2015-16 Philharmonic Concert Program

8/15/2019 2015-16 Philharmonic Concert Program

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2015-2016 Season

David Bowden, Music Director

COLUMBUS INDIANA

JOURNEY usical M

Philharmonic


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Wellconnect Cancer

Heart

Joint & Spine

Lung Endoscopy

CRH Physicians

Robotic Surgery

As a Philharmonic title sponsor, we understand

the healing power of music.


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12015-2016 Season


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10 2015-2016 Season

Jennifer Kirby

Meet Your Musicians

Benjamin HoffmanConcertmaster Sponsored by Ben & Pat Bush

Eliot Heaton Assistant Concertmaster

Juli EnzingerSponsored by Mark & Linda Pillar

Yerim Lee

Anastasia Falasca

Laura Andrews

Sarah Drake

Ka Mei Camille Poon

Arman Nasrinpay

Qian Zhong

Nick Drumm

Michael Romans

Vanessa EdwardsPrincipal Alice Curry Endowed Chair

Christina Kim Assistant Principal

Nicole Schroeder Anna Czerniak

Katherine Kobylarz

Jo Stattenfield

Richard Silvers

Karen Durnil

Katherine Floriano

Hee Yeon Kim

Esther Roestan

Sun Huh

Logan Strawn Principal Sponsored by Margaret Powers

Haojian Wang

Assistant Principal Emilee Newell

Emily Owsinski

Michael Sinni

Christopher Alley

Daniel Powers

Daniel Wunderle

Yi-ing seng

Erik Torstensen

Liz SeungAh Hong Principal

Mikaële Klopfenstein Assistant Principal

Sonja Kraus

Chris ChoGuilherme Monegatto

Mercedes Lysaker

Karmen Peng

Virginia Joyce Rouse

Cole utino

Kaelen Decman Principal

Brian McAnally Assistant Principal

Mathew BurriSam Loeck

Nate Olson

Kathy Dell Principal Notables Flute Chair

Donna M. Wilson

Jessica Harris

Jessica Harris

VIOLIN 1

VIOLIN 2

VIOLA

CELLO

BASS

FLUTE

PICCOLO

Nancy Argersinger Principal

Annie Corrigan

Jennifer Kirby

OBOE

ENGLISH HORN


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112015-2016 Season

Wendy Muston Principal

Brian McNulty Principal

James Cromer

William Kan

Ashley Cumming

Principal

Kristen Fowler

Eric Dumouchelle

Shaun Cooper

Eric Louie

BASSOON

Krista Weiss

Principal

Stephanie Akau

Erik Franklin

Erik Franklin

Mackenzie Brauns

Principal

Ryan Caldwell

Eric Louie

CLARINET

BASS CLARINET

CONTRABASSOON

HORN

Erich Rieppel Principal Sponsored by Bob & Renée Kasting

TIMPANI

Glen Dimick Principal

TUBA

Alex Krawczyk Principal

Ryan Miller

Sean McGhee

TROMBONE

Eddie Ludema Principal Sponsored by R. Richard & Lindsay Cooley

Leah Hodge

Keith Burton

TRUMPET

PERCUSSION

HARP


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First StepsIn Music

Educational Programs

Jammin’

With

The PHIL Jammin’ with Te PHIL isa free, fun, interactive, and

instructive musical event forchildren. Tese events are

held at kidscommons and

the Foundation for Youth.

First Steps in Music is an early childhomusic and movement program children 3 to 4 years of age. Childexplore their environments throudevelopmentally appropriate activit

which include singing, moving, listenicreating, and playing music. Cladraw from children's songs, folk sonclassical music, and music from a variof cultures, styles and time perito provide a wide and varied musexperience. In addition to being playand enjoyable to children, each clasdesigned to provide a solid foundatfor future musical experiences.

JCB Adventure ConcertsEach year thousands of area 3rd and 4th grade students explthe world of orchestral music. Tese concerts blend education aentertainment. Students are introduced to the instruments of orchestra and explore the way music makes us feel.


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Choral Festival A great way for new singers to learn aboutCICC and the joy of singing with a EAM!Choral Festival is a week-long day campfor children graduating into grades 4-8.

Participants will have lots of FUN singing,playing musical games, learning about vocalproduction, harmony and much more. Tefestival culminates in a public performance with all festival singers performing withthe Columbus Indiana Children’s Choir.Online registration begins January 1 at www.icchoir.org or www.thecip.org.

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

Indianapolis Children’s Choir. Te CICC includes 3 choirs: a Preparatory Choir, Descant Choir and Concert Choir.

Te 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. Te Descant and Concert Choirs are for beginning and more advanced singers.

Tese choirs perform in concerts and at community events.

A vocal assessment helps place your childin the appropriate choir. Assessments maybe scheduled by calling the PhilharmonicEducation Office. 812-376-2638 ext. 7.

Making Music ...


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152015-2016 Season

Bring your instruments to a weeklong day camp for players ofall levels. Beginners are encouraged to attend, even if your childhas never touched a string instrument. Group lessons on violin,

viola, cello and bass are taught by experienced instructors. Artsand crafts, swimming, miniature golf and other outdoor fun arepart of every day’s schedule. Te week culminates with a freeperformance the last day for families and friends. (Grades 1-8)

PhilharmonicStrings Camp

Musicians In

The Schools

Tis program connects the Philharmonic and otherprofessional musicians with area youth. Te musiciansperform at local schools, coach students for competitions,

and speak at school assemblies. Students get to see and hearup close how professional musicians work.

Educational Programs

PhilharmonicScholarships

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

be obtained from the Philharmonic’s Education Office at812-376-2638, ext. 4 or [email protected].


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16 2015-2016 Season

wo-time Grammy Award winner andregional Emmy Award winner, SylviaMcNair lays claim to a three-decade,stellar career in the musical realms of

opera, oratorio, cabaret and musical theater. Her journey has taken her from the MetropolitanOpera to the Salzburg Festival, from the New YorkPhilharmonic to the Rainbow Room, from theRavinia Festival to Te Plaza, from the pages of TeNew York imes and Te Wall Street Journal to theLondon imes and the cover of Cabaret Scenes.Having appeared as a soloist multiple times withnearly every major opera company and symphonyorchestra in the world, this songbird has flown the

classical coop. She’s retracing her star route now with Gershwin, Porter, Sondheim and Bernstein.

Highlights of her 2014-15 season includeperformances with Leonard Slatkin and theOrchestre Nacional de Lyon in Lyon, France, tocelebrate the opening concert of Slatkin’s 70thbirthday season, a New Years Eve gala with theMinnesota Orchestra and the release of Sylvia’snewest recording: Subject To Change! , a cabaretshow about her life in music, recorded live at the Aspen Festival.

Numerous Pops appearances with the New York

Philharmonic, Chicago Symphony, Hollywood Bowl

Orchestra, Pittsburgh Symphony and others continuethe reincarnation of her musical gifts in the most

remarkable ways with the most rewarding results. A

review of her performance with Marvin Hamlisch

and the Milwaukee Symphony Orchestra tells the

tale:" ...she is that rare opera type who really gets the

popular song. She reined in the vibrato and played to

the microphone perfectly. Her matchless enunciation

not only delivered the words and their sentiments,

but also helped to etch the rhythms. Her wonderfully

pure “Summertime,” purged of all diva carrying-on, is

among the best I’ve ever heard.” - Tird Coast Digest

It would be difficult to top Sylvia’s invitations to

sing the Bach B-minor Mass with the Vienna

Philharmonic for Pope John Paul II at Te Vatican

and a recital for Te U.S. Supreme Court by special

request of Justice Sandra Day O’Connor. But, her

engagements for nine of the last eleven summers

at Ravinia Festival with Broadway legends JohnRaitt, George Hearn and Brian Stokes Mitchell are

what her dreams are made of. Her Great American

Songbook cabaret shows have been heard in New

York at the Rainbow Room, Jazz at Lincoln Center,

the Savoy Room at Sheldon Hall, Te Colony in

Palm Beach, Feinstein's at the Regency, Aspen

Music Festival and the famed Oak Room of the

Algonquin Hotel that made critic Rex Reed swoon,

“I could get used to this kind of ecstasy.”

Sylvia has left an indelible audio trail documenting

her vocal prowess with over 70 recordings ranging

from Mozart arias with Sir Neville Marriner and

the Academy of St.-Martin-in-the-Fields to themusic of Jerome Kern and Harold Arlen with

pianist André Previn. Most recently, Sylvia released

a Christmas CD, Peace , and Romance , a disc of Latin

American jazz standards. Peace sold out its first run

in a matter of weeks. Romance received a rave review

from Fanfare Magazine’s Lynn René Bayley: “…

here the record is, and it’s fabulous. In fact, it’s the

biggest surprise of its kind I’ve encountered since

Diana Ross’s live album of Billie Holiday standards.”

A proud Buckeye from Mansfield, Ohio, Sylvia

earned a Masters degree with Distinction from

the Indiana University School of Music, received

honorary doctorates from Westminster College

(1997) and Indiana University (1998), the Ohio

Governor’s Award for Outstanding Achievement

in Arts and Entertainment (1999), and the Indiana

Governor’s Arts Award (2011). In 2007, Sylvia

received Te Gaudium Award from Te Breukelein

Institute for "extraordinary and distinctive

contributions to the arts and public life.”

Please visit SylviaMcNair.com for up to the minute

activities and news.

SYLVIASylvia has left an indelible

audio trail documenting hervocal prowess with over 70

recordings...

McNair Photo Credit: Rhonda Ely

Photo Credit: Rhonda


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172015-2016 Season

Overture to Girl Crazy George Gershwin/McBrideLullaby for Strings Gershwin

An American in Paris Gershwin

INTERMISSION

Man I Love Gershwin

‘S Wonderful Gershwin

But Not For Me Gershwin

Orchestral Selections from Porgy and Bess Gershwin/Bennett

Clara

A Woman is a Sometime Thing

I Got Plenty O’Nuttin

Bess, You Is My Woman Oh, I Can’t Sit Down

There’s A Boat Dat’s Leavin’ Soon for New York

It Ain’t Necessarily So

Oh Lord, I’m On My Way

Summertime from Porgy and Bess Gershwin

Shall We Dance/I Got Rhythm Gershwin

SEASON TITLE SPONSOR

Columbus Indiana PhilharmonicDavid Bowden, Music Director

Saturday, September 19, 2015 at 7:30 PMErne Auditorium, Columbus North High School

David Bowden, Conductor

Sylvia McNair, Vocalist

GUEST ARTIST SPONSOR

SEASON MEDIA SPONSOR

Sylvia Sings Gershwin Marshall & BethMiddendorf

CONCERT SPONSOR

“Thank you for yoursupport of the Columbus

Indiana Philharmonic! It is a

pleasure to see you here and

to share music with you!”

-BenjaminHoffman


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P H O T O

C R E D I T

: T H E I R A

AND LE O N O R E

G E R S H

W I N

T R U

S T

S

In 1898, George Gershwin, arguably America’s firstgreat composer, was born in Brooklyn. Despitehis untimely death at the age of 38, Gershwinbequeathed this nation with an array of music that

has become intertwined with our cultural identity.

My own experience is probably typical: My motherrocked me to sleep singing “Summertime” long before I’dever heard of George Gershwin; I studied the harmonicpattern of “I Got Rhythm” in high school jazz theoryclasses; and “Rhapsody in Blue” was one of myfirst favorite works for orchestra.

Surely no American has escapedfamiliarity with Gershwin’s songs, which range from catchy anthems(“I Got Plenty O’ Nuttin’,” “It Ain’tNecessarily So”) to jazzy melodies(“Fascinating Rhythm,” “’S Wonderful”) to lilting love songs(“Bess, You Is My Woman Now”).

Gershwin’s first hit, “Swanee,” wasrecorded by Al Jolsen in 1920; it quicklysold more than 2 million records and a millioncopies of the sheet music. From then on, Gershwinnever had to worry about money, and could concentrateon churning out new music. And churn it out he did.Few composers of his era kept up with his output: untilhis death, he composed and produced, on average, morethan one musical comedy per year for the stage or screen(including the 1931 satire, Of Tee I Sing , which was the

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

Perhaps due to his love for musical theater andsongwriting, Gershwin sustained a naggingreputation during his lifetime as little more than a

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

most beloved songwriters of theAmerican 20th Century – “the

rest of us were songwriters.George was a composer.”

Gershwin’s own tastes inart could hardly be seenas provincial. As a boy, hetalked his way into concerts

of music by such then-modernsas Stravinsky, Scriabin, and

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

string quartets. He collected sculpture andart by Picasso and Chagall. And he boasted that thehigh point of his trip to Europe in 1928 was meetingAlban Berg.

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

that was simultaneously complex and memorasublime and simple. He was the first major composesuccessfully marry jazz idioms with classical formsmuch to the consternation of the conservative criticthe day, who often derided the marriage as unholy at bMost of his songs followed fairly standard and repeti

formulae; but his “serious” concert works demonstrthe fact that he didn’t lack flexibility or inventivenFew composers before or since possessed Gershwrhythmic flare and melodic sense.

Overture to Girl CrazyOnly in Porgy and Bess did Gershwin encapsulatgreater number of eventual hit songs than he did in 1930 musical, Girl Crazy . First produced at the A Teatre in New York with a pit orchestra that incluthe famed Red Nichols Band, Girl Crazy practicbubbled over with memorable tunes — several of whare ‘previewed’ in the medley-style Overture: “I GRhythm,” “Embraceable You,” “But Not for Me,” others. Te premiere on Broadway also featured

debuts of two leading ladies who would go on to ta similarly prominent place in the public consciousnGinger Rogers and Ethel Merman.

In the overture we will hear snippets of all those tunes, wrapped together into one of the most inviting exciting bits of orchestral music that Gershwin ever wr

Lullaby for stringsGershwin originally wrote this short, sweet work aharmony exercise for his then-teacher, Edward Kile

Sylvia Sings Gershwin Program Notes

Continued on p

G E O R G

E GE R S H W I N

- 1

9 3 4


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Dell Brothersinc. An Indiana tradition since 1916

Columbus, Indiana


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Columbus, IndianaThrough the generations,

Dell Brothers has beenoffering the best in

Men’s Fashions.The Dell Family, along

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W e’re so glad you joined us today! If this is your first time to hear your Columbus Philharmonic, welcome to anew adventure of listening to great music played with excellence worthy of the world’s finest stages.

If attending an orchestral concert is a new experience for you, sit back, relax and let the power and beautyof the music sweep over you. If you are an experienced concert-goer, you will share with our enthusiastic

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

Plus, we offer you a wide variety of musical styles and of engaging soloists.

We love music, and we love our audience members. We take great joy in participating with you in experiencing the beautyand excitement of live music-making. What a wonderful blessing we have being able to share this great gift together!

To Music!

David Bowden

Music Director & Conductor

P h i l h ar m oni c E d u c a t i on al P

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12F or Y o ur I nf or m a t i on

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

Monday, the composer shelved it.

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

An American in Paris

During his first visit to Paris in 1923, Gershwinreportedly exclaimed to his two tour-guides, “Why, thisis a city you can write about!” Gershwin kept his wordsome five years and two visits later, with An Americanin Paris . Originally conceived in two versions — onefor solo piano and a second for two pianos — the worktook shape primarily during Gershwin’s 1928 visit

to Europe, during which he visited most of Europe’smost prominent composers, including Ravel, Milhaud,Stravinsky, Prokofiev, and Berg.

As was typical for the gregarious composer, Gershwinplayed the work-in-progress for most of his musicalpeers, who greeted it with a range of comments. Ravelliked it. Prokofiev thought it had some potential. VernonDuke didn’t. And Poulenc proclaimed it his favorite 20thcentury classical composition.

Te range of comments was echoed when the work was

premiered by the New York Philharmonic SymphonyOrchestra later that year. Te New York elegramproclaimed the work “so dull, patchy, thin, vulgar, long- winded and inane that the average movie audience wouldbe bored by it into the open remonstrance.” Te MusicalCourier , however, found a good deal more to like, andcompared it to Hector Berlioz’s Roman Carnival andChabrier’s España .

ime has been kind to the work, and today it is betterknown on both sides of the Atlantic than either of those works by Berlioz and Chabrier. It is surely Gershwin’smost carefree, lighthearted work for the concert hall. Te walking rhythm with which the work begins bursts with energy, as if the protagonist is about to break into acarefree skip. Te work is r iddled with playful asides, suchas the incorporation of taxi horns and impressionisticbursts of instrumental squawking, plinking, andlaughing. Te use of polytonal chord sequences and othermodernisms almost go unnoticed, so naturally do they fit

into the overall texture of the work.Porgy and Bess:

Selections for Orchestra

At the height of his career, Gershwin decided to takea gamble: He would produce a huge work for thestage, a “folk opera” written expressly for a large castof African-American performers (then still rare onthe opera stages of the world), with no commission orguarantee of a performance.

At an artistic level, critics openly doubted the capacity

of this “songwriter” to engineer such a large-scale wfor the stage. And at a socio-cultural level, it’s no se

that an opera about southern blacks didn’t exactly j

with the traditional focus of opera. After all, most ofgreat established operas of the repertoire focused on

trials (whether tragic or comic) of the elite and whitea focus which fit well with the general makeup of op

house audiences.

Yet Gershwin persisted, and produced what has coto be recognized as perhaps this country’s grea

contribution to the operatic repertoire, Porgy and Bes

Not surprisingly, much of the opera’s popularity is du

the primary strength of its composer: songwriting. usuch as “Summertime” and “My Man’s Gone Now” h

found their place equally on opera stages, jazz reco

and radio, due to their beautiful melodies and ricatmospheric scoring.

By 1942, those tunes were well known around the wo

Tat year, the conductor Fritz Reiner commissioGershwin’s occasional collaborator, Robert RuBennett, to produce a suite of orchestral arrangeme

of music from the opera. Following a sequence set ou

Reiner (one which deviates considerably from the flof music in the opera), Bennett produced the music

will hear tonight. You’ll hear familiar melodies includ

“It Ain’t Necessarily So” and “Bess, You Is My WomNow,” as well as many of the atmospheric and exci

orchestral sections from the opera.

Continued from pg. 18


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212015-2016 Season

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22 2015-2016 Season

At first glance, the members of ime for Tree come off as just three dudes in aband. As the music begins to flow, it’sobvious that violinists Zachary De Pue

and Nicolas Kendall and double-bassist RanaanMeyer make up a group that defies any traditionalgenre classification, happily and infectiously.

Since f3 were fellow students at Philadelphia’sCurtis Institute of Music, they have wowed mediaand fellow artists alike with their charismatic

musicianship. With an uncommon mix of virtuosity and showmanship, the American trioperforms music from Bach to Brahms and beyond,giving world-premieres by Pulitzer Prize-winners William Bolcom and Jennifer Higdon as well

as playing originals and their own arrangementsof everything from bluegrass and folk tunes toingenious mash-ups of hits by the Beatles, Kanye West, Katy Perry, Justin imberlake and more.

ime for Tree, or f3 for short, has electrifiedfull-house crowds in Carnegie Hall and thefamed jazz club Yoshi’s in San Francisco. Tetrio has made guest appearances at NationalFootball League and the Major League Baseballgames, and they’ve performed for crowds soaringto 300,000 at the Indianapolis 500 race. Tegroup’s bullying-prevention Youube hit video,“Stronger,” has inspired students across the globe,eliciting features on CNN and the HuffingtonPost. Since 2009, ime for Tree has held ahugely successful residency with the IndianapolisSymphony Orchestra, helping to expand theorchestra’s audience with innovative outreach.

Nicolas Kendall picked up his rst violin at theage of three. With an insatiable appetite for adiversity of expression, he went to the streets of

Washington D.C. to play trash cans for lunchmoney as a teenager. By college, he was forming

pick-up rock bands at Curtis Institute betwe

concert debuts at the most prestigious halls

the world.

Ranaan Meyer is a double bassist redefining

career path of a professional musician. Ranabegan playing the double bass at age 11 and

worked with many of the double bass’s grea

teachers. Ranaan currently performs on a Cav

double bass made in Italy circa 1892 and a R

Hudson bow. Committed to enhancing his

sound, his setup includes a Mackie 12 chan

mixer, Ernie Ball volume pedal, and Digit

Bass Driver.

A rising star among both classical and crosso

music fans known for his virtuosic, high‐ene

performances, violinist Zachary De Pue w

appointed concertmaster of the Indianapo

Symphony Orchestra in 2007 and became one

the youngest concertmasters in the country. Zac

violin was made by Ferdinand Gagliano of Nap

Italy, in 1757.

TIMESimply put, they’re a knockout!

Tree benevolent monsters– monsters of ability and

technique surely.– Sir Simon Rattle

For Three

Check out Time For Three’santi-bullying message atwww.tf3stronger.com

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

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

- f3


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232015-2016 Season


Saturday, October 17, 2015 at 7:30 PMErne Auditorium, Columbus North High School


Time for ThreeZachary De Pue, Violin Nicolas Kendall, Violin

Ranaan Meyer, Bass

JOHNSON DISTINGUISHEDGUEST ARTIST SPONSOR

CONCERT CO-SPONSORS

CONCERT PARTNERS


Time For Three

Sunrise from the Grand Canyon Suite Ferde Grofé

On the Trail from the Grand Canyon Suite Ferde Grofé

Orange Blossom Special Ervin Rouse/Time for Three

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

Firework Katy Perry/Tf3

Hungarian Rhapsody Johannes Brahms/Tf3

Czárdás Monti/Tf3/Hackman

INTERMISSION

Shenandoah/Foxdown Meyer/Hedges

Cry Me a River Timberlake/Hackman

Cloudburst from Grand Canyon Suite Ferde Grofé

Fiddle Jam on Jerusalem Ridge Bill Monroe/Tf3

Hallelujah Cohen/Hackman

Little Iron Man Mumford & Sons/Hackman



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26 2015-2016 Season

COLUMBUS

INDIANAPhilharmonic Chorus

Conducted by Music Director DavidBowden, the Philharmonic Chorusencompasses a wide range of skilllevel and experience from high school

students to mature adults. It is the Chorus’smission to serve as part of the orchestra during

the concert season, performing choral-orchestral works. It is the largest and most significant adulteducation program of the Philharmonic’s widerange of educational offerings.

Founded in 1987, the Chorus has played anintegral role in the Philharmonic’s concertprogramming. In its first concert, soloists SarahKittle, Janie Gordon, Victor Floyd, and OwenHungerford sang Serenade to Music by RalphVaughan Williams. Fifty-two singers from the

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

Te wide repertoire of the Chorus includesperformances of such classical works as Bach’s St.

Matthew Passion, Leonard Bernstein’s ChichesterPsalms, Peaceable Kingdom and numerous otherpieces written by Randall Tompson, Honegger’sKing David , many works composed by JohnRutter including his Requiem, and Handel’s Israelin Egypt . Te Chorus has also performed all ofthe choral-orchestral music of Johannes Brahms.Lighter concerts have included opera chorusesand the Broadway music of Andrew Lloyd Webber, Rodgers and Hammerstein, Lerner and

Lowe, and Leonard Bernstein.

Te Chorus consists of approximately 80 memb

and does not require an audition to join. A

singer who can read music, finds pleasure in

teamwork of chorus participation and is willing

strive for musical excellence is encouraged to jo

Join Our Chorus! We welcome you to join

Philharmonic Chorus, helping singers strive

musical excellence. Te Chorus, conducted

Music Director David Bowden, includes volunt

singers of all ages. We rehearse Monday evenin

7 to 9 p.m. at First United Methodist Chur

For information, contact Beth Booth Poor at 8

343-0922 or [email protected]


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272015-2016 Season


Sunday, November 15, 2015 at 7:30 PM

Erne Auditorium, Columbus North High School


The Philharmonic Chorus

David Bowden, Artistic Director

CONCERT SPONSOR


Verdi Requiem

Requiem In Memory of Manzoni Giuseppe Verdi

Requiem e Kyrie

Dies irae (Sequence)

Dies irae

Tuba mirum

Liber scriptus

Quid sum miser

Rex tremendae

Recordare

Ingemisco

Confutatis

Lacrymosa

INTERMISSION

Offertorio

Sanctus

Agnus Dei

Lux aeterna

Libera me


“The Columbus Indiana

Philharmonic is such a

special organization.

The commitment to the

Columbus community and

to music education in the

area has always impressed

me. I very much enjoy the

comradery and the quality

of musicianship among the

members of the orchestra.Performing together is always

such a joy, and some of my

greatest musical experiences

so far have been with this

orchestra. I am blessed and

honored to play with the CIP.”

-Donna Wilson Photo Credit: Rachel Jahrsdoerfer


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28 2015-2016 Season

When Giuseppe Verdi died in 1901, his funeral was an event of international importance — not just to the wealthy patrons and scholars of themusic world, but to ordinary citizens across Italy

and beyond. Hundreds of thousands of mournerslined the route of his funeral procession throughMilan, many singing along to a rendition of “Vapensiero,” the chorus of Hebrew slaves fromhis opera, Nabucco. o those who attended theevent, Verdi represented not just a musical hero,but a symbol of the Italian nation.

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

died in 1868, Verdi was already an importantmusical voice in Italy, having already composedtwo of the three operas for which he is bestremembered: La Traviata and Rigoletto (thethird, Aida , came soon thereafter).

But even with his own fame growing, Verdirecognized the importance of the passing of theelder statesman of Italian music, and resolvedto memorialize the composer in grand fashion.He conceived a plan to produce a Requiem inRossini’s honor, with each movement writtenby a different Italian composer; Verdi himself

would produce the “Libera Me” movement. Te piece was to be performed only once, with neither composers nor performers paidfor their services. Plans for this event received

widespread publicity from the outset, andthe anticipation rose as all twelve composersproduced their portions of the music.

However, the performance plans soon fell inshambles, and the event disintegrated intoa major public embarrassment for Verdi, inparticular. Verdi’s music was eventually returnedto him some five years later, in 1873.

Around that same time, the great Italian novelist Alessandro Manzoni died. Verdi had reveredManzoni even more highly than Rossini, andthe death of the author precipitated a new planfrom Verdi — although this time, he knewbetter than to make any public fanfare or torely on the generosity of others to see his planthrough.

On the day following Manzoni’s death, Verdi

wrote a rather non-committal message to hismusic publisher: “I am profoundly saddened bythe death of our Great Man!...I will come soonto visit his grave, alone and unseen, and perhaps(after further reflection, having weighed myown strength) to propose something to honorhis memory.”

It didn’t take Verdi long to firm his resolve,for on June 3 he again wrote to his publisher,saying that he hoped to compose a Requiem inManzoni’s honor, to be performed on the firstanniversary of the author’s death. Te publishersecured a commitment from the mayor ofMilan to provide — and pay for — the services

of the performers; Verdi himself would conductthe premiere. Tis time, the event went off

without a hitch, and proved to be one of Verdi’sgreatest successes.

Tat this Requiem had its foundations in a publicmemorial event, rather than as a religious mass,holds significance — or, at least, explains a goodbit about the style of the work that resulted.Instead of the reverent, ecclesiastical form thatmost previous Requiem Masses had taken, Verdi’sproduct was highly operatic, to the extent that

the vocal soloists even seem to take on charac

roles in the music. Indeed, one section —

“Lacrymosa” — is largely lifted from a discard

duet from Verdi’s opera, Don Carlo.

Perhaps not surprisingly, critical reaction to

work was mixed. Many critics (in particu

the influential German conductor Hans v

Bülow) condemned the work as irrevere

Bülow went so far as to make several scath

public pronouncements before having ev

heard the work:

“With this work the all-powerful despoiler

Italian artistic taste — and ruler of the taste

has despoiled — presumably hopes to elimin

the last remains, irksome to his own ambiti

of Rossini’s immortality ... Surreptitious glan

at this newest manifestation of the composer

Trovatore and Traviata have not exactly whet

our appetite for this so-called “Festival”...”

But despite such naysaying, Verdi’s Requ

quickly gained international acclaim, with Ve

himself conducting the work around Euro

And in hindsight, it is easy to understand

work’s popularity.

It is abundantly clear that Verdi took from

sacred text similar cues to those he took fr

operatic libretti. While this may not reflec

pious mindset, it certainly provides the wo

with a breath of life that far too many religio

compositions over the ages have lacked.

In Verdi’s hands, the “Dies irae” (“Day Wrath”) becomes not merely a lament,

a horrifying portrait of the Last Judgme

complete with all the thunder, trumpet-ca

and fervor that might attend such an histori

moment. Te “Libera me” (Deliver Me,

Lord) section, with its soprano solo set agai

the chorus and orchestra, seems to tell a sto

in which the soprano seeks peace and solace i

world of confusion, sadness and chaos.

Troughout the text (as in his operas), Ve

found inspiration in what he referred to of

as the parola scenica — individual words

phrases that sparked his creative imaginatand became the pivotal points of his musi

expression. Tere is not a slack or uninspi

moment in the whole, grand-scale work.

More than a hundred years after Verdi’s o

passing, we can see this work out of its o

historical context and appreciate it for w

it is: one of the greatest, most passion

expressions of grief, longing and redemption

the repertoire.

Verdi Requiem Program Notes

Te Giuseppe Verdi monument in front of the PallavicinoRocca in Busseto, Italy.


24/68

292015-2016 Season

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32015-2016 Season

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312015-2016 Season


Sunday, December 13, 2015 at 3:00 PM & 7:00 PM



Tayler Seymour, 2015 Brown Vocal Competition Winner

Columbus Indiana Children’s Choir

Ruth Dwyer, Artistic Director

Camilla Gehring, Assistant Director

Commonwealth Christmas Overture Malcolm Arnold

Prelude to Hansel and Gretel Engelbert Humperdinck

Ave Maria Schubert/Wilhelmj

Die Fledermaus Overture Johann Strauss, Jr

Mein Herr Marquis (Laughing Song) Johann Strauss, Jr

The Christmas Song Mel Tormé

Holiday Memories arr. Powers

Winter Wonderland

Frosty the Snowman

Santa Claus is coming to Town

Rudolph the Red-Nosed Reindeer

Santa Baby Javits/Springer/Powers

INTERMISSION

Little Bolero Boy Robert Wendel

Chanukah Suite Danenberg & Soifer

White Christmas Irving Berlin

A Star Dances, An Angel Sings Gilpin/Powers

Laudamus Te Antonio Vivaldi

Candlelight Carol John Rutter

Hine Ma Tov Leck/Powers

The Holly and the Ivy Dwyer/Ellis

We Wish You a Merry Christmas arr. Harris

www.blueandco.com

CONCERT SPONSORS

CONCERT PARTNERS

MPACT FORGE

Christmas!




28/68

32 2015-2016 Season

2014-2015 Contributors

BRAVO

$10,000 +

Robert & Helen Haddad

Margaret Powers

GOLD BATON

$5,000-$9,999

Ben & Pat BushCheryl & Bruce CazenaveRichard & Lindsay Cooley Mark & Linda Pillar

SILVER CIRCLE

$2,500-$4,999

Marc A. Dissosway In Memory of Patricia Dissosway

oots & Jim HendersonBob & Renée Kasting

Tomas & Marion MarshallDavid & essa Milroy Nancy & Ralph Schumann

George & Catherine ShortleFoundation rust In Memory of Catherine Shortle

Chuck & Janet VanNatta

CONDUCTOR'S CIRCLE

$1,000-$2,499

AnonymousDavid & Donna Bowden In Honor of our parents,

Donald & Ruth Sjaardema,

Marshall & Phyllis Bowden

In Honor of our Granddaughters,

Eliana Christine &

Katelyn Elizabeth Hoff

Roger & Janet BrinkmanMary Ann Clark Dr. & Mrs. David Gallagher

Jon & Camilla GehringMatthew & Teresa Hotek Owen & Annette HungerfordStan JacksonRick & Alice JohnsonPeter & Cathy King

Jean & Julius Lauderdale om & Pam LegoRichard & Susan MillerBob & Mary OrbenDr. Richard L. Pitman In Memory of his sister Joan Birch

Elizabeth Booth & William Poor John & Donna SasseBarry & Donna urner

om & Sara Wood

BENEFACTOR

$500-$999

Anonymous In Honor of Margaret Powers

& Mark Pillar

Edna AppelBrad & Carole ArthurDebra & Bruce BattsDavid & Bonnie Boatwright

Jeff & Terese Copeland Joe & Sher CunninghamE. Jean EllisDrs. David Hamilton &

Sheryl Elston racy EmbreeGary & Kristy GronDrs. Dale & Linda Guse

Rebecca Hoffmann Tomas & Mary Kendrick

In Memory of Donald Munger

& Jim Lucas Roxie Kindelsperger In Memory of Kris Kindelsperger

John & Liz LipsonDan & Elli McElroy Lynne Maguire & Will MillerClyde & Lenora ParrottKevin Preuss & Lisa DuretDr. Sorin Pusca In Honor of Kevin Preuss

& Lisa Duret

Donald & Ruth Sjaardema In Honor of David Bowden

erry & Linda rautman om & Christine VujovichDavid & Ann Windley Steve & Pam WolvertonSandy & Ron Zimmerman

SUSTAINER

$250-$499

AnonymousPatrick & Sharon AndrewsLaura BakerMr. & Mrs. R. M. Bowden

Wally & Sandy CantrellDave & Liz Clark Mr. & Mrs. William ColeSpencer Dell

John & Louise DorenbuschDavid & Wilma DoupZack & Glinda Ellison

Joyce & Dick Fleck Dale & Karen GaumerKen & Hedy George In Honor of Janie Gordon

James & Suellen Gillespie In Memory of Kris Kindelsperger Bill & Jody HarterDon & Dody Harvey Robert & Cynthia HenrichDon & Paula Herlitz Gordon & Annalee Huey Laura M. HurtDrs. Chris & ami Iorio

Janet & Roger LangKen & Christy Langston

Joseph & Lisa LohmeyerDon & Diane MichaelBob, Mary & Diane Moore

John & Susan NashGrace OrrSusan Pickens &

David BorcherdingDr. & Mrs. Edward L. ProbstCharles & Judy RichardsonMarilyn Richardson

Teodosia & Stephen RushMr. & Mrs. A. Hutch Schumaker IIG. Karen Shrode In Memory of Tom & Bea Shrode

Suzanne & Dean SmithMr. & Mrs. Morris Souders

Jo StattenfieldGregg & Judy SummervilleShirley oddBetty L. uttleGeoffrey & Adele Vincent

Alex & Helen Yezerets

PATRON

$100-$249

Anonymous

Dede Abts Yvonne AchterbergMary & Aaron Allard

ed & Donnetta AndersonDan & Susan ArnholtCathy & Willis BahnsenMr. & Mrs. Robert Banister

Tomas BaughKaren BermanPaul & Pat Bippen

al & Betsy Bosin In Honor of David

& Donna Bowden

Wilna BraunDr. & Mrs. Stephen Brueggemann

Telma ButlerCharles & Miriam Byers

William & Jacque Chambers

Kwok-Sang & Linda ChuiMichael & Becky CollinsGrace A. CoynerDonna CrimRuth DaveeRoger & Ann DeVoreDeborah DivanKenneth O. Dunn

Wayne & eresa EberhardEd & Vivian Eckerly

Joy & Daryl Emery Paul & Karen FinkeSandra FinkelDavid & Cindy ForceSherm & Jacquie Franz Cliff & Jan GardnerDwight & Linda GroomsRamon Hass

Kim & Helen HendersonLeah Hooker Art Hopkins Landscape Architect

In Honor of Tom Baugh

im & Wanda HuffmanMrs. Dick JohnsonSusie Johnson

Ann & Bill JonesBruce & Mikaële KlopfensteinDave & Barb KromphardtGordon & Barbara LakeRyan Lauer

Alice Leonard John & Judy LindBill & Karen LionMr. & Mrs. Edmund Ludlow Ron LutherShirley A. Lyster In Honor of J. Robert Sheedy

Carole Marshall In Memory of Charles

& Marie Schwacke

Marilyn Mauzy Julie & Harry McCawley Frank McCulloughPaul & Lisa McHoneDan & ess McKinley

John & Connie McLachlan Jim & Cynthia MillerPaul & Peggy Miner

Janet MontiCarol & om Mote

eresa OlmsteadMarge Pongracz

Srikanth Padmanabhan& Usha Raghavan

Rebecca Rehbein

Charlie & Suzie RentschlerCarolyn Ricke

John & Marilnn Rondot JoAnne & Bob RotherPeg RoushBob & Mary SawinIlya SchwartzmanEmily SharpeRick & Philippa SheddSam & Fran SimmermakerCaitlin SmithHenrietta & Smith Snively Mary Lou ellmanRandall uckerBarbara Voelz Robert & Norma Webb

Jim & Betty WelchChuck & Suzanne Wells

In Honor of Tom & Pam Lego Warren & Lynn Whaley Amanda Williams

FRIEND

Up to $99

AnonymousLeAnne AndersonPauline Barnes

Warren & Janice BaumgartLinda S. Becker

Joann BenedettoRaymond Betz Diana Black Chap & Mary Ann Blackwell III

Winter BottumClarel BrandenburgerBob & Priscilla Brown

Ed & Donna BrowneDaniel & Anita BurtonBarbara Campbell

John & Jean ChambersMarlene Chestnut

James & Saundra CoffmanColleen ColemanFrieda CrawfordDave & Laura Crossman

Jacque Douglas James Dudley Don & Jean Duerstock Nancy & Joe DuttonCarl Eddy Fabulous Females In Memory of Kris Kindelsper ger

Patricia GilsonMary Jane Gordon

Jim & Nancy GreenFrank & Barbara HagerDave & LaDonna HallDon & Patsy Harris In Memory of Ardie Conlin

Joseph & Linda HeldtSandi Hinshaw Dick & Roberta IrwinLarry & Judy JacksonMr. & Mrs. Steve JasperRalph L. Jewell

Allen & Laura JohnstonDonald & JoAnn JonesCinda Jones-Bonner

John & Arleen KeeleLisa & John Kirchman

Robert E. Kirk

Larry & Lynn Lucas

ally & Lisa Lykins family

Mr. & Mrs. Greg Marshall

Mary Ann McCray

Elaine Merkel

Irida Miller

Pat Murphy

William Orben

Jim & Sue Paris

Ryan & Andrea Pivonka

Repp Associates

Vicki & Bob Rigney

Sam & Joe Robinson

Mr. & Mrs. Wendell R. Ross

Colin & Linda Scheidt

Robert & Sharon Schnier & fam

Michael & Rosemarie Stiffler

Stephanie Strothmann

Susan Sublette . Joe ower

Barbara uttle

om & June Ann Vickers

Greg & Bettie Wessel

Lisa Westmark

Greg & Camille Willmore

Garnett & Mildred Winchester

Mr. & Mrs. Karl Wolff

om & Gertrude Woods

Dot Yeaton

HEARTSTRINGS

Heartstrings donations

enabled us to share the joy

of music with those who

otherwise would not havebeen able to attend a conce

Sharon K. Baldwin

Linda S. Becker

Nancy Ann Brown

Dr. & Mrs. George Brueggeman

Mary Butler

Donna Crim

Paul & Jan Davis

Rev. & Mrs. Tomas Going

Don & Dody Harvey

oots & Jim Henderson

Ruth Henney

Donald & JoAnn Jones

Mr. & Mrs. Tomas McMahan

Mr. & Mrs. Kevin Meyer

Dick & Nancy NyersSandra Oliverio

Adrian Parrilla Levario

Chris J. Price

Charles & Judy Richardson

Mr. & Mrs. Jim Rumsey

John & Donna Sasse

John & Nancy Sawin

Martha Smock

Jim & Bev ibbetts

Shirley odd

Betty L. uttle

David & Ann Windley

Madonna Yates

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


29/68

332015-2016 Season

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

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

Sam Pentzer and Tom Vujovich of Pentzer Printing The family of Robert and Betty Brown

Alice O’Beirne Curry • David Bowden

Rick and Alice Johnson • Jenny Johnson • Harry McCawley

The Republic • Vanessa Edwards

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

– Vince Lombardi

The Gold Baton Award Each season, the Philharmonic honors an individual, family or business for exemplarycommitment to the musical arts of the Columbus area. Past honorees include:

$500,000 & UPMr. & Mrs. Robert Haddad, Sr.

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

Xenia & Irwin Miller and the Estate ofClementine Miller angeman

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

David M. & Barbara A. Kirr

Will Miller & Lynne Maguire

Mr. & Mrs. John Nash

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

Alice & Jerry Curry

Mr. & Mrs. William Hunt

Te Notables of the Philharmonic

Mr. & Mrs. Robert Orben

Joan & Howard Pearcy

Mr. & Mrs. Mike Ryan

Margaret J. Stevenson

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

Mr. David Borcherdingand Ms. Susan Pickens

Dr. & Mrs. David Bowden

John & Kaye Ellen Connor

Ed & Vivian Eckerly

David & Cindy Force

Bill & Jody Harter

Mr. & Mrs. Don Harvey

Louise Hillery

om & Sandi Hinshaw

Dr. & Mrs. John D. Lipson

Mr. & Mrs. Dan McElroy

Don & Diane Michael

Lori Phillips

Bruce & Natalie Pollert

Mrs. Jane Hoffmeister Repp

Robert & Mary Williamson

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

Gary & April BardonnerMr. & Mrs. Calvert Brand

Peggy Dell

Mr. & Mrs. John F. Dorenbusch

Greg & Carol Kostrzewsky

Lisa Marchal

Steve, Michele & Katherine Marshall

Mr. & Mrs. William E. Poor

Mr. & Mrs. John Revell

Mrs. Adrienne Savage

Carolyn & John Seltzer

Henrietta & Smith SnivelyMrs. Marian J. Stark

Sharon Stark

Mr. & Mrs. Dearl Sweeney

Geoffrey & Adele Vincent

Joan Vogel

Bill & Sheryl Ziegler


30/68

34 2015-2016 Season

TheJohnsonFamily

JohnWall

Mike & JodiEngelstad

Bob & Helen Haddad

Elizabeth R. andWalter C. Nugent

Foundation

2014-2015 Corporate Partners

Bravo $10,000 +

Silver Circle $2,500 +

Gold Baton $5,000 +

Haddad Foundation

Marshall & BethMiddendorf

Bartholomew

CountyCommissioners

Joe & Sher

Cunningham

INSURANCE SERVICES

C. R ICHARD M ARSHALLTrial Lawyer

Clarence E.& Inez R. Custer

Foundation

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


31/68

352015-2016 Season

l

Conductor’s Circle $1,000 +

Benefactor up to $999

In-Kind And Contributed Gifts And Services

Hazel TeegardenFoundation

MPACT FORGE

40 et 8 Voiture 1274

American Legion Post 24

AMVES Post 509

Aton’s Self Storage

Bartholomew Consolidated School Corporation

Bartholomew County Courthouse Staff

Bartholomew County Reserve Deputy Organization

Boy Scout roop 588

David and Donna Bowden

Marie Brauneller

Central Middle School

Coca-Cola Bottling Company Columbus Area Arts Council

Columbus City Hall Staff

Columbus City Sanitation Department

Columbus Container, Inc.

Columbus East Band Boosters

Columbus North Band Boosters

Columbus Police Department

Te Commons

Chris Crawl

Cummins, Inc.

Dancer’s Studio

Dora Hotel Company, LLC

Sandra Dosterglick

Vanessa Edwards

Robert and Deborah Eikenbary

Ellis ents and Events

First Christian Church

First Presbyterian Church

First United Methodist Church

Folger’s Four Seasons Florist

Glick FarmsBob and Helen Haddad

Bob and Juanita Harden

Indiana State Police

Joint Force Headquarters, Indiana

Kinney Paper

John Sadauskas

LHP Software, LLC

Liberty Advance Machine, Inc.

Lovelace Electric

Samantha McAllister

Meridian Music

Milestone Contractors

North Christian Church

Pentzer Printing

Debbie Peters

ony & Margie Pottorff

Puccini’s Smiling eeth

QuickSigns

D Advertising

Te RepublicSt. Paul’s Episcopal Church

Stuckey’s Piano Service

om Pickett’s Music Center

United Way of Bartholomew County

VFW Post 1987

White River Broadcasting

Westside Community Church

Zaharakos


32/68

36 2015-2016 Season

Area 3rd and 4th grade students lookforward to the annual JCB Adventure

Concert series each Spring. For manychildren, the concert presents a first timemusic and concert experience sparking theirinterest in learning to play an instrument.In the days after the concert, childrenwrite letters to the orchestra musiciansdescribing their favorite instruments, themusic they loved, and some even includea drawing of the concert view from theirseats (pictured above)!

In the spring, children and educators from32 schools in the South-Central Regionof Indiana participate in the annual JCB

Adventure Concert series of programs andevents. Philharmonic musicians visit areaschools bringing an interactive musicalexperience to approximately 1,600 students.The Phil’s Youth Orchestra performs side-by-side with the Philharmonic Orchestraat all three concerts and then travel toparticipating locations to share the gift ofmusic with the community.

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33/68

372015-2016 Season

524 Franklin Street,

Columbus, IN 47201812-657-3455

Best Wishes for the

2015-2016 Season!

Proud to help you and “The Phil”CONDUCT gift giving!

Our lives are enhanced andour souls are enriched by the

art of symphonic music!

Located in the heart of theColumbus Arts District in

Historic Downtown Columbus.

433 Washington Street

(812) 372-9635“Like” us on Facebook


34/68

38 2015-2016 Season

Acclaimed by the press as a “superbly

talented pianist” who plays with“prodigious technique and eloquentphrasing,” Steinway Artist ianshu

Wang has graced concert stages in the UnitedStates, China, Mexico, Singapore, Tailand, and aiwan. Invitations to perform in Europe arealso in the offing. Winner of many competitions,including a national first prize, she is active inboth solo and collaborative performance and hasperformed with major orchestras in China andthe United States. She has been a regular juror of

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

Dr. Wang is currently Professor and Head of the

Keyboard Area at Capital University’s Conservatoryof Music in Columbus, Ohio. She received thePraestantia Award for Distinguished eaching in2011, the highest honor given to a faculty memberat the university. Prior to Capital, she served on thepiano faculty of Sweet Briar College in Virginia. Sheis also a professor and chair of the Piano Departmentat the Shenyang Conservatory of Music in China, where she teaches for part of the year.

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

and the Shanghai Conservatory of Music (B.M

Piano Performance). Her teachers include Zhu Ya

who also taught Lang Lang, and Nicholas Zumbr

student of the legendary Rosina Lhévienne.

ianshu Wang’s biography appears in Who’s Wh

America , Who’s Who of American Women, and W

Who in China . Te CD set “Encyclopedia of Chin

Classical Piano Music” in which she is featured

major performer, has been a best seller in China; a

her chamber music CDs, which were published

Albany and Mark Records, have been well recei

by both the public and critics. Her solo alb

entitled “Piano in China” that was released on

Albany label was featured on the cover of Fanf

magazine (March/April issue of 2012) with

extensive interview article and enthusiastic review

TIANSHU

[Tianshu is a] winner of manycompetitions, including a

national first prize...

Wa n g


35/68

392015-2016 Season


Celebrating the Chinese New Year


Saturday, February 6, 2016 at 7:30 PM



Tianshu Wang,

Pianist

La Scala di Seta (The Silken Ladder) Gioacchino Rossini

Yellow River Concerto Xian Xinghai, et al.

The Song of the Yellow River Boatmen

Ode to the Yellow River

The Yellow River in Wrath

Defend the Yellow River

INTERMISSION

Scheherazade, op. 35 Nicolai Rimsky-Korsakov

The Sea and Sinbad’s Ship

The Story of the Kalender Prince

The Young Prince and the Young Princess

The Festival of Bagdad – The Sea – Shipwreck

CONCERT CO-SPONSORS

CONCERT PARTNER

“It’s great to see that a city

the size of Columbus can

support an orchestra like this.

Because of the community’s

commitment to the arts,the CIP percussionists and

timpanist get to play top-

notch instruments owned by

the orchestra. We are truly

grateful for their support.”

– BrianMcNulty



36/68

4 2015-2016 Season

PETERCAMPBELLKING

PASTPRESIDENTS

Board President

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

16 season. We continue to enjoy the dedicated efforts of our Executive Director Margaret Powers, whoassists the Board in advancing the work of the Columbus Indiana Philharmonic on a daily basis.

We believe the Phil is a gem of this community and are confident this season will highlight how music iscritical, not only to the economic development of our community, but to the exceptional quality of life weenjoy in Columbus, Indiana. Our mission is to create, educate, advocate and perpetuate orchestral, choraland chamber music, including genres of all periods and styles. Your Board and Philharmonic staff accept thismission very seriously and hope you will enjoy the diversity of the 2015-16 musical offerings.

We also hope you will support the Phil however you can. It may be as a season ticket holder, looking forwardto every concert, or as a fan of our Cabaret Series, a new Phil tradition specifically designed to engagean even broader audience as well as raise money for our education and outreach programs. Te inauguralCabaret Series was a resounding success, pioneered through the efforts of our Marketing Committee. I amconfident you will enjoy joining us at the Commons for this exciting series.

Te Philharmonic is also heavily engaged in the education of our youth. Studies clearly link exposureto music with academic success. Trough the wonderful work of Vanessa Edwards, the Phil’s EducationDirector, we continue to excel in offering musical experiences for students throughout the community. TeBoard has embarked upon an extensive collaboration with other community partners, including the United

Way and the Bartholomew Consolidated School Corporation, to introduce music to the early childhooddevelopment programs of our local school system in addition to other organizations providing services to

young children from all socio-economic circumstances. Tis may, perhaps, be the most important initiativeof the coming year.

None of our work is possible without you, our patrons, supporters, and volunteers. I ask that you continue

your support, but also consider bringing a friend to a concert, a Cabaret, a youth music event or our annualLobsterfest in May 2016. In addition, we want to hear from you – let us know your thoughts! Yourcontribution and support of the Phil is critical.

So relax, and let the music begin. It will enrich your life and our community!

Jack Turner (1973-74)

Barbara Garton (1974-75)Betty Brown (1975-76)

Norm Leighty (1976-77)

Jackie Murphy (1977-78)

Sam Chizmar (1978-79)

Curt DeClue (1979-80)

Chuck VanNatta (1980-81)

Gary Gron (1981-82)

Susan Anderson (1982-83)

Dan McKinley (1983-84)

Phyllis Ryan (1984-85)

Elizabeth Booth Poor (1985-86)

Susan Ingmire (1986-87)

Alice Curry (1987-89)William Poor (1989-91)

Bob Kaspar (1991-93)

Richard Stenner (1993-95, 1997-98

Barbara Kirr (1995-97)

Jane Hoffmeister Repp (1998-200

Kaye Ellen Connor (2000-02)

Robert A. Orben (2002-03)

Robert J. Williams Ph.D. (2003-04

Mark S. Elwood (2004-05)

Judy Summerville (2005-06)

Tom Hinshaw (2006-07)

Elizabeth Lipson (2007-08)John Erickson (2008-09)

Tom Lego (2009-2012)

Mark Pillar (2012-2015)

OFFICERS

Peter KingPresident

Mark Pillar

Immediate Past President

Sharon Sung AndrewsVice President

Terese CopelandSecretary

erry rautmanTreasurer

BOARD MEMBERS

Mary Clerkin Allard

Bonnie Boatwright

Roger Brinkman

R. Richard Cooley

Michael Engelstad

David D. Gallagher, M.D.Camilla Gehring

Matthew . Hotek

Stan Jackson

David Kromphardt

Pamela Lego

John C. McGinty, Jr.

Wayne Nyffeler

Gil Palmer

Eric Robbins

John Sasse

Joe Smith

Caitlin Smith

Barry urner Warren Ward

EX-OFFICIO

BOARD MEMBERS

David Bowden Music Director

Margaret Powers Executive Director

Beth Booth PoorChoral Representative

Board of Directors


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Gioachino RossiniOverture to The Silken Ladder

During his lifetime, Rossini was almost entirelycelebrated as a composer of operas, of which there were many. His first opera, La cambiale di matrimonio (Te Marriage Contract ), was performed when he was just 18 years old. Within three years, his name was virtually synonymous with Italian comic opera —both at home and abroad.

oday, a relatively small handful of his operas remain

in the standard repertoire; but the overtures to manyof his un- or under-performed operas remain popular

concert pieces. Case in point: La Scala di Seta (Te SilkenLadder ), a one-act opera that premiered in 1812. Fullproductions of the opera are now virtually nonexistent;but the lively overture has been recorded numerous

times and is played frequently. In classic Rossini style,the Overture playfully weaves melodies from the operainto a glittering tapestry; then twists them ever tighter,ever faster, leading to a breathless ending.

Xian Xinghai

Yellow River Concerto

Far Eastern music has long held a place of spefascination for Western composers, particulaafter the turn of the 20th century. Numerous woby famed composers attempted to capture

character of Eastern music, to varying degreessuccess. Puccini’s urandot and Madama Butte(set in China and Japan, respectively) are beloby operagoers worldwide; musical theatre lovfeel the same about Richard Rodgers’ Te King I , which is set in Tailand. Debussy derived muinspiration for his compositions for piano frthe Javanese gamelan music he heard at the 18Paris Universal Exposition. And Stravinsky’sRossignol (Te Nightingale ) is a veritable cataloof Chinese influences.

Why, then, do we hear so little music that is actu written by Eastern composers? Te answer is comp Tough many great Asian musicians traveled thro

the West over the centuries, very few sought to adtheir musical voices to the idiom of the orchestra; prior to the 20th century, their music was consideat best a second-rate curiosity. In the early 2century, Western-style orchestras began to formChina along with conservatories. But then came M

Zedong and his increasingly strict policy of cultuisolationism and nationalism. Starting in the 196 Western music was banned outright, and the Western-style conservatories in China were closed

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Celebrating The Chinese New Year Program Notes

New Years Festival in Foshan city, China.


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412015-2016 Season

Xian Xinghai was born in 1905, in Macau. A gifted young musician, he studied in the cultural centers ofChina and then, in 1929, traveled to Paris to studycomposition with Vincent D’Indy. Given the risingfascination with music of his country, Xian mighthave found a successful career in the West; but he

chose to return home and fight for his country when Japan invaded in 1935.

Four years later, Xian heard the poet ZhangGuangnian read a group of poems collectively titledYellow River . Te poems paid homage at once tothe beauty of China’s most famous river and to thestrength of the Chinese people. With permissionfrom Zhang, Xian set the poems to music in just sixdays. His Yellow River Cantata would later becomeone of the few classical works accepted by theCommunist Party in China.

In fact, the work became so central to the Chineseidentity that in 1969 a committee of composers wasformed to adapt Xian’s music as a piano concerto. Te

resulting, four-movement work has since becomeone of the few Chinese works heard regularly inconcert halls worldwide.

While much music of the mid-20th century isconsidered challenging to the ears of audiences,the Yellow River Concerto is anything but. Withits extremes of excitement, lush beauty andtenderness, the music echoes nothing so muchas the high Romantic music of Tchaikovsky; itsimmediately memorable melodies and waves of

arpeggios call to mind the piano concertos of

Rachmaninoff.

One can easily enjoy Xian’s music without anunderstanding of the texts that inspired it. Tatsaid, each movement does reflect the spirit and

narratives of Zhang’s poems, and each carries anindividual title.

Te first movement, “Te Song of the Yellow River

Boatmen,” offers a vivid depiction of the river rushing

through a stunning canyon; boatmen sing togetheras they valiantly conquer the waves. Te second

movement, “Ode to the Yellow River,” takes an evenmore Romantic view of the place and its people, “who

tower in the East l ike the lofty Kunlun Mountains.”

Te third movement provides the most quintessentialblend of Chinese and Western styles. itled “Te

Yellow River in Wrath,” it begins with a beautiful

Chinese flute melody, eventually balanced against the

piano. A dark mood sets in, depicting an occupationby a foreign army; the people rise up in defiance. Tis

leads to the fourth movement, “Defend the YellowRiver,” which wraps up the concerto in a bravura

expression of Chinese resolve and strength.

Nikolai Rimsky

Korsakov Scheherazade

Nikolai Andreyevich Rimsky-Korsakov: a mouthful

of a name for one of the greatest composers ever toemerge from tsarist Russia.

Born in 1844 of a distinguished naval and militaryfamily, Rimsky-Korsakov developed an earlyproficiency in music. In his Chronicle of My MusicalLife , the composer wrote, “Before I was two I coulddistinguish all the melodies my mother sang to me;at three or four I was an expert at beating time on

a drum to my father’s piano playing...I soon beganto sing very accurately everything he played, andoften sang with him; then I began to pick out thepieces with the harmonies for myself on the piano;and, having learned the names of the notes, wouldstand in another room and call them out when they were struck.”

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

While at the cadet school, Rimsky-Korsakov continuedto take piano lessons, though his interests were mainlydriven by a desire to be able to play popular operasongs. He also continued to seek out concerts, and wasconsistently entranced by the new music of Berlioz,Mendelssohn, Chopin, and — especially — a fellowRussian composer, Mikhail Glinka. In 1859, Rimsky-Korsakov began to study with a new teacher, TeodoreCanille, who influenced his style and taste, as well ashis understanding of harmony and musical form.

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42 2015-2016 Season

In 1861 Rimsky-Korsakov’s fate took a sharp turn when he became acquainted with a trio of youngbut already widely known Russian composers:Modest Mussorgsky, Mily Balakirev and César Cui.Rimsky-Korsakov came quickly under the spell of

Balakirev. Balakirev, in turn, encouraged Rimsky-Korsakov to compose, and even helped him withthe difficult task of orchestration. Within a few years, Rimsky-Korsakov resigned from the navy, andbegan what was to be a brilliant career as composer,teacher, and musician.

Tus began a career that would shape the characterof Russian music for decades to come.Historian James Lyon once wrote, “Russianmusic was born, and died, with...Rimsky-Korsakov.” While these bold words mayover-state the point, there is no doubtthat Rimsky-Korsakov had a profoundinfluence on later composers, from

his pupils — among whom were IgorStravinsky and Sergei Prokofiev — to non-Russian composers such as Ravel, Debussy, Dukas,and Respighi.

“Rimsky-Korsakov must be credited with theintroduction of a new treatment of the orchestra,” wrote biographer M. Montagu-Nathan. “He isresponsible for a number of innovations in theregion of instrumental grouping, and his influenceand teaching must be attributed to the foundation

of a distinct style of orchestration usually referred toas ‘Russian’.”

Tough he composed in a variety of forms andidioms, Rimsky-Korsakov is best known and

remembered by modern audiences for his worksfor orchestra. Chief among them are three works,all composed between 1887-88, which were alsoRimsky-Korsakov’s last significant, purely orchestralcompositions: the Spanish Capriccio, Russian EasterOverture , and Scheherazade .

In the composer’s own words, these threecompositions “close a period of my work, at the end of

which my orchestration had attained a considerabledegree of virtuosity and warm sonority...” Outof anyone else’s mouth, these might sound likeoverly self-congratulatory words; but, coming fromRimsky-Korsakov, they hardly do justice to thelyrical beauty, striking orchestration, and memorablemelodies of these three pieces.

Based on the well-known tale of the vicious Sultan

and his seductive, tale-spinning wife, Scheheraz

has been a major cornerstone of the orches

repertoire since its premiere in 1888. Te colo

and exciting four-movement work focuses on

tumultuous relationship between the evil suShahryar and the titular character, as told in

medieval epic, Te Arabian Nights .

Not that you need to know the legend to apprec

the music. Scheherazade is a fur coat of a pie

luxuriously warm and enveloping, more than a

flashy, and vivid in its evocation of Arabian nig

ships tossed about at sea and exotic festiv

Structured in four movements, the p

features music that is at times breathtakin

fast, at times lush, and always rich in text

and unique character.

Scheherazade also reflects its storyline

a different, more purely musical le

the relationships between various sections of

orchestra, and between conductor and orches

With many small ensemble sections, solos by vari

players in the orchestra, and shifts in tempo a

mood, Scheherazade lives or dies depending on

focus and connection of the musicians on st

— much as the story’s heroine must maintain

attention of the Sultan in order to preserve her li

Celebrating The Chinese New Year Program NotesContinued from pg. 41

‘Russian music was born,and died, with... Rimsky-

Korsakov.’ - James Lyon


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432015-2016 Season

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COLUMBUSINDIANAChildren’s Choir

RUTH DWYER CICC Artistic Director

he effects of music education arebeyond beneficial, they are practicallyessential. Te directors of the ColumbusChildren’s Choir have spent 20 years

proving this to be true in Columbus. Tis seasonmarks the 20th anniversary of the collaborationbetween the Columbus Indiana Children’s Choirand the Columbus Indiana Philharmonic. Help uscelebrate the high development and performancestandards that Ruth E. Dwyer, Columbus IndianaChildren’s Choir Artistic Director, instills in everychild she meets.

Mrs. Dwyer is internationally recognized as a

treble youth and children’s choir specialist andKodály educator. Mrs. Dwyer has been the guestconductor for the OAKE National Children’sChoir, numerous All-State and Honor Choirs, andthe National Children’s Choir at Lincoln Centerand for MidAmerica Productions Carnegie HallChildren and Youth Choral Festival. Mrs. Dwyeris the Founder and Artistic Director of the HoosierHills Choral Festival in Southern Indiana and ofPhilthrusong, Inc. (Philanthropy Trough Song)a non-profit organization supporting anti-drunk

driving education and traumatic brain injuryresearch through choral performance .

Mrs. Dwyer has been the Associate Director ofthe Indianapolis Children’s Choir (ICC) since1988 and ICC Director of Education in 1996. Sheis also the Artistic Director and Administratorof the Columbus Indiana Children’s Choir, acooperative effort of the Columbus IndianaPhilharmonic Orchestra and the IndianapolisChildren’s Choir. Her work with ICC/CICC hasallowed her to tour throughout the United Statesand abroad. Her choirs have performed for theIndiana Music Educators Association, the AOSANational Conference, in New York’s Carnegie andAvery Fisher Halls, Spain, across the USA andthroughout Central Europe. She has preparedchoirs for performances with the IndianapolisSymphony Orchestra, the Indianapolis Symphonic

Choir, Indianapolis Opera, the Columbus IndianaPhilharmonic and the Butler University productionof Nutcracker. Mrs. Dwyer’s work with ICC/CICCincludes mentoring the teaching staff, conducting4 choirs, teaching in the First Steps program andproviding music library assistance.

Prior to her fulltime position with ICC, Mrs. Dwyerserved the State of Indiana for 19 years as a publicschool music educator. She has received the IMEAElementary Music eacher of the Year, the HoosierMusician award and the IPS Rising Star award.Mrs. Dwyer is an accomplished choral composerand arranger. She has taught master classes for theIU Jacobs School of Music, Butler, St. Tomas,

Drake Universities and Silver Lake College.Mrs. Dwyer also works as a studio conductor forHeritage/Lorenz Publishers.

Ruth Dwyer earned both her Bachelor’s andMaster’s degrees from Indiana University whereshe majored in music education and voice. Whileattending Indiana University she also received herKodály certification under the guidance of MaryGoetze and Jean Sinor. She enjoys a good cup ofcoffee, visiting with family, reading, sailing andhiking in the mountains.

The Columbus Indiana Children's Cho

is recognized as one of the finest choi

in the nation because of the excellenc

of its musical education, the diversit

of its membership and the quality oits contributions to the community

cultural life.

For 20 years, CICC has provide

exceptional music education and chora

performance experiences to childre

and youth in central Indiana. Unde

the leadership of Artistic Directo

Ruth Dwyer, Assistant Director Camill

Gehring, and CICC Coordinator De

Eikenbary and many others, the cho

has grown to serve hundreds of childre

each year and has become one of th

most accomplished programs of its kind

CICC choristers learn to expre

themselves through a high standar

of choral performance and artist

communication. Each child develop

vocal, musical, aural and analytical skill

and benefits from age-appropriat

training of the maturing voice a

part of a comprehensive choral mus

education.


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452015-2016 Season


Saturday, April 2, 2016 at 7:30 PM



The Philharmonic Chorus

David Bowden, Artistic Director

Columbus Indiana Children’s Choir

Ruth Dwyer, Artistic Director


Music for Royalty


CONCERT CO-SPONSOR

CONCERT PARTNERS

Crown Imperial March William Walton

Arrival of the Queen of Sheba from Solomon George Frideric Handel

Music for the Royal Fireworks Handel

Overture

Bourée

La Paix (The Peace)

La Réjouissance (The Rejoicing)

Minuet and Trio

Emperor Waltz J. Strauss, Jr

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

INTERMISSION

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

Come Ye Sons of Art Henry Purcell

Come, Come Ye Sons of Art

Strike the Viol

Sound the Trumpet

Come, Come Ye Sons of Art

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

Aloha ‘Oe Queen Lil’uokalani

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

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

I Was Glad (Coronation Anthem) Hubert Parry

Jerusalem (And Did Those Feet in Ancient Times) Parry

INSURANCE SERVICES

“It is a real pleasure to be a

member of the CIP family.

The level of musicianship in

this ensemble is very high,

but to me the distinguishingcharacteristic is the open and

positive nature of our work

together. This is something

unique to this orchestra

and makes rehearsals and

performances a real joy to

be a part of.”

– Eliot Heaton


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46 2015-2016 Season

William Walton

Crown Imperial March

William Walton first caught the ear of the Britishpublic with the premiere of his oratorio, Belshazzar’sFeast , in 1931. A sprawling, ambitious yet immediatelyappealing work, Belshazzar’s Feast served as noticethat Great Britain had found its heir-apparent toEdward Elgar and Ralph Vaughan Williams.

Te work was hardly the first piece bearing witness to Walton’s greatness as a composer

Documents

2015-16 Philharmonic Concert Program