The world’s most beloved cellist brings a selection of hand-picked musicians to present this special musical project—focusing on the breathtaking music, art, and cultures of the BRIC nations.

The Grunwald Gallery at Indiana University is pleased to announce 24/7/365 a video work by Kevin O. Mooney. This exhibition will open Friday, October 23 and continue through Wednesday, November 18, 2015. An opening reception will be held on Friday, October 23 from 6:00 pm to 8:00 pm at the Grunwald Gallery. Kevin O. Mooney will give a gallery talk about 24/7/365 on Friday, November 13 at 12 noon in the Grunwald Gallery.

365247•2012 is a time-based piece created by Kevin O. Mooney. Rooted in still photography, the work is presented as a video projection. The more than 250,000 still images, presented as a photographic stop-motion animation, allow the viewer to witness the artist’s day-to-day routines, the same activities that are experienced by many on a daily basis. When interacting with the piece, the past and future are viewed simultaneously. Ultimately, a year in the artist’s life is presented in under an hour, offering others the opportunity to vicariously participate and find meaning in mundane activities while also reexamining their own unrecognized minutes, hours and days.

Mooney states: “I have been fascinated with self-portraiture since the mid-seventies. I began photographing myself as an undergraduate student while attending Southern Illinois University in the cinema & photography program. Throughout my career as a commercial/editorial photographer, I continued to do self-portraits, often with the subjects that I photographed for a specific assignment or job, primarily as a record of who I had photographed, especially if the person was famous. I then decided to challenge myself by making a photographic self-portrait every day for an entire year. When 1997 was over I continued with the daily self-portrait, incorporating it into my daily routine, and do so to this day.”

For further information, please contact the Grunwald Gallery at (812) 855-8490 or [email protected]. We invite you to visit our website at http://www.indiana.edu/~grunwald/. The Grunwald Gallery is accessible to people with disabilities. Gallery hours are Tuesday – Saturday, noon – 4:00 pm, closed Sunday and Monday. All events are free and open to the public. For more information on the Henry Radford Hope School of Fine Arts at Indiana University, please visit www.fa.indiana.edu.

The Grunwald Gallery at Indiana University is pleased to announce The Wunderkammer: Curiosities in Indiana University Collections. This exhibition will open Friday, October 23 and continue through Wednesday, November 18. An opening reception will be held on Friday, October 23 from 6:00 pm to 8:00 pm at the Grunwald Gallery. A series of noon talks will be presented by the curators and collection managers of several special collections on Friday, October 30 and Friday, November 6 in the Grunwald Gallery.

The Wunderkammer highlights the practice of private and institutional collecting of art, artifacts, specimens, and objects through the special collections on Indiana University’s campus that are not typically seen by the average visitor. Indiana University has a number of well-known collections on public display, including the IU Art Museum and the Lilly Library. But there are other collections that are often overlooked or unknown to most visitors, such as the Department of Biology’s Herbarium, The Elizabeth Sage Costume Collection, and the University Archives, among many others.

The public museums at Indiana University are easily accessible and often feature objects from their collections that are the most well known, valuable, and historically and culturally important. However, each collection also contains items that are unusual or non-traditional, which the public rarely sees. It is in the context of the Wunderkammer that we display these items, as a cabinet of curiosities similar to the traditional collections amassed by individuals in the sixteenth century. This tradition continued well into the nineteenth century, with individuals collecting art, natural history specimens, cultural artifacts and ephemera, and there is a resurgence of interest in this today.

Special collections at IU were invited to partner with the Grunwald Gallery to select unusual or non-traditional items for the exhibit. Because of this focus, the information about how these objects came to be part of these collections is as important as the items themselves. This exhibit addresses the psychological motivations behind both institutional and private collecting, why and how special collections end up with unusual items, the stories that these unusual items have to tell, and the information and background they add that may not be obvious in more celebrated works. Some objects in the exhibit include Herman B Wells handmade underwear from the Elizabeth Sage Costume Collection; A petrified hen’s egg from 1835 trapped inside the walls of the Wylie House Museum; the original 1955 Relax-A-cizor device from the Kinsey Institute Collections; and Diana Ross’s lunchbox and gold record from the film Bustin’ Loose from the Archives of African American Music and Culture to name only a few.

Collections that will be represented are the Archives for African American Music and Culture, The Herbarium and Zoology Collections in the Department of Biology, The Black Film Center Archives, Campus Collections, the Indiana University Art Museum, the Glenn Black Laboratory, The Kinsey Institute, The Mathers Museum of World Cultures, The Elizabeth Sage Costume Collection, The University Archives and The Wylie House Museum.

This exhibit and corresponding programs were made possible by the participating institutions and the Grunwald Gallery at Indiana University.

For further information, please contact the Grunwald Gallery at (812) 855-8490 or [email protected]. We invite you to visit our website at http://www.indiana.edu/~grunwald/. The Grunwald Gallery is accessible to people with disabilities. Gallery hours are Tuesday – Saturday, noon – 4:00 pm, closed Sunday and Monday. All events are free and open to the public. For more information on the Henry Radford Hope School of Fine Arts at Indiana University, please visit www.fa.indiana.edu.

Zoe Van Dyke and Carlotta Paltrinieri, graduate student guest curators for the special exhibition, “Gods and Goddesses: Annibale Carracci and the Renaissance Reborn,” will discuss the role of metamorphoses in Annibale’s Farnese Gallery.

The class is taught by Carli Astell who has been teaching yoga since 2002. Her classes consist of ashtanga inspired hatha yoga, and vinyasa yoga I and II. In her class the goal is to have fun, be free, and spread love. The class is great for beginners and practiced yogis alike. All levels are welcome and encouraged.

Jason’s killer slide guitar and wry lyrics create a musical experience whose roots are nourished by the powerful versatility of vocalist Ginger Curry. Jason & Ginger released their debut album, Jokerville, in 2011, and that same year were semi-finalists at the International Blues Challenge in Memphis, TN. In 2013, they released their second CD, A Good Man Is Hard to Find: Celebrating the Women of the Blues, a recording project that emerged from their Classic Blues program of storytelling and songs.

Sweet Charity brings one of the most iconic characters of musical theater to the stage. Charity Hope Valentine is a dancehall regular, down on her luck, and nurturing her broken dreams. Sweet Charity premiered in 1966 to rave reviews and nine Tony® nominations.

November 5, at 5:30 p.m. Studio Theatre 2nd floor of the Lee Norvelle Theatre and Drama Center A pre-show lecture on “Work” as it relates to Sweet Charity and the U.S. society of the 1960s. Led by an IU professor to be determined.

Sweet Charity is part of The College of Arts and Sciences’ semester-long initiative, “Themester 2015: @Work: The Nature of Labor on a Changing Planet. Themester is a program that combines academic courses, public lectures and exhibits, film showings and other events and is intended to engage students and the entire community in a collective learning experience about a timely, even urgent, issue. For more information about Themester 2015, follow this link: themester.indiana.edu.

For tickets, please contact the IU Auditorium box office:
(812) 855-1103
[email protected]

StoryJam-A-Go-Go is an audience-interactive night that features fun writing prompts and games to generate brand-new stories. All lovingly and skillfully hosted by Nell Weatherwax. Sip a cold brew and let your creativity off the leash. Bear’s Back Room is where you can “Dare to Suck If You Wanna Have Fun!” November 11 event benefits Mother Hubbard’s Cupboard’s Share the Harvest food drive – admission is a food donation or $5.

Chamber Orchestra

Paul Nadler, guest conductor
Jess Langston Turner, composer
Soloists to be announced

Repertoire
Turner: Songs from Bedlam* for solo baritone voice
and chamber orchestra (2015)
Ives: Symphony No. 3 – “The Camp Meeting”
for small orchestra
Beethoven: Violin Concerto in D Major, Op. 61

*DM dissertation

About the Conductor

Paul Nadler has distinguished himself as an exciting and highly respected symphonic and operatic conductor. Since his Metropolitan Opera debut in 1989, he has led the company in more than 60 performances. Recently at the Met, Nadler conducted a new production of Franz Lehár’s The Merry Widow, starring Renée Fleming in the title role, as well as performances of Giuseppe Verdi’s Ernani. Most recently, he has conducted Johann Strauss’s Die Fledermaus and Antonin Dvorák’s Rusalka at the Met, as well as a hugely successful series of Puccini’s Turandot at Opéra de Montréal. After concerts this spring with the Bucharest Philharmonic and Iasi Philharmonic Orchestras in Romania, he returns this fall to the Jacobs School of Music for Gioacchino Rossini’s Il Barbiere di Siviglia. Performances at the Metropolitan Opera have featured stars such as Placido Domingo, Renée Fleming, Dmitri Hvorostovsky, Anna Netrebko, Luciano Pavarotti, and Bryn Terfel. Nadler’s repertoire at the Met includes Die Zauberflöte, Fidelio, Rigoletto, Aida, Don Carlo, Ernani, La Traviata, Un Ballo in Maschera, Il Barbiere di Siviglia, Tannhäuser, Andrea Chenier, Roméo et Juliette, Carmen, Die Fledermaus, Rusalka, The Merry Widow, Eugene Onegin, and Stravinsky’s triple bill Le Sacre du Printemps/Le Rossignol/Oedipus Rex. Nadler is conductor emeritus of the Southwest Florida Symphony Orchestra and principal guest conductor of the Filarmonica de Stat Iasi (Romania). Co-founder and music director of the International Vocal Arts Institute, he returns each summer to this prestigious professional workshop. Early in his career, he won the Jerusalem Symphony Competition. In 1974, he founded the Cincinnati Chamber Orchestra, where he remained as music director and conductor through 1983. He returned to the Chamber Orchestra in 2008 to lead a celebration in honor of its thirty-fifth season.

Program notes for Songs from Bedlam for solo baritone voice and chamber orchestra

by Jess Langston Turner

Tom O’Bedlam is an anonymous poem from 17th century England about a fictitious inmate from the infamous Bedlam insane asylum. During the time in which the poem was penned, it was quite common for asylums to allow outsiders to stand at the gates and watch the inmates, much as one would watch animals in a zoo today. Thrill-seekers were even allowed to bring sticks with which to goad the inmates if they were not acting in a sufficiently entertaining manner. Tradition holds that the asylums became so overcrowded that inmates were periodically turned loose into the countryside to fend for themselves. Tom O’Bedlam was one of these (likely apocryphal) inmates who wandered the land begging for food and money. References to the character of Tom O’Bedlam appear often in the literature of the day, including the works of Shakespeare.

The drama of the music, as in the poem, is primarily psychological, taking place mainly in the sick mind of poor Tom as he is tormented by both his plight as a beggar and the inscrutable hallucinations and delusions which haunt him day and night. The music is broken up into four sections, each of which corresponds to a stanza of the poem. Between each of these sections, a short refrain appears in which Tom sings his begging song, asking for food, clothes, and money, while reassuring the listener that he is in fact completely harmless. In the first stanza, Tom offers words of caution to the listener. During the first part of this first section, the vocal line hovers between speech and song, making use of occasional extended techniques such as vocal fry, sprechgesang, and falsetto singing. Tom then breaks into an obsessive sing-song as he urges the listener to take care lest they find themselves in the same condition as he. In the second stanza, Tom describes his time in the Bedlam asylum. Within this stanza, the language used to describe to horrors of Bedlam directly contradicts the situations themselves (“stubble soft and dainty,” “Sweet whips,” “wholesome hunger,” etc.). Throughout this section, a Renaissance dance tune appears in various guises, juxtaposed with violent outbursts from the winds and brass and brutal whip strokes and anvil strikes from the percussion. In the third stanza, Tom bemoans his constant loneliness accompanied by far-off animal cries and faint snatches of distant church music. Here, the music requires the singer to navigate large leaps, constantly breaking from full voice to falsetto. This technique serves to heighten the sorrowful mood as Tom softly weeps and moans to himself. The fourth stanza sees Tom being whisked away by his delusions and hallucinations. Tom joins in an imaginary battle and imagines a journey far beyond the edge of the known world. The music here is militaristic, complete with drums, cymbals, and fanfares, however, everything is distorted and confused as Tom attempts to march with a beat that is mercurial and impossible to follow. It is not he who has gone mad, it is the world around him. However, in the end, reality takes over and a despondent Tom wanders away into the distance still bemoaning his pitiful condition.

Casting a shadow over the entire piece is the spectre of the famous song “L’Homme Armé” (“The Armed Man”). Much of the melodic and harmonic material throughout the piece is based on motives found in “L’Homme Armé,” and in the final section of the piece, the armed man finally reveals himself in the form of a wild tarentella that bursts forth suddenly and violently. “L’Homme Armé” also forms the basis for the Rennaissance-like church music that emerges from the distance in the third section as well as at the very end of the piece. The constant presence of the “armed man” throughout the piece serves as a reminder that violence and insanity are part and parcel of one another.

Paul Nadler, guest conductor
Jess Langston Turner, composer
Soloists to be announced

Repertoire
Turner: Songs from Bedlam* for solo baritone voice
and chamber orchestra (2015)
Ives: Symphony No. 3 – “The Camp Meeting”
for small orchestra
Beethoven: Violin Concerto in D Major, Op. 61

*DM dissertation