SATURDAY, MARCH 3, 2012 7:30 pm

Ames InternationalOrchestra FestivalAssociationAmes Commissionon the Arts

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IOWA STATE CENTER IN CONJUNCTION WITH THEPERFORMING ARTS COUNCIL PRESENTS

with Alexandre Pirojenko, Piano Soloistand Roman Leontiev, Conductor

“TSCHAIKOWSKI” —ST. PETERSBURG

STATE ORCHESTRA

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“TSCHAIKOWSKI” —ST. PETERSBURG STATE ORCHESTRA

Roman Leontiev, Music Director and Chief ConductorAlexandre Pirojenko, Piano Soloist

PROGRAM

Richard Wagner Prelude and Liebestod from the opera Tristan und Isolde

Fryderyk Chopin Piano Concerto No. 2 in F minor, Op. 21Alexandre Pirojenko, pianist

Sergei Prokofiev Symphony No. 5 in B-flat major, Op. 100

“TSCHAIKOWSKI” – ST. PETERSBURGSYMPHONY ORCHESTRA

Roman Leontiev, Music Director and Chief ConductorDr. Elena Kostyuchenko, General Director

ORCHESTRA PERSONNELFIRST VIOLINSAnna Orekhova,Principal

Tatiana NaletskayaAlexandr AnisimovAnna YakovlevaVladimir TroitskiyMaya YudinaElena AnanievaOlga EgorovaLilia ElakhovskayaGalina KharitonovaVera KharitonovaGalina KuzmichevaMaria PlatonovaAnna PrudentovaGleb RezvykhLarissa RybakovaEvgenii ZininYulia Zorina

SECOND VIOLINSKristina Popova,Principal

Oxana DolyaElvira KapustinskayaEvgenia KarpovaNatalia MitsuraInna PivnevaElena PopovaGyuzel SultanovaPraskovia TanikovaElena VedaykoNina ZayatzDaria KhvalovskaiaAnna Chertova

VIOLASElena Andreeva,Principal

Aliaxandr BogdanovichKonstantin PlekhanovIrina MorozovaVadim DvoynishikovIrina ProdanTatiana SoldukhinaMarina ZakharovaKsenia Ivanova

CELLOSYuri Niniev, PrincipalVadim KaminskiySergei MikhailychevIlya ElinsonElena BystrovaAnastasia GolenischevaDaria MorozovaInna YakupovaAlexandra Karpenko

BASSESAlexandr Kuznetcov,Principal

Vitalii GoriachevMikhail TcimbalenkoRustam MurtazinKirill BenediktovDmitri PerminovElena Lazareva

FLUTESMikhail Tokarv, PrincipalNatalia ChernousovaAnton AlexeevskiiAnna Suzdalkina

OBOESEvgeny Khvalovsky,Principal

Elena KisselJulia Orlova

CLARINETSAnton Dereza, PrincipalVyacheslav KorshunovAnna KocheguraMusheg Mikaelyan

BASSOONSAnatoly Buvalenko,Principal

Anna KolesnikovaSergei Nikulin

HORNSMaxim Kuvychko,Principal

Anna KolesnikovaSergey FaustoAnatoly TarovRoman BazanovRagim KarakhmazliVictor Kostiuchenko

TRUMPETSYuri Poliakov, PrincipalIlya KulenkoNikolaj AseevVasily Karbyshev

TROMBONESRifat Vildanov, PrincipalAlexandr SevastianovAlexei BogdanovVictor Perevoznikov

TUBAShamil Salimov

TIMPANIKirill Ksenofontov

PERCUSSIONAndrei Belichkov,Principal

Vasily KatanovOlga KosyrevaArtem ChigrikTaras Tkach

HARPOlga Pilyukova

KEYBOARDJulia Grekhova

COLUMBIA ARTISTSMANAGEMENT LLC.1790 Broadway, 16th FloorNew York, NY 10019

Andrew S. GrossmanSenior Vice President &Senior Producer

W. Seton IjamsVice President

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RomanLeontiev

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ROMAN LEONTIEVMusic Director and Chief ConductorSt. Petersburg, Russia

Roman Leontiev, Music Director and Chief Conductorof the Tschaikowski – St. Petersburg SymphonyOrchestra is widely regarded as one of thepreeminent Russian conductors of his generation. Mr.Leontiev’s career has been accented by distinguishedengagements throughout Russia and Western Europesince his graduation in 1981 with highest honors fromthe Glinka Conservatory of Music in St. Petersburg,where his mentors included the People’s Artists ofRussia (Russia’s highest cultural honor) GennadyRozhdestvensky and Dr. A.M. Katz.

Upon his graduation from the Glinka Conservatory ofMusic, Mr. Leontiev was accepted as an apprentice tothe St. Petersburg State Conservatory of Music, whichis St. Petersburg’s leading conservatory, where hewas accepted as a pupil of the People’s Artist ofRussia, I.A. Mussin.

Mr. Leontiev’s first professional acclaim was receivedin 1985 upon being awarded the USSR State Medal ofExcellence in Conducting for his leadership of theMoscow International Festival Orchestra. This successwas followed in 1986 when Mr. Leontiev was awardeda Special Award for Conducting at the Third AnnualRussian National Folk Music Festival.

These honors led to Mr. Leontiev being engaged toconduct the leading orchestras of Russia includingthe Moscow State Radio Symphony Orchestra, BolshoiTheatre Orchestra, and USSR State Symphony. Thecritical acclaim of these engagements led to Mr.Leontiev being invited to France to conduct thatcountry’s greatest orchestra.

Mr. Leontiev was invited to return to France toconduct a series of important concerts, whichincluded appearances at the Palais des Congrès,Notre Dame Cathedral, and at the UNESCOConference, which was broadcast nationally onFrench Television and Radio (ORTF). Mr. Leontiev’s

additional European engagements includedperformances in Germany, Finland, and Sweden.

In 1997 Mr. Leontiev was engaged to conduct theSymphonica Toscanini for his Italian debut, whichwas followed by engagements in Hungary with theBudapest Radio and Television Orchestra andBudapest Philharmonic Orchestra. The success ofthese concerts led Mr. Leontiev to be invited toconduct the Bolshoi Theatre Orchestra in the Bolshoi’sGreat Hall, the Orchestra of the Mariinski Theatre, andthe State Symphony Orchestra of St. Petersburg.

Mr. Leontiev’s engagements with the Tschaikowski –St. Petersburg Symphony Orchestra led to theTschaikowski – St. Petersburg Symphony Orchestraengaging Mr. Leontiev as Principal Guest Conductor in2001, and that season he performed with theTschaikowski – St. Petersburg Symphony Orchestrathe complete Beethoven Symphony cycle, which wasmet with critical acclaim. Following the success ofthese performances, Mr. Leontiev and theTschaikowski – St. Petersburg Symphony Orchestrawere invited to undertake a tour of the UnitedKingdom.

In 2002 Mr. Leontiev was named Music Director of theTschaikowski – St. Petersburg Symphony Orchestra,and in honor of this title was invited to lead theTschaikowski – St. Petersburg Symphony Orchestra inthe world premiere of the work “VladimirskayaSquare” in commemoration of the 300th Anniversaryof the founding of the City of St. Petersburg, Russia.That same year Mr. Leontiev was also namedPrincipal Guest Conductor of the Symphony Orchestraof Konstants, Germany.

BIOGRAPHIES“TSCHAIKOWSKI” – ST. PETERSBURGSYMPHONY ORCHESTRA

The Tschaikowski – St. Petersburg SymphonyOrchestra was founded in the years following WorldWar II. During this time the Orchestra successfullyworked in different musical genres and receivedbroad acknowledgement and popularitythroughout Russia. In the course of the history ofthe Orchestra it has worked with many of theoutstanding conductors from the St. PetersburgConducting School. The Orchestra has undergonemuch change since its inception, including a changeof name and leadership but through all this time ithas been developing its repertoire strengths andbuilding a devoted audience.

The Orchestra’s repertoire is extremely diverseranging from Baroque music right through to musicof the 20th Century. The Orchestra’s repertoireincludes a range from Baroque compositions byVivaldi, Bach, Handel and contemporarycompositions by Schnitke, Banshikov, Desyatnikov,Kancheli. The Orchestra is at home in the works of

famous Russian Romantic composers (Tschaikowski,Rachmaninoff) to the classical composers of the20th Century (Honegger, Poulenc, Hindemith,Stravinsky). The Orchestra performs in the bestSt. Petersburg halls, such as the DmitryShostakovich St. Petersburg Philharmonic GrandHall, State Academic Capella, Smolny Cathedral,and City Cultural Center. Since 1990’s the Orchestrahas held a regular subscription series in additionto standard concerts throughout Russia. TheOrchestra offers many educational and charityprograms aimed at exposing children and youngpeople with vast repertoire and performs verypopular Young People’s Concerts in St. Petersburgon a regular basis.

For the past ten years the Tschaikowski – St.Petersburg Symphony Orchestra has become anensemble with unlimited musical possibilitiesincluding the regular commissioning andperformances of new compositions, a testament tothe high standard of the Orchestra, whichcommissions many new works written especially forthe Orchestra each season. The Orchestra has aspecial relationship with several local composers inSt. Petersburg but also collaborates and premieresworks of foreign composers, who have dedicatedmay of their works to the Orchestra.

The Tschaikowski – St. Petersburg SymphonyOrchestra tours regularly all over the worldand has had successful concert tours in Europe,China and Japan.

Many of Russia’s legendary and most distinguishedsoloists and conductors have worked with theOrchestra over the past several decades includingMontserrat Caballé, Sviatoslav Richter, ElenaObrastsova, Yevgeni Nesterenko, Yuri Egorov andViktor Tretyakov.

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As Music Director of the Tschaikowski – St. PetersburgSymphony Orchestra Mr. Leontiev led the Orchestra inperformances in the leading cities of Russia in 2004.In 2012, Mr. Leontiev will led the Tschaikowski –St. Petersburg Symphony Orchestra on its inauguraltrans-continental tour of the USA.

ALEXANDRE PIROJENKOPianistSt. Petersburg, Russia

“Pianist Alexandre Pirojenko has the technical skills todo anything he wants with a piano; better yet, whathe wants to do is sensitive, original, and brilliant,”wrote The Washington Post after Mr. Pirojenko’sWashington, D.C. debut at the Kennedy Center.

His international piano competition prizes includeFirst Prize in the XXV Ettore Pozzoli InternationalPiano Competition in Italy, First Prize in the YoungConcert Artists International Auditions in New York,First Prize in the XVI Ibiza International PianoCompetition in Spain, First Prize in the Paula CussiInternational Piano Competition to celebrate theTercentenary of St. Petersburg, First Prize in the8th Newport International Piano Competition in Wales,and Second Prizes in Concorso Internazionale MusicaleValsesia — Musica in Italy, the 3rd International PianoCompetition in Memory of Emil Gilels in Odessa, the7th New Orleans International Piano Competition, theVendome Prize International Piano Competition, the4th International Piano Competition in Memory ofVladimir Horowitz in Kiev, and the BremenInternational Piano Competition.

He has appeared on stages in Russia, Ukraine,Estonia, Latvia, Kazakhstan, Georgia, Germany,Austria, France, UK, USA, Netherlands, Italy, Portugal,Spain, Switzerland, Japan, Slovenia, Croatia, Serbia,Lebanon, and Peru, performing at such concert hallsas St. Petersburg Grand and Chamber PhilharmonicHalls, Capella Concert Hall and Mariinsky TheatreConcert Hall, Moscow Conservatoire Small Hall andRachmaninov Hall, Kiev Grand Philharmonic Hall andConservatoire Grand Hall, Paris Salle Alfred Cortot and

UNESCO Concert Hall, Cologne Philharmonie, NewYork 92nd Street Y (Kaufmann Hall) and LincolnCenter, Washington D. C.’s Kennedy Center, NewOrlean’s Roussel Performance Hall, AmsterdamConcertgebouw Kleine Zaal, Geneva Palais desNations, Zagreb Croatia Music Hall, LjubljanaCankarjev dom, and Salzburg Mozarteum (Solitar)among many others.

He has performed in numerous festivals includingthe International Festival “Musical Olympus” inSt. Petersburg, the International Festival “PetersburgMusical Spring,” the St. Petersburg InternationalPiano Festival, the Music Festival “The Stars of theWhite Nights” in St. Petersburg, the Piano MusicFestival “Gradus ad Parnassum” and the MusicFestival “M. Glinka. Bicentenary” in Moscow, theInternational Festival “Kyiv Summer Music Evenings,”the Sintra Festival in Portugal, the Honest BrookMusic Festival in the USA, Festival Internazionale “InViaggio... con la Musica” in Cividino, Italy, and “AllesBeethoven & Scubert!” — Zyklus in Salzburg.

Mr. Pirojenko frequently performs as soloist withorchestras including the St. Petersburg PhilharmonicOrchestra, the Mariinsky Theatre SymphonyOrchestra, the Tchaikovsky – St. PetersburgSymphony Orchestra, the St. Petersburg CapellaSymphony Orchestra, the TRC “Petersburg”

AlexandrePirojenko

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PROGRAMME NOTESPrelude and Liebestod,from Tristan und Isolde

RICHARD WAGNERBorn May 22, 1813, in LeipzigDied February 13, 1883, in Venice

For a performance of the Prelude and Liebestod,Wagner referred to the story in the program notes asone of “endless yearning, longing, the bliss andwretchedness of love; world, power, fame, honor,chivalry, loyalty and friendship all blown away likean insubstantial dream; one thing alone left living —longing, longing unquenchable, a yearning, ahunger, a languishing forever renewing itself; onesole redemption — death, surcease, a sleep withoutawakening.”

Wagner’s masterful use of the orchestra makes thePrelude and Liebestod the most often played part ofthe operatic literature that can be performedwithout the vocal part. His ingenious use ofleitmotivs tells the entire story of the opera. Thispairing of the prelude to the opera with the finalscene, played segue, shows the seamlessness andcontinuity that Wagner proselytized in his book Operund Drama of 1851. Referring to the score of Tristanund Isolde, Leopold Stokowski once said: “Wagnercreated for himself a new style, a new technique,new harmonic sequences, new combinations of

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Symphony Orchestra, the St. Petersburg SymphonyOrchestra “Klassika,” the St. Petersburg SymphonyOrchestra of the Mikhailovsky Opera and BalletTheatre, the Symphony Orchestra of the Opera andBallet Theatre of the St. Petersburg Conservatoire, theSaratov Philharmonic, the Karelia Philharmonic, theVolgograd Symphony, and the Ukraine NationalSymphony. He has also appeared with the UkrainePhilharmonic Orchestra in Kiev, the KharkovPhilharmonic, the Odessa Philharmonic, LatvianNational Symphony, the BBC National Orchestra ofWales, the Nordwestdeutschen Philharmonie,L'Orchestra de I Pomeriggi Musicali di Milano,the Gulbenkian Orchestra in Portugal, the RTVSlovenia Symphony Orchestra, Orchestra Filarmonica“Mihail Jora” di Bacau (Romania), the WroclawPhilharmonic Orchestra “Witold Lutoslawski”, theContemporaneous Orchestral Ensemble in France,Orchestra of St. Luke’s, The Naples (Florida)Philharmonic Orchestra, the Louisiana PhilharmonicOrchestra, the Albany Symphony Orchestra, and theFort Smith Symphony in the USA, among others.

He worked with conductors including NikolaiAlexeev, Alexander Dmitriev, Vladimir Altshuler,Alexander Sladkovsky, Sergey Stadler, AlexanderTchernushenko, Stanislav Gorkovenko, AlexanderKantorov, Edward Serov, Andrei Anikhanov, TuganSokhiev, Volodimir Sirenko, Mykola Dyadyura,Hobart Earle, Imants Resnis, Grant Llewellin, UlfSchirmer, Nicholas Carthy, Neil Varon, En Shao,Ovidiu Balan, Mariusz Smolij, Olivier Dejours,Michael Stern, Jorge Mester, Klauspeter Seibel,Claire Fox Hillard, and John Jeter.

In 2007, Alexandre Pirojenko’s CD was released in Italyby Ettore Pozzoli International Piano Competition.

BiographyBorn on November 3, 1979, in St. Petersburg, Russia,Alexandre Pirojenko began his piano studies withIrina Saravayskaya at the age of five and studied withMarina Wolf at the Special Music School of the St.Petersburg Rimsky-Korsakov State Conservatory. In1998 he began studies with Prof. Alexander Sandler at

the St. Petersburg Conservatory, graduating withhighest honors in 2003 and completingpostgraduate studies two years later. He also didpostgraduate studies with Prof. Arie Vardi at theHochschule fur Musik und Theater Hannover.Since 2006, Mr. Pirojenko has taught piano at the St.Petersburg State Conservatory. He has given masterclasses in the USA, Ukraine and Italy, and served as ajury member of international competitions in Spainand Ukraine.

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timbres, and a new orchestral palette.” All this isnever more apparent than in the Liebestod, theclimax and close of the opera that has often beencalled the greatest in the literature of music. At theend of the third act, Isolde is restored to her lover,Tristan, only to have him die in her arms. She herselfexpires in the anguish of her devotion to completethe tragedy of the love-potion. Once again quotingStokowski, “... the music leaps toward us like a flamewith burning impulsiveness. It mounts up into greatclimaxes of sound. The tempo is always agitated —always changing — and yet an unbroken line passesthrough every impulsive phrase and unifies theseemingly improvised tonal design. This love musiccontinues its overpowering eloquence when wordscannot continue, when even life cannot furtherexpress itself. It is the supreme and ultimate of thepoetry of love.”

1998 Columbia Artists Management Inc.Edited by Elizabeth E. Torres

Concerto No. 2 in F minor forPiano and Orchestra, Op. 21

FRÉDÉRIC CHOPINBorn March 1, 1810 in Zelazowa Wola,near WarsawDied October 17, 1849 in Paris

The Piano Concerto in F minor of Chopin, known asthe “Second” Piano Concerto, was written in 1829,one year before the so-called Concerto No. 1 in Eminor, but was published later. The work waspremiered on March 17, 1830 at the National Theaterin Warsaw, along with the composer’s Fantasia onPolish Airs. As was the practice at the time, the firstmovement was separated from the other two byanother piece, in this instance a divertissement forsolo horn. The performance was a great success; areview of the concert stated “Chopin knows whatsounds are heard in our fields and woods, he has

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listened to the song of the Polish villager, he hasmade it his own and has united the tunes of hisnative land in skillful composition and elegantexecution.” The adulation was so great that theconcert was repeated five days later. In Polish eyes,Chopin was viewed as a Polish national composer.

The first movement is marked Maestoso and is incommon time. Chopin patterned the first movementsof his concerti on the style of Hummel, who was invogue at the time. The exposition is in the “classic”manner, first stated by the orchestra and then by thesoloist. The principal subject, played by the strings, isfollowed by a second theme in A-flat major which ispresented by the oboe, then repeated by the strings.After a few introductory measures, the piano entersabruptly with the first subject and then extends it. Atransitional section leads to the reappearance of thesecond subject. A short orchestral tutti introduces thedevelopment section based on the first four notes ofthe principal theme. With the recapitulation, the firsttheme is again presented, this time in a truncatedversion. The second subject is restated thentransposed to C minor. The movement ends with anorchestral tutti.

In the second movement, in A flat major, the theme isstated and embellished by the soloist. A middlesection in declamatory style is followed by a return ofthe first theme in a more florid form. A short codaends the movement. Chopin’s inspiration for thismovement was his affection for a young singer,Constantia Gladkowska. Calling her “my ideal...whomI dream of,” he wrote in a letter to a friend in 1829,“while my thoughts were with her, I composed theadagio (actually a larghetto) of my concerto.” Thepiece is dedicated, however, to another singer,Countess Patocka. Liszt, an ardent supporter ofChopin, wrote of this movement, “Passages ofsurprising grandeur may be found in the adagio ofthe Second Concerto...the accessory designs are in hisbest manner, while the principal phrase is of anadmirable breadth. It alternates with a Recitative,which assumes a minor key, and which seems to beits antistrophe. The whole of the piece is of a

perfection almost ideal; its expression, now radiantwith light, now full of tender pathos.”

The third movement, marked Allegro vivace, beginswith the soloist announcing the principal subject.Following an orchestral section, the theme returns.After much development and dialogue between theorchestra and soloist, the second theme is presentedby the soloist, with an understated accompaniment inthe strings. A horn solo announces the final section,notable for the triplet figures in the piano part.

Unlike some composers, Beethoven and Wagner forexample, Chopin’s compositional style did not“develop” as he grew older; the elements found inpieces written in his teens, such as this concerto, areevident also in those works from later in his life.Because the concerto is by nature a large work,elements from smaller works can be found invarious sections. The listener can detect throughoutthe piece the lyricism of a nocturne, the vitality of amazurka and the technical difficulty of an etude.

Following the 1830 performances Chopin leftWarsaw, never to return.

1998 Columbia Artists Management Inc.

Symphony No. 5 in B-flat major, Op. 100

SERGEI PROKOFIEVBorn April 23, 1891 in Sontzovka,UkraineDied March 5, 1953 in Moscow

Like many of history’s greatest composers, SergeiProkofiev was a precocious child. He begancomposing for the piano at age five and hadcompleted his first opera at age eight. He breezedthrough his formal studies at the St. PetersburgConservatory graduating with highest honors in1910. He studied composition with some of Russia’sgreatest composers including Glière, Taniev, Rimsky-Korsakov and Tcherepnine, giving him a firmfoundation in form, style and counterpoint. By thetime he turned twenty-three he had already

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Supported by Ames InternationalOrchestra Festival Association (AIOFA)

WE BELIEVEGREAT CLASSICALMUSIC SHOULD BEACCESSIBLE TO ALL.

Martin Panteleev,Cape Town PhilharmonicOrchestra, 2010

Irish Chamber Orchestra, 2011

Since 1969, the Ames International Orchestra FestivalAssociation (AIOFA) has presented world-class musicianshere. It’s a grand tradition we want to continue.

A simple bequest to the Performing Arts Fund/AIOFA willassure affordable tickets for more people. Even a portionof your IRA or life insurance can have a great impact onclassical music at Stephens Auditorium. That will bemusic to everyone’s ears.

established himself as the enfant terrible of Russianmusic with the composition of his Scythian Suite.After a successful world tour in 1918, Prokofievdecided to settle in Paris, a place where he stayed forten years. As he established his reputation abroad,his native Soviet Union still followed his exploits andrevered his talent by giving him a hero’s welcomeduring a 1927 visit.

Explaining that he had not realized that the USSR“demanded the collaboration of all citizens, not onlymen of politics, but men of art, as well,” he decidedto move back to the Soviet Union in 1932. TheCommunist Party wanted the leading Sovietcomposers to simplify their compositions to makethem more understandable to the Soviet people. Asthe “people’s composer,” Prokofiev wrote, “As far as Iam concerned, elements of formalism were peculiarto my music as long as fifteen and twenty years ago.Apparently the infection was caught from somecontact with some Western ideas.” During World WarII, he became a national hero by writing several

pieces for the country. The Soviet governmentrewarded him with the Stalin Prize for his StalingradPiano Sonata in 1943. He composed his FifthSymphony in the summer of 1944; the firstsymphony written after his voluntary repatriation,and in a sense, the first one composed by the full-fledged symphonist. He again won the Stalin Prize(First Class) for the composition of the symphony.

Programmatically, this symphony is not aboutwar, but during 1944 war was certainly anomnipresent part of Prokofiev’s life, and as suchplayed a part in determining the character of thework. The symphony was premiered with thewar’s victorious conclusion clearly in sight onJanuary 13, 1945 with Prokofiev, himself, conducting.About the Fifth Symphony he wrote: “The FifthSymphony was intended as a hymn to free andhappy man, to his mighty powers, his pure andnoble spirit…I cannot say that I deliberatelychose this theme. It was born in me and clamored

for expression. The music matured within me. Itfilled my soul.”

Reminders of his recently completed ballet scores arefrequently found in this symphony. The expressivetouches common to the scores of the symphony andhis ballets Cinderella and Romeo and Juliet remind usof how especially close all three were to the heart ofthe composer. Unlike the structure of Classical andRomantic symphonies, the four movements of theFifth Symphony take on a more Baroque form ofslow/fast/slow/fast.

The first movement, Andante, is in sonata form, witha soaring first theme in octaves presented by thewoodwinds. Using techniques previously employedby Beethoven and Brahms, he seems to repeat theexposition, with a sudden turn of harmony revealingthe development section. The recapitulation, andespecially the coda, restates the first theme at length.

The Scherzo is the second movement. The clarinetposes the theme while the violins serve a decidedly

more background role. The impertinent response bythe oboe and violas reflect back to the old Prokofiev.A slower section leads to the Trio, which is actually alittle faster than the opening section. The samematerial leads back again, and a repeat of theScherzo ensues with a rather sinister turn, endingwith a bang.

Arpeggiated chords à la Beethoven’s MoonlightSonata mark the character of the third movement.The movement is weighty and slow, both lyric andtender. It reaches an emotional climax and the firsttheme returns in a slightly new guise. A slow clarinetarpeggio to silence ends the movement.

The Finale begins with a reflective moment in thewoodwinds and strings followed by the theme of thefirst movement scored for the cellos divided into fourparts. A joyous theme abruptly ends this mood, andexcept for a brief sentimental interlude, themovement rushes toward an electrifying ending.

1998 Columbia Artists Management Inc. Edited by Elizabeth E. Torres

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The Fab Four —The Ultimate TributeFriday, March 23, 2012 at 7:30 pmThe Fab Four is elevated far aboveevery other Beatles Tribute due to theirprecise attention to detail. With uncanny,note-for-note live renditions of Beatles’songs, the Fab Four will make youthink you are watching the real thing.This incredible stage show includes threecostume changes representing every eraof the Beatles’ ever-changing career.

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A TRIBUTE TO THE BEATLES

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You can leave a legacy of influence far into the future. Your gift willbring the wonder of music, dance and theatre to audiences for years.We will help you with a plan to make this happen.

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Thank You for Supporting thePerforming Arts Fund at Stephens AuditoriumThe Iowa State Center gratefully acknowledges those who contribute to the Performing Arts Fund at Stephens

Auditorium. Every gift plays an important part in the success of the Performing Arts Series’ far-reaching programs.By bridging the gap between expenses and ticket revenues, the Performing Arts Fund at Stephens Auditorium

provides critical support for all Performing Arts Series activities.

Gifts listed are current as of January 31, 2012.

We make every effort to be accurate and present your name in the way you wish.If we have made an error or your preference has changed, please contact Patti Cotter,

Sponsorship & Development Manager, at 515-294-1238 or pcotter@iastate.edu.

IMPRESARIO$5,000 and aboveThe Lauridsen Family Endowment

EXECUTIVE PRODUCER$2,500 and aboveJim BeckwithGeorge C. & Susan J. ChristensenHarry & Cecilia HornerKawaler Family Charitable FoundationJayne Larson & Ira WhiteBeverly & Warren MaddenSue & Al Ravenscroft

DIRECTOR$1,000 and aboveIrene BeaversElizabeth Cole BeckKelli BennettJay & Karen Heldt-ChapmanJohn & Judy ClemWayne P. & Ferne Bonomi DavisDurbin, Zheng & Son, Inc.David Coe & Anne C. Durland1st National Bank — AmesWilla & Dave HolgerMitchell & Sherilyn HoyerArthur KleinJane W. LohnesJames & Jody MuellerJohn & Cynthia PaschenMary Jean & Maurice ReimersGary F. & Harriet M. Short

PRINCIPAL ARTIST$500 and aboveAnonymous (2)Brian & Tanya AndersonClaire AndreasenRick Bartosh

Jane & John BatyJen & Ed BuckinghamStewart L. BurgerBonny & Ray CallahanR.L. & Lenita CarstensPatricia Cotter & Peter OrazemElizabeth DahmDieter & Renate DellmannM. Burton DrexlerLarry & Barb EbbersTom FlackJan & Cornelia FloraCharles & Joanne FrederiksenHomer & Sandra GartzEthel GeorgeMatthew & Erin GillaspieSusan & David GrantBryan & Joy GravelineJustin & Heather GreenleeWil & Marjorie GrovesEsther & Herbert HarmisonSandy & Rick HoenigJudie & David HoffmanPatricia HulseyJean & Bob HumphreyCharles Hurburgh & Connie HardyVicki JahrJim & Mary KincartJanann KingTodd & Jill KlindtKenneth & Michelle KoehlerGreg & Sue LamontAllen & Joy LangPhyllis J. & Larry L. LepkeDoug & Wanda McCayLouise M. McCormickRoger & Ruth McCulloughJohn & Pam MillerDiane MuncriefPatricia A. Murphy

Mark & Andy NorthJim & Frankee OlesonJohn & Helen OlsonKathy A. ParsonsMary Jane Pearson & Ramon A. RunkelAlec & Charlton PendryPeter & Rae ReillyDick & Sharon RichmanDan & Leslie SaftigSuzan & John ShierholzChelon Stanzel & Ken PapClayton & Ruth SwensonDorothy TimmonsConnie J. & Roger C. UnderwoodJeff & Ann Ver HeulGary & Evonn WallingJim & Mary WestDuane & Megan WolfCarol WrightRobert & Elizabeth WychBrent & Maggie WynjaRoland & Barbara Zimany

RISING STAR$250 and aboveAnonymous (2)Marc & Christianne AndersonRita ApelDoris BacotSheila Rae BakerWilliam Barry & Lisa BanittTom & Betty BartonMary & Bob BaumannKay & Roger BeckettJeffrey Benson & Margaret ElbertLeRoy & Kathy BergmannDiane & Ken BirtMark & Deborah BlaedelDonald & Jamie BlomgrenRoberta Boeke

Insert 15Insert 14

COMPANY MEMBER continuedDorothy EwingKay FaabergAnne & Richard FarrMarvin Beck & Jane Farrell-BeckMaria FedorovaWalter & Elinor FehrTaena Fowler & Jon GreisingMim & Jim FritzRebecca FritzscheHerb & Katherine FrommJohn E. GalejsMary Jo GanskeMary GarstAnn & Howard GartonHelen K. GeislerTom & Mary Jo GlanvilleKenneth GrahamLowell & Jennie GreimannJohn & Sally GreveJean GriffenTimothy & Kellie GuderianMargaret Dempsey & William GutowskiCurt & Kathryn Robertson HammerMelissa HannaMary HarmsDuane HarrisMarjorie HartmanJerry & Pat HatfieldMarian HeadyThomas Andre & Susan HeglandSteve & Nancy HeidemanCraig & Martha HeinemanMartha HellandIsabel HendricksonPete & Janet HermansonRichard & Janet HersomRandy & Liz HertzJoan HerwigMary Ann & John HicksGary & Debra HintzeBill & Judy HoefleRobert & Janice HollandWilliam & Barbara HoltTim & Susan HooperFrank HornCarole & Jack HorowitzDick & Sandy HortonTed & Karen HuiattMarcia ImsandeLincoln & Janet JacksonMina Hertz JacobsMary JamesMarian & Roger JansenTim & Sue JohnMarilyn & Wendell Johnson

Ken & Sue JohnsonMarilyn R. JohnsonKent & Sara JohnsonBruce & Marie JohnsonMargaret S. JohnsonCarolyn JohnsonDarron & Julie JonesRich & Judy JonesSteven D. JordeningCheryll & Tom KierskiBette & Jim KingBarbara KiserKaren & Wayne KlaiberJim & Joyce KliebensteinCathy Kling & Terry AlexanderMarianne KlinskyJerry & Margaret KnoxBianca Zaffarano & Nicholas KoszewskiRichard & Nelle KottmanDan & Sharon KriegerAsrun Yr KristmundsdottirRichard KrugerMarilyn KruseJohn & Diane KubikRichard & Kim LangholzHarvey & Sally LapanRandy & Beth LarabeeRuth G. LarsonMichael Lazere & Lynn AnthonyRev. Selva LehmanNels & Patricia LerstenDorothy & Donald LewisAlfredo & Amelia Lim-YaoEfstathia LingrenMark & Angela LogsdonMarion & Robert LorrJohn & Lorijo LounsberryLowell & Elma LynchCarole MagiltonDick & Jackie ManattAudrey & Steve MarleyGary D. MasonJames MaxwellEdith A. McClureRichard & Donita McCoyJohn & Renee McPheeLaura McVayClete & Joyce MercierTodd & Barbara MeyerTerrence MeyerKris & Al JergensJohn B. Miller & Kathryn Madera MillerPatricia & Kemp MillerJohn Miranowski & Susana GoggiLarry & Sara MitchellMarilyn & Steve Moehlmann

Leland & Virginia MolgaardJohn & Laurel MorsKaren NeffThomas & Lynn NehlsJim & Sara NelsonDon & Becky NibeMichael & Ginger O'KeefeOlson & Kushkowski FamilyRuth & LeRoy OrnbergSue & Gary OsweilerDavid OtisLinda PapouchisCarol & Arlen PatrickDon & Jan PayerBarbara PetersonDoug & Suan PfeilRichard & Carol PletcherArthur & Bernadene PohmEmil & Mary Kay PolashekJim & Marlys PotterMabel PrescottJane PunkeLarry & Sharron QuisenberryFrank & Jolene RandallJean RanneyDenise & Randy RettleffKathy RhodeThomas & Doris RiceWilliam RichRobert & Harriet RinggenbergRyan & Jodi RisdalCharles B. Ritts & Kathleen L. Epstein-RittsJoe & Jennifer RiveraWilliam S. RobinsonJo & Bob RodTeresa RohretDick & Karen RossMalcolm RougvieBarbara RoyerCarolyn Cutrona & Daniel RussellDorothy & Robert E. RustTom & Lorna SafleyCharles & Priscilla SageDean & Judy SampsonSteve Sapp & Lisa EnloeThomas J. & Patricia A. SauerCandy & Steve SchainkerBradley SchetzsleJane & Frank SchillLester Schmerr, Jr.Suzette SchmidtMatt & Kim SchryverRichard & Jasmine SeagraveGeorge SeifertPhyllis SeimDennis & Joan Senne

COMPANY MEMBER continuedDr. & Mrs. Sam SentiHilary Seo & Paul RoundsCarole & Leverne SeversikeKenneth & Shirley ShawDebra Shenk-BoudartMark & Amy SlagellJohn & Sandra SlaughterPaul & Ann Smiley-OyenJim & Diane SmithClifford SmithRichard & Frances SmithGary SorensenGalina & Philip SpikeDr. & Mrs. W. Robert StephensonBernard & Victoria StephensonMr. & Mrs. David StephensonCurtis Struck & Megan FairallRobert & Deanne SummerfeltDoris Roettger-SvobodaCalvin & Susan SwanMargaret & John Tait

M. ThompsonMr. & Mrs. Harvey ThompsonRon & Meg ThompsonBetty TomanTed Tostlebe & Marilyn HansonJohn & Marjorie UitermarktArdy & Dean UlrichsonBeverly Van FossenStephen Van HoutenGreg & Lana VogaDoug & Kim WalkerJim & Madeleine WalkerKaren WalkerBarb & Don WandlingBobbie WarmanMary T. WatkinsFritz Wehrenberg & Jennie LeGatesMarion & Harry WeissTom Wessels & Glenice VarleyMr. & Mrs. Richard C. WhiteBill & Toni WhitmanCraig & Kyra Wilcox-Conley

Bill & Amanda Fales-WilliamsCarla WoodRichard & Patricia WoodKent & Linda WoodworthSteven & Lorraine WoolerySharon L. YoungquistSuzanne ZaffaranoBill & Jean Zmolek

MATCHING GIFTHONOR ROLLAlliant Energy FoundationAXA FoundationBank of the WestGeneral ElectricGMG FoundationMerck Company FoundationMeredith Corporation FoundationPioneer Hi-Bred International, Inc.Piper JaffrayState Farm Companies FoundationWells Fargo & Co.

Karl GwiasdaLarry Hansen

Esther HarmisonHerb HarmisonJacob Harrison

Sandy HoenigWilla Holger

Arthur Klein - PresidentMarilyn JohnsonJane Mathison

Mary RichardsDavid Stephenson

Joan WhiteMaureen Wilt

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

Wayne P. Davis Frankee and Jim Oleson The late James WatsonTo learn how you can support the arts while honoring a loved one, or to create a legacy gift,

contact Patti Cotter, Sponsorship & Development Manager, at 515-294-1238 or pcotter@iastate.edu.

Ames International Orchestra Festival AssociationBoard of Directors

Michael Golemo, President, Faculty–MusicTanya Anderson, Ames–Community

Janice Baker, Faculty–DanceSara Compton, Iowa State CenterPatti Cotter, Iowa State Center

Jane Cox, Faculty–TheaterWilliam David, Faculty–Music

Homer Gartz, Ames–CommunityDebra Gibson, Faculty–Journalism & Mass Communication

Karl Gwiasda, Ames InternationalOrchestra Festival Association

Sam Johnson, Student–MusicNancy Marion, Ames–Community

Nick Miller, Student–MusicPatricia Miller, Faculty–Lectures ProgramMark North, Advisor, Iowa State Center

Lee Plummer, Student–MusicAlissa Stoehr, Student–Educational

Leadership and Policy StudiesVictoria Stafford, Student–Performing Arts

Nolan Vallier, Student–Music

Iowa State University Performing Arts CouncilA university committee comprised of Iowa State University faculty, staff, and students, as well as

Ames community members, the Performing Arts Council advises the Iowa State Center on programmingfor the Performing Arts Series at Stephens Auditorium.

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University ParkInn & Suites

Proud Sponsor ofMy Fair Lady

Proud Sponsor ofBLAST!

Proud Media Partners of Beauty and the Beast,Magic School Bus Live! and My Fair Lady

Proud Media Partner ofDanú

Ames International OrchestraFestival Association (AIOFA)

andAmes Commission on the Arts

Proudly Supporting

Iowa State Symphony(Youth Matinee Series Concert),

Irish Chamber Orchestraand “Tschaikowski” —

St. Petersburg State Orchestra

SPONSORS — The Iowa State Center recognizes and thanks its sponsors for their supportof the 2011-2012 Performing Arts Series at Stephens Auditorium:

MEDIA PARTNERS — The Iowa State Center recognizes and thanks its media partners for their supportof the 2011-2012 Performing Arts Series at Stephens Auditorium:

GRANTS — The Iowa State Center recognizes and thanks the following organizations for theirsupport of the 2011-2012 Performing Arts Series at Stephens Auditorium:

Iowa Arts Council

Proudly SupportingDoubt and Macbeth

This project supported in part by a grant from the Iowa Arts Council,a division of the Iowa Department of Cultural Affairs, and the

National Endowment for the Arts.

Kiwanis International

Proudly Supporting2012 Youth Matinee Series and Magic School Bus Live!

Get two tickets to any Performing Arts Series event when youbook a specially-priced hotel package at participating Ameshotels. Visit www.visitames.com for details.

Sponsored by the Ames Convention & Visitors Bureau

Proud Sponsor ofYoung Frankenstein

and DanúProud Sponsor of

Beauty and the Beast