Bravo 2015-2016 SEASON
SEPTEMBER–OCTOBER
A proud sponsor of the 2015-2016 Ogle Center Season
F rom the Director
Last year, Indiana University Southeast and the Ogle Center became the recipient of the James L. Russell Wonderland Way Collection, an art collection of regional significance. Mr. Russell’s granddaughter, Kathy Russell Smith, and her husband, Don, spearheaded the collection and the preservation of this important piece of southern Indiana history. This collection has brought to the Ogle Center the uniqueness of being the only performing arts venue in our region housing a significant art collection. Please join us in thanking the Smiths for the incredible addition to our community. The new season will provide numerous opportunities for enriching our lives and will bring exciting experiences of the visual and performing arts. From the variety of our Ogle Center Presents series to the down-home country and bluegrass of our Nashville Nights series, or from the Louisville Orchestra’s Neighborhood Concerts to performances by the IU Southeast Music and Theatre Departments, there’s something for everyone at your Ogle Center! We also invite you to stop by the Barr Gallery to see the incredible talent of our Fine Arts students and faculty whose works are on display. Whether you are joining us as a newcomer to the Ogle Center or you have been a patron for many years, we welcome you and will do our best to provide an experience you will long remember! Thank you for attending today’s performance. We look forward to filling the Ogle Center with music, theatre, dance, and joy. See you at the Ogle Center, Kirk Randolph Ogle Center Director
WELCOME
Welcome to the beautiful campus of Indiana University Southeast and to the Paul W. Ogle Cultural and Community Center. On behalf of the entire IU Southeast community, we extend a warm welcome to our alumni, friends, students, and guests, and those who serve the university in many and varied ways. We would like to extend a special welcome to our Director’s Circle members. The Director’s Circle is designed to recognize our valued, individual donors for their support. Our generous partners have provided the vital funding necessary to support our operations and to provide quality arts performances at affordable ticket prices. Joining the Director’s Circle is easy, and more information can be found in the back of this program, or I would be delighted to speak with you.
2015-2016 SEASON
Office: (812) 941-2526 Ticket Office: (812) 941-2525 E-mail: oglemail@ius.edu Web site: oglecenter.com Facebook: facebook.com/OgleCenter TICKET OFFICE HOURS Monday 10 a.m. – 5 p.m. Tuesday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 5 p.m. Thursday 10 a.m. – 5 p.m. Friday Closed Other hours by appointment. The ticket office opens 90 minutes prior to curtain time on show days and remains open until intermission. Tickets may be purchased at the Ogle Center ticket office, the Ogle Center web site at oglecenter.com, or by phone at (812) 941-2525. OGLE CENTER STAFF Kirk Randolph, Director Ken Atkins, Marketing Manager Aaron “A.D.” Stonecipher, Ticket Office Manager Jay Moore, Technical Director Derek Young, Assistant Technical Director Joseph Leezer, Technical Assistant Kyleigh Nolan, Ticket Office Assistant Brooke Wessel, Ticket Office Assistant Erin Coffee, Ticket Office Assistant Sophia Bierman, Ticket Office Assistant Kajal Kalabhai, Ticket Office Assistant OGLE CENTER ADVISORY COMMITTEE D. Jack Mahuron, chair · Tyler Bliss · Patricia A. Cress John Hartstern · Judy Hess · Jim Hesselman · Lynn Prinz Marty Ryall · Millicent Stiefler · Dana Wavle
SPONSORS
THE QUEBE SISTERS 9 PART OF THE NASHVILLE NIGHTS SERIES
Friday, September 18, 2015 | 7:30 p.m. Richard K. Stem Concert Hall
DIANE SCHUUR 13 and the JAMEY AEBERSOLD QUARTET
PART OF THE OGLE CENTER PRESENTS SERIES
SEPTEMBER—OCTOBER
SEPTEMBER–OCTOBER Paul W. Ogle Cultural & Community Center 4201 Grant Line Road New Albany, IN 47150
Friday, October 2, 2015 | 7:30 p.m. Richard K. Stem Concert Hall
LOUISVILLE ORCHESTRA 19 KLEZMER TO KADDISH
Saturday, October 17, 2015 | 7:30 p.m. Richard K. Stem Concert Hall
A/TONAL 21
PART OF THE IU SOUTHEAST MUSIC DEPARTMENT SERIES
Sunday, October 18, 2015 | 3 p.m. Millicent and Norman Stiefler Recital Hall
RIDERS IN THE SKY 23 SALUTE ROY ROGERS PART OF THE NASHVILLE NIGHTS SERIES
Friday, October 23, 2015 | 7:30 p.m. Richard K. Stem Concert Hall
COMMONWEALTH 27 BRASS BAND
PART OF THE IU SOUTHEAST MUSIC DEPARTMENT SERIES
Sunday, October 25, 2015 | 3 p.m. Richard K. Stem Concert Hall
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If you haven’t seen us lately, you haven’t seen the Carnegie. 07.24.15 - 09.26.15
Paintings and Works on Paper by David Iacovazzi-Pau
10.09.15 - 01.09.16
Photography Since the Millennium, Curated by C.J. Pressma
01.22.16 - 04.09.16
Bernheim: The Natural Muse
04.16.16 - 04.30.16
Floyd County Secondary Schools Art Show & Competition
05.13.16 - 07.09.16
Form, Not Function: Quilt Art at the Carnegie
PERMANENT HISTORY EXHIBITS
Ordinary People, Extraordinary Courage: Men and Women of the Underground Railroad
FREE ADMISSION Tuesday - Saturday 10:00 AM - 5:30 PM
Remembered: the Life of Lucy Higgs Nichols
CARNEGIE CENTER F o r
A r t
&
H i s t o r y
A Department of the New Albany-Floyd County Public Library
201 E. Spring St., New Albany | 812.944.7336 | carnegiecenter.org
Beverage service provided by:
At the Montrose
318 W. Lewis & Clark Parkway Clarksville, IN 47129 (812) 945-9757
Highlander Point 702 Highlander Point Floyds Knobs, IN 47119 (812) 923-2323
Proudly serving a selection of classic favorites, exciting new dishes, and specials. samstavern.com A portion of the proceeds from this evening’s beverage sales in the lobby benefits the IU Southeast Ogle Center.
TICKET OFFICE
Service Animals Service animals are animals that are individually trained to perform tasks for people with disabilities such as guiding people who are blind, alerting people who are deaf, pulling wheelchairs, alerting and protecting a person who is having a seizure, or performing other tasks. Service animals are working animals, not pets.
Monday–Thursday: 10 a.m.–5 p.m. Friday: Closed Other hours by appointment. Opens 90 minutes prior to curtain time on show days and remains open until intermission. You can order your tickets by any of the following methods: Order by Phone: (812) 941-2525 Order online: oglecenter.com Order in Person: Our ticket office is located in the lobby of the Paul W. Ogle Cultural and Community Center directly inside the front entrance to our facility.
POLICIES
All patrons must have a ticket, regardless of the patron’s age. Patrons arriving late to the performances will be seated at the discretion of management.
TICKET DONATIONS AND REFUNDS
Cameras and recording devices are strictly prohibited unless special permission is granted from the Ogle Center and the artist. Flash photography is prohibited at all times.
ALL SALES ARE FINAL. No refunds or exchanges. If you are unable to use your tickets for a performance, we will gratefully accept them as a tax-deductible contribution provided they are returned at least 24 hours prior to the show date. Please call the Ticket Office at (812) 941-2525.
Indiana University Southeast is a tobaccofree campus. Smoking is prohibited in the Ogle Center and its theaters. Food is prohibited in the theaters. Food is permitted in designated lobby areas.
PARKING
Paid parking is required for all events. Parking spaces for persons with disabilities are available in the lot immediately in front of the Center. Complimentary parking passes are provided to season subscribers.
Beverages purchased from our concessions provider are permitted in the performance halls and lobby areas.
GENERAL INFORMATION
Restrooms are located just off of the Ogle Center lobby in Knobview Hall, to the right as you leave the concert halls.
SPECIAL NEEDS
We are pleased to serve persons with special needs. Please call our Ticket Office at (812) 9412525 to detail your needs in advance to reserve special seating for wheelchair patrons, listening enhancement devices. Parking spaces for persons with disabilities are available in the lot immediately in front of the Center.
Parking is free from one hour prior to curtain time until one hour following the end of the performance in the Dogwood lot directly in front of the Ogle Center and the Hickory lot directly behind the Ogle Center. Vehicles parked in other locations and/or at other times will be subject to ticketing. USH ER
ACCESSIBILITY
Assistive Listening Devices The Stem Concert Hall, Robinson Theater and Stiefler Recital Hall are each equipped with five assistive listening devices. These are for use by patrons without hearing aids. The use of these devices is free. To reserve a device, simply call the Ogle Center Ticket Office at (812) 941-2525.
PAUL W. OGLE CULTURAL & COMMUNITY CENTER
Wheelchair Accessibility An elevator is conveniently located in the lobby of the Ogle Center and Knobview Hall for those patrons needing assistance to reach the balcony or the rear parking lot. In addition, each theater provides a number of seats without steps and rollup space for patrons in wheelchairs. For your convenience, please call the Ogle Center Ticket Office at (812) 941-2525 in advance to reserve your rollup location.
To volunteer as an usher at any of our upcoming events, please call (812) 941-2525 or visit oglecenter.com. Advertise. To advertise in the Ogle Center’s Bravo! program or on the video board in our lobby, e-mail Ken Atkins at atkins@ius.edu or call (812) 941-2523.
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I N D I A N A U N I V E R S I T Y S O U T H E AST F I N E A R TS D E PA R T M E N T
Ronald L. Barr Art Gallery Paul W. Ogle Cultural and Community Center
Monday – Thursday, 9 a.m. – 9 p.m. | Friday, 9 a.m. – 5 p.m. All events are free and open to the public.
2015–2016 EXHIBITION SCHEDULE RAY WALLACE – PHOTOGRAPHY
DOCUMENTING DIRECTIONS: GLOBAL SPACES AND FACES Part of the Louisville Photo Biennial
Campus Opening reception October 1, 5 p.m.–7 p.m. Community reception October 9, 5 p.m.–7 p.m. Exhibition dates October 1–28
CALEB WEINTRAUB Opening reception Exhibition dates
January 21, 5 p.m.–7 p.m. January 21 – February 16
Caleb Weintraub: calebweintraub.com
JURIED STUDENT EXHIBITION Opening reception February 25, 5 p.m.–7 p.m. Exhibition dates February 25–March 16
BLAKE WILLIAMS & LAUREN HERZAK-BAUMAN Opening reception November 2, 5 p.m.–7 p.m. Exhibition dates November 2–27 BACHELOR OF FINE ART (BFA): EXHIBITION ONE Blake Williams: blakejwilliams.com Opening reception March 23, 5 p.m.–7 p.m. Lauren Herzak-Bauman: laurenhb.com Exhibition dates March 23–April 13 BACHELOR OF ART (BA) EXHIBITION BACHELOR OF FINE ART (BFA): EXHIBITION TWO Opening reception December 3, 5 p.m.–7 p.m. Opening reception April 20, 5 p.m.–7 p.m. Exhibition dates December 3–January 15 Exhibition dates April 20–May 9
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IU Southeast Fine Art Program Gallery Co-Directors: Tiffany Carbonneau, tcarbonn@ius.edu | Susanna Crum, sgcrum@ius.edu
W
THE QUEBE SISTERS
hen the Quebe Sisters from Texas take a stage, and the triple-threat fiddle champions start playing and singing in multi-part close harmony, audiences are usually transfixed, then blown away. It’s partly because t he t r io’s vo c a l and instr ume nt a l p e r formances are authentic allAmericana, all the time, respectful of the artists that inspired them the most. And whether the Quebes (rhymes with “maybe”) are decked out in denims and boots or fashionably dressed to the nines in makeup, skirts and heels, the fresh-faced, clean-cut sisters, all in their 20s, look as good as they sound. Not surprisingly, the Quebe Sisters win standing ovations at almost every show. It’s been that way since 2000,
when they started fiddling together as pre-teens. The sisters’ past is as colorful and eventful as their future is bright. Growing up in Burleson, a southern suburb of Fort Worth, Hulda, Sophia and Grace were ages 7, 10 and 12 in 19 9 8 w h e n t hey at tended their first local f iddle competition in nearby Denton, and decided fiddling was what they wanted to do. The girls earned solo and group accolades early on, winning state and national championships in their respective age groups in 1999, 2000, 2001 and 2002. The Quebes’ evolution from the whiz-kid Western swing fiddlers they were back then to the smokin’-hot young adult Americana band they are today is a remarkable story, by any measure.
THE QUEBE SISTERS · September 18, 2015 | 7:30 p.m.
The Ogle Center’s NASHVILLE NIGHTS Series
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THE QUEBE SISTERS
Grace
Along with headlining their own shows to evergrowing audiences, they’ve shared stages with American music legends like Willie Nelson, George Strait, Merle Haggard, Ricky Skaggs & Kentucky Thunder, Ray Price, Connie Smith, Marty Stuart, Larry Gatlin and the Gatlin Brothers, Ray Benson and Asleep at the Wheel, Riders In The Sky, and many others. Today, after more than a decade of travelling the U.S. and the world, and recording three acclaimed albums, Grace, Sophia and Hulda Quebe are pros in a variety of genres, and count many famous musicians among their biggest boosters. The Quebes’ unbridled passion for American music, along with their talent, skills and a lot of hard work, has taken them far beyond their wildest early aspirations. “One thing is for sure, you don’t see a group like the Quebe Sisters come along every day,” famed Opry announcer Eddie Stubbs told listeners on his own show on Nashville’s WSM. “Give them your undivided attention, and if you’re not already, you too, will become a fan.”
Sophia
THE QUEBE SISTERS
Grace Quebe: fiddle, vocal Sophia Quebe: fiddle, vocal Hulda Quebe: fiddle, vocal Simon Stipp: guitar Daniel Parr: bass
quebesisters.com facebook.com/quebesisters twitter.com/QuebeSisters instragram.com/quebesisters
Hulda
Promotional support provided in part by
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youtube.com/thequebesisters soundcloud.com/quebesisters
The James L. Russell
Wonderland Way Collection Paul W. Ogle Cultural and Community Center
History of Wonderland Way James L. Russell (1872–1937), a New Albany artist, opened his Art Shop in 1906 and created an influential gathering place for regional artists during a time that preceded World War I and continued into the 1930s. Inspired by a stretch of scenic auto roads from Cincinnati, Ohio to Mount Vernon, Illinois known as the “Wonderland Way,” the artists adopted this name for their Art Club. After meeting at Russell’s Art Shop, the artists would travel to scenic locations in the region and paint en plein air, a French expression which means “in the open air.” Grover Page, Jr., a former member of the Wonderland Way Art Club, wrote, “James L. Russell was not only a significant ‘Depression artist’ of the ‘30s, he was the kindest and most gentle person I ever knew. He was the favorite artist of everyone in New Albany and the surrounding and distant areas. In 1931, at the age of thirteen, I became a regular among local artists and art lovers who frequented Jim’s Art Shop on Market Street. Jim started the Wonderland Way Art Club for any artist in the area who wanted to study and discuss art.”
James L. Russell Sugar Grove on Ohio River. Oil. 1902.
Kathy Russell Smith, granddaughter of James L. Russell, and her husband, Don Smith, are proud to present these first pieces of art as part of a permanent collection of works. Kathy and Don have personally spearheaded efforts to make the James L. Russell Wonderland Way Collection a reality. Through the Smiths’ generosity, this collection preserves the history and heritage of the art of our region, and they encourage others to follow their lead.
The Wonderland Way Art Club included more than 300 artists. In addition to James L. Russell’s works, some of the Wonderland Way artists you will see represented in the Collection include John T. Bauscher, Orville Carroll, William Hancock, Grover Page, and Russell’s son, James J. Russell.
The first installment of the Wonderland Way Collection is now on display in the Ogle Center lobby. www.ius.edu/wonderland-way
Horseshoe Foundation of Floyd County has given $36.8 MILLION back to the community. Thank you Horseshoe Southern Indiana for $53 MILLION in donations.
www.horseshoefoundation.org
DIANE SCHUUR
and the JAMEY AEBERSOLD QUARTET
R
egarded as one of jazz’s leading vocalists, Diane Schuur is as eclectic as she is brilliant. Born in Tacoma, Washington and 1953, Schuur was blind from birth; but she was gifted with perfect pitch and initially taught herself piano by ear. She later received formal piano training at the Washington State School for the Blind, which she attended until she was 11 years of age. Nicknamed “Deedles” as a child, she grew up surrounded by the world of jazz embraced by both of her parents: Her father was an amateur pianist, and her mother kept a formidable collection of Duke Ellington and Dinah Washington albums in her home. Not surprisingly, Dinah Washington is often listed as Schuur’s major vocal influence, and she learned the iconic singer’s “What a Difference a Day Makes” while she was still a toddler. She also developed her own rich, resonant vocal style at a very young age. Teased by other children for singing like an adult, Schuur retreated to practicing in the closet
to emulate her idols. Her mother heard her, as Schuur related to Paul Tough in Savvy: “One day my mom yanked me out of the closet and said ‘Here’s the microphone. I’m going to put on a record, and you’re going to sing it.’” Schuur complemented her singing with a few music lessons and by the time she was ten had largely taught herself the piano and was performing in local clubs. One memorable performance of her early years was at the Tacoma Holiday Inn. “I’ll never forget it,” she told Huzinec. “I forgot the words to ‘Unforgettable.’ I have it on tape with mother in the background saying, ‘Oh, my God.’” After high school, she continued professionally in music, developed a trememdous local following in the Seattle area, and completed a few modest recording efforts. In 1975 she garnered raves at the Monterey Jazz Festival when she performed with the band of Tonight Show drummer, Ed Shaugnessy. She returned to Monterey in 1979 and astounded the audience after being beckoned to the stage by Dizzy Gillespie and finessing and
DIANE SCHUUR and the JAMEY AEBERSOLD QUARTET · October 2, 2015 | 7:30 p.m.
THE OGLE CENTER PRESENTS Series
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DIANE SCHUUR and the JAMEY AEBERSOLD QUARTET 14
impromptu version of “Amazing Grace.” Her spirited performance so impressed jazz legend Stan Getz that he brought her along with him to perform at the White House for President Ronald Reagan and First Lady Nancy Reagan. Schuur became a favorite of Nancy Reagan’s, and on a subsequent White House performance she met GRP Records executive Larry Rosen who promptly signed her to a recording contract. Schuur’s first album, Deedles (1984), an eclectic mix of musical genres highlighting her four-octave range, astounded listeners. Critics lauded her horn-like approach to singing, which is often compared to the way Ella Fitzgerald vocally attacks her material. In addition to the success of Deedles, her recurring appearances on The Tonight Show thrust Schuur further into the national spotlight. Regarding a 1986 performance by Schuur at New York City’s famed Blue Note club, reviewer Stephen Holden of the New York Times called her “a vocalist of unusual warmth and power.” Holden added that Schuur’s “emotive directness and … unexpected shifts of intonation” recalled Phoebe Snow, while her “billowing warmth and optimism” recalled “the friendly embrace” of Kate Smith. Reviewing a Carnegie Hall 1987 concert with Mel Tormé and Lonette McKee, Holden added other praises, lauding Schuur’s “clear expansive delivery,” her “sophisticated scat technique,” and “phrases [that] roll out on a rich thrilling vibrato.” In 1986, she received her first Grammy® Award, for the album Timeless, and
the following year received another, for Diane Schuur & the Count Basie Orchestra. Schuur’s recording with the Basie orchestra has been one of her most successful, topping Billboard’s traditional jazz chart listing for an impressive 33 weeks. Schuur later branched out from her jazz approach to a more rhy thm-and-blues-inf luenced style. Her 1988 album Talkin’ ‘Bout You demonstrated this new venture, and was more pop-orientated than her previous albums. Featuring Ray Charles’ classics, including the title track, Talkin’ ‘Bout You, was well received by music critics. Alanna Nash commented in Stereo Review, “The sheer glory of Schuur’s voice, captured here in an ultra-clean production, makes for one of the most engaging albums of the year—pop, jazz, or anywhere in between.” Schuur proved her staying power through the 1990s and into the 2000s, first with her 1991 follow up to Talkin’ ‘Bout You, Pure Schuur, and then with nearly an album a year from then on, including In Tribute (1992), Love Songs (1993), Heart to Heart (1994) with the late B.B. King, Love Walked In (1995), and Blues for Schuur (1997). Schuur always admired pop singers such as Judy Garland and Barbra Streisand, and she decided to aim for that kind of broad-based appeal. This led to her changing record labels, first to Atlantic for Music Is My Life (1999) and then to Concord Records for Friends for Schuur (2000), produced by hit maker, Phil Ramone. Both these recordings feature a large number of pop standards.
given a fresh spin with passionate and infectious Latin rhythms. Some Other Time (2008) is a recording of songs by jazz artists Schuur first discovered through her parents during her childhood and adolescent years. The album features songs by George and Ira Gershwin, Irving Berlin, Sammy Cahn, Rodgers and Hammerstein and more. The set also includes a surprisingly mature-sounding rendition of “September in the Rain,” recorded at the Holiday Inn in Tacoma in 1964 when Schuur was only ten years old. Some Other Time is, among other things, Schuur’s celebration of the music of her parents’ generation, and a tribute to her late mother on the 40th anniversary of her death at the young age of 31. Schuur has built a stellar career by embracing and exploring nearly every corner of the 20th century American musical landscape, and with the release of The Gathering in 2011 on the Vangaurd label, she turned her talents to classic country songs. Recorded in Nashville in one day, the album features special guests Alison Krauss, Vince Gill, Mark Knopfler, Larry Carlton and Kirk Whalum. I n 2 014, S c hu u r r e l e a s e d I Remember You (With Love to Stan and Frank) in which she pays tribute to two star-studded influences on her music and career: jazz saxophonist Stan Getz, and crooner Frank Sinatra. (She knew them both personally.) Yet, while tipping her hat to these icons, she chooses to fully embrace an intimate jazz setting, with a quintet typical of a club date, tunes that stand out for their subtlety and
DIANE SCHUUR and the JAMEY AEBERSOLD QUARTET
Friends for Schuur is a dynamic recording of Schuur singing duets with various close friends from the music business, including Ray Charles, Stevie Wonder, Herbie Hancock, Dave Grusin, Stephen Bishop, Dave Grusin, and Stan Getz, whose solo on “Easy Living” was digitally inserted by modern recording technology. (Getz died in 1991.) One of the album’s highlights is a live song from a Kennedy Center performance by Schuur in which Victor Borge, Sean Connery, and Stevie Wonder were paid tribute. Schuur, with Herbie Hancock on piano, flabbergasted Wonder by singing a slow tempo, show-stopping rendition of his hit, “I Just Called to Say I Love You.” Wonder was overwhelmed. Wonder’s vocals were later mixed as a tight duet, and it is sometimes difficult to tell the two singers apart. In 2001 she returned to jazz with the recording Swingin’ for Schuur, in which she is accompanied by the big-band swing sounds of Maynard Ferguson and his eleven-piece Big Bop Nouveau Band. Late in 2003, Schuur released the album Midnight, featuring all-original songs written for the album by pop star Barry Manilow. Manilow also performs alongside Schuur on the album, along with jazz powerhouses Alan Broadbent on piano, Chuck Berghofer on bass, and world-class drummers Harvey Mason and Peter Erskine. In 2005 Schuur released Schuur Fire, her first recorded collaboration with the fiery Grammy ® Award-winning Latin jazz ensemble, Caribbean Jazz Project, featuring 12 memorable tracks
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DIANE SCHUUR and the JAMEY AEBERSOLD QUARTET 16
sophistication, liberal use of scat, and an emphasis on the emotive interpretation of the songs. In person, Schuur maintains a positive outlook on life, which carries through to her performances on stage. “Even though a song might be sad, I’ll try not to drown it,” she was quoted in the New York Times. “Like Johnny Mercer said, I always try to accentuate the positive.” Regarding her Blue Note program, Stephen Holden commented on this aspect of Schuur as revealed through her performance of familiar jazz standards. “On all of them, the singer stamped her engaging, somewhat childlike musical personality. As an interpreter of lyrics, Ms. Schuur seems instinctively drawn toward whatever affirmative ideas can be gleaned from a song. In her hands, even a lament such as Irving Berlin’s ‘How About Me’ becomes an expression of the singer’s own resilience and eagerness to forgive.” Holden called Schuur’s singing “as sunny in spirit as it is voluminous.” In 2000, the American Foundation for the Blind selected Schuur to receive the prestigious Helen Keller Personal Achievement Award. The award is given to an individual who acts as a role model or improves the quality of life for people who are blind or visually impaired. Schuur is the first national spokesperson for the Disability Rights Legal Center, an organization dedicated to promoting the rights of people with disabilities.
DIANE SCHUUR dianeschuur.com facebook.com/DianeSchuur
J “
amey Aebersold has made enormous contributions to the jazz world through his tireless efforts as a performer, educator, and publisher,” said 2000 National Endowment for the Arts (NEA) Jazz Master David Baker. “As the creator of the innovative and groundbreaking Jamey Aebersold Jazz Play-A-Long recordings series, as the longtime director of the Jamey Aebersold Summer Jazz Workshops, as an exceptional clinician and performer, and as the publisher of an extensive catalogue of jazz materials, Jamey has revolutionized the way people practice, teach, create, and perform their music. Jamey has carried his message that ‘anyone can improvise’ and that ‘creativity is part of the nature of every person’ throughout the world to great success, impacting generations of both aspiring and established jazz performers and teachers.” Jamey Aebersold was born July 21, 1939, in New Albany, Indiana. He attended college at Indiana University and graduated in 1962 with a Masters Degree in Saxophone. He was awarded an Honorary Doctorate of Music by Indiana University in 1992. He also plays piano, bass and banjo. In 1989, the International Association of Jazz Educators inducted Jamey into their Hall of Fame at the San Diego convention. With this award, Jamey joins other jazz luminaries such as Count Basie, Duke Ellington, Charlie Parker, Louis Armstrong and others. Jamey is an internationally-known saxophonist and authority on jazz education and improvisation, and has developed
Taylor featured Jamey with the Summer Jazz Workshops in an exciting jazz educational segment. Jamey has taught at three colleges and universities in the Louisville area and has made guest appearances in dozens of cities around the world. While conducting a jazz clinic in Brazil he produced a 110-minute video appropriately titled “Anyone Can Improvise” which has become a best-seller. In December 2004, the Jazz Midwest Clinic bestowed upon Jamey the “Medal of Honor” in Jazz Education, and in 2014 Jamey was the recipient of the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz. Jamey has been a driving force in America’s native art for m, Ja zz, and continues to kindle the fires of musical imagination in those with whom he comes in contact.
DIANE SCHUUR and the JAMEY AEBERSOLD QUARTET
a series of Play-A-Longs (book and CD sets) now numbering almost 130 volumes as well as various other supplemental aids for the development of improvisational skills. The Aebersold book and recording sets allow a musician the opportunity to practice and improvise with wellknown jazz personalities at home as well as in the classroom. The recordings employ some of the best jazz musicians in the world. This concept has been responsible for changing the practice habits of thousands of musicians around the world. Jamey was one of the first to encourage small group classes which concentrate on jazz improvisation, and he is the d i r e c tor of t he Summer Ja z z Workshops which now have 40+ years on record. Jamey feels that improv isation is something all people can do—and his clinics and lectures concentrate on demonstrating how the creative and spontaneous nature of each person can be brought to light. The Workshops have traveled to Australia, New Zealand, Germany, England, Scotland, Denmark and Canada. Every summer there are at least two weeklong Workshops in the U.S. These camps employ many of the finest player/teachers in jazz and are open to any serious jazz student regardless of ability or age. In 2007, Jamey was awarded the Indiana Governor’s Arts Award by Mitch Daniels, the Governor of Indiana. On October 4, 1987, CBS’ “Sunday Morning” with Charles Kuralt and Billie
JAMEY AEBERSOLD and the JAMEY AEBERSOLD QUARTET Jamey Aebersold, saxophone · Steve Crews, piano Tyrone Wheeler, bass · Jonathan Higgins, drums
jazzbooks.com facebook.com/aebersoldjazz
Promotional support provided in part by
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TEDDY ABRAMS, MUSIC DIRECTOR
Ogle Neighborhood Series
KLEZMER TO KADDISH: JEWISH MUSIC AND MUSICIANS Teddy Abrams, conductor
PROGRAM Joseph Rumshinsky arr. Ljova
LOUISVILLE ORCHESTRA · October 17, 2015 | 7:30 p.m.
LOUISVILLE ORCHESTRA
O’Neil Arnold
March from Chantsche in Amerike
George Gershwin/Irving Berlin Swing Medley arr. Ljova (Blue Skies, Liza, Alexander’s Ragtime Band) Aaron Copland
Music for the Theatre
Salamone Rossi
Baruch haba b’sheim Adonai
Maurice Ravel
Kaddish
Jacques Offenbach
Orpheus in the Underworld Overture
Leonard Bernstein
Overture to West Side Story
Klezmer Interlude
Gustav Mahler
“Adagietto” from Symphony No. 5
Teddy Abrams
Questions
John Kander
Chicago Overture/All That Jazz
arr. Abrams
George Gershwin
Overture to Girl Crazy
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LOUISVILLE ORCHESTRA MUSICIANS TEDDY ABRAMS, MUSIC DIRECTOR
LOUISVILLE ORCHESTRA
MARY AND BARRY BINGHAM, SR., MUSIC DIRECTOR CHAIR
JORGE MESTER, MUSIC DIRECTOR EMERITUS BOB BERNHARDT, PRINCIPAL POPS CONDUCTOR
FIRST VIOLIN Michael Davis, Concertmaster Fanny and Charles Horner Concertmaster Chair
Open, Assistant Concertmaster National City Bank Chair
Katheryn S. Ohkubo Cheri Lyon Kelly
Mrs. John H. Clay Chair
Stephen Taylor
Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri
Scott Staidle Nancy Staidle Barbara Meek Patricia Fong Maria Semes
SECOND VIOLIN Robert Simmonds, Principal Claire and Lee Lenkoff Chair
Kimberly Tichenor, Interim Assistant Principal
Principal
Philip M. Lanier Chair
PICCOLO Donald Gottlieb
Alvis R. Hambrick Chair
OBOE Open, Principal
Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra
Elisa Spalding Charles Brestel
CLARINET Andrea Levine, Principal
Heidi Tracy Judy Pease Wilson Blaise Hayden Smith Open
Marilyn Nije§ Ernest Gross
VIOLA Jack Griffin, Principal
Edgar J. Hinson III Chair
Kate H. and Julian P. Van Winkle, Jr. Chair
BASS CLARINET Ernest Gross
Clara Markham
Chris Reid§
Mr. and Mrs. Charles W. Hebel, Jr. Chair
Jennifer Shackleton Jonathan Mueller
Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor
Meghan Casper
CELLO Nicholas Finch, Principal
Thomas Mattingly and Anita Grenough Abell Memorial Chair
Joseph Caruso, Assistant Principal
Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead
Christina Hinton
Dr. Edward Leo Callahan Chair
Allison B. Olsen
Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro
Deborah Caruso Julia Preston
PERCUSSION John Pedroja, Principal Mark Tate§ Matthew Hawkins§ HARP Mary Julian Rapier, Principal The Humana Foundation Chair
KEYBOARD Grace Baugh-Bennett§
Margaret S. Comstock Piano Chair
§Auxiliary musician
*On leave
General Dillman A. Rash Chair
BASSOON Matthew Karr, Principal
Jacqueline R. and Theodore S. Rosky Chair
Musson Principal Timpani Chair
Brown-Forman Corp. Chair
Evan Vicic, Assistant Principal
Aegon Chair
PNC Bank, Kentucky, Inc. Chair
Brett Shuster§
BASS TROMBONE J. Bryan Heath, Interim Jarrett Fankhauser Chair, Endowed by the Raymond Horton* Paul Ogle Foundation Michael Chmilewski TUBA John DiCesare, Principal FLUTE Kathleen Karr, Principal TIMPANI Elaine Klein Chair James Rago, Principal Donald Gottlieb Mr. and Mrs. Warwick Dudley
Trevor Johnson, Assistant Principal
Patricia Ann Jenkins Endowed Chair
TROMBONE Donna Parkes, Principal
Robert Docs Karl Olsen
Devonie Freeman
Mary Catherine Klan Violin Chair, Endowed by Chase
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BASS Bert Witzel, Principal Patricia Docs, Interim Assistant
Paul D. McDowell Chair
HORN Jon Gustely, Principal
Edith S. and Barry Bingham, Jr. Chair
Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair
Bruce Heim§
TRUMPET J. Jerome Amend, Principal
Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra
James Recktenwald, Assistant Principal
Lynne A. Redgrave Chair
Daniel Kassteen
GENERAL MANAGER Lindsay C. Vallandingham PERSONNEL MANAGER Adrienne Hinkebein LIBRARIAN Erika Voss Mahlbacher OPERATIONS MANAGER Open STAGE MANAGER Bill Polk
A/TONAL · October 18, 2015 | 3 p.m.
The IU SOUTHEAST MUSIC DEPARTMENT presents
A/TONAL
Sunday, October 18 | 3 p.m. Millicent and Norman Stiefler Recital Hall Paul W. Ogle Cultural and Community Center
PROGRAM The Memory Palace . . . . . . . . . . . . . . . . . . . . . . . . . . . Gabriel Kahane text by Gabriel Kahane
Chad Sloane, baritone · Jessica Dorman, piano
Autumn Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . David Heinick text by David Heinick based on ancient Chinese poetry
Chad Sloane, baritone · Jessica Dorman, piano Carrie Ravenscraft, clarinet · Felix Borges, cello
Fleeting Moments . . . . . . . . . . . . . . . . . . . . . . . . . . Elliott McKinley Carrie Ravenscraft, clarinet · Felix Borges, cello
The Memory Palace . . . . . . . . . . . . . . . . . . . . . . . . . . Ann Callaway Carrie Ravenscraft, clarinet · Felix Borges, cello Jessica Dorman, piano A/Tonal is a contemporary music ensemble that bridges the gap between traditional and new music with unique musical experiences. Founded in 2013, the members of A/Tonal consist of a core group of performers Jessica Dorman (piano), Amy Ensel (flute), and Carrie Ravenscraft (clarinet) and resident composers Daniel Gilliam and Erich Stem. The group gave its debut performance at IU Southeast in the Spring of 2014, featuring a multimedia performance of Daniel Gilliam’s “The Aggregate of Our Joy and Suffering.” A/Tonal has collaborated with many artists in the region and will soon broaden it’s outreach to include masterclasses and recording of living composers on IU Southeast’s New Dynamic Records label.
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RIDERS IN THE SKY Join Riders In The Sky in a thrilling ride to yesteryear as they salute iconic western movie, music and TV star Roy Rogers, undisputed “King of the Cowboys.” King of the Cowboys: Riders In The Sky Salute Roy Rogers features family-friendly favorites from Roy’s long career that include “Don’t Fence Me In,” “Pecos Bill,” “Happy Trails” and more wrapped up in the Riders’ two-time Grammy-winning high yodeling style. “Roy was my idol, plain and simple,” says Rider Too Slim.“This show will trigger (sorry about that) a lot of memories for folks our age, and introduce new generations to a wonderful man and artist who deserves to be celebrated.”
R
iders In The Sky are truly exceptional. By definition, empirical data, and critical acclaim, they stand “hats & shoulders” above the rest of the purveyors of C & W— “Comedy & Western!” For more than thirty years Riders In The Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers, reviving and revitalizing the genre. And while remaining true to the integrity of Western music, they have themselves become modern-day icons by branding the
genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life “The Cowboy Way!” Riders In The Sky are exceptional not just in the sense that their music is of superlative standards (they are the ONLY exclusively Western artist to have won a Grammy, and Riders have won two), but by the fact that their accomplishments are an exception to the rule as well. That Riders In The Sky was even formed is a feat of improbable likelihood. What are t he odds t hat a theoretical
RIDERS IN THE SKY SALUTE ROY ROGERS · October 23, 2015 | 7:30 p.m.
The Ogle Center’s NASHVILLE NIGHTS Series
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RIDERS IN THE SKY SALUTE ROY ROGERS 24
plasma physicist, a wildlife manager — galvanizer — Life Scout, an English major — shot putter — Bluegrass Boy, and a Polka Hall of Fame member would collectively become “America’s Favorite Cowboys?” And even more unlikely is that 30-plus years later, the original members are still “bringing good beef to hungry people” while putting up Ripken-like numbers! The Rolling Stones only made it a few years before replacing Brian Jones; the Sons of the Pioneers constantly changed personnel; even the Ringo-era Beatles only lasted 8 years. (Perhaps Too Slim, as a sophomore writer for the University of Michigan Daily, had an ulterior motive in 1969 by propagating the rumor that Paul McCartney was dead! It’s true... go ahead and Google “Paul is dead rumor”...) But the key to keeping the same founding members intact for three decades on the road is more easily explained: “Separate hotel rooms,” cracks Ranger Doug! Riders In The Sky’s first official public performance was Nov. 11, 1977, at the erstwhile Nashville nightspot “Phranks & Steins.” Taking the stage that night for a crowd of eight or nine (counting Herr Harry behind the bar) were Ranger Doug (Idol of American Youth) on arch-top guitar and baritone vocals, and Too Slim (A Man Aging Like Fine Cheese) on bunkhouse bass, face, and tenor vocals. A chain saw may have been in the mix somewhere that night, but was soon retired. Replacing the
chain saw was Woody Paul (King of the Cowboy Fiddlers) on fiddle, tenor vocals and rope tricks, and the launch was successful! They subsequently added the “Stomach Steinway” stylings of Joey the Cowpolka King on accordion and bar itone voca ls, much to the delight of ‘Pol k a hol ic s’ everywhere. As a classic cowboy quartet, the trail has led them to heights they could have never predicted. Riders have chalked up over 6,100 concert appearances in all 50 states and 10 countries, appearing in venues everywhere from the Nashville National Guard Armory to Carnegie Hall, and from county fairs to the Hollywood Bowl. Their cowboy charisma and comedic flair made them naturals for TV, and landed them their own weekly show on TNN, as well as a Saturday morning series on CBS. They have been guests on countless TV specials, documentaries and variety shows, appearing with everyone from Barney to Penn & Teller. And their animated likenesses have shared the screen with Daffy Duck on the Cartoon Network, and the Disney Channel’s Stanley. If you consider their compositional credits, one might call them “Writers In The Sky!” In addition to penning award winning songs for their own albums, they wrote the score for Pixar Animation’s 2002 Academy Award-winning short “For the Birds.” They composed the theme song for the internet cartoon show “Thomas Timberwolf” by renowned Bugs Bunny
at ease amusing a theatre full of children as they are enthralling a symphony audience accompanied by 50 or 60 classically trained instrumentalists, or even an NCO club full of servicemen during a USO Tour. Riders have performed at the White House for both Democratic and Republican administrations, and at Major League Baseball’s winter meetings for both American and National Leagues (although with an admitted bias for the Detroit Tigers). With their ability to persuade cowpokes on both sides of the fence to set aside their differences for a brief escape from day-today tribulations, is it any wonder that Riders have a virtual home called “Harmony Ranch?” Ultimately, exceptional careers do not go unnoticed, and throughout theirs, Riders In The Sky have been honored regularly. In addition to being inducted into the Grand Ole Opry, Riders are in the Western Music Association’s Hall of Fame, the Country Music Foundation’s Walkway of Stars, and the Walk of Western Stars (in Newhall, CA near Melody Ranch Studios) along with Gene, Roy, John Wayne and other cowboy legends. No less important than their two Grammies, Riders have been the Western Music Associaton’s “Entertainers Of the Year” seven times, and won “Traditional Group of the Year” and “Traditional Album of the Year” multiple times. The Academy of Western Artists
RIDERS IN THE SKY SALUTE ROY ROGERS
creator Chuck Jones. But the animated character that history will most certainly link to Riders In The Sky is the loveable cowboy Woody, as Riders performed “Woody’s Round Up” in Toy Story 2, with the album of the same name garnering Riders their first Grammy Award in 2001 for “Best Musical Album for Children.” Two years later, Riders roped their second Grammy in the same category, for “Monsters Inc. — Scream Factory Favorites,” the companion CD to Pixar’s award winning movie. Equally as exceptional, but of greater significance, is that in 1982, Riders In The Sky became the first, and to date only, exclusively Western music artist to join the Grand Ole Opry, the longest running radio show in history, and thus began a love affair with radio as well. In 1988, they recorded comedy skits for the album “Riders Radio Theatre” and launched the long-running international weekly radio show of the same name on public radio. And keeping pace with the ever-changing technological landscape, in 2006 “Ranger Doug’s Classic Cowboy Corral” debuted on XM Satellite Radio, still heard weekly on SiriusXM Channel 56. E x c e p tional artists also appeal to a diverse and broad-based cross section of their adoring public. Riders In The Sky’s music and comedy delights cowboys and cowgirls of all ages, and from all walks of life. Riders are equally
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RIDERS IN THE SKY SALUTE ROY ROGERS 26
has named them “Western Music Group of the Year” twice in 5 years, and the National Cowboy & Western Heritage Museum has bestowed Riders with their Wrangler Award statuette three times. It comes as no surprise then that Billboard magazine’s Jim Bessman counts them as one of “the most historically significant acts in the history of American music.” Yes, it would be “The Easy Way” to call it a career after 30-plus years, but it wouldn’t be...”The Cowboy Way!” And so, the never-ending trail drive continues. The ponies are rested and watered, and America’s Favorite Cowboys are ready to saddle up and ride, bringing good beef to hungry people wherever they may be. Yes, Riders In The Sky are truly an exception to the rule.
and electric bassman. Besides his superb bass play and comic genius, he has inspired thousands to whack out tunes on their faces.
Ranger Doug Guitarist Ranger Doug, “Governor of the Great State of Rhythm,” sings lead and baritone vocals with an ever-present big grin and warm twinkle in his eyes. A yodeler of breathtaking technique, he is also an award-winning Western music songwriter in his own right—and a distinguished music historian whose 2002 Vanderbilt University Press book “Singing in the Saddle” was the first comprehensive look at the singing cowboy phenomenon that swept the country in the 1930s.
Joey Accordionist Joey, the CowPolka King, “plays both ends against the middle,” as they say, on his “stomach Steinway.” The master musician, who apprenticed with the late polka king Frank Yankovic and has recorded with everyone from Roy Rogers to U2, is also the Riders’ album producer and a licensed driver.
Too Slim Upright “bunkhouse” bassist Too Slim, easily the sharpest wit in the West, was, prior to the Riders, a janitor, industrial galvanizer, puppeteer, rumormonger, hay stacker, burlesque show emcee, sportswriter, wildlife manager,
Woody Paul Woody Paul, “King of the Cowboy Fiddlers,” sings lead and tenor vocals, and gained early experience in country-western music by hanging out with the likes of Roy Acuff. When not dazzling Riders fans with his fiddle, he’s thrilling them with intricate rope tricks which he swears he’ll get right before his career is over.
RIDERS IN THE SKY ridersinthesky.com facebook.com/Saddlepals twitter.com/HarmonyRanch youtube.com/user/RidersInTheSkyVideos
Promotional support provided in part by
THE COMMONWEALTH BRASS BAND GOES TO THE MOVIES J. Jerome Amend, music director
Anita Cocker Hunt, associate director Shawn Roark, concertmaster · Robert Crafton, solo euphonium Susan Reigler, compère
PROGRAM Fanfare from Also Sprach Zarathustra, Op. 30 (1896) . . . . . . . . Richard Strauss
(1864–1949)
Arranged for English brass band by Ralph E. Pearce
Raiders of the Lost Ark (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams
(b. 1932)
Arranged for English brass band by Steve Sykes
Jurassic Park (1993) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams
(b. 1932)
Arranged for English brass band by Roland Kernen
COMMONWEALTH BRASS BAND · October 25, 2015 | 3 p.m.
The IU SOUTHEAST MUSIC DEPARTMENT presents
Dances With Wolves (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Barry
(1933–2011)
Arranged for English brass band by Alan Fernie
Brazil “Aquarela do Brasil” (1939) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ary Barrosso from the motion picture Brazil (1985) (1903–1964) Arranged for English brass band by Norman Tailor
Ben Hur (1959) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miklos Rozsa
(1907–1995)
Arranged for English brass band by John Glenesk Mortimer
Batman (1989) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danny Elfman
(b. 1953)
Arranged for English brass band by Peter King
Gone With the Wind (1939) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Max Steiner (1888–1971)
Arranged for English brass band by Hardy Schneiders
Star Trek Through The Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arranged by Calvin Custer (1939–1998)
Arranged for English brass band by Dr. Joanna Goldstein
Anita Cocker Hunt, conductor
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INTER MISSION Lawrence of Arabia (1962) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maurice-Alexis Jarre
COMMONWEALTH BRASS BAND
(1924–2009)
Arranged for English brass band by John Glenesk Mortimer
Anita Cocker Hunt, conductor The Last Samurai (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hans Zimmer (b. 1957)
Arranged for English brass band by John Glenesk Mortimer
Anita Cocker Hunt, conductor Spartacus (Ballet, 1954): Phrygia. Adagio . . . . . . . . . . . . . . . . . . Aram Khachaturian
(1903–1978)
Arranged for English brass band by Gordon Langford
Harry Potter and the Sorcerer’s Stone (2001) . . . . . . . . . . . . . . . . . John Williams
(b. 1932)
Arranged for English brass band by Steve Sykes
Ashoken Farewell (1982) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jay Ungar from the Ken Burns PBS documentary film series The Civil War (1990)
(b. 1946)
Arranged for English brass band by Alan Fernie
Disney Fantasy . . . . . . . . . Arranged for English brass band by Godfrey “Goff” Richards
(b. 1944)
Williams—Epic Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams Star Wars (1977), 1941 (1979), The Empire Strikes Back (1980), Superman (1978)
(b. 1932)
Arranged for English brass band by Steve Sykes
Anita Cocker Hunt, conductor
MUSICIANS OF THE COMMONWEALTH BRASS BAND SOPRANO CORNET Jackie Amend Andrew Scott
REPIANO CORNET Carl Reckelhoff
SOLO CORNETS Shawn Roark, concertmaster Jason Houghland,
E b TENOR HORNS Susan Reigler, solo Norma Ruble, first Melanie Dillman, first Mark McDonald, second
assistant concertmaster
Dana Fisher Michael Jones Christopher Labrum Nick Scoggins
SECOND CORNETS Candace True, principal Brent Dellacoletta Jason Fisher David Campisano
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THIRD CORNETS Joanna Goldstein, principal Brent Mode Patrick Sellars Ernest Woodworth
FLÜGELHORN Steven Palmquist
BARITONES Peter Felice, first J. David McNeely, second TROMBONES Mildred Kemp, first Michael Raley, assistant first Charlie Rademaker, second Joe Spain, bass
EUPHONIUMS Robert Crafton, solo Kristi Schmidt, second E b TUBAS Steve Lasher Adam Edwards
BB b TUBAS Russell Shartzer Ferenc Vegh PERCUSSION TBA
Librarians David Campisano Mildred Kemp
COMING SOON TO THE OGLE CENTER
IU SOUTHEAST THEATRE
NOISES OFF
by Michael Frayn
Nov. 5–8 | Nov. 12–15 Called the funniest farce ever written, Noises Off presents a manic menagerie as a cast of itinerant actors rehearse a flop. Doors slamming, on and offstage intrigue, and an errant herring all figure in the plot of this hilarious and classically comic play. “A spectacularly funny, peerless backstage farce.” —The New York Times
QUINTANGO November 6 When QuinTango takes the stage, the lights dim, the pulse quickens... the tango begins. QuinTango has brought thousands of new fans to the music of Tango by engaging audiences with their sizzling, mind-opening fusion of traditional South American Tango repertoire and classical chamber music style. The Courier-Journal selected QuinTango as one of the top 5 picks of the 2015-16 season in the Louisville area!
LOUISVILLE ORCHESTRA
IU SOUTHEAST
ORCHESTRA November 20
SERENADES
This special Friday evening program will include the Light Cavalry Overture by Franz von Suppe, the “Idillio” Concertino for Oboe and Orchestra by Ermanno Wolf-Ferrari featuring oboist, Katherine Alberts, “Forest Murmurs” from Siegfried by Richard Wagner, and the “Danse Infernale” and “Berceuse and Finale” from The Firebird by Igor Stravinsky.
November 21 What is a serenade but beautiful instrumental music that evokes the song of a lover under the window of his lady, awash in moonlight? And what can be lovelier than Tchaikovsky’s Serenade for Strings if not Dvořák’s own Serenade? Hear the Louisville Orchestra under the direction of Bob Bernhardt play both.
IU SOUTHEAST
CONCERT CHOIR & COMMUNITY CHORUS November 8 The IU Southeast Concert Choir is the university’s premier choral ensemble and performs highly varied choral literature from all styles and historical periods. The Community Chorus is open to all students, faculty, staff, and members of the community. The group performs a variety of literature and performs along side the Concert Choir.
HOLIDAY POPS SPECTACULAR December 5 & 6 The IU Southeast Holiday Pops concerts have become an annual tradition for many area concertgoers. Thrill to the spectacle of the most wonderful time of the year with this sparkling holiday celebration. Join us for carols and warm your heart with traditional holiday favorites with a 1940s Radio Show theme featuring an Andrews Sisters-style singing group!
IU SOUTHEAST
CONCERT BAND November 15 Regarded as one of the finest concert bands in the region, the IU Southeast Concert Band will perform a rare work in the band repertoire when it features cellist, Jon Silpayamanant in Luis Serrano Alarcón’s Tramonto: Romanza for Cello and Wind Ensemble. Also on the program will be the world premiere of Arctic Sphere by IU Southeast alumnus, Peter Felice.
VOICEPLAY January 22 As seen on Season 4 of NBC’s The Sing-Off, what began quite literally as a street corner barbershop act has evolved into an internationally acclaimed touring sensation. The cast of VoicePlay has taken the timeless sound of vocal music and turned it on its head. Amazing, humorous, and vertigo-inducing harmonies pepper VoicePlay’s music-withoutmusic sound as it ping-pongs between eras and styles.
TICKETS ON SALE NOW Call (812) 941-2525 or visit
oglecenter.com
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CONTRIBUTORS
FRIENDS OF THE OGLE CENTER
Indiana University Southeast, the Paul W. Ogle Cultural and Community Center, the Music, Theatre, and Fine Arts departments, and our students and community have benefited from the generosity of our donors. Words cannot express the appreciation we have for the support you provide through these gifts. Thank you for being a part of this special community of donors at Indiana University Southeast. Your support makes a difference!
Anonymous Phyllis Robinson Harrison County Community Foundation Morris and Martha Rosenbaum Horseshoe Foundation of Floyd County Bill and Betty Russo James Y. McCullough, M.D. The Family of William F. Ryall Jack and Carol Mahuron Millicent and Norman Stiefler Kirk and Meghan Randolph Chancellor Ray and Susan Wallace Dana and Sharon Wavle OGLE CENTER CONTRIBUTORS James W. Allgood Joseph and Linda Baker Dorothy Baumeier The Honorable Cecile A. Blau Mark and Mariellen Cassidy Carl deGraaf Samuel and Rebecca Eckart Edwin Foote General Electric Foundation John Greenman Robert and Janet Hamilton, D.M. Alan and Candice Hilderbrand Joy Knopfmeier Robert E. Marshall Susan Moffett Glen A. Morris Stuart and Connie Newbanks Paul David Prather Carolyn K. Randolph John and Carolyn Reisert Ronald E. Severtis, Jr. Patricia G. Sisloff Donald and Mary Ann Sodrel Terry and Jane Spitznagel Frances H. Squires, Ph.D. Aaron and Amanda Stonecipher Robert P. Thurston Darrell and Sally Weslander Roger and Janie K. Whaley GIFT GIVEN IN HONOR OF CHANCELLOR EMERITUS LEON RAND Anonymous GIFTS GIVEN IN MEMORY OF CAROLYN BATES GREENMAN Nancy D. Balf Friends of IU Southeast
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Cecelia D. Janson William and Katherine Dotson Dale and Barbara McMakin Kirk and Meghan Randolph THEATRE DEPARTMENT CONTRIBUTORS Preston L. Bodine MUSIC DEPARTMENT CONTRIBUTORS Thomas and Mary Barnard Eleanor L. Cox Eli Lilly & Company Edwin Foote Edmund and Margaret Goerlitz Barbara Ann Maxwell Raleigh and Joanne Wilson IU SOUTHEAST FINE ARTS CONTRIBUTORS Richard and Barbara Combs Wayneda Dupont-Black Charles Edelen Eiklor Flames Inc. Gregory Roberts Bennie N. Wyatt IU SOUTHEAST ARTS INSTITUTE CONTRIBUTORS Catherine A. Shea, Ph.D. DONALD E. AND ELIZABETH H. McMAHEL MUSIC SCHOLARSHIP CONTRIBUTORS John Greenman John and Dora Largent Robert E. and Donna L. McMahel Klinglesmith Dr. and Mrs. Stephen W. Nale Carl R. Reckelhoff Jay and Cynthia Stillman
Gifts given from July 1, 2014 through July 31, 2015. To report an error or omission, please contact Kirk Randolph at (812) 941-2266 or by e-mail at karandol@ius.edu. For information about supporting Indiana University Southeast, please contact the IU Southeast Development Office at (812) 941-2464.
GIVING OPPORTUNITIES
FRIENDS OF THE OGLE CENTER
The Ogle Center’s community of donors, Friends of the Ogle Center, join corporate, philanthropic, and cultural leaders in ensuring the Ogle Center continues to thrive as a presenter of world-class performing arts in southern Indiana. Your financial support is vital to the operation of this community treasure and helps foster educational opportunities for IU Southeast and community members alike. Your gift to the Ogle Center may be designated to either our Operations Support Fund, which supports the annual operations of the Ogle Center, or to the Ogle Center Endowment Fund. A gift to the endowment is a lasting gift. The income from the endowment helps defray the costs of programs brought to the Ogle Center for presentation to the University and to the public. In addition, income may be used to purchase art works for the IU Southeast campus, provide scholarships for students at IU Southeast in the arts, or generally enhance the role of the arts in the region served by IU Southeast. Contributions help the Ogle Center to: • Ensure the level of excellence and variety in programming
• Maintain affordable ticket prices
SUPPORT THE OGLE CENTER
It’s a common misconception that income from ticket sales is sufficient to operate a performing arts facility such as the Ogle Center. Ticket sales cover only 25% of the Ogle Center’s operating expenses. It’s also a common misconception that the Ogle Center is fully funded by Indiana University, and therefore by the state of Indiana and its taxpayers. While we do receive financial support from Indiana University — and IU Southeast in particular — we could not function on that support alone. In addition to ticket revenue and support from the university, the Ogle Center, the IU Southeast Music and Theatre Departments depend on the generosity of businesses and individuals to continue and strengthen arts programming in our community. If you have enjoyed past performances at the Ogle Center, please consider making a contribution to our annual programming fund. If you are a regular contributor to the Fund for the Arts, you can earmark your donation for the Ogle Center.
• Provide for the ongoing restoration of the Ogle Center’s art collection • Provide future funding needs for the maintenance of the Ogle Center to ensure that it remains the premier performing arts facility in southern Indiana for future generations.
GIVING LEVELS & BENEFITS Friend $100 • Listing in BRAVO program as a contributor to the Ogle Center
Supporter $500 All of the benefits above, plus: • Subscription purchases with seat location preferences will receive priority processing • Invitation to attend a Children’s Series performance and reception
DIRECTOR’S CIRCLE A gift at the $1,000 level or above includes membership in the Director’s Circle. Supporters giving at this level will have access to a V.I.P. reception room prior to shows and during show intermissions as scheduled. Patron $1,000 All of the benefits above, plus: • Subscription purchases with seat location preferences will receive first priority processing • Invitation to the Director’s Circle V.I.P. reception room prior to shows and during show intermissions as scheduled
Benefactor $2,500 All of the benefits above, plus: • V.I.P. reserved parking location on the night of Ogle Center Presents and Nashville Nights performances • Name recognition for co-sponsorship of one performance during current season • An opportunity to schedule a V.I.P. tour of the Ogle Center for friends and family
Sustainer $5,000 All of the benefits above, plus: • Inclusion as a Season Supporter for all Ogle Center Programs • Half-page recognition in BRAVO program for the entire season
Producer $10,000 All of the benefits above, plus: • Invitation to “meet and greet” the guest artists subject to specific artist’s contract • Inclusion in season marketing • Full-page recognition in BRAVO program for the entire season • Invitation to welcome audience from stage for a selected Ogle Center performance
For more information on how to give, please call Kirk Randolph at (812) 941-2266 or visit oglecenter.com. Your gift to the Ogle Center will inspire imaginations and enrich lives. Thank you for your annual support!
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