Bravo

2015-2016 SEASON SEPTEMBER–OCTOBER

A proud sponsor of the 2015-2016 Ogle Center Season

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r Welcome to the beautiful campus of Indiana University Southeast and to the Paul W. Ogle Cultural and Community Center. On behalf of the entire IU Southeast community, we extend a warm welcome to our alumni, friends, students, and guests, and those who serve the university in many and varied ways. We would like to extend a special welcome to our Director’s Circle members. The Director’s Circle is designed to recognize our valued, individual donors for their support. Our generous partners have provided the vital funding necessary to support our operations and to provide quality arts performances at affordable ticket prices. Joining the Director’s Circle is easy, and more information can be found in the back of

this program, or I would be delighted to speak with you.

Last year, Indiana University Southeast and the Ogle Center became the recipient of the James L. Russell Wonderland Way Collection, an art collection of regional significance. Mr. Russell’s granddaughter, Kathy Russell Smith, and her husband, Don, spearheaded the collection and the preservation of this important piece of southern Indiana history. This collection has brought to the Ogle Center the uniqueness of being the only performing arts venue in our region housing a significant art collection. Please join us in thanking the Smiths for the incredible addition to our community.The new season will provide numerous opportunities for enriching our lives and will bring exciting experiences of the visual and performing arts. From the variety of our Ogle Center Presents series to the down-home country and bluegrass of our Nashville Nights series, or from the Louisville Orchestra’s Neighborhood Concerts to performances by the IU Southeast Music and Theatre Departments, there’s something for everyone at your Ogle Center! We also invite you to stop by the Barr Gallery to see the incredible talent of our Fine Arts students and faculty whose works are on display. Whether you are joining us as a newcomer to the Ogle Center or you have been a patron for many years, we welcome you and will do our best to provide an experience you will long remember!Thank you for attending today’s performance. We look forward to filling the Ogle Center with music, theatre, dance, and joy.

See you at the Ogle Center,

Kirk RandolphOgle Center Director

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Paul W. Ogle Cultural & Community Center 4201 Grant Line Road New Albany, IN 47150

Office: (812) 941-2526 Ticket Office: (812) 941-2525 E-mail: oglemail@ius.edu Web site: oglecenter.com Facebook: facebook.com/OgleCenter

TICKET OFFICE HOURS Monday 10 a.m. – 5 p.m. Tuesday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 5 p.m. Thursday 10 a.m. – 5 p.m. Friday Closed

Other hours by appointment.

The ticket office opens 90 minutes prior to curtain time on show days and remains open until intermission.

Tickets may be purchased at the Ogle Center ticket office, the Ogle Center web site at oglecenter.com, or by phone at (812) 941-2525.

OGLE CENTER STAFF Kirk Randolph, Director Ken Atkins, Marketing Manager Aaron “A.D.” Stonecipher, Ticket Office Manager Jay Moore, Technical Director Derek Young, Assistant Technical Director Joseph Leezer, Technical Assistant Kyleigh Nolan, Ticket Office Assistant Brooke Wessel, Ticket Office Assistant Erin Coffee, Ticket Office Assistant Sophia Bierman, Ticket Office Assistant Kajal Kalabhai, Ticket Office Assistant

OGLE CENTER ADVISORY COMMITTEED. Jack Mahuron, chair · Tyler Bliss · Patricia A. Cress John Hartstern · Judy Hess · Jim Hesselman · Lynn Prinz Marty Ryall · Millicent Stiefler · Dana Wavle

2015-2016 SEASONSEPTEMBER–OCTOBER

THE QUEBE SISTERS 9 PART OF THE

NASHVILLE NIGHTS SERIES

Friday, September 18, 2015 | 7:30 p.m. Richard K. Stem Concert Hall

DIANE SCHUUR 13 and the

JAMEY AEBERSOLD QUARTET

PART OF THE OGLE CENTER PRESENTS SERIES

Friday, October 2, 2015 | 7:30 p.m. Richard K. Stem Concert Hall

LOUISVILLE ORCHESTRA 19 KLEZMER TO KADDISH

Saturday, October 17, 2015 | 7:30 p.m. Richard K. Stem Concert Hall

A/TONAL 21 PART OF THE IU SOUTHEAST MUSIC DEPARTMENT SERIES

Sunday, October 18, 2015 | 3 p.m. Millicent and Norman Stiefler Recital Hall

RIDERS IN THE SKY 23

SALUTE ROY ROGERS PART OF THE

NASHVILLE NIGHTS SERIES

Friday, October 23, 2015 | 7:30 p.m. Richard K. Stem Concert Hall

COMMONWEALTH 27

BRASS BAND PART OF THE IU SOUTHEAST MUSIC DEPARTMENT SERIES

Sunday, October 25, 2015 | 3 p.m. Richard K. Stem Concert Hall

SPONSORS

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Beverage service provided by:

At the Montrose318 W. Lewis & Clark Parkway

Clarksville, IN 47129(812) 945-9757

Highlander Point702 Highlander Point

Floyds Knobs, IN 47119(812) 923-2323

samstavern.com

Proudly serving a selection of classic favorites, exciting new dishes, and specials.

A portion of the proceeds from this evening’s beverage sales in the lobby benefits the IU Southeast Ogle Center.

C A R N E G I E C E N T E RF o r A r t & H i s t o r yA D e p a r t m e n t o f t h e N e w A l b a n y - F l o y d C o u n t y P u b l i c L i b r a r y

Paintings and Works on Paper by David Iacovazzi-Pau

Photography Since the Millennium, Curated by C.J. Pressma

Bernheim: The Natural Muse

Floyd County Secondary Schools Art Show & Competition

Form, Not Function: Quilt Art at the Carnegie

Ordinary People, Extraordinary Courage:Men and Women of the Underground Railroad

Remembered: the Life of Lucy Higgs Nichols

If you haven’t seen us lately, you haven’t seen the Carnegie.

07.24.15 - 09.26.15

10.09.15 - 01.09.16

01.22.16 - 04.09.16

04.16.16 - 04.30.16

05.13.16 - 07.09.16

PERMANENTHISTORY EXHIBITS

FREE ADMISSIONTuesday - Saturday

10:00 AM - 5:30 PM

201 E. Spring St., New Albany | 812.944.7336 | carnegiecenter.org

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TICKET OFFICEMonday–Thursday: 10 a.m.–5 p.m.Friday: Closed

Other hours by appointment.

Opens 90 minutes prior to curtain time on show days and remains open until intermission.

You can order your tickets by any of the following methods:

Order by Phone: (812) 941-2525Order online: oglecenter.comOrder in Person: Our ticket office is located in the lobby of the Paul W. Ogle Cultural and Community Center directly inside the front entrance to our facility.

TICKET DONATIONS AND REFUNDSALL SALES ARE FINAL. No refunds or exchanges. If you are unable to use your tickets for a performance, we will gratefully accept them as a tax-deductible contribution provided they are returned at least 24 hours prior to the show date. Please call the Ticket Office at (812) 941-2525.

PARKINGPaid parking is required for all events. Parking spaces for persons with disabilities are available in the lot immediately in front of the Center.

Complimentary parking passes are provided to season subscribers.

SPECIAL NEEDSWe are pleased to serve persons with special needs. Please call our Ticket Office at (812) 941-2525 to detail your needs in advance to reserve special seating for wheelchair patrons, listening enhancement devices. Parking spaces for persons with disabilities are available in the lot immediately in front of the Center.

ACCESSIBILITYAssistive Listening DevicesThe Stem Concert Hall, Robinson Theater and Stiefler Recital Hall are each equipped with five assistive listening devices. These are for use by patrons without hearing aids. The use of these devices is free. To reserve a device, simply call the Ogle Center Ticket Office at (812) 941-2525.

Wheelchair AccessibilityAn elevator is conveniently located in the lobby of the Ogle Center and Knobview Hall for those patrons needing assistance to reach the balcony or the rear parking lot. In addition, each theater provides a number of seats without steps and rollup space for patrons in wheelchairs. For your convenience, please call the Ogle Center Ticket Office at (812) 941-2525 in advance to reserve your rollup location.

Service AnimalsService animals are animals that are individually trained to perform tasks for people with disabilities such as guiding people who are blind, alerting people who are deaf, pulling wheelchairs, alerting and protecting a person who is having a seizure, or performing other tasks. Service animals are working animals, not pets.

POLICIESAll patrons must have a ticket, regardless of the patron’s age.

Patrons arriving late to the performances will be seated at the discretion of management.

Cameras and recording devices are strictly prohibited unless special permission is granted from the Ogle Center and the artist. Flash photography is prohibited at all times.

Indiana University Southeast is a tobacco-free campus. Smoking is prohibited in the Ogle Center and its theaters.

Food is prohibited in the theaters. Food is permitted in designated lobby areas.

Beverages purchased from our concessions provider are permitted in the performance halls and lobby areas.

GENERAL INFORMATIONRestrooms are located just off of the Ogle Center lobby in Knobview Hall, to the right as you leave the concert halls.

Parking is free from one hour prior to curtain time until one hour following the end of the performance in the Dogwood lot directly in front of the Ogle Center and the Hickory lot directly behind the Ogle Center. Vehicles parked in other locations and/or at other times will be subject to ticketing.

To volunteer as an usher at any of our upcoming events, please call (812) 941-2525 or visit oglecenter.com.

Advertise. To advertise in the Ogle Center’s Bravo! program or on the video board in our lobby, e-mail Ken Atkins at atkins@ius.edu or call (812) 941-2523.

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I N D I A N A U N I V E RS I T Y SOU T H E AST F I N E A RTS D E PA RT M E N T

Ronald L. Barr Art GalleryPaul W. Ogle Cultural and Community Center

Monday – Thursday, 9 a.m. – 9 p.m. | Friday, 9 a.m. – 5 p.m.All events are free and open to the public.

RAY WALLACE – PHOTOGRAPHYDOCUMENTING DIRECTIONS: GLOBAL SPACES AND FACESPart of the Louisville Photo BiennialCampus Opening reception October 1, 5 p.m.–7 p.m.Community reception October 9, 5 p.m.–7 p.m.Exhibition dates October 1–28

BLAKE WILLIAMS & LAUREN HERZAK-BAUMANOpening reception November 2, 5 p.m.–7 p.m.Exhibition dates November 2–27Blake Williams: blakejwilliams.comLauren Herzak-Bauman: laurenhb.com

BACHELOR OF ART (BA) EXHIBITIONOpening reception December 3, 5 p.m.–7 p.m.Exhibition dates December 3–January 15

CALEB WEINTRAUBOpening reception January 21, 5 p.m.–7 p.m.Exhibition dates January 21 – February 16Caleb Weintraub: calebweintraub.com

JURIED STUDENT EXHIBITIONOpening reception February 25, 5 p.m.–7 p.m.Exhibition dates February 25–March 16

BACHELOR OF FINE ART (BFA): EXHIBITION ONEOpening reception March 23, 5 p.m.–7 p.m.Exhibition dates March 23–April 13

BACHELOR OF FINE ART (BFA): EXHIBITION TWOOpening reception April 20, 5 p.m.–7 p.m.Exhibition dates April 20–May 9

2015–2016 EXHIBITION SCHEDULE

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IU Southeast Fine Art Program Gallery Co-Directors: Tiffany Carbonneau, tcarbonn@ius.edu | Susanna Crum, sgcrum@ius.edu

W hen the Quebe Sisters from Texas take a stage, and the triple-threat

fiddle champions start playing and singing in multi-part close harmony, audiences are usually transfixed, then blown away.

It’s partly because the t r io’s voc a l and instru-menta l per-formances are authentic all-A m e r i c a n a , all the time, respectful of the artists that inspired them the most.

And wheth-er the Quebes (rhymes with “maybe”) are decked out in denims and boots or fashionably dressed to the nines in makeup, skirts and heels, the fresh-faced, clean-cut sisters, all in their 20s, look as good as they sound.

Not surprisingly, the Quebe Sisters win standing ovations at almost every show. It’s been that way since 2000,

when they started fiddling together as pre-teens.

The sisters’ past is as colorful and eventful as their future is bright. Growing up in Burleson, a southern suburb of Fort Worth, Hulda, Sophia

a n d G r a c e were ages 7, 10 and 12 in 19 9 8 w hen they attend-ed their firstlocal f iddle competition in nearby Den-ton, and de-cided fiddling was what they wanted to do.

The girls earned solo and group ac-colades early

on, winning state and national champi-onships in their respective age groups in 1999, 2000, 2001 and 2002.

The Quebes’ evolution from the whiz-kid Western swing fiddlers they were back then to the smokin’-hot young adult Americana band they are today is a remarkable story, by any measure.

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· September 18, 2015 | 7:30 p.m

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The Ogle Center’s NASHVILLE NIGHTS Series

THE QUEBE SISTERS

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Along with headlining their own shows to ever-growing audiences, they’ve shared stages with American music legends like Willie Nelson, George Strait, Merle Haggard, Ricky Skaggs & Kentucky Thunder, Ray Price, Connie Smith, Marty Stuart, Larry Gatlin and the Gatlin Brothers, Ray Benson and Asleep at the Wheel, Riders In The Sky, and many others.

Today, after more than a decade of travelling the U.S. and the world, and recording three acclaimed albums, Grace, Sophia and Hulda Quebe are pros in a variety of genres, and count many famous musicians among their biggest boosters.

The Quebes’ unbridled passion for American music, along with their talent, skills and a lot of hard work, has taken them far beyond their wildest early aspirations.

“One thing is for sure, you don’t see a group like the Quebe Sisters come along every day,” famed Opry announcer Eddie Stubbs told listeners on his own show on Nashville’s WSM. “Give them your undivided attention, and if you’re not already, you too, will become a fan.”

Grace

Sophia

Hulda

THE QUEBE SISTERSGrace Quebe: fiddle, vocal Sophia Quebe: fiddle, vocal

Hulda Quebe: fiddle, vocal Simon Stipp: guitar Daniel Parr: bass

quebesisters.comfacebook.com/quebesisterstwitter.com/QuebeSistersinstragram.com/quebesisters

youtube.com/thequebesisterssoundcloud.com/quebesisters

Promotional support provided in part by

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The James L. Russell

Wonderland Way CollectionPaul W. Ogle Cultural and Community Center

History of Wonderland Way

James L. Russell (1872–1937), a New Albany artist, opened his Art Shop in 1906 and created an influential gathering place for regional artists during a time that preceded World War I and continued into the 1930s. Inspired by a stretch of scenic auto roads from Cincinnati, Ohio to Mount Vernon, Illinois known as the “Wonderland Way,” the artists adopted this name for their Art Club. After meeting at Russell’s Art Shop, the artists would travel to scenic locations in the region and paint en plein air, a French expression which means “in the open air.”

Grover Page, Jr., a former member of the Wonderland Way Art Club, wrote, “James L. Russell was not only a significant ‘Depression artist’ of the ‘30s, he was the kindest and most gentle person I ever knew. He was the favorite artist of everyone in New Albany and the surrounding and distant areas. In 1931, at the age of thirteen, I became

a regular among local artists and art lovers who frequented Jim’s Art Shop on Market Street. Jim started the Wonderland Way Art Club for any artist in the area who wanted to study and discuss art.”

Kathy Russell Smith, granddaughter of James L. Russell, and her husband, Don Smith, are proud to present these first pieces of art as part of a permanent collection of works. Kathy and Don have personally spearheaded efforts to make the James L. Russell Wonderland Way Collection a reality. Through the Smiths’ generosity, this collection preserves the history and heritage of the art of our region, and they encourage others to follow their lead.

The Wonderland Way Art Club included more than 300 artists. In addition to James L. Russell’s works, some of the Wonderland Way artists you will see represented in the Collection include John T. Bauscher, Orville Carroll, William Hancock, Grover Page, and Russell’s son, James J. Russell.

The first installment of the Wonderland Way Collection is now on display in the Ogle Center lobby.

www.ius.edu/wonderland-way

James L. RussellSugar Grove on Ohio River. Oil. 1902.

www.horseshoefoundation.org

Horseshoe Foundation of Floyd Countyhas given

$36.8 MILLIONback to the community.

Thank youHorseshoe Southern Indiana for

$53 MILLIONin donations.

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R egarded as one of jazz’s leading vocalists, Diane Schuur is as eclectic as she is brilliant.

Born in Tacoma, Washington and 1953, Schuur was blind from birth; but she was gifted with perfect pitch and initially taught herself piano by ear. She later received formal piano training at the Washington State School for the Blind, which she attended until she was 11 years of age.

Nicknamed “Deedles” as a child, she grew up surrounded by the world of jazz embraced by both of her parents: Her father was an amateur pianist, and her mother kept a formidable collection of Duke Ellington and Dinah Washington albums in her home. Not surprisingly, Dinah Washington is often listed as Schuur’s major vocal influence, and she learned the iconic singer’s “What a Difference a Day Makes” while she was still a toddler. She also developed her own rich, resonant vocal style at a very young age. Teased by other children for singing like an adult, Schuur retreated to practicing in the closet

to emulate her idols. Her mother heard her, as Schuur related to Paul Tough in Savvy: “One day my mom yanked me out of the closet and said ‘Here’s the microphone. I’m going to put on a record, and you’re going to sing it.’” Schuur complemented her singing with a few music lessons and by the time she was ten had largely taught herself the piano and was performing in local clubs. One memorable performance of her early

years was at the Tacoma Holiday Inn. “I’ll never forget it,” she told Huzinec. “I forgot the words to ‘Unforgettable.’ I have it on tape with mother in the background saying, ‘Oh, my God.’”

After high school, she continued professionally in music, developed a tremem-

dous local following in the Seattle area, and completed a few modest recording efforts. In 1975 she garnered raves at the Monterey Jazz Festival when she per-formed with the band of Tonight Show drummer, Ed Shaugnessy. She returned to Monterey in 1979 and astounded the audience after being beckoned to the stage by Dizzy Gillespie and finessing and

THE OGLE CENTER PRESENTS Series

DIANE SCHUURand the JAMEY AEBERSOLD QUARTET

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Timpromptu version of “Amazing Grace.” Her spirited performance so impressed jazz legend Stan Getz that he brought her along with him to perform at the White House for President Ronald Rea-gan and First Lady Nancy Reagan. Schuur became a favorite of Nancy Rea-gan’s, and on a subsequent White House performance she met GRP Records ex-ecutive Larry Rosen who promptly signed her to a recording contract. Schuur’s first album,Deedles (1984), an eclectic mix of mu-sical genres highlighting her four-oc-tave range, astounded listeners. Critics lauded her horn-like ap-proach to singing, which is often compared to the way Ella Fitzgeraldvocally attacks her material. In addition to the success of Deedles, her recurring appearances on The Tonight Show thrust Schuur further into the national spotlight.

Regarding a 1986 performance by Schuur at New York City’s famed Blue Note club, reviewer Stephen Holden of the New York Times called her “a vocalist of unusual warmth and power.” Holden added that Schuur’s “emotive di-rectness and … unexpect-ed shifts of intonation” recalled Phoebe Snow, while her “billowing warmth and optimism” recalled “the friendly em-brace” of Kate Smith. Re-viewing a Carnegie Hall 1987 concert with Mel Tormé and Lonette McK-ee, Holden added other praises, lauding Schuur’s “clear expansive delivery,” her “sophisti-cated scat technique,” and “phrases [that] roll out on a rich thrilling vibrato.”

In 1986, she received her first Gram-my® Award, for the album Timeless, and

the following year received another, for Diane Schuur & the Count Basie Orches-tra. Schuur’s recording with the Basie orchestra has been one of her most suc-cessful, topping Billboard’s traditional

jazz chart listing for an im-pressive 33 weeks. Schuur later branched out from her jazz approach to a more rhythm-and-blues-inf lu-enced style. Her 1988 al-bum Talkin’ ‘Bout You dem-onstrated this new venture, and was more pop-orien-tated than her previous al-

bums. Featuring Ray Charles’ classics, including the title track, Talkin’ ‘Bout You, was well received by music critics.

Alanna Nash commented in Stereo Review, “The sheer glory of Schuur’s voice, cap-tured here in an ultra-clean production, makes for one of the most engaging al-bums of the year—pop, jazz, or anywhere in between.”

Schuur proved her staying power through the

1990s and into the 2000s, first with her 1991 follow up to Talkin’ ‘Bout You, Pure Schuur, and then with nearly an album a year from then on, including In Tribute

(1992), Love Songs (1993), Heart to Heart (1994) with the late B.B. King, Love Walked In (1995), and Blues for Schuur (1997).

S c h u u r a l w a y s admired pop singers such as Judy Garland and Barbra Streisand, and she decided to aim for that kind of broad-based appeal. This led to her changing record labels, first to Atlantic for Music

Is My Life (1999) and then to Concord Records for Friends for Schuur (2000), produced by hit maker, Phil Ramone. Both these recordings feature a large number of pop standards.

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TFriends for Schuur is a dynamic re-

cording of Schuur singing duets with vari-ous close friends from the music business, including Ray Charles, Stevie Wonder, Herbie Hancock, Dave Grusin,Stephen Bishop, Dave Grusin, and Stan Getz, whose solo on “Easy Living” was digitally inserted by modern recording technology. (Getz died in 1991.) One of the album’s highlights is a live song from a Kennedy Center performance by Schuur in which Victor Borge, Sean Connery, and Stevie Wonder were paid tribute. Schuur, with Herbie Hancock on piano, flabbergasted Wonder by singing a slow tempo, show-stopping rendition of his hit, “I Just Called to Say I Love You.” Wonder was overwhelmed. Wonder’s vocals were later mixed as a tight duet, and it is sometimes difficult to tell the two singers apart.

In 2001 she returned to jazz with the record-ing Swingin’ for Schuur, in which she is accompanied by the big-band swing sounds of Maynard Ferguson and his eleven-piece Big Bop Nouveau Band.

Late in 2003, Schuur released the album Midnight, featuring all-original songs written for the album by pop star Barry Manilow. Manilow also performs alongside Schuur on the album, along with jazz powerhouses Alan Broadbent on piano, Chuck Berghofer on bass, and world-class drummers Harvey Mason and Peter Erskine.

In 2005 Schuur released Schuur Fire, her first recorded collaboration with the fiery Grammy® Award-winning Latin jazz ensemble, Caribbean JazzProject, featuring 12 memorable tracks

given a fresh spin with passionate andinfectious Latin rhythms.

Some Other Time (2008) is a record-ing of songs by jazz art-ists Schuur first discov-ered through her parents during her childhood and adolescent years. The album features songs by George and Ira Ger-shwin, Irving Berlin, Sammy Cahn, Rodgers and Hammerstein and more. The set also includes a surprisingly m a t u r e - s o u n d i n g rendition of “September

in the Rain,” recorded at the Holiday Inn in Tacoma in 1964 when Schuur was only ten years old. Some Other Time is, among other things, Schuur’s celebration of the music of her parents’ generation, and a tribute to her late mother on the 40th anniversary of her death at the young age of 31.

Schuur has built a stellar ca-reer by embrac-ing and exploring nearly every corner of the 20th century American musicallandscape, and withthe release of The Gathering in 2011 on the Vangaurd label, she turned

her talents to classic country songs. Re-corded in Nashville in one day, the album features special guests Alison Krauss, Vince Gill, Mark Knopfler, Larry Carlton and Kirk Whalum.

I n 2014, S chuu r re le a se d I Remember You (With Love to Stan and Frank) in which she pays tribute to two star-studded influences on her music and career: jazz saxophonist Stan Getz, and crooner Frank Sinatra. (She knew them both personally.) Yet, while tipping her hat to these icons, she chooses to fully embrace an intimate jazz setting, with a quintet typical of a club date, tunes that stand out for their subtlety and

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sophistication, liberal use of scat, and an emphasis on the emotive interpretation of the songs.

In person, Schuur maintains a posi-tive outlook on life, which carries through to her performances on stage. “Even though a song might be sad, I’ll try not to drown it,” she was quoted in the New York Times. “Like Johnny Mercer said, I always try to accentuate the positive.” Regarding her Blue Note program, Stephen Holden com-mented on this aspect of Schuur as re-vealed through her performance of familiar jazz standards. “On all of them, the singer stamped her engaging, somewhat child-like musical personality. As an interpreter of lyrics, Ms. Schuur seems instinctively drawn toward whatever affirmative ideas can be gleaned from a song. In her hands, even a lament such as Irving Berlin’s ‘How About Me’ becomes an expression of the singer’s own resilience and eagerness to forgive.” Holden called Schuur’s singing “as sunny in spirit as it is voluminous.”

In 2000, the American Foundation for the Blind selected Schuur to receive the prestigious Helen Keller Personal Achievement Award. The award is given to an individual who acts as a role model or improves the quality of life for people who are blind or visually impaired. Schuur is the first national spokesperson for the Disability Rights Legal Center, an organization dedicated to promoting the rights of people with disabilities.

“J amey Aebersold has made enormous contributions to the jazz world through his tireless

efforts as a performer, educator, and publisher,” said 2000 National Endowment for the Arts (NEA) Jazz Master David Baker. “As the creator of the innovative and groundbreaking Jamey Aebersold Jazz Play-A-Long recordings series, as the longtime director of the Jamey Aebersold Summer Jazz Workshops, as an exceptional clinician and performer, and as the publisher of an extensive catalogue of jazz materials, Jamey has revolutionized the way people practice, teach, create, and perform their music. Jamey has carried his message that ‘anyone can improvise’ and that ‘creativity is part of the nature of every person’ throughout the world to great success, impacting generations of both aspiring and established jazz performers and teachers.”

Jamey Aebersold was born July 21, 1939, in New Albany, Indiana. He attended college at Indiana University and graduated in 1962 with a Masters Degree in Saxophone. He was awarded an Honorary Doctorate of Music by Indiana University in 1992. He also plays piano, bass and banjo.

In 1989, the International Associa-tion of Jazz Educators inducted Jamey into their Hall of Fame at the San Diego convention. With this award, Jamey joins other jazz luminaries such as Count Basie, Duke Ellington, Charlie Parker, Louis Armstrong and others.

Jamey is an internationally-known saxophonist and authority on jazz educa-tion and improvisation, and has developed

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DIANE SCHUURdianeschuur.com

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Ta series of Play-A-Longs (book and CD sets) now numbering almost 130 volumes as well as various other supplemental aids for the development of improvisational skills. The Aebersold book and recording sets allow a musician the oppor-tunity to practice and improvise with well-known jazz personali-ties at home as well as in the classroom. The recordings employ some of the best jazz musi-cians in the world. This concept has been re-sponsible for changing the practice habits of thousands of musicians around the world.

Jamey was one of the first to encour-age small group classes which concen-trate on jazz improvisation, and he is the

d irec tor of the Summer Ja zz Work-shops which now have 40+ years on re-cord. Jamey feels that im-p r o v i s a t i o n is something all people can do—and his clinics and

lectures concentrate on demonstrating how the creative and spontaneous nature of each person can be brought to light.

The Workshops have traveled to Australia, New Zealand, Germany, England, Scotland, Denmark and Canada. Every summer there are at least two week-long Workshops in the U.S. These camps employ many of the finest player/teachers in jazz and are open to any serious jazz student regardless of ability or age.

In 2007, Jamey was awarded the Indiana Governor’s Arts Award by Mitch Daniels, the Governor of Indiana.

On October 4, 1987, CBS’ “Sunday Morning” with Charles Kuralt and Billie

Taylor featured Jamey with the Summer Jazz Workshops in an exciting jazz educa-tional segment.

Jamey has taught at three colleges and universities in the Louisville area and has made guest appearances in dozens of cities around the world. While conducting a jazz clinic in Brazil he produced a 110-minute video appropriately titled “Anyone Can Improvise” which has become a best-seller.

In December 2004, the Jazz Midwest Clinic bestowed upon Jamey

the “Medal of Honor” in Jazz Education, and in 2014 Jamey was the recipient of the A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed signifi-cantly to the appreciation, knowledge, and advancement of the art form of jazz.

Jamey has been a driving force in Amer-ica’s native art form, Jazz, and continues to kindle the fires of musi-cal imagina-tion in those with whom he comes in contact.

JAMEY AEBERSOLD and theJAMEY AEBERSOLD QUARTET

Jamey Aebersold, saxophone · Steve Crews, pianoTyrone Wheeler, bass · Jonathan Higgins, drums

jazzbooks.comfacebook.com/aebersoldjazz

Promotional support provided in part by

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LOUISVILLE ORCHESTRATEDDY ABRAMS, MUSIC DIRECTOR

Ogle Neighborhood Series

KLEZMER TO KADDISH: JEWISH MUSIC AND MUSICIANSTeddy Abrams, conductor

PROGRAM

Joseph Rumshinsky March from Chantsche in Amerikearr. Ljova

George Gershwin/Irving Berlin Swing Medleyarr. Ljova (Blue Skies, Liza, Alexander’s Ragtime Band)

Aaron Copland Music for the Theatre

Salamone Rossi Baruch haba b’sheim Adonaiarr. Abrams

Maurice Ravel Kaddish

Jacques Offenbach Orpheus in the Underworld Overture

Leonard Bernstein Overture to West Side Story

Klezmer Interlude

Gustav Mahler “Adagietto” from Symphony No. 5

Teddy Abrams Questions

John Kander Chicago Overture/All That Jazz

George Gershwin Overture to Girl Crazy

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FIRST VIOLINMichael Davis, Concertmaster

Fanny and Charles HornerConcertmaster Chair

Open, Assistant ConcertmasterNational City Bank Chair

Katheryn S. OhkuboCheri Lyon Kelly

Mrs. John H. Clay ChairStephen Taylor

Clayton Pusateri Chair, Endowed byJoe and Vickie Pusateri

Scott StaidleNancy StaidleBarbara Meek Patricia FongMaria Semes

SECOND VIOLINRobert Simmonds, Principal

Claire and Lee Lenkoff ChairKimberly Tichenor, Interim Assistant

PrincipalDevonie Freeman

Mary Catherine Klan Violin Chair, Endowed by Chase

Elisa SpaldingCharles Brestel

Patricia Ann Jenkins Endowed ChairHeidi Tracy Judy Pease Wilson Blaise Hayden SmithOpen

VIOLAJack Griffin, Principal

Aegon ChairEvan Vicic, Assistant Principal

Jacqueline R. and Theodore S. Rosky ChairClara Markham

Mr. and Mrs. Charles W. Hebel, Jr. Chair Jennifer ShackletonJonathan Mueller

Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor

Meghan Casper

CELLONicholas Finch, Principal

Thomas Mattingly and Anita Grenough Abell Memorial Chair

Joseph Caruso, Assistant PrincipalCarole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Christina HintonDr. Edward Leo Callahan Chair

Allison B. OlsenFrances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro

Deborah Caruso Julia Preston

BASSBert Witzel, Principal Patricia Docs, Interim Assistant

Principal Robert Docs Karl Olsen

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

FLUTEKathleen Karr, Principal

Elaine Klein ChairDonald Gottlieb

Philip M. Lanier Chair

PICCOLODonald Gottlieb

Alvis R. Hambrick Chair

OBOEOpen, Principal

Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra

Trevor Johnson, Assistant PrincipalEdgar J. Hinson III Chair

CLARINETAndrea Levine, Principal

Brown-Forman Corp. ChairMarilyn Nije§

Ernest GrossKate H. and Julian P. Van Winkle, Jr. Chair

BASS CLARINETErnest Gross

General Dillman A. Rash Chair

BASSOONMatthew Karr, Principal

Paul D. McDowell ChairChris Reid§

HORNJon Gustely, Principal

Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen

Gary and Sue Russell ChairBruce Heim§

TRUMPETJ. Jerome Amend, Principal

Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

James Recktenwald, Assistant PrincipalLynne A. Redgrave Chair

Daniel Kassteen

TROMBONEDonna Parkes, Principal

PNC Bank, Kentucky, Inc. ChairBrett Shuster§

BASS TROMBONEJ. Bryan Heath, InterimRaymond Horton*

TUBAJohn DiCesare, Principal

TIMPANIJames Rago, Principal

Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair

PERCUSSIONJohn Pedroja, PrincipalMark Tate§

Matthew Hawkins§

HARPMary Julian Rapier, Principal

The Humana Foundation Chair

KEYBOARDGrace Baugh-Bennett§

Margaret S. Comstock Piano Chair

§Auxiliary musician*On leave

GENERAL MANAGERLindsay C. Vallandingham

PERSONNEL MANAGERAdrienne Hinkebein

LIBRARIANErika Voss Mahlbacher

OPERATIONS MANAGEROpen

STAGE MANAGERBill Polk

LOUISVILLE ORCHESTRA MUSICIANSTEDDY ABRAMS, MUSIC DIRECTOR

MARY AND BARRY BINGHAM, SR., MUSIC DIRECTOR CHAIRJORGE MESTER, MUSIC DIRECTOR EMERITUS

BOB BERNHARDT, PRINCIPAL POPS CONDUCTOR

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The IU SOUTHEAST MUSIC DEPARTMENT presents

A/TONALSunday, October 18 | 3 p.m.

Millicent and Norman Stiefler Recital HallPaul W. Ogle Cultural and Community Center

PROGRAM

The Memory Palace . . . . . . . . . . . . . . . . . . . . . . . . . . . Gabriel Kahanetext by Gabriel Kahane

Chad Sloane, baritone · Jessica Dorman, piano

Autumn Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . David Heinicktext by David Heinick based on ancient Chinese poetry

Chad Sloane, baritone · Jessica Dorman, pianoCarrie Ravenscraft, clarinet · Felix Borges, cello

Fleeting Moments . . . . . . . . . . . . . . . . . . . . . . . . . . Elliott McKinleyCarrie Ravenscraft, clarinet · Felix Borges, cello

The Memory Palace . . . . . . . . . . . . . . . . . . . . . . . . . . Ann CallawayCarrie Ravenscraft, clarinet · Felix Borges, cello

Jessica Dorman, piano

A/Tonal is a contemporary music ensemble that bridges the gap between traditional and new music with unique musical experiences. Founded in 2013, the members of A/Tonal consist of a core group of performers Jessica Dorman (piano), Amy Ensel (flute), and Carrie Ravenscraft (clarinet) and resident composers Daniel Gilliam and Erich Stem. The group gave its debut performance at IU Southeast in the Spring of 2014, featuring a multimedia performance of Daniel Gilliam’s “The Aggregate of Our Joy and Suffering.” A/Tonal has collaborated with many artists in the region and will soon broaden it’s outreach to include masterclasses and recording of living composers on IU Southeast’s New Dynamic Records label.

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Riders In The Sky are trulyexceptional. By definition, em-pirical data, and critical

acclaim, they stand “hats & shoulders” above the rest of the purveyors of C & W— “Comedy & Western!”

For more than thirty years Riders In The Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers, reviving and revitalizing the genre. And while remaining true to the in-tegrity of West-ern music, they have themselves become mod-ern-day icons by branding the

genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buck-arettes to live life “The Cowboy Way!”

Riders In The Sky are exceptional not just in the sense that their music is of superlative standards (they are the ONLY exclusively Western artist to have won

a Grammy, and Riders have won two), but by the fact that their ac-complishments are an exception to the rule as well.

That Riders In The Sky was even formed is a feat of improb-able likelihood. What are the odds that a t h e o r e t i c a l

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Join Riders In The Sky in a thrilling ride to yesteryear as they salute iconic western movie, music and TV star Roy Rogers, undisputed “King of the Cowboys.” King of the Cowboys: Riders In The Sky Salute Roy Rogers features family-friendly favorites from Roy’s long career that include “Don’t Fence Me In,” “Pecos Bill,” “Happy Trails” and more wrapped up in the Riders’ two-time Grammy-winning high yodeling style.

“Roy was my idol, plain and simple,” says Rider Too Slim. “This show will trigger (sorry about that) a lot of memories for folks our age, and introduce new generations to a wonderful man and artist who deserves to be celebrated.”

The Ogle Center’s NASHVILLE NIGHTS Series

RIDERS IN THE SKY

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Splasma physicist, a wildlife manager — galvanizer — Life Scout, an English major — shot putter — Bluegrass Boy, and a Polka Hall of Fame member would collectively become“America’s Favorite Cowboys?” And even more unlikely is that 30-plusyears later, the original mem-bers are still“bringing good beef to hungry people” while putting upRipken-like num-bers! The Rolling Stones only made it a few years before replacing Brian Jones; the Sons of the Pioneers con-stantly changed personnel; even the Ringo-era Beatles only lasted 8 years. (Perhaps Too Slim, as a sophomore writer for the University of Michigan Daily, had an ulte-rior motive in 1969 by propagating the rumor that Paul McCartney was dead! It’s true... go ahead and Google “Paul is dead ru-mor”...) But the key to keeping the same founding members intact for three de-cades on the road is more easily explained: “Separate hotel rooms,” cracks Ranger Doug!

Riders In The Sky’s first official public performance was Nov. 11, 1977, at the erstwhile Nashville nightspot “Phranks & Steins.” Taking the stage that night for a crowd of eight or nine (counting Herr Harry behind the bar) were Ranger Doug (Idol of American Youth) on arch-top guitar and baritone vocals, and Too Slim (A Man Aging Like Fine Cheese) on bunkhouse bass, face, and tenor vocals. A chain saw may have been in the mix somewhere that night, but was soon retired. Replacing the

chain saw was Woody Paul (King of the Cowboy Fiddlers) on fiddle, tenor vocals and rope tricks, and the launch was successful! They subsequently added the “Stomach Steinway” stylings of Joey

the Cowpolka King on accordion and baritone vocals, much to the delight of ‘Polk a hol ic s’ everywhere.

As a classic cowboy quartet, the trail has led them to heights they could have never predicted. Riders have chalked

up over 6,100 concert appearanc-es in all 50 states and 10 countries, appearing in venues everywhere from the Nashville National GuardArmory to Carnegie Hall, and from county fairs to the Hollywood Bowl.

Their cowboy cha-risma and comedic flair made them naturals for TV, and landed them their own weekly show on TNN, as well as a Saturday morn-ing series on CBS. They have been guests on count-less TV specials, d o c u m e n t a r i e s

and variety shows, appearing with everyone from Barney to Penn & Teller. And their animated likenesses have shared the screen with Daffy Duck on the Cartoon Network, and the Disney Channel’s Stanley. If you consider their compositional credits, one might call them “Writers In The Sky!” In addition to penning award winning songs for their own albums, they wrote the score for Pixar Animation’s 2002 Academy Award-winning short “For the Birds.” They composed the theme song for the internet cartoon show “Thomas Timberwolf” by renowned Bugs Bunny 24

creator Chuck Jones. But the animated character that history will most certainly link to Riders In The Sky is the loveable cowboy Woody, as Riders performed “Woody’s Round Up” in Toy Story 2, with the album of the same name garnering Riders their first Grammy Award in 2001 for “Best Musical Album for Children.” Two years later, Riders roped their second Grammy in the same category, for “Monsters Inc. — Scream Factory Favorites,” the companion CD to Pixar’s award winning movie.

Equally as exceptional, but of greater significance, is that in 1982, Riders In The Sky became the first, and to date only, exclusively Western music artist to join the Grand Ole Opry, the longest running radio show in history, and thus began a love affair with radio as well. In 1988, they recorded comedy skits for the album “Riders Radio Theatre” andlaunched the long-running international weekly radio show of the same name on public radio. And keeping pace with the ever-changing technological landscape, in 2006 “Ranger Doug’s Classic Cowboy Corral” debuted on XM Satel-lite Radio, still heard weekly on SiriusXM Channel 56.

E x c e p -tional artists also appeal to a diverse and b r o a d - b a s e d cross section of their adoring public. Riders In The Sky’s music and comedy delights cowboys and cowgirls of all ages, and from all walks of life. Riders are equally

at ease amusing a theatre full of chil-dren as they are enthralling a symphony audience accompanied by 50 or 60 clas-sically trained instrumentalists, or even an NCO club full of servicemen during a USO Tour. Riders have performed at the White House for both Democratic and Republican administrations, and at Major League Baseball’s winter meet-ings for both American and National Leagues (although with an admitted bias for the Detroit Tigers). With their ability to persuade cowpokes on both

sides of the fence to set aside their dif-ferences for a brief escape from day-to-day tribulations, is it any wonder that Riders have a virtual home called “Har-mony Ranch?”

Ultimately, ex-ceptional careers do not go unnoticed, and throughout theirs, Riders In The Sky have been

honored regularly. In addition to being inducted into the Grand Ole Opry, Rid-ers are in the Western Music Associa-tion’s Hall of Fame, the Country Music Foundation’s Walkway of Stars, and the Walk of Western Stars (in Newhall, CA near Melody Ranch Studios) along

with Gene, Roy, John Wayne and other cow-boy legends. No less impor-tant than their two Grammies, Riders have been the West-ern Music As-sociaton’s “En-tertainers Of the Year” seven times, and won

“Traditional Group of the Year” and “Traditional Album of the Year” multiple times. The Academy of Western Artists

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Shas named them “Western Music Group of the Year” twice in 5 years, and the National Cowboy & Western Heritage Museum has bestowed Riders with their Wrangler Award statuette three times. It comes as no surprise then that Billboard magazine’s Jim Bessman counts them as one of “the most historically significant acts in the history of American music.”

Yes, it would be “The Easy Way” to call it a career after 30-plus years, but it wouldn’t be...”The Cowboy Way!” And so, the never-ending trail drive continues. The ponies are rested and watered, and America’s Favorite Cowboys are ready to saddle up and ride, bringing good beef to hungry people wherever they may be. Yes, Riders In The Sky are truly an exception to the rule.

Ranger DougGuitarist Ranger Doug, “Governor of the Great State of Rhythm,” sings lead and bari-tone vocals with an ever-present

big grin and warm twinkle in his eyes. A yodeler of breathtaking technique,he is also an award-winning Western music songwriter in his own right—and a distinguished music historian whose 2002 Vanderbilt University Press book “Singing in the Saddle” was the first comprehensive look at the singing cow-boy phenomenon that swept the country in the 1930s.

Too SlimUpright “bunk-house” bassist Too Slim, eas-ily the sharpest wit in the West, was, prior to the Riders, a janitor,

industrial galvanizer, puppeteer, rumor-monger, hay stacker, burlesque show emcee, sportswriter, wildlife manager,

and electric bassman. Besides his su-perb bass play and comic genius, he has inspired thousands to whack out tunes on their faces.

Woody PaulWoody Paul, “King of the Cow-boy Fiddlers,” sings lead and tenor vocals, and gained early ex-perience in coun-

try-western music by hanging out with the likes of Roy Acuff. When not daz-zling Riders fans with his fiddle, he’s thrilling them with intricate rope tricks which he swears he’ll get right before his career is over.

JoeyA c c o r d i o n i s t Joey, the CowPol-ka King, “plays both ends against the middle,” as they say, on his “stomach Stein-

way.” The master musician, who ap-prenticed with the late polka king Frank Yankovic and has recorded with every-one from Roy Rogers to U2, is also the Riders’ album producer and a licensed driver.

RIDERS IN THE SKYridersinthesky.com

facebook.com/Saddlepalstwitter.com/HarmonyRanchyoutube.com/user/RidersInTheSkyVideos

Promotional support provided in part by

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The IU SOUTHEAST MUSIC DEPARTMENT presents

THE COMMONWEALTH BRASS BAND GOES TO THE MOVIES J. Jerome Amend, music directorAnita Cocker Hunt, associate director

Shawn Roark, concertmaster · Robert Crafton, solo euphoniumSusan Reigler, compère

PROGRAM

Fanfare from Also Sprach Zarathustra, Op. 30 (1896) . . . . . . . . Richard Strauss(1864–1949)

Arranged for English brass band by Ralph E. Pearce

Raiders of the Lost Ark (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams(b. 1932)

Arranged for English brass band by Steve Sykes

Jurassic Park (1993) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams(b. 1932)

Arranged for English brass band by Roland Kernen

Dances With Wolves (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Barry(1933–2011)

Arranged for English brass band by Alan Fernie

Brazil “Aquarela do Brasil” (1939) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ary Barrosso from the motion picture Brazil (1985) (1903–1964)

Arranged for English brass band by Norman Tailor

Ben Hur (1959) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miklos Rozsa(1907–1995)

Arranged for English brass band by John Glenesk Mortimer

Batman (1989) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danny Elfman(b. 1953)

Arranged for English brass band by Peter King

Gone With the Wind (1939) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Max Steiner(1888–1971)

Arranged for English brass band by Hardy Schneiders

Star Trek Through The Years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arranged by Calvin Custer(1939–1998)

Arranged for English brass band by Dr. Joanna GoldsteinAnita Cocker Hunt, conductor

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SOPRANO CORNET Jackie Amend Andrew Scott

SOLO CORNETS Shawn Roark, concertmaster Jason Houghland, assistant concertmaster Dana Fisher Michael Jones Christopher Labrum Nick Scoggins

SECOND CORNETS Candace True, principal Brent Dellacoletta Jason Fisher David Campisano

THIRD CORNETS Joanna Goldstein, principal Brent Mode Patrick Sellars Ernest Woodworth

REPIANO CORNET Carl Reckelhoff

FLÜGELHORN Steven Palmquist

Eb TENOR HORNS Susan Reigler, solo Norma Ruble, first Melanie Dillman, first Mark McDonald, second

BARITONES Peter Felice, first J. David McNeely, second

TROMBONES Mildred Kemp, first Michael Raley, assistant first Charlie Rademaker, second Joe Spain, bass

EUPHONIUMS Robert Crafton, solo Kristi Schmidt, second

Eb TUBAS Steve Lasher Adam Edwards

BBb TUBAS Russell Shartzer Ferenc Vegh

PERCUSSION TBA

Librarians David Campisano Mildred Kemp

MUSICIANS OF THE COMMONWEALTH BRASS BAND

INTERMISSION

Lawrence of Arabia (1962) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maurice-Alexis Jarre(1924–2009)

Arranged for English brass band by John Glenesk MortimerAnita Cocker Hunt, conductor

The Last Samurai (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hans Zimmer(b. 1957)

Arranged for English brass band by John Glenesk MortimerAnita Cocker Hunt, conductor

Spartacus (Ballet, 1954): Phrygia. Adagio . . . . . . . . . . . . . . . . . . Aram Khachaturian(1903–1978)

Arranged for English brass band by Gordon Langford

Harry Potter and the Sorcerer’s Stone (2001) . . . . . . . . . . . . . . . . . John Williams(b. 1932)

Arranged for English brass band by Steve Sykes

Ashoken Farewell (1982) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jay Ungar fromtheKenBurnsPBSdocumentaryfilmseriesThe Civil War (1990) (b. 1946)

Arranged for English brass band by Alan Fernie

Disney Fantasy . . . . . . . . . Arranged for English brass band by Godfrey “Goff” Richards(b. 1944)

Williams—Epic Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Williams Star Wars (1977), 1941 (1979), The Empire Strikes Back (1980), Superman (1978) (b. 1932)

Arranged for English brass band by Steve SykesAnita Cocker Hunt, conductor

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Call (812) 941-2525 or visitoglecenter.com

TICKETS ON SALE NOW

IU SOUTHEAST THEATRENOISES OFFby Michael Frayn

Nov. 5–8 | Nov. 12–15Called the funniest farce ever written, Noises Off presents a manic menagerie as a cast of itinerant actors rehearse a flop. Doors slamming, on and offstage intrigue, and an errant herring all figure in the plot of this hilarious and classically comic play.

“A spectacularly funny, peerless backstage farce.”

—The New York Times

IU SOUTHEASTCONCERT CHOIR &

COMMUNITY CHORUSNovember 8

The IU Southeast Concert Choir is the university’s premier choral ensemble and performs highly varied choral literature from all styles and historical periods. The Community Chorus is open to all students, faculty, staff, and members of the community. The group performs a variety of literature

and performs along side the Concert Choir.

IU SOUTHEASTCONCERT BAND

November 15Regarded as one of the finest concert bands in the region, the IU Southeast Concert Band will perform a rare work in the band repertoire when it features cellist, Jon Silpayamanant in Luis Serrano Alarcón’s Tramonto: Romanza for Cello and Wind Ensemble. Also on the program will be the world premiere of Arctic

Sphere by IU Southeast alumnus, Peter Felice.

LOUISVILLE ORCHESTRA

SERENADESNovember 21

What is a serenade but beautiful instrumental music that evokes the song of a lover under the window of his lady, awash in moonlight? And what can be lovelier than Tchaikovsky’s Serenade for Strings if not Dvořák’s own Serenade? Hear the Louisville Orchestra under the

direction of Bob Bernhardt play both.

HOLIDAY POPSSPECTACULARDecember 5 & 6

The IU Southeast Holiday Pops concerts have become an annual tradition for many area concertgoers. Thrill to the spectacle of the most wonderful time of the year with this sparkling holiday celebration. Join us for carols and warm your heart with traditional holiday favorites with a 1940s Radio Show theme featuring

an Andrews Sisters-style singing group!

VOICEPLAYJanuary 22

As seen on Season 4 of NBC’s The Sing-Off, what began quite liter-ally as a street corner barbershop act has evolved into an internation-ally acclaimed touring sensation.The cast of VoicePlay has taken thetimeless sound of vocal music and turned it on its head. Amazing, humor-ous, and vertigo-inducing harmonies pepper VoicePlay’s music-without-

music sound as it ping-pongs between eras and styles.

COMING SOON TO THE OGLE CENTER

IU SOUTHEASTORCHESTRANovember 20

This special Friday evening program will include the Light Cavalry Overture by Franz von Suppe, the “Idillio” Concertino for Oboe and Orchestra by Ermanno Wolf-Ferrari featuring oboist, Katherine Alberts, “Forest Murmurs” from Siegfried by Richard Wagner, and the “Danse Infernale” and “Berceuse and

Finale” from The Firebird by Igor Stravinsky.

QUINTANGONovember 6

When QuinTango takes the stage, the lights dim, the pulse quickens... the tango begins. QuinTango has brought thousands of new fans to the music of Tango by engaging audiences with their sizzling, mind-opening fusion of traditional South American Tango repertoire and classical chamber music style. The Courier-Journal selected QuinTango as one of the top 5 picks of

the 2015-16 season in the Louisville area!

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OGLE CENTER CONTRIBUTORSJames W. AllgoodJoseph and Linda BakerDorothy BaumeierThe Honorable Cecile A. BlauMark and Mariellen CassidyCarl deGraafSamuel and Rebecca EckartEdwin FooteGeneral Electric FoundationJohn GreenmanRobert and Janet Hamilton, D.M.Alan and Candice HilderbrandJoy KnopfmeierRobert E. MarshallSusan MoffettGlen A. MorrisStuart and Connie NewbanksPaul David PratherCarolyn K. RandolphJohn and Carolyn ReisertRonald E. Severtis, Jr.Patricia G. SisloffDonald and Mary Ann SodrelTerry and Jane SpitznagelFrances H. Squires, Ph.D.Aaron and Amanda StonecipherRobert P. ThurstonDarrell and Sally WeslanderRoger and Janie K. Whaley

GIFT GIVEN IN HONOR OF CHANCELLOR EMERITUS LEON RANDAnonymous

GIFTS GIVEN IN MEMORY OF CAROLYN BATES GREENMANNancy D. BalfFriends of IU Southeast

Cecelia D. JansonWilliam and Katherine DotsonDale and Barbara McMakinKirk and Meghan Randolph

THEATRE DEPARTMENT CONTRIBUTORSPreston L. Bodine

MUSIC DEPARTMENT CONTRIBUTORSThomas and Mary BarnardEleanor L. CoxEli Lilly & CompanyEdwin FooteEdmund and Margaret GoerlitzBarbara Ann MaxwellRaleigh and Joanne Wilson

IU SOUTHEAST FINE ARTS CONTRIBUTORSRichard and Barbara CombsWayneda Dupont-BlackCharles EdelenEiklor Flames Inc.Gregory RobertsBennie N. Wyatt

IU SOUTHEAST ARTS INSTITUTE CONTRIBUTORSCatherine A. Shea, Ph.D.

DONALD E. AND ELIZABETH H. McMAHEL MUSIC SCHOLARSHIP CONTRIBUTORSJohn GreenmanJohn and Dora LargentRobert E. and Donna L. McMahel KlinglesmithDr. and Mrs. Stephen W. NaleCarl R. ReckelhoffJay and Cynthia Stillman

Indiana University Southeast, the Paul W. Ogle Cultural and Community Center, the Music, Theatre, and Fine Arts departments, and our students and community have benefited from the generosity of our donors. Words cannot express the appreciation we have for

the support you provide through these gifts.

Thank you for being a part of this special community of donors at Indiana University Southeast. Your support makes a difference!

Gifts given from July 1, 2014 through July 31, 2015. To report an error or omission, please contact Kirk Randolph at (812) 941-2266 or by e-mail at karandol@ius.edu. For information about supporting Indiana University Southeast, please contact the IU Southeast Development Office at (812) 941-2464.

AnonymousHarrison County Community FoundationHorseshoe Foundation of Floyd County

James Y. McCullough, M.D.Jack and Carol Mahuron

Kirk and Meghan Randolph

Phyllis RobinsonMorris and Martha Rosenbaum

Bill and Betty RussoThe Family of William F. RyallMillicent and Norman Stiefler

Chancellor Ray and Susan Wallace

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FRIENDS OF THE OGLE CENTER

Dana and Sharon Wavle

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It’s a common misconception that income from ticket sales is sufficient to operate a performing arts facility such as the Ogle Center. Ticket sales cover only 25% of the Ogle Center’s operating expenses. It’s also a common misconception that the Ogle Center is fully funded by Indiana University, and therefore by the state of Indiana and its taxpayers. While we do receive financial support from Indiana University — and IU Southeast in particular — we could not function on that support alone. In addition to ticket revenue and support from the university, the Ogle Center, the IU Southeast Music and Theatre Departments depend on the generosity of businesses and individuals to continue and strengthen arts programming in our community. If you have enjoyed past performances at the Ogle Center, please consider making a contribution to our annual programming fund. If you are a regular contributor to the Fund for the Arts, you can earmark your donation for the Ogle Center.

FRIENDS OF THE OGLE CENTERThe Ogle Center’s community of donors, Friends of the Ogle Center, join corporate, philanthropic, and cultural leaders in ensuring the Ogle Center continues to thrive as a presenter of world-class performing arts in southern Indiana. Your financial support is vital to the operation of this community treasure and helps foster educational opportunities for IU Southeast and community members alike.Your gift to the Ogle Center may be designated to either our Operations Support Fund, which supports the annual operations of the Ogle Center, or to the Ogle Center Endowment Fund. A gift to the endowment is a lasting gift. The income from the endowment helps defray the costs of programs brought to the Ogle Center for presentation to the University and to the public. In addition, income may be used to purchase art works for the IU Southeast campus, provide scholarships for students at IU Southeast in the arts, or generally enhance the role of the arts in the region served by IU Southeast.

Contributions help the Ogle Center to:• Ensure the level of excellence and variety in programming• Maintain affordable ticket prices• Provide for the ongoing restoration of the Ogle Center’s art collection• Provide future funding needs for the maintenance of the Ogle Center to ensure that it remains the premier performing arts facility

in southern Indiana for future generations.

GIVING LEVELS & BENEFITS Friend $100

• Listing in BRAVO program as a contributor to the Ogle Center

Supporter $500 All of the benefits above, plus: • Subscription purchases with seat location preferences will receive priority processing • Invitation to attend a Children’s Series performance and reception

DIRECTOR’S CIRCLE A gift at the $1,000 level or above includes membership in the Director’s Circle. Supporters giving at this level will have access to a V.I.P. reception room prior to shows and during show intermissions as scheduled.

Patron $1,000 All of the benefits above, plus: • Subscription purchases with seat location preferences will receive first priority processing • Invitation to the Director’s Circle V.I.P. reception room prior to shows and during show intermissions as scheduled

Benefactor $2,500 All of the benefits above, plus: • V.I.P. reserved parking location on the night of Ogle Center Presents and Nashville Nights performances • Name recognition for co-sponsorship of one performance during current season • An opportunity to schedule a V.I.P. tour of the Ogle Center for friends and family

Sustainer $5,000 All of the benefits above, plus: • Inclusion as a Season Supporter for all Ogle Center Programs • Half-page recognition in BRAVO program for the entire season

Producer $10,000 All of the benefits above, plus: • Invitation to “meet and greet” the guest artists subject to specific artist’s contract • Inclusion in season marketing • Full-page recognition in BRAVO program for the entire season • Invitation to welcome audience from stage for a selected Ogle Center performance

For more information on how to give, please call Kirk Randolph at (812) 941-2266 or visit oglecenter.com. Your gift to the Ogle Center will inspire imaginations and enrich lives. Thank you for your annual support!

GIVING OPPORTUNITIES

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