek Robert Kaspar George & Catherine Shortle Foundation Trust SILVER CIRCLE $2,500 - $4,999 Bob & Elizabeth Crider Drs. Dale & Linda Guse Tracy Haddad James & Toots Henderson Peter & Catherine King Dave & Jo McKinney Beth & Marshall Middendorf Bob & Mary Orben Mark & Linda Pillar John & Donna Sasse GOLD BATON $5,000 - $9,999 David & Donna Bowden Andy Ball & Jason Cannon Kevin & Tracy Embree Melissa & John Fairbanks Troy & Cindy Forman Bob & Helen Haddad Bob & Renee Kasting Tom & Pamela Lego John & Connie McGinty William & Beth Booth Poor Kevin Preuss & Lisa Duret Eric & Nikki Robbins Jim & Jennifer Rumsey Sherry Stark & David Tiede Dennis & Mary Sue Stone Harold & Jo Weber Thomas & Sara Wood CONDUCTOR’S CIRCLE $1,000 - $2,499 James & Suellen Gillespie Rich & Alice Gold Gary & Kristine Gron Tom & Mary Harmon Susan Ingmire Blue & Company John & Elizabeth Lipson Richard & Susan Miller Richard & Nancy Nyers Lenora & Clyde Parrott Susan Pickens & David Borcherding Don & Nancy Ann Poynter Marilyn Richardson Kerry & Alice Richmond Donnie Robinette Bill & Bambi Sasse Tracy Stachniak Don & Peggy Wampler Laura & Louis Wenzler Laurie & David Wright Ronald & Sandy Zimmerman BENEFACTOR $500 - $999
Betty JoeRonGregRobertPatrickCharlesTuttleVanNatta&DianeWardWebb&CamilleWillmore&MarilynWoods&LizWorthington
www.THECIP.org 27 We’re doing because of you!more
David & Wilma Doup Willis & Catherine Bahnsen Jesse Brand & Geri Handley
Shirley Sally Madge Clay Amarthin
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For three consecutive summers, he was selected to conduct public concerts of the B-Minor Mass, St. Matthew Passion, and the Christmas Oratorio at the Oregon Bach Festival. Bogza is responsible for a number of successful collaborations and is regarded for his sensitive approach. In 2017, he engaged an award-winning choreographer Roger Van Fleteren to present an abridged version of Prokofiev’s ballet Romeo and Juliet, and conducted two sold-out performances of The Moscow Ballet’s The Great Russian Nutcracker, a production that included the company’s professional dancers, 120 community dancers, and a local children's chorus. In 2018, Bogza led three sold-out performances of The Phantom of the Opera and productions of Pirates of Penzance, Menotti’s The Medium, and Barber’s A Hand of Bridge. Off the podium, Bogza is an endurance athlete who regularly competes in ultramarathons and long-distance bike rides. Having won gold medals and finished over a dozen races, his future aspirations include competing for The Triple Crown (three consecutive 200-mile races) in 2023, and Badwater 135 in 2024. Bogza trains with his two Belgian Malinois dogs, Samson and Stella, and is an avid chef of Slavic cuisine. Bogza was born in Russia into a Russian-Ukrainian family and emigrated to the United States in 1995. He has earned a Master of Music degree in orchestral conducting from Central Washington University, and a Doctor of Musical Arts degree in orchestral conducting from the University of Minnesota.
Described as "a charismatic conductor whose passion radiates from the podium" (The Virginian-Pilot), conductor Sergey Bogza is known for his unique approach to working with orchestras and engaging audiences on and off the podium. Equally comfortable leading productions of opera, ballet, and concert repertoire, Bogza’s energy and artistic integrity are highly regarded by audiences and musicians alike. Combining the roles of a conductor and composer, the premieres of his works are enthusiastically received by audiences and musical ensembles across the United States and Europe.
In March 2016, Bogza became the Music Director and Conductor of the Millikin-Decatur Symphony Orchestra and has since accomplished consecutive seasons of increased subscription ticket sales, donor engagement, and audience growth. Bogza has been praised for his thoughtful approach to programming, collaborations, and entertaining and engaging pre-concert talks, and is widely credited with fostering the orchestra’s exceptional artistic growth.
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As a guest conductor, Bogza cultivates a burgeoning international presence that has brought him engagements in the USA and Europe with orchestras, ballet companies, and festivals. He has guest conducted musicians of the Minnesota Orchestra, Virginia Beach Symphony, Pazardzhik Symphony Orchestra, Sheboygan Symphony Orchestra, Auburn Symphony Orchestra, Illinois Valley Symphony Orchestra, and Gwinnett Symphony Orchestra.
SergeyBOGZA MAESTRO FINALIST #1 TO LEARN MORE, FOLLOW MAESTRO SERGEY BOGZA ON SOCIAL MEDIA
www.THECIP.org 29 FIN A LISTfa c ts SATURDAY, SEPTEMBER 17, 2022 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM Javelin Michael Torke The Lark Ascending Ralph Vaughan Williams Elina Rubio, Concertmaster Slavonic Dance Op. 46, No. 3 (Polka) Antonín Dvořák Symphonic Dances Sergei Rachmaninoff Symphonic Dances SERGEY BOGZA • CONDUCTOR 2022-2023 SEASON: MAESTRO intermissionFavorite Composer Sergei Prokofiev Hobbies Ultra-MarathonsCookingUniversityofMinnesotaCentralWashingtonUniversity FamilyEducationFact 9 Siblings "I have been a part of the CIP for several years, and to have the honor of performing The Lark Ascending with such incredible musicians is an understatement. The CIP is an orchestra that inspires the audience with its own voice; the individuality of each artist on stage makes a unique yet complex artwork. With challenging programming, everybody comes ready to make music at the highest level. A lot of hard work is involved, and the work ethic and mutual sympathy make it a vibrant experience to be a part of." Elina Rubio Concertmaster Birth Place Taganrog,SamsonRussia&Stella 2 Belgian Malinois dogs Pets Î
30 2022-2023 SEASON CABARET AT THE COMMONS 2022 FALL SERIES 812-376-2638 • THECIP.ORG • 315 FRANKLIN STREET, COLUMBUS • 9:30 AM - 5:00 PM ABBY 10.27.22MUELLER MATT 12.2.22DOYLE C CATABARETTHEOMMONS A PROGRAM OF CO LUMBUS INDIANA PHILHARMONIC CHRISTINE & MIKE ELWOOD VICTORIA CRAIG GRIFFIN & CHRISTOPHER RASKOB SERIES SPONSORED BY You Know Her From: Originated the role of Carole King in the Broadway musical Beautiful Six: The Musical School of Rock • Kinky Boots You Know Him From: 2022 Tony Award Winning Actor in the musical Company The Book of Mormon TV - Gossip Girl LEARN MORE ABOUT OUR GUEST ARTISTS @ THECIP.ORG/CABARET
Nancy Smith In Honor of Matthew Akers, Retired U.S. Navy In Memory of R. Stanley McClain, U.S. Navy Deb Barr, Jenifer, Marcus, & Madelyn Speer In Memory of Robert R. Barr
In Memory of Owen R. Lyster Sally Madge In Honor of Capt. Thomas Bird, USMC Judy McCormick In Memory of Mike McCormick
Joe & Lisa Lohmeyer
These donors graciously gave in 2022 to celebrate the 22nd Anniversary of our annual Memorial Day weekend Salute! concert. Together, we honor these tributes who fight every day for our freedom, especially those who gave the ultimate sacrifice.
The Mount Family
Shirley Ann Lyster
Beth Booth Poor In Honor of William E. Poor, U.S. Navy-Vietnam
Vic & Susan Thompson In Honor of Sgt. Wayne Thompson, Capt. Vic Thompson In Memory of MSgt. Claude Thompson Sr., Lt. JG. WM Claude Thompson Jr.
Janie Walton In Memory of Freddie Cross, U.S. Air Force 1958, Kerry McCarty, U.S. Army 1976
In Memory of Robert Lloyd Smith
Larry & Judy Alexander Bob Arthur In Memory of James C. Arthur Willis & Catherine Bahnsen In Honor of Sgt. Matt Bahnsen-USA Beverly Baker In Memory of James K. Baker Richard Belush In Memory of Bev Belush Fred & Julie Beerwart In Memory of Bill Conoley, Andy Conoley, Bob Griffith Pat & Paul Bippen In Honor of John R. Bippen Winter Bottum In Memory of Cable G Ball, U.S. Army 10th Air Corps David & Donna Sjaardema Bowden In Memory of Donald Sjaardema, Army Air Corp, WWII, ex-POW Jan & Roger Brinkman In Memory of Sherm Franz,U.S. Air Force Nolan Bingham, U.S. Army Doneda Brown In Memory of Doris June Brown Suzi, Melissa, Jason, Jonathan, & Hope In Honor of Larry C. Brown Donna Browne In Honor of Edmond W. Browne, USMC Dan & Anita Burton In Memory of Hank Burton, Bill Emmert, Mike Emmert Chuck & Martha Butler In Memory of James N. Butler, USAF-Korea, Carl F. Main, U.S. Army-WWII John & Jean Chambers Derek, Jennifer, Joshua, & Daniel Chastain In Honor of Chief Master Sgt. Joseph Chastain, Sgt. Maj. Justin Richardson Joseph Clegg In Memory of John P. Clegg & Joyce L. Clegg Jonathon Clemens In Memory of Ralph Clemens, WWII Marilyn & Jim Clerc In Memory of Eugene “Jack” Clerc Ed Zuba Colleen Coleman In Memory of Carl Coleman, Richard Roseberry Dick & Lindsay Cooley In Memory of Larry D. Ryser Carol Crossman In Honor of RichardDanielCrossman,Galdo Tom & Kathy Dell In Memory of Col. Darvin Appel Deborah Divan In Memory of Walter Divan Jacque Douglas In Honor of Gary Huffer In Memory of Robert Huffer, Hazen Cannon John Drebus John W. Dunlap Larry & Karen Durnil In Honor of Larry Durnil, Matthew B. Durnil In Memory of Lester D. Durnil, Raymond Durnil, Mildred Betty Jaynes Doug & Carla Eckart In Memory of Our Dad’s Service in WWII Edward & Vivian Eckerly In Memory of George Eckerly, U.S. Army WWII Vanessa & Greg Edwards In Honor of Bob Harden, Harry Edwards Nancy Edwards In Honor of 2nd Lt. Elijah Edwards, USAF John & Melissa Fairbanks In Honor of Mark A. Pillar, Maj. Gen. USAF (Ret) Dianne & Jim Farrar In Memory of Carl Harris, Jack Farrar Sandra Finkel Basil & Nancy Fritsch In Honor of Gregory J. Pence, Michael J. Pence, Basil C. Fritsch, Gregory K. Honeycutt In Memory of Edward J. Pence Cliff Gardner In Memory of Janice Hexamer Gardner Mrs. Evelyn Garwood In Honor of Charisse Garwood, U.S. Army In Memory of Paul L. Garwood, U.S. Navy Ret. James Gillespie In Memory of Harry McCawley Glick Family In Memory of Marvin H. Glick Tom & Adrienne Going Jim & Jeanne Green In Honor of Bill Hoehn In Memory of Fred H. Alfele, Fred A. Alfele, Bill Gentry, Walter Hoehn Victoria Griffin In Honor of Charles B. Schaler, USA WWII, Stephen C. Schaler, USN & Green BeretVietnam, Joseph Schaler, USM- Vietnam, Christopher R. Baldwin, USA Pakistan,AfghanistanIraq, Drs. Dale & Linda Guse Mary Ann Grogg In Honor of Tim Grogg Tracy Haddad In Memory of Helen Haddad Don & Patsy (Burke) Harris In Honor of Roger D. Burke, USAF Greg & Marilyn Harter In Memory of Blair Harter DwightU.S.Maxey,Army Joe & Linda Heldt In Memory of Bill Heldt, U.S. Army, Richard Banet, U.S. Navy, Al Jennens, U.S. Army Brigitte Potthoff-Hemmings
In Memory of Daryl A. Hemmings, Navy Toots & Jim Henderson Mr. & Mrs. Samuel Hires In Memory of Samuel Hires Sr. Kim & Helen Henderson In Memory of Eric Henderson, USAF Matt & Theresa Hotek In Honor of Sgt. Tom Hotek, Army -Vietnam, Lt. Col. John Hotek, Army Ret. In Memory of Sgt. Martin McCawley, Sgt. Edward Halfacre, Bradley Bowling, Army WWII Jonas Howell Tim & Wanda Huffman Ernest Hunt Glenn D. Huntoon Jr. In Memory of G. David Huntoon, U.S. Army Ben & Amy Jackson In Memory of Larry Jackson Judy Jackson In Memory of Larry Jackson Pauline Jordan In Memory Rev. M. Bucky Jordan Joe & Ann Kinderman In Memory of Relatives & Friends who served Phyllis & Scott Kinsey In Honor of First Lt. Megan Renee Kinsey, U.S. Army In Memory of Cpl. Leland L. Klein, U.S. Marine Corps WWII Nancy Kistler Ryan & Blair Lauer In Memory of Laurence Lauer, U.S. Navy, Lost at Sea Tom & Pam Lego In Honor of Charles Wells Jr. In Memory of Charles Wells Sr., William H. Lego
In Honor of Private First Class Rachel Hokoana-Yamaguchi, Lance Corporal Rachel Bullough, Kaman Lykins
Diane RobertWardWebb
SALUTE!
Rajesh PatriciaThyagarajanTovey
Sharon Walters In Memory of Mark E. Walters
In Memory of Charlie Hurt Karen Lowe & Sons In Memory of David Lowe, Vietnam 1963-1967
In Memory of Gene Tovey Terry & Linda Trautman In Memory of Charles A. Houser Art & Marlene Turner In Memory of Turner Family Veterans Betty L. Tuttle In Memory of Jean Piccione, Women’s Army Corps Veteran WWII
Elaine Zimmer Dan & Susan Arnholt Art & Pinkie Beck David & Wilma Doup David & Ella Elwood Force Construction Co., Inc. Virginia Johnson Gordon & Barbara Lake Daryl & Dot McMath Myers-Reed Chapel/Hathaway-Myers Chapel Ernesto Boyzo Ruiz Brenda & Roger Schaefer Sam & Fran Simmermaker Jim & Jackie Strietelmeier David & Laurie Wright IN HONOR OF THOSE WHO GAVE TOMORROWSTHEIRFOROURTODAYS
In Memory of Robert W. Booth, Army Air Force-WWII Adele Potthoff In Memory of Gustav T. Potthoff, Dutch Army James & NancyAnn Poynter In Memory of Diane R. Hawes Chris J. Price In Memory of Larry Riss A.C. & Donna Reeves In Honor of A.C. Reeves, Army Berlin, David Fields CSM Army Reserves (Ret), Col. James B. Boynton, Air Force (Ret)
Laura Leonard
In Honor of Steve Lohmeyer, Chris Lohmeyer In Memory of Fred Lohmeyer, Henry Lohmeyer Tally & Lisa Lykins
In Memory of Alton C. Reeves, Army WWI, Donald E. Boynton, Army Air Corps WWII Charlie & Suzie Rentschler Forrest A. Ritz II In Memory of Forrest A. Ritz Diane & Mike Robbins In Memory of Larry Fonner Paul & Linda Ryan In Memory of Ganville Love John & Donna Sasse In Memory of Martin H. Schulz, U.S. Army WWI Colin Scheidt
In Honor of Anthony Krug Dick & Nancy Nyers
In Memory of Jim Foulke, Jerry Bray, Don Hinkle Bill & Garlene Weisner In Memory of Gregory Weisner Greg & Camille Willmore In Memory of Richard H. Willmore Allan K. Wilson In Memory of R. Max Wilson Joseph Andrew Worthington In Memory of Gerald Wayne Worthington Dot Yeaton In Honor of J.D. Yeaton, U.S. Marines Ret., Ryan Yeaton, U.S. Marines Ret.
In Memory of Lt. Col. Robert L. McCracken, USAF Ret. Tom Pickett Music Center In Memory of Keith Pickett Joyce Piercefield In Memory of Jack L. Piercefield Mark & Linda Pillar In Memory of PVT Roy Hunterman, USA, LTC George A. Pilla, USA, CPL Paul Hunteman, USA, CDR Samuel A. Pillar, USN, E-7 Michael M. Pillar, USA, SFC Terry P. Pillar, USA, E-5 Harry McCawley, USA
In Memory of Lt. Col. Norman Bullard, U.S. Army, Andrew J. Conoley, U.S. BoatswanisMarinesMate Bob & Mary Orben Lenora Parrott
Heather McDonald
In Memory of Virgil Eugene Brown Connie & John McGinty In Honor of John C. McGinty Sr, U.S. Navy Chief Petty Officer Della McGuire In Honor of Capt. Connor McGuire In Memory of Don R McGuire Sr. Myron Miller In Honor of Sgt. Noah Miller Bill & Garlene Weisner and Jon & Nancy Moore
Tracy Stachniak Mark & Rebecca Stempel
Lexi Schneider In Memory of John J. Ryan Steven & Patty Shuler In Memory of Edward Miller, Roscoe Shuler Joseph Shafran In Honor of Ray Shafran Kelli Smith In Honor of Edward Bokelman
Dennis O. & Nancy E. Taylor In Memory of Alan Bolenbaugh, USN, Pacific Theater, WWII
JAVELIN Michael ComposedTorkein 1961 Est. Duration: 9 minutes American composer Michael Torke’s brief and exhilarating orchestral work, Javelin , was commissioned by the Atlanta Committee for the Olympic Games, and the Atlanta Symphony Orchestra. The commission was a dual celebration of the Atlanta Symphony’s 50th anniversary, and the upcoming 1996 Olympic Games. The composer writes : "I had three goals for this Atlanta Symphony’s anniversary piece: I wanted to use the orchestra as a virtuosic instrument, I wanted to use triads (three-note tonal chords), and I wanted the music to be thematic. I knew I would welcome swifter changes of mood than what is found in my earlier music. What came out (somewhat unexpectedly) was a sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition. When the word javelin suddenly suggested itself, I couldn’t help but recall the 1970s model of sports car my Dad owned, identified by that name, but I concluded, why not? Even that association isn't so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit."
Symphonic Dances PROGRAM NOTES COMPILED BY SERGEY BOGZA WE SUPPORT THE SIGHT AND SOUND OF OUR COLUMBUSPHILHARMONIC.INDIANA GOOD FOR THE EYES SINCE 1964. SEE US AT 25TH STREET AND COTTAGE AVENUE OR WWW.COLUMBUSOPTICAL.COM COLUMBUS OPTICAL
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THE LARK ASCENDING Ralph Vaughan Williams Composed in 1914 Est. Duration: 15 minutes Nostalgic longing permeates The Lark Ascending. Not a cozy
SYMPHONIC DANCES, OP. 45
Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full, rich sound Ormandy and his orchestralheinoftheheremarkedRachmaninoffduringSometimeproduced.musiciansthe1930s,thatalwayshaduniquesoundthisensemblehisheadwhilewascomposingmusic: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.”
continued on pg. 34 SERGEIRACHMAN
In the 1870s, it was unlikely that one would have heard of a Bohemian musician named Antonín Dvořák unless one lived in the vicinity of Prague. An orchestral violist, church organist, teacher, and aspiring composer, Dvořák spent his twenties and thirties struggling to support himself and his growing young family. However, when his persistent submissions to the Austrian State Prize for composition caught the attention of panelist Johannes Brahms, Dvořák’s fortunes changed almost overnight: he was invited by Simrock, Brahms’ publisher, to join the firm’s illustrious roster of composers.
SLAVONIC DANCE, OP. 46 NO. 3 (POLKA) Antonín Est.ComposedDvořákin1878Duration:4minutes
The Symphonic Dances turned out to be Rachmaninoff’s final composition; he died two years after completing them. Although not as well-known as his piano concertos or the Rhapsody on a Theme of Paganini, both Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral.Nervous pulsing violins open the Allegro , over which the winds mutter a triadthetempo,astringschord).(three-noteminordescendingtriadThesetquickstepwhileopeningbecomesboth the melodic and harmonic foundation of the movement For over 150 years, First Financial Bank has successfully combined the expertise and services of a larger bank with the care and perspective of a neighborhood community Forbank.more information on First Financial Bank, visit us online at bankatfirst.com or stop in to your local banking center today.
Sergei Est.ComposedRachmaninoffin1940Duration:35minutes
www.THECIP.org 33 nostalgia that looks back to a rose-tinted past, but rather a spiritual fervor for an idyllic paradise, expressed as the song of a soaring skylark and, on the earth below, human life—a poignant metaphor for our collective yearning for transcendence.
“For singing till his heaven fills, ‘Tis love of earth that he instils,” reads George Meredith’s poem “The Lark Ascending,” in which Vaughan Williams found his inspiration for a composition that inevitably ranks at or near first place in polls of audiences’ favorite pieces. The solo violin plays the role of the lark, in rhapsodic solo passages that at some times evoke the song of the skylark while at others introduce thematic material. The orchestra represents the earth, humanity, both underpinning the violin’s lofty flights and introducing, in a midway episode, the sounds of daily life via a gentle rustic tune that suggests a country village.
Following the model of Brahms’ wildly successful Hungarian Dances published a decade earlier, Dvořák put forth his own Slavonic Dances, opus 46, in 1878. They were four hand piano duets in their first incarnation. They flew off the retailers’ shelves, so Simrock requested arrangements for orchestra. Rapid, piquant contrasts between the major and minor modes are features of this music, along with driving rhythms and catchy melodic figures: these pieces are lyrical and danceable all at once. Dvořák’s sparkling orchestrations amplify and colorize these core characteristics for the benefit of a large concert hall, while the original “black and white” versions for piano were intended for cozy readings at home.
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34 2022-2023 SEASON as it is repeated, reversed and otherwise developed. The introspective middle section of the movement features the first substantial melody, played by the distinctively melancholy voice of the alto saxophone. The final section of the movement returns to the agitated quickstep and fluttering triad. The Andante con moto begins with muted trumpets and pizzicato strings executing a rather lopsided waltz rhythm that stutters fitfully, followed by a subdued violin solo. The main theme has none of the Viennese lightness of a Strauss waltz; instead its haunting, ghostly quality borders on the macabre and is suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse The waltz is periodically interrupted by sinister blasts from the brass section. In the Lento assai: Allegro vivace, Rachmaninoff returns to the haunting liturgical melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody before, most notably in his Rhapsody on a Theme of Paganini. In this work the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and uses the full force of the orchestra’s array of sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including Blagosloven Yesi, Gospodi , from Rachmaninoff's choral masterpiece, All-Night Vigil, which describes Christ’s resurrection. On the final page of the manuscript of the Symphonic Dances, Rachmaninoff wrote, “I thank Thee, Lord!” - Maestro Sergey Bogza JacksonsNursery.com7183E.CountyRoad 400 N. • Greensburg, IN 47240 Email: info@JacksonsNursery.com • Phone : 888-596-9221 • Design/Build Landscaping • Residential and Commercial • AutoCAD Computer Design • Photo Realistic Imaging • Outdoor Rooms • Water Features • Retaining Walls • Paver and Stone Patios • Garden Center Symphonic Dances PROGRAM NOTES COMPILED BY SERGEY BOGZA continued from pg. 33
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Verville conducted the inaugural Kyushu International Festival in Japan and has performed with the Kyushu Symphony Orchestra, Hita Civic Orchestra, the Chikushi Jogakuen Philharmonic Orchestra, and the Kyushu Philharmonic Orchestra. In central America, he has appeared with Opera Panama and the Panamanian National Symphony Orchestra, and in Russia with the Far Eastern Symphony Orchestra.
He led performances with orchestras and theater ensembles across the U.S including the Tucson Symphony Orchestra, Richmond Symphony Orchestra, Southwest Michigan Symphony Orchestra, and has upcoming appearances this season with the West Virginia Symphony Orchestra and Columbus Indiana Philharmonic.
The award-winning Timothy Verville’s performances are hailed as “aweinspiring” and for “bringing down the house” (Atlanta Arts Scene). He is praised for possessing “finely focused conducting, (in which) the energy and pace of the music never sagged” (Tulsa World). A creative force, his innovative, imaginative, and musically engaging approaches in the concert hall position him as a uniquely multifaceted and multi-talented conductor of the modern orchestral world.
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An award winner in the American Prize for Orchestral Performance, Verville was mentored by esteemed conductors Bruce Hangen, Timothy Russell, and James DePreist. He worked in masterclasses with David Effron, Markand Thakar, and Neil Varon.
As Music Director and Conductor of the Georgia Symphony Orchestra, Verville has energized audiences while increasing and diversifying concert offerings. His focus on audience engagement and outreach has been recognized throughout the community and in the League of American Orchestra’s “Symphony” magazine. His creative and collaborative programming has expanded the organization’s performance footprint and served to build bridges to underrepresented populations. In addition to conducting classics, pops, and special performances, he designs the Sensory Friendly concerts which have been supported by National Endowment for the Arts. In 2007, Verville began a relationship with the Boston Chamber Orchestra that would encompass over a decade of musicmaking. Beginning as an instrumentalist in the orchestra, he was invited to become Associate Conductor and later Principal Guest Conductor. During his tenure, he toured internationally with the ensemble and recorded music for the orchestra’s first CD release. In Phoenix, he served from 2010 to 2017 as the founding Artistic Director and Conductor of Arizona Pro Arte. His presentations of unique and highly anticipated collaborative events resulted in exponential organizational and audience growth. During his tenure, the orchestra expanded to include a regular masterworks season, a summer orchestral series, educational performances, a chamber music program, a dance ensemble, and establish a composer in residence.
TimothyVERVILLE MAESTRO FINALIST #2 TO LEARN MORE, FOLLOW MAESTRO TIMOTHY VERVILLE ON SOCIAL MEDIA
www.THECIP.org 37 FIN A LISTfa c ts SATURDAY, OCTOBER 22, 2022 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM Motor City Dance Mix Jonathan Bailey Holland Made in America Joan Tower Symphony No. 9 in E minor, Op. 95 Antonín Dvořák Made in America TIMOTHY VERVILLE • CONDUCTOR 2022-2023 SEASON: MAESTRO intermission Birth Place ConservatoryOklahomaBostonUniversityofOklahomaArizonaStateUniversity EducationHobbies Whatever my kids are into! CurrentInfatuationMusical BollywoodClassicCinema “ "The award-winning Timothy Verville’s performances are hailed as 'awe-inspiring' and for “bringing down the house.' Review about Maestro Timothy Verville Atlanta Arts Scene “ "He is praised for possessing 'finely focused conducting, (in which) the energy and pace of the music never sagged.' Review about Maestro Timothy Verville Tulsa World If I told you, it wouldchangeprobablybythetimeanyonereadsthis! Favorite Composer
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MADE IN AMERICA
JONATHAN B A ILEY HOLLAND
MOTOR CITY DANCE MIX
BY TIMOTHY VERVILLE
"One of the most successful woman composers of all time" (The New Yorker), Joan Tower (b. 1938) is one of the most important American composers living today. Her music has been performed around the world to great acclaim. Made in America was premiered in 2005. It was made possible by the Ford Motor Company through a partnership program with the League of American Orchestras, and was co-commissioned by 65 smaller-budgeted American orchestras representing every state. In 2008, the recording of the piece won Grammys for Best Orchestral Performance, Best Classical Album, and Best Classical Contemporary Performance. In speaking about the work, Tower said, "when I started composing this piece, the song America the Beautiful kept coming into my consciousness and eventually became the main theme for the work. The beauty of the song is undeniable and I loved working with it as a musical idea. One can never take for granted, however, the strength of a musical idea — as Beethoven (one of my strongest influences) knew so well. This theme is challenged by other more aggressive and dissonant ideas that keep interrupting, unsettling it, but America the Beautiful keeps resurfacing in different guises (some small and tender, others big and magnanimous), as if to say, 'I'm still here, everchanging, but holding my own.' A musical struggle is heard throughout the work. Perhaps it was my unconscious reacting to the challenge of how do we keep America beautiful."
Joan Tower Composed in 1914 Est. Duration: 14 minutes
PROGRAM
Made in America NOTES
Photoby:RobertTorres
Jonathan Bailey Holland Composed in 2003 Est. Duration: 8 minutes Born in 1974, Jonathan Bailey Holland earned degrees in music from the Curtis Institue of Music and Harvard University. He has taught at the Boston Conservatory and currently serves as the head of Carnegie Mellon University's School of Music. But to say his compositions are solely academic would be a mistake. His works have been performed by major orchestras including the symphonies of Cincinnati, Dallas, Indianapolis, and the National Symphony Orchestra. Motor City Dance Mix was commissioned and premiered by the Detroit Symphony Orchestra in 2003. In the piece, Holland blends the classical orchestra with the vibe of Detroit and its "Mowtown sound." The work opens as if were the beginning of an album produced in the studios of that era. This then gives way to soaring strings and driving brass which further harkens back to that signature sound. It becomes difficult to not get wrapped up in the energy and pulse of the music, as the concert stage transforms into a dance club. The work concludes gently, fading out as if the track has ended and the vinyl record that was playing now needs to be flipped. About the music, Holland says “it’s a piece that I hope is a fun piece for the orchestra to play and for the audience to hear.”
“ “A aorchestration,forwithcraftsmananeareffectivefinetheatricalsenseandrealskillwhenitcomestoformallayout." Review about composer Jonathan Bailey Holland Indianapolis Star
Est.ComposedDvořákin1893Duration:41minutes In many ways, the Czech composer Antonín Dvořák (1841-1904) was a nationalist composer. His music is infused with folk influences, styles, and songs of his fellow countrymen. So it is a bit interesting that his most popular work (and one of the most universally popular symphonies) is one that was written while living in another country, and as a musical postcard of that country's heritage as he claimed. Dvořák was well known and well regarded before he traveled to America. But despite his successes, he was only rewarded modestly in financial terms for his work. So in 1892 when he was offered an extremely wellfunded position as head of the new National Conservatory of Music of America, he leaped at the opportunity. During his three years in America, he not only composed his Symphony No. 9 but also his beloved Cello Concerto and the American Quartet. But for all of Dvořák's insistence, the ninth symphony remains something a little more European than American. The formal structure of the movements are of pure European heritage. The scales and orchestration follow many of his previous and subsequent works. And while the English horn solo in the second movement purportedly was of African American origin, the spiritual it is known as today came after Dvořák's composition. Dvořák had a great interest in the music of Native Americans and African American Spirituals and believed the future of music in the United States was based on this rich, untapped resource. But the American "influences" heard in the symphony are often less than clear. And further muddying the waters is the fact that they can be tied to many cultures not just in the US, but outside as well. And that is because as a country, we have been and continue to be one of the more diverse in the world, incorporating the sounds of other cultures into our own. The US would not begin to truly hear American-infused classical music until the turn of the century with composers like Scott Joplin, George Gershwin, and others. So in this light, it would make more sense to not view Dvořák's Symphony No. 9 only as a work of music that the composer said integrates American musical ideas, but rather something ideologically more significant. It is the result of a foreigner leaving their homeland in search of better opportunities. And once Dvořák was in the US, living comfortably and not worrying about his things we don’t want flush down the drain.
you to
www.THECIP.org 39 SYMPHONY NO. 9 "FROM THE NEW WORLD" Antonín
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Just a few
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Made in America finances, he was able to work at arguably a higher compositional level. Although it was only for a few years, Dvořák experienced the American dream. The first movement of the symphony opens slowly in a standard form before yielding to faster-paced music. In this, Dvořák presents the primary theme, which like all "good" themes is easy to recognize and hum (just like Beethoven's Ode to Joy). The beauty of the music lies in its simplicity, and this is found throughout all four movements.
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The second movement opens with low chords from the brass and woodwind instruments. They then yield the stage to the famous English horn solo. This melody is most recognizable outside of the classical world as it eventually became the spiritual "Goin' Home." This music is longing, and some of the most intimate and beautiful solo writing in all of the classical repertoire. This is followed by a second section that moves forward, but still in a melancholic manner. Small references from the first movement make appearances later in the movement to help build simple and unpretentious cohesion within the larger symphony. The movement ends how it began, with the return of the English horn solo and the opening chords, followed by a few additional closing statements.
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continued
The third movement is a dance recognizably not of American origin, especially to those who have experienced any of Dvořák's Slavonic Dances. It boisterously vacillates between sections of rhythmic hammering and simple, graceful lyricism. And as with the previous movement, fragments of the first movement theme also appear as an overall unifying Theelement.finale begins with a brief motive that feels like it may have been the foundation for the main theme of the movie "Jaws" (Interestingly enough, these brief few measures were also used as the opening sample for the widely pervasive song "Baby Shark.") But aquatic quotations aside, the music quickly moves into a heroic sounding soaring brass section. After the presentation of the themes, the music is best summarized by the educator and writer William E. Runyan in 2015: "What then ensues is a magic development of all of almost everything that you will remember as a tune from all the movements--varied, combined, and worked through as only a composer at the height of his powers, and a true disciple of Beethoven and Brahms could do. Even without all of this truly admirable intellectual and musical discipline, the psychological buildup to the end is sheer joy to experience. Constantly changing moods, tempos, and dynamics inevitably lead us to the triumph at the end, as minor turns to major, sustained by fortissimo (loud) statements of our familiar melodies. Interspersed are the familiar ominous chords from the slow movement, now sounded out in stentorian tones by all the winds. A final last reiteration of the main themes of the first and last movements takes us home. When all has been said, it really doesn't matter at all whether this magnificent work is from the "New World," or the world of Dvorák's beloved Bohemia-there is no doubt that it is from the musical world of a genius." - Maestro Timothy Verville from
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During the remainder of the movement, there is a struggle between musical darkness and light, another aspect that also is found throughout the symphony.
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pg. 39 PROGRAM NOTES
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Centra Credit Union Force Construction · Forman Investment Services The Columbus Indiana Philharmonic gratefully acknowledges the following individuals and organizations for their support of concerts, cabarets, events, and music education programs during the 2021-2022 season. To learn more about becoming a sponsor, please call 812-376-2638. 2021-2022 Sponsors Gold Baton $5,000 - $9,999 Bravo $10,000+ Silver Circle $2,500 - $4,999 Conductor’s Circle $1,000 - $2,499 Benefactor UP TO $999 The FoundationHaddadVictoria Craig Griffin & Christopher Raskob Christine & Mike Elwood Ben & Pat Bush Clarence E. & Inez R. Custer Foundation Carl Marshall Reeves & Mildred Almen Reeves Foundation, Inc. CommissionersBartholomewCounty PAST CIRCLEPRESIDENT'S Dave & Jo McKinneyTracy HaddadRoger&JanBrinkmanBOARD DIRECTORSOF Beth MiddendorfMarshall& Specialities,MachiningTurner'sInc.
• Verdi’s Defiant Requiem, in commemoration of the Jewish musicians of the Terezín Concentration Camp, who memorized Verdi’s Requiem using a single copy of the score and performed it as an act of defiance against the Nazis.
• Beethoven’s Fidelio in collaboration with Amnesty International and the Ohio Innocence Project.
He conducted the Los Angeles stage premiere of Tchaikovsky’s Iolanta at Pacific Opera Project, in collaboration with the National Federation for the Blind. He is one of the few conductors in the world who has conducted all of Mozart’s Germanlanguage operas, and he joined the Juilliard Opera as Assistant Conductor for their production of Mozart’s Così fan tutte
MAESTRO FINALIST #3 IsaacSELYA TO LEARN MORE, FOLLOW MAESTRO ISAAC SELYA ON SOCIAL MEDIA
• The world premiere of the critical edition of Weber’s Der Freischütz focusing on evidence-based approaches to gun violence prevention.
• The Ohio premiere of Tchaikovsky’s Iolanta in collaboration with the Cincinnati Association for the Blind and Visually Impaired.
In recognition of his talent and entrepreneurialism, Musical America featured him as a Spotlight Artist. Committed to ensuring that music education is accessible to everyone, Isaac serves as a Cello Teaching Artist and conductor at the MYCincinnati Youth Orchestra. Equally at home in the symphonic repertoire, Isaac made his German debut conducting the Deutsche Kammerphilharmonie Bremen in 2018. He has conducted the Xiamen Philharmonic, the Dayton Philharmonic, the National Symphony of Guatemala, the Chelsea Symphony, and the Cincinnati Chamber Orchestra. He has served as Assistant Conductor for Cincinnati Opera and the Glimmerglass Festival. Isaac’s work can also be heard on the soundtrack to the award-winning video game, Masquerada: Songs and Shadows. He started his professional music career at the age of 18 singing in the chorus of the Great Synagogue in Jerusalem. He holds a Bachelor of Arts from Yale College, where he was principal cellist of the Yale Symphony and sang in Yale’s Schola Cantorum. He completed a Master of Music in Conducting at Mannes College, and he holds a doctorate from the University of Cincinnati-College Conservatory of Music. Isaac maintains a catalogue of parallel fifths and other voice leading irregularities he finds in the works of common-practice composers. You can see them, as well as his commentary on counterpoint at his blog, illicitfifths.tumblr.com. He has three cats: Tosca, and Aida, and Tamino.
A musician of remarkable versatility, Isaac Selya has extensive experience as a conductor, pianist, vocal coach, cellist, and entrepreneur. He is the founder and Artistic Director of Queen City Opera, where he has led acclaimed performances that combine high-caliber opera with contemporary relevance, including the following projects:
• A production of Mozart’s Don Giovanni that featured workshops on sexual assault and consent.
www.THECIP.org 43 FIN A LISTfa c ts SATURDAY, NOVEMBER 19, 2022 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM Overture to Die Zauberflöte W.A. Mozart Scene and Waltz from Swan Lake Pyotr Ilyich Tchaikovsky Berceuse and Finale from The Firebird Igor Stravinsky Symphony No. 6 in F Major, Op. 68 Ludwig van Beethoven Taking Flight ISAAC SELYA • CONDUCTOR 2022-2023 SEASON: MAESTRO intermission Birth Place Cincinnati, OH Favorite Composer W.A. Cincinnati-CollegeUniversityMozartofConservatoryofMusicMannesCollegeYaleCollege Education Tosca, Aida & Tamino 3 cats Pets Î “ “It was a riveting production, with fine singing by its young cast and an excellent pit orchestra. Most impressive of all was Selya’s conducting, which brought out all the mystery and power of the full-blooded music.” Review about Maestro Isaac Selya Janelle Gelfand • Musical America “ His award-winningsingschoironthesoundtrackforthevideogame SongsMasquerada:&Shadows soundtrack Listen to His Work
All the pieces on this program are evidence for Beethoven’s idea that abstract music can communicate the emotions of specific events. In this program, we explore music that depicts birds and that expresses the exhilarating feelings of flight.
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Wolfgang Amadeus Mozart Composed in 1791 Est. Duration: 5-7 minutes Beethoven began his career in the shadow of Mozart. The Viennese theater group that hosted Beethoven’s marathon concert in 1808 had worked with Mozart 17 years earlier on a revolutionary project. Whereas most composers would only write operas on commission from wealthy noblemen or national theaters, Mozart had an entrepreneurial spirit, and decided to compose an opera on a subject that inspired him. The impresario of the theater, Emmanuel Schikaneder, was a close friend of Mozart’s, and he provided the libretto. Schikaneder was an accomplished Shakespearean actor, and he wrote a brilliant plot devise that spins the moral compass of the audience. At the beginning of the opera, the audience believes that the hero, Prince Tamino, is on a mission from the Queen of the Night to rescue her daughter Pamina from the evil wizard Sarastro, who has kidnapped her. But when Tamino confronts Sarastro, he begins to doubt the mission, and starts to think that the Queen of the Night is evil and power hungry. Sarastro enjoins the young man to think for himself and consider the evidence at hand, in a beautiful example of Enlightenment-era freethinking.
PROGRAM
BY ISAAC SELYA
SCENE AND WALTZ FROM SWAN LAKE Pyotr Ilyich Tchaikovsky Composed in 1876 Est. Duration: 11-12 minutes In 1875, Tchaikovsky had written a few operas, but had never tried his hand at a ballet. When he received a commission for a ballet from the Moscow Imperial Theater, the self-critical Tchaikovsky first studied the works of master ballet composers, such as Léo Delibe and Adolphe Adame. He quickly internalized the techniques of writing charming melodies and propulsive rhythms. He worked with astonishing speed on the project, recycling and repurposing some music he had composed for discarded Tchaikovsky’soperas.prowess for creating an atmosphere is evident in the first seconds of the scene. String tremolos and harp arpeggios hint at the dark magic afoot, and the plaintive oboe conveys the tragic fate of Odette, who has
Taking Flight NOTES
OVERTURE TO DIE (THEZAUBERFLÖTEMAGICFLUTE)
In 1808, on a cold December day, Beethoven presented an epic fourhour concert featuring works for orchestra, singers, and piano. It was Beethoven’s final appearance as a piano soloist with orchestra, as his hearing loss was making such collaborations impossible. Beethoven opened the concert with his Symphony No. 6 , in which he made a bold claim that he wrote out clearly on the title page: although music is an abstract art, it can convey the emotions of specific events, people, or experiences. Beethoven demonstrated this idea by encapsulating the emotions and experiences of a hike through nature into a symphony, replete with echoes of birdsong that Beethoven must have enjoyed before he went deaf.
INTRODUCTION
The opera is full of tensions between competing philosophies and artistic styles. On one hand, Mozart composed the opera as a personal passion project, but he also paused work on the The Magic Flute to take a lucrative royal commission to compose La Clemenza di Tito in honor of the coronation of Holy Roman Emperor Leopold II. Some of the music in The Magic Flute is complex and contrapunctal, with echoes of Johann Sebastian Bach, but Mozart balanced this with music in a folksy, charming idiom with popular appeal. This lighter musical style finds its expression in the character of the simple bird catcher Papageno, who was performed by the librettist and impresario Schikaneder himself. Papageno is not concerned with Tamino’s quest for heroism and truth; he cares only about finding a pretty girlfriend. The beginning of the overture sets a serious tone, with hints of austere Masonic rituals and contrasts of darkness and light. But the heavy tone quickly gives way to a sparkling texture in which the different instruments of the orchestra pass around a sprightly avian theme.
www.THECIP.org 45 been transformed into a swan by an evil wizard. In addition to his work as a composer, Tchaikovsky also reviewed concerts, and he wrote many mixed reviews of the works of Richard Wagner, which he considered to be well orchestrated, but too heavy. Tchaikovsky may have borrowed the famous oboe melody from his favorite Wagner opera, which also features swans. In the first act of Wagner’s Lohengrin, a night in armor arrives on the back of a swan to defend a woman who has been wrongly accused of a crime. Before he draws his sword, he sings a sad melody, warning her that she must never ask him his name. The gesture must have struck Tchaikovsky, as the melody found its way into Swan Lake BERCEUSE AND FINALE FROM THE FIREBIRD Igor Est.ComposedStravinskyin1919Duration:6-7 minutes When Stravinsky was 8 years old, he saw a performance of Tchaikovsky’s ballet The Sleeping Beauty, which kindled his interest in becoming a composer. He received his first ballet commission in 1909, to compose a ballet based on a Russian fairy tale. The Firebird tells the story of a magical bird that helps Prince Ivan defeat the evil wizard Koschei the Immortal. The Firebird bewitches Koschei and his servants, forcing them to dance until they fall asleep. The Berceuse depicts the sleeping Koschei and his servants, while Prince Ivan, with the help of the Firebird, finds Koschei’s soul hidden in an egg in a tree stump. They destroy the egg, leading to general rejoicing upon the end of Koschei’s Stravinsky’sreign.later ballets such as Petrushka and The Rite of Spring had mixed receptions at their premieres because they pushed the boundaries of tonal music. The Firebird was an immediate success because of its resplendent orchestration and melodies, although some critics accused Stravinsky of using too much dissonance.
SYMPHONY NO. 6 "PASTORAL" Ludwig van Beethoven Composed in 1808 Est. Duration: 40 minutes Beethoven’s Symphony No. 6 breaks the mold of classical symphonies. Rather than writing abstract “pure” music, Beethoven sought to depict the emotions of a hike in the woods. As a result, he composed a work in 5 movements, rather than the traditional 4-movement structure common in the symphonies of Haydn and Mozart. Each movement depicts a different part of Beethoven’s hike.
The third movement contains a lively rustic dance, which gives way to a storm in the fourth movement. As the storm subsides, Beethoven concludes the symphony with a shepherd’s hymn of thanks.
- Maestro Isaac Selya
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In the first movement, Beethoven writes music that captures his feelings upon arriving in the countryside. The middle section contains rhythmic cells that repeat, slowly building in intensity in a technique that may have inspired the 20th century “Minimalist” school of Philip Glass and John Adams. In the second movement, Beethoven depicts a flowing brook with a lilting figure in the cellos and violas. The movement ends with birdcalls; in the score, Beethoven specifies that the calls belong to the nightingale, quail, and cuckoo.
Mrs. Garcia’s teaching career spans from pre-school music through high school choral programs. In addition to her work with children’s choruses, Mrs. Garcia served for several years as a music educator at Light & Life Christian Preschool in Avon, IN. Prior to her work in Indiana, Mrs. Garcia was the Associate Director of the Northern California Children’s Choir where she also served as an elementary music educator. While living in Iowa, she served as a private voice teacher and instructor for the Heartland Youth Choir in Des Moines, as a music instructor for the Des Moines Children’s Choruses and the Iowa Youth Chorus. In addition, she served as a director for the middle school and high school choral department in Earlham, Iowa. While a student at Iowa State University, she held an internship position as the Assistant Conductor for the Preparatory Choir with the Ames Children’s Choir. Mrs. Garcia received her BME from Iowa State University in 2005. In addition, she has completed her Kodaly Certification from Indiana University. She is recently served as a Co-President of Indiana Kodaly Educators.
MelissaGARCIA CICC DIRECTOR • CONCERT & DESCANT CHOIRS Columbus Indiana LEARN MORE ABOUT CICC ON PG. 22 CHILDREN’S CHOIR The Preparatory Choir is a non-auditioned experience for 1st-3rd grade students. Children are introduced to choral music in a rehearsal setting while experiencing a fun, educational group choir. The Descant and Concert Choirs are for beginning, intermediate and advanced singers. These choirs perform in concerts and at community events for the general public. A vocal assessment helps place your child in the appropriate choir. For more information, contact CICC Administrator Deborah Eikenbary at cicc@thecip.org. Log on to the Indianapolis Children’s Choir website for tuition and scholarship information: www.icchoir.org.
Melissa M. Garcia is a passionate instructor who inspires children by allowing them to experience music from many genres and cultures. She is an expert at motivating young singers through activities aimed at music literacy while giving them a foundation of healthy and ageappropriate singing technique.
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Mrs. Garcia has served as a conductor with the Indianapolis Children’s Choir for the past 8 years. She has been fortunate to work with ICC singers of many different ages spanning from the Intermediate-advanced choir and beginning level choirs. As a specialist in youth choirs, Mrs. Garcia has been served as a guest conductor for numerous honor choir festivals in Indiana. Additionally, she is on the summer staff of the Heartland Youth Choir in Des Moines, Iowa where she serves as conductor of the SummerTunes Choir and teaches Kodaly Musicianship classes.
www.THECIP.org 47 SATURDAY, DECEMBER 10, 2022 • 3:00 & 7:30 PM COLUMBUS EAST ROBBINS AUDITORIUM Holiday Pops BRIAN EADS • GUEST CONDUCTOR THE PHILHARMONIC CHORUS CAIO GUIMARÃES • DIRECTOR COLUMBUS INDIANA CHILDREN’S CHOIR MELISSA GARCIA • DIRECTOR 2022-2023 SEASON: MAESTROConcertSponsor “Choir is one of thosethingsthat reallyhelpedme opentootherpeople andtrynewthings. I think choir is justa communitygreatofpeople.” Erica Song CICC Singer Co -Sponsors The Holiday Pops program will beinsertinannouncedaspecialateachconcert!
Conductor
ães Interim
We welcome you to join the Philharmonic Chorus, helping singers strive for musical excellence. Our non-auditioned Chorus includes approximately 80 volunteer singers of all ages. Any singer who can read music, finds pleasure in the teamwork of chorus participation and is willing to strive for musical excellence is encouraged to join. Join Our Chorus! We rehearse Monday evenings, 7:00 to 9:00 PM at First United Methodist Church. For information, contact Lexi Schneider at 812-376-2638 or lschneider@thecip.org. “After several years enjoying outstanding concerts as members of the audience, we decided to join the
Chorus and get a view from ‘the other side of the baton.’ We have learned to appreciate
Chorus Staff Guimar Choral Lexi Schneider Choral Coordinator Dianne Sprunger PhilharmonicAccompanistChorus Led by Interim Conductor Caio Guimarães, the Columbus Philharmonic Chorus encompasses a wide range of skill levels and experience from high school students to mature adults. It is the Chorus’s mission to serve as part of the orchestra during the concert season, performing choral-orchestral works. It is the largest and most significant adult education program of the Philharmonic’s wide range of educational offerings. Founded in 1987, the Chorus has played an integral role in the Philharmonic’s concert programming. In its first concert, soloists Sarah Kittle, Janie Gordon, Victor Floyd, and Owen Hungerford sang Serenade to Music by Ralph Vaughan Williams. Fifty-two singers from the Columbus area comprised the original Chorus. Over the past 28 seasons, a number of those singers have participated regularly with 40 to 60 other local and regional singers in each of the Choral concerts. The wide repertoire of the Chorus includes performances of such classical works as Bach’s St. Matthew Passion, Dan Forrest’s Requiem for the Living and in paradisum, “The Ninth” and the massive Missa Solemnis by Beethoven, Verdi’s Requiem, Peaceable Kingdom and numerous other pieces written by Randall Thompson, Honegger’s King David, many works composed by John Rutter including his Requiem, and Handel’s Israel in Egypt. The Chorus has also performed all of the choralorchestral music of Johannes Brahms. Lighter concerts have included opera choruses and the Broadway music of Andrew Lloyd Webber, Rodgers and Hammerstein, Lerner and Lowe, and Leonard Bernstein. Columbus Philharmonic the hard work, dedication, the talented vocalists and instrumentalists craft. It is a joy and honor to be a part of such an organization.”
and discipline that
apply to their
John & Pamela Drebus Choral Singers
Columbus Philharmonic CHORUS
Caio
amazing
www.THECIP.org 49
July 9, 1932 - January 26, 2022
The decision to name the hall after Helen was made official after she and Bob donated $1 million to the effort in 2018. Plus, they donated the very building to which the hall is attached. On the day of Helen Haddad Hall's groundbreaking in 2019, Mayor Jim Lienhoop proclaimed it Helen Haddad Day! She has been with us since the beginning, and although we miss her dearly, her legacy will continue to change lives in the years to come.
Everyone who knew her knew music was one of Helen Haddad's life-long passions. She began singing in the choir at the age of 12 and continued singing most of her life, including a devoted member of the Philharmonic Chorus. She sang on the Ed Sullivan Show while in college with the Oklahoma University Quartet as well as the Robert Shaw Corral TV program. Helen received a scholarship for voice and music from Tulsa University and graduated from Oklahoma University with a degree in Music Education. Avoiding the spotlight as often as it followed her, she always said she wanted more focus on the arts programs and projects that she so passionately supported in Bartholomew County for nearly half a century. Acting as the Executive Director for Columbus ProMusica (before it was Columbus Indiana Philharmonic), it was obvious that Helen loved the arts. Her passion for music education was evident in her longtime support of our youth music education programs. She acted as the Education Director for ProMusica, developing what is now the Strings Program. Helen was considered a leader in Columbus, making it what it is today, and was often referred to as a visionary motivator.
HelenHADDAD
BOOKING INFO AT THECIP.ORG OR CALL 812-376-2638 NOW BOOKING WEDDINGS • RECEPTIONS RECITALS • CORPORATE EVENTS FAMILY GATHERINGS • MEETINGS PLAN YOUR NEXT EVENT AT
HELEN HADDAD HALL The Helen Haddad Hall renovation project, completed by Force Construction Co. Inc., added the performance and event space to the rear of the 141-year-old Columbus Indiana Philharmonic Administrative Office where a parking lot had been. It also refurbished and updated the exterior and the second and third floors where offices are located. The facility features: 100-person capacity A state-of-the-art sound and lighting system Herman Miller chairs A small kitchen A world-class Shigeru Kawai Concert Grand Piano donated by Enkei America Inc. Cameras linked to a backstage screen that allow performers or speakers to know when it’s time to walk on stage A small green room and a restroom backstage A comfortable lobby space Helen Haddad Hall is the ideal host for your intimate gathering or party. Our flexible space seats up to 100 people. Transform the space to celebrate a wedding, graduation, baby shower or other celebration of life. The firstclass kitchen is fully equiped to meet a variety of culinary needs. Contact us at 812-376-2638 to schedule a tour. Book the Hall ADMINISTRATIVESTAFFDonnieRobinette Executive Director Lexi Schneider Patron Development Manager
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Described as a conductor with “ample gestures, clarity, precision and genuine passion,” Vlad Vizireanu continues to make an impressive and dynamic mark on the music world as an international conductor and educator. A regular presence in the competition circuit, Vizireanu came to international attention when he won Second Prize in the 2013 Cadaqués Conducting Competition in a televised concert at Auditori Hall, Barcelona. He then made his debut with the London Symphony Orchestra at Barbican Hall as Finalist in the 2016 Donatella Flick Competition. He was invited to the 2018 Malko Competition with the Danish National Symphony Orchestra and was also invited among 14 conductors (out of 400 applicants worldwide) to participate in the renowned Mahler Conducting Competition with the Bamberg Symphony.
Additionally, he studied with David Zinman at the 2016 Tonhalle Orchestra Masterclass, with the late Kurt Masur, and was one of the last students of the late Lorin Maazel. He also received the prestigious 2013 Chautauqua Conducting Fellowship in New York.
As the recent winner of both the Only Stage & Hans von Bülow Conducting Competitions in 2021, upcoming debuts include the Budapest Symphony Orchestra MÁV, Brașov Philharmonic, & Orchestra Filarmonica Campana. Other orchestras he has conducted include the Tonhalle-Orchester, Lucerne Festival Strings, New World Symphony, and Manhattan School of Music Symphony. He has also served as cover conductor for the Los Angeles Philharmonic, Naples Philharmonic, and Sarasota VizireanuOrchestra.holdsdegrees in conducting from Indiana University Jacobs School of Music (Master of Music) and Arizona State University (Doctor of Musical Arts) and studied musicology and piano performance at the University of California Los Angeles (Bachelor of Science).
An ardent advocate of new music, Vizireanu is the Founder & Executive Director of Impulse New Music Festival, which brings together young composers and instrumentalists to study and perform new compositions.
Some new works he has recently recorded include Light Show by Max Grafe, Scherzo for Orchestra by Joshua Groffman, and Evelyne Davis’ Concerto for Two Percussionists. He previously served as Assistant Conductor for the Thousand Oaks Philharmonic and Conductor for New West Symphony’s Harmony Project, which is aimed at inspiring young children to develop a lifelong love of music through education and exciting musical experiences. When not on the podium, Vlad is an avid tennis watcher and devoted fan of Roger Federer. He and his wife, Mariya, live in Los Angeles with their daughter Ava and cat Amadeus.
VladVIZIREANU MAESTRO FINALIST #4 TO LEARN MORE, FOLLOW MAESTRO VLAD VIZIREANU ON SOCIAL MEDIA
www.THECIP.org 53 FIN A LISTfa c ts “ "It included an astonishing, climate-changing performance of Nataraja, a challenging piece conducted unflinchingly by Vlad Vizireanu..." Review about Maestro Vlad Vizireanu Roger Piantadosi • Rappahannock News SATURDAY, FEBRUARY 4, 2023 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM Ascending Bird for String Orchestra Siamak Aghaei & Colin Jacobsen Symphony No. 1 in D Major, Titan Gustav Mahler Clash of theTitans VLAD VIZIREANU • CONDUCTOR 2022-2023 SEASON: MAESTRO intermission “ “Enthusiasm, unique musical ideas, thoughtful phrasings supported by commanding and expressive gestures achieved a remarkable interpretation of Glinka’s Overture to Ruslan and Lyudmila, but even more so for Rimsky-Korsakov’s Scheherazade.” Review about Maestro Vlad Vizireanu Alexandru Mija • Radio Romania Muzical Constanta,Romania Birth Place Favorite Composer SchoolShostakovichDmitriIUJacobsofMusicArizonaStateUniversityUCLA EducationHobbies RogerWatchingFedererPlayTennis Favorite Movie RedemptionShawshank
During the 1880s, as Mahler worked on the First Symphony, he made his living as an opera conductor in various regional theaters. Mahler’s demanding performance schedule left him neither time nor energy to compose his own music during the concert season. During his summer vacations, free from theatrical engagements, Mahler devoted himself to composition. His use of previously composed music may have also been a practical choice dictated by his limited composing time.
BY VLAD VIZIREANU
“Brother Martin” - better known as “Frère Jacques” - in a somber minor key. In the final movement, Mahler wanders further afield, repurposing material from Liszt’s Dante Symphony and Wagner’s Parsifal. “Composing is like playing with building blocks, where new buildings are created again and again, using the same blocks,” wrote Mahler to a friend. Finally, despite Mahler’s ambivalence about associating his music with a specific program, he did provide one to music critic Ludwig Karpath (something he later regretted).
SYMPHONY NO. 1 IN D MAJOR, TITAN Gustav ComposedMahlerin1884-88, rev. 1893-96 Est. Duration: 56 minutes Like many composers, Gustav Mahler was both drawn to and wary of the notion of program music, or music with non-musical inspirations. Mahler wrestled with this idea in writing his First Symphony, fearing that it would not be as well received if it were not “absolute” music. At the same time, the attraction of an underlying narrative as a unifying structure held great appeal for him. The argument for the First Symphony as program music is strengthened by the fact that much of its musical material was borrowed from other sources. In the first two movements, Mahler used melodies from two of his Songs of a Wayfarer as the basis for elaborate thematic development. In the third movement, he set the folk song
The symphony’s overall narrative describes, in Mahler’s words, “a strong, heroic man, his life and sufferings, his battles and defeat at the hands of Fate.”
PROGRAM NOTES
Clash of theTitans
At the premiere, in Budapest on November 20, 1889, audiences were disturbed by the third movement, with its ghostly reworking of a children’s folksong in the tempo of a funeral
54 2022-2023 SEASON ASCENDING BIRD FOR STRING ORCHESTRA Siamak Aghaei & Colin Jacobsen Composed in 2007 Est. Duration: 10 minutes Based upon a traditional Persian folk song, this evocative piece emerged from the intersection of two pioneering ensembles: The Knights, founded by brothers Colin and Eric Jacobsen in New York in the late 1990s, and the Silk Road Ensemble , conceived by the acclaimed cellist Yo-Yo Ma in 1998. Both groups emphasize cultural collaboration and the artistic traditions which inspire and unite musicians and audiences around the world. During a trip to Iran in 2004, Colin Jacobsen learned of Ascending Bird through his Silk Road colleague, Siamak Aghaei, who had learned it during his childhood there. The story closely resembles the Phoenix myth. A bird attempts to fly to the sun. Twice it fails. The third time, it sheds its physical body in the solar glow, as a metaphor for achieving spiritual transcendence. Jacobsen originally wrote this work for string quartet, then adapted it for string orchestra (this version is lovingly dubbed Big Bird). Colin Jacobsen writes : “Siamak is a bit of a modern-day Bartók in that he travels around Iran making field recordings of folk musicians from the many and varied traditions represented by the different regions of Iran. He dusted off one such recording and the sound that emerged from the speakers gave me a form of vertigo. My ears were held to attention by the sound of an incredibly potent and piercing instrument, which Siamak told me was made of the fused bones of a bird and measured little more than two inches in length. The music also encoded a popular mythical story of a bird attempting to fly to the sun. Failing on the first two attempts, on the third try the bird loses its physical body in the radiant embrace of the sun, a metaphor for spiritual transcendence. What emerged from this experience was Ascending Bird — comprised of Siamak’s reinterpretation of the traditional tune to which I added further textural layers and combined with an original introduction and coda.”
The loutish parody of the band, complete with oom-pahs, mingles with music taken from another of Mahler’s Wayfarer songs, “Die zwei blauen Augen” (Your Two Blue Eyes), which resembles a melody from Jewish liturgy. In the finale, according to Mahler’s narrative, “The hero is exposed to the most fearful combats and to all the sorrows of the world. He and his triumphant motifs are hit on the head again and again by Destiny. Only when he has triumphed over death, and when all the glorious memories of youth have returned with themes from the first movement, does he get the upper hand, and there is a great victorious chorale!” Destiny intervenes with pounding brasses and timpani, full of Sturm und Drang (storm and stress), but a triumphant brass choir hints at the hero’s ultimate victory, even as he continues to struggle with the forces bent on his destruction.
Finally, the chorale bursts forth (some listeners have discerned traces of the “Hallelujah” chorus from Handel’s Messiah in it) and concludes the symphony, with the horns standing to play their final triumphant notes. “It’s the most spontaneous and daringly composed of my works,” said Mahler of his First Symphony. “Naively, I imagined that it would have immediate appeal. How great was my surprise and disappointment when it turned out quite differently. In Budapest, where I first performed it, my friends avoided me afterwards. I went about like a leper and an outlaw.” Both critics and audiences reacted negatively at the premiere, with one critic deriding it as a parody of a symphony. The influential Viennese critic, Eduard Hanslick, was equally harsh: “The new symphony is the kind of music which for me is not music.” Subsequent performances, even after Mahler made substantial revisions, provoked equally strong reactions. More than ten years after the premiere, another critic described the audience’s reaction: “There were startled faces all around and some hissing was heard.” Today, due in no small part to Leonard Bernstein’s championing of Mahler’s symphonies, the Titan is one of Mahler’s most popular and most frequently performed works. - Maestro Vlad Vizireanu
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www.THECIP.org 55 march. Mahler indicated this music was full of “biting irony,” in which “all the coarseness, the mirth, and the banality of the world are heard in the sound of a Bohemian village band, together with the hero’s terrible cries of pain.”
56 2022-2023 SEASON
American conductor Charles Latshaw is in his sixth season as Music Director of the Flagstaff Symphony Orchestra in Arizona and maintains his position as Music Director of the Grand Junction Symphony Orchestra in Colorado, a post he has held since 2016. He was Assistant Conductor of the Columbus Indiana Philharmonic and Music Director of the Philharmonic Youth Orchestra and Ensemble from 2005 to 2009. Prior to 2016, Latshaw was director of the Kent Blossom Music Festival and the Kent State University Orchestra and formerly Artistic Director and Conductor of the Bloomington Symphony Orchestra in Indiana. Latshaw has also held positions with the Indianapolis Symphony Orchestra, the Washington Sinfonietta and the Ars Nova Chamber Orchestra. He holds the distinction of being selected by members of the Vienna Philharmonic as their Herbert von Karajan Conducting Fellow in 2007. Firmly dedicated to bringing orchestral music to new audiences, particularly the young, he has taught band, choir, general music and musical theatre to students of all ages. In this capacity he served as faculty for numerous summer programs including the Rocky Ridge Music Center, the Columbus Indiana Philharmonic Strings Camp and the Palace Theatre summer programs. Additionally, he has led “Side by Side” concerts for high school students with the Indianapolis Symphony, the Columbus Indiana Philharmonic, and the Bloomington Symphony Orchestra. In his efforts to expand audiences for newly-created, accessible contemporary compositions, Latshaw has premiered more than thirty new works for chamber groups, youth orchestras and full symphony orchestras, many of his own commissioning. Off the podium, he has held positions as principal trumpet in orchestras in Ohio, New Hampshire and Massachusetts, performing also with jazz bands as trumpeter, vocalist and band leader. On the stage he has appeared in acting and singing roles with the Palace Professional Theatre of Manchester and the New Hampshire State Opera. These various activities have led to touring in Germany, Austria, the Czech Republic and the U.S.
CharlesLATSHAW MAESTRO FINALIST #5 TO LEARN MORE, FOLLOW MAESTRO CHARLES LATSHAW ON SOCIAL MEDIA
Charles Latshaw holds a master’s and doctorate degree in instrumental conducting from the Indiana University Jacobs School of Music. Now living in Colorado with his wife Kelley, they spend their free time in the woods, camping, hiking, and skiing in the beauty of the Rockies.
www.THECIP.org 57 FIN A LISTfa c ts SATURDAY, MARCH 25, 2023 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM In Good King Charles's Linda Robbins Coleman Golden Days: A Symphonic Overture Suite Pastorale Emmanuel Chabrier DanseIdylle villageoise (Rustic Dance) Sous bois (Under the Trees) SymphonyScherzo-valseNo.1inCminor, op. 68 Johannes Brahms Un poco UnAndanteMenoAllegrosostenutoallegrosostenutopocoallegrettoe grazioso AdagioPiùAllegroandantenontroppo, ma con brio Più allegro Golden Days CHARLES LATSHAW • CONDUCTOR 2022-2023 SEASON: MAESTRO intermission Birth Place Parkersburg, WV Favorite Composer It's a tie JohannesbetweenBrahms&MauriceRavel!IUJacobsSchoolofMusic EducationHobbies Hiking,Camping,Skiing Other Credentials FAA ProfessionalLicensedDronePilot Co -Sponsor JOHN DONNA&SASSE
58 2022-2023 SEASON IN GOOD KING CHARLES'S GOLDEN DAYS: A SYMPHONIC OVERTURE
Linda Robbins Coleman Composed in 1989 Est. Duration: 7 minutes Linda Robbins Coleman is a native of Des Moines, Iowa, graduated from Drake University, and studied with the Greek National Theatre. From 1977-97 she was Drake Theatre’s resident composer and scored thirty-five plays. Coleman was the first Iowa woman to become Composerin-Residence with any orchestra, serving with the Cedar Rapids Symphony Orchestra from 1994-96 and 2001-02; and the Wartburg Community Symphony from 1992-2002. In 1981, Coleman and her husband founded the Friends of Drake Arts. In 1987, she co-founded the Iowa Composers Forum and served as its chief administrator for ten years. She spent fifteen years on the Iowa Arts Council performing artist and education rosters. For four decades she was a collaborator and research partner with Professor William S. E. Coleman. She has owned Coleman Creative Services since 1976. Awards include Drake University’s Alumni Achievement Award and Dignitas Society; and Sigma Alpha Iota’s Member Laureate. From the composer : In 1989 when I was commissioned to write overtures and incidental music to George Bernard Shaw's 1939 masterpiece, "In Good King Charles's Golden Days," I was confronted with the daunting task of capturing the play’s spirit in music. First, to evoke a sense of the late 17th century I felt the use of a harpsichord was mandatory. Since the play veered into 20th century ideas, including quantum physics, I wanted to include modern musical ideas as well. The play consists of brilliant and often fiery arguments between King Charles II, Isaac Newton, Nell Gwynn, George Fox, James, the Duke of York, Godfrey Kneller, and Queen Catherine of Braganza. Musically the audience will find themes reflecting these characters and their brilliant dialogue dashing through various sections of the orchestra in a merry romp.
PROGRAM NOTES
Althoughcomposer. known primarily for two of his orchestral works, España and Joyeuse marche , Chabrier left a corpus of operas, songs, and piano music, but no symphonies, concertos, quartets, sonatas, or religious or liturgical music. His lack of academic training left him free to create his own musical language, unaffected by established rules, and he was regarded by many later composers as an important innovator and a catalyst who paved the way for French modernism. He was admired by, and influenced, composers as diverse as Debussy, Ravel, Richard Strauss, Satie, Stravinsky, and the group of composers known as Les six. Writing at a time when French musicians were generally proponents or opponents of the revolutionary music of Richard Wagner, Chabrier steered a middle course, sometimes incorporating Wagnerian traits into his music and at other times avoiding them. In 1880, while Chabrier was on a vacation in the resort town of Saint-Pair, he wrote a set of ten short piano vignettes titled Pièces pittoresques . He gave them their first performance in Paris in 1881 to much acclaim from other French composers including César Franck, who remarked he had “just heard Days
BY CHARLES LATSHAW
Golden
Since the Cedar Rapids Symphony Orchestra premiered it in April, 1995, "Charley” has been performed and broadcast throughout the United States and abroad with orchestras ranging from the Milwaukee Symphony to various professional, amateur, and youth orchestras. In 1999 "Charley" went to Englandbirthplace of both King Charles and the play that inspired the music. This occasion was my British debut. SUITE PASTORALE Emmanuel Chabrier Composed in 1887 Est. Duration: 21 minutes I. Idylle II. Danse(RusticvillageoiseDance) III. Sous bois (Under the Trees) IV. Scherzo-valse Emmanuel Chabrier was a French Romantic composer and pianist. His bourgeois family did not approve of a musical career for him, and he studied law in Paris and then worked as a civil servant until the age of thirtynine while immersing himself in the modernist artistic life of the French capital and composing in his spare time. From 1880 until his death he was a full-time
continued on pg. 60
Over the next seven years, Chabrier gradually re-orchestrated four of those short piano works into the Suite pastorale for orchestra. The Idylle , marked 'Allegretto avec fraîcheur et naïveté' (A little fast with freshness and naivety) is a simple song with a pizzicato accompaniment. The composer Francis Poulenc, when he first heard the piece in 1914, wrote “a harmonic universe suddenly opened up before me and my music has never forgotten that first love kiss.”
SYMPHONY NO. 1 IN 68 was when he first heard Beethoven’s Ninth in 1854 (some years after its vowed then that would
Johannes Brahms Composed in 1876 Est. Duration: 45 minutes I. Un poco sostenuto — Allegro — Meno allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. ———AdagioPiùandanteAllegronontroppo,maconbrioPiùallegro Brahms was deeply affected by the nine symphonies of Ludwig van Beethoven. He
composition). He
www.THECIP.org 59 something exceptional.”
The Danse villageoise (Rustic Dance) is meant to depict a simple dance in a remote French village. It follows a fairly standard ternary form – an opening in A minor, a trio in A major, and a recapitulation in A minor. Sous bois (Under the Trees) –Chabrier was a great collector of Impressionist paintings. Much of his personal collection now hangs in museums. Sous bois is Chabrier’s own impressionism of a sort in that the music, with its gently undulating cellos and constantly changing keys effectively evokes an impression of the forest undergrowth and shifting light among the leaves of the trees. This piece was a great influence on later impressionistic French composers, Claude Debussy and Maurice Ravel. The Scherzo-valse (Joke-waltz) was the conclusion of the original set of ten piano pieces, just as Chabrier has used it as the conclusion of his Suite pastorale It’s a lively, jovial waltz, with a similar country-fied feel as the Danse villageoise . Likewise, it follows the same ternary pattern, with opening material in D major, a trio in Bb major, and a return to the sprightly music of the beginning.
he
21 years old
C MINOR, OP.
30
(In continued from pg. 59 Golden Days PROGRAM NOTES BY
And the beginning (and ending) of the symphony surely evokes Beethoven’s own masterpieces.
60 2022-2023 SEASON write a symphony, but it would take another 22 years before the first Brahms symphony would come to fruition. Brahms’ closest friend, Robert Schumann, wrote to the famous violinist Joseph Joachim in 1854, But where is Johannes? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies; he should try to make something like them. In the interim, Brahms wrote several other pieces that initially began as symphonies, but gradually morphed into other projects. In 1854 he wrote the first sketches of a symphony in D minor (the same key as Beethoven’s Ninth) which eventually became a sonata for two pianos. He tried again to write a symphony in D minor, which would become his first piano concerto – a monumental work, symphonic in its length and form. And Brahms’ two Serenades , a first in D major and a second in A major, are both complete symphonies in form, but with extra movements Perhapsadded. Brahms was uncomfortable attaching the title “Symphony” to any of his works in this period of his life, afraid that his pieces wouldn’t measure up to the great achievements of his Viennese symphonic predecessors, Beethoven, Mozart, and Haydn. He was a careful crafter of his own future image – often burning any composition that he didn’t feel was worthy of posterity. Whatever his reasons, Brahms worked and reworked his sketches for the first symphony for more than two decades to produce this piece, which indeed lets “drums and trumpets sound.”
The symphony begins in C minor, not the D minor of Beethoven’s Ninth but the C minor of Beethoven’s Fifth. And the
ofHornsfirstLatermovement.tofromtransitionlinetimpanisimilarBeethoven’shomageisnaturals,repeatedtimpani,poundingonCacleartointhethethirdthefourthinBrahms’smovement,blareoutaseriesrepeatedfournotes, evoking the ba-da-da-duuuuuum of Beethoven’s Fifth. The first movement follows a very traditional sonata form, with a first theme, a secondary theme, a development, and a recapitulation – a form routinely followed by Haydn, Mozart, and Beethoven, but rather oldfashioned by 1876 when the Germanic orchestral world was split between traditionalists like Brahms, and non-conformists like Wagner. The movement builds dramatically and powerfully to its conclusion, but finishes gracefully in C major. And yet, for all the power and grandeur of the first movement, Brahms could be a gentle, thoughtful, emotional, often melancholy composer. Through all four of his symphonies, the middle movements represent the best of this side of Brahms. But the finale is the real showstopper in Brahms’ first symphony. While the piece is “absolute music,” meaning it has no specific programmatic aspects, the movement’sfourthdramaseemstoevokeaclearstory,evenifthedetailsarelefttothelistener’simagination.Itbeginswithaquiet,broodingintroductionandasmall pizzicato rainstorm, quickly accelerating toward a musical downpour. Dark clouds seem to cover the sky before the music breaks into a peaceful C major, followed by a horn call reminiscent of an alphorn. Brahms wrote in a letter to Clara Schumann that the horn melody calls out “Hoch auf’m Berg, tief im Tal, grüß ich dich viel tausend mal!” (High on the mountain, deep in the valley, I greet you a thousand Thetimes!)horn call is followed by a melody deeply reminiscent of the Ode to Joy melody from Beethoven’s Ninth symphony. CHARLES LATSHAW
JOH A NNESBRAHMS
www.THECIP.org 61 fact, the underlying harmonies and length of phrases match exactly, and the two melodies could be played quite effectively at the same time.) After the premiere, as many critics and fans of the piece alike commented on this melody’s similarity to Beethoven’s, Brahms finally admitted “any ass can see that.” This theme builds in strength and joyfulness as the finale rises to a great Brahms’conclusion.first symphony has often been referred to as “Beethoven’s Tenth,” which is an approbation I’m sure he was very proud of. - Maestro Charles Latshaw GOLD BATON award EST. 2005 Each season, the Columbus Indiana Philharmonic honors an individual, family or business for exemplary commitment to the musical arts community in the Columbus area. past recipients include : Bob & Helen Haddad The J. Irwin Miller Family Dick & Ruth Johnson • Mary Clark Sam Pentzer & Tom Vujovich The Family of Robert & Betty Brown Alice O’Beirne Curry • David Bowden Rick & Alice Johnson • Jenny Johnson Harry McCawley • The Republic Vanessa Edwards • Ruth E. Dwyer Enkei America, Inc. Kawai Musical Instruments Mfg. Co., Ltd. Old National Bank • Mark A. Pillar Peter Campbell King SPONSORED BY ELLA & DAVID ELWOOD “ “He’s done wonders with the SymphonyBloomingtonOrchestra,givingthemusiciansinthisorchestradisciplineandspiritandloveforthetaskofmakingmusic.Heplannedintriguingprogramsandhadthegifttolifthisplayerstolevelsofperformancebeyondtheirlimits.Forlisteners,thatmeantenjoyableandrewardingconcerts." Review about Maestro Charles Latshaw Bloomington Herald Times
A major prizewinner at the 2012 Emmerich Kálmán International Operetta Conducting Competition in Budapest, notable European credits include Infektion!, a festival of modern theatre celebrating the works of John Cage at the Staatsoper Berlin, conducting musicians of the Berlin Philharmonic in Interaktion, a residency at the Israeli National Opera. In Australia, she has worked with the Darwin Symphony, Sydney Philharmonia Choirs, Melbourne Youth Orchestra, Sydney Symphony, Tasmania Discovery Orchestra and Willoughby Symphony. She was recently recognized by the Australian government in the 2021 Advance Awards as a leading global Australian.
A committed music educator, Carolyn currently serves as Director of Orchestras at the University of Illinois whilst continuing to enjoy an active freelance career throughout the U.S., Europe and Australia. Carolyn was a Fellow of the American Academy of Conducting at the Aspen Music Festival. Carolyn is the recipient of a number of prestigious national and international awards for young conductors. Carolyn holds a PhD in Performance (Conducting) from the University of Sydney. In 2008, she had the honor to conduct on the occasion of the Pope’s arrival in Australia for World Youth Day in front of a live audience of 100,000. When not conducting, Carolyn loves traveling and travel photography with future plans including Antarctica, East Africa and the Silk Road. She is also a foodie, and connoisseur of fine wine and craft beer. Carolyn enjoys spending time outdoors with her fur baby, ‘Poppy’ (Popcorn), a six-year-old King Charles Cavalier Spaniel. WATSON CAROLYN WATSON
Carolyn Watson is Principal Guest Conductor of the Kansas City Chamber Orchestra and Music Director of the La Porte County Symphony Orchestra in Indiana. Originally from Australia, she has been based in the United States since 2013 during which time she has led performances with the Austin Symphony, Catskill Symphony, Detroit Symphony Civic Orchestra, Interlochen Philharmonic, Kansas City Ballet, Kansas City Chamber Orchestra, St. Joseph Symphony, and World Youth Symphony Orchestra. Recruited internationally as Music Director of the Interlochen Arts Academy Orchestra, she won the 2015 American Prize for Orchestral Performance with this ensemble.
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62 2022-2023 SEASON
Carolyn
An experienced conductor of opera, recent engagements have seen Carolyn lead Hansel and Gretel for Amarillo Opera and Fellow Travelers at Des Moines Metro Opera, along with a production of As One. In 2020, she conducted ‘And Still we Dream’ for the Lyric Opera of Kansas City, her third engagement for the Lyric. This production was featured in the Emmy-Award winning PBS documentary, Higher Octaves: Leading Women in the Arts. In 2017, Carolyn was one of six conductors selected for the Hart Institute for Women Conductors. Carolyn’s 2022-2023 season sees debuts with the Cape Symphony, Monash Academy Orchestra (Australia), Traverse Symphony Orchestra, as well as return engagements with the Lyric Opera of Kansas City and Kansas City Ballet.
www.THECIP.org 63 FIN A LISTfa c ts SATURDAY, MAY 6, 2023 • 7:30 PM COLUMBUS NORTH ERNE AUDITORIUM Lightspeed Kevin Day City Beautiful Ingrid Stölzel Montgomery Variations Margaret Bonds Clarinet Concerto Artie Shaw Samantha Johnson-Helms, Principal Clarinet Symphony No. 1 in A-flat Major William Grant Still Rhythm & Blues CAROLYN WATSON • CONDUCTOR 2022-2023 SEASON: MAESTRO intermission Birth Place Australia Favorite Composer anyconductingWhomever'sworkI'matgiventime!UniversityofSydney(ASTL) EducationHobbies PhotographyTravel “Pets Poppy A King CavalierCharlesSpaniel Î “As a Columbus native, it’s hard to imagine the CIP without Dr. Bowden, but I’m incredibly excited to work with the six Music Director finalists this season and experience the energy they will bring to our community!” Samantha Johnson-Helms Principal Clarinet Future Trips theEastAntarctica,Africa&SilkRoad
64 2022-2023 SEASON
The composer writes : A city is not beautiful by accident” writes historian William H. Wilson. City Beautiful takes its title and inspiration from the architectural movement of the late nineteenth and early twentieth centuries that gave us the boulevard and parks system in Kansas City. The movement had an impact on many other US cities as well, including Chicago, Detroit, and Washington, D.C., to name a few.
MONTGOMERY VARIATIONS Margaret Bonds Composed in 1964 Est. Duration: 25 minutes Years ahead of her time, American composer and pianist Margaret Bonds was a truly remarkable musician. Following studies at Northwestern University from which she graduated with both bachelors and masters degrees, Bonds was the first black soloist to perform with the Chicago Symphony Orchestra in 1933. Equally gifted as a composer, famed composition pedagogue Nadia Boulanger reportedly refused Bonds as a student as Boulanger felt there was nothing she could offer Bonds, who she considered already significantly accomplished.
BY CAROLYN WATSON MA R
Kevin ComposedDay in 2019
LIGHTSPEED
Rhythm & Blues
Est. Duration: 2 minutes
This compelling concert opener was composed in 2019 by rising star, Kevin Day, who was at that time a relatively unassuming college student. In the short time since Day’s rise has been meteoric and Lightspeed has gone viral, with performances by orchestras throughout the U.S. including the symphonies of Dallas, Fort Worth, Indianapolis, Houston, and Tulsa. Lightspeed is an energetic, tour-de-force for orchestra on a 7/8 meter and characterized by a relentless forward motion. A contrasting and more lyrical section in the straight meter of 4/4 appears fleetingly before a rousing fortississimo tutti which brings the piece to a triumphant finale.
GARETBONDS
During her lifetime Bonds composed a great deal of vocal music, often collaborating with her lifetime friend, the poet Langston Hughes. The Montgomery Variations , dedicated to Martin Luther King, Jr., is arguably Bonds’ finest work. Based on the spiritual ‘I Want Jesus to Walk With Me’, the piece is a set of orchestral variations on this melody which appears in a variety of tonalities, colors and guises. Inspired by key events during the civil rights movement including the Montgomery bus boycott and the 16th Street Baptist Street Church Bombing, Bonds composed Montgomery Variations to celebrate the centrality of Montgomery, Alabama, to the civil rights movement. She wrote the following program to guide listeners through the struggle and ultimate triumph that the piece depicts.
PROGRAM NOTES
CITY BEAUTIFUL Ingrid ComposedStölzelin
One of the principal philosophies underlying the movement and one that inspired me to write this composition was the belief in the “shaping influence of beauty” on society. Advocates believed that beautification of our physical surroundings would promote a sense of community and increase the quality of life in cities around the country. In many ways, I feel music has a similar power to influence and shape a community. This composition was commissioned as a celebration of the 60th anniversary of the Youth Symphony of Kansas City and I cannot help but ponder the wonderful shaping influence of this organization over sixty years of music making in our community.
2018 Est. Duration: 7 minutes
II. Prayer Meeting True to custom prayer meetings precede their action. Prayer meetings start quietly with humble petitions to God. During the course of the meeting, members seized with religious fervor shout and dance. Oblivious to their fellow worshipers, they exhibit their love of God and their Faith in Deliverance by gesticulation, clapping and beating their feet.
CONCERTO FOR CLARINET Artie ComposedShaw in 1940 Est. Duration: 8 minutes Rather amusingly, jazz great Artie Shaw never intended his Concerto for Clarinet to become a piece in the standard repertoire. It was composed for the 1940 film Second Chorus in which Shaw played himself and Fred Astaire starred as a trumpet player and aspiring bandleader. Astaire later called the film “the worst film I ever made,” however Shaw’s Concerto for Clarinet remains a supreme example of the jazz swing era. The concerto was an instant hit with its playful riffs, boogie-woogie, upbeat energy, and final high C, all elements which continue to please audiences and challenge clarinetists today.
SYMPHONY NO. 1 IN A-FLAT MAJOR, AFRO-AMERICAN Often referred to as ‘The Dean of African-American Composers’, William Grant Still blazed a trail for black conductors and composers as the first African American to conduct a major U.S. orchestra when he led the Los Angeles Philharmonic at the Hollywood Bowl in 1936. Also the first African American composer to have a symphony performed by a major U.S. orchestra, the piece we are performing this Symphony No. 1 in A-flat Major, 'Afro-American ,' was premiered by the Rochester Philharmonic Orchestra in 1931. This work was actually the most popular and performed symphony by an American composer in the 20 years up until
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I. Decision Under the leadership of Martin Luther King, Jr. and SCLC, Negroes in Montgomery decided to boycott the bus company and to fight for their rights as citizens.
www.THECIP.org 65 MONTGOMERY VARIATIONS
III. March The Spirit of the Nazarene marching with them, the Negroes of Montgomery walked to their work rather than be segregated on the buses. The entire world, symbolically with them, marches. IV. Dawn in Dixie Dixie, the home of the camelias known as “pink perfection,” magnolias, jasmine and Spanish moss, awakened to the fact that something new was happening in the South. V. One Sunday in the South Children were in Sunday School [in Birmingham, Alabama] learning about Jesus, the Prince of Peace. Southern “die-hards” planted a bomb and several children were killed. VI. Lament The world was shaken by the cruelty of the Sunday School bombing. Negroes, as usual, leaned on their Jesus to carry them through this crisis of grief and humiliation. VII. Benediction A benign God, Father and Mother to all people, pours forth Love to His children – the good and the bad alike.
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Conveniently located just off Interstate 65, Exit 68 2485 W. Jonathan Moore Pike Columbus, IN 812-417-720047201 The Holiday Inn - Columbus, IN invites you in with a modern main entrance with beautiful stone and woodwork. The lobby is open to all 3 floors and features a stunning chandelier and artwork to delight you. Our beautiful Tiptonian Meeting Space can seat up to 100. The Landmarks Bar is located on the 2nd floor overlooking the front desk and lobby area. The East Fork Grille is located in the center of the 2nd floor atrium. IHG One Rewards Program • Pet Friendly 24 Hr Business Center • 42” HDTVs • Free Wi-Fi Meeting Space for up to 100 • East Fork Grille Landmarks Bar • On-Site Fitness Center Outdoor Pool • Same Day Dry Cleaning COLUMBUS, INDIANA continued from pg. 65
Still began his career as an arranger for jazz orchestras and theaters, working with W.C. Handy, Artie Shaw, Paul Whiteman and others. His immersion in jazz and blues manifested in his Symphony No. 1 , in which the themes are blues-inspired and modal harmonies predominate. Still did not write a program for Symphony No. 1, but rather provided a subtitle and an epigraph for each movement, intended to guide the listener through aspects of the African American experience. The epigraphs for each movement are taken from poems by Paul Laurence Dunbar, a poet of the late 19th and early 20th century who wrote several poems in a Black American dialect. On revising the symphony in 1935, Still removed his original movement subtitles, however the score still includes the epigraphs of Dunbar’s poems.
The first movement, Moderato assai, originally subtitled ‘Longing’, opens with a plaintive English horn solo and incorporates a twelvebar blues progression. The opening epigraph is from Dunbar’s poem ‘Twell de Night Is Pas'.
All de night long twell de moon goes down, Lovin' I set at huh feet, Den fu' de long jou'ney back f'om de town, Ha'd, but de dreams mek it sweet. Still also closes the first movement with a stanza by Dunbar: All my life long twell de night has pas' Let de wo'k come ez it will, So dat I fin' you, my honey, at Somewhaihlast, des ovah de hill. The second movement, Adagio, was originally subtitled ‘Sorrow’, and is more spiritual-influenced than the first movement. Still chose a stanza from Dunbar’s poem ‘W’en I Gits Home’ as the epigraph.
www.THECIP.org 67 Columbus, Folger’s Four Seasons Ann King-Cox, Certified Master Designer Family owned and operated since 1965 designsFolger’sarefortheEyesMusic FOLGER’S FOUR SEASONS FLORIST Folger’s SR 46 ComfortInn weSthIll I-65Nw325 4710 W. Carlos Folger Drive Looking812-342-4112forwardtoserving the community for another 50 years Designated FTD Premiere Florist It's moughty tiahsome layin' 'roun' Dis sorer-laden erfly groun', An' oftentimes I thinks, thinks I, 'T would be a sweet t'ing des to Andie,go 'long home. The third movement, Animato, is lively and jazz-influenced and carries the apt subtitle ‘Humor’. Featuring the addition of a banjo, this movement cleverly incorporates a quote from George Gershwin’s immensely popular tune ‘I’ve Got Rhythm’, which had premiered on Broadway in the musical Girl Crazy only a few weeks earlier. This movement’s epigraph is from Dunbar’s poem ‘An Antebellum Sermon’. An' we'll shout ouag halleluyahs, On dat mighty reck'nin' day. The final movement, Lento con risoluzione, was subtitled ‘Aspiration’. The slow and beautiful chorale-like opening is followed by a lively central section and closes with a powerful maestoso coda in D-flat major. The final epigraph is from Dunbar’s poem ‘Ode to Ethiopia’. Be proud, my Race, in mind and soul, Thy name is writ on Glory's scroll In characters of fire. High 'mid the clouds of Fame's bright sky, Thy banner's blazoned folds now fly, And truth shall lift them higher. - Maestro Carolyn Watson “ "Watson’s impressivewitches’performanceelectrifyingoftheballetmusicinthedancefromVerdi’sMacbeth…Watsondeliveredperformancesatbothconcerts." Review about Maestro Carolyn Watson TheaterJones: Dallas Opera
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