2015-16 Philharmonic Concert Program

2015-2016 Season
Columbus Indiana
Philharmonic
usical
journey
David Bowden, Music Director
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2015-2016 Season
Meet Your Musicians

VIOLA
BASS
Logan Strawn
Principal
Sponsored by Margaret Powers
Haojian Wang
Assistant Principal
Emilee Newell
Emily Owsinski
Michael Sinni
Christopher Alley
Daniel Powers
Daniel Wunderle
Yi-Ting Tseng
Erik Thorstensen
Kaelen Decman
Principal
Brian McAnally
Assistant Principal
Mathew Burri
Sam Loeck
Nate Olson
VIOLIN 1
Benjamin Hoffman
Concertmaster
Sponsored by Ben & Pat Bush
Eliot Heaton
Assistant Concertmaster
Juli Enzinger
Sponsored by Mark & Linda Pillar
Yerim Lee
Anastasia Falasca
Laura Andrews
Sarah Drake
Ka Mei Camille Poon
Arman Nasrinpay
Qian Zhong
Nick Drumm
Michael Romans
VIOLIN 2
Vanessa Edwards
Principal
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
10
2015-2016 Season
FLUTE
Kathy Dell
Principal
Notables Flute Chair
Donna M. Wilson
Jessica Harris
PICCOLO
Jessica Harris
CELLO
Liz SeungAh Hong
Principal
Mikale Klopfenstein
Assistant Principal
Sonja Kraus
Chris Cho
Guilherme Monegatto
Mercedes Lysaker
Karmen Peng
Virginia Joyce Rouse
Cole Tutino
OBOE
Nancy Argersinger
Principal
Annie Corrigan
Jennifer Kirby
ENGLISH HORN
Jennifer Kirby
CLARINET
Krista Weiss
Principal
Stephanie Akau
Erik Franklin
BASS CLARINET
Erik Franklin
BASSOON
Mackenzie Brauns
Principal
Ryan Caldwell
Eric Louie
TIMPANI
CONTRABASSOON
Erich Rieppel
Principal
Sponsored by Bob & Rene Kasting
Eric Louie
PERCUSSION
Brian McNulty
Principal
James Cromer
William Kan
HORN
Ashley Cumming
Principal
Kristen Fowler
Eric Dumouchelle
Shaun Cooper
HARP
Wendy Muston
Principal
TRUMPET
Eddie Ludema
Principal
Sponsored by R. Richard & Lindsay Cooley
Leah Hodge
Keith Burton
TROMBONE
Alex Krawczyk
Principal
Ryan Miller
Sean McGhee
TUBA
Glen Dimick
Principal
2015-2016 Season
11
Educational Programs
JCB Adventure Concerts

Each year thousands of area 3rd and 4th grade students explore
the world of orchestral music. These concerts blend education and
entertainment. Students are introduced to the instruments of the
orchestra and explore the way music makes us feel.
Jammin
With
The PHIL
Jammin with The PHIL is
a free, fun, interactive, and
instructive musical event for
children. These events are
held at kidscommons and
the Foundation for Youth.
First Steps
In Music
First Steps in Music is an early childhood
music and movement program for
children 3 to 4 years of age. Children
explore their environments through
developmentally appropriate activities,
which include singing, moving, listening,
creating, and playing music. Classes
draw from children's songs, folk songs,
classical music, and music from a variety
of cultures, styles and time periods
to provide a wide and varied musical
experience. In addition to being playful
and enjoyable to children, each class is
designed to provide a solid foundation
for future musical experiences.
12
2015-2016 Season
Making Music...
Columbus Indiana Childrens Choir

The CICC is a cooperative effort between the Columbus Indiana Philharmonic and the internationally famous
Indianapolis Childrens Choir. The CICC includes 3 choirs: a Preparatory Choir, Descant Choir and Concert Choir.
The Preparatory Choir is a non-auditioned experience for 1st-3rd grade students. Children are introduced to choral music
in the rehearsal setting and take part in a choir where singing, learning and fun take place.
The Descant and Concert Choirs are for beginning and more advanced singers.
These choirs perform in concerts and at community events.
A vocal assessment helps place your child
in the appropriate choir. Assessments may
be scheduled by calling the Philharmonic
Education Office. 812-376-2638 ext. 7.
Choral Festival
A great way for new singers to learn about
CICC and the joy of singing with a TEAM!
Choral Festival is a week-long day camp
for children graduating into grades 4-8.
Participants will have lots of FUN singing,
playing musical games, learning about vocal
production, harmony and much more. The
festival culminates in a public performance
with all festival singers performing with
the Columbus Indiana Childrens Choir.
Online registration begins January 1 at
www.icchoir.org or www.thecip.org.
2015-2016 Season
13
...Changes Lives
Philharmonic
Strings Classes
The Philharmonic offers weekly strings
classes in local elementary schools, with
a concert presented at the end of each
semester. Beginning, Intermediate and
Advanced classes are offered.
Philharmonic
Youth Orchestra
The Philharmonic Youth Orchestra (PYO) provides an
encouraging and challenging orchestral setting for middle
and high school musicians. PYO musicians are mentored
by Philharmonic musicians and perform in several concerts
and ensemble groups each year, including the opportunity
to perform side-by-side with the Philharmonic Orchestra.
Membership is by audition.
Strings
Invitational
The Phils Youth Orchestra hosts
several
musical
groups
from
surrounding communities at the
Annual Invitational under the
direction of Music Director David
Bowden and Philharmonic Youth
Orchestra Director Vanessa Edwards.
14
2015-2016 Season
Educational Programs
Musicians In
The Schools
This program connects the Philharmonic and other

professional musicians with area youth. The musicians
perform at local schools, coach students for competitions,
and speak at school assemblies. Students get to see and hear
up close how professional musicians work.
Philharmonic
Strings Camp
Bring your instruments to a weeklong day camp for players of
all levels. Beginners are encouraged to attend, even if your child
has never touched a string instrument. Group lessons on violin,
viola, cello and bass are taught by experienced instructors. Arts
and crafts, swimming, miniature golf and other outdoor fun are
part of every days schedule. The week culminates with a free
performance the last day for families and friends. (Grades 1-8)
Philharmonic
Scholarships
Scholarships are available so that all children can be
introduced to the joy of making music. Information can
be obtained from the Philharmonics Education Office at
812-376-2638, ext. 4 or educate@thecip.org.
2015-2016 Season
15
Sylvia
Photo Credit: Rhonda Ely
Sylvia has left an indelible

audio trail documenting her
vocal prowess with over 70
recordings...
wo-time Grammy Award winner and

regional Emmy Award winner, Sylvia
McNair 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 Metropolitan
Opera to the Salzburg Festival, from the New York
Philharmonic to the Rainbow Room, from the
Ravinia Festival to The Plaza, from the pages of The
New York Times and The Wall Street Journal to the
London Times and the cover of Cabaret Scenes.
Having appeared as a soloist multiple times with
nearly every major opera company and symphony
orchestra in the world, this songbird has flown the
classical coop. Shes retracing her star route now
with Gershwin, Porter, Sondheim and Bernstein.
Highlights of her 2014-15 season include
performances with Leonard Slatkin and the
Orchestre Nacional de Lyon in Lyon, France, to
celebrate the opening concert of Slatkins 70th
birthday season, a New Years Eve gala with the
Minnesota Orchestra and the release of Sylvias
newest recording: Subject To Change!, a cabaret
show 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 continue
the 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 Ive ever heard. - Third Coast Digest
16
2015-2016 Season
McNair
It would be difficult to top Sylvias invitations to
sing the Bach B-minor Mass with the Vienna
Philharmonic for Pope John Paul II at The Vatican
and a recital for The U.S. Supreme Court by special
request of Justice Sandra Day OConnor. But, her
engagements for nine of the last eleven summers
at Ravinia Festival with Broadway legends John
Raitt, 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, The 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 the
music of Jerome Kern and Harold Arlen with
pianist Andr 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 Magazines Lynn Ren Bayley:
here the record is, and its fabulous. In fact, its the
biggest surprise of its kind Ive encountered since
Diana Rosss 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
Governors Award for Outstanding Achievement
in Arts and Entertainment (1999), and the Indiana
Governors Arts Award (2011). In 2007, Sylvia
received The Gaudium Award from The 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.
Photo Credit: Rhonda Ely
Guest Artist Sponsor
Marshall & Beth

Middendorf
Sylvia Sings
Gershwin
Columbus Indiana Philharmonic

Concert Sponsor
Saturday, September 19, 2015 at 7:30 PM

Erne Auditorium, Columbus North High School
David Bowden, Conductor
Sylvia McNair, Vocalist
Season Media Sponsor

Overture to Girl Crazy
George Gershwin/McBride
Lullaby 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

Clara
A Woman is a Sometime Thing
I Got Plenty ONuttin
Bess, You Is My Woman
Oh, I Cant Sit Down
Theres A Boat Dats Leavin Soon for New York
It Aint Necessarily So
Oh Lord, Im On My Way
Thank you for your

support of the Columbus
Indiana Philharmonic! It is a
pleasure to see you here and
to share music with you!
Gershwin/Bennett
Summertime from Porgy and Bess
Gershwin
Shall We Dance/I Got Rhythm
Gershwin
SEASON TITLE SPONSOR
-Benjamin
Hoffman
2015-2016 Season
17
Sylvia Sings Gershwin Program Notes
n 1898, George Gershwin, arguably Americas first

great composer, was born in Brooklyn. Despite
his untimely death at the age of 38, Gershwin
bequeathed this nation with an array of music that
has become intertwined with our cultural identity.
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 opera
Porgy and Bess, which occupied the composer for some
twenty months between 193335.
19
My own experience is probably typical: My mother

Perhaps due to his love for musical theater and
rocked me to sleep singing Summertime long before Id
songwriting, Gershwin sustained a nagging
ever heard of George Gershwin; I studied the harmonic
reputation during his lifetime as little more than a
pattern of I Got Rhythm in high school jazz theory
Tin Pan Alley song-spinner. Yet, in the words
classes; and Rhapsody in Blue was one of my
of Irving Berlin himself one of the
G
e
e
r
g
s
hw
or
Ge
in
first favorite works for orchestra.
most beloved songwriters of the
American 20th Century the
Surely no American has escaped
rest of us were songwriters.
familiarity with Gershwins songs,
George was a composer.
which range from catchy anthems
34
(I Got Plenty O Nuttin, It Aint

Necessarily So) to jazzy melodies
(Fascinating
Rhythm,
S
Wonderful) to lilting love songs
(Bess, You Is My Woman Now).
Tr
Cr
in
ot
his death, he composed and produced, on average, more

than one musical comedy per year for the stage or screen
(including the 1931 satire, Of Thee I Sing, which was the
us
Ph
ts
Gershwins own tastes in

art could hardly be seen
as provincial. As a boy, he
talked his way into concerts
of music by such then-moderns
as
Stravinsky, Scriabin, and
e
d
w
Gershwins first hit, Swanee, was
it:
sh
Ornstein.
Later in life, he financed
r
Th
Ge
recorded by Al Jolsen in 1920; it quickly
e Ir
a and Leonore
private
recordings
of Schoenbergs
sold more than 2 million records and a million
string
quartets.
He
collected
sculpture and
copies of the sheet music. From then on, Gershwin
art
by
Picasso
and
Chagall.
And
he
boasted
that the
never had to worry about money, and could concentrate
high
point
of
his
trip
to
Europe
in
1928
was
meeting
on churning out new music. And churn it out he did.
Alban Berg.
Few composers of his era kept up with his output: until
While much of the music of those masters has still
yet to spill out of the concert halls and into popular
consciousness, Gershwin rode the line, creating music
that was simultaneously complex and memorable,

sublime and simple. He was the first major composer to
successfully marry jazz idioms with classical forms
much to the consternation of the conservative critics of
the day, who often derided the marriage as unholy at best.
Most of his songs followed fairly standard and repetitive
formulae; but his serious concert works demonstrated
the fact that he didnt lack flexibility or inventiveness.
Few composers before or since possessed Gershwins
rhythmic flare and melodic sense.
Overture to Girl Crazy
Only in Porgy and Bess did Gershwin encapsulate a
greater number of eventual hit songs than he did in the
1930 musical, Girl Crazy. First produced at the Alvin
Theatre in New York with a pit orchestra that included
the famed Red Nichols Band, Girl Crazy practically
bubbled over with memorable tunes several of which
are previewed in the medley-style Overture: I Got
Rhythm, Embraceable You, But Not for Me, and
others. The premiere on Broadway also featured the
debuts of two leading ladies who would go on to take
a similarly prominent place in the public consciousness:
Ginger Rogers and Ethel Merman.
In the overture we will hear snippets of all those hit
tunes, wrapped together into one of the most inviting and
exciting bits of orchestral music that Gershwin ever wrote.
Lullaby for strings
Gershwin originally wrote this short, sweet work as a
harmony exercise for his then-teacher, Edward Kilenyi,
Continued on pg. 20
18
2015-2016 Season
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An Indiana tradition since 1916
Columbus, Indiana
Through the generations,

Dell Brothers has been
offering the best in
Mens 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
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ENRO SHIRTS
OVERTON SHIRTS
HART SCHAEFFNER & MARX
BOSCA LEATHER ACCESSORIES
JOHNSTON & MURPHY
BILLS KHAKIS
2015-2016 Season
19
54
ere so glad you joined us today! If this is your first time to hear your Columbus Philharmonic, welcome to a
new adventure of listening to great music played with excellence worthy of the worlds finest stages.
If attending an orchestral concert is a new experience for you, sit back, relax and let the power and beauty
of 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 beauty
and 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
2015-2016 Season
Salute!
56
Lobsterfest
45
A Visit To Vienna
51
Music For Royalty
32
Celebrating The Chinese New Year
39
2014-2015 Contributors
27
Christmas!
31
Verdi Requiem
17
Time for Three
23
Sylvia Sings Gershwin
10
Philharmonic Educational Programs
12
Meet Your Musicians
For Your Information
Continued from pg. 18
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 during
productions of Gershwins one-act jazz opera, Blue
Monday, the composer shelved it.
It wasnt until some forty years later that harmonica
virtuoso Larry Adler discovered the work and presented
it in concert in a self-made transcription for harmonica
and string quartet. The work was later transcribed for
string orchestra, which is the version we will hear tonight.
An American in Paris
During his first visit to Paris in 1923, Gershwin
reportedly exclaimed to his two tour-guides, Why, this
is a city you can write about! Gershwin kept his word
some five years and two visits later, with An American
in Paris. Originally conceived in two versions one
for solo piano and a second for two pianos the work
took shape primarily during Gershwins 1928 visit
to Europe, during which he visited most of Europes
most prominent composers, including Ravel, Milhaud,
Stravinsky, Prokofiev, and Berg.
premiered by the New York Philharmonic Symphony

Orchestra later that year. The New York Telegram
proclaimed the work so dull, patchy, thin, vulgar, longwinded and inane that the average movie audience would
be bored by it into the open remonstrance. The Musical
Courier, however, found a good deal more to like, and
compared it to Hector Berliozs Roman Carnival and
Chabriers Espaa.
Time has been kind to the work, and today it is better
known on both sides of the Atlantic than either of those
works by Berlioz and Chabrier. It is surely Gershwins
most carefree, lighthearted work for the concert hall.
The walking rhythm with which the work begins bursts
with energy, as if the protagonist is about to break into a
carefree skip. The work is riddled with playful asides, such
as the incorporation of taxi horns and impressionistic
bursts of instrumental squawking, plinking, and
laughing. The use of polytonal chord sequences and other
modernisms almost go unnoticed, so naturally do they fit
into the overall texture of the work.
As was typical for the gregarious composer, Gershwin

played the work-in-progress for most of his musical
peers, who greeted it with a range of comments. Ravel
liked it. Prokofiev thought it had some potential. Vernon
Duke didnt. And Poulenc proclaimed it his favorite 20th
century classical composition.
Porgy and Bess:

Selections for Orchestra
At the height of his career, Gershwin decided to take
a gamble: He would produce a huge work for the
stage, a folk opera written expressly for a large cast
of African-American performers (then still rare on
the opera stages of the world), with no commission or
guarantee of a performance.
The range of comments was echoed when the work was
At an artistic level, critics openly doubted the capacity
20
2015-2016 Season
of this songwriter to engineer such a large-scale work

for the stage. And at a socio-cultural level, its no secret
that an opera about southern blacks didnt exactly jibe
with the traditional focus of opera. After all, most of the
great established operas of the repertoire focused on the
trials (whether tragic or comic) of the elite and white
a focus which fit well with the general makeup of operahouse audiences.
Yet Gershwin persisted, and produced what has come
to be recognized as perhaps this countrys greatest
contribution to the operatic repertoire, Porgy and Bess.
Not surprisingly, much of the operas popularity is due to
the primary strength of its composer: songwriting. Tunes
such as Summertime and My Mans Gone Now have
found their place equally on opera stages, jazz records,
and radio, due to their beautiful melodies and richly
atmospheric scoring.
By 1942, those tunes were well known around the world.
That year, the conductor Fritz Reiner commissioned
Gershwins occasional collaborator, Robert Russell
Bennett, to produce a suite of orchestral arrangements
of music from the opera. Following a sequence set out by
Reiner (one which deviates considerably from the flow
of music in the opera), Bennett produced the music we
will hear tonight. Youll hear familiar melodies including
It Aint Necessarily So and Bess, You Is My Woman
Now, as well as many of the atmospheric and exciting
orchestral sections from the opera.
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2015-2016 Season
21
Time
For Three
Simply put, theyre a knockout!
Three benevolent monsters
monsters of ability and
technique surely.
Sir Simon Rattle
t first glance, the members of Time for

Three come off as just three dudes in a
band. As the music begins to flow, its
obvious that violinists Zachary De Pue
and Nicolas Kendall and double-bassist Ranaan
Meyer make up a group that defies any traditional
genre classification, happily and infectiously.
Since Tf3 were fellow students at Philadelphias
Curtis Institute of Music, they have wowed media
and fellow artists alike with their charismatic
musicianship. With an uncommon mix of
virtuosity and showmanship, the American trio
performs 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 arrangements

of everything from bluegrass and folk tunes to
ingenious mash-ups of hits by the Beatles, Kanye
West, Katy Perry, Justin Timberlake and more.
Time for Three, or Tf3 for short, has electrified
full-house crowds in Carnegie Hall and the
famed jazz club Yoshis in San Francisco. The
trio has made guest appearances at National
Football League and the Major League Baseball
games, and theyve performed for crowds soaring
to 300,000 at the Indianapolis 500 race. The
groups bullying-prevention YouTube hit video,
Stronger, has inspired students across the globe,
eliciting features on CNN and the Huffington
Post. Since 2009, Time for Three has held a
hugely successful residency with the Indianapolis
Symphony Orchestra, helping to expand the
orchestras audience with innovative outreach.
Nicolas Kendall picked up his rst violin at the
age of three. With an insatiable appetite for a
diversity of expression, he went to the streets of
Washington D.C. to play trash cans for lunch
money as a teenager. By college, he was forming
We never imagined we would have this kind

of successful career when we started jamming
together, but to quote our video we can
always be better, faster, stronger.
- Tf3
Check out Time For Threes

anti-bullying message at
www.tf3stronger.com
22
2015-2016 Season
pick-up rock bands at Curtis Institute between

concert debuts at the most prestigious halls in
the world.
Ranaan Meyer is a double bassist redefining the
career path of a professional musician. Ranaan
began playing the double bass at age 11 and has
worked with many of the double basss greatest
teachers. Ranaan currently performs on a Cavani
double bass made in Italy circa 1892 and a Reid
Hudson bow. Committed to enhancing his live
sound, his setup includes a Mackie 12 channel
mixer, Ernie Ball volume pedal, and Digitech
Bass Driver.
A rising star among both classical and crossover
music fans known for his virtuosic, highenergy
performances, violinist Zachary De Pue was
appointed concertmaster of the Indianapolis
Symphony Orchestra in 2007 and became one of
the youngest concertmasters in the country. Zachs
violin was made by Ferdinand Gagliano of Naples,
Italy, in 1757.
Johnson Distinguished
Guest Artist Sponsor
Time For
Three

Saturday, October 17, 2015 at 7:30 PM
Time for Three
Zachary De Pue, Violin
Nicolas Kendall, Violin
Ranaan Meyer, Bass
Concert Co-Sponsors
Sunrise from the Grand Canyon Suite
Ferde Grof
On the Trail from the Grand Canyon Suite
Ferde Grof
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
Czrds
Monti/Tf3/Hackman
Intermission
Shenandoah/Foxdown
Concert PartnerS
Cry Me a River
Meyer/Hedges
Timberlake/Hackman
Cloudburst from Grand Canyon Suite
Ferde Grof
Fiddle Jam on Jerusalem Ridge
Bill Monroe/Tf3
Hallelujah
Little Iron Man
Cohen/Hackman
Mumford & Sons/Hackman
2015-2016 Season
23
Time For Three Program Notes

Ferde Grof
Grand Canyon Suite
During the 1920s, no name was more synonymous
with jazz music than that of Paul Whiteman.
Whitemans large jazz band was responsible for
28 number-one records during that decade alone;
his support helped launch the careers of many
musicians including Billie Holiday, Bing Crosby
and Paul Robeson.
Yet behind the scenes, most of the Whiteman
bands best-known music was arranged, not by
Whiteman, but by a pianist named Ferde Grof.
Trained as a classical composer and skilled on
multiple instruments he was hired as a violist
with the Los Angeles Symphony when he was just
17 years old Grof became the most important
arranger of the jazz world.
It was Grof who took George Gershwins piano
score of Rhapsody in Blue and transformed
it into the concerto-like piece for piano and
orchestra that we all know today. Gershwin may
have written the melodies and harmonies; but the
spicy instrumental combinations are pure Grof.
In addition to their musical collaboration, Gershwin
24
2015-2016 Season
and Grof shared a desire to make a mark in the

so-called legitimate music world of classical music.
Popular music may have paid the bills and brought
fame; but it was within the hushed orchestra halls
that most musicians of the time still believed their
true greatness was to be measured.
Grofs work on Rhapsody in Blue proved to be
his own entre into that realm. After the works
premiere in late 1924, Grof wrote quite a number
of works that found a place in the concert hall.
He focused particularly on musical portraits of the
American landscape and individual people: there
was the Mississippi Suite, the Death Valley Suite,
the Kentucky Derby Suite, and even a tone poem
dedicated to the football star, Knute Rockne.
In 1931, Grof introduced the piece that would
become his most enduringly popular, the Grand
Canyon Suite. Organized in five relatively brief
movements, the music depicts scenes of life
within Americas most famous natural wonder, a
place that Grof admitted was something of an
obsession in his life.
The richness of the land and the rugged optimism
of its people had fired my imagination, he later
wrote. I was determined to put it all to music.

Grof did so in a style that blends Europeanstyle Romantic harmonies and textures with
sharply illuminated pictorial gestures. The first
movements long and dramatic crescendo evokes
its titular Sunrise, while the mysteriousness of
the second movement takes the listener onto
the arid yet strangely beautiful Painted Desert.
The third movement, On the Trail, is the
suites most widely heard music thanks to the
cigarette company Philip Morris, which used its
vivid and playful clip-clop of horses as a musical
signature for various radio and television shows
for many years.
Sunset follows, and then a dramatic
Cloudburst that ends the music with a bang
(and a wind machine).
In writing music that tickled the senses of audiences,
Grof rejected the ambiguity and complexity that
defined modernism in his time. This is musical
Americana at its sunniest. From sea to shining sea,
those are values we can still appreciate.
2015-2016 Annual fund drive
support music & Arts Support the orchestra support education

Donation Levels
Bravo!$10,000+
You have the opportunity to help guide your gift:
Encore$7,500$9,999
Gold Baton
$5,000$7,499
Use my gift to support musical programming (musicians,

guest artists, and concerts)
Silver Circle
$2,500$4,999
Conductors Circle
$1,000$2,499
Benefactor$500$999
Sustainer$250$499
Patron$100$249
Friend
Up to $99
Use my gift to support youth programming

Use
my gift where most needed

It is only through your support and the generous support
of this community that the Philharmonic is able to:
Fulfill its mission to make music
Educate all ages in the joy of music
Create performances in pursuit of the highest artistic
achievement
Advocate a life long interest and involvement in music
1. Name (please print)

Address
City
State
Zip
Phone
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Please list me/us as (please print)
2. I / we are contributing a total of $
Total enclosed Two increments Three increments Four increments of $ each

Months to invoice:
Check enclosed Visa MasterCard Discover

Card# Exp
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For gifts of stock, please call 812-376-2638 x2

3. This gift is in Memory in Honor

An acknowledgement of your kindness will be sent to the person(s) listed below:
Name(s) Address
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Return to
Columbus Indiana Philharmonic @ 315 Franklin Street, Columbus, IN 47201
Questions? Call 812-376-2638 www.thecip.org
2015-2016 Season
25
Columbus
Indiana
Philharmonic Chorus
onducted by Music Director David

Bowden, the Philharmonic Chorus
encompasses a wide range of skill
level and experience from high school
students to mature adults. It is the Choruss
mission to serve as part of the orchestra during
the concert season, performing choral-orchestral
works. It is the largest and most significant adult
education program of the Philharmonics wide
range of educational offerings.
Founded in 1987, the Chorus has played an
integral role in the Philharmonics concert
programming. In its first concert, soloists Sarah
Kittle, Janie Gordon, Victor Floyd, and Owen
Hungerford sang Serenade to Music by Ralph
Vaughan Williams. Fifty-two singers from the
Columbus area comprised the original Chorus.

Over the past 28 seasons, a number of those
singers have participated regularly with other local
and regional singers in each of the choral concerts.
The wide repertoire of the Chorus includes
performances of such classical works as Bachs St.
Matthew Passion, Leonard Bernsteins Chichester
Psalms, Peaceable Kingdom and numerous other
pieces written by Randall Thompson, Honeggers
King David, many works composed by John
Rutter including his Requiem, and Handels Israel
in Egypt. The Chorus has also performed all of
the choral-orchestral music of Johannes Brahms.
Lighter concerts have included opera choruses
and the Broadway music of Andrew Lloyd
Webber, Rodgers and Hammerstein, Lerner and
Lowe, and Leonard Bernstein.

The Chorus consists of approximately 80 members
and does not require an audition to join. Any
singer who can read music, finds pleasure in the
teamwork of chorus participation and is willing to
strive for musical excellence is encouraged to join.
Join Our Chorus! We welcome you to join the
Philharmonic Chorus, helping singers strive for
musical excellence. The Chorus, conducted by
Music Director David Bowden, includes volunteer
singers of all ages. We rehearse Monday evenings,
7 to 9 p.m. at First United Methodist Church.
For information, contact Beth Booth Poor at 812343-0922 or bbpoor@sbcglobal.net
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26
2015-2016 Season
Concert Sponsor
Verdi
Requiem

Sunday, November 15, 2015 at 7:30 PM

The Philharmonic Chorus
David Bowden, Artistic Director
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
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.
Offertorio
Sanctus
Agnus Dei
Lux aeterna
Libera me
-Donna Wilson
Photo Credit: Rachel Jahrsdoerfer
2015-2016 Season
27
Verdi Requiem Program Notes

died in 1868, Verdi was already an important
musical voice in Italy, having already composed
two of the three operas for which he is best
remembered: La Traviata and Rigoletto (the
third, Aida, came soon thereafter).
But even with his own fame growing, Verdi
recognized the importance of the passing of the
elder statesman of Italian music, and resolved
to memorialize the composer in grand fashion.
He conceived a plan to produce a Requiem in
Rossinis honor, with each movement written
by a different Italian composer; Verdi himself
would produce the Libera Me movement.
The piece was to be performed only once,
with neither composers nor performers paid
for their services. Plans for this event received
widespread publicity from the outset, and
the anticipation rose as all twelve composers
produced their portions of the music.
However, the performance plans soon fell in
shambles, and the event disintegrated into
a major public embarrassment for Verdi, in
particular. Verdis music was eventually returned
to him some five years later, in 1873.
Around that same time, the great Italian novelist
Alessandro Manzoni died. Verdi had revered
Manzoni even more highly than Rossini, and
the death of the author precipitated a new plan
from Verdi although this time, he knew
better than to make any public fanfare or to
rely on the generosity of others to see his plan
through.
The Giuseppe Verdi monument in front of the Pallavicino

Rocca in Busseto, Italy.
When Giuseppe Verdi died in 1901, his funeral

was an event of international importance not
just to the wealthy patrons and scholars of the
music world, but to ordinary citizens across Italy
and beyond. Hundreds of thousands of mourners
lined the route of his funeral procession through
Milan, many singing along to a rendition of Va
pensiero, the chorus of Hebrew slaves from
his opera, Nabucco. To those who attended the
event, Verdi represented not just a musical hero,
but a symbol of the Italian nation.
But just as Verdi had come to represent all
that was great in Italian musical art, he himself
inherited that mantle from his predecessor,
Gioacchino Rossini. By the time Rossini
28
2015-2016 Season
On the day following Manzonis death, Verdi

wrote a rather non-committal message to his
music publisher: I am profoundly saddened by
the death of our Great Man!...I will come soon
to visit his grave, alone and unseen, and perhaps
(after further reflection, having weighed my
own strength) to propose something to honor
his memory.
It didnt 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 in
Manzonis honor, to be performed on the first
anniversary of the authors death. The publisher
secured a commitment from the mayor of
Milan to provide and pay for the services
of the performers; Verdi himself would conduct
the premiere. This time, the event went off
without a hitch, and proved to be one of Verdis
greatest successes.
That this Requiem had its foundations in a public
memorial event, rather than as a religious mass,
holds significance or, at least, explains a good
bit about the style of the work that resulted.
Instead of the reverent, ecclesiastical form that
most previous Requiem Masses had taken, Verdis
product was highly operatic, to the extent that
the vocal soloists even seem to take on character

roles in the music. Indeed, one section the
Lacrymosa is largely lifted from a discarded
duet from Verdis opera, Don Carlo.
Perhaps not surprisingly, critical reaction to the
work was mixed. Many critics (in particular,
the influential German conductor Hans von
Blow) condemned the work as irreverent.
Blow went so far as to make several scathing
public pronouncements before having even
heard the work:
With this work the all-powerful despoiler of
Italian artistic taste and ruler of the taste he
has despoiled presumably hopes to eliminate
the last remains, irksome to his own ambition,
of Rossinis immortality ... Surreptitious glances
at this newest manifestation of the composer of
Trovatore and Traviata have not exactly whetted
our appetite for this so-called Festival...
But despite such naysaying, Verdis Requiem
quickly gained international acclaim, with Verdi
himself conducting the work around Europe.
And in hindsight, it is easy to understand the
works popularity.
It is abundantly clear that Verdi took from the
sacred text similar cues to those he took from
operatic libretti. While this may not reflect a
pious mindset, it certainly provides the work
with a breath of life that far too many religious
compositions over the ages have lacked.
In Verdis hands, the Dies irae (Day of
Wrath) becomes not merely a lament, but
a horrifying portrait of the Last Judgment,
complete with all the thunder, trumpet-calls,
and fervor that might attend such an historical
moment. The Libera me (Deliver Me, O
Lord) section, with its soprano solo set against
the chorus and orchestra, seems to tell a story,
in which the soprano seeks peace and solace in a
world of confusion, sadness and chaos.
Throughout the text (as in his operas), Verdi
found inspiration in what he referred to often
as the parola scenica individual words or
phrases that sparked his creative imagination
and became the pivotal points of his musical
expression. There is not a slack or uninspired
moment in the whole, grand-scale work.
More than a hundred years after Verdis own
passing, we can see this work out of its own
historical context and appreciate it for what
it is: one of the greatest, most passionate
expressions of grief, longing and redemption in
the repertoire.
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2015-2016 Season
Columbus
Indiana
Childrens Choir
The CICC is a cooperative effort between the Columbus Indiana Philharmonic and the internationally famous Indianapolis Childrens Choir. The CICC
includes 3 choirs: a Preparatory Choir, Descant Choir and Concert Choir.
The Preparatory Choir is a non-auditioned experience for 1st-3rd grade students. Children are introduced to choral music in the rehearsal/general music
setting. The preparatory singers will experience music through singing, movement and music game activities. Prep singers will have a limited appearance
with the CICC performance ensembles at the CIP Holiday Concert. Prep Choir is a 12 week music education program and will meet from November 2
December 13, 2015 and February 22 April 2, 2016. Contact Ruth Dwyer for more information or to register at rdwyer@icchoir.org.
Performance Choirs: The Descant and Concert Choirs are for beginning, intermediate and advanced singers in grades 4-9. Descant choir, under the direction
of Camilla Gehring, performs in concert for local and a regional events. Concert Choir, directed by Ruth Dwyer, performs locally and abroad. CICC Concert
Choir has performed in New York Citys Carnegie Hall and Lincoln Centers Avery Fisher Hall. They have toured throughout the USA, Spain and Central
Europe. The CICC performance choirs sing annually in concert with the CIP. We rehearse one day a week from September through June.
Join the Choir: A vocal assessment helps place your child in the appropriate choir. Assessments may be scheduled by calling the Philharmonic Education
Office 812-376-2638 ext. 7 or by contacting Ruth Dwyer at rdwyer@icchoir.org.
See pages 44-46 for more information about CICC.
tayler
Seymour
Brown
Scholarships
2015 Brown Vocal

Scholarship Winner
ayler is thrilled to be performing with

the Columbus Indiana Philharmonic
after winning the Anna Newell
Brown Scholarship for Vocal
Excellence in February 2015. Tayler is currently
majoring in theatrical studies at Ball State
University in Muncie, Indiana. Some of Taylers
past roles onstage include Ruth in The Pirates
of Penzance, Puck in A Midsummer Nights
Dream, Calliope in Xanadu, and Trix the
Aviatrix in The Drowsy Chaperone.
Tayler sang in various ensembles directed by
Janie Gordon at Columbus North High School,
including Concert Choir, North Stars Womens
Show Choir, Debuteens and Music Men Mixed Show Choir, and 25th Street Singers Advanced
Vocal Jazz. Tayler received private vocal lessons from Julianna Drerup and Camilla Gehring.
While Tayler enjoys singing, dancing, and acting, she also loves sharing her passion with kids in
the community. She has been a drama camp and show choir camp counselor for several years. Her
responsibilities in those camps ranged from assistant directing to music directing to choreographing.
Tayler also directed Northside Players in their fall production in 2014 as her senior project. Tayler
worked on the auditorium staff as a technical assistant under John Johnson her senior year, which
gave her a greater knowledge and appreciation for technical elements as she continues performing.
30
2015-2016 Season
Celebrating its 29th year, the Anna Newell

Brown Award for Vocal Excellence has
become one of the most highly regarded
scholarship competitions in Indiana. The
award was established in honor of Anna
Newell Brown, an accomplished vocalist,
patron of the arts and grandmother of Jeff
Brown, fifth generation of the Brown family
to lead Home News Enterprises (parent
company of the Republic).
The Betty F. Brown Award for instrumental
Excellence, established by Jeffs father,
Bob, honors Jeffs mother, an accomplished
musician and a guiding force behind the
establishment of the Columbus Indiana
Philharmonic in 1987.
Administered by the Heritage Fund the
Community Foundation of Bartholomew
County, the competitions encourage formal
music training for students and help to
strengthen the school and community
music programs.
Christmas!
Concert Sponsors

Sunday, December 13, 2015 at 3:00 PM & 7:00 PM
Tayler Seymour, 2015 Brown Vocal Competition Winner
Ruth Dwyer, Artistic Director
Camilla Gehring, Assistant Director
Concert PartnerS
Commonwealth Christmas Overture

Prelude to Hansel and Gretel
Malcolm Arnold
Engelbert Humperdinck
Ave Maria
www.blueandco.com
Schubert/Wilhelmj
Die Fledermaus Overture
Johann Strauss, Jr
Mein Herr Marquis (Laughing Song)
Johann Strauss, Jr
The Christmas Song
Mel Torm
Holiday Memories
Winter Wonderland
Frosty the Snowman
Santa Claus is coming to Town
Rudolph the Red-Nosed Reindeer
arr. Powers
Santa Baby
Javits/Springer/Powers
Intermission
Little Bolero Boy
MPACT FORGE
Robert Wendel
Chanukah Suite
Danenberg & Soifer
White Christmas
Irving Berlin
A Star Dances, An Angel Sings

Laudamus Te
Gilpin/Powers
Antonio Vivaldi
Candlelight Carol
John Rutter
Hine Ma Tov
Leck/Powers
The Holly and the Ivy

We Wish You a Merry Christmas
Dwyer/Ellis
arr. Harris
2015-2016 Season
31
2014-2015 Contributors
The Columbus Indiana Philharmonic is grateful for pledges and donations to our Annual Fund Drive between 8/1/2014 - 7/31/2015. The financial support made by
these individuals and organizations ensures that the Philharmonic can continue its tradition of excellence in providing concerts and music education programs that
enhance Columbus reputation as a vibrant community dedicated to the arts.
BRAVO
$10,000 +
Robert & Helen Haddad
Margaret Powers
GOLD BATON
$5,000-$9,999
Ben & Pat Bush
Cheryl & Bruce Cazenave
Richard & Lindsay Cooley
Mark & Linda Pillar
SILVER CIRCLE
$2,500-$4,999
Marc A. Dissosway
In Memory of Patricia Dissosway
Toots & Jim Henderson
Bob & Rene Kasting
Thomas & Marion Marshall
David & Tessa Milroy
Nancy & Ralph Schumann
George & Catherine Shortle
Foundation Trust
In Memory of Catherine Shortle
Chuck & Janet VanNatta
CONDUCTOR'S CIRCLE
$1,000-$2,499
Anonymous
David & 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 Brinkman
Mary Ann Clark
Dr. & Mrs. David Gallagher
Jon & Camilla Gehring
Matthew & Theresa Hotek
Owen & Annette Hungerford
Stan Jackson
Rick & Alice Johnson
Peter & Cathy King
Jean & Julius Lauderdale
Tom & Pam Lego
Richard & Susan Miller
Bob & Mary Orben
Dr. Richard L. Pitman
In Memory of his sister Joan Birch
Elizabeth Booth & William Poor
John & Donna Sasse
Barry & Donna Turner
Tom & Sara Wood
BENEFACTOR
$500-$999
Anonymous
In Honor of Margaret Powers
& Mark Pillar
Edna Appel
Brad & Carole Arthur
Debra & Bruce Batts
David & Bonnie Boatwright
Jeff & Therese Copeland
Joe & Sher Cunningham
E. Jean Ellis
Drs. David Hamilton &
Sheryl Elston
Tracy Embree
Gary & Kristy Gron
Drs. Dale & Linda Guse
32
2015-2016 Season
Rebecca Hoffmann
Thomas & Mary Kendrick
In Memory of Donald Munger
& Jim Lucas
Roxie Kindelsperger
In Memory of Kris Kindelsperger
John & Liz Lipson
Dan & Elli McElroy
Lynne Maguire & Will Miller
Clyde & Lenora Parrott
Kevin Preuss & Lisa Duret
Dr. Sorin Pusca
In Honor of Kevin Preuss
& Lisa Duret
Donald & Ruth Sjaardema
In Honor of David Bowden
Terry & Linda Trautman
Tom & Christine Vujovich
David & Ann Windley
Steve & Pam Wolverton
Sandy & Ron Zimmerman
SUSTAINER
$250-$499
Anonymous
Patrick & Sharon Andrews
Laura Baker
Mr. & Mrs. R. M. Bowden
Wally & Sandy Cantrell
Dave & Liz Clark
Mr. & Mrs. William Cole
Spencer Dell
John & Louise Dorenbusch
David & Wilma Doup
Zack & Glinda Ellison
Joyce & Dick Fleck
Dale & Karen Gaumer
Ken & Hedy George
In Honor of Janie Gordon
James & Suellen Gillespie
Bill & Jody Harter
Don & Dody Harvey
Robert & Cynthia Henrich
Don & Paula Herlitz
Gordon & Annalee Huey
Laura M. Hurt
Drs. Chris & Tami Iorio
Janet & Roger Lang
Ken & Christy Langston
Joseph & Lisa Lohmeyer
Don & Diane Michael
Bob, Mary & Diane Moore
John & Susan Nash
Grace Orr
Susan Pickens &
David Borcherding
Dr. & Mrs. Edward L. Probst
Charles & Judy Richardson
Marilyn Richardson
Theodosia & Stephen Rush
Mr. & Mrs. A. Hutch Schumaker II
G. Karen Shrode
In Memory of Tom & Bea Shrode
Suzanne & Dean Smith
Mr. & Mrs. Morris Souders
Jo Stattenfield
Gregg & Judy Summerville
Shirley Todd
Betty L. Tuttle
Geoffrey & Adele Vincent
Alex & Helen Yezerets
PATRON
$100-$249
Anonymous
Dede Abts
Yvonne Achterberg
Mary & Aaron Allard
Ted & Donnetta Anderson
Dan & Susan Arnholt
Cathy & Willis Bahnsen
Mr. & Mrs. Robert Banister
Thomas Baugh
Karen Berman
Paul & Pat Bippen
Tal & Betsy Bosin
In Honor of David
& Donna Bowden
Wilna Braun
Dr. & Mrs. Stephen Brueggemann
Thelma Butler
Charles & Miriam Byers
William & Jacque Chambers
Kwok-Sang & Linda Chui
Michael & Becky Collins
Grace A. Coyner
Donna Crim
Ruth Davee
Roger & Ann DeVore
Deborah Divan
Kenneth O. Dunn
Wayne & Teresa Eberhard
Ed & Vivian Eckerly
Joy & Daryl Emery
Paul & Karen Finke
Sandra Finkel
David & Cindy Force
Sherm & Jacquie Franz
Cliff & Jan Gardner
Dwight & Linda Grooms
Ramon Hass
Kim & Helen Henderson
Leah Hooker
Art Hopkins Landscape Architect
In Honor of Tom Baugh
Tim & Wanda Huffman
Mrs. Dick Johnson
Susie Johnson
Ann & Bill Jones
Bruce & Mikale Klopfenstein
Dave & Barb Kromphardt
Gordon & Barbara Lake
Ryan Lauer
Alice Leonard
John & Judy Lind
Bill & Karen Lion
Mr. & Mrs. Edmund Ludlow
Ron Luther
Shirley A. Lyster
In Honor of J. Robert Sheedy
Carole Marshall
In Memory of Charles
& Marie Schwacke
Marilyn Mauzy
Julie & Harry McCawley
Frank McCullough
Paul & Lisa McHone
Dan & Tess McKinley
John & Connie McLachlan
Jim & Cynthia Miller
Paul & Peggy Miner
Janet Monti
Carol & Tom Mote
Teresa Olmstead
Marge Pongracz
Srikanth Padmanabhan
& Usha Raghavan
Rebecca Rehbein
Charlie & Suzie Rentschler
Carolyn Ricke
John & Marilnn Rondot
JoAnne & Bob Rother
Peg Roush
Bob & Mary Sawin
Ilya Schwartzman
Emily Sharpe
Rick & Philippa Shedd
Sam & Fran Simmermaker
Caitlin Smith
Henrietta & Smith Snively
Mary Lou Tellman
Randall Tucker
Barbara Voelz
Robert & Norma Webb
Jim & Betty Welch
Chuck & Suzanne Wells
In Honor of Tom & Pam Lego
Warren & Lynn Whaley
Amanda Williams
FRIEND
Up to $99
Anonymous
LeAnne Anderson
Pauline Barnes
Warren & Janice Baumgart
Linda S. Becker
Joann Benedetto
Raymond Betz
Diana Black
Chap & Mary Ann Blackwell III
Winter Bottum
Clarel Brandenburger
Bob & Priscilla Brown
Ed & Donna Browne
Daniel & Anita Burton
Barbara Campbell
John & Jean Chambers
Marlene Chestnut
James & Saundra Coffman
Colleen Coleman
Frieda Crawford
Dave & Laura Crossman
Jacque Douglas
James Dudley
Don & Jean Duerstock
Nancy & Joe Dutton
Carl Eddy
Fabulous Females
Patricia Gilson
Mary Jane Gordon
Jim & Nancy Green
Frank & Barbara Hager
Dave & LaDonna Hall
Don & Patsy Harris
In Memory of Ardie Conlin
Joseph & Linda Heldt
Sandi Hinshaw
Dick & Roberta Irwin
Larry & Judy Jackson
Mr. & Mrs. Steve Jasper
Ralph L. Jewell
Allen & Laura Johnston
Donald & JoAnn Jones
Cinda Jones-Bonner
John & Arleen Keele
Lisa & John Kirchman
Robert E. Kirk
Larry & Lynn Lucas
Tally & 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 & family
Michael & Rosemarie Stiffler
Stephanie Strothmann
Susan Sublette
T. Joe Tower
Barbara Tuttle
Tom & June Ann Vickers
Greg & Bettie Wessel
Lisa Westmark
Greg & Camille Willmore
Garnett & Mildred Winchester
Mr. & Mrs. Karl Wolff
Tom & Gertrude Woods
Dot Yeaton
HEARTSTRINGS
Heartstrings donations
enabled us to share the joy
of music with those who
otherwise would not have
been able to attend a concert.
Sharon K. Baldwin
Linda S. Becker
Nancy Ann Brown
Dr. & Mrs. George Brueggemann
Mary Butler
Donna Crim
Paul & Jan Davis
Rev. & Mrs. Thomas Going
Don & Dody Harvey
Toots & Jim Henderson
Ruth Henney
Donald & JoAnn Jones
Mr. & Mrs. Thomas McMahan
Mr. & Mrs. Kevin Meyer
Dick & Nancy Nyers
Sandra Oliverio
Adrian Parrilla Levario
Chris J. Price
Charles & Judy Richardson
Mr. & Mrs. Jim Rumsey
John & Donna Sasse
John & Nancy Sawin
Martha Smock
Jim & Bev Tibbetts
Shirley Todd
Betty L. Tuttle
David & Ann Windley
Madonna Yates
2014-2015 Securing The Legacy

The Columbus Indiana Philharmonics endowment will ensure a brilliant future for the orchestra. Funds are managed by The Heritage Fund and used to support
continuing artistic excellence and to enhance the important Philharmonic music education programs offered throughout this region of Indiana. As of July 31, 2015,
pledges and donations have been received from:
$500,000 & UP
Mr. & Mrs. Robert Haddad, Sr.
$150,000 - $499,999
Mr. & Mrs. James A. Henderson
Xenia & Irwin Miller and the Estate of

Clementine Miller Tangeman
$25,000 - $59,999
$1,000 - $9,999
Mr. & Mrs. L. Paul Berman

Mr. David Borcherding
and Ms. Susan Pickens
Dr. & Mrs. David Bowden
John & Kaye Ellen Connor

Ed & Vivian Eckerly
Mr. & Mrs. Marion Dietrich
David & Cindy Force
Will Miller & Lynne Maguire
Mr. & Mrs. Don Harvey
$10,000 - $24,999
Tom & Sandi Hinshaw
David M. & Barbara A. Kirr

Mr. & Mrs. John Nash
Bill & Jody Harter

Louise Hillery
Mary Ann Clark
Dr. & Mrs. John D. Lipson
Mr. & Mrs. William Hunt
Don & Diane Michael
Alice & Jerry Curry
The Notables of the Philharmonic

Mr. & Mrs. Robert Orben
Joan & Howard Pearcy
Mr. & Mrs. Mike Ryan

Margaret J. Stevenson
Mr. & Mrs. Dan McElroy
UP TO $999
Ingrid H. & Albert E. Askerberg, Jr.

Gary & April Bardonner
Mr. & 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 Snively

Mrs. Marian J. Stark
Lori Phillips
Bruce & Natalie Pollert
Mrs. Jane Hoffmeister Repp

Robert & Mary Williamson
Sharon Stark
Mr. & Mrs. Dearl Sweeney

Geoffrey & Adele Vincent
Joan Vogel
Bill & Sheryl Ziegler
The Gold Baton Award

Each season, the Philharmonic honors an individual, family or business for exemplary
commitment to the musical arts of the Columbus area. Past honorees include:
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 OBeirne 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 company
work, a society work, a civilization work.

Vince Lombardi
2015-2016 Season
33
2014-2015 Corporate Partners

The Philharmonic gratefully acknowledges the following organizations and individuals for their support of events and programs during
the 2014-2015 season. To become a corporate partner, please call 812-376-2638 x2
Bravo $10,000 +
Bob & Helen Haddad
Haddad Foundation
The
Johnson
Family
Gold Baton $5,000 +

Bartholomew
County
Commissioners
Joe & Sher

Cunningham
Mike & Jodi

Engelstad
John
Wall
Silver Circle $2,500 +

Clarence E.
& Inez R. Custer
Foundation
Elizabeth R. and
Walter C. Nugent
Foundation
C. Richard Marshall
Trial Lawyer
INSURANCE SERVICES
34
2015-2016 Season
Marshall & Beth

Middendorf
Conductors Circle $1,000 +
Hazel Teegarden
Foundation
MPACT FORGE
Benefactor up to $999
www.blueandco.com
In-Kind And Contributed Gifts And Services

40 et 8 Voiture 1274
American Legion Post 24
AMVETS Post 509
Atons Self Storage
Bartholomew Consolidated School Corporation
Bartholomew County Courthouse Staff
Bartholomew County Reserve Deputy Organization
Boy Scout Troop 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
The Commons
Chris Crawl
Cummins, Inc.
Dancers Studio
Dora Hotel Company, LLC
Sandra Dosterglick
Vanessa Edwards
Robert and Deborah Eikenbary
Ellis Tents and Events
First Christian Church
First Presbyterian Church
First United Methodist Church
Folgers Four Seasons Florist
Glick Farms
Bob 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
Tony & Margie Pottorff

Puccinis Smiling Teeth
QuickSigns
TD Advertising
The Republic
St. Pauls Episcopal Church

Stuckeys Piano Service
Tom Picketts Music Center
United Way of Bartholomew County

VFW Post 1987
White River Broadcasting
Westside Community Church

Zaharakos
2015-2016 Season
35
2015 JCB Adventure Concert

Area 3rd and 4th grade students look
forward to the annual JCB Adventure
Concert series each Spring. For many
children, the concert presents a first time
music and concert experience sparking their
interest in learning to play an instrument.
In the days after the concert, children
write letters to the orchestra musicians
describing their favorite instruments, the
music they loved, and some even include
a drawing of the concert view from their
seats (pictured above)!
In the spring, children and educators from
32 schools in the South-Central Region
of Indiana participate in the annual JCB
Adventure Concert series of programs and
events. Philharmonic musicians visit area
schools bringing an interactive musical
experience to approximately 1,600 students.
The Phils Youth Orchestra performs sideby-side with the Philharmonic Orchestra
at all three concerts and then travel to
participating locations to share the gift of
music with the community.
36
2015-2016 Season
Bryan K. Hanner, CFP, ChFC, CLU
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CONDUCT gift giving!
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our souls are enriched by the
art of symphonic music!
Located in the heart of the
Columbus Arts District in
Historic Downtown Columbus.
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Columbus, IN 47201
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Best Wishes for the
2015-2016 Season!
2015-2016 Season
37
Tianshu
g
Wan
[Tianshu is a] winner of many
competitions, including a
national first prize...
National Piano Competitions in China since 2005,

and has performed live on CCTV. Respected as a
distinguished artist and teacher in her native China,
she was featured in a cover story of the countrys
most prestigious piano magazine, Piano Artistry.
cclaimed by the press as a superbly

talented pianist who plays with
prodigious technique and eloquent
phrasing, Steinway Artist Tianshu
Wang has graced concert stages in the United
States, China, Mexico, Singapore, Thailand, and
Taiwan. Invitations to perform in Europe are
also in the offing. Winner of many competitions,
including a national first prize, she is active in
both solo and collaborative performance and has
performed with major orchestras in China and
the United States. She has been a regular juror of
Dr. Wang holds degrees from the University of

Arizona (M.M. and D.M.A. in Piano Performance)
38
2015-2016 Season
Dr. Wang is currently Professor and Head of the

Keyboard Area at Capital Universitys Conservatory
of Music in Columbus, Ohio. She received the
Praestantia Award for Distinguished Teaching in
2011, the highest honor given to a faculty member
at the university. Prior to Capital, she served on the
piano faculty of Sweet Briar College in Virginia. She
is also a professor and chair of the Piano Department
at the Shenyang Conservatory of Music in China,
where she teaches for part of the year.
and the Shanghai Conservatory of Music (B.M. in

Piano Performance). Her teachers include Zhu Yafen,
who also taught Lang Lang, and Nicholas Zumbro, a
student of the legendary Rosina Lhvienne.
Tianshu Wangs biography appears in Whos Who in
America, Whos Who of American Women, and Whos
Who in China. The CD set Encyclopedia of Chinese
Classical Piano Music in which she is featured as a
major performer, has been a best seller in China; and
her chamber music CDs, which were published by
Albany and Mark Records, have been well received
by both the public and critics. Her solo album
entitled Piano in China that was released on the
Albany label was featured on the cover of Fanfare
magazine (March/April issue of 2012) with an
extensive interview article and enthusiastic reviews.
Concert Co-Sponsors
Celebrating the Chinese New Year

Saturday, February 6, 2016 at 7:30 PM
Concert Partner
Tianshu Wang, Pianist
La Scala di Seta (The Silken Ladder)

Yellow River Concerto
The Song of the Yellow River Boatmen
Ode to the Yellow River
The Yellow River in Wrath
Defend the Yellow River
Gioacchino Rossini
Xian Xinghai, et al.
Intermission
Scheherazade, op. 35
The Sea and Sinbads Ship
The Story of the Kalender Prince
The Young Prince and the Young Princess
The Festival of Bagdad The Sea Shipwreck
Its great to see that a city

the size of Columbus can
support an orchestra like this.
Because of the communitys
commitment to the arts,
the CIP percussionists and
timpanist get to play topnotch instruments owned by
the orchestra. We are truly
grateful for their support.
Nicolai Rimsky-Korsakov
Brian
McNulty
2015-2016 Season
39
PAST
PRESIDENTS
PETER
Campbell
KING
Board President
n behalf of your hard-working Board of Directors and staff of the Columbus Indiana
Philharmonic, we welcome you to this concert season. During the past several months, through
the committed work of our creative Music Director and Conductor, Dr. David Bowden, in
conjunction with our Artistic Team, an outstanding program has been developed for the 201516 season. We continue to enjoy the dedicated efforts of our Executive Director Margaret Powers, who
assists 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 is
critical, not only to the economic development of our community, but to the exceptional quality of life we
enjoy in Columbus, Indiana. Our mission is to create, educate, advocate and perpetuate orchestral, choral
and chamber music, including genres of all periods and styles. Your Board and Philharmonic staff accept this
mission 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 forward
to every concert, or as a fan of our Cabaret Series, a new Phil tradition specifically designed to engage
an even broader audience as well as raise money for our education and outreach programs. The inaugural
Cabaret Series was a resounding success, pioneered through the efforts of our Marketing Committee. I am
confident you will enjoy joining us at the Commons for this exciting series.
The Philharmonic is also heavily engaged in the education of our youth. Studies clearly link exposure
to music with academic success. Through the wonderful work of Vanessa Edwards, the Phils Education
Director, we continue to excel in offering musical experiences for students throughout the community. The
Board 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 childhood
development programs of our local school system in addition to other organizations providing services to
young children from all socio-economic circumstances. This may, perhaps, be the most important initiative
of 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 annual
Lobsterfest in May 2016. In addition, we want to hear from you let us know your thoughts! Your
contribution 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 (1998-2000)
Kaye Ellen Connor (2000-02)
Robert A. Orben (2002-03)
Robert J. Williams Ph.D. (2003-04)
Mark S. Elwood (2004-05)
Judy Summerville (2005-06)
Tom Hinshaw (2006-07)
Elizabeth Lipson (2007-08)
John Erickson (2008-09)
Tom Lego (2009-2012)
Mark Pillar (2012-2015)
Board of Directors
Officers
Peter King
President
Mark Pillar
Immediate Past President
Sharon Sung Andrews
Vice President
Therese Copeland
Secretary
Terry Trautman
Treasurer
Board Members
Mary Clerkin Allard
Bonnie Boatwright
2015-2016 Season
Roger Brinkman
John Sasse
Michael Engelstad
Caitlin Smith
R. Richard Cooley
David D. Gallagher, M.D.

Camilla Gehring
Matthew T. Hotek
Stan Jackson
David Kromphardt
Pamela Lego
John C. McGinty, Jr.

Wayne Nyffeler
Gil Palmer
Eric Robbins
Joe Smith
Barry Turner
Warren Ward
Ex-officio
Board Members
David Bowden
Music Director
Margaret Powers
Executive Director
Beth Booth Poor

Choral Representative
Celebrating The Chinese New Year Program Notes

Xian Xinghai
Yellow River Concerto
Far Eastern music has long held a place of special
fascination for Western composers, particularly
after the turn of the 20th century. Numerous works
by famed composers attempted to capture the
character of Eastern music, to varying degrees of
success. Puccinis Turandot and Madama Butterfly
(set in China and Japan, respectively) are beloved
by operagoers worldwide; musical theatre lovers
feel the same about Richard Rodgers The King and
I, which is set in Thailand. Debussy derived much
inspiration for his compositions for piano from
the Javanese gamelan music he heard at the 1889
Paris Universal Exposition. And Stravinskys Le
Rossignol (The Nightingale) is a veritable catalogue
of Chinese influences.
New Years Festival in Foshan city, China.
Gioachino Rossini
Overture to The Silken Ladder
During his lifetime, Rossini was almost entirely
celebrated as a composer of operas, of which there
were many. His first opera, La cambiale di matrimonio
(The 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.
Today, a relatively small handful of his operas remain
in the standard repertoire; but the overtures to many

of his un- or under-performed operas remain popular
concert pieces. Case in point: La Scala di Seta (The Silken
Ladder), a one-act opera that premiered in 1812. Full
productions 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 opera
into a glittering tapestry; then twists them ever tighter,
ever faster, leading to a breathless ending.
Why, then, do we hear so little music that is actually

written by Eastern composers? The answer is complex.
Though many great Asian musicians traveled through
the West over the centuries, very few sought to adapt
their musical voices to the idiom of the orchestra; and
prior to the 20th century, their music was considered
at best a second-rate curiosity. In the early 20th
century, Western-style orchestras began to form in
China along with conservatories. But then came Mao
Zedong and his increasingly strict policy of cultural
isolationism and nationalism. Starting in the 1960s,
Western music was banned outright, and the few
Western-style conservatories in China were closed.
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40
2015-2016 Season
Xian Xinghai was born in 1905, in Macau. A gifted

young musician, he studied in the cultural centers of
China and then, in 1929, traveled to Paris to study
composition with Vincent DIndy. Given the rising
fascination with music of his country, Xian might
have 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 Zhang
Guangnian read a group of poems collectively titled
Yellow River. The poems paid homage at once to
the beauty of Chinas most famous river and to the
strength of the Chinese people. With permission
from Zhang, Xian set the poems to music in just six
days. His Yellow River Cantata would later become
one of the few classical works accepted by the
Communist Party in China.
In fact, the work became so central to the Chinese
identity that in 1969 a committee of composers was
formed to adapt Xians music as a piano concerto. The
resulting, four-movement work has since become
one of the few Chinese works heard regularly in
concert halls worldwide.
While much music of the mid-20th century is
considered challenging to the ears of audiences,
the Yellow River Concerto is anything but. With
its extremes of excitement, lush beauty and
tenderness, the music echoes nothing so much
as the high Romantic music of Tchaikovsky; its
immediately memorable melodies and waves of
arpeggios call to mind the piano concertos of

Rachmaninoff.
One can easily enjoy Xians music without an
understanding of the texts that inspired it. That
said, each movement does reflect the spirit and
narratives of Zhangs poems, and each carries an
individual title.
The first movement, The Song of the Yellow River
Boatmen, offers a vivid depiction of the river rushing
through a stunning canyon; boatmen sing together
as they valiantly conquer the waves. The second
movement, Ode to the Yellow River, takes an even
more Romantic view of the place and its people, who
tower in the East like the lofty Kunlun Mountains.
The third movement provides the most quintessential
blend of Chinese and Western styles. Titled The
Yellow River in Wrath, it begins with a beautiful
Chinese flute melody, eventually balanced against the
piano. A dark mood sets in, depicting an occupation
by a foreign army; the people rise up in defiance. This
leads to the fourth movement, Defend the Yellow
River, 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 to
emerge from tsarist Russia.
Born in 1844 of a distinguished naval and military

family, Rimsky-Korsakov developed an early
proficiency in music. In his Chronicle of My Musical
Life, the composer wrote, Before I was two I could
distinguish all the melodies my mother sang to me;
at three or four I was an expert at beating time on
a drum to my fathers piano playing...I soon began
to sing very accurately everything he played, and
often sang with him; then I began to pick out the
pieces with the harmonies for myself on the piano;
and, having learned the names of the notes, would
stand in another room and call them out when they
were struck.
Despite his precocious talent, the boys true passion
was for the military, which employed both his father
and his elder brother. At the age of twelve, young
Nikolai was enrolled in the College of Naval Cadets
in St. Petersburg. He graduated in 1862, just a few
months after his brother (Nikolais senior by 22
years) was appointed to the colleges directorship.
While at the cadet school, Rimsky-Korsakov continued
to take piano lessons, though his interests were mainly
driven by a desire to be able to play popular opera
songs. He also continued to seek out concerts, and was
consistently entranced by the new music of Berlioz,
Mendelssohn, Chopin, and especially a fellow
Russian composer, Mikhail Glinka. In 1859, RimskyKorsakov began to study with a new teacher, Theodore
Canille, who influenced his style and taste, as well as
his understanding of harmony and musical form.
CELEBRAT E T HE
Continued on pg. 42
SOUNDS
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Board Certified Audiologist
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www.LIFEsOUndsgOOd.COm
2015-2016 Season
41
Celebrating The Chinese New Year Program Notes

In 1861 Rimsky-Korsakovs fate took a sharp turn

when he became acquainted with a trio of young
but already widely known Russian composers:
Modest Mussorgsky, Mily Balakirev and Csar Cui.
Rimsky-Korsakov came quickly under the spell of
Balakirev. Balakirev, in turn, encouraged RimskyKorsakov to compose, and even helped him with
the difficult task of orchestration. Within a few
years, Rimsky-Korsakov resigned from the navy, and
began what was to be a brilliant career as composer,
teacher, and musician.
Thus began a career that would shape the character
of Russian music for decades to come.
Historian James Lyon once wrote, Russian
music was born, and died, with...RimskyKorsakov. While these bold words may
over-state the point, there is no doubt
that Rimsky-Korsakov had a profound
influence on later composers, from
his pupils among whom were Igor
Stravinsky and Sergei Prokofiev to nonRussian composers such as Ravel, Debussy, Dukas,
and Respighi.
Rimsky-Korsakov must be credited with the
introduction of a new treatment of the orchestra,
wrote biographer M. Montagu-Nathan. He is
responsible for a number of innovations in the
region of instrumental grouping, and his influence
and teaching must be attributed to the foundation
42
2015-2016 Season
of a distinct style of orchestration usually referred to

as Russian.
Though he composed in a variety of forms and
idioms, Rimsky-Korsakov is best known and
remembered by modern audiences for his works
for orchestra. Chief among them are three works,
all composed between 1887-88, which were also
Rimsky-Korsakovs last significant, purely orchestral
compositions: the Spanish Capriccio, Russian Easter
Overture, and Scheherazade.
In the composers own words, these three
compositions close a period of my work, at the end of
Russian music was born,

and died, with... RimskyKorsakov. - James Lyon
which my orchestration had attained a considerable
degree of virtuosity and warm sonority... Out
of anyone elses mouth, these might sound like
overly self-congratulatory words; but, coming from
Rimsky-Korsakov, they hardly do justice to the
lyrical beauty, striking orchestration, and memorable
melodies of these three pieces.
Based on the well-known tale of the vicious Sultan
and his seductive, tale-spinning wife, Scheherazade

has been a major cornerstone of the orchestral
repertoire since its premiere in 1888. The colorful
and exciting four-movement work focuses on the
tumultuous relationship between the evil sultan
Shahryar and the titular character, as told in the
medieval epic, The Arabian Nights.
Not that you need to know the legend to appreciate
the music. Scheherazade is a fur coat of a piece:
luxuriously warm and enveloping, more than a bit
flashy, and vivid in its evocation of Arabian nights,
ships tossed about at sea and exotic festivals.
Structured in four movements, the piece
features music that is at times breathtakingly
fast, at times lush, and always rich in texture
and unique character.
Scheherazade also reflects its storyline at
a different, more purely musical level:
the relationships between various sections of the
orchestra, and between conductor and orchestra.
With many small ensemble sections, solos by various
players in the orchestra, and shifts in tempo and
mood, Scheherazade lives or dies depending on the
focus and connection of the musicians on stage
much as the storys heroine must maintain the
attention of the Sultan in order to preserve her life.
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43
Columbus
Indiana
Childrens Choir
driving education and traumatic brain injury
research through choral performance .
ruth dwyer CICC Artistic Director
he effects of music education are

beyond beneficial, they are practically
essential. The directors of the Columbus
Childrens Choir have spent 20 years
proving this to be true in Columbus. This season
marks the 20th anniversary of the collaboration
between the Columbus Indiana Childrens Choir
and the Columbus Indiana Philharmonic. Help us
celebrate the high development and performance
standards that Ruth E. Dwyer, Columbus Indiana
Childrens Choir Artistic Director, instills in every
child she meets.
Mrs. Dwyer is internationally recognized as a
treble youth and childrens choir specialist and
Kodly educator. Mrs. Dwyer has been the guest
conductor for the OAKE National Childrens
Choir, numerous All-State and Honor Choirs, and
the National Childrens Choir at Lincoln Center
and for MidAmerica Productions Carnegie Hall
Children and Youth Choral Festival. Mrs. Dwyer
is the Founder and Artistic Director of the Hoosier
Hills Choral Festival in Southern Indiana and of
Philthrusong, Inc. (Philanthropy Through Song)
a non-profit organization supporting anti-drunk
44
2015-2016 Season
Mrs. Dwyer has been the Associate Director of

the Indianapolis Childrens Choir (ICC) since
1988 and ICC Director of Education in 1996. She
is also the Artistic Director and Administrator
of the Columbus Indiana Childrens Choir, a
cooperative effort of the Columbus Indiana
Philharmonic Orchestra and the Indianapolis
Childrens Choir. Her work with ICC/CICC has
allowed her to tour throughout the United States
and abroad. Her choirs have performed for the
Indiana Music Educators Association, the AOSA
National Conference, in New Yorks Carnegie and
Avery Fisher Halls, Spain, across the USA and
throughout Central Europe. She has prepared
choirs for performances with the Indianapolis
Symphony Orchestra, the Indianapolis Symphonic
Choir, Indianapolis Opera, the Columbus Indiana
Philharmonic and the Butler University production
of Nutcracker. Mrs. Dwyers work with ICC/CICC
includes mentoring the teaching staff, conducting
4 choirs, teaching in the First Steps program and
providing music library assistance.
Prior to her fulltime position with ICC, Mrs. Dwyer
served the State of Indiana for 19 years as a public
school music educator. She has received the IMEA
Elementary Music Teacher of the Year, the Hoosier
Musician award and the IPS Rising Star award.
Mrs. Dwyer is an accomplished choral composer
and arranger. She has taught master classes for the
IU Jacobs School of Music, Butler, St. Thomas,
Drake Universities and Silver Lake College.
Mrs. Dwyer also works as a studio conductor for
Heritage/Lorenz Publishers.
Ruth Dwyer earned both her Bachelors and
Masters degrees from Indiana University where
she majored in music education and voice. While
attending Indiana University she also received her
Kodly certification under the guidance of Mary
Goetze and Jean Sinor. She enjoys a good cup of
coffee, visiting with family, reading, sailing and
hiking in the mountains.
The Columbus Indiana Children's Choir

is recognized as one of the finest choirs
in the nation because of the excellence
of its musical education, the diversity
of its membership and the quality of
its contributions to the community's
cultural life.
For 20 years, CICC has provided
exceptional music education and choral
performance experiences to children
and youth in central Indiana. Under
the leadership of Artistic Director
Ruth Dwyer, Assistant Director Camilla
Gehring, and CICC Coordinator Deb
Eikenbary and many others, the choir
has grown to serve hundreds of children
each year and has become one of the
most accomplished programs of its kind.
CICC choristers learn to express
themselves through a high standard
of choral performance and artistic
communication. Each child develops
vocal, musical, aural and analytical skills,
and benefits from age-appropriate
training of the maturing voice as
part of a comprehensive choral music
education.
Concert Co-Sponsor
Music for Royalty

Concert Partners
Saturday, April 2, 2016 at 7:30 PM

The Philharmonic Chorus
David Bowden, Artistic Director
Ruth Dwyer, Artistic Director
INSURANCE SERVICES

Crown Imperial March
William Walton
Arrival of the Queen of Sheba from Solomon
George Frideric Handel
Music for the Royal Fireworks

Overture
Boure
La Paix (The Peace)
La Rjouissance (The Rejoicing)
Minuet and Trio
Emperor Waltz
Handel
J. Strauss, Jr
Pomp & Circumstance March No. 1 (Land of Hope and Glory)
Edward Elgar
Intermission
Prince of Denmarks March (Purcells Trumpet Voluntary)
Come Ye Sons of Art
Come, Come Ye Sons of Art
Strike the Viol
Sound the Trumpet
Come, Come Ye Sons of Art
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 distinguishing
characteristic 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.
Zadok, the Priest (Birthday Ode for Queen Mary)

Aloha Oe
Jeremiah Clarke
Henry Purcell
Handel
Queen Liluokalani
Can You Feel the Love Tonight? from Lion King

Think on Me (text by Mary, Queen of Scots)
I Was Glad (Coronation Anthem)
Jerusalem (And Did Those Feet in Ancient Times)
Elton John
James Mullholland
Hubert Parry
Parry
Eliot Heaton
2015-2016 Season
45
Music For Royalty Program Notes

Camilla Gehring is a graduate of Indiana University School of Music with a Bachelors degree in music
education. She taught elementary music in Connersville, IN for three years in addition to performing
regularly with the Whitewater Opera Co. in Richmond, IN. She earned her MBA from Ball State
University and combined her two degrees and became General Manager of the Minneapolis Chamber
Symphony.
She was a professional chorus member of the National Lutheran Choir as well as being a member of the
Minnesota Chorale performing with both the Minnesota Orchestra and the St. Paul Chamber Orchestra.
She also worked as a professional cantor at the Basilica of St. Mary in Minneapolis.
A frequent soloist with the Philharmonic, Mrs. Gehring is also a long time member of both the
Philharmonic Chorus and her church choir. She has appeared in numerous Mill Race Theatre
productions and is a frequent soloist in the area. As the CICCs Assistant Director, Mrs. Gehring directs
the Descant Choir and the beginning Preparatory Choir. She also maintains a full teaching schedule of
private students.
Camilla Gehring CICC Assistant Director
Camilla and her husband, Jon, are the parents of Dominic and William, former singers in CICC.
Deborah Deb Glick Eikenbary currently serves as Coordinator of the Columbus Indiana Childrens Choir,
and she works as an elementary music teacher at Mt. Healthy and Southside Elementary Schools within
the Bartholomew Consolidated School Corporation. While Deb proves her dedication to CICC on a daily
basis, she balances her involvement in other education programs through the Philharmonic, including the
adult Philharmonic Chorus and the Education Board Committee. Deb has been an active member of these
programs since before joining the Philharmonic staff.
She is a founding member of Music EdVentures, Inc., an international organization dedicated to educating
children through music. She has experience filling several roles within that organization, including participation
as a board member, conference planning chair and president. She has served as a member-at-large for the
Indiana Elementary Music Educators Association and is a long time member of Indiana Music Educators
Association and Music Educators National Conference.
A dynamic member of her church, Newbern United Methodist Church on Columbus east side, Deb currently
acts as musician, leadership team chair, and treasurer of United Methodist Women. A natural fiber enthusiast,
Deb enjoys spending her free time knitting, sewing, lace making (tatting), and traditional rug hooking. She
and her husband, Robert, have two children, Rebecca and Steven, who are both alumni of CICC and the
Philharmonics Music for Youth string programs. The Eikenbarys have been season ticket holders since the
founding of the organization in 1987.
Deb Eikenbary CICC Coordinator

William Walton
Crown Imperial March
William Walton first caught the ear of the British
public with the premiere of his oratorio, Belshazzars
Feast, in 1931. A sprawling, ambitious yet immediately
appealing work, Belshazzars Feast served as notice
that Great Britain had found its heir-apparent to
Edward Elgar and Ralph Vaughan Williams.
The work was hardly the first piece bearing witness to
Waltons greatness as a composer (his 1921 chamber
piece, Faade, had earned some limited popularity),
but Belshazzars Feast demonstrated both a facility
for melody as well as an ability to handle largescale compositions. This fact was reinforced by the
premiere of Waltons Symphony No. 1, in 1934.
By 1937, Waltons reputation had grown to the point
that it only seemed natural that he should be the
composer to write a coronation march for Edward
VIII. The BBC commissioned just such a work; but
ultimately it was not used for its intended purpose,
due to Edwards abdication of the crown shortly
before the planned coronation. Instead, the Crown
Imperial March was used for the coronation of King
George VI, Edwards brother.
46
2015-2016 Season
My first impression of this organization, Deb says, comes from the very first concert when I was singing in
the Chorus. I knew this was going to be a very fine addition to our community and I believe that has remained
true to this day.
Like Elgars Pomp and Circumstance Marches, the

Crown Imperial March is a swaggering and sunny
work boasting a romantic processional theme. Indeed,
close analysis reveals that Walton must have carefully
studied Elgars famed marches, as the structure of
his Crown Imperial mimics that of the Pomp and
Circumstance Marches closely.
George Frideric Handel
Music for the Royal Fireworks, Arrival of
the Queen of Sheba from Solomon, and
Coronation Anthem: Zadok the Priest
If George Frideric Handels father had gotten his
way, likely none of us would know the name of a
man now considered one of the most prolific and
influential composers in Western history. Born
in 1685, George possessed a natural and quite
precocious musical talent from his youngest days;
but his father, a court barber who was in his mid60s when George was born, forbade the boy to
study music. But wills find their ways, and with
help from his more sympathetic mother George
managed to get access to a small clavichord, which
he played when his father was asleep.
At the age of 7, George had the opportunity to play
the organ for the dukes court in Weissenfels; his

proficiency shocked his father and impressed the
organist Friedrich Wilhelm Zachau, who offered
the boy lessons. Zachau became Handels primary
mentor, instructing the boy in organ, harpsichord,
and compositional techniques.
By 1710, Handels career was beginning to take shape.
That year, he was appointed kappelmeister (music
director) to the German Prince George. During a
trip to London that year, Handel met the manager of
the Kings Theatre, who accepted the composers offer
to write an opera. The opera, Rinaldo, was written in
just two weeks; it was a major success and propelled
Handel into the public eye.
Four years later, Prince George became King George
I of Great Britain and Ireland. Thus Handel found
himself composer to the king, a position that afforded
him both fame and opportunities to write music for a
variety of occasions, from operas and oratorios to more
uncommon works such as his well-known Water Music
Suite, penned for a royal flotilla on the River Thames.
Handel eventually became a British subject in 1727. That
same year, King George I died. Handels first commission
after becoming a British citizen was, therefore, to write a
y
e
n
e
s
,
e
Coronation Anthem for King George II.
down one of the pavilions.
reference to the quotation from the toast.
Handel chose to base his Anthem on the

coronation of King Solomon, who, according to
the Bible, came to the throne in Israel when his
father, King David, was dying. King David called
on his loyal priest, Zadok, and the prophet Nathan
to perform the coronation of Solomon, saying,
blow ye the trumpet and say `God Save King
Solomon ...... (I Kings, Chapter 1).
Despite that, Handels six-movement suite was

quickly recognized for its many merits. The
French-style overture is a masterpiece of pomp
and excitement. The third movement, titled La
Paix (The Peace), is one of the composers most
lovely dances, an elegant Siciliana in 12/8 time.
The music culminates in a final Minuet that bursts
with energy and pageantry.
The resulting composition was one of Strauss

most regal and purely bright works for orchestra,
reflecting the hope of the moment. After conducting
its premiere in Berlin, Strauss took the tune to his
publisher, who recommended a change of title to
The Emperor Waltzes. By that name or any, this is
one of Strauss very finest works, and it has found a
permanent place as a concert hall staple worldwide.
The Anthem that Handel wrote for the occasion

endeared him to British royalty for all time: Zadok
the Priest has been performed at every coronation
of the British crown since King George II took
the throne.
In late 1748, England and France signed the Treaty
of Aix-la-Chapelle, which effectively ended the War
of Austrian Succession. To celebrate and demonstrate
the new accord between the two countries, the
king engaged the French scenic designer Chevalier
Servandoni to construct a large pavilion in the
Palladian style in Londons Green Park, to serve as
a launching pad for a fireworks display. Interspersed
with the visual spectacle would be new music by
Handel, performed in the pavilion beneath.
Excitement about the event was extremely high.
The musical dress rehearsal drew a crowd of 12,000,
causing one of the first documented traffic jams on
London Bridge. A week later, the main event took
place. It wasnt such a success. Partway through, some
of the fireworks prematurely caught fire, burning
Handels oratorio Solomon dates from that same

year. This complex and richly orchestrated work for
orchestra and double chorus recounts stories about
the wise king Solomon, as told in Biblical and
other texts. Today, the work is rarely heard in its
entirety; but one purely instrumental passage, the
Arrival of the Queen of Sheba from Act Three, has
taken on a life of its own. The sunny and vivacious
music was featured at the opening ceremonies of
the 2012 London Olympics.
Johann Strauss II
Emperor Waltzes
By 1889, Johann Strauss was famed across Europe
for his unmatched talents as a composer of light
yet unforgettable dance music, particularly
waltzes. That year, one of the most notable events
in international politics was a toast by Kaiser
Franz Joseph I of Austria to extend the hand of
friendship to Kaiser Wilhelm II of Germany in
Berlin. Strauss decided to commemorate the event
with a waltz, which he titled Hand in Hand in
Henry Purcell
Selections from Come Ye Sons of Art
For centuries, no British composer was held in
higher esteem than Henry Purcell. Born to a
musical family in 1659, Purcell showed his talents
early. At age 8 he completed his first work, a
three-part song titled Sweet tyranness. At 20 he
was appointed organist for Westminster Abbey, a
position he held for the rest of his relatively short
life. Purcell died in 1695.
The final years of his life were, fortunately for
posterity, a time of great productivity. In 1694,
Purcell composed a birthday ode to Queen Mary,
titled Come Ye Sons of Art. Set in 10 movements, the
piece for chorus, soloists and orchestra enjoined a
series of instruments (Sound the trumpet, Strike
the viol) to extol the merits of the queen. Not
surprisingly, kings and queens since have embraced
this music both for its beauty and its unabashed
celebration of royal virtues.
Continued on pg. 48
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2015-2016 Season
47
Music For Royalty Program Notes

Jeremiah Clark
Prince of Denmarks March
Ironically, one of the pieces for which Henry Purcell
was most widely known and beloved in the past wasnt,
in fact, written by him. In the early 20th century, the
English conductor Sir Henry Wood rediscovered
a short piece from the late 17th century, which he
believed to be a composition by Purcell. (The mistake
wasnt entirely Woods fault: The score that caught
his attention was itself a misattributed arrangement
for organ from the 1870s.) Wood arranged the music
for trumpet, organ and drums and titled it Trumpet
Voluntary. Woods arrangement quickly became
popular worldwide and has since remained a fixture
of ceremonies and weddings.
However, in the 1940s it was determined that
the music was in fact written by Jeremiah Clark, a
younger contemporary of Purcells. Clark originally
penned the music for the husband of Queen Anne,
Prince George of Denmark..
Edward Elgar
Pomp and Circumstance March #1
Few works in the classical repertoire are more familiar
than Sir Edward Elgars Pomp and Circumstance
March No. 1. Co-opted long ago as the ubiquitous
tune performed during graduation ceremonies across
America, this march has become such a part of our
cultural ceremonial identity that its hard to separate
the music from the context by which it is so familiar.
48
2015-2016 Season
Yet Elgar didnt write this march for that express

purpose. In fact, the Pomp and Circumstance Marches
of which Elgar wrote five were originally
penned as military marches, to be performed as
concert pieces, with dedications to friends of Elgars.
At the time he wrote the five Marches, Elgars
reputation was growing in England such that any
work that flowed from his pen was destined to
become a familiar fixture in concert halls. In that
context, its hardly surprising that King Edward
VII decided to use the Pomp and Circumstance
March #1 at his coronation soon after Elgar
completed the brief work in 1901.
Britons soon clamored for performances of the work,
and feeding off its stamp of approval from the King,
the work became a sort of hymn of British national
pride, almost supplanting the national anthem as the
favored music for public events.
And truly, if we can hear it with fresh ears, the
work must be recognized as one of the great
marches of all time, combining in its melody a
regal bearing and sentimental romanticism that
few other marches have ever matched.
Sir Hubert Parry
I Was Glad and Jerusalem
For a significant span of the late 1800s, Sir Hubert
Parry was one of the most respected musicians in
all of Britain. He held concurrent professorships at
the Royal College of Music and at the University of
Oxford. He was hailed by some as the finest British

composer of the century.
Today, Parrys name is largely overshadowed by
those of a younger generation, including some of
his own students who included Gustav Holst,
Ralph Vaughan Williams and Frank Bridge. None
of his music is regularly performed in the concert
hall. But one work keeps his name perennially
familiar in Britain: I Was Glad, a setting of Psalm
122 for brass, organ and large chorus.
Parry penned the short, celebratory work in 1902
for the coronation of King Edward VII. Settings of
the same text had been sung at coronations since the
1600s; but Parrys version took an immediate place of
primacy. It has been performed at every coronation
since; it was also recently performed at the wedding of
Prince William, Duke of Cambridge and Catherine,
Duchess of Cambridge as the processional music for
the bride, her father and the bridal attendants.
Parrys 1916 anthem, Jerusalem, is arguably the
composers most widely known work outside
England. This short choral song reflects the hope and
mystery of the text that inspired it: William Blakes
And did those feet in ancient times, which ponders
a once-popular theory that Jesus visited England
during the so-called unknown years between his
youth and his ministry.
n
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r
LAWSON, PUSHOR
MOTE & GAMSO LLC
Attorneys
at law
THOMAS N. MOTE
and
STANLEY A. GAMSO
Tilson proudly supports the Columbus

Indiana Philharmonic and its
commitment to share a life-long joy of
music with the Columbus community.
PERSONAL INJURY
PROPERTY DAMAGE
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To learn more about Tilson,

visit tilsonhr.com
or call 800.276.3976.
2015-2016 Season
49
staff
Empty Seats?
What A Shame!
ARTISTIC
Dr. David Bowden

Vanessa Edwards
Youth Orchestra Director
Production Manager
Donna Bowden
Orchestra Personnel Manager
Beth Booth Poor

Choral Coordinator
Dianne Sprunger
Choral Accompanist
Ruth Dwyer
CICC Artistic Director
Deb Eikenbary
CICC Coordinator
Jay Mosier
Recording Engineer
Dale Gaumer
CD Production
ADMINISTRATIVE
Margaret Powers
Executive Director
Katelyn Phillips
Marketing Director
Vanessa Edwards
Education Director
Mark Pillar
Development Director
Barb Kromphardt
Ticketing Coordinator
Ron Luther
Finance Manager
Columbus Pro Musica was incorporated in 1970 to

promote and encourage an active interest in music
in the community. In 1987, the Board of Directors
created a new professional ensemble named the Pro
Musica Orchestra and hired Alice Curry (former
President of Pro Musica) as Executive Director and
David Bowden as Music Director. 1987 also saw
the formation of the Philharmonic Chorus with
David Bowden as the Choral Director. The name
of the organization was changed to Columbus
Indiana Philharmonic in 1995.
The Orchestra continues to thrive on a partnership
of the best musicians from Columbus and the
surrounding region and talented students from
the Indiana University Jacobs School of Music.
The Orchestra and David Bowden have received
local, state, national and international recognition.
The Phil is the winner of five ASCAP awards
and consistently receives rave reviews for its
performances.
Logan Strawn
Librarian & Assistant
Orchestra Personnel Manager
Camilla Gehring
CICC Assistant Director
Our History
If the next seat to you is empty, it doesnt necessarily

mean that no one bought a ticket for it. What it
could mean is that someone was unable to attend
the concert and didnt turn in the ticket for a tax
credit. Its too bad that the ticket-holder was unable
to come, but even more sad that the seat went
empty when others would gladly have purchased it.
Emergencies do happen, but if you know in advance
you wont be able to attend a concert, why not give
your ticket to someone else? Or, if you prefer, you
may donate your ticket to us for resale. If you do:
Youll benefit because youll get a statement
acknowledging your tax-deductible contribution.
Someone else will benefit from being able to
purchase your ticket.
The organization benefits from the extra income
generated from the sale of your seat.
The musicians benefit. Its more fun playing to a
full house.
Just call our office at 812-376-2638 by 4 pm the
Friday before the concert to turn in your ticket.
That way, everyone benefits.
In 1988-89 the Orchestra began performing

annual Adventure Concerts for third and fourth
graders in the south-central region of Indiana. In
1989 the Orchestras Youth Strings program began
with after-school instruction and in 1991 a choral
component was added to the program. In 1996
a collaboration with the Indianapolis Childrens
Choir formed the Columbus Indiana Childrens
Choir. The 1993-94 season brought the Phils Youth
Orchestra into existence. The youth education
programs continue to thrive and growbringing
the joy of music to thousands of children every
year. In 1992 an endowment fund was established
by Paul and Karen Berman and is managed by The
Heritage Fund.
In 2003 the Philharmonic moved to its current
facility at 315 Franklin Street. Thanks to the
generosity of Bob and Helen Haddad and
Cummins Inc., the building provides space for staff,
music lessons, a music library, storage and meetings.
The staff has worked hard to achieve the goal of
making the orchestra an important component of
the areas quality of life. The strong support from
area individuals, foundations and businesses, makes
it possible for the Philharmonic to continue to
fulfill its mission to the community.
Concert Information
Musically Speaking
Everyone attending a concert must have a ticket.
Musically Speaking begins 50 minutes prior to most

concerts. In these entertaining, spirited and informative
conversations, Music Director and Conductor David
Bowden and guest artists share their thoughts, ideas,
insights and anecdotes a wonderful chance to
become familiar with the performers and the great
music played by the Philharmonic. Musically Speaking
is free to all concert ticket holders.
In consideration of the audience and musicians, most Philharmonic concerts are recommended
for audiences age 5 and older. The December 13 concert at 3:00 p.m. is especially appropriate for
younger children.
Please put all electronic devices on silent. Photographing or recording any part of a Philharmonic
performance is strictly prohibited. The Philharmonic thanks you for your cooperation and hopes you
enjoy many hours of music without electronic interruption.
2015-2016 Season
Benjamin
Hoffman
[He] gave a concert... that was
hailed as bold, spirited, and
technically impressive
- The New York Times.
merican-Italian violinist Benjamin

Hoffman is an avid leader and serves as
concertmaster of the Columbus Indiana
Philharmonic. Benjamin also serves
as concertmaster of the Yale Philharmonia, and
gave a concert under the baton of John Adams at
Avery Fisher Hall that was hailed as bold, spirited,

and technically impressive by The New York
Times. Equally at home as a chamber musician,
Mr. Hoffman has performed alongside mentors
Peter Frankl, Wolfram Christ, Jorja Fleezanis, and
Stephen Wyrczynski in Europe and in the United
States, and recently performed Aaron Jay Kerniss
Mozart en Route and Hindemiths Kammermusik
Nr. 1 at Carnegie Hall. Benjamin particularly
enjoys studying quartet repertoire and is a member
of the newly formed Quartet Orange, based in New
Haven, Connecticut. A member of a musical family,
he also gives concerts with his mother, father, and
sister as part of the piano quartet Onibatan.
As a soloist, Benjamin enjoys performing music

ranging from Vivaldi to Bach, Mozart and
Korngold, as well as contemporary premieres
with orchestra. Mr. Hoffman began studying the
violin at age four under the tutelage of his mother,
and continued his studies with Gabriel Pegis of
the Cincinnati Symphony Orchestra, Latica
Honda-Rosenberg at the Hochschule fr Musik
in Freiburg, Germany and Alexander Kerr at
Indiana University Bloomington. He is currently
pursuing the Doctor of Musical Arts degree at
Yale University, where his principal studies are
with Ani Kavafian.
Journey inside...
50
2015-2016 Season
Concert Partner
A Visit To Vienna
Saturday, April 30, 2016 at 7:30 PM
Benjamin Hoffman, Violin
Wine, Women and Song, Waltz op. 333

Violin Concerto in D Major, op. 61
Allegro ma non troppo
Larghetto
Rondo (Allegro)
Johann Strauss, Jr.

Ludwig van Beethoven
Intermission
Live music performance is a fascinating
thing. There's a powerful fundamental
human element involved that is hard to
find any other way. I'm not just making
reference to "live" versus "recorded"
music, but to music being shared directly
with an audience - a literal human to
human communication, often without
words! As musicians, we spend countless
hours practicing in an enclosed, small
space, always working to hone the skills
we need to make a good musical product.
We hear music all the time. It's fun and
enjoyable! But what I find inspirational
and powerful is that moment when an
orchestra, or any other kind of ensemble,
after all the practicing and rehearsing,
combine their individual voices into a
collective communicative whole for you,
the audience. That's when the magic
happens! It's when you as a listener and
we as a musical storyteller get to share
thoughts, ideas and emotions for a few
hours. That's what's exciting for me
being a member of the Columbus Indiana
Philharmonic - to have that time together
sharing that musical experience at such a
fundamental level. We're so glad you're
here to be a part of the dialog!
Symphony No. 1 in C Minor, op. 68

Un poco sostenuto Allegro
Andante sostenuto
Un poco Allegretto e grazioso
Adagio Allegro non troppo, ma con brio
Johannes Brahms
-Eddie Ludema
2015-2016 Season
51
A Visit To Vienna Program Notes

Johann Strauss II
Wine, Women and Song
Johann Strauss was only six years old when he wrote
his first waltz music. In a way, that should come as
no surprise: His father was already the preeminent
composer and conductor of waltzes in Vienna.
What was perhaps surprising, then and
now, was the fact that his father was
firmly set against the younger
Johann pursuing his musical
interests. It was only after Johann
the elder deserted his family
that Johann the younger, then
17, was allowed to earnestly
pursue his musical interests.
of great music. We mustnt forget that in a time of

great social and political upheaval, he was an artistic
revolutionary as well.
Beethoven was trained on violin and piano at an
early age by his father. His general education began
and ended in elementary school; yet he was soon
known in artistic circles for his prodigious
musical technique and understanding.
As an eleven-year old assistant to
Bonns court organist, Beethoven was
described by his mentor as a boy
of...most promising talent...He
would surely become a second
Wolfgang Amadeus Mozart if
he were to continue as he has
begun.
In the end, the deserter

got his just deserts; for
Perhaps little did anyone
Johann II rose to far greater
suspect the validity of this
prominence in the Viennese
comparison; for Beethoven was
musical scene. Today, he is
eventually to become the only
rightly famed throughout the
composer in history of equal stature
Joha
world as the Waltz King, while
nn Strauss
to Mozart.
his fathers music is rarely played. We
Beethoven composed his Violin Concerto in
all recognize the best of Johann IIs tunes, among
D in 1806, in a flurry of creativity. It was during
them On the Beautiful Blue Danube and Tales from
this same period that he produced his Fourth
the Vienna Woods.
Symphony and Fourth Piano Concerto, as well as
Strauss was as prolific as he was talented: In his
the widely known Appassionata Sonata. By this
lifetime he wrote more than 170 waltzes, along with
time, Beethoven was fully deaf, a condition which
hundreds of polkas, quadrilles and other dances. led to endless despair in his life. You can scarcely
While we only regularly hear a handful of these, believe what an empty, sad life I have had for the
the consistent quality among them is astounding:
last two years, Beethoven wrote in late 1801. My
Pick any one and youre likely to think youve found
poor hearing haunted me everywhere like a ghost;
your new favorite.
and I avoided all human society.
Wine, Women and Song is one of those lesserYet Beethovens music of this period belied his
known yet no-less-fine waltzes. It was originally
angst and his handicap. In a style similar to that
penned in 1869 as a commission for chorus;
of his Fourth Piano Concerto, the Violin Concerto
however, the orchestral version is now the
(his only completed work in the idiom) is deeply
better known. After a serene introduction, the
expressive, employing a weaving and dreaming
lilting dance takes form, alternating between
voice which dispels all predilections of the glittering
lush romance and lightheartedness a colorful
bravura so often associated with concertos. The solo
reflection of the saying that inspired the music:
part, challenging as it is for the performer,
Who loves not wine, women and song remains a
above all demands taste, discernment in
fool his whole life long.
expression, and warm response.
Ludwig van Beethoven
Violin Concerto
Born in 1870, Beethoven came of age in what we
now call the Classical era, a time when composers
such as Haydn and Mozart were revered for music
that employed formal structures, clear distinctions
between melody and accompaniment, and
simplified textures.
Beethoven, though, had a different approach.

His notion of music embraced more organic and
sometimes even narrative structures that bent (or
broke) formal rules and employed increasingly
exotic harmonies, greater dynamic range, and
unusual textures and instrumentation. These
characteristics would eventually become central to
the Romantic conception of music.
We often think of Beethoven simply as a writer
52
2015-2016 Season
In the words of historian Harvey

Grace, The Violin Concerto in
D is as great a standby to the
violinist as the Emperor
Concerto is to the pianist,
with the further claim of
being better music.
To our modern sensibilities, this elaborate first

movement might not seem all that unusual; but
when the concerto premiered, many complained
that it was indulgently, excessively long. To put
it in context, Mozarts longest violin concerto,
the so-called Turkish Concerto, was only about
seven minutes longer in total than Beethovens first
movement, which typically runs approximately
21 minutes. It took decades of musical evolution
(an evolution that, among other things, embraced
ever-longer forms) before audiences came to
accept Beethovens Violin Concerto as the
masterpiece it is.
The second and third movements of the concerto
run at more common durations, balancing the
weighty first movement with some of the composers
most beautiful and exhilarating music (the balance
of the overall work is helped by the fact that the
two movements connect, creating what feels in
essence like an evenly weighted, two-movement
concerto). The slow second movement casts the
violin initially in a supportive, embellishing role;
that balance slowly shifts through the course of the
music, until a series of hefty chords announce the
finale, a spritely Rondo.
Johannes Brahms
Symphony No. 1 in C Minor
Many historians and musicians credit Johannes
Brahms for summing up the musical developments
of the 19th Century, creating in his work a kind of
quintessential Romantic style while also hearkening
to the principles established by the masters of the
earlier Classical era. Exalted for music in a variety
of forms, from piano miniatures to four sprawling
symphonies, Brahms today stands shoulder-toshoulder among the unquestioned greats, his
influence laid over the music of later composers like
a shimmering cloak.
It is therefore somewhat ironic to recall that
in his lifetime, Brahms struggled mightily and
often doubted that he would ever produce even a
single symphony.
The problem started, in a sense, in 1854,
when Brahms set out to write a largescale sonata for two pianos. Soon, that
music morphed into a conception
for a symphony. Brahms enlisted
two highly respected musicians
of the day, Julius Otto Grimm
and Joseph Joachim, to assist
in revising and orchestrating
the music. Over the course
of a couple of years, the music
morphed yet again, ultimately
becoming a piano concerto
Brahms first large-scale work for
orchestra.
The
concerto
begins
somewhat tentatively, with
five drum beats leading into a
sunny but relaxed introduction
for the orchestra. The energy
Lu
n
dw
slowly rises, and finally the violin
ig van Beethove
enters in dramatic fashion via a quick
At its first and second performances in 1858, the
flourish of vaulting octave arpeggios. Thus begins a
concerto was quite poorly received: tepid clapping
long and varied first movement, full of both tender
was countered by hissing, and most of the critics
beauty and towering climaxes.
r
t
t
w
h
o
i
I
B
S
t
r
m
u
A
w
a
h
fi
f
w
M
r
f
B
f
t
M
p
G
p
ravaged the work, criticizing in particular its

traditional form. The composer, already shaken by
the challenges he went through to produce the
work, was thrown into further self-doubt about
his skills as an orchestrator. For years after, his
output consisted almost entirely of works for solo
instruments and small ensembles.
It wasnt until nearly two decades later that
Brahms would finally premiere his First
Symphony. All along, Brahms worked on
the music, subjecting it to countless
revisions, abandoning entire
movements and leaving it
untouched for years at a time.
At low points the composer
would refer to the work as
a kind of nemesis; in 1870
he declared he would never
finish the piece. Fortunately
for the rest of us, he was
wrong.
way he constructed, or linked, the movements of a

programmatic symphony, Brahms was still working
with clear divisions and lucid articulation.
However, deeper analysis demonstrates that
Brahms was far from a mere formalist. If the
structural background is clear, the character
of Brahms ideas is his own, explains Michael
Musgrave in his exhaustive text, The Music of
Brahms. The precise rhythmic mood and
key (of the First Symphony) belong
to the world of early Brahms...
More individual still, however,
is the character of the first
subject itself, for no model
in the symphonic tradition
presented two ideas of
equal status in contrapuntal
combination as the basis of a
main subject.
Brahms First Symphony has often

been
compared to the symphonies
Much of Brahms trepidation
Joh
s
of
Beethoven;
yet in the end, it is a
m
a
h
n
a
n
r
es B
regarding his symphony stemmed
uniquely personal expression, imbued with
from its traditional, classical leanings.
the richness, complexity, and confidence that mark
Brahms lived in an age in which traditional
all of this composers great works. After its premiere
forms were being challenged as never before; the
in 1876, the First Symphony quickly gained a place
traditional sonata form employed by the likes of
in the standard repertoire of orchestras the world
Mozart and Beethoven had given way to more
over--a position it has maintained to this day.
programmatic structures. In the words of the
Grove Dictionary, At a time when the status of a
The music begins with a dramatic flourish: an
progressive composer could be measured by the
insistent beating of the timpani contrasted by a
melody in the strings that seems almost broken:

It shifts chromatically and rhythmically around,
the woodwinds shadowing along as they search
for resolution. This proves to be the perfect setup
for what is to come: A large-scale movement full
of chromatic surprises and curious turns that yet
somehow always seem to find their way to resolution.
After the intensity of the first movement, the second
brings a new contrast: a lilting lullaby, luminous in
its orchestration and tone, utterly devoid of angst.
The third movement carries a similar mood at a
more upbeat pace.
After those two light interludes, the finale shifts
back into a ruminative, searching mood. The
introduction is riddled with outbursts and sudden
pauses, until a beautiful French horn melody
suddenly parts the clouds. This tune gives way to
another beautiful melody, and with that the music
begins to move along, ever more exciting, toward
its finale. At 17 minutes, the fourth movement
is not much shorter than what has come before;
it is Brahms longest symphonic movement, and
arguably his most varied. Yet never does this
music seem slack; to the contrary, it is one of
the most dramatic symphonic movements ever
written. Brahms may have questioned his ability to
finish this piece; but when he finally did, what a
remarkable gift he gave the rest of us.
Aural Retention
{Be Heard. Be Successful.}
2015-2016 Season
53
RFEST
E
T
S
LOB The Phils
MAINE
Event
May 21, 2016

New England Clambake
& Lobster Boil
recreated here in the Midwest
In addition to the donors listed on page 32, the following people gave generously
to the Fund-a-Need opportunity at The 2015 Phils Maine Event: Lobsterfest.
Sharon and Patrick Andrews

John and Susan Bennett
Caleb Blackerby
Roger and Jan Brinkman
John and Erin Bushouse
Rich and Holly Cheek
Scott and Jerrilou Cole
Dick and Lindsay Cooley
Tim and Jane Cooney
Tom and Mary Eckert
Rich Eynon
John and Melissa Fairbanks
Troy and Cindy Forman
David and Betty Gallagher

Rich and Alice Gold
Bill and Ann Haas
Steven Hackman
Norma King
Peter and Cathy King
Rick and Patti Kramb
Pam and Tom Lego
Allison Lindhorst
Dan and Elli McElroy
Rick and Brenda Merkel
Bob and Mary Orben
P3 Car Rental
Mark and Linda Pillar

Sorin Pusca
Keith and Joy Reising
Charlie and Suzie Rentschler

John and Donna Sasse
John and Nancy Sawin

Sherry Stark
Terry and Linda Trautman

Barry and Donna Turner
T. Kelly Wilson
Joe Willys Burger Bar
Hutch & Kevina Schumaker
54
2015-2016 Season
Customizable Catering
Serving the
Columbus Area for
10 Years
Contact Caleb Blackerby
(812) 603-8148
2015-2016 Season
55
2016
SALUTE!
MAY 27TH 7:00 PM
FREE CONCERT
ON THE BARTHOLOMEW County COURTHOUSE LAWN
In honor of those who have served and who

serve in the united states armed forces!
Columbus Indiana
Philharmonic
David Bowden
Music Director
56
2015-2016 Season
Thank you for sharing
29 years
of Musical Excellence
with Columbus!
we CARE
about your ofce
as much as YOU do
For a free local estimate call Fred Paris at (317) 442-0142

2015-2016 Season
57
Toyota Industrial Equipment Mfg., Inc.

is Proud to sponsor the
Philharmonic Youth Orchestra
5555 INWOOD DR.

P.O. BOX 2487 COLUMBUS, IN
812-342-0060
Folgers Four Seasons

Ann King-Cox, Certified Master Designer
designs are
Music
for theEyes
4710 W. Carlos Folger Drive

812-342-4112
Folgers
N
I-65
325 w
Folgers
FOLGERS FOUR
SEASONS FLORIST
weStHIll
SR 46
Family owned and operated since 1965

Looking forward to serving the community for another 50 years
58
2015-2016 Season
Holiday
Inn
Comfort
Inn
Italian Restaurant
HOURS:
Family-owned Italian
restaurant featuring
classic Italian dishes on
a seasonally-changing
menu. Try our fresh-baked
bread or sample one of
our signature desserts
along with an expresso.
Featuring daily specials
and an eclectic wine,
beer & liquor list.
LUNCH: Mon.-Fri., 11am - 2pm

DINNER: Mon.-Thurs., 5pm - 9pm
Fri. & Sat., 5pm - 10pm; Closed Sunday
Located in Historic Downtown Columbus

425 Washington St., Columbus IN
812.372.1962
Trebicchieri-columbus.com
2015-2016 Season
59
David Bowden

[David] is a treasure
for this community and indeed
for the entire state.
avid Bowden has been the artistic

leader of the award-winning
Philharmonic since its founding
in 1987. He has been recognized
with five ASCAP Awards for Adventuresome
Programming and glowing reviews. Displaying
multi-faceted stylistic versatility, his ease on the
podium, engaging personality, and insightful
interpretations have connected with audiences
and helped to break down traditional barriers
between performer and listener.
Born and raised in North Carolina, David has
loved music since he was a very young child.
At the age of four, he began studying the piano
with his mother. Beginning in elementary
school, he was accepted as a student in piano
with a piano professor at Duke University.
In addition to the piano, he has played oboe,
organ, clarinet, and viola. A magna cum laude
graduate of Wheaton College Conservatory
of Music majoring in piano performance
with a minor in organ, David has a particular
love for piano and organ orchestral music.
With Dan McKinley at the organ, David and
the Philharmonic recorded Marcel Dupr's
Complete Music for Organ and Orchestra,

which was released on the international
classical Naxos label. Of this release, Fanfare
stated, "[The recording is] absolutely superb .
. . plenty of fire and zeal." This performance
and several others have been featured on Public
Radio Internationals Pipedreams.
While a student at Wheaton, David met his wife,
Donna - a registered nurse, during an intramural
volleyball game. Graduate school took them to
Bloomington, where David received his Master
of Music in Choral Conducting at Indiana
University. After teaching in the college setting
for several years, David returned to IU and
earned a doctorate in Orchestral Conducting.
Davids love of singing and choral music led
him to found the Philharmonic Chorus, which
has performed many choral masterpieces
during Davids tenure with the Philharmonic.
Dr. Charles Webb, in reviewing a recent
performance, stated, Columbus, Indiana,
can be very proud of organizations such as
the Columbus Indiana Philharmonic and the
Philharmonic Chorus, both of which perform
at such a high level of excellence. None of these
significant accomplishments would be possible,
however, without the skilled leadership of David
Bowden. He is a treasure for this community
and indeed for the entire state.
Additional Support for

the Philharmonic is provided by
The Philharmonic is a member of the
League of America Orchestras.
United Way
Of Bartholomew County
David enjoys performing a wide variety of

repertoire from opera to symphonic standards
to pops and big band music. He especially
enjoys educational concerts for schools, hoping
to inspire children to choose to learn to play an
instrument, believing that making music changes
lives. Bowden and the Phil have been broadcast
nation-wide many times on Performance Today
and other public media programs, and he has
guest conducted across the US and in Europe.
He is a member of the Pi Kappa Lambda
National Music Honor Society and has been
listed in Whos Who in America and Whos Who
in the World for the past decade. He has served
as a member of the Board of Directors of the
Conductors Guild, an international service
organization for conductors, and served as
Director of the Conductors Guild New Music
Project for almost 20 years. In addition to the
Philharmonic, David is the Music Director
and Conductor of the Carmel and Terre Haute
Symphony Orchestras. He has also worked in
church music ministry for most of his life. David
and his wife enjoy traveling, exploring new
places and spending time with their families.
They are blessed to have all four parents in
good health, two beautiful daughters (and a
handsome son-in-law!), and three delightful
grandchildren to share their lives.
Contact Us!
315 Franklin St.,
Columbus, IN 47201
812-376-2638
info@thecip.org www.thecip.org
Tickets
For ticket information:
www.thecip.org
tickets@thecip.org
812-376-2638 ext. 1
2015-2016 Season
Committed to Columbus.
Committed to
.
you
First Financial Bank

offers a full complement
of personal and business
banking options that lets you bank
how you want, when you want.
With local decision-making, flexible
terms and innovative banking systems,
you can count on First Financial Bank for
solutions to help your business grow.
Proud supporter of the

BankatFirst.com
All loans subject to credit approval.
Keeping the
Heart at Home
Since 1982
THANK YOU
Rigorous caregiver screening

Get a caregiver in 24 hours
Overnight & live-in care options
Call for a FREE In-Home Visit!
812.372.5555
GriswoldHomeCare.com
FOR ALL YOU DO
in support of the Philharmonic

(812) 375-2900
2015 Griswold International, LLC
60
2015-2016 Season
CHEVYOFCOLUMBUS.COM
Bottling Co.
of
Columbus, IN
Call Julie,
Your Local Storage Solution Expert And Proud Provider
Of Storage To The Columbus Indiana Philharmonic!
Storage Solutions For Every Need... Large Or

Small, Personal Or Business, Short Or Long Term.
812.379.2878
jaton@ymail.com
selfstorageofcolumbus.com
739 Repp Court Columbus, IN 47201
2015-2016 Season
61
Freed
& AssociAtes
I N S U R A N C E
An Independent Agency
John Freed, Agent

ProPerty Business HealtH life automoBile
1902 Central Ave. Columbus, IN 47201
(812) 372-2100 Fax (812) 372-2131
www.freedinsurance.com
jfreed@freedinsurance.com
www.gausmanndental.com
(812)
372-7831
P I A N O T U N I N G R E S T O R AT I O N M O V I N G
Tim Stuckey 812-379-1100

P.O. Box 226 Columbus, IN 47202
Official Tuner for the Columbus Indiana Philharmonic
Columbus Visitors Center Gift Shop

506 Fifth Street (812) 378-2622
Open Monday through
Saturday 9 a.m. to 5 p.m.
and Sunday 12 p.m. to 5 p.m.
(Closed on Sunday, Dec.-Feb.)
Dr. Robert A. Gausmann, DDS
We carry a variety of items

created by local and
regional artists as well as
Dale Chihuly studio edition glass
pieces and prints.
Est. 2011
1604 Home Avenue, Columbus, IN 47201
812.376.ROSE (7673)
sweetrosebakehouse.com
62
2015-2016 Season
better water. pure and simple.
Serving Columbus
since 1946
Precision CNC Machining

1080 S. Gladstone Ave.
Columbus, IN 47201
www.boyermachine.com
812-379-9581
812-372-8207
Culliganiswater.com
my house
LIFE MEMBER MULTI-MILLION

DOLLAR ADVOCATES FORUM
3800 Carlos Folgers Drive, Columbus, IN 47201

phone | 812-375-1118
C. RiChaRd MaRshall
Trial Lawyer
430 SECOND STREET

P.O. BOX 427
LINCOLN SQUARE
COLUMBUS, IN 47202-0427
812/376-9281
FAX: 812/372-9874
E-MAIL: CRMARSH@HSONLINE.NET
Ronald J. Patberg, CFP
www.dcmol.com
Sr. Portfolio Manager

rpatberg@dcmol.com
Gena Beaman & Eric Fritz

Owners
Stains
Countertops
Wallpaper
Supplies
Paint
Cabinets
Window Treatments
Custom Framing
www.MyHouseEtc.com
your instrument
your instrument
your instrument
Locally owned and operated.

License #PC81057359
Play On. Play
On.
D.R. Taylor & Associates

SINGLE RESOURCE PROVIDER OF POSITIVE RESULTS
MARKETING
ADVERTISING
PUBLIC RELATIONS
License #PC81057359
20 N. W. First St., Fifth Floor

Evansville, IN 47708
T 812.421.3211
800.321.7442
700 Washington St., Suite 203

Columbus, IN 47201
D 812.402.1020
Cell 812.343.4580
D.R. Taylor
and Associates
SINCE 1975
Marketing, Advertising and

Public Relations since 1975
www.drtaylorassociates.com
License #PC81057359
instrument
our our
instrument
our instrument
Hitting
Hittingthe
the
Hitting
the
since
since1936.
1936.
since
1936.
lohmeyerplumbing.com
@lohmeyerplumbing.com
| service
| service
| Indiana 47201
4555 Progress Drive Columbus,
4555
Progress Drive Columbus, Indiana
47201
service
4555 Progress Drive Columbus, Indiana 47201
2015-2016 Season
63
Index Of Advertisers
Agresta, Storms & OLeary
37
Atons Self Storage
61
Bakers Fine Gifts & Accessories
37
Blackerbys First Class Catering
55
Boyer Machine & Tool Co., Inc.
63
C. Richard Marshall Law Offices
63
Centra Credit Union
3
Chevrolet of Columbus
60
Coca-Cola Bottling Co.
61
Columbus Area Visitors Center
62
Columbus Hotel Center
57
Columbus Optical
48
Columbus Regional Health Inside Front Cover
Columbus Silgas
62
Culligan Water Conditioning
63
D.R. Taylor & Associates
63
Dell Brothers, Inc.
19
Donaldson Capital Management
63
Edward Jones
49
First Financial Bank
60
Folgers Four Seasons Florist

58
Forman Investment Services, Inc.
42
Four Seasons Retirement Center
21
Freed & Associates Inc.
62
Gausmann Family Dental
62
Griswold Home Care
60
Hanner Financial Services, Inc.
36
Harrison Lake Country Club
38
Jan Brinkman - Century 21 Realtors
20
Jim Gordon, Inc.
Back Cover
Joe Willys
47
Kemper CPA Group
58
Kirr, Marbach & Company LLC
9
Knitters Nook
26
Lawson, Pushor, Mote & Gamso
49
Liberty Advance Machines
64
Locketts Ladies Shop
50
Lohmeyer Plumbing
63
my house
63
Nolan G. Bingham Architect P.C.
64
Office Pride
57
Old National Wealth Management
29
Pentzer Printing, Inc.
Inside Back Cover
Pollert Design Associates, Inc.
62
Rays Automotive
43
Reising Radio Partners
53
Sandra Zimmerman
64
Shannon Rudicel CPA
64
Sound Hearing Solutions
41
Stephen C. Haworth CPA
60
Stuckeys Piano Service
62
Sweet Rose Bakery
62
TD Advertising
59
The Republic
1
Tilson HR
49
Tom Picketts Music Center
24
Toyota Industrial Equipment Manufacturing., Inc.58
Tre Bicchieri
59
White River Broadcasting
37
Zeller Insurance, LLC
40
Milling, turning and waterjet machining processes

for aerospace, medical and various applications
Ph.
Fax
Shannon Rudicel CPA, CVA
812-372-1010
812-372-6113
Managing Member
E-mail office@libertyadvance.com
Personal ldurnil@libertyadvance.com
Website www.LibertyAdvance.com
3210 Scott Drive

P.O. Box 2247
Columbus, IN 47202
675 Reeves Way Columbus, IN 47201

PH: 812.418.8004 FAX: 812.379.8056
www.rudicelcpa.com
SANDRA ZIMMERMAN
L.C.S.W., L.M.H.C., M.S., R.N.
Counseling
Nolan G. Bingham, Architect P.C.

Columbus, Indiana 812.378.4134
716 3rd Street, Suite 5 Columbus, Indiana 47201

Phone (812) 343-4519
64
2015-2016 Season
margaret powers
Executive Director
hank you for joining us this season. Our Musical Journey encompasses not only music from around the
world but music of very different styles. While there are certain to be pieces youve heard before, there will surely be
selections that will expand your musical horizons.
We invite you to join us on our journeys outside of the concert hall, too:
Cabaret at The Commons is bringing world-class talent to Columbus for an evening of song and stories.
CICCs Preparatory Choir is growing! Prep Choir offers children in 1st through 3rd grades a fun introduction to choral
music through singing, movement and music game activities.
F irst Steps in Music has been introduced at two area pre-schools. Well be expanding this program, encouraging young
children and their parents to begin a life-long journey of music exploration.
Lobsterfest: The Phils Maine Event takes us to a New England clambake right here in the heart of Columbus!
Stay connected with us online, too, for additional opportunities to explore music with the Philharmonic throughout the year.
We love having you along for the journey!
Our Mission
The mission of the Columbus Indiana
Philharmonic is to make music.
We create performances in pursuit
of the highest artistic achievement.
We educate all ages in the joy of
music.
We advocate a life long interest
and involvement in music.
W
e perpetuate these activities by
providing the resources needed to
make them flourish.
Our vision is to enhance the quality of life
in our community so that all citizens have
the opportunity to be touched by live,
high-quality music in a manner and style
meaningful to them.
Our artistic policy is to present and
teach a balance of the best orchestral,
choral and chamber repertoire from all
periods and styles, including all genres of
American music and music of our time.
Program Notes by Joe Nickell 2015

Cover & Book Design by John Cole | Program Book printed by HNE Printing
Stock Photography provided by iStock.com
2015-2016 Season
Fund a Philharmonic Chair
Sponsoring one of the Philharmonic chairs, either the

Concertmaster, a Principal Chair or an individual Section Chair,
demonstrates your support for the musicians of the Columbus
Indiana Philharmonic and the beautiful music they create.
Available Chairs:
Phils
Family
Fun
Concertmaster$5,000
Principal Chair
$4,000
Bass
Bassoon
Cello
Clarinet
Harp
Horn
Keyboard
Oboe
Percussion
Timpani
Trombone
Trumpet
Tuba
Viola
Section
Chair
$3,000
Pass
One-Time $25 Fee
Bring the Whole Family

$10/Adult $5/Youth
For more information, please contact the Columbus Indiana

Philharmonic at 812-376-2638 x2 or email margaretp@thecip.org
INTRODUCING
Call The Philharmonic Office

For More Infomation
812-376-2638
Notables
Members
The Columbus Indiana Philharmonic relies not only on the

generous financial support of the community, but also the time
and talents of our loyal patrons. We invite you to join The Notables
as a meaningful way to support the arts in our community.
Edna Appel
Sharon Baldwin
Bonnie & David Boatwright
Pat Bridgetts
Marlene Chestnut
Mary Ann Clark
John & Louise Dorenbusch
Bob & JayDee Edgell
Ella Elwood
Bobbie Evans
Dick & Joyce Fleck
Kathy Free
Camilla Gehring
Chuck & Linda Grimes
Bob & Helen Haddad
Joyce Harmon
Bill & Jody Harter
Wendel & Dawn Hauck
Robert & Cynthia Henrich
2015-2016 Season
Leah Hooker
Katie Jerome
Rick & Alice Johnson
Virginia Johnson
Allison Lindhorst
Sue Lindhorst
Carole Marshall
Dan & Elli McElroy
Tessa Milroy
Bob & Mary Orben
Clyde & Lenora Parrott
Mark Pillar
Beth & Bill Poor
Margaret Powers
Marilyn Richardson
Fran Simmermaker
Jill Tasker & Doug Stender
Peggy Wampler
Caryn Wiggins & Paul Walorski
We Thank Our Clients For Our 40th AnniversaryMay 1, 2015

We Thank Our Clients
For Our Our
40th AnniversaryMay
2015
We Thank
Clients For Our1, 40th
Annive
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2015-16 Philharmonic Concert Program

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2015-2016 Season

David Bowden, Music Director

As a Philharmonic title sponsor, we understand

Joint & Spine

music to our ears

The Republics 2nd Street Office, circa 1970

Your town. Your community. Your media company.

Meet Your Musicians

JCB Adventure Concerts

Columbus Indiana Childrens Choir

This program connects the Philharmonic and other

Sylvia has left an indelible

wo-time Grammy Award winner and

Sylvia has left an indelible audio trail documenting

Photo Credit: Rhonda Ely

Guest Artist Sponsor

Marshall & Beth

Columbus Indiana Philharmonic

Saturday, September 19, 2015 at 7:30 PM

Season Media Sponsor

Lullaby for Strings

But Not For Me

Orchestral Selections from Porgy and Bess

Thank you for your

Summertime from Porgy and Bess

Shall We Dance/I Got Rhythm

SEASON TITLE SPONSOR

Sylvia Sings Gershwin Program Notes

n 1898, George Gershwin, arguably Americas first

first musical to win a Pulitzer Prize). And of course there

My own experience is probably typical: My mother

(I Got Plenty O Nuttin, It Aint

his death, he composed and produced, on average, more

Gershwins own tastes in

that was simultaneously complex and memorable,

Dell Brothers inc.

Through the generations,

Celebrating The Chinese New Year

Time for Three

Philharmonic Educational Programs

For Your Information

Continued from pg. 18

in 1919 or 1920. It was initially planned in two versions,

premiered by the New York Philharmonic Symphony

As was typical for the gregarious composer, Gershwin

Porgy and Bess:

The range of comments was echoed when the work was

At an artistic level, critics openly doubted the capacity

of this songwriter to engineer such a large-scale work

Are you or a family

History of excellence since 1967

1901 Taylor Road

A B HI SEN IO R LIVIN G C O MMU N ITY

t first glance, the members of Time for

as playing originals and their own arrangements

We never imagined we would have this kind

Check out Time For Threes

pick-up rock bands at Curtis Institute between

Columbus Indiana Philharmonic

Sunrise from the Grand Canyon Suite

On the Trail from the Grand Canyon Suite

Orange Blossom Special

Ervin Rouse/Time for Three

Sarabande from Holberg Suite, op. 40/Blackbird

Lullaby for Strings

But Not For Me

Orchestral Selections from Porgy and Bess

Summertime from Porgy and Bess

Shall We Dance/I Got Rhythm

Sunrise from the Grand Canyon Suite

On the Trail from the Grand Canyon Suite

Orange Blossom Special

Sarabande from Holberg Suite, op. 40/Blackbird

Cloudburst from Grand Canyon Suite

Fiddle Jam on Jerusalem Ridge

Use my gift to support musical programming (musicians,

Use my gift to support youth programming

1. Name (please print)

Requiem In Memory of Manzoni

Commonwealth Christmas Overture

Die Fledermaus Overture

Mein Herr Marquis (Laughing Song)

The Christmas Song

Little Bolero Boy

A Star Dances, An Angel Sings

The Holly and the Ivy