YOUNG ARTISTS CONCERT - Central Iowa Symphony
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
YOUNG ARTISTS CONCERT
March 3rd, 2019, 3:00 PM
Please join us for Concert Conversations 45 minutes prior to
each performance as well as for a reception afterwards
MUSIC DIRECTOR
Eric McIntyre
ORCHESTRA STAFF
Jennifer Powers, Personnel Manager
Mary Kay Polashek, Librarian
BOARD MEMBERS
Sam Wormley, President
Aaron Fultz, Secretary
Andrew Forbes, Treasurer
Gina Folsom
DeLores Hawkins
Alan Henson
Beth Martin
Stan Rabe
Don Withers
OTHER CONTRIBUTORS
Dawn Budd, Artistic Designer
Noelle Fultz, Program Layout and Standing Ovation Liaison
Jeffrey Prater, Program Notes
Friends of Central Iowa Symphony (FOCIS)
CIS 2018-2019 SEASON
CALL OF THE WEST
Saturday, 10/13/18, 7:30 PM
SMILES, LAUGHS, ECSTATIC OUTBURSTS
Saturday, 12/1/18, 7:30 PM
YOUNG ARTISTS CONCERT
Sunday, 3/3/19, 3:00 PM
BEETHOVEN AND BEYOND
Saturday, 5/4/19, 7:30 PM
www.cisymphony.org info@cisymphony.org
The Central Iowa Symphony is funded in part by local option tax funds provided by
the City of Ames through the Commission on the Arts.
Standing OVATION 2018–2019 SEASONMARCH 3 RD , 2019, 3:00 PM
AMES CITY AUDITORIUM
ERIC M c INTYRE
Music Director
YOUNG ARTISTS CONCERT
Mass No. 2 in G Major, D.167
Kyrie Franz Schubert
Gloria (1797-1828)
Credo
Sanctus
Benedictus
Agnus Dei
Gilbert High School Choir | Kaaren Rogers, Director
INTERMISSION
Piano Concerto No. 23 in A Major, K.488
Allegro Wolfgang Amadè Mozart
(1756-1791)
Helen Mao, piano
Zigeunerweisen, Op.20 Pablo de Sarasate
(1844-1908)
Yihoon Shin, violin
Romeo and Juliet Overture-Fantasie
Allegro Pyotr Ilyich Tchaikovsky
(1840-1893)
This concert underwritten by George Burnet & Martha Anderson
Standing OVATION 2018–2019 SEASONERIC M c INTYRE
Eric McIntyre is now in his tenth season as Music
Director and Conductor of the Central Iowa
Symphony. In addition to his work with CIS, he is
Professor of Music at Grinnell College, where he
teaches music composition courses and directs the
Grinnell Symphony Orchestra. He has previously
served as music director of the Fort Dodge Area
Symphony, Ottumwa Symphony Orchestra, the
new music ensemble AURA at the University of
Houston, and director of brass ensembles for
the Swakopmunder Musikwoche in Swakopmund, Eric McIntyre
Namibia. Other international engagements have included lectures
and masterclasses at Nanjing University, the Royal Academy of Music
in London, University of Cape Town, and professorships with study
abroad programs in London, England and Florence, Italy.
McIntyre's original compositions have been performed around the
world by an array of performers and received support and awards
from ASCAP, the Iowa Arts Council, the American Music Center,
and the National Endowment for the Arts. His current work explores
the motion of waters through a fusion of fixed digital audio and
video components with live performers. Equally adept as a hornist,
McIntyre was a member of the Houston Ballet and Houston Grand
Opera Orchestras and performed with the Houston Symphony. He
continues to perform as a guest musician with Des Moines Symphony
and Orchestra Iowa and as a chamber musician and free improviser
on modern and historic natural horns and with chimeric instruments
of his own creation. As a concerto soloist on the natural horn, he has
made recent appearances with Fort Dodge Area Symphony, Central
Iowa Symphony, Northern Iowa Community Orchestra, and the Five
Seasons Festival orchestra in Cedar Rapids.
McIntyre contributes to Grinnell Colleges's Liberal Arts in Prison
Program, for which he has presented lectures, taught credit-bearing
courses, and conducted several orchestral performances with the
Grinnell Symphony Orchestra at Newton Correctional Facility. His
passion for teaching music listening skills has also led him to develop
a series of seminars for individuals in long-term incarceration at the
Anamosa State Penitentiary.
Beyond academic and musical pursuits, McIntyre and his family raise
dairy goats, chickens, and turkeys and grow and process much of their
own food on their farm outside Grinnell. He enjoys canning vegetables,
processing meat, and driving his vintage 1961 JD 3010 tractor.
Standing OVATION 2018–2019 SEASONGILBERT HIGH SCHOOL CHOIR
The Gilbert High Choral Department is
comprised of three choral ensembles - a 9/10
non-auditioned Mixed Choir, an 11/12 non-
auditioned Mixed Choir, and Tiger Voices,
an auditioned a cappella group of 11th &
12th students. Under the direction of Kaaren
Rogers, students of each ensemble have the
opportunity to participate in voice lessons
and individual vocal studies. Students also
participate in a variety of activities sponsored
by the IHSMA including All State, Solo and
Gilbert HS Choir Ensemble Contest, and Large Group Contest,
where they have consistently earned Division
I ratings. As part of their music education, students are exposed to a
wide variety of musical styles allowing them the opportunity to explore
their musical interests and skills. The Gilbert Choir and its members
have a strong tradition of excellence in the fine arts, academics,
and athletics.
YOUNG ARTISTS CONTEST WINNERS
Helen J Mao began studying at the age of
five with Mrs. Sibbel. Her current piano
teacher is Larisa Kanevski. Helen won the
Iowa Music Teachers Association (IMTA)
Ames Piano Competition three times (2015,
2017, and 2018), and was chosen as IMTA
State Winner in 2018. Helen also attended
"Ames Has Talent 2017" an won First Place
in the Elementary Group. This year, she
has been named the Winner in the Music
Teachers National Association (MTNA) State
Junior Competition. Helen Mao
Helen is in 6th grade at Ames Middle School.
where her favorite subjects are writing and math. She sings in choruses,
plays violin in the AMS Orchestra, and plays percussion in the AMS
Band. Helen enjoys playing concertos and chamber music, and
loves stage performance interacting with the audience. Her favorite
composers include Chopin, Mozart, and Beethoven. In her free time,
Helen enjoys sports such as tennis and skiing, reading, drawing, and
traveling. Helen is grateful for her family's unconditional support.
Standing OVATION 2018–2019 SEASONYOUNG ARTISTS CONTEST WINNERS
Yihoon Shin is a senior from Emmetsburg
High School and a student of Dr. Jonathan
Sturm. He began private violin studies at the
age of five in Seosan, South Korea. Prior to
moving to Iowa in 2017, he had studied in
Ohio for nine years with Alice Weiss, Lilli
Foster, Laura Poper, and Mary Price.
Yihoon has been highly focused on orchestral
and chamber music. In addition to studying
solo repertoire, he had his first orchestral
experience at the age of nine in Oberlin,
Yihoon Shin
Ohio and later became a member of the
nationally renowned Cleveland Orchestra
Youth Orchestra. He has worked to be active in summers as well,
participating in a handful of programs during his middle school and
high school summers. Among them is the Indiana University Summer
String Academy, where he studied chamber music in depth with Evan
Rothstein and briefly with the Verona Quartet. He was an Iowa All-
State Orchestra violinist in 2017 and 2018, and was the concertmaster
in 2018. Though he has plans to pursue a non-music major in college,
he hopes to continue with his passion for music.
Yihoon loves sharing music with his community in church, in senior
homes, and at his school, where he also sings and plays electric guitar.
Outside music, he enjoys swimming, tech, fishing, and problem-solving.
Yihoon wishes to thank his family, his teachers, and his friends for
their endless support.
KHOI REBROADCAST
This Central Iowa Symphony concert may be
rebroadcast on KHOI 89.1 FM in upcoming weeks.
KHOI is a local noncommercial radio station
whose mission is to build community through
communication. khoifm.org.
KHOI is proud to partner with CIS in
providing excellent, locally-performed music to
Central Iowa.
Standing OVATION 2018–2019 SEASONPROGRAM NOTES
Austrian composer, Franz Schubert (1897-
1828) was born in the outskirts of Vienna and
lived the rest of his life in-and-around the
city. If one considers the other best-known
Viennese composers of his time (Haydn,
Mozart and Beethoven), Schubert was alone
among them to have not immigrated to the
city from other regions. A Vienna native, the
son of a local school teacher, Schubert was
“home grown,” and in his short lifetime,
he managed to compose some 1,500 works
Franz Schubert for nearly all the standard classical-music
genres. Dying very young at just thirty-one, the prolific Schubert left
behind 600+ songs for voice and piano, seven complete symphonies
(in addition to the so-called Unfinished Symphony), and a large number
of chamber music works and solo piano compositions. Although an
agnostic himself, Schubert also produced a significant body of sacred
works — seven masses, an oratorio and a requiem.
Schubert composed the Mass in G major when only eighteen. It is the
second of his masses, appearing just a year after the first. The Mass in
G is relatively short, but full of wonderful lyricism and youthful fervor.
It was written in less than a week during early March 1815 (203 years
ago this month!). The mass was originally scored for soloists, chorus
and string orchestra, but after a later-dated set of parts was found
(1980s) in Schubert’s hand, apparently the composer decided to make
some minor changes to the score, to which he also added trumpet and
timpani parts. After his death, as the work became popular and was
sung by larger choral ensembles, Schubert’s brother also took it upon
himself to add a set of woodwind, brass and timpani parts to help
produce a more symphonic orchestral accompaniment.
The Mass in G is in six movements, and like many musical settings
of the text, Schubert separates the liturgically joined Sanctus and
Benedictus portions of text into separate movements. It is not known
why Schubert failed to set the first phrase of text in the very last
sentence of the Credo (Et Expecto resurrectionem mortuorum / “And I
expect the resurrection of the dead”). Perhaps his stance as an agnostic
might have had some bearing on this, but why an agnostic would set
the mass text at all is a mystery. The great American conductor Robert
Shaw took the liberty of inserting, in an appendix to his edition of
the work, the missing text phrase in the correct place, producing a
liturgically correct alternative (changing only the rhythm of the choral
part). Today we will hear Schubert’s original setting of the text.
Standing OVATION 2018–2019 SEASONPROGRAM NOTES
Wolfgang Amadé Mozart (1756-1791) composed
no fewer than fifteen piano concertos
between 1782 and 1786. The preperatory
seasons of Advent and Lent were often the
best times for Mozart to sell subscriptions
to concerts that featured his compositions
and solo performances, and during the
Lenten season of 1786 he produced three
piano concertos at “white heat.” This gave
him the opportunity to advertise new works
for his upcoming subscription concerts.
These performances were regularly held Wolfgang Amadé Mozart
in the homes of wealthy and well-connected music patrons, and the
subscription fees received often saved Mozart from serious financial
trouble. Mozart’s A-major concerto (K.488) was the middle work of
those three speedily composed works, and it has come down to us as
one of the most popular of Mozart’s piano concertos.
Mozart is credited with developing the Classical-era piano concerto
to an extremely high point at the end of the eighteenth century.
About Mozart’s role as a concerto composer Louis Biancolli writes
the following:
Constantly experimenting and developing, he had achieved a new synthesis
in this medium. The solo piano had moved toward closer intimacy and
teamwork with the orchestra . . . And with this new fusion appeared a
fresh fund of expressive power . . .There was a new depth and a new sense
of stress and conflict in these concertos.
From the very opening of the orchestral exposition, the first movement
is bright, cheerful, graceful and positive, with just a hint of melancholy
in the center development section — a foreshadowing of the darker
emotions featured in the slow second movement. Although cadenzas
were often places for soloist improvisation in the Classical era, the solo
cadenza near the end of the movement was written out in its entirety
by Mozart. The very end of the movement holds a surprise, in that it
ends quietly and playfully, like a carriage disappearing in the distance.
Standing OVATION 2018–2019 SEASONPROGRAM NOTES
Spanish prodigy and violin virtuoso, Pablo
de Sarasate (1844-1908) was born in the city
of Pamplona in the Navarre region of Spain
near the French border. He began studying
violin with his father, and afterwards with
a local teacher. The gifted boy presented
his first public concert at age eight.
Sarasate’s enormous talent was immediately
recognized, and he was given a scholarship
to study in Madrid, where he was heard
and befriended by Queen Isabella II — the
Pablo de Sarasate queen even presented a Stradavarius violin
to the young Sarasate. At age twelve, he was sent to Paris to study
at the Conservatory, and at age seventeen won the school’s highest
performing honor. Sarasate made his Parisian debut at age twenty-six,
and went on to tour Europe, and the Americas. As a composer, Sarasate
wrote almost exclusively for the solo violin, most often with piano or
orchestral accompaniment. His pieces often exhibit the direct influence
of Spanish music, but Zigeunerweisen (lit. “In the manner of Gypsies,”
but usually entitled in Engish Gypsy Airs) is an exception. This work for
violin and orchestra (1878) was modeled after both slow and passionate
Hungarian Gypsy melodies and the fast-tempo czardas (Hungarian
folk dance). One of the Gypsy-like melodies in this work is well known
in popular culture as “Hearts and Flowers,” and the fast czardas
section features a melody that Sarasate borrowed from Hungarian
Rhapsody No.13 (1847) by Franz Liszt.
Writing about Zigeunerweisen, program annotator Laurie Shulman
comments:
It is a nine-minute showpiece for the soloist, relegating the orchestra
almost exclusively to a supportive role of chordal accompaniment. Over
the course of four broad sections, the violinist engages in all manner of
technical display, including harmonics [where the player’s finger lightly
touches the string in certain places to produce high, colorless sounds],
rapid passage work, spiccato runs [passages where the bow is bounced
rapidly off the strings], and big, beefy themes in double stops [passages
where the bow plays two strings simultaneously].
Sarasate’s accompanying orchestra for Zigeunerweisen includes flutes,
oboes, clarinets, bassoons, horns, trumpets, timpani, percussion
and strings.
Standing OVATION 2018–2019 SEASONPROGRAM NOTES
Pyotr Ilyich Tchaikovsky (1840-1893) is without
a doubt the most performed Russian
composer in the United States, and he has had
a profound influence on American culture,
both in the concert hall and in the realm of
popular culture. He was the first Russian
conductor to perform in the United States
when he was invited in 1891 to open Carnegie
Hall with concerts of his own works. His late
symphonies, Nos. 4, 5 and 6, are performed
frequently by all of the greatest orchestras in
the nation, his opera Eugene Onegin has been Pyotr Ilyich Tchaikovsky
performed more than 130 times at the Metropolitan Opera in New
York since 1920, and his ballets, especially Swan Lake, Sleeping Beauty,
and of course, the Nutcraker, are performed yearly in countless venues
in the United States.
In popular American culture, it is nearly impossible to escape
the influence of Tchaikovsky’s compositions. It is his music that
accompanies the fireworks at major civic Fourth of July celebrations
(1812 Overture), and it is his music that invades those countless winter
holiday films and television commercials that either directly quote
or at least parody familiar excerpts from the Nutcracker. Speaking
of the Nutcracker, myriad American towns as large as New York or
as small as Ames dutifully observe the annual holiday tradition of
producing complete staged productions to sell-out audiences. The
New York Times lists over 100 full-length feature films that employ
the music of Tchaikovsky, and this list is certainly incomplete. Even
Disney capitalized on Tchaikovsky’s music. The musical score to the
animated film Sleeping Beauty is based entirely on the score of the
Tchaikovsky ballet.
Another of Tchaikovsky’s works, parts of which appear as frequently
in pop-culture media as in the concert hall, is the work we will hear
today — the Overture-Fantasty Romeo and Juliet (composed in 1869,
revised in 1870 and again later in 1880). The “love theme” from
Romeo and Juliet is recognized (or at least heard) by people from every
segment of society — by those who are classical music aficionados,
and those who are not. Even the “007” movie Moonraker employed
the “love theme” (tongue-in-cheek) at the point when the nasty shiny-
toothed character “Jaws” becomes smitten as he beholds his wide-eyed
love interest.
Standing OVATION 2018–2019 SEASONPROGRAM NOTES
Like many composers of the Romantic era, Tchaikovsky was fascinated
by the works of Shakespeare, and in addition to his Overture-Fantasy
Romeo and Juliet, he also produced a Hamlet Overture. Romeo and Juliet
does not follow Shakespeare’s story line exactly, but instead presents
important emotions connected with specific personages and scenes
from the drama. Commentator Jonathan Kramer puts it this way:
The Overture adheres to the outlines of sonata form more than to the
plot of Shakespeare’s play. Hence it is not very specific as program music.
Nonetheless, certain themes do represent various characters and episodes
in the drama. The andante introduction, with its church-like harmonies,
depicts Friar Lawrence. The ensuing allegro, with its fast scales and
rhythms, represents the feuding of the Capulets and the Montagues.
The love theme, which is one of Tchaikovsky’s most inspired romantic
melodies, refers to the doomed love of Romeo and Juliet. The work ends
with the deaths of the protagonists.
In my graduate student days, Tchaikovsky’s music was considered
“out” in terms of serious art. His music was faulted for being weak in
terms of form, and for being overly sentimental. Fortunately, great
performers never “left the fold,” and continued to play Tchaikovsky’s
music to warm audience reception. In more recent years, Tchaikovsky’s
music also has been embraced anew by many fine music scholars. It is
important to remember that Tchaikovsky is first and foremost a great
and gifted melodist. To wit, who among us can leave the hall after
hearing Romeo and Juliet without humming (at least in our heads) the
haunting and captivating “love theme.” — Success!
- Jeffrey Prater
FRIENDS OF CIS (FOCIS)
Friends of the Central Iowa Symphony (FOCIS) is an auxiliary
formed to support the orchestra. FOCIS facilitates concert related
activities like receptions and recruits ushers. CIS wishes to thank
tonight’s ushers.
We welcome your involvement too!
Please let us know if you would like to support the orchestra and
become a member of FOCIS.
Standing OVATION 2018–2019 SEASONMUSICIANS
VIOLIN 1 FLUTE TRUMPET
Kevin Amidon* Shon Stephenson* Jason Kirke*
Benjamin Henson Sophie Phillips Jason Heeren
Carol Weber Lauren Schwab
Ashley Hansen PICCOLO
Ruth Fiscus Heather Imhoff TROMBONE
Jennifer Killion Brad Harris*
Brittni Cain OBOE Kara Bader
Craig Mushel Kevin Schilling * Michael Albarracin
Melanie Spohnheimer
VIOLIN 2 Janet Dixon TUBA
Donald Sieberns* James Kilmer
Carrie Forbes ENGLISH HORN
Jennifer Powers Janet Dixon PERCUSSION
Heather Stafford Dan Krumm*
Kate Orngard CLARINET Aaron Fultz
Jennifer Musgrove
Charles Bogner*
Wendy Nutini HARP
VIOLA Kristin Maahs
Anna Peterson* BASSOON
Maryann Mori * Denotes section
Janet Baldwin*
Andrew Weihrauch principal
Noelle Fultz
Naiying Liao
Julienne Krenrich PERSONNEL
HORN
MANAGER
Pam Schwab*
CELLO Jennifer Powers
Kelsey Mueller-Spude
Alan Henson*
Gale Webb
Amy Andreotti ORCHESTRA
Kiva Forsmark
Fox Henson LIBRARIAN
Kay Nelson Mary Kay Polashek
Susan Cramer
Nathan Schmidt
BASS
Donita McCoy*
Cara Stone
Christopher Dieckman
A special thanks to
Everts for the flower
arrangements.
Standing OVATION 2018–2019 SEASONCRESCENDO!
Crescendo! is our donor recognition program. Did you know that
nearly 60 percent of our concert funding comes from individual donors
like you?
It takes a community of dedicated musicians and lovers of live music
to support an orchestra. Your generous support is deeply appreciated!
For more information on the sponsor level benefits, please visit
www.cisymphony.org/donations.
Sponsor Levels
STUDENT (K-12) $20 + B E N E FA C T O R $500 +
FRIEND $50 + SPONSOR $1,000 +
SUPPORTER/ MAESTRO’S
$150 + $2,500 +
GALA SPONSOR CIRCLE
PAT R O N $300 +
Name(s) as you wish to appear in the program:
Amount:
I would like to contribute to the following named chairs:
£ Ron Fuchs Chair £ Marianne Malinowski Chair
I would like to name my gift in honor/in memory of (circle one):
Address:
Email:
Phone:
Please make checks payable to: Central Iowa Symphony
Please mail all contributions to: P.O. Box 1080 Ames, IA 50014
Central Iowa Symphony is a 501(c)(3) non-profit organization.
All donations are tax deductible to the extent allowed by law.
Standing OVATION 2018–2019 SEASONCRESCENDO! 2018-19 PATRONS
MAESTRO’S CIRCLE SUPPORTERS Ann Hein
$2500+ $150-$299 Etha Hutchcroft
Kay & Roger Berger Anonymous* Sue Jarnagin
Erv Klaas* Carol & Ted Bailey Elaine & Worney Johnson
Rich Bartosh In Honor of Sam Wormley
SPONSORS Janet & Leonard Bond Beth & Peter Martin
$1000-$2499 Sara & Gerald Chase Elizabeth & Larry
Martha Anderson & Carol & Bob Deppe Middleton
George Burnet* Jane Frerichs Kay Nelson
Jean Earle Felix Katherine Fromm* In Memory of William
In Honor of Pamela Noelle & Aaron Fultz* Nelson
Nebgen Schwab Marjorie Gowdy Frankee & Jim Oleson
Jean Earle Felix Katherine Gregory* Marlys Potter
In Memory of Martha DeLores & Vern Hawkins Dorothy & Steven Prater
Felix Nebgen Judy & Tom Jackson* Mary & Jeff Prater
Krumm Charitable Trust Jason Kirke Jeri Prescott
Helen McRoberts* Kathryn M. & John B. Martha & Jorgen
Diane Neal* Miller Rasmussen
Dorothy & Robert Rust Katharine Outka Phyllis Seim
The Alben F. Bates & Clara Patricia & Louis Banitt Shirley & Ken Shaw
G. Bates Foundation Fund Donald Wall
Joan Welch Mary Kay & Emil Dennis Wendell
Cheryl Lawson & Sam Polashek* Maureen Wilt
Wormley* Janet & David Stephenson Suzanne Zaffarano
Shon & Mark Stephenson
B E N E FA C T O R S Jonathan Sturm* PROGRAMS
$500-$999 Deanne & Bob Heuss Printing, INC.
Cinian & Paul Durbin Summerfelt
Deborah & A.M. Fink In Memory of Janet Klaas R E C E P T I O N T R E AT S
Cornelia & Jan Flora Skip Walter Downtown Fareway
In Memory of May & Marlene Weisshaar* Lincoln Center Hy-Vee
Carroll Butler Lee Anne & Stephen Fresh Thyme Farmers
Margaret Johnson* Willson Market
Jane Lohnes
McCoy's Music Center FRIENDS Thank you to our newest
George McJimsey $50-$149 Crescendo! members who
Pam & Chuck Schwab* Betty & Tom Barton joined after this
Jan & George Beran program went to print.
PAT R O N S Thomas Carlson
$300-$499 Cathy & David Carlyle * Denotes 2018
Sondra Eddings Kari & Richard Clore Gala Sponsors
Carin & Andrew Forbes* James Cornette
Deanna & James Kilmer Peggy & Greg Dieter
Julienne & Frank Paula Forrest
Krennrich* Maggie & Mike Glasscock
Nancy Marks Linda & William Good
Marilu & V.V. Raman Linda Hansen
Standing OVATION 2018–2019 SEASONUNDERWRITING & NAMED CHAIRS
RON FUCHS NAMED CHAIR
Alben F. & Clara G. Bates Foundation
CONCERT UNDERWRITING - OCTOBER 2018
Erv Klaas
CONCERT UNDERWRITING - DECEMBER 2018
Helen McRoberts & Jane Lohnes
CONCERT UNDERWRITING - MARCH 2019
George Burnet & Martha Anderson
C O N C E R T U N D E R W R I T I N G - M AY 2 0 1 9
Roger & Kay Berger
CONCERT UNDERWRITING - FUTURE
Dorothy & Robert Rust
A NOTE FROM THE CIS BOARD
Dear Central Iowa Symphony patron,
When you think of classical music in Ames and Central Iowa, you know
that the Central Iowa Symphony consistently brings you entertainment
from some of central Iowa’s finest musicians.
Throughout the year we bring you high-quality performances of some
of your favorite pieces of musical literature. In addition, Central Iowa
Symphony helps you to expand your musical horizon by introducing you
to some of the newest pieces of music and novel musical collaborations.
Without your consistent support we would not be able to bring you
the high-quality performances you have come to expect. Gifts in the
amounts of $150, $300, $500, $1000, or $2500 can significantly help us
achieve our goal of fostering superb performances, offering satisfying
musical experiences, and nurturing educational and cultural growth
in central Iowa. As a 501(c)(3) non-profit organization, your donations
are tax deductible. We sincerely hope you consider Central Iowa
Symphony in your planned giving.
Sincerely,
The Board of the Central Iowa Symphony
Standing OVATION 2018–2019 SEASONSUPPORT THE MUSIC YOU LOVE
Morning Masterpieces: every weekday from 8–10 am with
hosts Hollis Monroe, Paul Hertz, and Roger Berger
Classical Sunday: all day with opera from 2–4 pm
Tune In and Become a Friend of KHOI 89.1 fm
Live Streaming at khoifm.org
Interested in Advertising?
Standing Ovation distributes programs to over 30 of Central Iowa’s leading dance,
instrumental music, vocal music, theater companies, and performance venues.
Advertise in the Des Moines or Ames area.
Contact: Kimberly Hawn
kimberly@heuss.com
Standing OVATION 2018–2019 SEASON25th Annual
Senior Variety
Creative artists’ Studios of Ames
CASA provides space for artists to
Show work, to learn, and to share their
expertise with the public
August 16 & 17 Visit our studios and discover our diverse
community of artists
Ames City Auditorium
Ceramics - watercolor - ink-
mixed media - encaustics and more
Auditions
www.creativeartists.org
April and May, 2019 info@creativeartists.org
292-9394 SeniorVarietyShow.org 130 S. Sheldon Suite 107, Ames, IA 50014
Also on Facebook • 515-292-3448
THEATRE
CLASSES
Pinocchio, The Playhouse
Goes to the Zoo, Jiminy
Cricket Club & much
more for K-12!
REGISTER TODAY AT
DMPLAYHOUSE.COM!!
Standing OVATION 2018–2019 SEASONYou can also read
