2015-16 philharmonic concert program
TRANSCRIPT
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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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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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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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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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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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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
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Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, Indiana
Dell Brothersinc. An Indiana tradition since 1916
Columbus, IndianaThrough the generations,
Dell Brothers has beenoffering 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
BALLIN
CUTTER & BUCK
ENRO SHIRTS
OVERTON SHIRTS
HART SCHAEFFNER & MARX
BOSCA LEATHER ACCESSORIES
JOHNSTON & MURPHY
BILLS KHAKIS
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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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AV i s i t T oV i enn a
S al u t e!
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10
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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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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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Columbus Indiana PhilharmonicDavid Bowden, Music Director
Saturday, October 17, 2015 at 7:30 PMErne Auditorium, Columbus North High School
David Bowden, Conductor
Time for ThreeZachary De Pue, Violin Nicolas Kendall, Violin
Ranaan Meyer, Bass
JOHNSON DISTINGUISHEDGUEST ARTIST SPONSOR
CONCERT CO-SPONSORS
CONCERT PARTNERS
SEASON TITLE SPONSOR
Time For Three
Sunrise from the Grand Canyon Suite Ferde Grofé
On the Trail from the Grand Canyon Suite Ferde Grofé
Orange Blossom Special Ervin Rouse/Time for Three
Sarabande from Holberg Suite , op. 40/Blackbird Edvard Grieg/Beatles/Tf3
Firework Katy Perry/Tf3
Hungarian Rhapsody Johannes Brahms/Tf3
Czárdás Monti/Tf3/Hackman
INTERMISSION
Shenandoah/Foxdown Meyer/Hedges
Cry Me a River Timberlake/Hackman
Cloudburst from Grand Canyon Suite Ferde Grofé
Fiddle Jam on Jerusalem Ridge Bill Monroe/Tf3
Hallelujah Cohen/Hackman
Little Iron Man Mumford & Sons/Hackman
SEASON MEDIA SPONSOR
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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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Columbus Indiana PhilharmonicDavid Bowden, Music Director
Sunday, November 15, 2015 at 7:30 PM
Erne Auditorium, Columbus North High School
David Bowden, Conductor
The Philharmonic Chorus
David Bowden, Artistic Director
CONCERT SPONSOR
SEASON TITLE 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
SEASON MEDIA SPONSOR
“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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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.
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Columbus Indiana PhilharmonicDavid Bowden, Music Director
Sunday, December 13, 2015 at 3:00 PM & 7:00 PM
Erne Auditorium, Columbus North High School
David Bowden, Conductor
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!
SEASON TITLE SPONSOR
SEASON MEDIA SPONSOR
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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.
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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
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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
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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
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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.
4020 25th St., Ste. A, Columbus, IN 47203wwwsmalbizadvisor.com
4020 25th St., Ste. A, Columbus, IN 47203
www.quotemybenefits.com
812-372-9402
Bryan K. Hanner, CFP®, ChFC, CLU
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2015 JCB Adventure Concert
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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
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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
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SEASON TITLE SPONSOR
Celebrating the Chinese New Year
Columbus Indiana PhilharmonicDavid Bowden, Music Director
Saturday, February 6, 2016 at 7:30 PM
Erne Auditorium, Columbus North High School
David Bowden, Conductor
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
SEASON MEDIA SPONSOR
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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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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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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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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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Columbus Indiana PhilharmonicDavid Bowden, Music Director
Saturday, April 2, 2016 at 7:30 PM
Erne Auditorium, Columbus North High School
David Bowden, Conductor
The Philharmonic Chorus
David Bowden, Artistic Director
Columbus Indiana Children’s Choir
Ruth Dwyer, Artistic Director
SEASON TITLE SPONSOR
Music for Royalty
SEASON MEDIA SPONSOR
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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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