Moscow State Symphony

Moscow State Symphony Orchestra

NOVEMBER 6, 2015

Featuring Nadja Salerno-Sonnenberg, Violinist Supported by Ames International Orchestra Festival Association and Ames Commission on the Arts

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Welcome CURTAIN GOING UP! The celebrated 3,000 pound stage curtain, Silver Code, is opening on a new arts season at Stephens Auditorium. After a year of cleaning, repairing, and re-rigging the auditorium’s iconic main theatre curtain, a unique work of art designed by artist and sculpture Ryokichi Mukai, you’ll be captivated by its original shine and glory – just like opening night 46 years ago.

But it is not just nostalgia that has made the curtain conservation such a marvelous spectacle, the hall itself dazzles the eye with eclectic architecture and charms the ear with excellent acoustics. Just as the curtain is a cause to celebrate, so is the exciting, jam-packed season of entertainment we have in store that will allow you the opportunity to indulge in your favorite arts genre.

Families, serious-minded theater-goers, and the adventurous all have something to look forward to this season. Whether you love Broadway or are mesmerized by music, there are numerous world-class superstars, acclaimed performers, and well-established talent who will move and inspire you.

Making its debut this holiday season on November 15 is Elf the Musical, touring the U.S. in not one, but two national touring companies. Variety proclaims, "Elf is happy enough for families, savvy enough for city kids and plenty smart for adults!" You’ll also want to be in attendance for Sister Act for the stunning sets, glittering costumes, glorious scores— it's all waiting for you and your whole family this holiday season.

You won’t have to look far for the best in classical music this season. The phenomenal Nadja Salerno-Sonnenberg comes to town on November 6 with The Moscow State Symphony to play Bruch: Violin Concerto No. 1 in G minor, Op. 26 and the world’s greatest composers provide the backbone for The State Symphony of Mexico on March 3 featuring Irina Chistiakova on piano.

Also on the schedule are the National Acrobats of China performing “Cirque Peking” on November 19. Trained at the prestigious Fu Hsing Dramatic Arts Academy, these elite performers showcase consummate dexterity and concentration in each awe-inspiring act.

For music fans, there will be lots to enjoy at Stephens. The ‘80s super group The Australian Bee Gees will bring their hits to life on February 20, and the well-established talent of The Chieftains bring traditional Irish music just in time for St. Patrick’s Day. You’ll find this season has plenty of opportunities to indulge in your favorite genre or experience something new. The Iowa State Center staff works hard to create these experiences for you.

Each interaction—subscription, ticket purchase and contribution to the Performing Arts Fund— helps make it possible for us to continue to bring more joy, more diversity, and more inspiration through the world’s greatest performances to the heart of Iowa.

Enjoy the show!

Steven Leath President Iowa State University Standing

Mark North General Manager Stephens Auditorium

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Guest Information Our audience members are a valuable part of every performance at Stephens Auditorium. After all, without you, we wouldn’t be here. To ensure you have an enjoyable experience at Stephens Auditorium, please take a moment to read the following information. Enjoy the performance!

Admittance: All exterior doors open 45 minutes prior to curtain time and the house opens 30 minutes before curtain time.

Arriving Late: As a courtesy to the performers and other audience members, we cannot immediately seat guests who arrive after the performance starts.

Latecomers will be admitted as soon as there is an appropriate break in the performance.

Cameras And Recording Devices: Taking photographs and the use of recording devices is prohibited and a violation of state and federal copyright laws. Photos will be deleted from memory cards and cell phones, tape and film will be confiscated.

Cancellations: Typically, weather related cancellations are not decided until hours before curtain time and will be announced by the media whenever possible. For specific performance information, guests can call the Stephens Auditorium Ticket Office at 515-294-2479, the Administration Office at 515-294-3347, or check our web site at www.center.iastate.edu for updates.

Cell Phones and Pagers: All cell phones, pagers and alarm watches should be turned off. Guests expecting messages should leave their cell phones or pagers at the Guest Services Desk, along with their seat locations. Guests may also leave their seat location and the Guest Services number, 515-294-2313, with the calling party.

Children: Every audience member (infants included) must occupy a seat and have a ticket. Please use discretion when deciding which events are appropriate for children. To learn about performances recommended for young children, please contact the Ticket Office at 515-294-2479.

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Guests are also asked to be considerate of their young ones and other guests by excusing themselves if their child becomes disruptive during the performance.

Coat Check: A free coat check is available on the ground floor, just west of the Celebrity CafĂŠ.

Elevators: Elevators are located in the lobbies of all floors on the north side of Stephens Auditorium.

First Aid Assistance: First aid assistance is provided by Mary Greeley Medical Center. If you need assistance, please visit the Guest Services Desk or ask your usher for details.

Food and Beverages: Food and beverages may be purchased at concession stands located in the lobby areas of the main floor and ground floor before the performance and during intermission.

Gift Certificates: Give the gift of entertainment! Gift certificates may be purchased at the Ticket Office in onedollar increments.

Groups: For most shows, groups of 15 or more receive a $5 discount off adult prices. Call 515-294-2479 for more information.

Guest Services: The Guest Services Desk is located in the main floor lobby on the north side of Stephens Auditorium.

ISU Student Ticket Discounts: ISU students can purchase tickets to most Performing Arts Series events for as little as $26. There is a limit of two tickets per performance, per student ID. Funded by the Government of the Student Body (GSB).

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Lost and Found Items: Lost items may be reported, turned in or claimed at the Guest Services Desk located on the main floor during an event. After an event, please contact us at 515-294-3347, Mon–Fri, 10 a.m.–5 p.m. Lost and found items are kept for 30 days.

Parking: Free parking is available in the lots south and east of Stephens Auditorium. Lots A-1 and B-3 are reserved for Performing Arts Fund Donors who contribute $250 or more. Lots are reserved up to 15 minutes prior to show time and are subject to availability. Parking for mobility-impaired guests is available in the lot located west of Stephens Auditorium.

Public Amenities: Restrooms are located on the ground floor and first balcony lobby area. Additional facilities can be found in the first and second balcony towers.

Women’s facilities are house left (as you face the stage) and men’s are house right. Restrooms equipped for the mobilityimpaired are located on the ground floor.

Smoke-Free Environment: Smoking is not allowed in Stephens Auditorium. The Iowa State Center buildings and grounds are smoke-free.

Ticket Exchange: Ticket exchange is an exclusive benefit available only to Performing Arts Series Subscribers and only available for Performing Arts Series events.

INTERACT WITH THE IOWA STATE CENTER

Stay connected to the latest news from the Iowa State Center — anytime, anywhere! Visit www.center.iastate.edu to find event schedules, audio samples, video clips, performance reviews, and more! While you’re there, check out other ways to interact: Facebook, Twitter & YouTube Join discussions about upcoming events, tell us what you thought of a performance, learn more about visiting artists, and enter to win great prizes!

Center Beat E-Mail Club Join today to receive e-mail updates and special offers for all events at the Iowa State Center, including the Performing Arts Series, Youth Matinee Series, concerts, family events, free events, and more. Plus, access exclusive contests and pre-sale offers!

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Theater Etiquette In today’s world, everyone seems to have less time and more stress, making the chance to sit back, relax and enjoy an event that much more meaningful. A visit to the theater can provide a wonderful escape, so here are some tips that will ensure you — and the guests around you — will have an even more enjoyable trip to Stephens Auditorium.

“Fashionably Late” is never in style Please arrive early enough to find your seat before the curtain rises. After the performance has begun, latecomers will be asked to wait until a suitable moment before being seated. The same reminder applies at intermission.

Hearing a Pin Drop If you should need a cough drop or candy to help soothe a scratchy throat, please try to open the wrapper quickly and at an appropriate time (a scene change, applause, etc.). A good tip: unwrap a few lozenges before entering the auditorium.

Sit Back, Relax, and... “Hello?”

Please be considerate of your neighbors, just as you would expect the same consideration from them, and turn off all cell phones, pagers and watches with alarms. With the outstanding acoustics in the auditorium, these sounds will distract and annoy everyone. If needed, you can arrange to be notified in the event of an emergency call. See “Cell Phones and Pagers” on page 2 for details.

A Star is Born Performing arts enrich our community’s cultural life and bring a variety of entertainers to our backyard. These talented artists may be performing in your favorite musical or playing a well-known concerto, but you may be sitting near people who aren’t familiar with the piece.

Please resist humming, singing along, or finishing a line for the actors.

Talk of the Town We’re delighted if the performance becomes the “talk of the town,” but please wait until intermission or the final curtain to carry on conversations.

You might also consider reserving any negative feedback until you are in private. People have differing opinions about creative events, and after all, you could be sitting next to the conductor’s mother or a company member’s spouse.

An Evening with the Family Children are always welcome at Stephens Auditorium events. However, some performances require an adult attention span and a quiet auditorium.

Please be considerate of both your young ones and the rest of the audience by excusing yourself with your child if he or she becomes disruptive during the performance.

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Good Neighbors Should you find yourself near someone who chooses to violate the rules of common courtesy, please remember that a quiet reminder or a polite “shh” can be very effective. If needed, ask an usher to help resolve the issue.

Great Escape A quick departure is noticed by everyone in the audience and especially by the performers on stage. Making a mad dash for the exit expresses inconsideration to everyone in the auditorium. Please stay until the house lights go up. Should you need to make an exit before the final curtain call, please be discreet and considerate to others in your row.

Keeping Up Appearances Help us preserve the ambience of Stephens Auditorium by depositing all trash in the appropriate receptacles located in the lobby areas.

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Services for Guests Every effort is made to ensure every guest has an enjoyable experience at Stephens Auditorium. Should you have additional questions or require special accommodations, please make arrangements with the Ticket Office when purchasing tickets.

ATM: For your convenience, an ATM is located in the Ticket Office lobby. The ATM is accessible during regular business hours and for the duration of all performances.

Background Materials: To learn more about the artists before you come to Stephens, we post biographies of the performers, composers and authors. You can also preview the event with audio and video samples at www.center.iastate.edu Listening Devices: Infrared listening devices to clarify and amplify sound are available free of charge at the Guest Services Desk in the main floor lobby. The

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supply is limited and dispensed on a first-come, first-served basis.

Special Seating: Wheelchair seating and special seating for the hearing and visually impaired is available for all performances.

Sign Language Interpretation: When possible, we will arrange to provide sign language interpretation and taperecorded programs. Requests for these services must be made one month in advance.

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The Art of Programming Do you wonder how the eclectic mix of performances on the Performing Arts Series comes together? And how do we choose the dates? Contrary to the notion that the Performing Arts Series is selected randomly, much like picking shows from a hat, programming involves a lot of planning to bring the best possible collection of performances to our stage.

From beginning to end, we do extensive research in choosing the performances.

Our goal is to offer high-quality performances from varied genres and disciplines as diverse as our audience.

Preparation for the next season begins one to two years before we announce the series each May. Discussions for the 2015-2016 series have already begun.

The extensive planning process includes all of these considerations: 1. Priority List of Artists

After scheduling the series each year, there may be performances which were considered but didn’t fit into the schedule and we keep those events on a priority list for the future. Some artists are so well received, that we want them back when the timing is right for a return performance.

2. Geographic/Routing Criteria A big question in the planning process is what performances will be touring in the Midwest and when. Artists’ agents advise which shows are available and the potential artist fees. Many events are available to play at Stephens Auditorium in mid-fall and spring, as they start their tours on either coast and route into the Midwest in October, February and March. Fewer events are available in September, December, January, and April.

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3. Collecting Information

Next, we collect background material on the performances from various sources, including:

Agents: Most agents know the sales history of the artists and want to sell only the events that make sense for a particular venue. We discuss whether an event will fit our community and its needs.

ISU’s Performing Arts Council: This panel of Iowa State University faculty, staff, students and community members offers valuable insights and feedback on performances.

Iowa State Center staff: Staff members may attend regional and national meetings on the arts, providing an opportunity to preview artists and shows.

Guest comments: Guests often have excellent intuition about artists and shows that would be successful on the series. We welcome your comments.

Other sources: We monitor the artists scheduled by other presenters to see what works in markets similar to ours.

Magazines like Billboard and Variety cover hot new jazz artists, classical music favorites, popular performers and off-Broadway shows.

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4. Talking to Artists’ Representatives Negotiations begin via phone, e-mail and at performing arts conferences.We determine how many performances our market can support and begin to shape a preliminary series. We must also consider: • balancing the types of shows and arranging dates with the university and community calendars • checking potential conflicts with other area arts presenters • generating budgets for each potential event to ensure there is a balance between financial responsibility and artistic merit, since ticket sales cover only 68% of presenting costs

Now the actual booking begins and the schedule is adjusted several times until we have the right mix of performances. Talent fees, ticket prices, performance dates and hundreds of other details are ironed out.

When all parties agree, we finalize the event and sign the contracts. However, nothing is set in stone. Scheduling conflicts, changes in tour funding, and other circumstances can change even ‘finalized’ performances.

At last, the Performing Arts Series is announced to the public! (Of course, we’re already planning great shows for next season.)

Danu - A Christmas Gathering

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Ways to Enhance your Experience Make the Most of Your Experience With These Special Opportunities Before, During and After the Show.

When you think of Stephens Auditorium, we hope you think of it not just as a venue for seeing the performing arts, but also as a place where you are engaged as an active participant in the arts. The following events will enhance your visit and make each experience more fulfilling.

of the professional touring group provide unique insights before each performance.

Previews are free for ticket holders and occur 30 minutes before curtain time.

You’ll find the Celebrity Café on the ground floor lobby in Stephens, on the north side of the auditorium.

Master Classes: In master classes, artists will meet with groups of students, usually from Iowa State University and other area schools, and share their knowledge and insight as professional performers. In some cases, the artists will even provide a class for the entire community.

Overture Dinner: We offer pre-concert meals prior to our classical programming, with the next dinner scheduled before the Moscow State Symphony, November 6, 2014. The buffet is held in the Scheman Building and includes three entrees, dessert, beverages and cash bar. With an informative presentation about the evening’s concert, it is a great way to make it a fun evening with like-minded arts supporters.

Free Previews in the Celebrity Café: Engaging presentations offered by topic experts, ISU faculty members or members

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Youth Matinee Series Performing Arts For Young Minds Parents and educators know that helping a student develop creativity and imagination is one of the most important things they can do. Helping to complete the education formula, our Youth Matinee Series energizes, engages and enhances the overall learning process for students through the magic and

wonder of live performing arts experiences produced by professional touring artists.

Performances are geared toward enriching students’ lives and illustrating the dynamic relationship between literature, social studies, history, science, math, world cultures and the performing arts.

Martha-Ellen Tye Performing Arts Institute The Martha-Ellen Tye Performing Arts Institute was established through a generous endowment by long-time Marshalltown resident, the late MarthaEllen Tye. It brings a unique blend of arts experiences to students of all ages through matinee performances, teaching activities in schools, demonstrations and workshops.

Now in its 15th year, the program has served more than 150,000 students in grades PreK12 from across the state of Iowa.

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Mrs. Tye believed strongly in the power and importance of arts education and vigorously supported programs that develop the “whole person — body, mind and spirit.”

The Youth Matinee Series is underwritten by this endowment, which allows us to keep prices affordable. Resource guides can be downloaded for free.

If you would like to learn more about these performances, contact Sara Compton, Outreach Coordinator, at 515-294-7389, e-mail scompton@iastate.edu, or visit www.center.iastate.edu.

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Become a Subscriber Subscriber Benefits Quick & Easy Exchanges: Plans change? Exchange your tickets in person, by mail or by phone up to 24 hours prior to the performance, absolutely free!

Ticket Insurance: If your tickets are lost, stolen or destroyed, replacement tickets will be provided for the same seats, free of charge.

Priority Seating: Receive priority seating in advance of single-ticket buyers and you’ll be the first to hear about next year’s Performing Arts Series at an exclusive Preview Party.

Special Offers: Throughout the season, subscribers will be notified of special offers, exclusive promotions, the latest updates and more.

For a complete list of subscriber benefits, visit www.center.iastate.edu.

Sister Act

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Iowa State Center Staff Mark North..................................................................................General Manager Missy Borton.......................................................................Administrative Assistant Kay Lande.................................................................. Administrative Receptionist

Business & Finance

Linda Schwartz........................................................................... Business Manager Helen Nelson.....................................................Accounts Payable Administrator Susan Lund....................................................... Payroll & Personnel Administrator

Event & Conference Services

Pat Dennis............................................ Director of Event & Conference Services Angie Weeks.......................... Event & Conference Services Sales Coordinator Melissa Johnson............................... Event & Conference Services Coordinator Dave Burrack........................................ Event & Conference Services Manager Josh Oakland..........................................Event & Conference Set-up Supervisor

Guest & Client Services

Tim Hinderks......................................................Guest & Client Services Manager Sandra Robinson..............................................Guest & Client Services Manager Steve Flack....................................................... Environmental Services Manager Greg Gerstein..............................Scheman Environmental Services Technician

Marketing & Development

Angela Ossian...................................................................... Director of Marketing Jordan Jolson........................................................ Digital Marketing Coordinator Lisa Maubach........................................................................ Marketing Manager Patti Cotter..............................................Development & Sponsorship Manager Janae Verhelst..............................................................................Marketing Intern

Technical Operations

Steve Harder........................................................... Theaters – Technical Director Jake Ewalt...................................... Audio/Stage Manager – Technical Director Mike Broich............................ Exterior/Production Manager – Technical Director

Programming & Education

Craig Wiebke............................................................................ Event Coordinator Sara Compton...................................................................Outreach Coordinator Carol Lamb...............................................................................Outreach Assistant

Ticket Office

Carrie Erwin........................................................................ Ticket Office Manager Valerie Connell................................................... Assistant Ticket Office Manager 14

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Mosco Symphony The Culture Buzz

Iowa’s insightful gateway to arts, theatre, literature, culture, history, entertainment and more, guided by John Busbee, 2014 Governor’s Arts Award winner for Collaboration & Partnership in the Arts. Encourage your creative exploration, indulge your imagination, enhance your life. Catch “The Buzz.” www.TheCultureBuzz.com Each Wed 11am–1pm on KFMG. Locally 99.1 FM, Globally www.kfmg991.org

Elf The Musical

CultureBuzz_StandingOvationDSM_2014_1-8.indd 1

8/13/14 4:01 PM

is the hilarious tale of Buddy, an orphan who leaves the North Pole to find his true identity.

PAVEL KOGAN

NADJA SALERNO-SONN

The Moscow State Sympho exciting program (subjec

TCHAIKOVSKY: Romeo an (final vers BRUCH: Violin Concerto

Nadja Salerno-Sonne

TCHAIKOVSKY: Symphon

November 15, 2014 at Stephens Auditorium 16

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Supported by Ames Inte Association and Ames C

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ow State Orchestra

Third Annual Blast Dance Workshop Third Annual Blastthe Dance Workshop You have power What: What: Jazz, Jazz, Hip Hip Hop, Hop, Contemporary, Contemporary, Ballet Ballet When: When: Over Over winter winter break break in in Ames Ames (2 (2 days) days) Who: Ages 5-20 Who: Ages 5-20 Visit: Visit: www.ddblast.com www.ddblast.com after after Labor Labor Day Day for for dates dates and and registration registration information information

to make a difference DONATE NOW!

N, conductor

NENBERG, violin soloist

ony Orchestra presents an ct to change) featuring:

nd Juliet Overture-Fantasy sion 1880) No. 1 in G minor, Op. 26

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ny No. 4 in F minor, Op. 36

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MOSCOW STATE SYMPHONY ORCHESTRA (MSSO) The MSSO was founded in 1943 by the Kremlin and is one of the five oldest concert orchestras in Russia.

Leo Steinberg, the Peoples Artist of USSR and conductor of the Bolshoi Theatre, became the MSSO’s first Chief Conductor, a post he held until his death in 1945. He was succeeded by a series of distinguished Soviet musical giants, including Nicolay Anosov (1945 – 1950), Leo Ginsburg (1950 – 1954), Mikhail Terian (1954 – 1960), and Veronica Dudarova (1960 – 1989). The collaboration with these major figures helped to shape the orchestra into one of most prominent national symphonic ensembles, revered for its performances and premieres of Russian and Soviet classical music, including the works of Myaskovsky, Prokofiev, Shostakovich, and Glière.

The Moscow State Symphony Orchestra has reached new levels of success around the world under the leadership of Pavel Kogan. In 1989 he was engaged as Music Director and Chief Conductor and immediately started incorporating European and American music into the orchestra’s repertoire.

A landmark of the MSSO has been to present the great cycles of complete symphonic works from leading composers such as Brahms, Beethoven, Schubert, Schumann, R. Strauss, Mendelssohn, Mahler, Bruckner, Sibelius, Dvorak, Tchaikovsky, Glazunov, Rachmaninov, Prokofiev, Shostakovich, Scriabin, Berlioz, Debussy and Ravel. The orchestra’s wide-ranging programs combine great orchestral, operatic, and choral classics with equally significant music of the 21st century, including many forgotten and neglected works.

Concert Hall, the Moscow State Symphony Orchestra performs in the Great Hall of the Saint-Petersburg D.D. Shostakovich Philharmonic Society and on the stages of many other Russian cities. The MSSO tours regularly overseas in the USA, United Kingdom, Japan, Spain, Austria, Italy, Germany, France, South Korea, Australia, China and Switzerland.

The Moscow State Symphony Orchestra also has a long and distinguished recording and broadcast history on television and radio. In 1990 the MSSO, led by Maestro Kogan, made a live recording of Tchaikovsky’s piano and violin concertos, soloed

by Aleksey Sultanov and Maxim Vengerov and released by Pioneer. In the early 1990s, Russian television stations aired the documentary “Travels with the Orchestra” about the MSSO and Pavel Kogan tour in Europe and Saint-Petersburg. Their Rachmaninov cycle, released by Alto, which recorded all of Rachmaninov’s symphonies and symphonic dances, has become a charttopping album.

The MSSO has a proud history of collaborating with eminent conductors and soloists including Evgeny Svetlanov, Kirill Kondrashin, Aleksandr Orlov, Natan Rakhlin, Samuil Samosud, Valery Gergiev, David Oistrakh, Emil Gilels, Leonid Kogan, Vladimir Sofronitsky, Sergei Lemeshev, Ivan Kozlovsky, Svyatoslav Knushevitskyi, Sviatoslav Richter, Mstislav Rostropovich, Daniil Shafran and Angela Gheorgiu.

The orchestra’s partnership with Pavel Kogan has earned the orchestra an enviable reputation for high standards of artistic excellence, imaginative programming and community engagement, and having a broad and loyal constituency around the world.

The MSSO plays some 100 concerts annually.

Along with the series in the Great Hall of the Moscow Conservatory and in the Tchaikovsky

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PAVEL KOGAN Conductor Maestro Pavel Kogan’s career --spanned over 40 years and five continents-- has made him one of the most respected and widely recognized Russian conductors of our time.

He was born into a distinguished musical family: his parents are legendary violinists Leonid Kogan and Elizaveta Gilels and his uncle is the inimitable pianist Emil Gilels. From an early age Maestro Kogan’s artistic development was divided between conducting and violin. He was granted special permission to study both disciplines at the same time--an extreme rarity in the Soviet Union.

In 1970, eighteen-year-old Pavel Kogan, then a violin pupil of Yuri Yankelevich at the Moscow Conservatory, won 1st prize in the Sibelius Violin Competition in Helsinki, catapulting his violin career which took him to concert halls around the world. Forty years after his win, a panel of judges was asked to determine the most impressive winner in the 45-year history of the Sibelius competition for the newspaper Helsingin Sanomat. A unanimous vote put Maestro Kogan in the coveted spot, surpassing decades worth of violin virtuosos.

As a conducting pupil of Ilya Musin and Leo Ginsburg, in 1972 the young Maestro gave his debut with the USSR State Symphony Orchestra and subsequently turned his focus to conducting. In the years that followed, he conducted the leading Soviet orchestras both at home and on tour abroad at the invitation of Mravinsky, Kondrashin, Svetlanov and Rozhdestvensky.

As conductor of the Bolshoi Opera, Kogan opened the 1988 season with a new production of Verdi’s La Traviata. That same year he became the head of the Zagreb Philharmonic Orchestra.

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In 1989, Kogan was appointed the Music Director and Chief Conductor of the eminent Moscow State Symphony Orchestra (MSSO) and has been there since, building it into one of Russia’s most widely known and highly acclaimed orchestras.

Maestro Kogan has also appeared with many prominent orchestras including the St. Petersburg Philharmonic Orchestra, Moscow Philharmonic Orchestra, USSR State Radio & TV Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Bavarian Radio Symphony Orchestra, Munich Philharmonic, Orchestre National de Belgique, Helsinki Philharmonic Orchestra, RTVE Symphony Orchestra, Toronto Symphony Orchestra, Staatskapelle Dresden, Orquesta Filarmónica de Buenos Aires, L’Orchestre de la Suisse Romande, Orchestre National de France, Houston Symphony, Orchestre National du Capitole de Toulouse and the Luxembourg Philharmonic Orchestra.

From 1998-2005 he served as principal guest conductor of the Utah Symphony Orchestra.

Pavel Kogan has recorded countless works with the MSSO and other ensembles, recordings which have been a major contribution to the world’s musical culture. Many of his albums have garnered great acclaim from critics and audiences alike. His recording of the Rachmaninoff cycle (Symphonies 1, 2, 3, Symphonic Dances, “Isle of the Dead,” “Vocalize & Scherzo”) was hailed as “…sparkly, strongly communicative Rachmaninoff... vibrant, soulful and involving.”

(Gramophone) Maestro Kogan was awarded the State Prize of the Russian Federation for his performance of the complete symphonies and vocal cycles of Gustav Mahler. He is a member of the Russian Academy of Arts, recipient of the “Order of Merit” of Russia, the “Peoples’ Artist of Russia” award, and is a Chevalier de L’Ordre des Arts et des Lettres, among many other international accolades.

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NADJA SALERNO-SONNENBERG Violinist “One of the few classical artists who must be experienced in person” -The Washington Post Passion, excitement, and innovation are the hallmarks of internationally acclaimed soloist and chamber musician Nadja Salerno-Sonnenberg’s artistry. Praised for her compelling performances, daring interpretations and dedication to her craft, she is one of today’s leading violinists, renowned for her work on the concert stage, in the recording studio, and highly respected for her vision and guidance as music director of the San Francisco-based New Century Chamber Orchestra, which she joined in January 2008. With successful careers in both the solo and chamber music worlds, Nadja continues to enthrall audiences of all ages.

Engagements of note this summer include performances at Italy’s Rome Chamber Music Festival, with the Buenos Aires Philharmonic Orchestra in Argentina, the Minnesota Beethoven Festival and California’s Cabrillo Festival. A US tour with the Moscow State Symphony, performances with the Philadelphia Orchestra, Oregon, Milwaukee, and Colorado symphonies and the Louisiana Philharmonic Orchestra are just some of the 2014-2015 season highlights.

A powerful and creative presence on the recording scene, Nadja continues to add to the offerings of her own record label, NSS Music, which she started in 2005. The label’s roster of artists includes Ms. Salerno-Sonnenberg, pianist AnneMarie McDermott, horn player John Cerminaro, pianist/composer Clarice Assad, conductor Marin Alsop, the American String Quartet, the Colorado Symphony, Orquestra Sinfonica do Estado de Sao Paulo, and the New Century Chamber Orchestra. In addition to her over twenty releases on the EMI and Nonesuch labels, Nadja has also made several recordings for NSS MUSIC (www. nssmusic.com), featuring both concerto and chamber pieces. The latest release, From A To Z (May 2014), is an all-commissions CD featuring violin concertos by Clarice Assad, William Bolcom, Michael Daugherty, and Ellen Taaffe Zwilich, 20

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all commissioned by New Century since Nadja joined the ensemble.

Nadja Salerno-Sonnenberg’s exceptional artistry is paired with great musical intelligence which, along with her unique personality, have served her well in numerous environments – she has hosted the Backstage/Live from Lincoln Center program for PBS, appeared in the PBS/BBC series The Mind, and with Big Bird on Sesame Street. She was the subject of the 2000 Academy Award-nominated film, Speaking in Strings, an intensely personal documentary on her life, which premiered at the Sundance Film Festival, was released in theaters nationwide, and subsequently premiered on HBO’s Signatures channel in 1999. Included among her numerous television interviews and profiles are CBS’ 60 Minutes, 60 Minutes II, and Sunday Morning; CNN’s Newsstand; NBC’s National News and Newsstand; NBC’s National News and The Tonight Show with Johnny Carson; Bravo’s Arts & Minds; PBS’ Live from Lincoln Center, and The Charlie Rose Show. On the publishing front, Nadja: On My Way, her autobiography written for children discussing her experiences as a young musician building a career, was published

by Crown Books in 1989. Nadja has appeared in numerous publications ranging from The Strad, Gramophone and Strings to The New York Times, The Washington Post, and The Huffington Post, among many.

Ms. Salerno-Sonnenberg’s professional career began in 1981 when she won the Walter W. Naumburg International Violin Competition. In 1983 she was recognized with an Avery Fisher Career Grant, and in 1988 was Ovations Debut Recording Artist of the Year. In 1999, Nadja was honored with the prestigious Avery Fisher Prize, awarded to instrumentalists who have demonstrated “outstanding achievement and excellence in music.” In May of that same year, she was awarded an honorary Master of Musical Arts from the New Mexico State University, the first honorary degree the University has ever awarded. An American citizen, Ms. SalernoSonnenberg was born in Rome and emigrated to the United States at the age of eight to study at The Curtis Institute of Music. She later studied with Dorothy DeLay at The Juilliard School.

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Program Notes

Prepared by Karl Gwiasda, President, Ames International Orchestra Festival Association

Peter Ilyich Tchaikovsky (1840-1893) Romeo and Juliet—Overture-Fantasy Tchaikovsky composed his Romeo and Juliet in 1869 in response to a suggestion from Mili Balakirev, the composer and theorist who headed a group of composers dubbed the “Mighty Five.” Based in St. Petersburg, these composers (whose best-known members were Rimsky-Korsakov, Mussorgsky, and Borodin) opposed the dominance of German models in music and sought instead to produce compositions derived instead from the distinctive character of Russia’s history, culture, and language. In approaching Tchaikovsky, Balakirev undoubtedly wished to enlist the promising but as yet largely unproven young composer to his cause. The effort did not altogether succeed, for Tchaikovsky never abandoned writing music in such canonical, arch-German forms as the symphony, the concerto, and the string quartet. Thus the man who seems to Westerners to be the very embodiment of Russian music was within his own country and lifetime often castigated as “too German.”

In 1869, however, Tchaikovsky welcomed Balakirev’s encouragement and support, not only quickly taking up the proposed composition but also adhering to Balakirev’s suggested outline of how the piece should be structured. Following the work’s tepid reception at its premiere

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performance in Moscow on March 28, 1870, Tchaikovsky immediately turned to revising it, his biggest change being to rewrite wholly the introductory and closing sections. In 1880, he made some further minor revisions, and it is this last version that has become one of his most played and most popular compositions.

Although Tchaikovsky labelled the piece as an “overture,” it was never intended as a prelude to a production of Shakespeare’s play. During the 19th century, composers often used the term “overture” for orchestral works inspired by a particular scene or story—hence, for instance, Mendelssohn’s Hebrides (or Fingal’s Cave) Overture.

Tchaikovsky’s aim was to encapsulate in musical terms the essence or spirit of the tragic tale. To that end, he based his composition on three main ideas or motifs. First, the opening music, part hopeful and part apprehensive, serves to set the context or overall mood for what follows.

The uneasy introduction eventually gives way to an agitated section that speaks unmistakably of the strife and violence attending the fierce feud between the foolishly proud families. To complete the musical profile, there follows the intensely passionate music that stirringly sings of the young couple’s ardor. Tchaikovsky then places the three motifs in contrast and opposition until, at the end, the doomed lovers make one last, futile confession of their love. The music sinks into a funeral march that is terminated by stern chords that emphatically declare “It was not to be.”

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Program Notes Max Bruch (1838-1920) – Violin Concerto No. 1 in G minor, Op. 26 The history of Bruch’s Violin Concerto in G minor is uncomplicated. The composer, then age 28, wrote it in 1866 for performance by Otto von Königslaw and the orchestra in Cologne. Bruch himself conducted at the concerto’s premiere on April 24, 1866. As he often would do with his compositions, Bruch revised the concerto after its first performance.

He then sent the new version to Joseph Joachim, the most eminent German violinist of the day (and the man for whom Brahms would produce his own concerto). Joachim was impressed and gave the premiere performance of the revised version in Bremen on January 5, 1868. The work soon became one of the most played and most loved concertos in the repertory. In his later years, Joachim himself placed Bruch’s concerto in the top rank alongside the concertos of Beethoven, Mendelssohn, and Brahms, and called it “the richest, the most seductive” of the four.

The concerto begins with a barely audible timpani roll that is followed by a few wistful chords played by the winds. The violin enters with a gentle ascending passage to which the winds reply with a renewed invitation that the violin again answers. Thereafter, the full orchestra makes a passionate utterance of the invitational chords, and the violin now fully states an assertive theme filled with virtuoso flourishes. After the orchestra responds in a kind of exclamation point, the violin introduces a contrastingly tender second theme that is very like an extended love song. The two themes then become the subject matter for the rest of the movement. Because the

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opening movement does not undertake a customary development of the themes, Bruch confessed his doubts to Joachim that his work should be called a concerto, suggesting that “fantasy” might be a better term. Joachim, however, saw no problem with labelling the piece a concerto, arguing that the three movements offered a sufficient degree of coherence and contrast to warrant the designation.

After a passage in which the orchestra sings out the love song and then subsides into a sustained note from the strings, the second movement emerges from the first without a pause. The violin issues a gentle, ardent, long-lined melody— in effect, a second love song that could well stand as an opera aria. Few (if any) commentators would dispute that this hauntingly beautiful movement—surely the basis for Joachim’s calling the concerto “seductive”—is the expressive core of the concerto. Near the end of the movement, the orchestra recalls the wistful opening to the first movement, whereupon the violin takes up the motif and leads the music to a quiet ending.

The last movement begins with the orchestra busily playing a fragmentary phrase that the violin then fills out as an energetic, gypsy-like theme. After the theme has been passed between the soloist and the orchestra, the violin enters into a cadenza-like display that rises to a passage of fervent and indisputably amorous intensity. The “gypsy” beginning then reappears, with the violin introducing lots of double-stopping (i.e., playing on two strings simultaneously). The amorous material is once more briefly recalled before the concerto comes to a brilliant and exciting close.

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Program Notes Peter Ilyich Tchaikovsky – Symphony No. 4 in F minor, Op. 36 In 1868, prior to writing Romeo and Juliet, Tchaikovsky composed a now largely forgotten orchestral piece that he titled Fatum. The idea of Fate stayed with him, and he returned to it when he began work on his Fourth Symphony in 1877. Or so, at least, he reported to the symphony’s dedicatee, Mme. Nadezhda von Meck, the benefactress who had bestowed upon the composer a monthly stipend so that he could devote himself solely to producing music.

When she wrote him to ask about the symphony, he uncharacteristically supplied a program, or story-line, to describe the music. (Throughout their 14-year relationship, the two never met, communicating entirely through letters.) The forbidding fanfare that opens the work, he revealed, represents “Fate, the fatal power which hinders one in the pursuit of happiness from attaining the goal, which jealously provides that peace and comfort do not prevail, that the sky is not free from clouds . . .”

At the time of completing the Fourth Symphony, Tchaikovsky had cause to think that the cosmic deck was stacked against him. His progress on the symphony had been halted when he unwisely agreed to marry a Conservatory student who had professed her love of both him and his music. In chivalrously yielding to the young woman’s desire to become his bride, Tchaikovsky may in part have hoped that marriage might rid him of his homosexuality. Like most others of his day, he believed that his condition was amenable to “cure” through a steadfast exertion of willpower, rather like overcoming alcoholism.

The marriage, however, was a catastrophe and ended in Tchaikovsky’s suffering a nervous breakdown and the couple’s entering into a lifelong separation. Only after being freed from this nightmarish episode was Tchaikovsky able to resume work on the symphony, completing it in late 1877.

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Following the initial declamation of the “Fate” motif, the first movement turns to a theme that begins in weary resignation but then hopefully rises towards some possibility of release from the oppression. The struggle between Fate and the yearning for peace continues throughout the movement. At one point, the clarinet enters into a carefree ditty, and farther along the way, the music seems to signal an apparent triumph over adversity. The Fate fanfare, however, persistently intrudes to squelch these optimistic turns. At the movement’s dramatic conclusion, Fate remains unconquered.

The second movement, in ABA form, opens with the oboe singing a pensive, folk-like song.

The mood, which Tchaikovsky associated with calling up the “sad, yet sweet” memories of days long gone, shifts midway with the introduction of a more chipper theme. After this interlude, the contemplative opening music returns. The third movement, also in ABA form, reveals Tchaikovsky’s capacity for surprise and innovation: throughout the outer sections of the movement, the strings play pizzicato (i.e., plucking the strings). The music’s playful quality is continued in the middle section, which could well have found a place in the composer’s later Nutcracker ballet.

The Finale begins with a bang. After the initial explosion, the winds enter with an actual folksong, “There stood a little birch tree.” To Mme. von Meck, Tchaikovsky said that the movement depicted a peasants’ life-affirming festival.

Whatever joy might be denied to one personally, he proposed, could instead be found by sharing in the joy felt by others. Listeners can debate whether the music’s expression of vicarious gaiety is wholly convincing or somewhat forced.

There is no questioning, though, the music’s unflagging energy and insistent excitement. The movement closes in a rousing riot of sound—but not until the implacable Fate fanfare makes one last appearance.

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ENJOY TIME WITH FRIENDS

MEET THE PERFORMERS

ENGAGE KIDS WITH THE ARTS

Become a Partner in the Performing Arts Did you know your ticket pays for only 68% of the cost of presenting the Performing Arts Series?

Contributions are critical to the quality and breadth of our program, allowing us to be bold and innovative each year. Join the generous donors who make these magical performances possible.

Giving is Easy To give your vital support to the arts, choose one of these methods:

Online: Visit www.center.iastate.edu/makeagift Mail: Envelopes at the Guest Services Desk or send to ISU Foundation, 2505 University Blvd., Ames, IA 50010

Donor Benefits Can Include: • Highest priority seating & VIP parking

Phone: 515-294-3347 or 1-877-843-2368

• Complimentary refreshments in the Donor Lounge

In Person: Ticket Office (open through intermission for all shows)

• A Donor Appreciation Event, Meet-the-Artist receptions and the Series Preview Party

Give today to begin experiencing the many benefits of being a Performing Arts Fund/AIOFA donor. Please join us today. Visit center.iastate.edu/support.

Your Gift Can be Made in Installments Visit www.foundation.iastate.edu and click on ‘How to Give’ to complete a Pledge, Electronic Fund Transfer or Faculty/Staff Payroll Deduction Form.

Ames International Orchestra Festival Association (AIOFA) You can designate your gift to support the orchestras at Stephens Auditorium.

Contact Patti Cotter, Development & Sponsorship Manager, at 515-294-1238 or via e-mail at pcotter@iastate.edu.

WHAT’S YOUR DREAM FOR THE ARTS?

Consider an endowment gift or a bequest to secure the future of the arts in Ames, as ticket revenues alone cannot sustain world-class performances and arts education programs.

Contact Patti Cotter at 515-294-1238 or pcotter@iastate.edu Standing

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Thank You for Your Support Performing Arts Fund and Ames International Orchestra Festival Association Contributors as of 9/25/14

Impresario $5,000 and above

Principal Artist $500 and above

Jim Beckwith The Lauridsen Family Endowment

Executive Producer $2,500 and above

George C. & Susan J. Christensen Cecilia & Jack Horner Arthur Klein Beverly & Warren Madden Marianne & David Spalding Ira, Jordan & Julia White Brent & Maggie Wynja

Director $1,000 and above

Anonymous Bob & Elizabeth Angelici Irene Beavers Elizabeth Cole Beck Kelli Bennett Jay & Karen Heldt-Chapman Wayne P. & Ferne Bonomi Davis 1st National Bank - Ames Jan & Cornelia Flora Willa & Dave Holger Sherilyn & Mitchell Hoyer Kawaler Family Charitable Foundation Jane W. Lohnes Roger & Ruth McCullough Mark & Andy North Jim & Frankee Oleson Cynthia & John Paschen, MD Peter & Rae Reilly Mary Jean & Maurice D. Reimers Gary F. & Harriet M. Short Jim & Mary West

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Anonymous (2) Marc H. Anderson & Family Brian & Tanya Anderson Claire Andreasen & Steve Pecenka Doris Bacot Pat & Louis Banitt Rick Bartosh Jane & John Baty Jen & Edward Buckingham Stewart L. Burger Lee & Lori Burras Dennis & Diane Carney Patricia Cotter & Peter Orazem Do-Biz Foods, LLC Elizabeth Dahm Dieter & Renate Dellmann Mrs. Anne Durland Jim & Kathy Ferris Randy & Cathy Fitzgerald Cynthia & Lehman Fletcher Charles & Joanne Frederiksen Homer & Sandra Gartz Ethel George Susan & David Grant Thomas & Allison Greenwald Wil & Marjorie Groves Larry & Linda Hansen Mark & Lisa Harmison Herbert & Esther Harmison Judie & David Hoffman Jean & Bob Humphrey Charles Hurburgh & Connie Hardy Vicki Jahr Jim & Mary Kincart Julie Kroll John & Diane Kubik Greg & Sue Lamont Allen & Joy Lang Jean & John Langeland

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Phyllis J. & Larry L. Lepke Doug & Wanda McCay Louise M. McCormick Bertram Family Barbara A. Mengeling & William L. Mengeling, DVM Patricia A. Murphy John & Helen Olson Kathy A. Parsons Carol & Arlen Patrick Mary Jane Pearson & Ramon A. Runkel Brenda Petersen Cecilia Pham Dick & Sharon Richman Kent & Lou Ann Sandburg Suzan & John Shierholz Jay & Dea Staker Bob & Peg Stephenson Clayton & Ruth Swenson Connie J. & Roger C. Underwood Jeff & Ann Ver Heul Steven, Kathy & Zach Vince Gary & Evonn Walling Douglas & Deborah West Maureen Wilt Duane & Megan Wolf Carol Wright Robert & Elizabeth Wych

Rising Star $250 and above

Anonymous Linda & Mike Adams Leigh & Ed Adcock Chris & Garry Alexander Sheila Rae Baker Lisa Banitt & William Barry Tom & Betty Barton David H. Baum Kay & Roger Beckett Jeffrey Benson & Margaret Elbert

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Kay & Roger Berger LeRoy & Kathy Bergmann Diane & Ken Birt Chuck & Carmel Biskner Mark & Deborah Blaedel Donald & Jamie Blomgren Leonard & Janet Bond Kim & Hope Bossard James A. & Sharon Brewer Deanne Brill & Dean Janssen Rick & Janet Brimeyer Nancy E. Brown James & Sherry Carlson Richard & Maribeth Carlson Cheryl Case Gale Chatterton Dan & Anita Clayberg Frank & Kathy Comito Charles & Teresa Connell Anne Cooper & Vera Barkosky Jim & Carolyn Cornette Nancy & Pete Cyr Mark & Isabelle Davidson Roger A. Deal Meg E. Dobson State Farm Insurance Dr. Steven & Ruth Dotzenrod Larry & Barbara Ebbers Brian & Lisa Eslinger Frank & Vikki Feilmeyer Tom Flack Wayne & Evelyn Fuller Sarah Garst Jeanne G. Gehm Richard & Linda Geil Joey & Karen George Dave & Carole Gieseke Michael & Mary Beth Golemo Kenneth & Jill Grant Bryan & Joy Graveline Lowell & Jennie Greimann Milford & Barbara Grotnes Melba & Karl Gschneidner Barbara & Karl Gwiasda Judy Hankins Mary J. Harms Chad Hart Susan Hegland & Thomas Andre Chuck Horras & Betty Baudler Jon & Bonnie Hunziker Etha S. Hutchcroft

Marcia Imsande Lincoln & Janet Jackson Larry & Pat Jenkins Sue Johnson Tom & Debra Johnson Delma L. Kernan Joseph & Karen Kerns Karen Kerper Susan & LeRoy Kester Elizabeth Keys Christine King Janann King John & Joy Kix Paul & Adele Knop Kenneth & Michelle Koehler Jeff & Dawn Koster Marina Kraeva Dan & Sharon Krieger Keith & Brenda Kutz John Landgraf & Phyllis Jones Richard & Irene Lang Ruth G. Larson John & Mary Lawless Donald & Dorothy Lewis Efstathia Lingren Robert Lorr Eudene & Susan Lund Elizabeth K. Lyons Bill & Beverly Marion Maribeth Martin Jane & John Mathison Marie Mayer & Larry Brandt Judy McDonald Thomas & Dorothy McGee Clete & Joyce Mercier Arlo & Lori Meyer John & Pam Miller John B. Miller & Kathryn Madera Miller Carver Nebbe & Leysan Mubarakshina Charles & Mary Ann Mulford Don & Becky Nibe Susan Norris Don & Evelyn Nystrom Ruth Anne Ohde Danny & Trisha Oldes Larry & Cheryl Olofson Bonnie & David Orth Sue & Gary Osweiler John & Jacqueline Peeler Alec & Charlton Pendry

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John Pesek John E. Pierce Pat & Linda Plummer Emil & Mary Kay Polashek Jolene & Frank Randall Ellen M. Rasmussen Laura Reicks Klaus Ruedenberg Carolyn Cutrona & Daniel Russell Tom & Lorna Safley Dean & Judy Sampson Jane Schill Norm & Sue Scott Richard & Jasmine Seagrave Jerry & JoAnn Sell Barbara A. Shedd Si & Mary Anne Silence John & Sandra Slaughter Jim & Diane Smith Dave & Sherri Smith Charles & Diana Sorenson Raymond & Jane Stanley Curtis Struck & Megan Fairall Calvin & Susan Swan Marcia Thompson Jim & Gloria Toombs Ted Tostlebe & Marilyn Hanson Ardy & Dean Ulrichson Eleanor Vandeventer Georgia & Carl Vondra Daniel & Sherrie Vos Mike & Deidre Wahlin Jim & Madeleine Walker Fred & Darlene Walker Bryan & Kara Warme Mark & Diana Weber Joan E. Welch Becca Wemhoff B. Joan White Della Jane Wright Thomas & Zora Zimmerman

Company Member $100 and above Anonymous Andy Abrahamsen Barb & Jack Adams Franklin & Kay Ahrens La Donna Allen Martha Anderson

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Karen J. Andrew Sandi & Dave Austin Rod & Jan Avey David & Jane Bartlett Richard J. Baumhover Amy & Steven Becker Judy & Don Beitz Holly Bender Robert & Mary Bergmann Marianne Berhow Roger & Corry Bertelsen Nancy L. Besch Carl & Jean Bessman Judith Blair Suzanne Block Gail & Janeen Boliver Charlene Boll Diane Borcherding Eldon & Marilyn Boswell Jean Krusi & Ed Braun Jeff & Jan Breitman Rod & Joyce Brink Donald & Ruth Ann Buck Bob & Rosemary Bulman Terry & Karen Burianek Janice Burkhart Kathryn Burkholder Daniel & Sandra Buss Bonny & Ray Callahan Matt & Carol Carlson Duane & Karen Carstens Margy Chamberlin John & Donna Cleasby Gladys & Peter Colwell Randy & Sara Compton Katherine Mason Greg & Amy Davis Mary M. de Baca Brian & Jennifer Dieter Boyd & Irene Dohrmann Dee Dreeszen Carl Duling Frank Dunn Grace Liles Dyer George Eichhorn Don & Mary Eichner Carol Elbert George Englesson Marvin Beck & Jane Farrell-Beck Bob & Karen Fowser David & Susan Freeman

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Mr. & Mrs. Albert Freeman Mim & Jim Fritz Rebecca Fritzsche John E. Galejs Mary Garst Ann & Howard Garton Deborah Gitchell Kathy & Chuck Glatz Timothy Grandon Marilyn J. Green Jean Griffen William J. Gutowski & Margaret A. Dempsey Dennis & Jane Haahr Duane Harris Marjorie Hartman Jerry & Pat Hatfield C.S. Hedlund Stephen & Nancy Heideman Kent & Sarah Heikens Craig & Martha Heineman Martha Helland Isabel Hendrickson Pete & Janet Hermanson Randy & Liz Hertz Joan Herwig Gary & Debra Hintze Bill & Judy Hoefle Drs. M. Peter & Lorraine J. Hoffman Robert & Janice Holland William & Barbara Holt Tim & Susan Hooper Carole Horowitz Dick & Sandy Horton Ted & Karen Huiatt Mina Hertz Jacobs Marian & Roger Jansen Darren & Sue Jarboe Todd & Lori Jenks Al Jergens & Kris Miles Tim & Sue John Kent & Sara Johnson Marilyn & Wendell Johnson Marilyn R. Johnson Margaret Johnson Rich & Judy Jones Roger Jones Linda Kelley Cheryll & Tom Kierski John & Chris Kinley Karen & Wayne Klaiber Standing

Jim & Joyce Kliebenstein Gerald Klinkefus Roger & Mary Jo Kluesner Richard Kottman Asrun Yr Kristmundsdottir Bev & Ken Kruempel Richard Kruger The Olson & Kushkowski Family John & Susan Lang Harvey & Sally Lapan Randy & Beth Larabee Einar & Lois Larsen William & Susan Lawyer Michael & Debbie Lee Rev. Selva R. Lehman Dick & Ginny Lephart Elyse & Howard Levine Jeff & Lorie Loehr Lowell & Elma Lynch Greg & Carol Madsen Carole Magilton Dick & Jackie Manatt Stephen & Audrey Marley Kae L. Mart Gary D. Mason Edith A. McClure Richard & Donita McCoy Jeff & Mary Lou McDowell Harold & Connie McLaughlin John & Renee McPhee Helen F. McRoberts Glen & Mary Jo Mente Todd & Barbara Meyer Patricia & Kemp Miller Paul & Ann Mills John Miranowski & Susana Goggi Larry & Sara Mitchell Ginny & Lee Molgaard John & Laurel Mors Thomas & Lynn Nehls Dwain & Mary Noffke Sarah Nusser & Michael King Michael & Ginger O’Keefe Dale & Kris Olson Diane Oppedal Miriam Patterson Don & Jan Payer Carlton & Sally Peterson Barbara Peterson Jean Austin Peterson

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Bion L. Pierson Richard & Carol Pletcher Arthur & Bernadene Pohm Marlys Potter Ronald Prahl Mabel Prescott Jane Punke Mark & Sharon Rasmussen Kathy Rhode Thomas & Doris Rice Robert & Harriet Ringgenberg Joe & Jennifer Rivera William S. Robinson Jo & Bob Rod Dick & Karen Ross Malcolm Rougvie Melissa & Pat Rowan Dorothy & Robert E. Rust Charles & Priscilla Sage Steve Sapp & Lisa Enloe Michael Schaffer & Karen Stiles Diane & Don Schaffer Candy & Steve Schainker Stephani S. Scherbart Dale & Linda Schroeder Linda & John Schuh Dick & Linda Schultz Ron & Kim Schumaker George Seifert Phyllis Seim Dennis & Joan Senne Frank & Lynn Seydel Tori Shahidi & Larry Kelley Kenneth & Shirley Shaw

Debra Shenk Diana D. Shonrock Al & Kathy Sievers Clifford Smith Richard Smith Mr. & Mrs. Otis B. Smith, Jr. Philip & Galina Spike Bernard Stephenson, Jr. & Victoria Stephenson Janet & David Stephenson Ann Stokka Wilma Struss Robert & Deanne Summerfelt Paul & Linda Thede Mr. & Mrs. Harvey Thompson Ron & Meg Thompson Douglas & Christine Timmons Dorothy Timmons Roy Tinguely Steven & Mary Ann Tjaden David & Karen Toot Tedra Towne Charles & Mary Townsend John & Marjorie Uitermarkt Doug & Vicky Van Dyke Bev Van Fossen Stephen Van Houten Greg & Lana Voga Gene & Karen Walker Janice Walter Bobbie Warman Mary T. Watkins Harry & Marion Weiss Toni Wheelock

Lorrie Whitaker Richard & Elizabeth White Bill & Toni Whitman Richard & Patricia Wood Steven & Lorraine Woolery Chad & Amy Zmolek

Matching Gift Honor Roll

Agilent Technologies Alliant Energy Foundation AXA Foundation Bon Ton Stores Foundation General Electric Merck Company Foundation Meredith Corporation Foundation Pioneer Hi-Bred International, Inc. Principal Financial Group Foundation, Inc. State Farm Companies Foundation

These generous individuals have included the Performing Arts Series in their wills.

Wayne P. Davis

Frankee and Jim Oleson

The late James Watson

Gifts in Honor

In Memory of Deb Lande Adams In Memory of Dee Hegstrom A gift in honor or memory is a generous way to celebrate a person’s life and accomplishments.

To support the arts while honoring a loved one, contact Patti Cotter, Development and Sponsorship Manager, at 515-294-1238 or pcotter@iastate.edu.

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C.Y. Stephens Curtain Donors

Special thanks to the following individuals who gave so generously to conserve Iowa State’s marvelous tapestry, Silver Code, designed in 1969 by Japanese artist Ryokichi Mukai. Woven at the Kawashima Textile Mill in Kyoto Japan, the curtain symbolizes the grandeur of the inaugural years of Stephens Auditorium.

Pat and Louis Banitt

Frankee and James Oleson

Irene Beavers

Rae and Peter Reilly

Lee & Lori Burras

Rebecca Rice

Linda and John Dasher

Jo and Bob Rod

Ferne Bonomi and Wayne Davis

Dennis and Sally Rust in memory of Lucille Rust

Emerson Charitable Trust Helen Fleming and William Reinhardt, Jr. G!

Susan and Phil Sargent Laura Stebbins Shelley and Kevin Stow

Debbie Gitchell

Mary Beth and Charles Sukup

Carole Horowitz in memory of Professor Jack Horowitz

Ruth and Clayton Swenson

Iowa State Center

University Museums

Ann and Al Jennings

Mary Watkins

Betty and Dennis Keeney

Lee Anne and Stephen Willson

Margaret and Gary Krull

Suzanne Zaffarano

Phyllis and Larry Lepke Beverly and Warren Madden Office of the Senior Vice President for Business and Finance 30

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Dedicated Volunteers Iowa State University Performing Arts Council A university committee comprised of Iowa State University faculty, staff, and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the Performing Arts Series at Stephens Auditorium.

Alex Ortberg – Music Student Alissa Stoehr – Graduate Assistant Education Angela Ossian – Iowa State Center Staff Art Klein – AIOFA Bret Pugh – Community Brian Davidson – Community Cinian Zheng-Durbin – Community Debra Gibson – Faculty Hannah Skalbeck – Music Student Homer Gartz – Community Jane Cox – Faculty Janice Baker – Faculty Madeline Olsem – Music Student Melissa Patrick – Community Mike Golemo – Faculty Nancy Marion – Community Pat Miller – Faculty Patti Cotter – Iowa State Center Staff Phillip Sears – Music Student Salugna Sarkar – Graduate and Professional Student Senate Sam Johnson – Music Student Sara Compton – Iowa State Center Staff Sarah Jablon – Graduate Assistant Tanya Anderson – Community Tyler Baintgr – Music Student Vahid Noroozi – Graduate Assistant

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Ames International Orchestra Festival Association Board of Directors 2014-2015 Karl Gwiasda, President Arthur Klein, Vice President Herb Harmison, Treasurer Mary Richards, Secretary Jim Beckwith Jacob Harrison David Hoffman Willa Holger Beverly Kruempel Wendy Nutini Bion Pierson Peter Reilly Kevin Schilling David Stephenson Dario Zaffarano

The Stephens Street Team The Stephens Street Team unites the Iowa State Center and ISU by celebrating the importance of the arts in our lives. Its mission is to promote the arts to students of ISU through unique marketing efforts and special events. The Stephens Street Team will plan events, lead marketing activities and develop new and creative ways to reach out to the student body at ISU about the incredible, affordable and accessible events at the Iowa State Center. Activities may include planning on-campus promotional events or philanthropic events that relate to shows, assisting with performance day events, sidewalk chalking, flyer distribution, presentations to campus organizations about our performing arts series and more!

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Sponsors The Iowa State Center recognizes and thanks its sponsors for their support of the 2014-2015 Performing Arts Series at Stephens Auditorium:

Proud Sponsor of Chieftains

Proud Sponsor of Million Dollar Quartet

Proud Sponsor of Stomp

Proud Sponsor of Elf

Proud Supporter of the Arts

Grants The Iowa State Center recognizes and thanks the following organizations for their support of the 2014-2015 Performing Arts Series at Stephens Auditorium: Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), Moscow State Symphony Orchestra and State Symphony of Mexico

The Great Gatsby This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the Iowa Arts Council and General Mills Foundation.

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