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2014-2015 Season 1

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 2014-2015 Season

Here we go again with another great year of musical entertainment and education presented by YOUR award winning Columbus Indiana Philharmonic.

Our Music and Artistic Director, Dr. David Bowden, in conjunction with the Artistic Team, have collaborated to present an outstanding performance program for the 2014-2015 concert season. Through David’s

negotiations with artists and his contacts within the industry we have a concert season that is unrivaled for a city of our size.

The mission of The Phil is to create, educate, advocate and perpetuate orchestral, choral and chamber music from all periods and styles including all genres of American music and music of our time. We take this responsibility very seriously and as you scan this year’s concerts you will see that the music spans the gamut from Brahms to Broadway and everything in between.

Our chorus members’ ages span from adorable eight in the Columbus Indiana Children’s Chorus to the over eighty group in the Philharmonic Chorus. Voices can still be good at any age.

It is my honor to be President of the Board of Directors for another year and we are dedicated to providing expanded musical education opportunities to the children of our community. Busy Bees, Philharmonic Youth Orchestra and Strings in Schools are just a few of the programs we provide and fund with the help of the generous members of this community.

So, whether you are a first time attendee or a seasoned, long time concert goer, I believe that you will enjoy this year’s concert season. Bring your friends to a concert. Introduce them to the remarkable talent we have at The Phil. Introduce them to one of the organizations that makes Columbus truly “Unexpected…Unforgettable.” Thanks for joining us and for your support.

Mark A. PillarBoard President

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)

PAST PRESIDENTS

Kathy and Tom Dell Wendy and Mark Elwood Cindy and David Force Helen and Bob Haddad Ray Hass Mary (Toots) and Jim HendersonSandi and Tom Hinshaw Ruth Johnson Alice and Rick Johnson Alice Leonard Elli and Dan McElroy Tessa and David Milroy Susan and John Nash Mary and Bob Orben Kevina and Hutch Schumaker Jane Anne and Fred Stadler Sherry Stark Barbara and Robert Stevens Kay and Robert Williams Sandy and Ron Zimmerman

COMMUNITY ADVISORY COUNCIL

BOARD OF DIRECTORSMark Pillar President

Peter King Vice President

Sharon Sung Andrews Secretary

Terry Trautman Treasurer

Mary Clerkin AllardBruce BattsBonnie BoatwrightRoger BrinkmanR. Richard Cooley

Therese CopelandMichael EngelstadDavid D. Gallagher, M.D.Camilla GehringSteven HackmanMatthew T. HotekStan JacksonDavid KromphardtChristy LangstonPamela LegoJohn C. McGinty, Jr.Wayne NyffelerCaitlin SmithBarry TurnerWarren Ward

David Bowden Music Director

Margaret Powers Executive Director

Beth Booth Poor Choral Representative

Mark PillarBoard President

2014-2015 Season 3

Mark Pillar, Philharmonic Board President and Board of Directors .................. 2David Bowden, Music Director and Conductor ............................................. 3Margaret Powers, Executive Director ............................................................. 6Kristen Brown, Mayor of Columbus ............................................................... 7 Musicians of the Philharmonic ....................................................................... 8 Philharmonic Education Program ................................................................ 10

Rachel Barton Pine Plays Mozart September 14, 2014 ................................................................................ 15

Hammer Blows! October 4, 2014 ...................................................................................... 21

The Beautiful Music of Dan Forrest November 15, 2014 ................................................................................ 25

A Community Christmas Gathering December 14, 2014 ................................................................................. 31

Brown Scholarship Winner ......................................................................... 30 Columbus Indiana Children’s Choir ............................................................. 32 Ruth Dwyer, CICC Artistic Director ............................................................... 32Camilla Gehring, CICC Assistant Director ..................................................... 332013-2014 Contributors ............................................................................. 34 2013-2014 Concert Sponsors and Program Partners ................................... 36

Hoagy & Cole February 7, 2015 ..................................................................................... 41

Freedom! March 28, 2015 ....................................................................................... 45

Best of Broadway April 25, 2015 .......................................................................................... 51

Lobsterfest – May 16, 2015 ......................................................................... 53

Salute! May 22, 2015 .......................................................................................... 55

Index of Advertisers ..................................................................................... 64

SEASON TITLE

SPONSOR

Table of Contents

CONCERT MEDIA PARTNERS

Music Director and Conductor

Dear Music-lovers,

I am so glad you are here to celebrate the soul-satisfying beauties and rich pleasures of live music. The deep emotion and thrilling power of a full orchestra can touch the heart in ways that go far beyond our ability to describe in words.

In programming concerts, I try to balance the familiar with the unexpected, great masterworks and enjoyable new music, interesting and challenging pieces with those that are immediately accessible. I love exploring repertoire that is not as well known – but ought to be!

Overall, my hope is that each one of us may experience old favorites and also find several previously unknown works in a season that we absolutely love. It’s a balance!

I hope you enjoy that balance and stirring emotion this season.

Sharing the joy of music!

David Bowden

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

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

n We educate all ages in the joy of music.

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

n 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.

OUR MISSION

C O L U M B U S R E G I O N A L H E A L T H

4 2014-2015 Season

David BowdenMusic Director and Conductor

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 Loren Withers 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 mus ic led h im 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 radio 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 has served as Director of the Conductor’s Guild New Music Project for the past seventeen 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.

When not working, David and his wife enjoy traveling, relaxing at the beach or in the mountains, 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 two delightful granddaughters to share their lives.

Visit our Facebook page by scanning this QR code with your mobile device, or go to Facebook.com/ColumbusIndianaPhilharmonic

Sign up for the Philharmonic’s E-letter via [email protected].

“My personal life mission as a musician

is ‘making music changes lives.’”

– David Bowden

Cover design by Emilee MIllerBook design by Amy Shearer

Program Notes by Joe Nickell ©2014 Program Book printed by Pentzer Printing

2014-2015 Season 5

CONCERT INFORMATIONEveryone 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 14 concert at 3:00 p.m. is especially appropriate for younger children.

Photographing or recording any part of a Philharmonic performance is strictly prohibited.

HOW TO CONTACT US

ADMINISTRATIVE STAFFMargaret Powers

Executive DirectorChris Gordon

Marketing & Communications Manager Ron Luther

Finance ManagerKimberly Childers Shepherd

TIcketing Manager

AUDITORLarry E. Nunn & Assoc.,

Certified Public Accountants, LLC

ARTISTIC STAFFDr. David Bowden

Music Director and ConductorVanessa Edwards

Production Manager & Youth Orchestra Director

Logan Strawn Librarian & Assistant Orchestra Personnel Manager

Donna Bowden Orchestra Personnel Manager

Beth Booth Poor Choral Coordinator

Dianne Sprunger Choral Accompanist

Steven Berlanga Choral Assistant

Jay Mosier Recording Engineer

Dale Gaumer CD Production

Ruth Dwyer CICC Artistic Director

Camilla Gehring CICC Assistant Director

Deb Eikenbary CICC Coordinator

Shhhh!!!Please put in silent mode

or turn off all things that ring or beep or

buzz. The Philharmonic thanks you for your

cooperation and hopes you enjoy many hours

of music without electronic interruptions.

Empty Seats? What A Shame!

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 musician’s benefit. It’s no fun to play to empty seats.

Just call our office at 812.376.2638 by 4 pm the Friday beffore the concert to turn in your ticket. That way, everyone benefits.

315 Franklin Street Columbus, Indiana 47201 Phone: 812-376-2638 Email: [email protected] Website: www.thecip.org

TICKETSFor ticket information, please visit our website at www.thecip.org or call 812-376-2638 ext. 110.

GROUP DISCOUNTSGroups of 10 or more receive a 15% discount on ticket prices.

MUSICALLY SPEAKINGMusically 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.

6 2014-2015 Season

Columbus Pro Musica was incor-porated 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 per forming annua l Adventure Concerts for th i rd 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.

OUR HISTORY

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

ANNUAL OPERATIONAL SUPPORT FOR THE PHILHARMONIC IS PROVIDED BY...

Margaret PowersExecutive Director

Welcome! And thank you for joining us during this 2014-2015 concert season.

As expected, our season includes seven ticketed concerts (eight, if you include both the matinee and evening performances of our Christmas concert) with our free Salute! concert finishing up the season next May.

As expected, our choral and instrumental programs for the youth in our community continue to provide top-notch music education for students from elementary through high school.

As expected, we’ll have our 2nd Annual Lobsterfest fundraising event in May 2015.

Throughout this season we invite you to …

expect the unexpected…at our concerts as special guests make an appearance, adding their unique touch to enrich your concert experience.

expect the unexpected…in our youth education programs as we introduce new opportunities for children to become involved in making and performing music.

expect the unexpected…in our fun fundraising efforts as we introduce a series of Cabarets and musical events.

Enjoy the wonderful music we love to share with you and expect the unexpected…

Margaret PowersExecutive Director

2014-2015 Season 7

Kristen BrownMayor of Columbus, Indiana

Music fuels our minds and provides us with the perfect escape to explore our creativity. It exercises our intellect by telling stories and taking us to exciting places.

In our community, we are extremely fortunate to have some of the finest musicians providing us with a gateway to that escape. The Columbus Indiana Philharmonic orchestra is a key contributor to our community’s cultural offerings and quality of life.

The Phi lharmonic br ings us family-friendly and high-quality entertainment that provides joy to all audiences. In addition to great performances, the Philharmonic also offers outstanding music education and opportunities for students, building a community of musicians and music-lovers for generations to come.

We applaud and thank Ms. Powers, Dr. Bowden, the Philharmonic musicians and staff. Our community greatly benefits from the passion and professionalism of all involved with the Philharmonic.

On behalf of the entire community, I also extend my appreciation to all who attend the many performances and donate generously to the Philharmonic. Thank you for your continued strong support.

Warm Regards,

Mayor Kristen Brown

AVAILABLE CHAIRSr Concertmaster $5,000

r Principal Chair $4,000 r Viola r Trumpet r Cello r Trombone r Bass r Tuba r Oboe r Timpani r Clarinet r Percussion r Bassoon r Harp r Horn r Keyboard

r Section Chair $3,000

Fund a Philharmonic ChairSponsoring 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.

For more information, please contact the Columbus Indiana Philharmonic at 812.376.2638 x113

or email [email protected]

VIOLIN 2 Vanessa Edwards Principal Alice Curry Endowed ChairChristina Kim Assistant PrincipalEsther Roestan Sun Huh Katherine Kobylarz Jo Stattenfield Richard Silvers Karen Durnil Madeline Bowling Nicole Schroeder Dan Wang Diederik van Wassenaer Hannah Linz Hee Yeon Kim

VIOLA Logan Strawn Principal Sponsored by Margaret Powers

Gabriel Polycarpo Assistant Principal Deanna Said Audrey Alessi Vanessa Castillo Jonathan Lee Haojian Wang Daniel Powers Daniel Wunderle Evan Vicic Yoni Gertner

BASS CLARINET Erik Franklin

CELLO Jae Choi Principal Mikaële Klopfenstein Assistant Principal Hanearl Kim Minjung Elizabeth Lee Cole Tutino Chris Cho Sonja Kraus Matt GendersVirginia Joyce RouseKarmen Peng Mercedes Lysaker

BASS Jon McCullough-Benner Principal Kurt Riecken Assistant Principal Andrew Chilcote Sam Loeck Kaelen Decman

PICCOLO Jessica Prus

OBOE Nancy Argersinger Principal Annie Corrigan Jennifer Kirby

ENGLISH HORN Jennifer Kirby

CLARINET Krista Weiss Principal Stephanie Akau Erik Franklin

MEET THE

8 2014-2015 Season

VIOLIN 1 Benjamin Hoffman ConcertmasterEliot Heaton Assistant Concertmaster Juli EnzingerSarah DrakeJi-Woon Jung Laura AndrewsYerim LeeMinju KimArman NasrinpayMichael FreedRan ChengPatricia QuinteroGloria YipAnastasia Falasca

FLUTE Kathy Dell Principal Notables Flute Chair Donna M. Wilson Jessica Prus

2014-2015 Season 9

HORN Ashley Cumming Principal Kristen Fowler Eric Dumouchelle Shaun Cooper

TRUMPET Eddie Ludema Principal Sponsored by R. Richard & Lyndsay Cooley Leah Hodge Keith Burton

TROMBONE Alex Krawczyk Principal Ryan Miller Sean McGhee

TUBA Glen Dimick Principal

TIMPANI Erich Rieppel Principal Sponsored by Bob & Renée Kasting

PERCUSSION Brian McNulty Principal James Cromer Nicholas Stevens

HARP Wendy Muston Principal

KEYBOARD John W. Matthews, Jr. Principal

CONTRABASSOONJacob Darrow

BASSOON Mackenzie Brauns Principal Ryan Caldwell Jacob Darrow

2014-2015

10 2014-2015 Season

Strings InvitationalThe 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.

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.

Philharmonic Strings Camp(Grades 1-8)Bring your instruments to a week-long 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.

2014-2015 Season 11

Columbus Indiana Children’s Choir (Grades 1-8)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 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.

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.

Registration is on-line after January 1st at www.icchoir.org or www.thecip.org.

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. 122.

12 2014-2015 Season

Philharmonic Youth OrchstraThe Philharmonic Youth Orchestra (PYO) provides an encouraging and cha l l eng ing orches t ra l sett ing for middle and high school musicians. PYO musicians are mentored by Philharmonic mus i c i ans and pe r fo rm in several concerts and ensemble groups each year, including the opportunity to perform side-by-side with the Philharmonic Orchestra. Membership is by audition.

Master Classes for YouthEach season, internationally renowned guest artists present master classes to area students. Master classes give students the opportunity to interact with the guest artist whose insight and experience exemplify the highest levels of musical achievement. The guest artist engages each student in a specific aspect of their performance, likely focusing on a different aspect for each student. These classes are free and open to the public.

JCB Adventure Concerts(Grades 3-4)

Each 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.

2014-2015 Season 13

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.

Philharmonic ScholarshipsScholarships 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. 123 or [email protected].

Musicians in the SchoolsThis 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.

14 2014-2015 Season

From her very violin first lesson, it was true love. “As soon as I started lessons, that was it,” recalls Rachel Barton Pine. “By the time I was five, I was identifying myself as a violinist. All I wanted to do was play music. I would sit in kindergarten and plan what I was going to practice when I got home.”

By age seven, Rachel was already soloing with orchestras and at age ten, she made her first appearance with the Chicago Symphony. She hit the competition circuit with full force, winning numerous national and international competitions while still in her teens. In 1992, at age 17, she became the youngest person and first American to win a gold medal at the prestigious J.S. Bach International Competition in Leipzig, Germany. Other top prizes followed in the Szigeti (Budapest), Paganini (Genoa), Queen Elisabeth (Brussels), Kreisler (Vienna), and Montreal international violin competitions.

For Rachel, her love of playing classical music exists on several levels. As she explains in depth, “I enjoy the sports-like challenge of it, mastering the techniques and the physicality of playing the instrument, and shredding on repertoire like the Paganini Caprices. I also like the mental and intellectual pursuit of learning the history of the composers and styles and analyzing the scores. However, the most rewarding part by far is the emotional release of playing and sharing these feelings with everyone in the audience. I believe that classical music has the widest

emotional palette of any style of music in existence; it includes every possible shade of human expression. Classical isn’t just one kind of music – there’s something there for everyone, and there’s always something new to discover.”

Rachel also enjoys many kinds of non-classical music, and it is her particular enthusiasm for heavy metal that has inspired her latest project. She elaborates, “I’ve loved metal since I was 12; it’s absolutely my favorite non-classical style, especially speed and thrash.” She’s already had the opportunity to play with several rock legends. “I jammed with Robert Plant and Jimmy Page onstage in the late 90’s,” she remembers with a grin. “In fact, most of the rock stars I’ve hung out with have told me that they are fans of classical music and consider classical to be one of their biggest inspirations.” Rachel is now in the process of spearheading a whole new genre herself. She explains, “Almost every kind of folk or popular music has been incorporated into classical compositions, but there hasn’t yet been much classical that’s drawn upon elements of heavy metal. So I’m commissioning composers who grew up loving the same bands as me, and I’m also commissioning rock musicians with a strong classical background to write classical violin pieces based on heavy metal. For example, Steve Vai is going to write a solo violin piece for me. I can’t wait!” Rachel’s vision is that this music will be played in both concert halls and clubs and will

“introduce the magnificence of heavy metal to my classical fans, and vice versa.”

Rachel has also immersed herself in the world of music education and charity, allowing her to give back in the same way that others helped her when she was a student. As one of her many efforts, Rachel formed the Rachel Elizabeth Barton Foundation in 2001 with the mission of expanding awareness of and appreciation for classical music. The REB Foundation’s current projects include an instrument loan program; grants to help young artists with expenses; Global HeartStrings, which provides basic classical instrument supplies to musicians in developing countries such as Haiti and Nigeria; and a curriculum featuring string music written by Black composers dating back to the 1700’s. “There’s so much wonderful music that’s been neglected over the years,” observes Rachel. “One of my goals is to inspire African-American string students to become excited about classical music and to learn that it truly is part of their culture and history.”

Upon examining Rachel Barton Pine’s extraordinary life in music, what one comes away with is the indelible impression that all of this work comes from love – a love of classical music, a love of people, and a love of creating thrilling new ways for people to hear classical music. Her commitment that the music be emotionally, historically and financially accessible both to new listeners and to the classical musicians of tomorrow has created new possibilities for the music itself, establishing her as one of the preeminent ambassadors of classical music alive today.

Rachel Barton Pine

“Classical music isn’t just one kind of music – there’s

something for everyone, and there’s always

something new to discover.”– Rachel Barton Pine

2014-2015 Season 15

INTERMISSION

Columbus Indiana PhilharmonicDavid Bowden, Music Director

Saturday, September 14, 2014 at 7:30 pmErne Auditorium, Columbus North High School

David Bowden, Conductor Rachel Barton Pine, Violin

SEASON TITLE

SPONSOR

Danse Bacchanale Camille Saint-Saëns

Violin Concerto No. 5 in A major, K. 219 Wolfgang Amadeus MozartAllegro aperto - Adagio - Allegro apertoAdagioRondeau: Tempo di Minuetto

The Accursed Huntsman César Franck

Violin Concerto No. 4 in D minor, op. 31 Henri VieuxtempsAndante - ModeratoAndante religioso Scherzo: Vivace & Trio: Meno mossoFinale marziale: Andante - Allegro


Rachel Barton Pine Plays Mozart

CONCERT CO-SPONSOR

SEASON MEDIA SPONSOR

Tipton Lakes Company, Inc.

JOHNSON DISTINGUISHED GUEST ARTIST SPONSOR

C. Richard MarshallAttorney at Law

“It is music that makes our hearts happy, our souls content, and our lives complete. How wonderful it is that musicians and audience can experience these emotions together during a live performance of a concert. I look forward to sharing the joy of music with you this season.”

– Kathy Dell

Kathy Dell Flute

16 2014-2015 Season

Through the generations, Dell Brothers has been

offering the best in Men’s Fashions.

The Dell Family, along with our employees,

welcome you to this concert season.

Welcoming great musicians and good

friends makes sharing music a joy.

BALLINCUTTER & BUCK

ENRO SHIRTSOVERTON SHIRTS

HART SCHAEFFNER & MARXBOSCA LEATHER ACCESSORIES

JOHNSTON & MURPHYBILLS KHAKIS

Dell Brothersinc.An Indiana tradition since 1916

Columbus, Indiana

2014-2015 Season 17

PROGRAM NOTESSaint-Saëns — Danse Bacchanale, from Samson and Delilah

From our early-21st century vantage, Camil le Saint-Saëns appears to linger in a secondary t ie r o f h i s tor i ca l l y notab le composers. A handful of his colorful works — including the Danse Bacchanale featured in tonight’s program, as well as the Third “Organ” Symphony and his playfully evocative orchestral suite, The Carnival of the Animals — remain fixtures of the orchestral repertoire. But by and large, his reputation today is eclipsed by the Mozarts and Beethovens of history.

After the 2010–2011 season, the League of American Orchestras surveyed its members to determine the most-performed music in the United States. Saint-Saëns wasn’t even the most-performed Frenchman, and didn’t appear among the 25 most-performed composers.

Yet in his day, Saint-Saëns was easily the most acclaimed composer of his home country, and was a f ixture on concert programs worldwide. Saint-Saëns lived a long and productive life — and he started very young. By age two, he was playing the piano and demonstrating perfect pitch. By his eleventh birthday, newspapers as far away as Boston had already noted his ability to play all 32 of Beethoven’s piano sonatas from memory. “I live in music like a fish lives in water,” Saint-Saëns said, composing “as an apple tree produces apples.”

This early fame generally allowed the composer to move freely across the musical landscape, choosing projects according to his whims with little concern for practicalities. But when he decided to transform the Biblical story of Samson and Delilah into an opera, he ran into resistance. Biblical subjects were, at the time, considered inappropriate for opera houses. When, after nine years of work, Saint-Saëns completed his score, no French promoter would take it up. Franz

Liszt ultimately helped arrange a premiere of the opera in Germany; it took another 13 years before Samson and Delilah was performed in the composer’s home country.

The three-act opera continues to be performed today, but it is best known for this brief bit of music from its final act. In this scene, the priests celebrate the impending demise of Samson — a demise that will ultimately befall them instead.

It begins with an exotic and sensuous oboe solo, Middle Eastern in flavor, vividly painting the decadent scene of a dancer entertaining the men lounging on their pillows. The mood grows fevered as the revelers begin to dance to the savage rhythms. Left to themselves, Samson and Delilah drift into a serene reverie. The dance music again begins to swell, and this time builds to an even more frenzied climax. Finally, the guests fall to the floor in exhaustion.

Wolfgang Amadeus Mozart — Violin Concerto No. 5

Among the many credits to his ce lebrated name, Wolfgang Amadeus Mozart must surely take primacy in the development of the form known as the concerto. Granted, other composers had long labored in the concerto form, producing virtuoso showpieces for instrumental soloist and backing ensemble. Vivaldi in particular was known for such works; his Four Seasons is essentially a group of four short concertos, each with three movements.

But in the contemporary concert repertoire, aside from a handful of works by Haydn, it is generally the concertos of Mozart that serve as the earliest examples of the form. Mozart penned plenty: 27 for piano; five for violin; four for horn; two for flute; and assorted one-off concertos and works in related forms for clarinet, bassoon, and even the basset horn. A remarkable number of these remain in the core canon of works presented in concert around the world by the great soloists of our time.

Of course, that is true of much of Mozart’s music in general. From sprawling operas to tiny piano pieces playable by the youngest hands, Mozart ’s br i l l iance is evident in virtually everything he wrote. We know his music as much from Warner Brothers cartoons and movie soundtracks as from the concert hall; it is a sonic cornerstone of our culture.

That’s all the more remarkable when we ponder the compressed time frame in which all of that music was written. Mozart was dead before his 36th birthday, yet left the world with one of the largest oeuvres of any composer.

Those five violin concertos? They were all written within a single e ight -month per iod , when Mozart was just 19 years old. Despite their direct proximity to one another in the composer’s overarching development, the concertos demonstrate a significant advancement of technique from one to the next. Only the final three are widely performed today; and none more than the Fifth.

This concerto exhibits all that is loved in Mozart. After a confident and sunny orchestral introduction, the v io l in enters s inging a beautiful aria-like melody. The remainder of the first movement oscillates between beauty and bravura, with increasingly exciting flourishes adorning the music. This is followed by a sublime slow movement in which the solo violin floats above the orchestra, painting long and lovely lines. The

“I live in music like a fish lives

in water,” Saint-Saëns

said, composing “as an apple tree produces apples.”

continued on page 19...

18 2014-2015 Season

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2014-2015 Season 19

final movement takes the form of a cheerfully lilting Rondo, interrupted briefly by a colorful passage in the popular “Turkish” style of the time. The music returns to where it began, and ultimately ends with a witty gesture of levity.

Franck — The Accursed Huntsman

Dur ing the 19 th cen tu r y, composers frequently turned to old legends, mythical characters and tales of the supernatural for inspiration. Next to nature, no other source inspired more great music during the Romantic era than the realms of legend and fantasy: An obsessed lover poisons himself and hallucinates about his own execution in Berlioz’s Symphonie Fantastique; a wizard’s broom comes to life and wreaks havoc in Dukas’ The Sorcerer’s Apprentice; a coven of witches celebrate their wicked Sabbath in Mussorgsky’s Night on Bald Mountain.

The Belgian-born, French-trained composer Cesar Franck was not a man known to indulge in such stories. Devout in his Roman Catholic beliefs, Franck preferred the inspiration of the scripture and liturgy for much of his music.

Yet despite (or, in a sense, because of) his religious beliefs, Franck was not immune to the allure of old legends and the supernatural. In 1882, shortly after completing a “Biblical Scene” based on the story of Rebecca for soloists, chorus and orchestra, Franck turned his attention to “Der Wilde Jäger,” a ballad poem by the German writer Gottfried August Burger.

The poem tells the legend of a count who defies the Sabbath by indulging in his favorite pastime, hunting. He rides roughshod over the land, wreaking havoc as he pursues a stag. Eventually, he chases his quarry into a chapel — whereupon he is cursed to be forever chased through the woods by the hounds of hell.

Though Franck had previously

shied from explicitly programmatic music, the composer was so inspired by the poem’s pious tale that he produced a four-movement work that follows the saga’s narrative explicitly.

The music begins with the hunter’s horn calls defying the pealing church bells. He optimistically races off, galloping through field and wood at an increasingly frenzied pace. Suddenly, tremulous strings and uneasy harmonies appear. His horn will not blow; his horse will not run. Finally, the trombones pronounce the curse. Off rides the count, pursued by demons in a nightmarish explosion of music.

Vieuxtemps — Violin Concerto No. 4

In his day, Henri Vieuxtemps was the most acclaimed violinist in France and arguably the whole of Europe, the widely acknowledged heir to Paganini. No lesser musician than Hector Berlioz proclaimed the comparison between those two greats. But where Paganini was known almost exclusively as a performer, Vieuxtemps was also widely respected for the quality of the works that he penned for his own performances.

Most notable among those works were his seven concertos for violin. And among those, the Fourth and Fifth are generally acknowledged the finest. Both combine finger-tangling challenges for the soloist with exquisite refinement and beauty.

The Fourth Concerto was penned around 1850, and represented a significant twist on the familiar concerto form in its four-movement structure. After its premiere, it was praised by Berlioz as “a magnificent symphony for orchestra with principal violin.”

The concerto begins with an extended, pensive orchestral introduction. When the violin soloist finally arrives more than two minutes into the movement, the first utterance is one of tentative yearning followed quickly by

ascending double-stop cries. Then follows a statement of the movement’s primary theme — an unsettled line that wavers between lyricism and distress. The rest of the movement explores that in-between territory, offering up equal parts beauty and ache.

This gives way, via a sustained horn note, to the second movement, wherein any sense of angst is washed over by a luminous sense of peace and sentimentality. The music rises to a rapturous climax, then prayerfully fades to the chiming of harps.

The third movement, a vivacious Scherzo, provides a welcome contrast in both mood and tempo to what has come before. Here, a galloping violin line dances around interjections by the orchestra, pausing only for a bit in the movement’s middle section to catch a breath before racing to the finish.

It’s not over yet! To complete the work, Vieuxtemps throws in a “Finale marziale” (martial finale). Whi le one doesn’t normal ly associate the march form with concertos, here we have the final piece to complete the puzzle of the previous movements. After briefly revisiting themes from those earlier sections, the music sets off at a slowly hastening step, building to a thrilling sprint at the end.

[Vieuxtemps’ Violin

Concerto No. 4]

was praised by Berlioz as

“a magnificent symphony for orchestra with

principal violin.”

continued from page 17...

20 2014-2015 Season

Gustav Mahler — Symphony No. 6, “Tragic”

If the Romantic ideal centered on the expression of emotion and personal perspective in art, then Gustav Mahler surely must be seen as that era’s truest icon. “My symphonies represent the contents of my entire life,” he once said. “I have written into them all my experience and all my suffering.”

Tortured by angst and superstition throughout his l i fe — despite accumulating more wealth and fame than most artists ever dream of — Mahler never shied from expressing his deepest fears in his art.

“He was a tormented, divided man,” noted the conductor and composer Leonard Bernstein. “Mainly the battle rage[d] between Western Man at the turn of the century and the life of the spirit. Out this opposition proceed[ed] the endless list of antitheses — the whole roster of Yang and Yin — that inhabit Mahler’s music...Anxiety-ridden images were set up alongside images of the life of the spirit, Mahler’s anima, which surrounds, permeates, and floodlights these cruel pictures with the tantalizing radiance of how life could be.”

This was nowhere clearer than in his Sixth Symphony. Here we have a work of sprawling structure and gargantuan scale, employing an orchestra that is nearly double-sized and instruments never before called for in the orchestral repertoire (including, most famously, a massive hammer). As the music unfolds, it careens from mood to mood, often creating a sense of musical montage: here a march, now a swooning reverie, then echoes of Jewish Klezmer music, and so-on. Yet it holds together in a grand and sweeping musical narrative, a kind of spiritual journey through one man’s life in turn-of-the-20th-century Austria.

Much of what we know — or are told — about Mahler’s programmatic intent in his Sixth Symphony came from his wife, Alma. She is the one

PROGRAM NOTES


Gilbert Kaplan

Gilbert Kaplan is a leading authority on Gustav Mahler. He has served on the faculty of the Juilliard School (Evening Division) since 2000 and has also lectured on Mahler widely – at Harvard and Oxford Universities and at leading conservatories around the world.

He is the co-editor of the New Critical Edition of the Second Symphony published in 2010 and co-publisher of the New Critical Edition of the Sixth Symphony. He is also the author and editor of the award-winning The Mahler Album, an illustrated biography. His extensive writings on Mahler have appeared in books and publications ranging from London’s musicological journal The Musical Times to The New York Times.

As a broadcaster, he has served as the host of a 13-week Mahler series on 350 radio stations in the United States. For the past 13 years he has also hosted “Mad About Music”, which has featured interviews with more than 100 prominent individuals who love classical music including: Jimmy Carter, Condoleezza Rice, Antonin Scalia, Alan Alda, Tom Brokaw, Renee Fleming, Zubin Mehta.

As a conductor, Gilbert Kaplan has led performances and recordings of Mahler’s Second Symphony at the invitation of 65 orchestras including the Vienna Philharmonic, New York Philharmonic, London Symphony, Los Angeles Philharmonic, National Symphony, Deutsche Oper Berlin, St. Petersburg Phi lharmonic, Mariinsky Opera, Philharmonic Orchestra of La Scala, New Japan Philharmonic and the China National Symphony in Beijing (the first performance of Mahler’s Second in China). Mr. Kaplan led the Philharmonia Orchestra and the Chorus of Vienna State Opera in an opening night concert of the Salzburg Festival, which Time magazine reported was “A triumph for Kaplan that shook the Grosses Festspielhaus to its granite foundations.”

Gilbert Kaplan’s recording of the Second Symphony with the London Symphony Orchestra was selected as one of the records of the year by The New York Times. With sales in excess of 180,000, the recording has become the best-selling Mahler recording in history. His subsequent recording of the same work with the Vienna Philharmonic has been the best-selling recording of the Second Symphony since 2003 when it was released.

Gilbert Kaplan is a recipient of many honors including an honorary doctorate degree from Westminster Choir College of Princeton, New Jersey. Mr. Kaplan serves on the Board of Carnegie Hall and the Visiting Committee to the Department of Music at Harvard University.

2014-2015 Season 21

CONCERT PARTNERS

Hammer Blows!



Saturday, October 4, 2014 at 7:30 pmErne Auditorium, Columbus North High School

David Bowden, Conductor Gilbert Kaplan, Multi-Media Presentation

The World of Gustav Mahler

Mahler once said “My time will come” and it certainly has. Audiences today are swept up by the joy, the tragedy, the sheer life of Mahler’s symphonies and songs. But what is it about his music that moves us so profoundly, that touches us in such a personal way?

Gilbert Kaplan, Julliard School Faculty member and one of the foremost authorities on Gustav Mahler, explores these questions in a wide-ranging presentation that covers the intimate connection between Mahler’s life and his music -- with more than 150 projected images of historical photographs and illustrations along with 30 recorded musical excerpts.

MPACT FORGE GROUP, INC.Division of H.H.I.

SEASON TITLE

SPONSOR C O L U M B U S R E G I O N A L H E A L T H

“As both a performer and educator, I am proud to perform with the CIP. Performing incredible music to enthusiastic audiences and sharing special experiences with them is why we musicians love what we do! This season I am especially looking forward to performing Mahler’s Sixth Symphony. Gustav Mahler felt that music could express what words could not- philosophy, religion, emotion, beauty in the world around him, and much more. It is immensely satisfying interpreting this complex music, conveying these ideas to listeners.” – Ashley Cumming

Ashley Cumming French Horn

Symphony No. 6 in A minor Gustav Mahler Allegro energico, ma non troppo. Heftig, aber markig. Andante moderato Scherzo: Wuchtig Finale: Sostenuto – Allegro moderato – Allegro energico

INTERMISSION

22 2014-2015 Season

who tells us, for example, that the three hammer blows in the final movement of the Symphony represent blows of fate suffered by the Symphony’s hero, the third of which “fells him like a tree.” She further explained that the blows represented three crises in Mahler’s own life: the death of his eldest daughter, Maria Anna; the diagnosis of his heart condition (which would ultimately prove fatal); and his forced resignation from the Vienna Opera. (Mahler eventually edited out the third of these blows, though some modern performances restore it.)

It’s worth noting, though, that Mahler famously maintained conflicted attitudes about the concept of symphonic programmes. Many of his works contain explicit instructions regarding the intended character of the music: His Fifth Symphony’s first movement, for example, is marked “funeral march,” with the added clarification, “with measured tread, austere, like a funeral cortege.” Yet Mahler eventually disavowed many of the programmatic interpretations of h i s works — even those interpretations that originated from him. “If a composer himself has forced upon his listeners the feelings which overwhelm him, then he has achieved his object,” Mahler told a gathering of friends in 1900. “The language of music has then approached that of the word, but has communicated immeasurably more than the word is able to express.” Mahler then raised a toast: “Death to programmes.”

This attitude had taken strong root by the time Mahler completed his Sixth Symphony in 1904. Compared to his earlier symphonies, the score of the Sixth contained relatively few instructions to imply specific extra-musical interpretation. Though he himself on occasion referred to the Sixth as his “Tragic” Symphony, he declined to include even that generalized character-reference in his official versions of the score.

So maybe we are to hear this simply for what it is: An epic, extravagant,

wholly musical expression of Mahler’s creativity. In that respect, it is certainly a milestone achievement among many for the composer.

In no previous work was Mahler’s ability to jump from tempo to tempo, idiom to idiom more acutely apparent. The first movement alone seems to span an entire universe of musical material. “No composer leaped more abruptly from the major to the minor mode, even within the same phrase, or more often undercut a noble chord with a banality,” wrote Jonathan Carr in his book, Mahler: A Biography. “Indeed, it is a particular hallmark of (Mahler’s) music.”

Yet it all connects together in a coherent, powerful musical argument, section to section, movement to movement – from the energetic opening march to the fading, fatalistic ending.

The first movement, as mentioned above, traverses a vast soundscape. Beginning with a brisk minor-key march, the movement erupts into blazing fanfare before shifting, suddenly, to a soaring, ravishing violin theme that Alma Mahler tells us was intended to depict her. This contrast of martial stridency and melting beauty forms the basic conflict that drives the 20-minute movement.

The second movement begins with something of a march as well, but this time in staggering ¾ time. The ensuing Scherzo stands out as one of Mahler’s most sardonic dances; the critic/historian Hans Redlich described it as a “sinister Hoffmannesque puppet-show.”

While it carries forth in true classical fashion — complete with a naively beautiful trio in the middle — the music is ultimately enigmatic and linear, delving ever deeper into the conflicted and vexing moods introduced in the first movement.

In the third movement, the composer finally offers a moment of respite. This mid-tempo Andante washes the listener in peaceful memories of themes that have come before — not just in this Symphony, but in other works by the composer (most notably Kindertotenlieder). While this slow movement may not settle into the hushed reverie that one hears in his famous Adagietto from the Fifth Symphony, it nevertheless offers a fitting contrast to the music that has come before — and a needed pause for breath before the epic fourth movement that is to follow.

When that fourth movement finally comes, it opens in mystical form: A glissando on the harp, followed by an exotic melody in the violins. Yet almost immediately, that fantasia is broken up by an explosive return to the martial tones of the first movement. This is the most specific anticipation yet of what is to come: beauty and hope ravaged by fate. The movement plays out in expansive form, with numerous diversions: Here a pastoral vista (complete with tinkling cowbells); there a somber woodwind chorale. Three times, the music builds to epic climaxes; but at the height of each, the hammer literally comes down, shattering hope into despair. Eventually, the music subsides, drifting to a hazy end punctuated by a dramatic last gasp.

Mahler himself may have resisted specific programmatic interpretations of this music; but it’s hard for the rest of us to avoid “hearing into” this larger-than-life Symphony.

“In the Sixth,” wrote Jonathan Carr, “(Mahler) seems to propose that the answers he found in all his previous symphonies were illusory. It is not just Mahler going down under those hammer blows, but mankind itself.”

“the three hammer blows...the third of

which ‘fells him like a tree.’”– Alma Mahler


2014-2015 Season 23

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24 2014-2015 Season

PROGRAM NOTES


The Beautiful Music of Dan Forrest by David Bowden

The two works on tonight’s program by Dan Forrest, Requiem for the Living and in paradisum, are each musical expressions of astonishing beauty and deep human emotion. They also share something in common besides the composer (obviously): the fact that both are traditionally sung or recited in Latin, and that their historical origin is in an ancient Christian ceremony.

Both works deliberately rebel against that history. Consider the following with me:

The Requiem Mass is a collection of traditional texts emanating millennia ago from Jewish and Christian traditions – some sources, perhaps, from as early as the eighth century BC – that serves as the service of mourning for a person who has died. It is, in essence, a funeral service, a religious service for the dead.

The texts of the Requiem ask for eternal rest for the one who has died along with a request for mercy from God as they enter the afterlife. In fact, the name of the service literally means “rest” and comes from the first word of this mass. The first line of the Mass is: “Requiem aeternam dona eis, Domine,” translated from Latin to English, “Give them, Lord, eternal rest.” In the course of this service for the dead, God’s righteous anger and judgment are highlighted in the section known as the “Dies Irae” (Day of Wrath). The traditional Requiem Mass generally does not focus toward comforting the grieving family and friends of the one who has died.

Forrest rebels against that heritage, explicitly stating that his Requiem is “for the Living.” While the comforting Scriptural texts he has chosen are intentionally directed toward the mourners, they also address the one who has died by providing hope of a future reunion to those who remain. It is, in essence, the exact opposite emphasis of the traditional requiem.

Cathy Berns Rund hails originally from a grain and cattle farm in central Illinois. Her passion for music grew through childhood piano lessons and singing and playing organ at her tiny parish church.

She earned her undergraduate degree in vocal performance from Eastern Illinois University, where she won top musical and academic honors, including the prestigious Livingston C.

Lord Scholarship. She was later honored as a “Distinguished Young Alumnus” of Eastern Illinois University.

Cathy then followed her eventual husband, Rex, to Haiti, where she taught piano and directed a well-known boy’s choir, Les Petits Chanteurs, in Port-au-Prince. This taste of the expatriate life whetted her appetite for more, and she won a Rotary International scholarship to study opera at the famed Mozarteum in Salzburg, Austria. She studied under legendary Mozart soprano Wilma Lipp on her way to winning the conservatory’s top prize for opera performance, the Lilli Lehmann Medallion. She was also a finalist in the European-wide Deutsche Rundfunk opera auditions. Upon graduation from the Mozarteum, she was engaged as a soloist for four years at the Vienna Staatsoper, one of the world’s elite opera houses, where she became Vienna’s favorite Papagena in Mozart’s The Magic Flute. She also appeared as an opera soloist in Monte Carlo and Oslo.

Since returning to America, Cathy has used her musical talent mostly in God’s service as music director, cantor, and organist at St. Joseph Catholic Church in Lebanon. She has appeared as cantor for the principal Mass at the national convention of the National Association of Pastoral Musicians, leading over 3000 church musicians from around the world in worship and song. She has also appeared as a soloist in choir tours to Lourdes, León, Burgos, Santiago de Compostela, Fatima, Salzburg, Assisi, and Rome, singing at Mass at St. Peter’s Basilica with Pope Benedict XVI. For the past decade, Cathy has enjoyed numerous collaborations with David Bowden and the Carmel, Columbus, and Terre Haute Symphony Orchestras, and has become an Indiana audience favorite.

Cathy and her husband take great pride and delight in their three children: Jacob (deceased), Emma, and Marian. The girls are both excellent singers, to no one’s surprise! They all enjoy country life at their home near Lebanon, where they are avid gardeners and where Cathy, still a farm girl at heart, raises chickens for fresh eggs.

Cathy Berns Rund

“When I first listened to Dan Forrest’s Requiem, I was stirred to tears. I knew instantly that singing such sublime

music would be a profound blessing.”

– Cathy Berns Rund

2014-2015 Season 25

CONCERT PARTNER

The Beautiful Music of Dan Forrest


INTERMISSION

Requiem for the Living Dan ForrestIntroit – Kyrie Vanitas VanitatumAgnus DeiSanctusLux Aeterna

Variations on a Theme by Haydn Johannes BrahmsChorale St. Antoni – AndanteVariation I – poco più animatoII – Più vivaceIII – Con motoIV – Andante con motoV – VivaceVI – VivaceVII – GraziosoVIII – Presto non troppoFinale - Andante

in paradisum Dan Forrest

SEASON TITLE


CONCERT SPONSOR


Saturday, November 15, 2014 at 7:30 pmFirst Christian Church

David Bowden, Conductor

The Philharmonic Chorus David Bowden, Music Director

Cathy Berns Rund, Soprano

Music has a lways been an important part of my life. From singing in our youth choirs in church, to playing the string bass in my high school orchestra, to partici-

pating in musical theater in both high school and college, I’ve always been better with music. Even now as I walk our lab Shelby, while listening to a favorite play list on my Ipod, or having the local radio station on while in the operating room doing surgery, the task at hand seems easier and much more pleasant.

I have now discovered the Columbus Philharmonic. What a joy! I again can make music not only in the Philharmonic Chorus but also as a member of the Board of Directors sharing in the goals and successes of weaving music into the fabric of our community while exposing our youth to the beauty of the art of music and sending them off on a lifetime of success, no matter what their field of endeavor. There is no more noble cause.

– David Gallagher, M.D.

26 2014-2015 Season

2014-2015 Season 27

The traditional “In Paradisum” text, the final work on tonight’s program, is a simple prayer at the end of this funeral service for the dead. It addresses the arrival of the recently departed into the afterlife, into paradise, and asks that the loved one be welcomed into this new place of eternal rest by angels, and saints, and even by the poor beggar, Lazarus.

Again, Forrest takes a different course and uses Biblical promises attributed to God himself as the basis of his picture of the glorious heavenly refuge for the dead, of the Church Triumphant described in scripture – a paradise too lovely for words, too permanent for earthly music.

The Philharmonic presented the world premiere in 2010 of in paradisum to a stunned audience who, at the conclusion, sat in tear-filled silence savoring the beauty and then erupted into waves and waves of cheering applause. Many who were in that audience have requested that we play the work again, and many others who were not present have asked to be given the opportunity to experience it live. I am delighted to offer this astonishing work again, along with Dan’s recently completed Requiem for the Living.

Here, in Dan Forrest’s own words, are notes about these compositions:

Requiem for the Living

The opening movement sets the traditional Introit and Kyrie texts- pleas for rest and mercy- using ever-increasing elaborations on a simple three-note descending motive.

The second movement, instead of the traditional Dies Irae, sets Scriptural texts that speak of the turmoil and sorrow which face humanity, while yet invoking musical and textual allusions to the Dies Irae. This movement juxtaposes aggressive rhythmic gestures with long, floating melodic lines, including quotes of the Kyrie from the first movement.

The Agnus Dei is performed next (a departure from the usual liturgical order) as a plea for deliverance and peace; the Sanctus, following it, becomes a response to this redemption. The Sanctus offers three different glimpses of the “heavens and earth, full of Thy glory,” all of which develop the same musical motive: an ethereal opening section inspired by images of space from the

Hubble Space Telescope, a stirring middle section inspired by images of our own planet as viewed from the International Space Station, and a closing section which brings the listener down to Earth, where cities teem with the energy of humanity.

The Lux Aeterna which then closes the work portrays light, peace, and rest – for both the deceased and the living.

Requiem for .the Living1. Introit—Kyrie

(Chorus)Requiem aeternam dona eis, Domine, Rest eternal grant to them. O Lord,et lux perpetua luceat eis. and let perpetual light shine upon them. Exaudi orationem meam, Hear my prayer,ad te omnis caro veniet. for unto Thee all flesh shall come.Kyrie eleison. Christe eleison. Kyrie eleison. Lord have mercy. Christ have mercy. Lord have mercy.

2. Vanitas Vanitatum(Chorus)

Vanitas vanitatum, omnia vanitas! Vanity of vanities, all is vanity! (Ecclesiastes)Pie Jesu Domine, dona eis requiem. Merciful Lord Jesus, grant them rest.Lacrimosa, Full of tears,et locutus est, pereat dies in qua natus sum. he said, let the day perish wherein I was born. (Job 3:2-3)

3. Agnus Dei(Soprano and chorus)

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world,miserere nobis, dona eis requiem. Have mercy on us; grant them rest.Agnus Dei, qui tollis peccata mundi, Lamb of God who takes away the sins of the world,dona nobis pacem, miserere nobis, Grant us peace: have mercy on us; dona eis requiem. grant them rest.

4. Sanctus(Chorus)

Sanctus, Sanctus, Sanctus, Holy, Holy, Holy,Dominus Deus Sabaoth. Lord God of Hosts.Pleni sunt caeli et terra Gloria tua. Heaven and earth are full of Thy glory.Hosanna in excelsis! Hosanna in the highest!

5. Lux Aeterna(Soprano, Tenor and chorus)

Lux aeterna luceat eis, Domine: May light eternal shine upon them, O Lord,cum sanctis tuis in aeternum: in the company of Thy saints forever:quia pius es. for Thou art merciful.Et lux perpetua luceat eis. Let perpetual light shine on them.

Come unto me,all you who labor and are heavy laden,and I will give you rest. (Matthew 28:19)Requiem aeternam dona eis, Domine Rest eternal grant to them. O Lord,et lux perpetua luceat eis. and let perpetual light shine upon them. Dona nobis pacem. Grant us peace.



28 2014-2015 Season

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2014-2015 Season 29

in paradisum

“in paradisum” takes its title more from scripture than from the liturgical “In Paradisum” Requiem movement. This sett ing uses a wide diversity of scriptural texts, which, though written thousands of years apart, all speak to mankind’s burning desire to glimpse the afterlife by revealing the compassionate character and precious promises of God to His people. The opening bars present massive chords in a highly animated texture; these “pillars” not only represent the unshakeable truths which follow, but also serve as a musical basis from which most of the rest of the piece is constructed. The first main section sets “Precious in the sight of the Lord…” text, as well as “I go to prepare a place for you…”.

Precious in the sight of the Lord is the death of His saints.

Psalm 116:15

I go to prepare a place for you. And if I go and prepare a place

for you, I will come again, and receive you unto myself;

that where I am, ye may be also. John 14: 2-3

A second section (which uses portions of Revelation) uses the flatted seventh scale degree, (taken from the opening “pillar chords”) to symbolize sorrow, pain, and tears. This flatted seventh gives way, symbolically, to the raised seventh scale degree, picturing God’s tenderly “wiping away all tears.”

And God shall wipe away all tears from their eyes; and there shall be

no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things

are passed away. Revelation 21:4

Eventually, the “pillar chords” return, this time setting the one occurrence of the phrase “in paradise” (Christ’s words from the cross to the dying thief) which provides a thrilling glimpse into eternity.

Verily, I say unto thee, Today thou shalt be with me in paradise.

Luke 23:43

Near the end of the piece, one more glimpse of the “tears” idea appears, but it quickly (and again, symbolically) disappears into the settled rest of the closing section, which includes a “new song,” calling from eternity “on high.”

Brahms — Variations on a Theme by Haydn

Many historians and musicians credit Johannes Brahms for s umming up t he mus i c a l 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. In the case of his Variations on a Theme By Haydn, that spirit of creativity and reverence for his great forebears is plentifully evident — even if, as it turns out, that reverence was slightly misplaced.

Born in Hamburg, Germany, in May of 1833, Johannes Brahms was recognized early as a prodigy. By age ten, he had already developed his talent at the piano such that an American agent tried to persuade the young boy to tour the United States. While Johannes and his family declined the opportunity, he was soon recognized widely in Germany as one of the rising musical lights of his generation.

Yet success did not always come easily for him. His first large-scale orchestral work, the D minor piano concerto, was received poorly — in large part due to its traditional style. Brahms lived in an age in which old forms were being challenged as never before; during the nearly 20 years that he struggled to complete his First Symphony, audiences got their first tastes of then-revolutionary works such as Richard Wagner’s Tristan und Isolde, Tchaikovsky’s Romeo and Juliet and Liszt’s Faust Symphony. 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 st i l l

working with clear divisions and lucid articulation.”

In November of 1870, Brahms was shown a copy of a Feldpartita, a charmingly odd work attributed to Josef Haydn and scored for two oboes, two horns, three bassoons, and a ‘serpent’ (a kind of bass horn, which had become obsolete even by the time Brahms saw the score). Brahms was particularly taken by the work’s second movement, titled “St. Anthony Chorale.” He transcribed the music’s unusual five-bar theme into his own notebook for future reference.

Three years later, Brahms undertook a set of variations on the theme. He originally penned his variations for two pianos, but soon transcribed them for orchestra.

In choosing a theme attributed to one of the great icons of the classical era, Brahms could indulge his conservative side; the structure of the work is for the most part utterly traditional, with each variation presented discretely.

Yet here one also finds some of the composer’s most exceptional musical invention. The third variation hearkens even farther back to the Baroque sty le, imbued throughout with Brahms’ characteristic warmth of emotion. The sixth, with its horn calls, transforms the graceful march-like theme into a hunting call. And the finale takes the form of an exciting set of variations-within-the-variations, at one point briefly quoting Haydn’s “Clock” Symphony.

Ironically, scholars now know that those two bars are the only bit of this music that can properly be sourced to Haydn. While nobody knows who wrote the Feldpartita, it most certainly wasn’t the work of Haydn. Brahms never knew this, so his original title remains, although some now refer to this work as the St. Anthony Variations.

Ultimately in this case, misattributed inspiration is still honored by audiences and scholars, who hear in this music some of Brahms’ own greatest inspiration.


30 2014-2015 Season

A native of Lafayette, Indiana, Sherry Stark majored in theatre and interpretation at Northwestern University. She played the leading role

in Shakespeare’s The Comedy of Errors, and also appeared in An Italian Straw Hat and the premiere of the musical One Foot in America, originating the role of Mrs. Kaplan. She later appeared in plays at Bowdoin College, Purdue’s summer theatre and Columbus’ Theatre Arts Guild, where she played a leading role in Plaza Suite. She has twice narrated the Visitors’ Center Walking Tour cassette. She continues to do occasional voice-over work.

Sherry has previously appeared on stage with the Philharmonic narrating Howard Blake’s The Snowman and also with the Carmel Symphony Orchestra and Columbus Symphony Orchestra.

Investing in the community in which she lives, Sherry has played a significant philanthropic role in the arts. She has served as Columbus Deputy Mayor, Executive Director of the Columbus Area Arts Council, and most recently as President/CEO of Heritage Fund – the Community Foundation of Bartholomew County. Prior to her retirement, she was founding director of Centra Foundation.

Proud mother of three sons and grandmother of five, Sherry is married to David Tiede. She remains active both locally and at the state level and is deeply grateful to live in a community that places a high value on the arts.

Brian Pierson began his “formal” choral journey at Parkside Elementary. His music teacher, Kathy Dell, recommended that he audition for the Columbus Indiana Children’s Choir. Brian sang in the CICC under the direction of Ruth Dwyer from fourth through ninth grade. As a high school sophomore, he was accepted into the Indianapolis Youth Chorale (IYC), led by Cheryl West. He performed with the IYC

at the American Choral Directors Association’s National Conference in Dallas in the spring of 2013. Closer to home, Brian also sang in Columbus North’s Concert Choir and 25th Street Singers, led by Janie Gordon. He thanks all his choral directors for their excellent training through the years. Brian received private vocal lessons from Camilla Gehring during his junior and senior years of high school. He is currently studying at Ball State, with plans to major in Applied Math and Computer Science, and minor in Vocal Performance. Born on the Oregon coast, Brian has called Columbus home since the age of six, along with his parents and younger sister.

Brian enjoys exploring a wide range of musical styles as his young bass voice continues to develop. He is grateful for the opportunity to return to the Philharmonic stage as the 2014 winner of the Anna Newell Brown Award for Vocal Excellence, joining the choir that gave him his start.

BROWN SCHOLARSHIPS

Sherry Stark

Brian PiersonCelebrating its 28th year, the Anna Newell Brown Award for Vocal Excellence has become one of the most highly regarded scholarship competitions in Indiana. The award was estab-lished 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 mu-sician 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.

Anna Newell Brown

Betty and Bob Brown June, 1985

2014-2015 Season 31

Sleigh Ride Leroy Anderson

Chanukah Suite Jeff Tyzik My Dreidl Al Hanissim Hanukkah Who Can Retell Rock of Ages

White Christmas Irving Berlin

Winter Wonderland Bernard/Powers

Donkey Carol John Rutter

A La Nanita Nana Spanish Carol/Eddleman

Ose Shalom Leavitt/Powers

The Virgin Mary Had a Baby Boy Caribbean Carol/Leavitt

Somewhere in My Memory John Williams from the movie Home Alone

We Wish You a Merry Christmas English Carol/Harris

INTERMISSION


Sunday, December 14, 2014 at 3:00 pm & 7:00 pmErne Auditorium, Columbus North High School


Brian Pierson, Brown Vocal Scholarship Winner

Sherry Stark, Narrator

Columbus Indiana Children’s Choir Ruth Dwyer, Artistic Director

Camilla Gehring, Assistant Director

A Community Christmas GatheringCONCERT SPONSOR

Joy to the World Arthur Harris

Polonaise from Christmas Eve Rimsky-Korsakov

Violin Concerto in E Major, RV 270 Antonio Vivaldi “For the Most Holy Christmas”

Have Yourself a Merry Little Christmas Hugh Martin

You’re a Mean One, Mr. Grinch Hague/Wagler from How the Grinch Stole Christmas

March of the Toys from Babes in Toyland Victor Herbert

‘Twas the Night Before Christmas: Moore’s classic poem Bill Holcombe

Sing in Exultation: Carol Singalong arr. Powers

CONCERT PARTNER

SEASON TITLE


CONCERT CO-SPONSOR


“Music has been an important part of my life from my earliest memories of dancing around the living room to the tunes from the cast album of Oklahoma. Music has the power to lift, sooth, comfort and move me, and it has been a part of my life’s milestone moments. Thank you to the Philharmonic for bringing quality music to our community. Bravo!”

– Sherry Stark

32 2014-2015 Season

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 3 – December 14, 2014 and January 26 – March 9, 2015. 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. 122 or by contacting Ruth Dwyer at [email protected].

Columbus Indiana Children’s Choir

Ruth E. 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. She is also the Founder and Artistic Director of the Hoosier Hills Choral Festival in Southern Indiana.

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 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

CICC Artistic

Director

Ruth Dwyer

Toyota Industrial Equipment Mfg., Inc. is Proud to Sponsor the

Philharmonic Youth Orchestra

5555 Inwood Dr.P.O. Box 2487

Columbus, IN 47202812-342-0060

2014-2015 Season 33

Your Hometown Bottler

Columbus, Indiana

C a m i l l a Gehring is a graduate of Indiana U n i v e r s i t y S choo l o f

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 f requen t so lo i s t w i th 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. 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.

CICC Assistant Director

Camilla Gehring

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. She enjoys a good cup of coffee, reading, sailing and hiking in the mountains.

Sharon Sung Andrews

“As a child, I was a part of just about every youth and education program that the Philharmonic offers. In 3rd grade, I participated in the Choral Festival camps and auditioned for the Columbus Indiana Children’s Choir, singing with them for 5 years. In high school, I took voice lessons from… Camilla Gehring, and participated in the Brown Scholarships, winning the Anna Newell Brown Award for Vocal Excellence and had the privilege of being a vocal soloist with Dr. Bowden and the Philharmonic.

Music taught me many important lessons and allowed me to apply them in a way that was fun and un-offensive to my youthful mind. I didn’t even realize I was learning them until years later.”

– Sharon Sung Andrews

34 2014-2015 Season

The Columbus Indiana Philharmonic is grateful for the Annual Fund Drive gifts made by the following individuals and organizations as well as those donors who wished to remain anonymous. Your financial support 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.

Contributors 2013-2014

GOLD BATON$5,000 - $9,999

Cheryl and Bruce Cazenave

SILVER CIRCLE$2,500 - $4,999

Ben and Pat BushDick and Lindsay CooleyGeorge and Catherine Shortle Foundation Trust In Memory of Catherine ShortleMr. and Mrs. James HendersonBob and Renée KastingThomas and Marion MarshallDavid and Tessa MilroyMark and Linda Pillar In Memory of Kris W. KindelspergerMargaret L. Powers In Honor of my parents, Jean and Julius LauderdaleChuck and Janet VanNattaDr. John Wall

CONDUCTOR’S CIRCLE

$1,000 - $2,499David and Bonnie BoatwrightDavid and Donna Bowden In Honor of our parents, Donald and Ruth Sjaardema, Marshall and Phyllis Bowden In Honor of our Grand- daughters, Eliana Christine and Katelyn Elisabeth HoffRoger and Janet BrinkmanDr. and Mrs. David GallagherJon and Camilla GehringSteven HackmanOwen and Annette HungerfordRick and Alice JohnsonRuth JohnsonKris and Roxie KindelspergerPeter and Cathy KingRobert W. Lauderdale Tom and Pam LegoDan and Elli McElroyMary and Bob OrbenMr. and Mrs. Shell ParkerDr. Richard L. PitmanBeth Booth and William PoorRalph and Nancy SchumannBarry and Donna TurnerTom and Sara Wood

BENEFACTOR$500 - $999

AnonymousEdna AppelMr. John Pickett and Mr. Jeff BakerMs. Therese CopelandDr. David Hamilton and Dr. Sheryl ElstonTracy and Kevin Embree

Cindy and David ForceGary and Kristy GronDrs. Dale and Linda GuseBill and Jody HarterKen and Christy LangstonDr. John and Liz LipsonMarshall and Beth MiddendorfRichard and Susan MillerSusan MillerSusan and John NashElizabeth NewlinClyde and Lenora ParrottKevin Preuss and Lisa DuretDr. Sorin PuscaJohn and Donna SasseDonald and Ruth SjaardemaSherry Stark and David TiedeTerry and Linda TrautmanTom and Christine VujovichDavid and Ann WindleyBeulah (Boo) Wuestenfeld In Memory of William R. WuestenfeldAlex and Helen YezeretsRon and Sandy Zimmerman

SUSTAINER$250 - $499

Sharon Sung and Patrick AndrewsDebra and Bruce BattsJim and Joan BickelMr. and Mrs. R.M. BowdenBob and Priscilla BrownDave and Liz ClarkWilbur and Donna CrimJohn and Louise DorenbuschDavid and Wilma DoupE. Jean EllisJoy and Daryl EmeryJohn and Michelle FreedJames and Suellen GillespieRobert and Cynthia HenrichGordon and Annalee HueyDrs. Chris and Tami IorioVirginia KendallTom and Mary KendrickRoger and Janet LangJoe and Lisa LohmeyerDon and Diane MichaelDelilah and Douglas NewtonDon and Kay NiemoellerDick and Nancy NyersWayne and Henri NyffelerSusan Pickens and David BorcherdingDr. and Mrs. Edward L. ProbstCharles and Judy RichardsonMarilyn RichardsonTheodosia RushMr. and Mrs. Hutch SchumakerRick and Philippa SheddJo StattenfieldMr. and Mrs. Robert H. ThomasBetty TuttleGeoffrey and Adele VincentLarry and Anne Waskom

PATRON $100 - $249

Mary Clerkin and Aaron AllardTed and Donna AndersonAlbert and Ingrid AskerbergLaura BakerSharon BaldwinMr. and Mrs. Robert BanisterThomas BaughWarren and Janice BaumgartPaul and Pat BippenTalmage and Elizabeth Bosin In Honor of David and Donna BowdenWilna BraunRex and Kathy BreedenGeorge and Marguerite BrueggemannCharlie and Miriam ByersMr. and Mrs. Lowell CarterWilliam and Jacqueline ChambersKwok-Sang and Linda ChuiCarolyn L. ClarkGrace A. CoynerPaul and Jeannette DavisBob and Ellen DeDomenic In Memory of Bruce BottumRonald Dehnke In Memory of Eileen DehnkePeggy C Dell In Honor of Kathy DellJudy and Charles DeweyLarry and Karen DurnilNancy and Joe DuttonJohn and Melissa FairbanksGary and Cindy FelstonPaul and Karen FinkeSandy FinkelRichard and Joyce FleckBasil and Nancy FritschClifford and Janice GardnerJim and Nancy GreenJoyce R. HeckmanTom and Sandi HinshawRebecca HoffmannLeah HookerTim and Wanda HuffmanLaura HurtStephanie Johnson In Honor of Stephanie and family, Shannon and family, and D.R. and MargieJohn and Elizabeth KestlerMr. and Mrs. Joe KindermanJim and Nancy KistlerBruce and Mikaële KlopfensteinGlory Kulczycki and Art HopkinsRyan LauerDebbie and Carl LienhoopBill and Karen LionMr. and Mrs. Edmund LudlowShirley LysterVerl and Marilyn MauzyJulie and Harry McCawley

Mary Ann McCray and Family In Honor of the marriage of Melinda Engelking and Kenneth DeLapMr. and Mrs. William F. McCulloughLisa and Paul McHoneDan and Tess McKinleyJoyce MeierCarol and Tom MoteDon MungerPhil and Jane NewtonTerri OlmsteadGrace OrrSrikanth Padmanabhan and Usha RaghavanJohn and Margaret ParkeElizabeth PerrDan Pfaff, M.D.Chris J. PriceRovene QuigleyCharles and Joan RauJim and Mimi RiffleDr. and Mrs. Gary Schaar In Memory of Kris W. KindelspergerIlya SchwartzmanJoe and Lisa ShafranJudy ShepherdG. Karen ShrodeSam and Fran SimmermakerDean and Suzanne SmithMartha SmockHenrietta and Smith SnivelyFrank and Carolyn SouzaFred and Jane Anne StadlerMark and Rebecca StempelRandall TuckerShirley WagnerMr. and Mrs. Don WamplerRobert and Norma WebbJim and Betty WelchAmanda WilliamsBob and Kay WilliamsGert and Tom Woods

FRIEND Up to $99

AnonymousABC Stewart SchoolDede AbtsYvonne AchterbergDon and Kathy BensonAnnette Winter BottumCarolyn BowdenAllen and Irene BreedMelvin BuchananStephen and Judy CecilMarlene ChestnutJames and Saundra CoffmanJacyln CottonRuth DaveeWayne and Teresa EberhardWilliam and Louise EhrensbergerDoris A. FarmerBarbara and Bill FoxVelma and Hunter Goin

Tom and Adrienne GoingBrad and Jeannine GonsalvesDarrel and Mary GreathouseSandy HammonsDon and Patsy HarrisDel and Marlene JacksonJohn and Nancy KesslerDel and Janet KloekerLarry and Lynn LucasCarole Marshall In Memory of Charles and Marie SchwackeJon and Nancy MooreSandy NeidighIrma NemethJoyce and Jay Nogan In Memory of Kris W. KindelspergerChip and Julie OrbenRyan PivonkaVince and Marge PongraczMargaret Radke In Memory of Andie ConlinRepp Associates FoundationMr. and Mrs. Wendell RossTony and Christine SandersMary Lou TellmanT. Joe TowerLisa WestmarkBonnie WhismanGreg and Camille Willmore

HEARTSTRINGSHeartstrings donations enabled us to share the joy of music with those who otherwise would not have been able to attend a concert.

Sharon BaldwinPauline BarnesLinda BeckerBob and Priscilla BrownTom and Shirley BrownGeorge and Marguerite BrueggemannMr. and Mrs. John BurnettMr. and Mrs. Wallace CantrellWilliam and Jacqueline ChambersPat and Bev DavidDoris FarmerRichard and Joyce FleckCindy and David ForceJames and Suellen GillespieBob and Helen HaddadElizabeth HarrisonDon and Dody HarveyRuth HenneyMr. and Mrs. James HendersonNorma KingKevin and Lorrie MeyerKevin Preuss and Lisa DuretDr. Richard L. PitmanJohn and Nancy SawinSam and Fran SimmermakerBetty TuttleAlex and Helen YezeretsDr. John WallDavid and Ann Windley

2014-2015 Season 35

$500,000 AND UPMr. and Mrs. Robert Haddad, Sr.

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

Henderson

Xenia and Irwin Miller and the Estate of

Clementine Miller Tangeman

$25,000 - $59,999Mr. and Mrs. Marion Dietrich

David M. and Barbara A. Kirr

Will Miller and Lynne Maguire

Mr. and Mrs. John Nash

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

Alice and Jerry Curry

Mr. and Mrs. William Hunt

The Notables of the Philharmonic

Mr. and Mrs. Robert Orben

Joan and Howard Pearcy

Mr. and Mrs. Mike Ryan

Margaret J. Stevenson

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

Mr. David Borcherding and Ms. Susan Pickens

Dr. and Mrs. David Bowden

John and Kaye Ellen Connor

Ed and Vivian Eckerly

David and Cindy Force

Bill and Jody Harter

Mr. and Mrs. Don Harvey

Louise Hillery

Tom and Sandi Hinshaw

Dr. and Mrs. John D. Lipson

Mr. and Mrs. Dan McElroy

Don and Diane Michael

Lori Phillips

Bruce and Natalie Pollert

Mrs. Jane Hoffmeister Repp

Robert and Mary Williamson

UP TO $999Ingrid H. and Albert E.

Askerberg, Jr.

Gary and April Bardonner

Mr. and Mrs. Calvert Brand

Peggy Dell

Mr. and Mrs. John F. Dorenbusch

Greg and Carol Kostrzewsky

Lisa Marchal

Steve, Michele and Katherine Marshall

Mr. and Mrs. William E. Poor

Mr. and Mrs. John Revell

Mrs. Adrienne Savage

Carolyn and John Seltzer

Henrietta and Smith Snively

Mrs. Marian J. Stark

Sharon Stark

Mr. and Mrs. Dearl Sweeney

Geoffrey and Adele Vincent

Joan Vogel

Bill and Sheryl Ziegler

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

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

Rick and Alice Johnson • Jenny JohnsonHarry McCawley • The Republic

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:

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

Securing the Legacy 2013-2014The 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, 2014, pledges and donations have been received from:

36 2014-2015 Season

C. Richard MarshallAttorney at Law

Force Construction Company, Inc.INSURANCE SERVICES

MPACT FORGE GROUP, INC.Division of H.H.I.

ELG

REAMS ASSET MANAGEMENTCOMPANY

Psi Iota Xi

Bob and Helen Haddad

The Johnson Family

Carl Marshall Reeves and Mildred Almen Reeves

Foundation, Inc.

City of ColumbusKristen Brown, Mayor

unexpected.unforgettable.

ENKEI AMERICA

BRAVO $10,000+ GOLD BATON $5,000+

The Philharmonic gratefully acknowledges the following organizations for their support of events and programs during the 2013-2014 season.

Haddad Foundation

Mike & Jodi Engelstad

OLD NATIONAL BANK

Marshall & Beth Middendorf

Elizabeth R. and Walter C. Nugent

Foundation

2013-2014Corporate Partners


SILVER CIRCLE $2,500 +

2014-2015 Season 37

CONDUCTOR’S CIRCLE $1,000+

To become a corporate partner, please call 812-376-2638 x113.

Clarence E. and Inez R. Custer

Foundatoin

Hazel TeegardenFoundation

BENEFACTOR up to $999

40 et 8 Voiture 1274American Legion Post 24AMVETS Post 509Aton’s Self StorageBartholomew Consolidated School CorporationBartholomew County Courthouse StaffBartholomew County Reserve Deputy OrganizationBistro 310Boy Scout Troop 588David and Donna BowdenMarie BraunellerJudy CecilCentral Middle SchoolJeremiah ChandlerMary ClarkClaudia’s Flora BundaCoca-Cola Bottling CompanyColumbus Area Arts Council

Columbus City Hall StaffColumbus City Sanitation DepartmentColumbus Container, Inc.Columbus East Band BoostersColumbus North Band BoostersColumbus Police DepartmentThe CommonsChris CrawlCummins, 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 Farms

Bob and Helen HaddadBob and Juanita HardenHeavenly Handyman – Joe KindermanHeritage Fund of Bartholomew Co.Indiana State PoliceJacksson Contemporary Art Joint Force Headquarters, IndianaKinney PaperLarry E. Nunn & AssociatesJohn SadauskasLHP Software, LLCLiberty Advance Machine, Inc.Lovelace ElectricSamantha McAllisterMeridian MusicMilestone ContractorsNoodles & CompanyNorth Christian ChurchSam and Grace Pentzer Pentzer Printing

Debbie PetersTony & Margie PottorffPuccini’s Smiling TeethQMIXQuickSignsSavory SwineTD AdvertisingThe RepublicRumpkeJohn SadauskasSmith’s RowSt. Paul’s Episcopal ChurchStuckey’s Piano ServiceTom Pickett’s Music CenterUnited Way of Bartholomew CountyVFW Post 1987White River BroadcastingWFIU

IN-KIND AND CONTRIBUTED GIFTS AND SERVICES

2013-2014Corporate Partners

Shirley and TomBrown

38 2014-2015 Season

1. Name (please print)

Address

City State Zip

Phone Email

Please list me/us as (please print)

2. I/we are contributing a total of $ r Total enclosed r Two increments r Three increments r Four increments of $ each

Months to invoice:

r Check enclosed r Visa r MasterCard r Discover

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For gifts of stock, please call 812.376.2638 x113

3. This gift is r in Memory r in Honor

An acknowledgement of your kindness will be sent to the person(s) listed below:

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You have the opportunity to help guide your gift:r Use my gift to support musical programming (musicians,

guest artists, and concerts)

r Use my gift to support youth programming

r Use my gift where most needed

It is only through your support and the generous support of this community that the Philharmonic is able to:

• fulfill its mission to make music

• educate all ages in the joy of music

• create performances in pursuit of the highest artistic achievement

• and advocate a life long interest and involvement in music

Support MUSIC & ARTS

Support the ORCHESTRA

Support EDUCATION

Return toColumbus Indiana Philharmonic

315 Franklin StreetColumbus, IN 47201

Questions? Call 812-376-2638www.thecip.org

DONATION LEVELS

2014-2015 Annual Fund Driver Bravo! $10,000+

r Encore $7,500–$9,999

r Gold Baton $5,000–$7,499

r Silver Circle $2,500–$4,999

r Conductor’s Circle $1,000–$2,499

r Benefactor $500–$999

r Sustainer $250–$499

r Patron $100–$249

r Friend Up to $99

2014-2015 Season 39

40 2014-2015 Season

The Indiana University Singing Hoosiers have a long and storied tradition of excellence in the contemporary vocal arts, performing popular contemporary vocal music ranging from The Great American Songbook, jazz, Broadway, to the hits of today. Dazzling choreography and a fun, energetic and entertaining program that appeals to all audiences and all ages are a part of a Singing Hoosiers performance. The ensemble averages 85 student singers and instrumentalists from the IU Jacobs School of Music as well as students from throughout the university. Smaller, more select groups exist from within the larger ensemble. Auditions for The Singing Hoosiers take place at the start of the school year in the fall,and are open at any Indiana University student, regardless of major.

As Indiana University’s ambassadors of song, the Singing Hoosiers continue more than half a century of tradition. In the early 1950s, the Men’s Concert Choir was one of only three choral ensembles in the fledgling IU Jacobs School of Music, and had 50 members. After a performance at a football rally, an announcer said: “With a basketball team like the Hurryin’ Hoosiers, a football team like the Fighting Hoosiers, we oughta call these guys the Singing Hoosiers!”

The name stuck. Soon, female voices were added and the ensemble has steadily grown. The Singing Hoosiers have entertained millions in 18 states and more than 26 countries, including Europe, Australia, Asia, and the Caribbean.

Annually, the Singing Hoosiers perform several concerts touring “on the road” and also at home on the campus of IU Bloomington, including the Chimes of Christmas concert in December and the Annual Spring Concert in March, held in the IU Auditiorium. The group also sings at Big 10 athletic events.

Indiana University Singing Hoosiers

“I’m excited for this concert because both choral and orchestral music are such wonderful forms of art. The thought of two exceptional ensembles combining both of these things is just fantastic.”

– Kevin Rudzinski

Kevin Rudzinski

Columbus’ Connections

to the Singing

HoosiersEmmaline Terry

“On behalf of the Indiana Universtiy Singing Hoosiers and the new Jazz Voice Program at IU, we are thrilled to be able to collaborate with the Columbus Indiana

Philharmonic tonight, and we hope you enjoy the concert.”

– Steve Zegree

2014-2015 Season 41


Saturday, February 7, 2015 at 7:30 pmErne Auditorium, Columbus North High School


Indiana University Singing Hoosiers Steve Zegree, Director

Hoagy & Cole

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This evening’s program will be announced from the stage

including

Star DustBegin the Beguine

Brush Up Your ShakespeareIn the Cool, Cool, Cool of the Evening

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Up a Lazy RiverToo Darn Hot

Georgia on My MindNight & Day

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SEASON TITLE


CONCERT SPONSOR

INSURANCE SERVICES

CONCERT PARTNER

“The opportunity to play with the Philharmonic as a Student Apprentice has been one of the most exciting and fulfilling things that has ever happened to me! I feel so privileged to perform with such exceptionally skilled musicians, and I have greatly enjoyed playing the different styles of music in each concert. Each performance is a thrill!”

– Madeline Bowling

Madeline Bowling Violin

42 2014-2015 Season

Jan BrinkmanABR, CRS, GRI, LTG, PMN, SRES

2012 InternatIonal Hall of fame

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2014-2015 Season 43

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44 2014-2015 Season

Through the innovative integration of live symphonic music and multi-image projected photography, James Westwater has created the art form of photochoreography. For over 25 years, he has performed his symphonic photochoreography as a guest artist with orchestras across North America.

In the synthesis of classical music and photography, Westwater recognized the potential for communicating with audiences in innovative ways.

His intent is not to develop a visual language to interpret the meaning of a composer’s score. Rather, by melding the strengths of two separate art forms, Westwater tries to communicate what he thinks and feels about subjects that are meaningful to him and which he believes are valuable to life.

The Indianapolis Symphony Orchestra, when Raymond Leppard was Music Director, commissioned Westwater to create three pieces of nature photochoreography set to Haydn’s Symphonies No. 6, 7 and 8.

Twice a National Endowment for the Arts Resident Artist, Westwater has photographed in Alaska with the Institute of Polar Studies and in Antarctica as the National Science Foundation’s Artist-in-the-Antarctic. He is a past fellow of The Explorers Club and a recipient of the Antarctic medal. His work has been performed before audiences of the National Academy of Science and the World Congress of Local Government.

Westwater’s formal education encompasses a variety of interests. He earned his Ph.D. from The Ohio State University with studies in philosophy, art history, educational development, cinema and multimedia. He now resides in Utah, close to the gorgeous mountains, deserts and canyon country he loves.

PROGRAM NOTES


John Williams — Lincoln (excerpts from movie soundtrack)

Few modern composers have achieved the leve l o f name recognit ion enjoyed by John Williams. Composer of scores to such popular films as Jaws, Close Encounters of the Third Kind, E.T., and of course Star Wars, Williams has managed to bring modern classical music to the ears — and record shelves — of many American families who have never even heard of Robert Schumann or Gustav Mahler.

Born in New York in 1932, John Williams studied piano from a young age. After studying for some time with pianist-arranger Bobby Van Eps, Williams entered the Air Force, where he served as an orchestrator and conductor for service bands. In the early 1970s, Williams suddenly became the composer of choice for many of Hollywood’s biggest filmmakers. He composed the score for Alfred Hitchcock’s film, Family Plot, as well as scores for many of the popular disaster movies of that decade, including The Poseidon Adventure, The Towering Inferno, and Earthquake.

He developed a special relationship over the years with Steven Spielberg, for whom he has now scored some 26 films. Among those was the 2012 historical drama, Lincoln. Though the score bears Williams’ unmistakable stamp, it is generally subdued compared to most of his work. Drawing its primary inspiration from Americana of the 19th century, the score serves a mostly subliminal role in the film. In concert, its tenderness shines through, demonstrating why Williams earned his 43rd Oscar nod for the score.

Mays — A Portrait in Blue and Gray

Earl Mays passed away in 2007, and today it’s hard to find much mention of him in books or other publications. He was, by multiple accounts upon his death, a long-beloved band

James Westwater

Richard S. Eynon is the founding member of the Columbus firm of Eynon Law Group, P.C. Rich’s primary practice focus is civil litigation, consisting of personal injury, wrongful death and corporate litigation.

His interest in the life of Abraham Lincoln has been ongoing for many years. His first “appearance” as Mr. Lincoln occurred about 6 years ago when he spoke to a group of children at First Presbyterian Church. Rich also portrayed Abraham Lincoln several more times including at St. Peter’s Lutheran School, the local middle schools and before a class at the Indiana University Law School in Bloomington.

Locally, Rich has been involved with numerous civic activities including Y-Med, Girls Club, Meridian Kiwanis, Family Services and, of course, Columbus Indiana Philharmonic.

Rich has 3 adult children and 6 grandchildren. He enjoys lake living, playing golf and still shoots some hoops on occasion with other former basketball enthusiasts.

Richard S. Eynon

2014-2015 Season 45

“I’ve been involved with the Phi lharmonic Youth Orchestra since 3rd grade and being the concertmaster for my last two years of high school has helped me prepare for my future as a leader in music business. I apprec ia te

the relationships I’ve developed with my peers and conductors. Last year auditioning for the apprenticeship position with the CIP was huge for me. It has been an excellent experience playing with a professional orchestra and growing as a musician.”

– Michael Freed


Saturday, March 28, 2015 at 7:30 pmErne Auditorium, Columbus North High School


Richard Eynon, Narrator

CICC Ensemble Ruth Dwyer, Artistic Director

James Westwater, Photochoreography

Music from Lincoln John Williams Elegy Getting Out the Vote The People’s House With Malice Toward None

A Portrait in Blue and Gray arr. Mays Kingdom Coming Tenting Tonight on the Old Campground Tramp! Tramp! Tramp! The Battle Cry of Freedom

Battle Hymn of the Republic Steffe/Wilhousky

Liberty for All James Beckel

Freedom!CONCERT CO-SPONSORS


ELG

SEASON TITLE


INTERMISSION

O Captain! My Captain! Kurt Weill

Harriet Tubman Robinson/Runyan

Go Down Moses traditional

Steal Away traditional

Ford’s Theater Ernst Bacon Preamble Passing Troops Walt Whitman and the Dying Soldier Pennsylvania Avenue, April 9, 1865

Lincoln Portrait Aaron Copland

Michael Freed Violin

46 2014-2015 Season

Andy Mann, AAMS®(812) 378-10183200 Sycamore Ct.Suite 1AColumbus, IN 47203

David Weiss(812) 375-9160713 Third StreetColumbus, IN 47201

Jon Royer(812) 378-0475723 Washington Street Columbus, IN 47201

Bob Lewis, AAMS®(812) 378-5495430 4th StreetColumbus, IN 47201

Betsy Free(812) 378-00221712 Central Ave.Columbus, IN 47201

James R. Ostermueller, AAMS®(812) 376-03705532 25th StreetColumbus, IN 47203

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Ken Free, CFP®(812) 378-00221712 Central Ave.Columbus, IN 47201

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Eric Robbins(812) 342-81933525 Two Mile House Rd. Columbus, IN 47201

Andy Hall(812) 378-20121505 25th StreetColumbus, IN 47201

2014-2015 Season 47


director at The Citadel military college in South Carolina; and when he wasn’t on the podium, he was often scoring music. Upon his death, Tony Award-winning orchestrator Stuart Malina wrote that “Earl was a magnificent orchestrator — he really understood how to write for symphony orchestra.”

Ultimately, Mays’ lack of name recognition likely has much to do with the fact that he devoted himself to the music of others. He arranged familiar songs and medleys for big band, pops orchestras — you name it. As his numerous arrangements make plain, he made it his job to stay out of the way of a great tune.

His “Portrait in Blue and Gray” is a special case in that regard: a collection of Civil War-era songs that today are mostly forgotten. Yet, like Mays’ own work, one can hardly fault the quality of these songs, which include “Kingdom Coming,” “Tenting Tonight on the Old Campground,” “Tramp! Tramp! Tramp!,” and finally one that we all know, “The Battle Cry of Freedom.”

James Beckel — Liberty for All

Indiana composer Jim Beckel has created a niche for his compositions by filling niches. He has written a hol iday fanfare for Christmas concerts, filling a rather surprising gap in the season’s orchestral repertoire. He has written a piece, titled Waltz of the Animals, to provide orchestras with an option for children’s concerts beyond such overplayed standbys as Carnival of the Animals.

Liberty for All was, in its own way, another work to fill a niche — in this case, the surprising shortage of contemporary classical works that befit an American Independence Day program. Built around narrated quotes from the Declaration of Independence, George Washington, Abraham Lincoln, and John F. Kennedy, the stirring music evokes a sense of patriotism while reflecting contemporary music as well.

The piece was premiered in 2000 by the Indianapolis Symphony and the Carmel Symphony (the latter under the baton of CIP conductor David Bowden) as part of a nationwide program that linked communities with composers to celebrate the new millennium. More than 75 orchestras have since performed it across the United States.

Robinson / Runyan — Harriet Tubman

Philadelphia-born composer and bassist Walter Robinson grew up steeped in America’s great musical traditions. In high school, he was invited to sit in with John Coltrane at a jazz gig at New York’s famed Five Spot; he also received musical training from jazz piano legend Bill Evans. In his early 20s, he began a long musical affiliation with folk icon James Taylor. And throughout, he made music of his own.

One of his primary mentors was E.Y. “Yip” Harburg, perhaps best-known as the lyricist who gave us “Over the Rainbow.” Harburg’s reverence for old slave spirituals — in particular “Swing Low Sweet Chariot,” which Harburg once proclaimed “the greatest song ever written” — profoundly influenced Robinson.

That influence saturates his best-known piece, a musical ode to one of the great heroes of emancipation, Harriet Tubman. Simple yet stirring, this piece has become a staple on children’s choir concerts since its premiere in 1977. In this transcription by Mike Runyan, librarian of the Indianapolis Symphony Orchestra, the innocence of children’s voices rise above the orchestra to tell one of the most inspiring stories in American history.

Kurt Weill — Oh Captain! My Captain!

Though he was born in Germany and steeped in the avant garde musical culture of the early 20th century, Kurt Weill ultimately became best known for his prodigious output of populist songs and boundary-

breaking works for the musical stage. In 1927, Weill began a long collaboration with the playwright Bertold Brecht. Together the two created a series of influential and acclaimed works for the stage, including The Threepenny Opera (we all know that work’s most famous tune, “Mack the Knife”).

In 1935, Weill moved to New York City, and immediately fell in love with the cosmopolitan culture and music of the city. Recognizing that Broadway represented the new epicenter of the musical stage, he embraced an even more populist style than before; Broadway, in turn, embraced him.

When the Japanese bombed Pearl Harbor in 1941, Weill was as rattled as any born American. For inspiration, he turned to the words of Walt Whitman, a poet he had previously proclaimed “the first truly original poetic talent to grow out of American soil.” In Leaves of Grass, he found the poem “Oh Captain! My Captain!” and soon set about giving it music.

Like the poem itself, the brief and lyrical song takes the listener from triumph to tragedy as a sailor realizes his captain has died in a victorious battle.

Aaron Copland — A Lincoln Portrait

Aaron Cop land was a c i t y boy through and through, a cosmopolitan product of the bustling streets of New York City and the intellectual and artistic scene of early 20th century Europe. Born in 1900, Copland solidified his musical voice under the teaching of Nadia Boulanger, a French composer who would go on to teach many of the leading musicians of the century.

Immersed in the European world of Stravinsky, Schoenberg and Debussy, Copland started out composing music that pushed hard at the cutting edge, employing sharp dissonance and complex musical structures. But after returning to the


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United States, Copland began to feel that the music of the moderns was growing increasingly disconnected from the realities of ordinary people. Starting in the mid-1930s, he began seeking a style “that would immediately be recognized as American in character.”

Somewhat ironically, this Brooklyn-born intellectual of Russian-Jewish descent found his inspiration in the iconic stories and places of rural America. Today, his name is most widely associated with three ballets — Rodeo, Appalachian Spring, and Billy the Kid — as well as the heroic Fanfare for the Common Man, all of which reflect that vein of inspiration.

Though no other composer is more generally associated with an American spirit in the classical music hall, A Lincoln Portrait is arguably Copland’s most overtly patriotic work. Commissioned by the conductor Andre Kostelanetz in the early years of World War II, the piece reflects the greatest aspirations of our country by quoting directly from the words of one of history’s great orators and proponents

of democracy, Abraham Lincoln.

One should not enter into this three-part work expecting simple flag-waving. From the outset, the composer approached the music with a certain ambivalence: “I was skeptical about expressing patriotism in music,” he wrote later. “It is difficult to achieve without becoming maudlin or bombastic, or both.”

By employing Lincoln’s own words with a few stanzas of his own and by framing it all within a dramatic yet searching musical score, Copland found an inspiring middle ground. “I hoped to suggest something of the mysterious sense of fatality that surrounds Lincoln’s personality, and near the end of the first section, something of his gentleness and simplicity of spirit,” explained the composer. “I was after the most universal aspects of L incoln’s character, not physical resemblance...In the conclusion, my purpose was to draw a simple but impressive frame around the words of Lincoln himself-in my opinion among the best this nation has ever heard to express

patriotism and humanity.”

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50 2014-2015 Season

Mary Claire King is thrilled to return home to perform as a soloist with the Columbus Indiana Philharmonic. She first sang with the Philharmonic as a proud member of the Columbus Indiana Children’s Choir. A graduate of North High School, Mary Claire was often seen on stage in the Judson Erne Auditorium. From performances with North Drama, to show choir, to Mill Race Players, to Christie’s Dance Studio – involvement in strong community arts programs built her foundation for success.

Mary Claire holds a Bachelor of Fine Arts from Syracuse University, yet remains an avid IU basketball fan and Hoosier at heart. Professional credits include the Broadway First National Tour of Catch Me If You Can, Oliver! at the prestigious Paper Mill Playhouse, and the roles of Penny Pingleton in Hairspray and Lois Lane in Kiss Me, Kate at Merry-Go-Round Playhouse.

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Mary Claire King

Announcing a new Philharmonic Series...

Check our website for more information: www.thecip.org

2014-2015 Season 51

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SEASON TITLE



Saturday, April 25, 2015 at 7:30 pmErne Auditorium, Columbus North High School


Mary Claire King, Vocalist

The Philharmonic Chorus David Bowden, Music Director

Procession of the Nobles from Mlada Nicolai Rimsky-Korsakov

Bridal Chorus from Lohengrin Richard Wagner

I Can Cook, Too! from On the Town Leonard Bernstein

Fly, Fly Away from Catch Me if You Can Shaiman & Whittman

“Can Can” from the Overture to Jacques Offenbach Orpheus in the Underworld

Triumphal Scene from Aida Giuseppe Verdi

Intermezzo from Cavalleria rusticana Pietro Mascagni

The Trolley Song from Meet Me in St. Louis Martin & Blane

INTERMISSION

Coronation Scene from Boris Godunov Modeste Mussorgsky

Polovtsian Dances from Prince Igor Alexander Borodin

Stranger in Paradise from Kismet Wright & Forrest

Pilgrims’ Chorus from Tannhäuser Richard Wagner

Forget About the Boy from Jeanine Tesori Thoroughly Modern Millie

Maybe This Time from Cabaret John Kander

Tonight Quintet from West Side Story Leonard Bernstein

INSURANCE SERVICES

“The Phil not only provides the high-quality music but a l so advocates music within the community.It is my pleasure to play great music with o ther ta len ted musicians for the c o m m u n i t y i n which I reside. The

Adventure Concert is always the concert I look forward to---very informative, educational and has lots of interaction with children in South Central Indiana. The Requiem is also something I look forward—it is so powerful and touching when orchestra and chorus perform together in the church.” – Karmen Peng

Karmen Peng Cello

52 2014-2015 Season

2014-2015 Season 53

May 16, 2015

Save the Date for

Patrick and Sharon Andrews Steve and Mary Arnholt Jeff Baker and John Pickett Roger and Jan Brinkman Todd and Deborah Burbrink Sarah and Jeff Bush Shawn and Abbie Bush Sarah Cannon A. Scott Cole Chuck and June Corbin In memory of Dennis KingDon and Jean Duerstock In memory of our deceased

loved onesJodi and Mike Engelstad Dave and Ella Elwood In honor of William G. Elwood

Karl and Jamie Evans Sherm and Jacquie Franz In memory of Nancy MarbleKen and Kathy Free David and Betty Gallagher Steven Hackman Don and Dody Harvey Don and Paula Herlitz Jack and Sarah Hess Katherine Johnston Michael and Lillian Jordan Peter and Cathy King Tom and Pam Lego Courtney McCoy Dan and Elli McElroy

Brenda and Rick Merkel Marshall and Beth Middendorf Mr. and Mrs. Paul Nolting Wayne and Henri Nyffeler Pia O’Conner Bob and Mary Orben Ching-Ju (Karmen) Peng In honor of my parents Hsueh-

Feng Peng and Sarina HuCharlie and Suzie Rentschler Sorin Pusca John and Nancy Sawin Ted and Janet Sharpe Caitlin Smith Sherry Stark and David Tiede Barry and Donna Turner

In addition to the donors listed on page 30, the following people gave generously to the “Fund-a-Need” opportunity at The Phil’s Maine Event: Lobsterfest.

54 2014-2015 Season

Blackerby’s Hangar 5 Proudly Presents

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2014-2015 Season 55

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ColumbusIndianaPhilharmonic

David Bowden, Music Director & Conductor

56 2014-2015 Season

As Franciscan St. Francis Health celebrates a centennial of providing care to our neighbors throughout south central Indiana, we are pleased to announce the opening of a new primary and specialty care office in the Columbus community.

Our board-certified physician, Teresa Lovins, MD, offers care for the entire family at Columbus Primary & Specialty Care. A member of the Franciscan Physician Network, her new office is located at 123 2nd St. Please call the office for appointment information. Additional specialty care services will be added over the coming months.

We are proud to be a part of Columbus, and we invite you to get to know us.

Care for your entire family.

FranciscanDocs.org123 2nd St.Columbus, IN(812) 342-3339

PHILHARMONIC EDUCATIONAL PROGRAMS

Strings in the SchoolsGrades 1 – 6

Philharmonic Youth Orchestra (PYO) Grades 7 – 12

PYO Regional Strings Invitational Grades 7 – 12

JCB Adventure Concerts Grades 3 - 4

Strings Camp Grades K - 12

CICC Preparatory Choir Grades 1 – 3

CICC Descant Choir Grades 4 – 6

CICC Concert Choir Grades 4 - 8

Hoosier Hills Choral Festival Grades 4 – 8

Choral Festival Summer Camp Grades 4 – 8

Philharmonic Chorus High School and Adult Singers

Jammin’ with the Phil Phil Harmonic at kidscommons and FFY

Musicians in the Schools Philharmonic musicians visit schools

Musically Speaking Pre-concert conversations with guest artists

Partners in Education Adult Education classes

Behind the Scenes Philharmonic musicians visit retirement communities

Phone 812.376.2638Email [email protected] www.thecip.org

2014-2015 Season 57

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58 2014-2015 Season

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P I A N O T U N I N G

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2014-2015 Season 59

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62 2014-2015 Season

Enjoy this performance –and ours!

Classical Music With:

Michael Toulouse 6 – 9 a.m. weekdays

Meredith Granger 4 – 7 p.m. weekdays

Peter Van De Graaff Midnight – 6 a.m. Mon. – Fri.

Exploring Music with Bill McGlaughlin 7 – 8 p.m. weekdays

Hear our programs on WICR–FM/HD 88.7

ALLEN WHITEHILL CLOWESCHARITABLE FOUNDATION

f a s i n d y. o r gf a s i n d y. o r g

...and more!

2014-2015 Season 63

MEMBERS

Notables

Edna AppelSharon BaldwinBonnie and David BoatwrightBob BrownMarlene ChestnutMary ClarkLouise DorenbuschJayDee EdgellElla ElwoodBobbie EvansRichard and Joyce FleckKathy FreeCamilla GehringRobert and Helen HaddadBill and Jody Harter Wendel and Dawn HauckRobert and Cynthia HenrichBob and Susan HoffmanLeah HookerKatie JeromeRick and Alice JohnsonVirginia F. JohnsonPam LienhoopCarole MarshallEdrie and Jim MartinJudy McCormickElli McElroyTessa MilroyRobert and Mary OrbenLenora and Clyde ParrottMary Ann PattersonMark and Linda PillarBeth and Bill PoorMargaret PowersMarilyn RichardsonNina RothbartJan SellSam and Fran SimmermakerTerry and Linda TrautmanDon and Peggy Wampler

The Notables of the Philharmonic extend a warm invitation to you to join us. We support the mission of the Philharmonic by donating our time and our talents. At Philharmonic concerts, we usher, provide coat check services and offer concessions for sale. We sponsor musical events and trips that are enjoyable and help raise funds in support of the Phil’s music education programs and the Principal Flute Chair, held by Kathy Dell.

64 2014-2015 Season

Advantage Heating & Air .......................................... 49

Aton’s Storage ........................................................... 42

Bistro 310 ................................................................ 49

Blackerby’s Hangar 5 ................................................. 54

Jan Brinkman - Century 21 Realtors ........................... 42

Coca-Cola Bottling Co. .............................................. 33

Columbus Hotel Center ............................................ 59

Columbus Optical ..................................................... 58

Columbus Regional Health ................. inside front cover

Columbus Visitor’s Center .......................................... 49

Dell Brothers, Inc. ..................................................... 16

Donaldson Capital .................................................... 49

Edward Jones ........................................................... 46

Fine Arts Society ........................................................ 62

First Financial Bank ................................................... 46

Folger’s Four Seasons Florist ...................................... 23

Forman Investment Services ...................................... 43

Four Seasons Retirement Center ............................... 26

Franciscan Physician Network ................................... 56

Gausmann Family Dental ......................................... 61

Jim Gordon, Inc. ...........................................back cover

Kirr, Marbach & Company, LLC .................................. 28

Larry Nunn & Associates, CPA, LLC ............................ 58

Lawson, Pushor, Mote & Gamso ............................... 42

Liberty Advance Machines, Inc. ................................. 61

Lockett’s Ladies Shop ................................................. 23

Lohmeyer Plumbing ................................................. 48

C. Richard Marshall Law Offices ................................ 61

Nolan G. Bingham, Architect P.C. .............................. 64

Noodles & Co. .......................................................... 49

Office Pride ............................................................... 60

Pacheco Winery ........................................................ 57

Pentzer Printing, Inc ........................... .inside back cover

Pollert Design Associates, Inc. ................................... 48

QuickSigns ............................................................... 58

Reising Radio Partners ............................................... 59

SIHO Insurance Services ............................................ 61

Smith’s Row Restaurant ............................................. 59

Sound Hearing Solutions .......................................... 61

Stuckey’s Piano Service .............................................. 58

td|advertising ............................................................ 62

The Republic ............................................................... 1

Tilson HR .................................................................. 48

Tipton Lakes Co., Inc. ................................................ 18

TLS.net, Inc. .............................................................. 39

Tom Pickett’s Music Center ......................................... 43

Toyota Industrial Equipment Manufacturing, Inc. ...... 32

White River Broadcasting .......................................... 63

Zeller Insurance ........................................................ 60

Sandra Zimmerman, Counseling ............................... 64

Index of Advertisers

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

404 Washington Street, Suite 203 • Columbus, Indiana 4721Phone (812) 343-4519

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

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.

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.

Jim Gordon, Inc.Office Technology Headquarters

• Sales

• Service

• Leasing

4520 Progress Dr., Columbus(812) 372-7871 (800) 832-5391

800 S. College Ave., Bloomington(812) 332-5797 (800) 446-6998

www.jginc.com

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