download the current program book (pdf)

2015-2016 Season

David Bowden, Music Director

Columbus IndIana

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Philharmonic

Wellconnect Cancer

Heart

Joint & Spine

Lung Endoscopy

CRH Physicians

Robotic Surgery

As a Philharmonic title sponsor, we understand the healing power of music.

12015-2016 Season

Freedom of Speech ismusic to our ears

The Republic’s 2nd Street Office, circa 1970

Your town. Your community. Your media company.333 2nd Street, Columbus | 812-372-7811 | TheRepublic.com

2 2015-2016 Season

We’re so glad you joined us today! If this is your first time to hear your Columbus Philharmonic, welcome to a new adventure of listening to great music played with excellence worthy of the world’s finest stages.If attending an orchestral concert is a new experience for you, sit back, relax and let the power and beauty of the music sweep over you. If you are an experienced concert-goer, you will share with our enthusiastic

and supportive audience the experience of familiar favorites along with outstanding less-well-known works played with verve and passion as though they were brand new.

Plus, we offer you a wide variety of musical styles and of engaging soloists.We love music, and we love our audience members. We take great joy in participating with you in experiencing the beauty and excitement of live music-making. What a wonderful blessing we have being able to share this great gift together! To Music!

David Bowden Music Director & Conductor

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4 2015-2016 Season

PETER CamPbEll KING

PaSTPRESIDENTS

Board President

On behalf of your hard-working Board of Directors and staff of the Columbus Indiana Philharmonic, we welcome you to this concert season. During the past several months, through the committed work of our creative Music Director and Conductor, Dr. David Bowden, in conjunction with our Artistic Team, an outstanding program has been developed for the 2015-

16 season. We continue to enjoy the dedicated efforts of our Executive Director Margaret Powers, who assists the Board in advancing the work of the Columbus Indiana Philharmonic on a daily basis. We believe the Phil is a gem of this community and are confident this season will highlight how music is critical, not only to the economic development of our community, but to the exceptional quality of life we enjoy in Columbus, Indiana. Our mission is to create, educate, advocate and perpetuate orchestral, choral and chamber music, including genres of all periods and styles. Your Board and Philharmonic staff accept this mission very seriously and hope you will enjoy the diversity of the 2015-16 musical offerings. We also hope you will support the Phil however you can. It may be as a season ticket holder, looking forward to every concert, or as a fan of our Cabaret Series, a new Phil tradition specifically designed to engage an even broader audience as well as raise money for our education and outreach programs. The inaugural Cabaret Series was a resounding success, pioneered through the efforts of our Marketing Committee. I am confident you will enjoy joining us at the Commons for this exciting series. The Philharmonic is also heavily engaged in the education of our youth. Studies clearly link exposure to music with academic success. Through the wonderful work of Vanessa Edwards, the Phil’s Education Director, we continue to excel in offering musical experiences for students throughout the community. The Board has embarked upon an extensive collaboration with other community partners, including the United Way and the Bartholomew Consolidated School Corporation, to introduce music to the early childhood development programs of our local school system in addition to other organizations providing services to young children from all socio-economic circumstances. This may, perhaps, be the most important initiative of the coming year. None of our work is possible without you, our patrons, supporters, and volunteers. I ask that you continue your support, but also consider bringing a friend to a concert, a Cabaret, a youth music event or our annual Lobsterfest in May 2016. In addition, we want to hear from you – let us know your thoughts! Your contribution and support of the Phil is critical. So relax, and let the music begin. It will enrich your life and our community!

Jack Turner (1973-74)Barbara Garton (1974-75)Betty Brown (1975-76)Norm Leighty (1976-77)Jackie Murphy (1977-78)Sam Chizmar (1978-79)Curt DeClue (1979-80)Chuck VanNatta (1980-81)Gary Gron (1981-82)Susan Anderson (1982-83)Dan McKinley (1983-84)Phyllis Ryan (1984-85)Elizabeth Booth Poor (1985-86)Susan Ingmire (1986-87)Alice Curry (1987-89)William Poor (1989-91)Bob Kaspar (1991-93)Richard Stenner (1993-95, 1997-98)Barbara Kirr (1995-97)Jane Hoffmeister Repp (1998-2000)Kaye Ellen Connor (2000-02)Robert A. Orben (2002-03)Robert J. Williams Ph.D. (2003-04)Mark S. Elwood (2004-05)Judy Summerville (2005-06)Tom Hinshaw (2006-07)Elizabeth Lipson (2007-08)John Erickson (2008-09)Tom Lego (2009-2012)Mark Pillar (2012-2015)

OffICERSPeter King PresidentMark Pillar Immediate Past PresidentSharon Sung Andrews Vice PresidentTherese Copeland SecretaryTerry Trautman TreasurerbOaRD mEmbERSMary Clerkin AllardBonnie Boatwright

Roger BrinkmanR. Richard CooleyMichael EngelstadDavid D. Gallagher, M.D.Camilla GehringMatthew T. HotekStan JacksonDavid KromphardtPamela LegoJohn C. McGinty, Jr.Wayne NyffelerGil PalmerEric Robbins

John SasseJoe SmithCaitlin SmithBarry TurnerWarren WardEx-OffICIO bOaRD mEmbERSDavid Bowden Music DirectorMargaret Powers Executive DirectorBeth Booth Poor Choral Representative

board of Directors

52015-2016 Season

STaffaRTISTICDr. David Bowden Music Director & Conductor

Vanessa Edwards Youth Orchestra Director Production Manager

Donna Bowden Orchestra Personnel Manager

Logan Strawn Librarian & Assistant Orchestra Personnel Manager

Beth Booth Poor Choral Coordinator

Dianne Sprunger Choral Accompanist

Ruth Dwyer CICC Artistic Director

Camilla Gehring CICC Assistant Director

Deb Eikenbary CICC Coordinator

Jay Mosier Recording Engineer

Dale Gaumer CD Production

aDmINISTRaTIVEMargaret Powers Executive Director

Katelyn Phillips Marketing Director

Vanessa Edwards Education Director Mark Pillar Development Director

Barb Kromphardt Ticketing Coordinator

Ron Luther Finance Manager

Empty Seats?What a Shame!

Our History

If the next seat to you is empty, it doesn’t necessarily mean that no one bought a ticket for it. What it could mean is that someone was unable to attend the concert and didn’t turn in the ticket for a tax credit. It’s too bad that the ticket-holder was unable to come, but even more sad that the seat went empty when others would gladly have purchased it.Emergencies do happen, but if you know in advance you won’t be able to attend a concert, why not give your ticket to someone else? Or, if you prefer, you may donate your ticket to us for resale. If you do:• You’ll benefit because you’ll get a statement

acknowledging your tax-deductible contribution.• Someone else will benefit from being able to

purchase your ticket.• The organization benefits from the extra income

generated from the sale of your seat.• The musicians benefit. It’s more fun playing to a

full house. Just call our office at 812-376-2638 by 4 pm the Friday before the concert to turn in your ticket. That way, everyone benefits.

Columbus Pro Musica was incorporated in 1970 to promote and encourage an active interest in music in the community. In 1987, the Board of Directors created a new professional ensemble named the Pro Musica Orchestra and hired Alice Curry (former President of Pro Musica) as Executive Director and David Bowden as Music Director. 1987 also saw the formation of the Philharmonic Chorus with David Bowden as the Choral Director. The name of the organization was changed to Columbus Indiana Philharmonic in 1995.The Orchestra continues to thrive on a partnership of the best musicians from Columbus and the surrounding region and talented students from the Indiana University Jacobs School of Music. The Orchestra and David Bowden have received local, state, national and international recognition. The Phil is the winner of five ASCAP awards and consistently receives rave reviews for its performances.In 1988-89 the Orchestra began performing annual Adventure Concerts for third and fourth graders in the south-central region of Indiana. In 1989 the Orchestra’s Youth Strings program began with after-school instruction and in 1991 a choral component was added to the program. In 1996 a collaboration with the Indianapolis Children’s Choir formed the Columbus Indiana Children’s Choir. The 1993-94 season brought the Phil’s Youth Orchestra into existence. The youth education programs continue to thrive and grow…bringing the joy of music to thousands of children every year. In 1992 an endowment fund was established by Paul and Karen Berman and is managed by The Heritage Fund.In 2003 the Philharmonic moved to its current facility at 315 Franklin Street. Thanks to the generosity of Bob and Helen Haddad and Cummins Inc., the building provides space for staff, music lessons, a music library, storage and meetings.The staff has worked hard to achieve the goal of making the orchestra an important component of the area’s quality of life. The strong support from area individuals, foundations and businesses, makes it possible for the Philharmonic to continue to fulfill its mission to the community.

Musically Speaking begins 50 minutes prior to most concerts. In these entertaining, spirited and informative conversations, Music Director and Conductor David Bowden and guest artists share their thoughts, ideas, insights and anecdotes — a wonderful chance to become familiar with the performers and the great music played by the Philharmonic. Musically Speaking is free to all concert ticket holders.

Everyone attending a concert must have a ticket. In consideration of the audience and musicians, most Philharmonic concerts are recommended for audiences age 5 and older. The December 13 concert at 3:00 p.m. is especially appropriate for younger children.

Please put all electronic devices on silent. Photographing or recording any part of a Philharmonic performance is strictly prohibited. The Philharmonic thanks you for your cooperation and hopes you enjoy many hours of music without electronic interruption.

Concert Information musically Speaking

6 2015-2016 Season

DaVID bOWDENMusic Director & Conductor

Contact Us!

TicketsFor ticket information:

[email protected] 812-376-2638 ext. 1

315 Franklin St., Columbus, IN 47201

[email protected] • www.thecip.org

David Bowden has been the artistic leader of the award-winning Philharmonic since its founding in 1987. He has been recognized

with five ASCAP Awards for Adventuresome Programming and glowing reviews. Displaying multi-faceted stylistic versatility, his ease on the podium, engaging personality, and insightful interpretations have connected with audiences and helped to break down traditional barriers between performer and listener.

Born and raised in North Carolina, David has loved music since he was a very young child. At the age of four, he began studying the piano with his mother. Beginning in elementary school, he was accepted as a student in piano with a piano professor at Duke University. In addition to the piano, he has played oboe, organ, clarinet, and viola. A magna cum laude graduate of Wheaton College Conservatory of Music majoring in piano performance with a minor in organ, David has a particular love for piano and organ orchestral music. With Dan McKinley at the organ, David and the Philharmonic recorded Marcel Dupré's

Complete Music for Organ and Orchestra, which was released on the international classical Naxos label. Of this release, Fanfare stated, "[The recording is] absolutely superb . . . plenty of fire and zeal." This performance and several others have been featured on Public Radio International’s Pipedreams.

While a student at Wheaton, David met his wife, Donna - a registered nurse, during an intramural volleyball game. Graduate school took them to Bloomington, where David received his Master of Music in Choral Conducting at Indiana University. After teaching in the college setting for several years, David returned to IU and earned a doctorate in Orchestral Conducting. David’s love of singing and choral music led him to found the Philharmonic Chorus, which has performed many choral masterpieces during David’s tenure with the Philharmonic. Dr. Charles Webb, in reviewing a recent performance, stated, “Columbus, Indiana, can be very proud of organizations such as the Columbus Indiana Philharmonic and the Philharmonic Chorus, both of which perform at such a high level of excellence. None of these significant accomplishments would be possible, however, without the skilled leadership of David Bowden. He is a treasure for this community and indeed for the entire state.”

David enjoys performing a wide variety of repertoire – from opera to symphonic standards to pops and big band music. He especially enjoys educational concerts for schools, hoping to inspire children to choose to learn to play an instrument, believing that making music changes lives. Bowden and the Phil have been broadcast nation-wide many times on Performance Today and other public media programs, and he has guest conducted across the US and in Europe. He is a member of the Pi Kappa Lambda National Music Honor Society and has been listed in Who’s Who in America and Who’s Who in the World for the past decade. He has served as a member of the Board of Directors of the Conductors Guild, an international service organization for conductors, and served as Director of the Conductors Guild New Music Project for almost 20 years. In addition to the Philharmonic, David is the Music Director and Conductor of the Carmel and Terre Haute Symphony Orchestras. He has also worked in church music ministry for most of his life. David and his wife enjoy traveling, exploring new places and spending time with their families. They are blessed to have all four parents in good health, two beautiful daughters (and a handsome son-in-law!), and three delightful grandchildren to share their lives.

[David] is a treasure for this community and indeed

for the entire state.

additional Support for the Philharmonic is provided by

The Philharmonic is a member of the League of America Orchestras.

United WayOf Bartholomew County

72015-2016 Season

maRGaRET POWERSExecutive Director

Thank you for joining us this season. Our Musical Journey encompasses not only music from around the world but music of very different styles. While there are certain to be pieces you’ve heard before, there will surely be selections that will expand your musical horizons.

We invite you to join us on our journeys outside of the concert hall, too:• Cabaret at The Commons is bringing world-class talent to Columbus for an evening of song and stories.• CICC’s Preparatory Choir is growing! Prep Choir offers children in 1st through 3rd grades a fun introduction to choral

music through singing, movement and music game activities.• First Steps in Music has been introduced at two area pre-schools. We’ll be expanding this program, encouraging young

children and their parents to begin a life-long journey of music exploration.• Lobsterfest: The Phil’s Maine Event takes us to a New England clambake – right here in the heart of Columbus! Stay connected with us online, too, for additional opportunities to explore music with the Philharmonic throughout the year. We love having you along for the journey!

Our mission

The mission of the Columbus Indiana Philharmonic is to make music.

• We create performances in pursuit of the highest artistic achievement.

• We educate all ages in the joy of music.

• We advocate a life long interest and involvement in music.

• We perpetuate these activities by providing the resources needed to make them flourish.

Our vision is to enhance the quality of life in our community so that all citizens have the opportunity to be touched by live, high-quality music in a manner and style meaningful to them.

Our artistic policy is to present and teach a balance of the best orchestral, choral and chamber repertoire from all periods and styles, including all genres of American music and music of our time.

Program Notes by Joe Nickell ©2015Cover & Book Design by John Cole | Program Book printed by HNE Printing

Stock Photography provided by iStock.com

8 2015-2016 Season

Sponsoring one of the Philharmonic chairs, either the Concertmaster, a Principal Chair or an individual Section Chair, demonstrates your support for the musicians of the Columbus Indiana Philharmonic and the beautiful music they create.

fund a Philharmonic Chair

For more information, please contact the Columbus Indiana Philharmonic at 812-376-2638 x2 or email [email protected]

Edna AppelSharon BaldwinBonnie & David BoatwrightPat BridgettsMarlene ChestnutMary Ann ClarkJohn & Louise DorenbuschBob & JayDee EdgellElla ElwoodBobbie EvansDick & Joyce FleckKathy FreeCamilla GehringChuck & Linda GrimesBob & Helen HaddadJoyce HarmonBill & Jody HarterWendel & Dawn HauckRobert & Cynthia Henrich

Leah HookerKatie JeromeRick & Alice JohnsonVirginia JohnsonAllison LindhorstSue LindhorstCarole MarshallDan & Elli McElroyTessa MilroyBob & Mary OrbenClyde & Lenora ParrottMark PillarBeth & Bill PoorMargaret PowersMarilyn RichardsonFran SimmermakerJill Tasker & Doug StenderPeggy WamplerCaryn Wiggins & Paul Walorski

The Columbus Indiana Philharmonic relies not only on the generous financial support of the community, but also the time and talents of our loyal patrons. We invite you to join The Notables as a meaningful way to support the arts in our community.

Notables members

INTRODUCING Phil’s

FamilyFun

PassOne-Time $25 Fee

Bring the Whole Family

$10/Adult $5/YouthCall The Philharmonic Office

For More Infomation812-376-2638

available Chairs: Concertmaster $5,000

Principal Chair $4,000

Bass

Bassoon

Cello

Clarinet

Harp

Horn

Keyboard

Oboe

Percussion

Timpani

Trombone

Trumpet

Tuba

Viola

Section Chair $3,000

92015-2016 Season

Kirr, Marbach & Company, LLC has been privately-owned andindependently managed since our predecessor was founded inColumbus, Indiana on May 1, 1975. Over the past four decades we have experienced numerous bull and bear markets, economic booms and busts and seen many investment fads come and go. Through it all, our guiding principle has been that we do only one thing - man-age wealth - and we manage the wealth of our clients as if it were our own. We are big believers in “eating our own cooking” and invest your money with the same care and passion as we invest our own. Whether you have $1,000 or $10 million to invest, we would be grateful for the opportunity to invest alongside you.

We Thank Our Clients For Our 40th Anniversary—May 1, 2015









Kirr, Marbach & Company, LLC has been privately-owned and independently managed since our predecessor was founded in Columbus, Indiana on May 1, 1975. Over the past four decades

we have experienced numerous bull and bear markets, economic booms and busts and seen many investment fads come and go. Through it all, our guiding principle has been that we do

only one thing - manage wealth - and we manage the wealth of our clients as if it were ourown. We are big believers in “eating our own cooking” and invest your money

with the same care and passion as we invest our own. Whether you have $1,000 or $10 million to invest, we would be grateful

for the opportunity to invest alongside you.

10 2015-2016 Season

Jennifer Kirby

meet Your Musicians

Benjamin HoffmanConcertmasterSponsored by Ben & Pat Bush

Eliot HeatonAssistant Concertmaster

Juli EnzingerSponsored by Mark & Linda Pillar

Yerim LeeAnastasia FalascaLaura AndrewsSarah DrakeKa Mei Camille PoonArman NasrinpayQian ZhongNick DrummMichael Romans

Vanessa EdwardsPrincipalAlice Curry Endowed Chair

Christina KimAssistant Principal

Nicole SchroederAnna CzerniakKatherine KobylarzJo StattenfieldRichard SilversKaren DurnilKatherine FlorianoHee Yeon KimEsther RoestanSun Huh

Logan Strawn Principal Sponsored by Margaret PowersHaojian Wang Assistant PrincipalEmilee NewellEmily OwsinskiMichael SinniChristopher AlleyDaniel PowersDaniel WunderleYi-Ting TsengErik Thorstensen

Liz SeungAh Hong Principal

Mikaële Klopfenstein Assistant Principal

Sonja KrausChris ChoGuilherme MonegattoMercedes LysakerKarmen PengVirginia Joyce RouseCole Tutino

Kaelen Decman PrincipalBrian McAnally Assistant PrincipalMathew BurriSam LoeckNate Olson

Kathy Dell Principal Notables Flute ChairDonna M. WilsonJessica Harris

Jessica Harris

VIOlIN 1

VIOlIN 2

VIOla

CEllO

baSS

flUTE

PICCOlO

Nancy Argersinger PrincipalAnnie CorriganJennifer Kirby

ObOE

ENGlISH HORN

112015-2016 Season

Wendy Muston Principal

Brian McNulty PrincipalJames CromerWilliam Kan

Ashley Cumming PrincipalKristen FowlerEric DumouchelleShaun Cooper

Eric Louie

baSSOON

Krista Weiss PrincipalStephanie AkauErik Franklin

Erik Franklin

Mackenzie Brauns PrincipalRyan CaldwellEric Louie

ClaRINET

baSS ClaRINET

CONTRabaSSOON

HORN

Erich Rieppel Principal Sponsored by Bob & Renée Kasting

TImPaNI

Glen Dimick Principal

TUba

Alex Krawczyk PrincipalRyan MillerSean McGhee

TROmbONE

Eddie Ludema Principal Sponsored by R. Richard & Lindsay CooleyLeah HodgeKeith Burton

TRUmPET

PERCUSSION

HaRP

12 2015-2016 Season

first Steps In music

Educational Programs

Jammin’With

The PHIlJammin’ with The PHIL is a free, fun, interactive, and instructive musical event for children. These events are held at kidscommons and the Foundation for Youth.

First Steps in Music is an early childhood music and movement program for children 3 to 4 years of age. Children explore their environments through developmentally appropriate activities, which include singing, moving, listening, creating, and playing music. Classes draw from children's songs, folk songs, classical music, and music from a variety of cultures, styles and time periods to provide a wide and varied musical experience. In addition to being playful and enjoyable to children, each class is designed to provide a solid foundation for future musical experiences.

JCb adventure ConcertsEach year thousands of area 3rd and 4th grade students explore the world of orchestral music. These concerts blend education and entertainment. Students are introduced to the instruments of the orchestra and explore the way music makes us feel.

132015-2016 Season

Choral festivalA great way for new singers to learn about CICC and the joy of singing with a TEAM! Choral Festival is a week-long day camp for children graduating into grades 4-8. Participants will have lots of FUN singing, playing musical games, learning about vocal production, harmony and much more. The festival culminates in a public performance with all festival singers performing with the Columbus Indiana Children’s Choir. Online registration begins January 1 at www.icchoir.org or www.thecip.org.

Columbus Indiana Children’s ChoirThe CICC is a cooperative effort between the Columbus Indiana Philharmonic and the internationally famous

Indianapolis Children’s Choir. The CICC includes 3 choirs: a Preparatory Choir, Descant Choir and Concert Choir. The Preparatory Choir is a non-auditioned experience for 1st-3rd grade students. Children are introduced to choral music

in the rehearsal setting and take part in a choir where singing, learning and fun take place. The Descant and Concert Choirs are for beginning and more advanced singers.

These choirs perform in concerts and at community events.

A vocal assessment helps place your child in the appropriate choir. Assessments may be scheduled by calling the Philharmonic Education Office. 812-376-2638 ext. 7.

making Music...

14 2015-2016 Season

The Philharmonic Youth Orchestra (PYO) provides an encouraging and challenging orchestral setting for middle and high school musicians. PYO musicians are mentored by Philharmonic musicians and perform in several concerts and ensemble groups each year, including the opportunity to perform side-by-side with the Philharmonic Orchestra. Membership is by audition.

Philharmonic Youth Orchestra

Philharmonic Strings ClassesThe Philharmonic offers weekly strings classes in local elementary schools, with a concert presented at the end of each semester. Beginning, Intermediate and Advanced classes are offered.

The Phil’s Youth Orchestra hosts several musical groups from surrounding communities at the Annual Invitational under the direction of Music Director David Bowden and Philharmonic Youth Orchestra Director Vanessa Edwards.

StringsInvitational

...Changes Lives

152015-2016 Season

Bring your instruments to a weeklong day camp for players of all levels. Beginners are encouraged to attend, even if your child has never touched a string instrument. Group lessons on violin, viola, cello and bass are taught by experienced instructors. Arts and crafts, swimming, miniature golf and other outdoor fun are part of every day’s schedule. The week culminates with a free performance the last day for families and friends. (Grades 1-8)

Philharmonic Strings Camp

musicians In The Schools

This program connects the Philharmonic and other professional musicians with area youth. The musicians perform at local schools, coach students for competitions, and speak at school assemblies. Students get to see and hear up close how professional musicians work.

StringsInvitational

Educational Programs

Philharmonic Scholarships

Scholarships are available so that all children can be introduced to the joy of making music. Information can

be obtained from the Philharmonic’s Education Office at 812-376-2638, ext. 4 or [email protected].

16 2015-2016 Season

Two-time Grammy Award winner and regional Emmy Award winner, Sylvia McNair lays claim to a three-decade, stellar career in the musical realms of

opera, oratorio, cabaret and musical theater. Her journey has taken her from the Metropolitan Opera to the Salzburg Festival, from the New York Philharmonic to the Rainbow Room, from the Ravinia Festival to The Plaza, from the pages of The New York Times and The Wall Street Journal to the London Times and the cover of Cabaret Scenes. Having appeared as a soloist multiple times with nearly every major opera company and symphony orchestra in the world, this songbird has flown the classical coop. She’s retracing her star route now with Gershwin, Porter, Sondheim and Bernstein.

Highlights of her 2014-15 season include performances with Leonard Slatkin and the Orchestre Nacional de Lyon in Lyon, France, to celebrate the opening concert of Slatkin’s 70th birthday season, a New Years Eve gala with the Minnesota Orchestra and the release of Sylvia’s newest recording: Subject To Change!, a cabaret show about her life in music, recorded live at the Aspen Festival.

Numerous Pops appearances with the New York Philharmonic, Chicago Symphony, Hollywood Bowl Orchestra, Pittsburgh Symphony and others continue the reincarnation of her musical gifts in the most remarkable ways with the most rewarding results. A review of her performance with Marvin Hamlisch and the Milwaukee Symphony Orchestra tells the tale:" ...she is that rare opera type who really gets the popular song. She reined in the vibrato and played to the microphone perfectly. Her matchless enunciation not only delivered the words and their sentiments, but also helped to etch the rhythms. Her wonderfully pure “Summertime,” purged of all diva carrying-on, is among the best I’ve ever heard.” - Third Coast Digest

It would be difficult to top Sylvia’s invitations to sing the Bach B-minor Mass with the Vienna Philharmonic for Pope John Paul II at The Vatican and a recital for The U.S. Supreme Court by special request of Justice Sandra Day O’Connor. But, her engagements for nine of the last eleven summers at Ravinia Festival with Broadway legends John Raitt, George Hearn and Brian Stokes Mitchell are what her dreams are made of. Her Great American Songbook cabaret shows have been heard in New York at the Rainbow Room, Jazz at Lincoln Center, the Savoy Room at Sheldon Hall, The Colony in Palm Beach, Feinstein's at the Regency, Aspen Music Festival and the famed Oak Room of the Algonquin Hotel that made critic Rex Reed swoon, “I could get used to this kind of ecstasy.”

Sylvia has left an indelible audio trail documenting her vocal prowess with over 70 recordings ranging from Mozart arias with Sir Neville Marriner and the Academy of St.-Martin-in-the-Fields to the music of Jerome Kern and Harold Arlen with pianist André Previn. Most recently, Sylvia released a Christmas CD, Peace, and Romance, a disc of Latin American jazz standards. Peace sold out its first run in a matter of weeks. Romance received a rave review from Fanfare Magazine’s Lynn René Bayley: “…here the record is, and it’s fabulous. In fact, it’s the biggest surprise of its kind I’ve encountered since Diana Ross’s live album of Billie Holiday standards.”

A proud Buckeye from Mansfield, Ohio, Sylvia earned a Masters degree with Distinction from the Indiana University School of Music, received honorary doctorates from Westminster College (1997) and Indiana University (1998), the Ohio Governor’s Award for Outstanding Achievement in Arts and Entertainment (1999), and the Indiana Governor’s Arts Award (2011). In 2007, Sylvia received The Gaudium Award from The Breukelein Institute for "extraordinary and distinctive contributions to the arts and public life.”

Please visit SylviaMcNair.com for up to the minute activities and news.

SYlVIaSylvia has left an indelible

audio trail documenting her vocal prowess with over 70

recordings...

McNairPhoto Credit: Rhonda Ely

Photo Credit: Rhonda Ely

172015-2016 Season

Overture to Girl Crazy George Gershwin/McBride

Lullaby for Strings Gershwin

An American in Paris Gershwin

IntermIssIon

Man I Love Gershwin

‘S Wonderful Gershwin

But Not For Me Gershwin

Orchestral Selections from Porgy and Bess Gershwin/Bennett Clara A Woman is a Sometime Thing I Got Plenty O’Nuttin Bess, You Is My Woman Oh, I Can’t Sit Down There’s A Boat Dat’s Leavin’ Soon for New York It Ain’t Necessarily So Oh Lord, I’m On My Way

Summertime from Porgy and Bess Gershwin

Shall We Dance/I Got Rhythm Gershwin

seAson tItLe sPonsor

Columbus Indiana Philharmonic David Bowden, Music Director

saturday, september 19, 2015 at 7:30 Pm erne Auditorium, Columbus north High school

David Bowden, Conductor

sylvia mcnair, Vocalist

Guest ArtIst sPonsor

seAson meDIA sPonsor

sylvia sings Gershwinmarshall & Beth middendorf

ConCert sPonsor

“Thank you for your support of the Columbus

Indiana Philharmonic! It is a pleasure to see you here and

to share music with you!”

-Benjamin Hoffman

18 2015-2016 Season

PHO

TO CREDIT: THE IRA AND LEONORE GERSH

W

IN T

RuST

S

In 1898, George Gershwin, arguably America’s first great composer, was born in Brooklyn. Despite his untimely death at the age of 38, Gershwin bequeathed this nation with an array of music that

has become intertwined with our cultural identity.My own experience is probably typical: My mother rocked me to sleep singing “Summertime” long before I’d ever heard of George Gershwin; I studied the harmonic pattern of “I Got Rhythm” in high school jazz theory classes; and “Rhapsody in Blue” was one of my first favorite works for orchestra. Surely no American has escaped familiarity with Gershwin’s songs, which range from catchy anthems (“I Got Plenty O’ Nuttin’,” “It Ain’t Necessarily So”) to jazzy melodies (“Fascinating Rhythm,” “’S Wonderful”) to lilting love songs (“Bess, You Is My Woman Now”). Gershwin’s first hit, “Swanee,” was recorded by Al Jolsen in 1920; it quickly sold more than 2 million records and a million copies of the sheet music. From then on, Gershwin never had to worry about money, and could concentrate on churning out new music. And churn it out he did. Few composers of his era kept up with his output: until his death, he composed and produced, on average, more than one musical comedy per year for the stage or screen (including the 1931 satire, Of Thee I Sing, which was the

first musical to win a Pulitzer Prize). And of course there were the concert works ... and the individual songs ... not to mention the crowning composition, the folk opera Porgy and Bess, which occupied the composer for some twenty months between 1933–35.

Perhaps due to his love for musical theater and songwriting, Gershwin sustained a nagging reputation during his lifetime as little more than a

Tin Pan Alley song-spinner. Yet, in the words of Irving Berlin — himself one of the

most beloved songwriters of the American 20th Century – “the

rest of us were songwriters. George was a composer.”Gershwin’s own tastes in art could hardly be seen as provincial. As a boy, he talked his way into concerts

of music by such then-moderns as Stravinsky, Scriabin, and

Ornstein. Later in life, he financed private recordings of Schoenberg’s

string quartets. He collected sculpture and art by Picasso and Chagall. And he boasted that the high point of his trip to Europe in 1928 was meeting Alban Berg.

While much of the music of those masters has still yet to spill out of the concert halls and into popular consciousness, Gershwin rode the line, creating music

that was simultaneously complex and memorable, sublime and simple. He was the first major composer to successfully marry jazz idioms with classical forms — much to the consternation of the conservative critics of the day, who often derided the marriage as unholy at best. Most of his songs followed fairly standard and repetitive formulae; but his “serious” concert works demonstrated the fact that he didn’t lack flexibility or inventiveness. Few composers before or since possessed Gershwin’s rhythmic flare and melodic sense.Overture to Girl CrazyOnly in Porgy and Bess did Gershwin encapsulate a greater number of eventual hit songs than he did in the 1930 musical, Girl Crazy. First produced at the Alvin Theatre in New York with a pit orchestra that included the famed Red Nichols Band, Girl Crazy practically bubbled over with memorable tunes — several of which are ‘previewed’ in the medley-style Overture: “I Got Rhythm,” “Embraceable You,” “But Not for Me,” and others. The premiere on Broadway also featured the debuts of two leading ladies who would go on to take a similarly prominent place in the public consciousness: Ginger Rogers and Ethel Merman.

In the overture we will hear snippets of all those hit tunes, wrapped together into one of the most inviting and exciting bits of orchestral music that Gershwin ever wrote.lullaby for stringsGershwin originally wrote this short, sweet work as a harmony exercise for his then-teacher, Edward Kilenyi,

Sylvia Sings Gershwin Program Notes

Continued on pg. 20

GEORGE GERShWIN - 1934

192015-2016 Season

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20 2015-2016 Season

in 1919 or 1920. It was initially planned in two versions, one for piano and the other for string quartet; however, Gershwin never came through with the piano version. After a few public performances of the work during productions of Gershwin’s one-act jazz opera, Blue Monday, the composer shelved it.

It wasn’t until some forty years later that harmonica virtuoso Larry Adler discovered the work and presented it in concert in a self-made transcription for harmonica and string quartet. The work was later transcribed for string orchestra, which is the version we will hear tonight.

an american in ParisDuring his first visit to Paris in 1923, Gershwin reportedly exclaimed to his two tour-guides, “Why, this is a city you can write about!” Gershwin kept his word some five years and two visits later, with An American in Paris. Originally conceived in two versions — one for solo piano and a second for two pianos — the work took shape primarily during Gershwin’s 1928 visit to Europe, during which he visited most of Europe’s most prominent composers, including Ravel, Milhaud, Stravinsky, Prokofiev, and Berg.

As was typical for the gregarious composer, Gershwin played the work-in-progress for most of his musical peers, who greeted it with a range of comments. Ravel liked it. Prokofiev thought it had some potential. Vernon Duke didn’t. And Poulenc proclaimed it his favorite 20th century classical composition.

The range of comments was echoed when the work was

premiered by the New York Philharmonic Symphony Orchestra later that year. The New York Telegram proclaimed the work “so dull, patchy, thin, vulgar, long-winded and inane that the average movie audience would be bored by it into the open remonstrance.” The Musical Courier, however, found a good deal more to like, and compared it to Hector Berlioz’s Roman Carnival and Chabrier’s España.

Time has been kind to the work, and today it is better known on both sides of the Atlantic than either of those works by Berlioz and Chabrier. It is surely Gershwin’s most carefree, lighthearted work for the concert hall. The walking rhythm with which the work begins bursts with energy, as if the protagonist is about to break into a carefree skip. The work is riddled with playful asides, such as the incorporation of taxi horns and impressionistic bursts of instrumental squawking, plinking, and laughing. The use of polytonal chord sequences and other modernisms almost go unnoticed, so naturally do they fit into the overall texture of the work.

Porgy and bess:Selections for OrchestraAt the height of his career, Gershwin decided to take a gamble: He would produce a huge work for the stage, a “folk opera” written expressly for a large cast of African-American performers (then still rare on the opera stages of the world), with no commission or guarantee of a performance.

At an artistic level, critics openly doubted the capacity

of this “songwriter” to engineer such a large-scale work for the stage. And at a socio-cultural level, it’s no secret that an opera about southern blacks didn’t exactly jibe with the traditional focus of opera. After all, most of the great established operas of the repertoire focused on the trials (whether tragic or comic) of the elite and white — a focus which fit well with the general makeup of opera-house audiences.

Yet Gershwin persisted, and produced what has come to be recognized as perhaps this country’s greatest contribution to the operatic repertoire, Porgy and Bess.

Not surprisingly, much of the opera’s popularity is due to the primary strength of its composer: songwriting. Tunes such as “Summertime” and “My Man’s Gone Now” have found their place equally on opera stages, jazz records, and radio, due to their beautiful melodies and richly atmospheric scoring.

By 1942, those tunes were well known around the world. That year, the conductor Fritz Reiner commissioned Gershwin’s occasional collaborator, Robert Russell Bennett, to produce a suite of orchestral arrangements of music from the opera. Following a sequence set out by Reiner (one which deviates considerably from the flow of music in the opera), Bennett produced the music we will hear tonight. You’ll hear familiar melodies including “It Ain’t Necessarily So” and “Bess, You Is My Woman Now,” as well as many of the atmospheric and exciting orchestral sections from the opera.

Continued from pg. 18

212015-2016 Season

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22 2015-2016 Season

At first glance, the members of Time for Three come off as just three dudes in a band. As the music begins to flow, it’s obvious that violinists Zachary De Pue

and Nicolas Kendall and double-bassist Ranaan Meyer make up a group that defies any traditional genre classification, happily and infectiously.

Since Tf3 were fellow students at Philadelphia’s Curtis Institute of Music, they have wowed media and fellow artists alike with their charismatic musicianship. With an uncommon mix of virtuosity and showmanship, the American trio performs music from Bach to Brahms and beyond, giving world-premieres by Pulitzer Prize-winners William Bolcom and Jennifer Higdon as well

as playing originals and their own arrangements of everything from bluegrass and folk tunes to ingenious mash-ups of hits by the Beatles, Kanye West, Katy Perry, Justin Timberlake and more.

Time for Three, or Tf3 for short, has electrified full-house crowds in Carnegie Hall and the famed jazz club Yoshi’s in San Francisco. The trio has made guest appearances at National Football League and the Major League Baseball games, and they’ve performed for crowds soaring to 300,000 at the Indianapolis 500 race. The group’s bullying-prevention YouTube hit video, “Stronger,” has inspired students across the globe, eliciting features on CNN and the Huffington Post. Since 2009, Time for Three has held a hugely successful residency with the Indianapolis Symphony Orchestra, helping to expand the orchestra’s audience with innovative outreach.

Nicolas Kendall picked up his first violin at the age of three. With an insatiable appetite for a diversity of expression, he went to the streets of Washington D.C. to play trash cans for lunch money as a teenager. By college, he was forming

pick-up rock bands at Curtis Institute between concert debuts at the most prestigious halls in the world.

Ranaan Meyer is a double bassist redefining the career path of a professional musician. Ranaan began playing the double bass at age 11 and has worked with many of the double bass’s greatest teachers. Ranaan currently performs on a Cavani double bass made in Italy circa 1892 and a Reid Hudson bow. Committed to enhancing his live sound, his setup includes a Mackie 12 channel mixer, Ernie Ball volume pedal, and Digitech Bass Driver.

A rising star among both classical and crossover music fans known for his virtuosic, high‐energy performances, violinist Zachary De Pue was appointed concertmaster of the Indianapolis Symphony Orchestra in 2007 and became one of the youngest concertmasters in the country. Zach’s violin was made by Ferdinand Gagliano of Naples, Italy, in 1757.

TImESimply put, they’re a knockout!

Three benevolent monsters – monsters of ability and

technique surely.– Sir Simon Rattle

For Three

Check out Time For Three’s anti-bullying message at www.tf3stronger.com

We never imagined we would have this kind of successful career when we started jamming

together, but to quote our video ‘we can always be better, faster, stronger’.

- Tf3

232015-2016 Season

Columbus Indiana Philharmonic David bowden, Music Director

Saturday, October 17, 2015 at 7:30 Pm Erne auditorium, Columbus North High School

David bowden, Conductor

Time for Three Zachary De Pue, Violin Nicolas Kendall, Violin

Ranaan meyer, Bass

JOHNSON DISTINGUISHED GUEST aRTIST SPONSOR

CONCERT CO-SPONSORS

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SEaSON TITlE SPONSOR

Time for Three

Sunrise from the Grand Canyon Suite Ferde Grofé

On the Trail from the Grand Canyon Suite Ferde Grofé

Orange Blossom Special Ervin Rouse/Time for Three

Sarabande from holberg Suite, op. 40/Blackbird Edvard Grieg/Beatles/Tf3

Firework Katy Perry/Tf3

hungarian Rhapsody Johannes Brahms/Tf3

Czárdás Monti/Tf3/Hackman

INTERmISSION

Shenandoah/Foxdown Meyer/Hedges

Cry Me a River Timberlake/Hackman

Cloudburst from Grand Canyon Suite Ferde Grofé

Fiddle Jam on Jerusalem Ridge Bill Monroe/Tf3

hallelujah Cohen/Hackman

Little Iron Man Mumford & Sons/Hackman

SEaSON mEDIa SPONSOR

24 2015-2016 Season

ferde Grofé Grand Canyon SuiteDuring the 1920s, no name was more synonymous with jazz music than that of Paul Whiteman. Whiteman’s large jazz band was responsible for 28 number-one records during that decade alone; his support helped launch the careers of many musicians including Billie Holiday, Bing Crosby and Paul Robeson.

Yet behind the scenes, most of the Whiteman band’s best-known music was arranged, not by Whiteman, but by a pianist named Ferde Grofé. Trained as a classical composer and skilled on multiple instruments — he was hired as a violist with the Los Angeles Symphony when he was just 17 years old — Grofé became the most important arranger of the jazz world.

It was Grofé who took George Gershwin’s piano score of “Rhapsody in Blue” and transformed it into the concerto-like piece for piano and orchestra that we all know today. Gershwin may have written the melodies and harmonies; but the spicy instrumental combinations are pure Grofé.

In addition to their musical collaboration, Gershwin

and Grofé shared a desire to make a mark in the so-called ‘legitimate’ music world of classical music. Popular music may have paid the bills and brought fame; but it was within the hushed orchestra halls that most musicians of the time still believed their true greatness was to be measured.

Grofé’s work on Rhapsody in Blue proved to be his own entrée into that realm. After the work’s premiere in late 1924, Grofé wrote quite a number of works that found a place in the concert hall. He focused particularly on musical portraits of the American landscape and individual people: there was the Mississippi Suite, the Death Valley Suite, the Kentucky Derby Suite, and even a tone poem dedicated to the football star, Knute Rockne.

In 1931, Grofé introduced the piece that would become his most enduringly popular, the Grand Canyon Suite. Organized in five relatively brief movements, the music depicts scenes of life within America’s most famous natural wonder, a place that Grofé admitted was something of “an obsession” in his life.

“The richness of the land and the rugged optimism of its people had fired my imagination,” he later

wrote. “I was determined to put it all to music.”

Grofé did so in a style that blends European-style Romantic harmonies and textures with sharply illuminated pictorial gestures. The first movement’s long and dramatic crescendo evokes its titular “Sunrise,” while the mysteriousness of the second movement takes the listener onto the arid yet strangely beautiful “Painted Desert.” The third movement, “On the Trail,” is the suite’s most widely heard music thanks to the cigarette company Philip Morris, which used its vivid and playful clip-clop of horses as a musical signature for various radio and television shows for many years.

“Sunset” follows, and then a dramatic “Cloudburst” that ends the music with a bang (and a wind machine).

In writing music that tickled the senses of audiences, Grofé rejected the ambiguity and complexity that defined modernism in his time. This is musical Americana at its sunniest. From sea to shining sea, those are values we can still appreciate.

Time for Three Program Notes

252015-2016 Season

Bravo! $10,000+

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Gold Baton $5,000–$7,499

Silver Circle $2,500–$4,999

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26 2015-2016 Season

COlUmbUS INDIaNaPhilharmonic Chorus

Conducted by Music Director David Bowden, the Philharmonic Chorus encompasses a wide range of skill level and experience from high school

students to mature adults. It is the Chorus’s mission to serve as part of the orchestra during the concert season, performing choral-orchestral works. It is the largest and most significant adult education program of the Philharmonic’s wide range of educational offerings.

Founded in 1987, the Chorus has played an integral role in the Philharmonic’s concert programming. In its first concert, soloists Sarah Kittle, Janie Gordon, Victor Floyd, and Owen Hungerford sang Serenade to Music by Ralph Vaughan Williams. Fifty-two singers from the

Columbus area comprised the original Chorus. Over the past 28 seasons, a number of those singers have participated regularly with other local and regional singers in each of the choral concerts.

The wide repertoire of the Chorus includes performances of such classical works as Bach’s St. Matthew Passion, Leonard Bernstein’s Chichester Psalms, Peaceable Kingdom and numerous other pieces written by Randall Thompson, Honegger’s King David, many works composed by John Rutter including his Requiem, and Handel’s Israel in Egypt. The Chorus has also performed all of the choral-orchestral music of Johannes Brahms. Lighter concerts have included opera choruses and the Broadway music of Andrew Lloyd Webber, Rodgers and Hammerstein, Lerner and

Lowe, and Leonard Bernstein.

The Chorus consists of approximately 80 members and does not require an audition to join. Any singer who can read music, finds pleasure in the teamwork of chorus participation and is willing to strive for musical excellence is encouraged to join.

Join Our Chorus! We welcome you to join the Philharmonic Chorus, helping singers strive for musical excellence. The Chorus, conducted by Music Director David Bowden, includes volunteer singers of all ages. We rehearse Monday evenings, 7 to 9 p.m. at First United Methodist Church. For information, contact Beth Booth Poor at 812-343-0922 or [email protected]

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272015-2016 Season


Sunday, November 15, 2015 at 7:30 Pm Erne auditorium, Columbus North High School


The Philharmonic Chorus David bowden, Artistic Director

CONCERT SPONSOR


Verdi Requiem

Requiem In Memory of Manzoni Giuseppe Verdi

Requiem e Kyrie

Dies irae (Sequence) Dies irae Tuba mirum Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrymosa

INTERmISSION

Offertorio Sanctus Agnus Dei Lux aeterna Libera me


“The Columbus Indiana Philharmonic is such a special organization.

The commitment to the Columbus community and to music education in the area has always impressed me. I very much enjoy the comradery and the quality of musicianship among the members of the orchestra.

Performing together is always such a joy, and some of my

greatest musical experiences so far have been with this orchestra. I am blessed and

honored to play with the CIP.”

-Donna WilsonPhoto Credit: Rachel Jahrsdoerfer

28 2015-2016 Season

When Giuseppe Verdi died in 1901, his funeral was an event of international importance — not just to the wealthy patrons and scholars of the music world, but to ordinary citizens across Italy and beyond. Hundreds of thousands of mourners lined the route of his funeral procession through Milan, many singing along to a rendition of “Va pensiero,” the chorus of Hebrew slaves from his opera, Nabucco. To those who attended the event, Verdi represented not just a musical hero, but a symbol of the Italian nation.

But just as Verdi had come to represent all that was great in Italian musical art, he himself inherited that mantle from his predecessor, Gioacchino Rossini. By the time Rossini

died in 1868, Verdi was already an important musical voice in Italy, having already composed two of the three operas for which he is best remembered: La Traviata and Rigoletto (the third, Aida, came soon thereafter).

But even with his own fame growing, Verdi recognized the importance of the passing of the elder statesman of Italian music, and resolved to memorialize the composer in grand fashion. He conceived a plan to produce a Requiem in Rossini’s honor, with each movement written by a different Italian composer; Verdi himself would produce the “Libera Me” movement. The piece was to be performed only once, with neither composers nor performers paid for their services. Plans for this event received widespread publicity from the outset, and the anticipation rose as all twelve composers produced their portions of the music.

However, the performance plans soon fell in shambles, and the event disintegrated into a major public embarrassment for Verdi, in particular. Verdi’s music was eventually returned to him some five years later, in 1873.

Around that same time, the great Italian novelist Alessandro Manzoni died. Verdi had revered Manzoni even more highly than Rossini, and the death of the author precipitated a new plan from Verdi — although this time, he knew better than to make any public fanfare or to rely on the generosity of others to see his plan through.

On the day following Manzoni’s death, Verdi wrote a rather non-committal message to his music publisher: “I am profoundly saddened by the death of our Great Man!...I will come soon to visit his grave, alone and unseen, and perhaps (after further reflection, having weighed my own strength) to propose something to honor his memory.”

It didn’t take Verdi long to firm his resolve, for on June 3 he again wrote to his publisher, saying that he hoped to compose a Requiem in Manzoni’s honor, to be performed on the first anniversary of the author’s death. The publisher secured a commitment from the mayor of Milan to provide — and pay for — the services of the performers; Verdi himself would conduct the premiere. This time, the event went off without a hitch, and proved to be one of Verdi’s greatest successes.

That this Requiem had its foundations in a public memorial event, rather than as a religious mass, holds significance — or, at least, explains a good bit about the style of the work that resulted. Instead of the reverent, ecclesiastical form that most previous Requiem Masses had taken, Verdi’s product was highly operatic, to the extent that

the vocal soloists even seem to take on character roles in the music. Indeed, one section — the “Lacrymosa” — is largely lifted from a discarded duet from Verdi’s opera, Don Carlo.

Perhaps not surprisingly, critical reaction to the work was mixed. Many critics (in particular, the influential German conductor Hans von Bülow) condemned the work as irreverent. Bülow went so far as to make several scathing public pronouncements before having even heard the work:

“With this work the all-powerful despoiler of Italian artistic taste — and ruler of the taste he has despoiled — presumably hopes to eliminate the last remains, irksome to his own ambition, of Rossini’s immortality ... Surreptitious glances at this newest manifestation of the composer of Trovatore and Traviata have not exactly whetted our appetite for this so-called “Festival”...”

But despite such naysaying, Verdi’s Requiem quickly gained international acclaim, with Verdi himself conducting the work around Europe. And in hindsight, it is easy to understand the work’s popularity.

It is abundantly clear that Verdi took from the sacred text similar cues to those he took from operatic libretti. While this may not reflect a pious mindset, it certainly provides the work with a breath of life that far too many religious compositions over the ages have lacked.

In Verdi’s hands, the “Dies irae” (“Day of Wrath”) becomes not merely a lament, but a horrifying portrait of the Last Judgment, complete with all the thunder, trumpet-calls, and fervor that might attend such an historical moment. The “Libera me” (Deliver Me, O Lord) section, with its soprano solo set against the chorus and orchestra, seems to tell a story, in which the soprano seeks peace and solace in a world of confusion, sadness and chaos.

Throughout the text (as in his operas), Verdi found inspiration in what he referred to often as the parola scenica — individual words or phrases that sparked his creative imagination and became the pivotal points of his musical expression. There is not a slack or uninspired moment in the whole, grand-scale work.

More than a hundred years after Verdi’s own passing, we can see this work out of its own historical context and appreciate it for what it is: one of the greatest, most passionate expressions of grief, longing and redemption in the repertoire.

Verdi Requiem Program Notes

The Giuseppe Verdi monument in front of the Pallavicino Rocca in Busseto, Italy.

292015-2016 Season

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30 2015-2016 Season

COlUmbUS INDIaNaChildren’s Choir

The CICC is a cooperative effort between the Columbus Indiana Philharmonic and the internationally famous Indianapolis Children’s Choir. The CICC includes 3 choirs: a Preparatory Choir, Descant Choir and Concert Choir.The Preparatory Choir is a non-auditioned experience for 1st-3rd grade students. Children are introduced to choral music in the rehearsal/general music setting. The preparatory singers will experience music through singing, movement and music game activities. Prep singers will have a limited appearance with the CICC performance ensembles at the CIP Holiday Concert. Prep Choir is a 12 week music education program and will meet from November 2 – December 13, 2015 and February 22 – April 2, 2016. Contact Ruth Dwyer for more information or to register at [email protected]. Performance Choirs: The Descant and Concert Choirs are for beginning, intermediate and advanced singers in grades 4-9. Descant choir, under the direction of Camilla Gehring, performs in concert for local and a regional events. Concert Choir, directed by Ruth Dwyer, performs locally and abroad. CICC Concert Choir has performed in New York City’s Carnegie Hall and Lincoln Center’s Avery Fisher Hall. They have toured throughout the USA, Spain and Central Europe. The CICC performance choirs sing annually in concert with the CIP. We rehearse one day a week from September through June. Join the Choir: A vocal assessment helps place your child in the appropriate choir. Assessments may be scheduled by calling the Philharmonic Education Office 812-376-2638 ext. 7 or by contacting Ruth Dwyer at [email protected].

Tayler is thrilled to be performing with the Columbus Indiana Philharmonic after winning the Anna Newell Brown Scholarship for Vocal

Excellence in February 2015. Tayler is currently majoring in theatrical studies at Ball State University in Muncie, Indiana. Some of Tayler’s past roles onstage include Ruth in “The Pirates of Penzance,” Puck in “A Midsummer Night’s Dream,” Calliope in “Xanadu,” and Trix the Aviatrix in “The Drowsy Chaperone.”

Tayler sang in various ensembles directed by Janie Gordon at Columbus North High School, including Concert Choir, North Stars Women’s

Show Choir, Debuteens and Music Men Mixed Show Choir, and 25th Street Singers Advanced Vocal Jazz. Tayler received private vocal lessons from Julianna Drerup and Camilla Gehring.

While Tayler enjoys singing, dancing, and acting, she also loves sharing her passion with kids in the community. She has been a drama camp and show choir camp counselor for several years. Her responsibilities in those camps ranged from assistant directing to music directing to choreographing. Tayler also directed Northside Players in their fall production in 2014 as her senior project. Tayler worked on the auditorium staff as a technical assistant under John Johnson her senior year, which gave her a greater knowledge and appreciation for technical elements as she continues performing.

TaYlER SEYmOUR 2015 Brown Vocal Scholarship Winner

Celebrating its 29th year, the Anna Newell Brown Award for Vocal Excellence has become one of the most highly regarded scholarship competitions in Indiana. The award was established in honor of Anna Newell Brown, an accomplished vocalist, patron of the arts and grandmother of Jeff Brown, fifth generation of the Brown family to lead Home News Enterprises (parent company of the Republic).

The Betty F. Brown Award for instrumental Excellence, established by Jeff’s father, Bob, honors Jeff’s mother, an accomplished musician and a guiding force behind the establishment of the Columbus Indiana Philharmonic in 1987.

Administered by the Heritage Fund – the Community Foundation of Bartholomew County, the competitions encourage formal music training for students and help to strengthen the school and community music programs.

brownScholarships

See pages 44-46 for more information about CICC.

312015-2016 Season


Sunday, December 13, 2015 at 3:00 Pm & 7:00 Pm Erne auditorium, Columbus North High School


Tayler Seymour, 2015 Brown Vocal Competition Winner

Columbus Indiana Children’s Choir Ruth Dwyer, Artistic Director

Camilla Gehring, Assistant Director

Commonwealth Christmas Overture Malcolm Arnold

Prelude to hansel and Gretel Engelbert Humperdinck

Ave Maria Schubert/Wilhelmj

Die Fledermaus Overture Johann Strauss, Jr

Mein herr Marquis (Laughing Song) Johann Strauss, Jr

The Christmas Song Mel Tormé

holiday Memories arr. Powers Winter Wonderland Frosty the Snowman Santa Claus is coming to Town Rudolph the Red-Nosed Reindeer

Santa Baby Javits/Springer/Powers

INTERmISSION

Little Bolero Boy Robert Wendel

Chanukah Suite Danenberg & Soifer

White Christmas Irving Berlin

A Star Dances, An Angel Sings Gilpin/Powers

Laudamus Te Antonio Vivaldi

Candlelight Carol John Rutter

hine Ma Tov Leck/Powers

The holly and the Ivy Dwyer/Ellis

We Wish You a Merry Christmas arr. Harris

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32 2015-2016 Season

2014-2015 Contributors

bRaVO$10,000 +Robert & Helen HaddadMargaret Powers

GOlD baTON$5,000-$9,999Ben & Pat BushCheryl & Bruce CazenaveRichard & Lindsay CooleyMark & Linda Pillar

SIlVER CIRClE $2,500-$4,999Marc A. Dissosway

In Memory of Patricia DissoswayToots & Jim HendersonBob & Renée KastingThomas & Marion MarshallDavid & Tessa MilroyNancy & Ralph SchumannGeorge & Catherine Shortle Foundation Trust

In Memory of Catherine ShortleChuck & Janet VanNatta

CONDUCTOR'S CIRClE $1,000-$2,499AnonymousDavid & Donna Bowden

In Honor of our parents,Donald & Ruth Sjaardema, Marshall & Phyllis BowdenIn Honor of our Granddaughters, Eliana Christine & Katelyn Elizabeth Hoff

Roger & Janet BrinkmanMary Ann ClarkDr. & Mrs. David GallagherJon & Camilla GehringMatthew & Theresa HotekOwen & Annette HungerfordStan JacksonRick & Alice JohnsonPeter & Cathy KingJean & Julius LauderdaleTom & Pam LegoRichard & Susan MillerBob & Mary OrbenDr. Richard L. Pitman

In Memory of his sister Joan BirchElizabeth Booth & William PoorJohn & Donna SasseBarry & Donna TurnerTom & Sara Wood

bENEfaCTOR$500-$999Anonymous

In Honor of Margaret Powers & Mark Pillar

Edna AppelBrad & Carole ArthurDebra & Bruce BattsDavid & Bonnie BoatwrightJeff & Therese CopelandJoe & Sher CunninghamE. Jean EllisDrs . David Hamilton &

Sheryl ElstonTracy EmbreeGary & Kristy GronDrs. Dale & Linda Guse

Rebecca HoffmannThomas & Mary Kendrick

In Memory of Donald Munger & Jim Lucas

Roxie KindelspergerIn Memory of Kris Kindelsperger

John & Liz LipsonDan & Elli McElroyLynne Maguire & Will MillerClyde & Lenora ParrottKevin Preuss & Lisa DuretDr. Sorin Pusca

In Honor of Kevin Preuss & Lisa Duret

Donald & Ruth SjaardemaIn Honor of David Bowden

Terry & Linda TrautmanTom & Christine VujovichDavid & Ann WindleySteve & Pam WolvertonSandy & Ron Zimmerman

SUSTaINER $250-$499AnonymousPatrick & Sharon AndrewsLaura BakerMr. & Mrs. R. M. BowdenWally & Sandy CantrellDave & Liz ClarkMr. & Mrs. William ColeSpencer DellJohn & Louise DorenbuschDavid & Wilma DoupZack & Glinda EllisonJoyce & Dick FleckDale & Karen GaumerKen & Hedy George

In Honor of Janie GordonJames & Suellen Gillespie

In Memory of Kris KindelspergerBill & Jody HarterDon & Dody HarveyRobert & Cynthia HenrichDon & Paula HerlitzGordon & Annalee HueyLaura M. HurtDrs. Chris & Tami IorioJanet & Roger LangKen & Christy LangstonJoseph & Lisa LohmeyerDon & Diane MichaelBob, Mary & Diane MooreJohn & Susan NashGrace OrrSus an Pickens &

David BorcherdingDr. & Mrs. Edward L. ProbstCharles & Judy RichardsonMarilyn RichardsonTheodosia & Stephen RushMr. & Mrs. A. Hutch Schumaker IIG. Karen Shrode

In Memory of Tom & Bea ShrodeSuzanne & Dean SmithMr. & Mrs. Morris SoudersJo StattenfieldGregg & Judy SummervilleShirley ToddBetty L. TuttleGeoffrey & Adele VincentAlex & Helen Yezerets

PaTRON$100-$249AnonymousDede AbtsYvonne AchterbergMary & Aaron AllardTed & Donnetta AndersonDan & Susan ArnholtCathy & Willis BahnsenMr. & Mrs. Robert BanisterThomas BaughKaren BermanPaul & Pat BippenTal & Betsy Bosin

In Honor of David & Donna Bowden

Wilna BraunDr. & Mrs. Stephen BrueggemannThelma ButlerCharles & Miriam ByersWilliam & Jacque ChambersKwok-Sang & Linda ChuiMichael & Becky CollinsGrace A. CoynerDonna CrimRuth DaveeRoger & Ann DeVoreDeborah DivanKenneth O. DunnWayne & Teresa EberhardEd & Vivian EckerlyJoy & Daryl EmeryPaul & Karen FinkeSandra FinkelDavid & Cindy ForceSherm & Jacquie FranzCliff & Jan GardnerDwight & Linda GroomsRamon HassKim & Helen HendersonLeah HookerArt Hopkins Landscape Architect

In Honor of Tom BaughTim & Wanda HuffmanMrs. Dick JohnsonSusie JohnsonAnn & Bill JonesBruce & Mikaële KlopfensteinDave & Barb KromphardtGordon & Barbara LakeRyan LauerAlice LeonardJohn & Judy LindBill & Karen LionMr. & Mrs. Edmund LudlowRon LutherShirley A. Lyster

In Honor of J. Robert SheedyCarole Marshall

In Memory of Charles & Marie Schwacke

Marilyn MauzyJulie & Harry McCawleyFrank McCulloughPaul & Lisa McHoneDan & Tess McKinleyJohn & Connie McLachlanJim & Cynthia MillerPaul & Peggy MinerJanet MontiCarol & Tom MoteTeresa OlmsteadMarge Pongracz

Sri kanth Padmanabhan & Usha Raghavan

Rebecca RehbeinCharlie & Suzie RentschlerCarolyn RickeJohn & Marilnn RondotJoAnne & Bob RotherPeg RoushBob & Mary SawinIlya SchwartzmanEmily SharpeRick & Philippa SheddSam & Fran SimmermakerCaitlin SmithHenrietta & Smith SnivelyMary Lou TellmanRandall TuckerBarbara VoelzRobert & Norma WebbJim & Betty WelchChuck & Suzanne Wells

In Honor of Tom & Pam LegoWarren & Lynn WhaleyAmanda Williams

fRIENDUp to $99AnonymousLeAnne AndersonPauline BarnesWarren & Janice BaumgartLinda S. BeckerJoann BenedettoRaymond BetzDiana BlackChap & Mary Ann Blackwell IIIWinter BottumClarel BrandenburgerBob & Priscilla BrownEd & Donna BrowneDaniel & Anita BurtonBarbara CampbellJohn & Jean ChambersMarlene ChestnutJames & Saundra CoffmanColleen ColemanFrieda CrawfordDave & Laura CrossmanJacque DouglasJames DudleyDon & Jean DuerstockNancy & Joe DuttonCarl EddyFabulous Females

In Memory of Kris KindelspergerPatricia GilsonMary Jane GordonJim & Nancy GreenFrank & Barbara HagerDave & LaDonna HallDon & Patsy Harris

In Memory of Ardie ConlinJoseph & Linda HeldtSandi HinshawDick & Roberta IrwinLarry & Judy JacksonMr. & Mrs. Steve JasperRalph L. JewellAllen & Laura JohnstonDonald & JoAnn JonesCinda Jones-BonnerJohn & Arleen KeeleLisa & John Kirchman

Robert E. KirkLarry & Lynn LucasTally & Lisa Lykins familyMr. & Mrs. Greg MarshallMary Ann McCrayElaine MerkelIrida MillerPat MurphyWilliam OrbenJim & Sue ParisRyan & Andrea PivonkaRepp AssociatesVicki & Bob RigneySam & Joe RobinsonMr. & Mrs. Wendell R. RossColin & Linda ScheidtRobert & Sharon Schnier & familyMichael & Rosemarie StifflerStephanie StrothmannSusan SubletteT. Joe TowerBarbara TuttleTom & June Ann VickersGreg & Bettie WesselLisa WestmarkGreg & Camille WillmoreGarnett & Mildred WinchesterMr. & Mrs. Karl WolffTom & Gertrude WoodsDot Yeaton

HEaRTSTRINGSheartstrings donations enabled us to share the joy of music with those who otherwise would not have been able to attend a concert.Sharon K. BaldwinLinda S. BeckerNancy Ann BrownDr. & Mrs. George BrueggemannMary ButlerDonna CrimPaul & Jan DavisRev. & Mrs. Thomas GoingDon & Dody HarveyToots & Jim HendersonRuth HenneyDonald & JoAnn JonesMr. & Mrs. Thomas McMahanMr. & Mrs. Kevin MeyerDick & Nancy NyersSandra OliverioAdrian Parrilla LevarioChris J. PriceCharles & Judy RichardsonMr. & Mrs. Jim RumseyJohn & Donna SasseJohn & Nancy SawinMartha SmockJim & Bev TibbettsShirley ToddBetty L. TuttleDavid & Ann WindleyMadonna Yates

The Columbus Indiana Philharmonic is grateful for pledges and donations to our Annual Fund Drive between 8/1/2014 - 7/31/2015. The financial support made by these individuals and organizations ensures that the Philharmonic can continue its tradition of excellence in providing concerts and music education programs that enhance Columbus’ reputation as a vibrant community dedicated to the arts.

332015-2016 Season

2014-2015 Securing The LegacyThe Columbus Indiana Philharmonic’s endowment will ensure a brilliant future for the orchestra. Funds are managed by The Heritage Fund and used to support continuing artistic excellence and to enhance the important Philharmonic music education programs offered throughout this region of Indiana. As of July 31, 2015, pledges and donations have been received from:

Bob and Helen Haddad • The J.Irwin Miller Family Dick and Ruth Johnson • Mary Clark

Sam Pentzer and Tom Vujovich of Pentzer Printing The family of Robert and Betty BrownAlice O’Beirne Curry • David Bowden

Rick and Alice Johnson • Jenny Johnson • Harry McCawley The Republic • Vanessa Edwards

Individual commitment to a group effort – that is what makes a team work, a company work, a society work, a civilization work. – Vince Lombardi

The Gold Baton AwardEach season, the Philharmonic honors an individual, family or business for exemplary

commitment to the musical arts of the Columbus area. Past honorees include:

$500,000 & UP Mr. & Mrs. Robert Haddad, Sr.

$150,000 - $499,999 Mr. & Mrs. James A. Henderson

Xenia & Irwin Miller and the Estate of Clementine Miller Tangeman

$25,000 - $59,999 Mr. & Mrs. Marion Dietrich David M. & Barbara A. Kirr

Will Miller & Lynne Maguire Mr. & Mrs. John Nash

$10,000 - $24,999 Mary Ann Clark

Alice & Jerry Curry Mr. & Mrs. William Hunt

The Notables of the Philharmonic Mr. & Mrs. Robert Orben

Joan & Howard Pearcy Mr. & Mrs. Mike Ryan Margaret J. Stevenson

$1,000 - $9,999 Mr. & Mrs. L. Paul Berman

Mr. David Borcherding and Ms. Susan Pickens

Dr. & Mrs. David Bowden John & Kaye Ellen Connor

Ed & Vivian Eckerly David & Cindy Force

Bill & Jody Harter Mr. & Mrs. Don Harvey

Louise Hillery Tom & Sandi Hinshaw

Dr. & Mrs. John D. Lipson Mr. & Mrs. Dan McElroy

Don & Diane Michael Lori Phillips

Bruce & Natalie Pollert Mrs. Jane Hoffmeister Repp Robert & Mary Williamson

UP TO $999Ingrid H. & Albert E. Askerberg, Jr.

Gary & April Bardonner Mr. & Mrs. Calvert Brand

Peggy Dell Mr. & Mrs. John F. Dorenbusch

Greg & Carol Kostrzewsky Lisa Marchal

Steve, Michele & Katherine Marshall Mr. & Mrs. William E. Poor

Mr. & Mrs. John Revell Mrs. Adrienne Savage

Carolyn & John Seltzer Henrietta & Smith Snively

Mrs. Marian J. Stark Sharon Stark

Mr. & Mrs. Dearl Sweeney Geoffrey & Adele Vincent

Joan Vogel Bill & Sheryl Ziegler

34 2015-2016 Season

The Johnson Family

John Wall

Mike & JodiEngelstad

Bob & Helen Haddad

Elizabeth R. andWalter C. Nugent

Foundation

2014-2015 Corporate Partners

Bravo $10,000 +

Silver Circle $2,500 +

Gold Baton $5,000 +

Haddad Foundation

Marshall & BethMiddendorf

Bartholomew County

Commissioners

Joe & Sher Cunningham

INSURANCE SERVICES

C. RiChaRd MaRshallTrial Lawyer

Clarence E.& Inez R. Custer

Foundation

The Philharmonic gratefully acknowledges the following organizations and individuals for their support of events and programs during the 2014-2015 season. To become a corporate partner, please call 812-376-2638 x2

352015-2016 Season

www.blueandco.com

Conductor’s Circle $1,000 +

benefactor up to $999

In-Kind and Contributed Gifts and Services

hazel TeegardenFoundation

MPACT FORGE

40 et 8 Voiture 1274American Legion Post 24AMVETS Post 509Aton’s Self StorageBartholomew Consolidated School CorporationBartholomew County Courthouse StaffBartholomew County Reserve Deputy OrganizationBoy Scout Troop 588David and Donna BowdenMarie BraunellerCentral Middle SchoolCoca-Cola Bottling CompanyColumbus Area Arts CouncilColumbus City Hall StaffColumbus City Sanitation DepartmentColumbus Container, Inc.Columbus East Band BoostersColumbus North Band BoostersColumbus Police DepartmentThe CommonsChris Crawl

Cummins, Inc.Dancer’s StudioDora Hotel Company, LLCSandra DosterglickVanessa EdwardsRobert and Deborah EikenbaryEllis Tents and EventsFirst Christian ChurchFirst Presbyterian ChurchFirst United Methodist ChurchFolger’s Four Seasons FloristGlick FarmsBob and Helen HaddadBob and Juanita HardenIndiana State PoliceJoint Force Headquarters, IndianaKinney PaperJohn SadauskasLHP Software, LLCLiberty Advance Machine, Inc.Lovelace Electric

Samantha McAllisterMeridian MusicMilestone ContractorsNorth Christian ChurchPentzer PrintingDebbie PetersTony & Margie PottorffPuccini’s Smiling TeethQuickSignsTD AdvertisingThe RepublicSt. Paul’s Episcopal ChurchStuckey’s Piano ServiceTom Pickett’s Music CenterUnited Way of Bartholomew CountyVFW Post 1987White River BroadcastingWestside Community ChurchZaharakos

36 2015-2016 Season

Area 3rd and 4th grade students look forward to the annual JCB Adventure Concert series each Spring. For many children, the concert presents a first time music and concert experience sparking their interest in learning to play an instrument. In the days after the concert, children write letters to the orchestra musicians describing their favorite instruments, the music they loved, and some even include a drawing of the concert view from their seats (pictured above)!

In the spring, children and educators from 32 schools in the South-Central Region of Indiana participate in the annual JCB Adventure Concert series of programs and events. Philharmonic musicians visit area schools bringing an interactive musical experience to approximately 1,600 students. The Phil’s Youth Orchestra performs side-by-side with the Philharmonic Orchestra at all three concerts and then travel to participating locations to share the gift of music with the community.

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372015-2016 Season

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38 2015-2016 Season

Acclaimed by the press as a “superbly talented pianist” who plays with “prodigious technique and eloquent phrasing,” Steinway Artist Tianshu

Wang has graced concert stages in the United States, China, Mexico, Singapore, Thailand, and Taiwan. Invitations to perform in Europe are also in the offing. Winner of many competitions, including a national first prize, she is active in both solo and collaborative performance and has performed with major orchestras in China and the United States. She has been a regular juror of

National Piano Competitions in China since 2005, and has performed live on CCTV. Respected as a distinguished artist and teacher in her native China, she was featured in a cover story of the country’s most prestigious piano magazine, Piano Artistry.

Dr. Wang is currently Professor and Head of the Keyboard Area at Capital University’s Conservatory of Music in Columbus, Ohio. She received the Praestantia Award for Distinguished Teaching in 2011, the highest honor given to a faculty member at the university. Prior to Capital, she served on the piano faculty of Sweet Briar College in Virginia. She is also a professor and chair of the Piano Department at the Shenyang Conservatory of Music in China, where she teaches for part of the year.

Dr. Wang holds degrees from the University of Arizona (M.M. and D.M.A. in Piano Performance)

and the Shanghai Conservatory of Music (B.M. in Piano Performance). Her teachers include Zhu Yafen, who also taught Lang Lang, and Nicholas Zumbro, a student of the legendary Rosina Lhévienne.

Tianshu Wang’s biography appears in Who’s Who in America, Who’s Who of American Women, and Who’s Who in China. The CD set “Encyclopedia of Chinese Classical Piano Music” in which she is featured as a major performer, has been a best seller in China; and her chamber music CDs, which were published by Albany and Mark Records, have been well received by both the public and critics. Her solo album entitled “Piano in China” that was released on the Albany label was featured on the cover of Fanfare magazine (March/April issue of 2012) with an extensive interview article and enthusiastic reviews.

TIANShU[Tianshu is a] winner of many

competitions, including a national first prize...

Wang

392015-2016 Season


Celebrating the Chinese New Year


Saturday, february 6, 2016 at 7:30 Pm Erne auditorium, Columbus North High School


Tianshu Wang, Pianist

La Scala di Seta (The Silken Ladder) Gioacchino Rossini

Yellow River Concerto Xian Xinghai, et al.

The Song of the Yellow River Boatmen

Ode to the Yellow River

The Yellow River in Wrath

Defend the Yellow River

INTERmISSION

Scheherazade, op. 35 Nicolai Rimsky-Korsakov

The Sea and Sinbad’s Ship

The Story of the Kalender Prince

The Young Prince and the Young Princess

The Festival of Bagdad – The Sea – Shipwreck

CONCERT CO-SPONSORS

CONCERT PaRTNER

“It’s great to see that a city the size of Columbus can

support an orchestra like this. Because of the community’s

commitment to the arts, the CIP percussionists and timpanist get to play top-

notch instruments owned by the orchestra. We are truly grateful for their support.”

– Brian McNulty


40 2015-2016 Season

Gioachino Rossini Overture to The Silken ladderDuring his lifetime, Rossini was almost entirely celebrated as a composer of operas, of which there were many. His first opera, La cambiale di matrimonio (The Marriage Contract), was performed when he was just 18 years old. Within three years, his name was virtually synonymous with Italian comic opera — both at home and abroad.Today, a relatively small handful of his operas remain

in the standard repertoire; but the overtures to many of his un- or under-performed operas remain popular concert pieces. Case in point: La Scala di Seta (The Silken Ladder), a one-act opera that premiered in 1812. Full productions of the opera are now virtually nonexistent; but the lively overture has been recorded numerous times and is played frequently. In classic Rossini style, the Overture playfully weaves melodies from the opera into a glittering tapestry; then twists them ever tighter, ever faster, leading to a breathless ending.

xian xinghai Yellow River ConcertoFar Eastern music has long held a place of special fascination for Western composers, particularly after the turn of the 20th century. Numerous works by famed composers attempted to capture the character of Eastern music, to varying degrees of success. Puccini’s Turandot and Madama Butterfly (set in China and Japan, respectively) are beloved by operagoers worldwide; musical theatre lovers feel the same about Richard Rodgers’ The King and I, which is set in Thailand. Debussy derived much inspiration for his compositions for piano from the Javanese gamelan music he heard at the 1889 Paris Universal Exposition. And Stravinsky’s Le Rossignol (The Nightingale) is a veritable catalogue of Chinese influences.

Why, then, do we hear so little music that is actually written by Eastern composers? The answer is complex. Though many great Asian musicians traveled through the West over the centuries, very few sought to adapt their musical voices to the idiom of the orchestra; and prior to the 20th century, their music was considered at best a second-rate curiosity. In the early 20th century, Western-style orchestras began to form in China along with conservatories. But then came Mao Zedong and his increasingly strict policy of cultural isolationism and nationalism. Starting in the 1960s, Western music was banned outright, and the few Western-style conservatories in China were closed.

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Celebrating The Chinese New Year Program Notes

New Years Festival in Foshan city, China.

412015-2016 Season

Xian Xinghai was born in 1905, in Macau. A gifted young musician, he studied in the cultural centers of China and then, in 1929, traveled to Paris to study composition with Vincent D’Indy. Given the rising fascination with music of his country, Xian might have found a successful career in the West; but he chose to return home and fight for his country when Japan invaded in 1935.

Four years later, Xian heard the poet Zhang Guangnian read a group of poems collectively titled Yellow River. The poems paid homage at once to the beauty of China’s most famous river and to the strength of the Chinese people. With permission from Zhang, Xian set the poems to music in just six days. His Yellow River Cantata would later become one of the few classical works accepted by the Communist Party in China.

In fact, the work became so central to the Chinese identity that in 1969 a committee of composers was formed to adapt Xian’s music as a piano concerto. The resulting, four-movement work has since become one of the few Chinese works heard regularly in concert halls worldwide.While much music of the mid-20th century is considered challenging to the ears of audiences, the Yellow River Concerto is anything but. With its extremes of excitement, lush beauty and tenderness, the music echoes nothing so much as the high Romantic music of Tchaikovsky; its immediately memorable melodies and waves of

arpeggios call to mind the piano concertos of Rachmaninoff.

One can easily enjoy Xian’s music without an understanding of the texts that inspired it. That said, each movement does reflect the spirit and narratives of Zhang’s poems, and each carries an individual title.

The first movement, “The Song of the Yellow River Boatmen,” offers a vivid depiction of the river rushing through a stunning canyon; boatmen sing together as they valiantly conquer the waves. The second movement, “Ode to the Yellow River,” takes an even more Romantic view of the place and its people, “who tower in the East like the lofty Kunlun Mountains.”

The third movement provides the most quintessential blend of Chinese and Western styles. Titled “The Yellow River in Wrath,” it begins with a beautiful Chinese flute melody, eventually balanced against the piano. A dark mood sets in, depicting an occupation by a foreign army; the people rise up in defiance. This leads to the fourth movement, “Defend the Yellow River,” which wraps up the concerto in a bravura expression of Chinese resolve and strength.

Nikolai RimskyKorsakov ScheherazadeNikolai Andreyevich Rimsky-Korsakov: a mouthful of a name for one of the greatest composers ever to emerge from tsarist Russia.

Born in 1844 of a distinguished naval and military family, Rimsky-Korsakov developed an early proficiency in music. In his Chronicle of My Musical Life, the composer wrote, “Before I was two I could distinguish all the melodies my mother sang to me; at three or four I was an expert at beating time on a drum to my father’s piano playing...I soon began to sing very accurately everything he played, and often sang with him; then I began to pick out the pieces with the harmonies for myself on the piano; and, having learned the names of the notes, would stand in another room and call them out when they were struck.”

Despite his precocious talent, the boy’s true passion was for the military, which employed both his father and his elder brother. At the age of twelve, young Nikolai was enrolled in the College of Naval Cadets in St. Petersburg. He graduated in 1862, just a few months after his brother (Nikolai’s senior by 22 years) was appointed to the college’s directorship.

While at the cadet school, Rimsky-Korsakov continued to take piano lessons, though his interests were mainly driven by a desire to be able to play popular opera songs. He also continued to seek out concerts, and was consistently entranced by the new music of Berlioz, Mendelssohn, Chopin, and — especially — a fellow Russian composer, Mikhail Glinka. In 1859, Rimsky-Korsakov began to study with a new teacher, Theodore Canille, who influenced his style and taste, as well as his understanding of harmony and musical form.

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42 2015-2016 Season

In 1861 Rimsky-Korsakov’s fate took a sharp turn when he became acquainted with a trio of young but already widely known Russian composers: Modest Mussorgsky, Mily Balakirev and César Cui. Rimsky-Korsakov came quickly under the spell of Balakirev. Balakirev, in turn, encouraged Rimsky-Korsakov to compose, and even helped him with the difficult task of orchestration. Within a few years, Rimsky-Korsakov resigned from the navy, and began what was to be a brilliant career as composer, teacher, and musician.

Thus began a career that would shape the character of Russian music for decades to come. Historian James Lyon once wrote, “Russian music was born, and died, with...Rimsky-Korsakov.” While these bold words may over-state the point, there is no doubt that Rimsky-Korsakov had a profound influence on later composers, from his pupils — among whom were Igor Stravinsky and Sergei Prokofiev — to non-Russian composers such as Ravel, Debussy, Dukas, and Respighi.

“Rimsky-Korsakov must be credited with the introduction of a new treatment of the orchestra,” wrote biographer M. Montagu-Nathan. “He is responsible for a number of innovations in the region of instrumental grouping, and his influence and teaching must be attributed to the foundation

of a distinct style of orchestration usually referred to as ‘Russian’.”Though he composed in a variety of forms and idioms, Rimsky-Korsakov is best known and remembered by modern audiences for his works for orchestra. Chief among them are three works, all composed between 1887-88, which were also Rimsky-Korsakov’s last significant, purely orchestral compositions: the Spanish Capriccio, Russian Easter Overture, and Scheherazade. In the composer’s own words, these three compositions “close a period of my work, at the end of

which my orchestration had attained a considerable degree of virtuosity and warm sonority...” Out of anyone else’s mouth, these might sound like overly self-congratulatory words; but, coming from Rimsky-Korsakov, they hardly do justice to the lyrical beauty, striking orchestration, and memorable melodies of these three pieces.Based on the well-known tale of the vicious Sultan

and his seductive, tale-spinning wife, Scheherazade has been a major cornerstone of the orchestral repertoire since its premiere in 1888. The colorful and exciting four-movement work focuses on the tumultuous relationship between the evil sultan Shahryar and the titular character, as told in the medieval epic, The Arabian Nights.

Not that you need to know the legend to appreciate the music. Scheherazade is a fur coat of a piece: luxuriously warm and enveloping, more than a bit flashy, and vivid in its evocation of Arabian nights,

ships tossed about at sea and exotic festivals.

Structured in four movements, the piece features music that is at times breathtakingly fast, at times lush, and always rich in texture and unique character. Scheherazade also reflects its storyline at a different, more purely musical level:

the relationships between various sections of the orchestra, and between conductor and orchestra. With many small ensemble sections, solos by various players in the orchestra, and shifts in tempo and mood, Scheherazade lives or dies depending on the focus and connection of the musicians on stage — much as the story’s heroine must maintain the attention of the Sultan in order to preserve her life.

Celebrating The Chinese New Year Program NotesContinued from pg. 41

‘Russian music was born, and died, with... Rimsky-Korsakov.’ - James Lyon

432015-2016 Season

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44 2015-2016 Season

COlUmbUS INDIaNaChildren’s Choir

RUTH DWYER CICC Artistic Director

The effects of music education are beyond beneficial, they are practically essential. The directors of the Columbus Children’s Choir have spent 20 years

proving this to be true in Columbus. This season marks the 20th anniversary of the collaboration between the Columbus Indiana Children’s Choir and the Columbus Indiana Philharmonic. Help us celebrate the high development and performance standards that Ruth E. Dwyer, Columbus Indiana Children’s Choir Artistic Director, instills in every child she meets.

Mrs. Dwyer is internationally recognized as a treble youth and children’s choir specialist and Kodály educator. Mrs. Dwyer has been the guest conductor for the OAKE National Children’s Choir, numerous All-State and Honor Choirs, and the National Children’s Choir at Lincoln Center and for MidAmerica Productions Carnegie Hall Children and Youth Choral Festival. Mrs. Dwyer is the Founder and Artistic Director of the Hoosier Hills Choral Festival in Southern Indiana and of Philthrusong, Inc. (Philanthropy Through Song) a non-profit organization supporting anti-drunk

driving education and traumatic brain injury research through choral performance .

Mrs. Dwyer has been the Associate Director of the Indianapolis Children’s Choir (ICC) since 1988 and ICC Director of Education in 1996. She is also the Artistic Director and Administrator of the Columbus Indiana Children’s Choir, a cooperative effort of the Columbus Indiana Philharmonic Orchestra and the Indianapolis Children’s Choir. Her work with ICC/CICC has allowed her to tour throughout the United States and abroad. Her choirs have performed for the Indiana Music Educators Association, the AOSA National Conference, in New York’s Carnegie and Avery Fisher Halls, Spain, across the USA and throughout Central Europe. She has prepared choirs for performances with the Indianapolis Symphony Orchestra, the Indianapolis Symphonic Choir, Indianapolis Opera, the Columbus Indiana Philharmonic and the Butler University production of Nutcracker. Mrs. Dwyer’s work with ICC/CICC includes mentoring the teaching staff, conducting 4 choirs, teaching in the First Steps program and providing music library assistance.

Prior to her fulltime position with ICC, Mrs. Dwyer served the State of Indiana for 19 years as a public school music educator. She has received the IMEA Elementary Music Teacher of the Year, the Hoosier Musician award and the IPS Rising Star award. Mrs. Dwyer is an accomplished choral composer and arranger. She has taught master classes for the IU Jacobs School of Music, Butler, St. Thomas, Drake Universities and Silver Lake College. Mrs. Dwyer also works as a studio conductor for Heritage/Lorenz Publishers.

Ruth Dwyer earned both her Bachelor’s and Master’s degrees from Indiana University where she majored in music education and voice. While attending Indiana University she also received her Kodály certification under the guidance of Mary Goetze and Jean Sinor. She enjoys a good cup of coffee, visiting with family, reading, sailing and hiking in the mountains.

The Columbus Indiana Children's Choir is recognized as one of the finest choirs in the nation because of the excellence of its musical education, the diversity of its membership and the quality of its contributions to the community's cultural life.

For 20 years, CICC has provided exceptional music education and choral performance experiences to children and youth in central Indiana. under the leadership of Artistic Director Ruth Dwyer, Assistant Director Camilla Gehring, and CICC Coordinator Deb Eikenbary and many others, the choir has grown to serve hundreds of children each year and has become one of the most accomplished programs of its kind.

CICC choristers learn to express themselves through a high standard of choral performance and artistic communication. Each child develops vocal, musical, aural and analytical skills, and benefits from age-appropriate training of the maturing voice as part of a comprehensive choral music education.

452015-2016 Season


Saturday, april 2, 2016 at 7:30 Pm Erne auditorium, Columbus North High School


The Philharmonic Chorus David bowden, Artistic Director

Columbus Indiana Children’s Choir Ruth Dwyer, Artistic Director


music for Royalty


CONCERT CO-SPONSOR

CONCERT PaRTNERS

Crown Imperial March William Walton

Arrival of the Queen of Sheba from Solomon George Frideric Handel

Music for the Royal Fireworks Handel Overture Bourée La Paix (The Peace) La Réjouissance (The Rejoicing) Minuet and Trio

Emperor Waltz J. Strauss, Jr

Pomp & Circumstance March No. 1 (Land of hope and Glory) Edward Elgar

INTERmISSION

Prince of Denmark’s March (Purcell’s Trumpet Voluntary) Jeremiah Clarke

Come Ye Sons of Art Henry Purcell Come, Come Ye Sons of Art Strike the Viol Sound the Trumpet Come, Come Ye Sons of Art

Zadok, the Priest (Birthday Ode for Queen Mary) Handel

Aloha ‘Oe Queen Lil’uokalani

“Can You Feel the Love Tonight?” from Lion King Elton John

Think on Me (text by Mary, Queen of Scots) James Mullholland

I Was Glad (Coronation Anthem) Hubert Parry

Jerusalem (And Did Those Feet in Ancient Times) Parry

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“It is a real pleasure to be a member of the CIP family.

The level of musicianship in this ensemble is very high,

but to me the distinguishing characteristic is the open and positive nature of our work together. This is something

unique to this orchestra and makes rehearsals and performances a real joy to

be a part of.”

– Eliot Heaton

46 2015-2016 Season

William WaltonCrown Imperial marchWilliam Walton first caught the ear of the British public with the premiere of his oratorio, Belshazzar’s Feast, in 1931. A sprawling, ambitious yet immediately appealing work, Belshazzar’s Feast served as notice that Great Britain had found its heir-apparent to Edward Elgar and Ralph Vaughan Williams.

The work was hardly the first piece bearing witness to Walton’s greatness as a composer (his 1921 chamber piece, Façade, had earned some limited popularity), but Belshazzar’s Feast demonstrated both a facility for melody as well as an ability to handle large-scale compositions. This fact was reinforced by the premiere of Walton’s Symphony No. 1, in 1934.

By 1937, Walton’s reputation had grown to the point that it only seemed natural that he should be the composer to write a coronation march for Edward VIII. The BBC commissioned just such a work; but ultimately it was not used for its intended purpose, due to Edward’s abdication of the crown shortly before the planned coronation. Instead, the Crown Imperial March was used for the coronation of King George VI, Edward’s brother.

Like Elgar’s Pomp and Circumstance Marches, the Crown Imperial March is a swaggering and sunny work boasting a romantic processional theme. Indeed, close analysis reveals that Walton must have carefully studied Elgar’s famed marches, as the structure of his Crown Imperial mimics that of the Pomp and Circumstance Marches closely.

George frideric Handel music for the Royal fireworks, arrival of the Queen of Sheba from Solomon, and Coronation anthem: “Zadok the Priest”If George Frideric Handel’s father had gotten his way, likely none of us would know the name of a man now considered one of the most prolific and influential composers in Western history. Born in 1685, George possessed a natural and quite precocious musical talent from his youngest days; but his father, a court barber who was in his mid-60s when George was born, forbade the boy to study music. But wills find their ways, and with help from his more sympathetic mother George managed to get access to a small clavichord, which he played when his father was asleep.

At the age of 7, George had the opportunity to play

the organ for the duke’s court in Weissenfels; his proficiency shocked his father and impressed the organist Friedrich Wilhelm Zachau, who offered the boy lessons. Zachau became Handel’s primary mentor, instructing the boy in organ, harpsichord, and compositional techniques.

By 1710, Handel’s career was beginning to take shape. That year, he was appointed kappelmeister (music director) to the German Prince George. During a trip to London that year, Handel met the manager of the King’s Theatre, who accepted the composer’s offer to write an opera. The opera, Rinaldo, was written in just two weeks; it was a major success and propelled Handel into the public eye.

Four years later, Prince George became King George I of Great Britain and Ireland. Thus Handel found himself composer to the king, a position that afforded him both fame and opportunities to write music for a variety of occasions, from operas and oratorios to more uncommon works such as his well-known Water Music Suite, penned for a royal flotilla on the River Thames. Handel eventually became a British subject in 1727. That same year, King George I died. Handel’s first commission after becoming a British citizen was, therefore, to write a

Deborah “Deb” Glick Eikenbary currently serves as Coordinator of the Columbus Indiana Children’s Choir, and she works as an elementary music teacher at Mt. Healthy and Southside Elementary Schools within the Bartholomew Consolidated School Corporation. While Deb proves her dedication to CICC on a daily basis, she balances her involvement in other education programs through the Philharmonic, including the adult Philharmonic Chorus and the Education Board Committee. Deb has been an active member of these programs since before joining the Philharmonic staff.She is a founding member of Music EdVentures, Inc., an international organization dedicated to educating children through music. She has experience filling several roles within that organization, including participation as a board member, conference planning chair and president. She has served as a member-at-large for the Indiana Elementary Music Educators Association and is a long time member of Indiana Music Educators Association and Music Educators National Conference. A dynamic member of her church, Newbern United Methodist Church on Columbus’ east side, Deb currently acts as musician, leadership team chair, and treasurer of United Methodist Women. A natural fiber enthusiast, Deb enjoys spending her free time knitting, sewing, lace making (tatting), and traditional rug hooking. She and her husband, Robert, have two children, Rebecca and Steven, who are both alumni of CICC and the Philharmonic’s Music for Youth string programs. The Eikenbarys have been season ticket holders since the founding of the organization in 1987. “My first impression of this organization,” Deb says, “comes from the very first concert when I was singing in the Chorus. I knew this was going to be a very fine addition to our community and I believe that has remained true to this day.”

Camilla Gehring is a graduate of Indiana University School of Music with a Bachelor’s degree in music education. She taught elementary music in Connersville, IN for three years in addition to performing regularly with the Whitewater Opera Co. in Richmond, IN. She earned her MBA from Ball State University and combined her two degrees and became General Manager of the Minneapolis Chamber Symphony.

She was a professional chorus member of the National Lutheran Choir as well as being a member of the Minnesota Chorale performing with both the Minnesota Orchestra and the St. Paul Chamber Orchestra. She also worked as a professional cantor at the Basilica of St. Mary in Minneapolis.

A frequent soloist with the Philharmonic, Mrs. Gehring is also a long time member of both the Philharmonic Chorus and her church choir. She has appeared in numerous Mill Race Theatre productions and is a frequent soloist in the area. As the CICC’s Assistant Director, Mrs. Gehring directs the Descant Choir and the beginning Preparatory Choir. She also maintains a full teaching schedule of private students. Camilla and her husband, Jon, are the parents of Dominic and William, former singers in CICC.CamIlla GEHRING CICC Assistant Director

DEb EIKENbaRY CICC Coordinator

music for Royalty Program Notes

472015-2016 Season

Coronation Anthem for King George II.

Handel chose to base his Anthem on the coronation of King Solomon, who, according to the Bible, came to the throne in Israel when his father, King David, was dying. King David called on his loyal priest, Zadok, and the prophet Nathan to perform the coronation of Solomon, saying, “blow ye the trumpet and say `God Save King Solomon’ ......” (I Kings, Chapter 1).

The Anthem that Handel wrote for the occasion endeared him to British royalty for all time: Zadok the Priest has been performed at every coronation of the British crown since King George II took the throne.

In late 1748, England and France signed the Treaty of Aix-la-Chapelle, which effectively ended the War of Austrian Succession. To celebrate and demonstrate the new accord between the two countries, the king engaged the French scenic designer Chevalier Servandoni to construct a large pavilion in the Palladian style in London’s Green Park, to serve as a launching pad for a fireworks display. Interspersed with the visual spectacle would be new music by Handel, performed in the pavilion beneath.

Excitement about the event was extremely high. The musical dress rehearsal drew a crowd of 12,000, causing one of the first documented traffic jams on London Bridge. A week later, the main event took place. It wasn’t such a success. Partway through, some of the fireworks prematurely caught fire, burning

down one of the pavilions.

Despite that, Handel’s six-movement suite was quickly recognized for its many merits. The French-style overture is a masterpiece of pomp and excitement. The third movement, titled “La Paix” (“The Peace”), is one of the composer’s most lovely dances, an elegant Siciliana in 12/8 time. The music culminates in a final Minuet that bursts with energy and pageantry.

Handel’s oratorio Solomon dates from that same year. This complex and richly orchestrated work for orchestra and double chorus recounts stories about the wise king Solomon, as told in Biblical and other texts. Today, the work is rarely heard in its entirety; but one purely instrumental passage, the Arrival of the Queen of Sheba from Act Three, has taken on a life of its own. The sunny and vivacious music was featured at the opening ceremonies of the 2012 London Olympics.

Johann Strauss II Emperor WaltzesBy 1889, Johann Strauss was famed across Europe for his unmatched talents as a composer of light yet unforgettable dance music, particularly waltzes. That year, one of the most notable events in international politics was a toast by Kaiser Franz Joseph I of Austria to extend “the hand of friendship” to Kaiser Wilhelm II of Germany in Berlin. Strauss decided to commemorate the event with a waltz, which he titled “Hand in Hand” in

reference to the quotation from the toast.

The resulting composition was one of Strauss’ most regal and purely bright works for orchestra, reflecting the hope of the moment. After conducting its premiere in Berlin, Strauss took the tune to his publisher, who recommended a change of title to The Emperor Waltzes. By that name or any, this is one of Strauss’ very finest works, and it has found a permanent place as a concert hall staple worldwide.

Henry Purcell Selections from Come Ye Sons of artFor centuries, no British composer was held in higher esteem than Henry Purcell. Born to a musical family in 1659, Purcell showed his talents early. At age 8 he completed his first work, a three-part song titled Sweet tyranness. At 20 he was appointed organist for Westminster Abbey, a position he held for the rest of his relatively short life. Purcell died in 1695.

The final years of his life were, fortunately for posterity, a time of great productivity. In 1694, Purcell composed a birthday ode to Queen Mary, titled Come Ye Sons of Art. Set in 10 movements, the piece for chorus, soloists and orchestra enjoined a series of instruments (“Sound the trumpet,” “Strike the viol”) to extol the merits of the queen. Not surprisingly, kings and queens since have embraced this music both for its beauty and its unabashed celebration of royal virtues.

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48 2015-2016 Season

Jeremiah Clark Prince of Denmark’s marchIronically, one of the pieces for which Henry Purcell was most widely known and beloved in the past wasn’t, in fact, written by him. In the early 20th century, the English conductor Sir Henry Wood rediscovered a short piece from the late 17th century, which he believed to be a composition by Purcell. (The mistake wasn’t entirely Wood’s fault: The score that caught his attention was itself a misattributed arrangement for organ from the 1870s.) Wood arranged the music for trumpet, organ and drums and titled it Trumpet Voluntary. Wood’s arrangement quickly became popular worldwide and has since remained a fixture of ceremonies and weddings.

However, in the 1940s it was determined that the music was in fact written by Jeremiah Clark, a younger contemporary of Purcell’s. Clark originally penned the music for the husband of Queen Anne, Prince George of Denmark..

Edward Elgar Pomp and Circumstance march #1Few works in the classical repertoire are more familiar than Sir Edward Elgar’s Pomp and Circumstance March No. 1. Co-opted long ago as the ubiquitous tune performed during graduation ceremonies across America, this march has become such a part of our cultural ceremonial identity that it’s hard to separate the music from the context by which it is so familiar.

Yet Elgar didn’t write this march for that express purpose. In fact, the Pomp and Circumstance Marches — of which Elgar wrote five — were originally penned as military marches, to be performed as concert pieces, with dedications to friends of Elgar’s.

At the time he wrote the five Marches, Elgar’s reputation was growing in England such that any work that flowed from his pen was destined to become a familiar fixture in concert halls. In that context, it’s hardly surprising that King Edward VII decided to use the Pomp and Circumstance March #1 at his coronation soon after Elgar completed the brief work in 1901.

Britons soon clamored for performances of the work, and feeding off its stamp of approval from the King, the work became a sort of hymn of British national pride, almost supplanting the national anthem as the favored music for public events.

And truly, if we can hear it with fresh ears, the work must be recognized as one of the great marches of all time, combining in its melody a regal bearing and sentimental romanticism that few other marches have ever matched.

Sir Hubert Parry I Was Glad and JerusalemFor a significant span of the late 1800s, Sir Hubert Parry was one of the most respected musicians in all of Britain. He held concurrent professorships at the Royal College of Music and at the University of

Oxford. He was hailed by some as the finest British composer of the century.

Today, Parry’s name is largely overshadowed by those of a younger generation, including some of his own students — who included Gustav Holst, Ralph Vaughan Williams and Frank Bridge. None of his music is regularly performed in the concert hall. But one work keeps his name perennially familiar in Britain: I Was Glad, a setting of Psalm 122 for brass, organ and large chorus.

Parry penned the short, celebratory work in 1902 for the coronation of King Edward VII. Settings of the same text had been sung at coronations since the 1600s; but Parry’s version took an immediate place of primacy. It has been performed at every coronation since; it was also recently performed at the wedding of Prince William, Duke of Cambridge and Catherine, Duchess of Cambridge as the processional music for the bride, her father and the bridal attendants.

Parry’s 1916 anthem, Jerusalem, is arguably the composer’s most widely known work outside England. This short choral song reflects the hope and mystery of the text that inspired it: William Blake’s “And did those feet in ancient times,” which ponders a once-popular theory that Jesus visited England during the so-called “unknown years” between his youth and his ministry.

Continued from pg. 47

music for Royalty Program Notes

492015-2016 Season

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American-Italian violinist Benjamin Hoffman is an avid leader and serves as concertmaster of the Columbus Indiana Philharmonic. Benjamin also serves

as concertmaster of the Yale Philharmonia, and gave a concert under the baton of John Adams at

Avery Fisher Hall that was hailed as “bold, spirited, and technically impressive” by The New York Times. Equally at home as a chamber musician, Mr. Hoffman has performed alongside mentors Peter Frankl, Wolfram Christ, Jorja Fleezanis, and Stephen Wyrczynski in Europe and in the United States, and recently performed Aaron Jay Kernis’s “Mozart en Route” and Hindemith’s “Kammermusik Nr. 1” at Carnegie Hall. Benjamin particularly enjoys studying quartet repertoire and is a member of the newly formed Quartet Orange, based in New Haven, Connecticut. A member of a musical family, he also gives concerts with his mother, father, and sister as part of the piano quartet Onibatan.

As a soloist, Benjamin enjoys performing music ranging from Vivaldi to Bach, Mozart and Korngold, as well as contemporary premieres with orchestra. Mr. Hoffman began studying the violin at age four under the tutelage of his mother, and continued his studies with Gabriel Pegis of the Cincinnati Symphony Orchestra, Latica Honda-Rosenberg at the Hochschule für Musik in Freiburg, Germany and Alexander Kerr at Indiana University Bloomington. He is currently pursuing the Doctor of Musical Arts degree at Yale University, where his principal studies are with Ani Kavafian.

bENJamIN

[He] gave a concert... that was hailed as ‘bold, spirited, and

technically impressive’ - The New York Times.

Hoffman

Journey inside...

512015-2016 Season


a Visit To ViennaColumbus Indiana Philharmonic

David bowden, Music Director

Saturday, april 30, 2016 at 7:30 Pm Erne auditorium, Columbus North High School


benjamin Hoffman, Violin

Wine, Women and Song, Waltz op. 333 Johann Strauss, Jr.

Violin Concerto in D Major, op. 61 Ludwig van Beethoven Allegro ma non troppo Larghetto Rondo (Allegro)

INTERmISSION

Symphony No. 1 in C Minor, op. 68 Johannes Brahms un poco sostenuto – Allegro Andante sostenuto un poco Allegretto e grazioso Adagio – Allegro non troppo, ma con brio


CONCERT PaRTNER

“Live music performance is a fascinating thing. There's a powerful fundamental human element involved that is hard to find any other way. I'm not just making reference to "live" versus "recorded" music, but to music being shared directly with an audience - a literal human to human communication, often without words! As musicians, we spend countless hours practicing in an enclosed, small space, always working to hone the skills we need to make a good musical product. We hear music all the time. It's fun and enjoyable! But what I find inspirational and powerful is that moment when an orchestra, or any other kind of ensemble, after all the practicing and rehearsing, combine their individual voices into a collective communicative whole for you, the audience. That's when the magic happens! It's when you as a listener and we as a musical storyteller get to share thoughts, ideas and emotions for a few hours. That's what's exciting for me being a member of the Columbus Indiana Philharmonic - to have that time together sharing that musical experience at such a fundamental level. We're so glad you're here to be a part of the dialog!”

-Eddie Ludema

52 2015-2016 Season

Johann Strauss II Wine, Women and SongJohann Strauss was only six years old when he wrote his first waltz music. In a way, that should come as no surprise: His father was already the preeminent composer and conductor of waltzes in Vienna. What was perhaps surprising, then and now, was the fact that his father was firmly set against the younger Johann pursuing his musical interests. It was only after Johann the elder deserted his family that Johann the younger, then 17, was allowed to earnestly pursue his musical interests.

In the end, the deserter got his just deserts; for Johann II rose to far greater prominence in the Viennese musical scene. Today, he is rightly famed throughout the world as “the Waltz King,” while his father’s music is rarely played. We all recognize the best of Johann II’s tunes, among them On the Beautiful Blue Danube and Tales from the Vienna Woods.

Strauss was as prolific as he was talented: In his lifetime he wrote more than 170 waltzes, along with hundreds of polkas, quadrilles and other dances. While we only regularly hear a handful of these, the consistent quality among them is astounding: Pick any one and you’re likely to think you’ve found your new favorite.

Wine, Women and Song is one of those lesser-known yet no-less-fine waltzes. It was originally penned in 1869 as a commission for chorus; however, the orchestral version is now the better known. After a serene introduction, the lilting dance takes form, alternating between lush romance and lightheartedness — a colorful reflection of the saying that inspired the music: “Who loves not wine, women and song remains a fool his whole life long.”

ludwig van beethoven Violin Concerto Born in 1870, Beethoven came of age in what we now call the Classical era, a time when composers such as Haydn and Mozart were revered for music that employed formal structures, clear distinctions between melody and accompaniment, and simplified textures. Beethoven, though, had a different approach. His notion of music embraced more organic and sometimes even narrative structures that bent (or broke) formal rules and employed increasingly exotic harmonies, greater dynamic range, and unusual textures and instrumentation. These characteristics would eventually become central to the Romantic conception of music.We often think of Beethoven simply as a writer

of great music. We mustn’t forget that in a time of great social and political upheaval, he was an artistic revolutionary as well.Beethoven was trained on violin and piano at an early age by his father. His general education began and ended in elementary school; yet he was soon

known in artistic circles for his prodigious musical technique and understanding.

As an eleven-year old assistant to Bonn’s court organist, Beethoven was

described by his mentor as “a boy of...most promising talent...He

would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.”

Perhaps little did anyone suspect the validity of this

comparison; for Beethoven was eventually to become the only

composer in history of equal stature to Mozart.

Beethoven composed his Violin Concerto in D in 1806, in a flurry of creativity. It was during this same period that he produced his Fourth Symphony and Fourth Piano Concerto, as well as the widely known “Appassionata” Sonata. By this time, Beethoven was fully deaf, a condition which led to endless despair in his life. “You can scarcely believe what an empty, sad life I have had for the last two years,” Beethoven wrote in late 1801. “My poor hearing haunted me everywhere like a ghost; and I avoided all human society.”Yet Beethoven’s music of this period belied his angst — and his handicap. In a style similar to that of his Fourth Piano Concerto, the Violin Concerto (his only completed work in the idiom) is deeply expressive, employing a weaving and dreaming voice which dispels all predilections of the glittering bravura so often associated with concertos. The solo part, challenging as it is for the performer, above all demands taste, discernment in expression, and warm response.

In the words of historian Harvey Grace, “The Violin Concerto in D is as great a standby to the violinist as the ‘Emperor’ Concerto is to the pianist, with the further claim of being better music.”

The concerto begins somewhat tentatively, with five drum beats leading into a sunny but relaxed introduction for the orchestra. The energy slowly rises, and finally the violin enters in dramatic fashion via a quick flourish of vaulting octave arpeggios. Thus begins a long and varied first movement, full of both tender beauty and towering climaxes.

To our modern sensibilities, this elaborate first movement might not seem all that unusual; but when the concerto premiered, many complained that it was indulgently, excessively long. To put it in context, Mozart’s longest violin concerto, the so-called “Turkish” Concerto, was only about seven minutes longer in total than Beethoven’s first movement, which typically runs approximately 21 minutes. It took decades of musical evolution (an evolution that, among other things, embraced ever-longer forms) before audiences came to accept Beethoven’s Violin Concerto as the masterpiece it is.

The second and third movements of the concerto run at more common durations, balancing the weighty first movement with some of the composer’s most beautiful and exhilarating music (the balance of the overall work is helped by the fact that the two movements connect, creating what feels in essence like an evenly weighted, two-movement concerto). The slow second movement casts the violin initially in a supportive, embellishing role; that balance slowly shifts through the course of the music, until a series of hefty chords announce the finale, a spritely Rondo.Johannes brahms Symphony No. 1 in C minorMany historians and musicians credit Johannes Brahms for summing up the musical developments of the 19th Century, creating in his work a kind of quintessential Romantic style while also hearkening to the principles established by the masters of the earlier Classical era. Exalted for music in a variety of forms, from piano miniatures to four sprawling symphonies, Brahms today stands shoulder-to-shoulder among the unquestioned greats, his influence laid over the music of later composers like a shimmering cloak.

It is therefore somewhat ironic to recall that in his lifetime, Brahms struggled mightily and often doubted that he would ever produce even a

single symphony.

The problem started, in a sense, in 1854, when Brahms set out to write a large-

scale sonata for two pianos. Soon, that music morphed into a conception

for a symphony. Brahms enlisted two highly respected musicians of the day, Julius Otto Grimm and Joseph Joachim, to assist in revising and orchestrating the music. Over the course

of a couple of years, the music morphed yet again, ultimately

becoming a piano concerto — Brahms’ first large-scale work for

orchestra.At its first and second performances in 1858, the concerto was quite poorly received: tepid clapping was countered by hissing, and most of the critics

a Visit To Vienna Program Notes

LUDWIG VAN BEEThOVEN

JOhANN STRAUSS

532015-2016 Season

ravaged the work, criticizing in particular its traditional form. The composer, already shaken by the challenges he went through to produce the work, was thrown into further self-doubt about his skills as an orchestrator. For years after, his output consisted almost entirely of works for solo instruments and small ensembles.It wasn’t until nearly two decades later that Brahms would finally premiere his First Symphony. All along, Brahms worked on the music, subjecting it to countless revisions, abandoning entire movements and leaving it untouched for years at a time. At low points the composer would refer to the work as a kind of nemesis; in 1870 he declared he would never finish the piece. Fortunately for the rest of us, he was wrong.Much of Brahms’ trepidation regarding his symphony stemmed from its traditional, classical leanings. Brahms lived in an age in which traditional forms were being challenged as never before; the traditional sonata form employed by the likes of Mozart and Beethoven had given way to more programmatic structures. In the words of the Grove Dictionary, “At a time when the status of a progressive composer could be measured by the

way he constructed, or linked, the movements of a programmatic symphony, Brahms was still working with clear divisions and lucid articulation.”

However, deeper analysis demonstrates that Brahms was far from a mere formalist. “If the structural background is clear, the character of Brahms’ ideas is his own,” explains Michael

Musgrave in his exhaustive text, The Music of Brahms. “The precise rhythmic mood and

key (of the First Symphony) belong to the world of early Brahms...

More individual still, however, is the character of the first subject itself, for no model in the symphonic tradition presented two ideas of equal status in contrapuntal combination as the basis of a

main subject.”

Brahms’ First Symphony has often been compared to the symphonies

of Beethoven; yet in the end, it is a uniquely personal expression, imbued with

the richness, complexity, and confidence that mark all of this composer’s great works. After its premiere in 1876, the First Symphony quickly gained a place in the standard repertoire of orchestras the world over--a position it has maintained to this day.

The music begins with a dramatic flourish: an insistent beating of the timpani contrasted by a

melody in the strings that seems almost broken: It shifts chromatically and rhythmically around, the woodwinds shadowing along as they search for resolution. This proves to be the perfect setup for what is to come: A large-scale movement full of chromatic surprises and curious turns that yet somehow always seem to find their way to resolution.

After the intensity of the first movement, the second brings a new contrast: a lilting lullaby, luminous in its orchestration and tone, utterly devoid of angst. The third movement carries a similar mood at a more upbeat pace.

After those two light interludes, the finale shifts back into a ruminative, searching mood. The introduction is riddled with outbursts and sudden pauses, until a beautiful French horn melody suddenly parts the clouds. This tune gives way to another beautiful melody, and with that the music begins to move along, ever more exciting, toward its finale. At 17 minutes, the fourth movement is not much shorter than what has come before; it is Brahms’ longest symphonic movement, and arguably his most varied. Yet never does this music seem slack; to the contrary, it is one of the most dramatic symphonic movements ever written. Brahms may have questioned his ability to finish this piece; but when he finally did, what a remarkable gift he gave the rest of us.

{Be Heard. Be Successful.}

+ + =Aural Retention

JOhANNES BRAhMS

54 2015-2016 Season

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552015-2016 Season

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572015-2016 Season

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Storage Solutions For Every Need... Large Or Small, Personal Or Business, Short Or Long Term.

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selfstorageofcolumbus.com739 Repp Court Columbus, IN 47201

Call Julie,

Bottling Co.of

Columbus, IN

62 2015-2016 Season

Columbus Visitors Center Gift Shop506 Fifth Street (812) 378-2622

Open Monday throughSaturday 9 a.m. to 5 p.m.

and Sunday 12 p.m. to 5 p.m.(Closed on Sunday, Dec.-Feb.)

We carry a variety of items created by local and

regional artists as well as Dale Chihuly studio edition glass

pieces and prints.

Freed&AssociAtesI N S U R A N C E

An Independent Agency

John Freed, Agent

1902 Central Ave. • Columbus, IN 47201(812) 372-2100 • Fax (812) 372-2131

[email protected]

ProPerty • Business • HealtH • life • automoBile

www.freedinsurance.com •

www.gausmanndental.com

(812) 372-7831

Dr. Robert A. Gausmann, DDS

Est. 2011

1604 Home Avenue, Columbus, IN 47201

812.376.ROSE (7673)sweetrosebakehouse.com

P I A N O T U N I N G • R E S T O R A T I O N • M O V I N G

Official Tuner for the Columbus Indiana Philharmonic

Tim Stuckey • 812-379-1100P.O. Box 226 Columbus, IN 47202

632015-2016 Season

Serving Columbus since 1946

812-372-8207 Culliganiswater.com

better water. pure and simple.®

®

my house Gena Beaman & Eric FritzOwners

3800 Carlos Folgers Drive, Columbus, IN 47201phone | 812-375-1118

www.MyHouseEtc.com

PaintCabinetsWindow TreatmentsCustom Framing

StainsCountertopsWallpaperSupplies

Play On. Play On.

D.R. Taylor & AssociatesSINGLE RESOURCE PROVIDER OF POSITIVE RESULTS

MARKETINGADVERTISINGPUBLIC RELATIONS SINCE 1975

D.R. Taylor and AssociatesMarketing, Advertising and Public Relations since 1975www.drtaylorassociates.com

Ronald J. Patberg, CFP®

Sr. Portfolio [email protected]

www.dcmol.com

700 Washington St., Suite 203Columbus, IN 47201D 812.402.1020Cell 812.343.4580

20 N. W. First St., Fifth FloorEvansville, IN 47708

T 812.421.3211800.321.7442

lohmeyerplumbing.com | [email protected]

our instrument

Hitting the since 1936.

Locally owned and operated.

your instrument

License #PC81057359

4555 Progress Drive • Columbus, Indiana 47201lohmeyerplumbing.com | [email protected]

our instrument



your instrument

License #PC81057359

4555 Progress Drive • Columbus, Indiana 47201lohmeyerplumbing.com | [email protected]

our instrument



your instrument

License #PC81057359

4555 Progress Drive • Columbus, Indiana 47201

LIFE MEMBER MULTI-MILLIONDOLLAR ADVOCATES FORUM

430 SECOND STREETP.O. BOX 427

LINCOLN SQUARECOLUMBUS, IN 47202-0427

C. RiChaRd MaRshallTrial Lawyer

812/376-9281FAX: 812/372-9874

E-MAIL: [email protected]

1080 S. Gladstone Ave. Columbus, IN 47201

www.boyermachine.com812-379-9581

Precision CNC Machining

2015-2016 Season64

Agresta, Storms & O’Leary 37Aton’s Self Storage 61Baker’s Fine Gifts & Accessories 37Blackerby’s First Class Catering 55Boyer Machine & Tool Co., Inc. 63C. Richard Marshall Law Offices 63Centra Credit Union 3Chevrolet of Columbus 60Coca-Cola Bottling Co. 61Columbus Area Visitors Center 62Columbus Hotel Center 57Columbus Optical 48Columbus Regional Health Inside Front CoverColumbus Silgas 62Culligan Water Conditioning 63D.R. Taylor & Associates 63Dell Brothers, Inc. 19Donaldson Capital Management 63Edward Jones 49First Financial Bank 60

Folger’s Four Seasons Florist 58Forman Investment Services, Inc. 42Four Seasons Retirement Center 21Freed & Associates Inc. 62Gausmann Family Dental 62Griswold Home Care 60Hanner Financial Services, Inc. 36Harrison Lake Country Club 38Jan Brinkman - Century 21 Realtors 20Jim Gordon, Inc. Back CoverJoe Willy’s 47Kemper CPA Group 58Kirr, Marbach & Company LLC 9Knitter’s Nook 26Lawson, Pushor, Mote & Gamso 49Liberty Advance Machines 64Lockett’s Ladies Shop 50Lohmeyer Plumbing 63my house 63Nolan G. Bingham Architect P.C. 64

Office Pride 57Old National Wealth Management 29Pentzer Printing, Inc. Inside Back CoverPollert Design Associates, Inc. 62Ray’s Automotive 43Reising Radio Partners 53Sandra Zimmerman 64Shannon Rudicel CPA 64Sound Hearing Solutions 41Stephen C. Haworth CPA 60Stuckey’s Piano Service 62Sweet Rose Bakery 62TD Advertising 59The Republic 1Tilson HR 49Tom Pickett’s Music Center 24Toyota Industrial Equipment Manufacturing., Inc. 58Tre Bicchieri 59White River Broadcasting 37Zeller Insurance, LLC 40

Index Of Advertisers

Milling, turning and waterjet machining processesfor aerospace, medical and various applications

Ph. 812-372-1010Fax 812-372-6113

E-mail [email protected] [email protected] www.LibertyAdvance.com

3210 Scott DriveP.O. Box 2247Columbus, IN 47202

716 3rd Street, Suite 5 • Columbus, Indiana 47201Phone (812) 343-4519

Counseling

SANDRA ZIMMERMANL.C.S.W., L.M.H.C., M.S., R.N.

Nolan G. Bingham, Architect P.C.Columbus, Indiana 812.378.4134

Shannon Rudicel CPA, CVAManaging Member

675 Reeves Way Columbus, IN 47201PH: 812.418.8004 • FAX: 812.379.8056 www.rudicelcpa.com

Columbus Municipal Airport • Columbus, Indiana 47203 • 812.372.2896 • www.pentzerprinting.com • ISO Certified: 9001/14001

Servicing and supporting our comm

unity for over a century.

Jim Gordon, Inc.

• Sales

• Service

• Leasing

Office Technology Headquarters

New products and more technology, but the same business you’ve known and trusted since 1973.

Providing everything from copiers to networks, our friendly

staff will help you determine the office equipment you need to

increase productivity, control costs and complete your most

demanding jobs on time and with ease. At Jim Gordon, Inc.,

you will experience the highest level of customer support.

4520 Progress Dr., Columbus

(812) 372-7871 • (800) 832-5391

800 S. College Ave., Bloomington

(812) 332-5797 • (800) 446-6998

www.jginc.com

download the current program book (pdf)

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