Fort Wayne Philharmonic Prelude October - November 2019 by Fort Wayne Philharmonic

Prelude

OCTOBER | NOVEMBER 2019

Prelude 1 VIOLINS OF HOPE FORT WAYNE | NOVEMBER 9 - 23 | VIOLINSOFHOPEFW.ORG

LISA VROMAN & THE PURDUE VARSITY GLEE CLUB SING BROADWAY

Opening Night! TCHAIKOVSKY SPECTACULAR Oct 5, 2019 | 7:30 p.m. | Embassy Theatre

RUDY IN CONCERT

Oct 12, 2019 | 7:30 p.m. | Embassy Theatre

Feb 15, 2020 | 7:30 p.m. | Embassy Theatre

Family 4-Packs Available!

75 BIRTHDAY BASH th

Free!

Oct 18, 2019 | 7:30 p.m. | Arts United Center

Family 4-Packs Available!

HALLOWEEN SPOOKTACULAR

Oct 20, 2019 | 2:00 p.m. | Rhinehart Music Center, PFW

RAVEL’S BOLÉRO

Feb 22, 2020 | 7:30 p.m. | Embassy Theatre

STAR WARS: A NEW HOPE IN CONCERT Feb 26 & 27, 2020 | 7:30 p.m. | Embassy Theatre

YOUTH ORCHESTRAS: GERSHWIN DANCES Mar 8, 2020 | 4:00 p.m. | Rhinehart Music Center, PFW

DURUFLÉ’S REQUIEM

FREIMANN QUARTET PLAYS BEETHOVEN

Oct 26, 2019 | 7:30 p.m. | First Wayne Street U.M.C.

Mar 4, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab Mar 8, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

BEETHOVEN’S 5th

BACH IN THE BARN

MUSIC FROM THE MARRIAGE OF FIGARO

CARMINA BURANA

Nov 2, 2019 | 7:30 p.m. | Rhinehart Music Center, PFW

Nov 6, 2019 | 7:30 p.m. | Parkview Physicians Group ArtsLab Nov 10, 2019 | 2:00 p.m. | Rhinehart Music Center, PFW

BACH IN THE BARN

Wine & Dessert included!

Nov 8, 2019 | 7:30 p.m. | Joseph Decuis Farm

Mar 14, 2020 | 7:30 p.m. | Embassy Theatre

A MIDSUMMER NIGHT’S DREAM WITH THE FORT WAYNE BALLET

Family 4-Packs Available!

Mar 20, 21 & 22, 2020 | Arts United Center

YOUTH ORCHESTRAS: THE VIOLINS LIVE ON

A COLE PORTER CELEBRATION WITH THE CIVIC THEATRE

Nov 10, 2019 | 4:00 p.m. | Rhinehart Music Center, PFW

Mar 28, 2020 | 7:30 p.m. | Embassy Theatre Mar 29, 2020 | 2:00 p.m. | Embassy Theatre

VIOLINS OF HOPE

MOZART AND TWO PIANOS

VIOLINSOFHOPEFW.ORG

Nov 23, 2019 | 7:30 p.m. | Embassy Theatre

HOLIDAY POPS

Apr 4, 2020 | 7:30 p.m. | Rhinehart Music Center, PFW

Family 4-Packs Available!

Dec 13, 2019 | 7:30 p.m. | Embassy Theatre Dec 14 & 21, 2019 | 2:00 & 7:30 p.m. | Embassy Theatre

Family 4-Packs Available!

PIRATES OF THE SEA

Apr 5, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

MESSIAH BY CANDLELIGHT

SENSORY FRIENDLY CONCERT

PEER GYNT AND POLOVTSIAN DANCES

BEETHOVEN’S VIOLIN

Dec 19 & 20, 2019 | 7:30 p.m. | First Wayne Street U.M.C.

Apr 19, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

Apr 25, 2020 | 7:30 p.m. | Embassy Theatre

Jan 11, 2020 | 7:30 p.m. | Embassy Theatre

CONDUCTOR WORKSHOP CONCERT

Free!

Jan 15, 2020 | 7:30 p.m. | Arts United Center

FLYING WITH E.T. AND PETER PAN

Family 4-Packs Available!

Jan 19, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

BRAHMS CLARINET QUINTET

Jan 22, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab Jan 26, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

BLISS

Apr 29, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab May 3, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

CLUB ORCHESTRA CONCERT

Apr 30, 2020 | 6:00 p.m. | North Side High School

ABBA: THE CONCERT

May 2, 2020 | 7:30 p.m. | Embassy Theatre

VALENTINA LISITSA’S LOVE STORY: PIANO THEMES FROM CINEMA’S GOLDEN AGE

BACH IN THE BARN

PINCHAS ZUKERMAN PLAYS BRAHMS

Closing Night! CONSTANTINE CONDUCTS SHOSTAKOVICH

Jan 25, 2020 | 7:30 p.m. | Embassy Theatre

Feb 1, 2020 | 7:30 p.m. | Embassy Theatre

WINNER CONDUCTS MOZART

Feb 8, 2020 | 7:30 p.m. | First Wayne Street U.M.C.

The Paul Yergens and Virginia Yergens Rogers Foundation

OCTOBER | NOVEMBER 2019

Wine & Dessert included!

May 8, 2020 | 7:30 p.m. | Joseph Decuis Farm

May 16, 2020 | 7:30 p.m. | Embassy Theatre

YOUTH ORCHESTRAS: ACROSS THE STARS

May 17, 2020 | 2:00 p.m. | PFW International Ballroom

Fort Wayne’s Orchestra Never Sounded So Good!

Wine & Dessert included!

Mar 6, 2020 | 7:30 p.m. | Joseph Decuis Farm

Free!

260.481.0777 | FWPHIL.ORG

The Robert, Carrie, and Bobbie Steck Family Foundation

Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

Prelude

FORT WAYNE PHILHARMONIC PROGRAM OCTOBER | NOVEMBER

WELCOME CONDUCTORS & DIRECTORS ORCHESTRA & CHORUS ROSTERS FORT WAYNE PHILHARMONIC FRIENDS PHILHARMONIC BOARD OF DIRECTORS PHILHARMONIC ADMINISTRATIVE STAFF SPONSORS DONORS MASTERWORKS SERIES TCHAIKOVSKY SPECTACULAR October 5 POPS SERIES RUDY IN CONCERT WITH THE FORT WAYNE PHILHARMONIC October 12

4 72 77 80 81 82 83 86 7

VOLUME 76 | NO. 1

MISSION AND VALUES “To foster and instill a lifelong love of symphonic music through performance and education.”

CONNECT WITH US

13 FWPHIL.ORG | 260.481.07 7 7

SPECIAL EVENT 75th BIRTHDAY BASH CONCERT October 18

FAMILY SERIES HALLOWEEN SPOOKTACULAR October 20

CHAMBER ORCHESTRA SERIES DURUFLÉ’S REQUIEM October 26

MASTERWORKS SERIES BEETHOVEN’S 5th November 2

FREIMANN SERIES MUSIC FROM THE MARRIAGE OF FIGARO November 6 & 10

BACH IN THE BARN SERIES BACH IN THE BARN November 8

Ticket Policies fwphil.org/events/box-office-hours-policies 260.481.0777 | tickets@fwphil.org

YOUTH ORCHESTRAS VIOLINS OF HOPE: THE VIOLINS LIVE ON November 10

Make a Donation or Become a Sponsor 260.481.0770 | info@fwphil.org

SPECIAL EVENT VIOLINS OF HOPE: STORIES OF DEFIANCE, RESILIENCE AND LEGACY November 14 MASTERWORKS VIOLINS OF HOPE November 23

Advertising Sales Contact Daniel Cavalancia, 260.481.0766 programadvertising@fwphil.org

The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors. Programs and artists are subject to change. Design: Brooke Sheridan Contributing Editors: James W. Palermo, Jim Mancuso, Emily Shannon

Prelude 3

Welcome FROM THE MUSIC DIRECTOR Dear Friends: We are filled with gratitude for the outpouring of support from Northeast Indiana citizens during our recently completed 75th Anniversary Season. From superstar soprano Renée Fleming on Opening Night one year ago, to Holiday Pops, specials, youth and education concerts, and pop up appearances throughout the community, the Fort Wayne Philharmonic has remained committed to upholding the value it provides everyone in Northeast Indiana. Our mission is to ensure that great music is accessible to everyone. Thank you for playing your part in making the Philharmonic Fort Wayne’s musical home. As we enter this new season, we’ve taken seriously a mandate to continually “up our game” in providing you with even more exciting and rewarding concerts, programs, and opportunities. Highlights of this season’s Masterworks Series and Great Performers Series include a Tchaikovsky Spectacular, Beethoven’s 5th, Peer Gynt and the Polovtsian Dances, the breathtaking virtuoso violinist Pinchas Zukerman, Beethoven’s Violin Concerto, and Shostakovich’s 5th Symphony. Subscriptions are still on sale, so please don’t miss a single note. The Pops Series begins with the Hoosier feel good cinematic classic Rudy, with the Philharmonic performing Jerry Goldsmith’s lush score live as the film is projected above the stage on a large screen. And, the real Rudy, Daniel Ruettiger, and film director David Anspaugh, a Decatur, IN native, are scheduled to be with us at the performance. Please check within this Prelude for detailed information about all we have to offer this 2019-2020 Season. The Philharmonic and its partner, the Jewish Federation of Fort Wayne, are leading the Violins of Hope collaboration from November 9-23, driving the creation of music, visual art, theater, public conversation, interfaith dialogue, readings, and educational activities under one artistic theme on a scale never before experienced in this community. A stirring testament to the strength of the human spirit and the power of music, Violins of Hope are a collection of instruments that tell remarkable stories of the defiance, resilience, and legacy of Jewish musicians during the Holocaust, and of the Israeli violinmaker dedicated to bringing these inspirational Strings of the Holocaust back to life. Please don’t miss this incredibly meaningful, once in a lifetime opportunity to hear these violins performed by Philharmonic and Youth Symphony Orchestra musicians over two weeks. The Fort Wayne Philharmonic is considered world class, and the envy of so many cities this size around the country. We are leading the way in creating educational and community arts initiatives focusing on unfettered access in the concert hall, work place, classrooms, community centers, and neighborhoods in new and innovative ways. Thank you for your dedication and support in Building a Bright Future for the Fort Wayne Philharmonic in service to this community and region. Sincerely,

Andrew Constantine, Music Director

OCTOBER | NOVEMBER 2019

FORT WAYNE BALLET’S ORIGINAL

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DECEMBER 6 thru 15, 2019 ARTS UNITED CENTER MAIN STAGE Holiday treats, entertainment & shopping one hour prior to each performance.

OPENING WEEKEND WITH FORT WAYNE PHILHARMONIC!

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MEET THE DANCERS after each matinée for holiday treats & photo opportunities! Tickets just $8 ea.

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Prelude 5

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At Parkview, we believe in reaching higher. Doing the unexpected. And making each new day better than the last. It’s the kind of thinking that’s helped us become Magnet® recognized. Why is this important? Because of what it means for you — improved quality of care, better outcomes, and a better experience for you and your family. That’s healthcare we can all believe in.

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OCTOBER | NOVEMBER 2019

TCHAIKOVSKY SPECTACULAR The Paul Yergens and Virginia Yergens Rogers Foundation

SATURDAY, OCTOBER 5, 2019

Masterworks Series

7:30 p.m. | EMBASSY THEATRE Andrew Constantine, conductor Nikolai Demidenko, piano Fort Wayne Philharmonic Youth Symphony, Troy Webdell, director TCHAIKOVSKY Marche Solennelle (Coronation March), Op. Posth. Side by side with the Fort Wayne Philharmonic Youth Symphony TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco Nikolai Demidenko, piano

INTERMISSION

TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 I. Andante sostenuto II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco

PERFORMANCE MADE POSSIBLE BY:

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, October 17 at 7:00 p.m.

Series sponsor:

The Paul Yergens and Virginia Yergens Rogers Foundation Encore Lounge sponsored by:

Prelude 7

TCHAIKOVSKY SPECTACULAR SATURDAY, OCTOBER 5, 2019

Marche Solennelle (Coronation March), Op. Posth. PIOTR ILYICH TCHAIKOVSKY (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) Early in 1883, Tchaikovsky received a request from the City of Moscow on behalf of the Russian Royal Family for two musical works — a grand march and a cantata — to celebrate Alexander III’s upcoming coronation as the new Tsar of Russia in that city. Many composers would be delighted at such an offer, but for two major reasons, Tchaikovsky was not. At the time, he was struggling to finish his opera Mazeppa for the next season at the Bolshoi Theater. Moreover, he intensely disliked composing “official” works for large public occasions. Nevertheless, Tchaikovsky realized he could not turn this request down. Nearly 20 years earlier when he was Tsarevich, Alexander had given the composer his first commission, the Festive Overture on the Danish National Anthem, to celebrate his marriage to the Danish Princess Dagmar. And Alexander had since favored him with loans and gifts. So Tchaikovsky buckled down to the task and quickly wrote both works. He was quite pleased with the Cantata, but dismissed the March as “noisy and bad” (he had been equally negative about his 1812 Overture). Nevertheless, the now rarely performed Coronation March is stirringly impressive and very Russian in spirit. In tribute to Alexander and his wife, it makes brief references to both the Russian and Danish national hymns.

Piano Concerto No. 1 in B-flat minor, Op. 23 PIOTR ILYICH TCHAIKOVSKY If one had to pick one work that epitomizes the Romantic piano concerto, it would have to be Tchaikovsky’s First. Written in 1874–75, it was the first Russian piano concerto to enter the standard concert repertoire, and

OCTOBER | NOVEMBER 2019

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

it has remained perhaps the most popular concerto ever written. Even Rachmaninoff’s celebrated piano concertos were closely modeled on it. But the first person to hear it pronounced it a failure. This was Nikolai Rubinstein, renowned pianist and conductor, founder of the Moscow Conservatory, and usually Tchaikovsky’s staunch friend and supporter. Not being a concert pianist himself, Tchaikovsky had brought the concerto to Rubinstein on Christmas Eve, 1874 for advice as to how to make the solo part most effective. This is how the composer remembered the occasion: “I played the first movement. Not a single word, not a single comment! ... I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’” “Then a torrent poured forth from Nikolai Gregorievich’s mouth. ... My concerto, it turned out, was worthless and unplayable — passages so fragmented, so clumsy, so badly written as to be beyond rescue — the music itself was bad, vulgar — here and there I had stolen from other composers — only two or three pages were worth preserving — the rest must be thrown out or completely rewritten. ... This was censure, indiscriminate, and deliberately designed to hurt me to the quick. ... ‘I shall not alter a single note,’ I replied. ‘I shall publish the work exactly as it stands!’ And this I did.” Although this episode threw Tchaikovsky into a deep depression, he still had energy and faith enough in his work to submit the concerto to Hans von Bülow, a German pianist-conductor as famous as Rubinstein, who was looking for a new showpiece for his upcoming American tour. Von Bülow took on the work with enthusiasm and played its world premiere on October 25, 1875, in Boston. The Bostonians gave it a tumultuous reception, and the First Piano Concerto never looked back. This is a concerto in which gorgeous, inventive orchestral writing meets one of the great virtuoso piano parts of the repertoire. And it is enriched by a cornucopia of marvelous Tchaikovskian melodies, the first of which forms the introduction to

movement one. Launched by Tchaikovsky’s beloved horns, it sweeps grandly through the orchestra. The pianist serves at first as the orchestra’s accompanist, but he makes himself strongly felt with massive chords ringing from bottom to top of the keyboard. This big Romantic opening eventually fades, and a melody that most composers would kill for is gone, never to return. In the first of several dramatic mood shifts, the pianist now attacks a quick, skittish tune, based on a Ukrainian folksong, which is the movement’s true principal theme. The tempo eventually eases, and in another shift, clarinets introduce a new melody, lovely and rather melancholy, which gives the pianist opportunity to show his poetic side. After the middle development section, this melancholy theme reappears, now soaring rhapsodically. Movement two rocks gently on a poignant, lullaby-like theme introduced by the flute. Sparkling, high-speed music fills the movement’s middle section. Its rollicking tune, introduced by the violins, is from a French song popular in Russia at the time, “Il faut s’amuser, danser et rire” (“One should enjoy oneself, dance and laugh”). This was a favorite of the Belgian singer Désirée Artôt, the only woman Tchaikovsky ever fell in love with. The spirited rondo finale features a dashing refrain theme whose emphatic rhythms stress the second beat of each measure. It alternates with a rapturous waltz melody introduced by the violins. A broad coda energetically combines these themes, with the waltz ultimately dominating. And now comes one of the most famous of all virtuoso piano passages: a stupendous flight of fast double-fisted octaves sweeping up and down the keyboard. This leads to a grand apotheosis of the waltz, before the pianist and orchestra urge each other on to a blazing finish. Symphony No. 4 in F minor, Op. 36 PIOTR ILYICH TCHAIKOVSKY Tchaikovsky’s Fourth Symphony is a tale of two women. Both entered the composer’s life in 1877, the year he created this tempestuous, fate-filled work. One of them nurtured his creative career with bountiful gifts of friendship, understanding, and money; the other, in a quixotic marriage, nearly destroyed it.

The composer’s bright angel was Nadezhda von Meck, recently widowed and heiress to a substantial financial empire. An intelligent, highly complex woman, she loved music passionately and that passion became focused on Tchaikovsky. Early in 1877, she began writing long, heartfelt letters to him: “I regard the musician-human as the supreme creation of nature. … In you the musician and the human being are united so beautifully, so harmoniously, that one can give oneself up entirely to the charm of the sounds of your music, because in these sounds there is noble, unfeigned meaning.” From such effusions grew one of the strangest and most fruitful relationships in music. Mme von Meck and Tchaikovsky found they were soul mates, yet they determined to conduct their relationship exclusively through letters and never to meet. For 14 years they poured out their innermost feelings to each other. She gave him a generous annual stipend that freed him from financial worries. He stayed at her estate when she was away. Years later when they accidentally encountered each other on a street in Florence, they raced past each other in embarrassment. For a man of homosexual inclination who nevertheless yearned for closeness with a woman, it was an ideal situation. Less ideal was Tchaikovsky’s relationship with his dark angel, Antonina Milyukova, whom the composer — hoping to create a “respectable” home life for himself — foolishly agreed to marry in July 1877. The relationship was a disaster from the beginning and drove the composer to a nervous breakdown. He fled his new bride almost immediately and for years traveled throughout Europe to avoid her. The Fourth Symphony was conceived during this turmoil — drafted before the marriage and orchestrated in the aftermath — and the continual appearances of a malign “Fate” fanfare, the turbulence of its first movement, and the almost hysterical rejoicing of its finale reflect it. Dedicating the symphony to her, Tchaikovsky turned to his “best friend,” Mme von Meck, for solace. He kept her continuously apprised of the progress of “our symphony.” When she begged him for a “program” explaining what the music meant, he at first demurred but finally obliged with the following movement descriptions, which are so expressive they seem more helpful than discussions of sonata forms and thematic development. Movement 1: “The introduction [the loud fanfare theme] is the seed of the whole symphony, without a doubt its main idea.

Prelude 9

Have a great season Fort Wayne Philharmonic! From your friends at Aunt Millie’s Bread

You Play Memories • We Bake Memories This is Fatum, the fateful force that prevents our urge for happiness from achieving its end, … hangs over our heads like the sword of Damocles, and constantly, unceasingly, poisons our soul. “Discontent and despair grow stronger, become more scathing. Would it not be better to turn one’s back upon reality and plunge into dreams? [the solo clarinet’s wistful theme] “O joy! At least one sweet and tender dream has appeared. Some beatific, luminous human image flies by, beckoning us on: [the sweeping, waltz-like music] … [Return of Fate fanfare] “No! They were only dreams, and Fatum awakes us. … So life itself is the incessant alternation of painful reality and evanescent dreams of happiness. Movement 2: “The second part of the symphony expresses a different aspect of human anguish. It is the melancholy feeling that appears in the evening, when you are sitting alone. … Memories swarm around you. You feel sad about what was and is no more. … It is sad and somehow sweet to sink into the past. Movement 3: “The third part … is made up of the capricious arabesques … that pass

OCTOBER | NOVEMBER 2019

through the mind when one has drunk a little wine and feels the first phase of intoxication. The soul is neither merry nor sad. One does not think of anything; one leaves free rein to the imagination, and, for some reason, it begins to draw strange designs. … These are the disconnected pictures that pass through the head when one goes to sleep. They have nothing in common with reality; they are bizarre, strange, incoherent. Finale: “If you do not find cause for joy in yourself, look to others. Go to the people … They make merry and surrender wholeheartedly to joyful feelings. Picture a popular festival. Scarcely have you forgotten yourself and become interested in the spectacle of other people’s joy, when the tireless Fatum appears again and reminds you of his existence. … Do not say that everything is sad in the world. There exist simple but deep joys. … Life can still be lived. “This, my dear friend, is all I can tell you about the symphony. Of course, it is unclear and incomplete, but this is in the nature of instrumental music. … As Heine said: ‘Where words end, music begins.’” Notes by Janet E. Bedell copyright 2019

NIKOLAI DEMIDENKO, PIANIST

Authoritative interpretations of over fifty concerti, specifically those of Beethoven, Chopin, Brahms, Prokofiev, Rachmaninov and Tchaikovsky, have brought Nikolai Demidenko worldwide recognition and critical acclaim. His passionate, virtuosic performances and musical individuality marked him as one of the most extraordinary pianists of this century. Nikolai has worked with many renowned conductors such as Yuri Temirkanov, Sir Roger Norrington, Vladimir Fedoseyev, Charles Dutoit, Evgeny Svetlanov and Sir Andrew Davis. Orchestras with whom he has collaborated include the St Petersburg Philharmonic, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Philharmonia Orchestra, Orchestra of the Age of Enlightenment, Queensland Symphony Orchestra, Seoul Philharmonic, KBS Symphony Orchestra, Singapore Symphony, Yomiuri Nippon Symphony Orchestra, Orquestra Simfónica de Barcelona i Nacional de Catalunya, Orquesta Nacional de Espana, Orchestre National de France, Lahti Symphony Orchestra, Helsinki Philharmonic and Danish National Symphony Orchestra. Concerto highlights of his current and upcoming seasons include appearances with the Prague Symphony Orchestra (Rachmaninov Piano Concerto No 2), Wrocław Philharmonic Orchestra (Tchaikovsky Piano Concerto No 1), a tour of the UK with the Czech National Symphony Orchestra (Chopin Piano Concerto No 1), Sinfonieorchestrer St Gallen (Grieg Piano Concerto) and a return to Xi’an Symphony Orchestra to continue the Brahms Piano Concerto cycle. In 2016, Demidenko was ‘Soloist-inResidence’ with Queensland Symphony Orchestra. As a part of his residency, he performed the complete Beethoven Piano Concerti, a chamber music recital and conducted a masterclass. A devoted recitalist and chamber musician, Nikolai possesses a unique ability to take a homogenous view of a recital and to pair different contents without ignoring their style (CultureNorthernIreland). In 18/19 season Nikolai returns for the third time to the Fribourg International Piano Series in Switzerland, gives recitals at Prague’s Rudolfinum Concert Hall, the RWCMD in

Cardiff, the Menuhin Hall in Cobham and in Tilburg, The Netherlands. Throughout his longstanding career, Nikolai has given recitals at some of the worlds’ most important venues including the Great Hall of Moscow Conservatory, Konzerthaus Berlin, NCPA in Beijing, Hong Kong City Hall, Melbourne Recital Center and Sydney City Recital Hall. Nikolai is also a frequent guest of major London based venues including the Barbican, Wigmore Hall, Cadogan Hall, Royal Festival Hall and St. John’s Smith Square. Nikolai’s extensive discography consists of nearly 40 CDs. For Hyperion Records he has recorded over 20 albums, including most recently Prokofiev Piano Concertos Nos 2 & 3 with the London Philharmonic Orchestra released in March 2015, Gramophone Editor’s Choice award-winning album of Medtner and Music for Two Pianos (with Dmitri Alexeev), Rachmaninov CD awarded BBC Music Magazine Best of The Year and Diapason d’Or, and Scriabin & Tchaikovsky Piano Concertos which won BBC Music Magazine Best of The Year and Best Concerto Recording of The Year by Classis CD. Nikolai’s Chopin CD released in 2008 for Onyx Classics won the MIDEM 2010 Special Chopin Award for a new recording whilst his Chopin CD for AGPL won the Preis der Deutschen Schallplattenkritik. Russian-born pianist Nikolai Demidenko studied at the Gnessins Music School with Anna Kantor before joining the Moscow Conservatory with Dmitri Bashkirov. He was one of the winners of the Montreal International Music Competition and the International Tchaikovsky Competition. In 2014, he was awarded an honorary doctorate from the University of Surrey in recognition of his outstanding contribution to the field of Music and the University.

Prelude 11

We are proud to sponsor the

Fort Wayne Philharmonic

5501 US Hwy 30 W, Fort Wayne, IN | (260) 432-8176 Sweetwater.com

OCTOBER | NOVEMBER 2019

RUDY IN CONCERT WITH THE FORT WAYNE PHILHARMONIC Sweetwater

SATURDAY, OCTOBER 12, 2019

Pops Series

7:30 p.m. | EMBASSY THEATRE Produced by CineConcerts Directed by David Anspaugh Produced by Robert N. Fried and Cary Woods Written by Angelo Pizzo

Caleb Young, conductor Justin Freer President/Founder/Producer Brady Beaubien Co-Founder/Producer Managing Director Jeffery Sells Head of Publicity and Communications Andrew Alderete General Manager, Nicolas Rehm Brand/Marketing/ IP Acquisition, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing & PR Manager, Molly Kossoff Brand/Marketing & Social Media Manager, Si Peng Office Manager, Gabe Cheng

Starring: Sean Astin Jon Favreau Ned Beatty Charles S. Dutton Lili Taylor Robert Prosky

Worldwide Representation WME Entertainment

Music Preparation JoAnn Kane Music Service Music Editing Ramiro Belgardt and Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing Justin Moshkevich, Igloo Music Studios Merchandising by Firebrand

Music by Jerry Goldsmith Cinematography by Oliver Wood Edited by David Rosenbloom Produced and distributed by TriStar Pictures

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

Concert sponsor:

Prelude 13

JERRY GOLDSMITH, COMPOSER

Oscar and Emmy winning composer Jerry Goldsmith has long been considered one of Hollywood’s most respected and admired creators of music for motion pictures and television. The composer of such classic scores as Chinatown, Patton, Planet of the Apes, The Sand Pebbles, A Patch of Blue, Poltergeist, Basic Instinct, Papillon, Rambo, Rudy, Gremlins, Mulan, and L.A. Confidential, Goldsmith was sought-after by filmmakers, acclaimed by critics, and adored by the Hollywood music community. He received 18 Academy Award nominations, winning the Oscar in 1976 for his powerful orchestral and choral score for The Omen. Two of the American Film Institute’s top 25 film scores of all time are by Goldsmith: Chinatown and Planet of the Apes. Goldsmith was nominated seven times for an Emmy and won five Emmys for his television music, including the landmark miniseries QB VII (1975) and Masada (1981), the TV-movies The Red Pony (1973) and Babe (1975), and the theme for Star Trek: Voyager (1995). He also received nine Golden Globe nominations for his film scores and seven Grammy nominations for the soundtracks of his various TV and movie scores. Goldsmith’s music is played virtually every hour of every day around the world. This is in part due to his many contributions to big- and small-screen incarnations of the legendary Star Trek. He scored five of the movies for the franchise, and his heraldic theme for Star Trek: The Motion Picture (1979) became the well-known signature for the long running TV series, Star Trek: The Next Generation. During his career in Hollywood, which spanned over 50 years, Goldsmith composed the music for nearly 200 films, over a dozen iconic TV themes, and another 20 TV movies and miniseries. No composer was more respected by fellow practitioners of his craft (“He scares the hell out of us,” an admiring Henry Mancini once said) – as much for his unerring dramatic instincts as his innovative and even groundbreaking application of many different musical sounds and styles. Jerry Goldsmith was born February 10th, 1929, in Los Angeles, California. Classically trained, he studied piano and composition from a young age and was, from the time he was a teenager, determined to write music for movies. After studying at both USC and Los Angeles City College, he went to work at

OCTOBER | NOVEMBER 2019

CBS, which employed him as a composer for radio and TV throughout the 1950s. His first feature film score was written in 1957, although he continued to work in TV through the 1960s and early 1970s. For television, he composed scores and familiar themes including Dr.Kildare, The Man From U.N.C.L.E., Hollywood Television Theater (PBS) and The Waltons, as well as scoring episodes of classic series including The Twilight Zone and Gunsmoke. In addition to his busy film and TV schedule, Jerry Goldsmith also composed for concert halls. His symphonic works include a cantata, Christus Apollo (1969) with words by Ray Bradbury, narrated by Charlton Heston and later by Sir Anthony Hopkins; Music for Orchestra (1971), commissioned by the St. Louis Symphony; and Fireworks: A Celebration of Los Angeles (1999), commissioned by the Los Angeles Philharmonic. Immediately in response to the attack of 9/11, Jerry Goldsmith composed an in memoriam. The elegy, September 11, 2001, was performed at the Hollywood Bowl just days after the tragedy. Notably, in 1998, he was commissioned by the Academy of Motion Picture Arts and Sciences to create an anthem for its annual awards ceremony. Goldsmith’s Fanfare for Oscar debuted at the 70th annual Academy Awards and is still heard every year during Oscar telecasts. Worldwide, Jerry Goldsmith conducted major orchestras, performing concerts of his music. In the United States, orchestras he conducted included the Los Angeles Philharmonic, the Detroit Symphony Orchestra, the Pittsburgh Symphony Orchestra, the National Symphony Orchestra of Washington D.C., and the New York FILMharmonic Orchestra at Carnegie Hall. Internationally, orchestras he conducted included the London Symphony Orchestra, the Royal Scottish National Orchestra, the Madrid Symphony Orchestra, the Royal Seville Orchestra and Japan’s Kanagawa Philharmonic Orchestra.

Goldsmith received many honors during his lifetime, including Variety’s American Music Legend Award (1995); an honorary doctorate from Boston’s Berklee School of Music (1990); lifetime achievement awards from the American Society of Music Arrangers and Composers (ASMAC 1990) and the Society for the Preservation of Film Music (1993); two governors’ awards from the National Academy of Recording Arts and Sciences (NARAS 1994,1999); and an honorary membership in London’s Royal Academy of Music (2003). In addition to these accolades, Jerry Goldsmith is immortalized with a statuette in his likeness awarded at Spain’s International Film Music Festival. Each year for the past decade, the festival’s highest honor, “the Jerry,” is given to an individual for excellence in the art of film music. Giving back to the community that nurtured him and launched his career, Goldsmith began teaching in the 1990s: as the instructor of the Scoring for Motion Pictures and Television course at the University of Southern California, and then also as a Regents Lecturer in the Department of Music at the University of California at Los Angeles. He became a Visiting Professor at UCLA, teaching a yearly composition

class. Additionally, in a mentoring capacity, he conducted the Young Musicians Foundation Orchestra, the Henry Mancini Institute Orchestra, and the Disney Young Musicians Symphony Orchestra. Several college scholarship funds bear his name, including the Jerry & Carol Goldsmith Music Scholarship at Los Angeles City College, and two fully endowed scholarships for composition at UCLA: the BMI / Jerry Goldsmith Film Scoring Scholarship and the Jerry Goldsmith Scholarship Fund for Film Music Composition. There is also a Jerry Goldsmith Memorial Fund for Cancer Research at the Tower Cancer Research Foundation in Los Angeles. In the days following his death in 2004, the beloved composer was eulogized on the floor of the U.S. House of Representatives with the following tribute: “Jerry Goldsmith leaves behind a distinguished repertoire of outstanding and memorable film scores and television themes that are as recognizable as they are innovative.” His “versatility and genius” were cited and Jerry Goldsmith was declared “a national treasure.”

Sweetwater

Pops Series CHUCK SURACK

Founder & CEO, Sweetwater Sound, Inc. “The Fort Wayne Philharmonic is truly one of our most important assets, enhancing northeastern Indiana with hundreds of music and education programs, and making a significant contribution to economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.”

FREE RIDE SERVICE

Thanks to the Donald F. Wood and Darlene M. Richardson Foundation and Community Transportation Network (CTN), qualifying patrons who find it difficult to drive at nighttime or have mobility issues will be eligible for the service that will meet patrons at two locations prior to every Masterworks Series concert. Reservations are required two weeks in advance. Those interested should contact the Box Office at 260.481.0777 for more information. LOCATIONS: North Georgetown Square in the parking spaces adjacent to the sidewalk bordering E. State Blvd. 6704 E. State Blvd. | Fort Wayne, IN South Stein Mart parking lot across from Covington Plaza 6325 W. Jefferson Blvd. | Fort Wayne, IN 46804 Pick up time will be 5:45 p.m. and 6:45 p.m. before all Masterworks Series performances.

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THE FORT WAYNE PHILHARMONIC IS PROUD TO PARTNER WITH AUDIENCES UNLIMITED

Connecting special audiences with the arts. 260.424.1064 | AudiencesUnlimited.org

Are you a musician with a passion for service? We hire musicians and groups for daytime performances in nursing homes and at L.I.F.E. Adult Day Academy. To learn more, visit our website.

OCTOBER | NOVEMBER 2019

75th BIRTHDAY BASH CONCERT FRIDAY, OCTOBER 18, 2019

Special Event

7:30 p.m. | ARTS UNITED CENTER Andrew Constantine, conductor Heather Herron, narrator Luke Fitzpatrick, flute Orion Rapp, oboe BIZET Preludes to Carmen Prelude to Act I Prelude to Act II Prelude to Act III Prelude to Act IV SCHUBERT Symphony in B minor, D. 759 (Unfinished) I. Allegro moderato II. Andante con moto WAGNER

Overture to Tannhäuser, WWV 70 (Dresden version)

INTERMISSION

ROGERS Soliloquy No. 1, for Flute & Strings Luke Fitzpatrick, flute BARLOW The Winter’s Past; Rhapsody for Oboe Orion Rapp, oboe LISZT

Les Préludes

STAY AFTERWARDS FOR FREE BIRTHDAY CAKE!

PERFORMANCE MADE POSSIBLE BY:

Prelude 17

75th BIRTHDAY BASH CONCERT FRIDAY, OCTOBER 18, 2019

Preludes to Carmen GEORGES BIZET (b. 1838, Paris, France; d. 1875, Bougival, France) Georges Bizet’s life was as ill-fated as those of his unforgettable operatic lovers Carmen and Don José. A child prodigy who wrote his enchanting Symphony in C at age 17, he was dogged by illness and bad luck throughout his brief adult career. Even his masterpiece Carmen was a relative failure at its first performance on March 3, 1875, at Paris’ Opéra-Comique. Worn down by the controversies surrounding its production, on June 3rd exactly three months after the premiere, Bizet died of a heart attack at age 36. If Bizet had lived only another year, he would have watched his gypsy heroine triumph on stages throughout Europe. Today, Carmen is considered one of the most perfect of operas: an ideal blending of spellbinding story, vivid characters, expert pacing, and, above all, nonstop musical inspiration. Bizet found a compelling libretto in Prosper Mérimée’s gritty novella about an untamed gypsy—a liberated woman with a vengeance—who makes her own rules, chooses her own lovers, and welcomes death without a tremor. But the managers of the Opéra-Comique — purveyors of lighthearted family entertainment — and the Parisian music critics were horrified by this “obscene” story. Carmen seduces an upright young soldier, Don José, away from the army and his fiancée into a nefarious life of smuggling, then jilts him for the glamorous toreador, Escamillo. Maddened by jealousy, Don José stalks her at the bullfight in Seville and, as the crowd cheers Escamillo, stabs her to death outside the arena.

We will hear the extraordinarily varied orchestral preludes that open each of the opera’s four acts. Indeed, the Prelude to Act I is dramatically split down the middle into two radically different parts that forecast the opera’s blend of Spanish local color and tragedy. The vivacious opening contains a snippet of Escamillo’s famous macho aria in Act II as well as the bullfight OCTOBER | NOVEMBER 2019

Special Event procession of Act IV. It segues directly into the ominous music associated with Carmen’s gypsy fatalism; the fate theme here is sung by a dark, snarling blend of cellos, trumpets, clarinets, and bassoons over shuddering strings. The Prelude to Act II focuses on a feisty little military march, “Les Dragons d’Alcala,” sung later in the act when Don José returns for a rendezvous with Carmen after spending a month in prison for letting her escape. Here the bassoons take over his vocal part. Act III’s Prelude is a lovely intermezzo featuring flute, english horn, and harp, which conjures the cool mountain air of that act’s setting: the gypsy smuggler’s hideout above Seville. Finally, the Prelude to Act IV carries us to the square outside the bullfight arena in Seville, where a large, excited crowd is awaiting Escamillo’s arrival for what will turn out to be just the first of two fatal fights that day — the second being between Don José and Carmen. Symphony in B minor, D. 759 (Unfinished) FRANZ SCHUBERT (b. 1797, Vienna, Austria; d. 1828, Vienna) Since Franz Schubert died at the tragically young age of 31, many listeners may assume that death cut off his magnificent B-minor Symphony known as the “Unfinished.” But the two movements and a partial sketch of a third were actually written in October– November 1822, when the composer was 25. After his first six symphonies, written between ages 16 and 21, Schubert seems to have had trouble achieving the next stage of his symphonic expression. The B minor was the third symphony he tossed away without completing, most likely because he did not know where to take his revolutionary new conception. Because this work is so well loved today, it is difficult for us to appreciate how radical it was for 1822. Its tone and emotional content were altogether new, and both movements share a bittersweet pathos juxtaposed against violent outbursts. Big in conception, if completed it would have been longer than

Beethoven’s “Eroica” Symphony. And, Schubert’s sound world here is utterly distinctive: predominantly dark and colored by the plaintive sounds of the woodwinds, particularly clarinet and oboe, which are given many of the important themes. First movement: Nothing could be more distinctive than the symphony’s opening. Deep and barely audible in the cellos and basses, we hear a brooding theme that Schubert will make much use of later. Then a mysterious rushing figure in the violins leads to the principal theme, intoned by solo oboe and clarinet. Soon the cellos announce the famous second theme, this symphony’s trademark. But before that lovely melody can complete itself, the orchestra interrupts with a fortissimo explosion; this battle between gentle lyricism and fierce outbursts will characterize the entire movement. The development section is built entirely around that deep introductory theme; now Schubert explores its potential with a passion and power worthy of Beethoven. At movement’s end, we hear this theme again, now broken and dying away. The interplay between the lyrical and the dramatic continues in the Andante con moto second movement in E Major. A stealthy pizzicato descending figure in the bass leads immediately into another yearning melody in the strings. A new section is introduced by an arching theme for violin, followed by haunting solos for clarinet and oboe. These lyrical interludes are again smashed by a fortissimo passage of grandeur and harmonic daring. After reprises of both sections comes an ethereal coda with a twist of pain; it is built from the violins’ arching theme and fragments of the main theme wandering in strange harmonic territory. So beautiful, so complete is this ending we feel this work is well and truly “finished.” Overture to Tannhäuser, WWV 70 (Dresden version) RICHARD WAGNER (b. 1813, Leipzig, Germany; d. 1883, Venice, Italy) When Richard Wagner wrote the opera Tannhäuser, he was only in his early thirties and not yet the revered master of Bayreuth. In fact, he had just returned to Germany after two and a half years of poverty and frustration in Paris, where he’d been forced to arrange other people’s music in order to keep the wolf from the door. In these circumstances, the offer of the music

directorship at the Dresden Court Opera House in 1842 was a gift from heaven. As he traveled to his new post, Wagner glimpsed from his carriage window the imposing mountain-top Wartburg Castle. Here, according to legend, were held the song contests of the medieval German minnesingers. His imagination stirred, Wagner began reading about them and about the legend of the knight Tannhäuser, who dallied with Venus, the goddess of love, in her sacred mountain the Venusberg. When Tannhäuser finally tore himself from Venus’ arms and traveled to Rome to seek absolution, the Pope told him he would never be forgiven unless the Pope’s ceremonial staff should sprout living branches. Since this seemed impossible, the knight returned in despair to Venus. But three days later, the Pope’s staff miraculously burst into bloom. In his opera completed in 1845, Wagner made the legend into an epic struggle between the powers of sacred and profane love. To counterbalance Venus, he created the character of the saintly Princess Elizabeth, whose pure love wins Tannhäuser away from the goddess and ultimately secures his redemption. The opera’s overture embodies these two worlds. At beginning and end, we hear the solemn, horn-dominated chorale of the Pilgrim’s Chorus from Act III when Tannhäuser returns from Rome. Its middle section is the Venusberg music from the opera’s first scene, in which Tannhäuser and Venus watch an orgiastic bacchanale in her magic grotto. The bold, upward-sweeping tune is his hymn to Venus from the Act II song contest: the song that scandalizes the other minnesingers and leads to the knight’s expulsion.

Soliloquy No. 1, for Flute & Strings BERNARD ROGERS (b. 1893, New York City; d. 1968, Rochester, New York) A professor at Rochester’s esteemed Eastman School of Music for nearly 40 years, Bernard Rogers taught some 700 composers — among them such prominent names as Stephen Albert, Dominick Argento, and David Diamond — and as a creator himself left significant works in most of the major musical categories, including five symphonies, four operas, chamber music, and choral works. An early symphonic work To the Fallen was performed at the New York Philharmonic in 1919 and won him a Pulitzer Traveling

Prelude 19

Scholarship that enabled him to study in Europe. His later one-act opera The Warrior was premiered at The Metropolitan Opera in 1947. Noted for his mastery of instrumental colors, Rogers wrote The Art of Orchestration, which became a standard text book for the field. His lyrical Soliloquy No. 1 for Flute and String Orchestra (1922) demonstrates this gift: first in its eloquent, idiomatic solo for the flute, then in its mellow music for strings.

The Winter’s Past; Rhapsody for Oboe WAYNE BARLOW (b. 1912, Elyria, Ohio; d. 1996, Rochester, New York) A pupil of Bernard Rogers, Wayne Barlow led the next generation of teachers and composers at the Eastman School of Music. In fact, in 1937 he was the first American ever to be awarded a Ph.D. in Composition. Barlow also studied at the University of Southern California with the founder of the twelve-tone school of contemporary music, Arnold Schoenberg. He then went on to teach composition for 41 years at Eastman and, as a pioneer in electronic music, founded in 1967 the school’s Electronic Music Studio. Probably Barlow’s most often-played work is The Winter’s Passed, which he wrote in 1938 soon after earning his doctorate. Very sweetly tonal and neo-Romantic in style, it is very different from the more experimental music he was later to compose. Featuring the poignant tone of the oboe against lush strings, it was based on Southern folk tunes. Barlow explained its inspiration and title came from a passage in the Old Testament book The Song of Solomon: “For lo, the winter is passed, the rain is over and gone; the flowers appear on the earth; the time of singing of the birds is come, and the voice of the turtle [dove] is heard in our land.” Les Préludes FRANZ LISZT (b. October 22, 1811, Raiding Hungary; d. July 31, 1886, Bayreuth, Germany) Franz Liszt’s career as the greatest keyboard virtuoso of the 19th century began when he was only in his teens. By the time he’d

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reached his mid-thirties, he had nothing left to prove as a performer and was growing weary of endless touring. In 1848, he settled in Weimar, the cultured German city that had nurtured Goethe, and devoted his energies to composition. The Weimar years (1848–61) were a prolific creative period during which Liszt wrote not only piano and vocal works but also turned his radical musical ideas loose on the orchestra, producing two large programmatic symphonies and 12 shorter symphonic poems, of which Les Préludes is the third and most popular. A true Romantic artist, Liszt saw literature and music as intertwined. Liszt’s symphonic poems, however, do not tell detailed stories in music. All he really needed was a broad emotional scenario to set his music in motion, and in the case of Les Préludes, there seem to have been two different ones. When this music was first written about 1848–9, it was an overture to Les Quatres Éléments (“The Four Elements”): choral settings of four poems with a Mediterranean maritime theme by the Provençal writer Joseph Autan. In 1854, Liszt then became intrigued with the Nouvelles Méditations poétiques by the French Romantic poet Alphonse de Lamartine. Sensing an expressive relationship, he returned to his old overture, sheered off its choruses, and reworked it to match Larmartine’s themes of love and war with pastoral interludes. Prefacing the score, he added an explanatory paragraph that begins: “What is life but a series of preludes to that unknown song whose first solemn note is tolled by death?” Set in one 15-minute movement, Les Préludes is a striking example of music built from Liszt’s principle of “thematic transformation.” Like his fellow Romantic Berlioz, Liszt liked to take one evocative theme or “motto” and use it in many different guises throughout a work. We hear this motto immediately in the strings. Springing upward, it undulates moodily; answering woodwinds emphasize its three-note core. Military brass fanfares present its first transformation over rocketing strings. Cellos and violins then smooth it into a lyrically romantic strain. To this, Liszt adds a secondary theme: a mellow rocking melody for horns. The motto theme and its rocking companion move through a turbulent, bellicose episode, then a gently pastoral one featuring bright, birdlike woodwinds. Finally, both themes are spurred on to a martial pace, and the brass fanfares and rocketing strings return to fire a blazing, heroic conclusion.

LUKE FITZPATRICK, FLUTE

Lauded by the South Florida Classical Review for his “vivacious and buoyant” playing, flutist Luke Fitzpatrick is the Principal Flute of the Fort Wayne Philharmonic. During the summer, Luke also plays principal flute with the Des Moines Metropolitan Opera and played principal flute with the Sarasota opera in the spring of 2017.

collaborated with artists such as Grammy®nominated pianist JeanYves Thibaudet and the Ebene Quartet.

Participating in summer music festivals is one of Luke’s greatest joys as a musician. He has spent summers at the National Orchestral Institute, National Repertory Orchestra, Music Academy of the West, Aspen music festival, the National Symphony’s Summer Music Institute, and the Chautauqua music festival.

Now based in Fort Wayne, Luke is spending more time pursuing outreach and his love for teaching. He is the co-founder of the Bonita Boyd International Masterclass program and is now in his second summer as director.

While living in Los Angeles, Luke developed a passion for chamber music, where he

Luke’s teachers include Bonita Boyd, Jeanne Baxtresser, Alberto Almarza, and Jim Walker.

ORION RAPP, OBOE

Orion Rapp is Principal Oboist of the Fort Wayne Philharmonic., and has also served as Principal Oboist of the Illinois Symphony Orchestra since 2009. In 2019, Orion was the recipient of Arts United of Greater Fort Wayne’s Outstanding Artist award. Orion maintains an active performance career, and is a regular guest oboist in the Cincinnati Symphony Orchestra, the Indianapolis Symphony Orchestra and the East Coast Chamber Orchestra. In his hometown of San Diego, Orion has performed with the San Diego Symphony, the San Diego Lyric Opera, and the La Jolla Music Society Summerfest Orchestra. An avid educator, Orion has taught masterclasses at the Interlochen Arts Academy. And, for 6 summers he coached at the historic Interlochen Summer Arts Camp. Orion is also oboe faculty at Blue Lake Fine Arts Camp in Michigan. In 2016, Orion founded and is artistic director of a new music camp in Fort Wayne (Summer Wind Music Week at PFW.) He has also taught collegially at Rutgers University and

Indiana Tech University. Orion is also the featured oboist and instructor on the multimedia that accompanies Bruce Pearson and Ryan Nowlin’s internationally distributed band method book, Tradition of Excellence. Orion studied at Rutgers University (DMA) and the Cleveland Institute of Music (MM). Previous teachers include Nathan Hughes (principal oboist of the Metropolitan Opera Orchestra), Frank Rosenwein (principal oboist of the Cleveland Orchestra), and Dwight Parry (principal oboist of the Cincinnati Orchestra).

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From community arts to economic development, we believe great performances and ideas create vibrant communities. Thatâ&#x20AC;&#x2122;s why we proudly support the Fort Wayne Philharmonic. Their dedication to excellence brings joy to our hearts and business to our city.

And that is sweet music to our ears.

Come home to

ÂŠ 2019 STAR Financial Group

OCTOBER | NOVEMBER 2019

HALLOWEEN SPOOKTACULAR SUNDAY, OCTOBER 20, 2019

STAR

Family Series

2:00 p.m. | RHINEHART MUSIC CENTER, PURDUE FORT WAYNE Caleb Young, conductor Fort Wayne Children’s Choir, Youth Chorale, Jonathan Busarow, director Fort Wayne Ballet, Karen Gibbons-Brown, artistic director WILLIAMS

Devil’s Dance from Witches of Eastwick

WILLIAMS

Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone

SHORE

Suite from Lord of the Rings

WILLIAMS

Shark Theme from JAWS

GREGSON-WILLIAMS

Wonder Woman

SAINT-SAËNS Danse Macabre, Op. 40 Fort Wayne Youth Ballet MUSSORGSKY Baba-Yaga from Pictures at an Exhibition Fort Wayne Youth Ballet WHITACRE Godzilla Eats Las Vegas! Fort Wayne Children’s Choir, Youth Chorale

PERFORMANCE MADE POSSIBLE BY:

FREE PRE-CONCERT ACTIVITIES AT 1:00 P.M.

Series sponsor:

Concert sponsor:

Prelude 23

JONATHAN BUSAROW, FORT WAYNE CHILDREN’S CHOIR EXECUTIVE ARTISTIC DIRECTOR

Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir. He holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and Kodály Certification from the Kodály Institute at Capital University. Mr. Busarow also serves on the faculty of Purdue University Fort Wayne where he teaches voice and choral music education. He has also served as the interim director of choral studies at Purdue Fort Wayne and Valparaiso University. Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association National and Regional Conferences, the Association of Lutheran Church Musicians, the Indiana Music

Educators Association Convention, and the Bach Institute at Valparaiso University. Mr. Busarow serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference. In 2015, he received the Arts United Award as the Emerging Leader. In 2018, Jonathan received the Distinguished Decade Award from his alma mater, Valparaiso University. He lives in Fort Wayne with his family, Nicole, Simon, Matthias, and Timothy.

FORT WAYNE CHILDREN’S CHOIR YOUTH CHORALE

Abigail Ayres Josiah Beights Daniel Beights Zoe Berkes Preston Brent Marissa Butcher Savannah Copeland Anna Corley Sionny Curry Lacey Darnell Ian Devine Anna Duly Hope Fehlinger Delaney Fosnaugh Madeline Gerig Michael Guerin

Emma Hallman Rebekah Hammond Dara Hinsch Cooper Inman Gregory Keller Olivia Kuhns Paisley Lane Nora Lemish Simone McCowan Jackson McKinney Allison McQueen Jenna Miller Claire Miller Rena Mwangi Kathleen North Benjamin Peter

Graham Phillips Molly Pierson Samuel Poor Anna Popkov Elena Ray Emie Reardon Alexis Rios Emily Robinson Benjamin Sarrazine Shelby Schlicker Noah Schlicker Ian Schowe Kathleen Simunek Jensen Snyder Sydney Spilker Rebekah Staples

Kathleen Suelzer Ava Thuringer Natalie Todd Megan True Elizabeth Wagner Sarah Wahl Bre Ward Abigail Westropp Kalleah Wilfong Caitlyn Wilson Lillian Wilson Delaney Wilson John Woods Lucia Workman Isabella Yates

STAR

Family Series JIM MARCUCCILLI

Chairman & CEO, STAR Bank “STAR is proud to call Fort Wayne home. As the only bank headquartered in Fort Wayne, we are dedicated to making our city an ideal place to raise a family. That is why we created Family of STARS, our community involvement initiative that supports family-oriented programming. The Family Series showcases classical music to families in a fun, relaxed setting. The perfect fit for a culturally rich family experience.”

OCTOBER | NOVEMBER 2019

KAREN GIBBONS-BROWN, FORT WAYNE BALLET ARTISTIC DIRECTOR

Karen Gibbons-Brown trained in ballet, modern, jazz, tap, and theater dance, beginning in Columbia, South Carolina, and later at American Ballet Theatre and David Howard School of Ballet. Her professional experiences, among many, include South Carolina Chamber Dance Ensemble, Ballet Celeste, Bristol Ballet and the Theatre Ballet of San Francisco. Ms. Gibbons-Brown is known for her work in the classroom and enjoys teaching a variety of dance-related subjects including ballet, pointe, repertoire, terminology, dance history, pedagogy and makeup and hair for stage as well as restaging major classical works.

Artistic Director of the State of Franklin Dance Alliance at its inception in 1988. She served on the Tennessee Association Board of Directors in many capacities including president and on the Performing Arts Panel for the Tennessee Arts Commission. She assumed directorship of Fort Wayne Ballet in 1998.

She received her certification in Labanotation while serving on the faculty of Virginia Intermont College and served as Ballet Mistress for John McFall as he created his production of The Nutcracker for Atlanta Ballet. In 1985, Ms. Gibbons-Brown founded the Kingsport Guild of Ballet and became

In 2010, renowned choreographer Dean Speer, in his book “On Technique,” identified Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. In 2016, she received the Lifetime Achievement Award from Arts United.

THE FORT WAYNE BALLET

such as José Limon, Edward Stierle and Gerald Arpino. This season, Fort Wayne Ballet continues its collaboration with the Philharmonic in four performances of a full-scale production of Midsummer Night’s Dream in March 2020.

The Auer Academy of Fort Wayne Ballet provides dance education to more than 300 students annually ranging from age 3 to 93. Their classes extend to preprofessional students looking to dance as a career, and children and adults who enroll for the love of dance. Fort Wayne Ballet’s performance season consists of three mainstage performances at the Arts United Center, three family series performances in the Fort Wayne Ballet studios, and two performances featuring the professional company and their own choreography. Performances range from the traditional classics such as Romeo and Juliet, Swan Lake and The Nutcracker to contemporary works from renowned choreographers

Fort Wayne Ballet’s Community Engagement programs are comprised of in-school programs, in-theatre educational youth performances, and community performances/outreach. They collaborate with Fort Wayne Community Title One Schools and other area educational entities, such as YMCA, to increase the accessibility of arts education to under-served people in the region. Free performances are available throughout the year at locations in downtown Fort Wayne, including Taste of Arts Festival, the YMCA of Greater Fort Wayne, and the Allen County Public Library.

A MIDSUMMER NIGHT’S DREAM WITH FORT WAYNE BALLET & FORT WAYNE PHILHARMONIC

Mar. 20 | 7:30 p.m., Mar. 21 | 2:30 p.m. & 7:30 p.m. Mar. 22 | 2:30 p.m. | Arts United Center Caleb Young, conductor Fort Wayne Ballet, Karen Gibbons-Brown, artistic director

Prelude 25

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OCTOBER | NOVEMBER 2019

DURUFLÉ’S REQUIEM SATURDAY, OCTOBER 26, 2019

Wirco, Inc.

Chamber Orchestra Series

7:30 p.m. | First Wayne Street United Methodist Church Benjamin Rivera, conductor Angela Young Smucker, mezzo soprano; Keven Keys, baritone Eric Budzynski, organ; Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Ball State Chamber Choir, Andrew Crow, director RAVEL

Pavane pour une Infante Défunte (Pavane for a Dead Princess)

FAURÉ Suite from Pelléas et Mélisande, Op. 80 1. Prélude 2. Entr’acte: Fileuse (The Spinner) 3. Sicilienne 4. La Mort de Mélisande (The Death of Melisande)

INTERMISSION

DURUFLÉ Requiem, Op. 9 I. Introit II. Kyrie III. Domine Jesu Christe IV. Sanctus V. Pie Jesu VI. Agnus Dei VII. Lux Aeterna VIII. Libera Me IX. In Paradisum Angela Young Smucker, mezzo soprano; Ryan Cox, baritone Eric Budzynski, organ Ball State University Chamber Choir Fort Wayne Philharmonic Chorus

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

Concert sponsor: Janice Eplett, in memory of Winifred F. Howe and F. Russell Eplett

Prelude 27

DURUFLÉ’S REQUIEM TEXTS SATURDAY, OCTOBER 26, 2019

Wirco, Inc.

Chamber Orchestra Series

Duruflé’s Requiem, Op. 80 MAURICE DURUFLÉ

I. Introit Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

I. Introit Eternal rest grant them, O Lord, and let eternal light shine upon them. A hymn to you is fitting, O God in Zion, and a vow made to you in Jerusalem; hear my prayer, all flesh comes to you. Eternal rest grant them, O Lord, and let eternal light shine upon them.

II. Kyrie Kyrie eleison, Christe eleison. Kyrie eleison.

II. Kyrie Lord have mercy, Christ have mercy, Lord have mercy.

III. Domine Jesu Christe Domine Jesu Christe, rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus, fac eas, Domine, de morte transire ad vitam quam olim Abrahae promisisti et semini ejus.

III. Domine Jesu Christe Lord Jesus Christ, King of glory, free the souls of all the faithful departed from the punishments of hell and from the deep abyss. Deliver them from the lion’s mouth so that Tartarus does not swallow them, and that they do not fall into darkness. But holy Michael, describes them as being in the holy light, which long ago to Abraham and his offspring you promised. Offerings and prayers to you, Lord, praise we offer. Hear them for the sake of those souls which today we remember, grant, Lord, that they may pass from death to life, which long ago to Abraham and his offspring you promised.

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IV. Sanctus Sanctus Dominus Deus Sabaoth, pleni sunt coeli et terra gloria tua. Hosanna in excelsis! Benedictus, qui venit in nomine Domini. Hosanna in excelsis!

IV. Sanctus Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory, Hosannah in the highest. Blessed is he who comes in the name of the Lord, Hosannah in the highest.

V. Pie Jesu Pie Jesu Domine, dona eis requiem sempiternam.

V. Pie Jesu Gracious Lord Jesus, grant them eternal rest.

VI. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

VI. Agnus Dei Lamb of God, who takes away the sin of the world, grant them eternal rest.

VII. Lux aeterna Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

VII. Lux aeterna May eternal light shine on them, Lord, with your saints forever, because you are gracious. Eternal rest grant them, O Lord, and let eternal light shine upon them.

VIII. Libera me Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

VIII. Libera me Deliver me, Lord, from eternal death on that tremendous day when the heavens and the earth are disturbed, when you will come to judge the world through fire. I am forced to tremble and I fear, when the distruction comes and the impending wrath, when the heavens and the earth are disturbed. That day, the day of wrath, of calamity, of misery, day immense and most bitter. Eternal rest grant them, O Lord, and let eternal light shine upon them.

IX. In Paradisum In Paradisum deducant Angeli, in tuo adventu suscipiant te Martyres et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipit et cum Lazaro quondam paupere aeternam habeas requiem.

IX. In Paradisum Into Paradise may the angels lead you, may the martyrs welcome you in your coming and guide you into the holy city Jerusalem. A chorus of angels will greet you, and with Lazarus, once a beggar, may you have eternal rest.

©Pamela Dellal

Prelude 29

DURUFLÉ’S REQUIEM SATURDAY, OCTOBER 26, 2019

Wirco, Inc.

Chamber Orchestra Series

Pavane pour une Infante Défunte (Pavane for a Dead Princess)

Suite from Pelléas et Mélisande, Op. 80

MAURICE RAVEL (b. 1975, Ciboure, France; d. 1937, Paris)

GABRIEL FAURÉ (b. 1845, Pamiers, France; d. 1924, Paris)

Maurice Ravel was one of the greatest of the French impressionist composers who flourished at the end of the 19th century and the beginning of the 20th. His beautifully colored music is usually very subtle and restrained, although his two most popular pieces, Boléro and La Valse, conclude with music of unbridled violence.

In May 1893, the Belgian playwright and poet Maurice Maeterlinck made a stir in Paris with the premiere of his symbolist play Pelléas et Mélisande. Today this play is remembered not for itself but for the very different musical masterpieces it inspired from four of the era’s leading composers: Gabriel Fauré, Arnold Schoenberg, Jean Sibelius, and Claude Debussy. Immediately buying the rights to the play, Debussy in 1902 turned it into his only opera while Schoenberg — not yet a radical modernist — created a sumptuous Romantic tone poem for orchestra. Taking a more modest approach, Fauré and Sibelius wrote incidental music for performances of the play in England and Finland, respectively.

Ravel adored the past, especially the elegance and refinement of the 18th century. It is that world that inspired his exquisite Pavane for a Dead Princess (Pavane pour une Infante défunte, in the original French), which he wrote for piano solo in 1899 and then — as he did with so many of his piano pieces — orchestrated in 1910. Its stately style also suited the woman for whom it was written: the Princesse Edmond de Polignac, who ran one of Paris’ most fashionable artistic salons. (Interestingly, she was an American, born Winnaretta Singer, the heiress of the Singer Sewing Machine fortune.) A “pavane” is a slow, processional dance that originated in Padua, Italy (called “Pava” in the local dialect), and its measured pace seems perfect for a nostalgic reminiscence of long-ago royalty. “Infanta” is the name given to a daughter of the Spanish royal family. However, Ravel joked that he only gave the piece this title because he liked how the words sounded together! He also criticized the Pavane as being formally weak, but that hardly bothers anyone listening to what is one of the most hauntingly beautiful melodies he — or anyone — ever wrote.

It’s not difficult to understand Pelléas et Mélisande’s allure for musicians. The story is more a drama of atmosphere and psychological resonances than of easily comprehensible events and seems to cry out for music to reveal its inner meaning. It is a fairy tale poised around a fatal love triangle involving the sternly passionate Golaud, the ruler-in-waiting of a small kingdom; his more easy-going younger brother, Pelléas; and a beautiful young woman, Mélisande, who is found in a nearby forest. Weeping and nearly silent, she will not reveal anything about herself — where she comes from or what has brought her there. Golaud falls in love and marries her. But as time passes, she and Pelléas are attracted to each other. During a game they are playing by the castle fountain, she loses the ring Golaud gave her in the water. Suspicious, Golaud spies on them, and during a scene in which Mélisande, Rapunzel-like, lets down her long hair from a window to Pelléas confronts them and slays Pelléas. In the last scene, Mélisande dies after giving birth to a daughter, and Golaud is left alone with his tormenting grief and guilt. Fauré’s music for the story was the first to be written. Having fallen in love with the play, the popular British actress Mrs. Patrick

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Campbell wanted to portray Mélisande in a London production in 1898 and approached Fauré to write incidental music for it. One of France’s greatest composers of art songs, Fauré responded with 17 numbers that exquisitely captured the drama’s subtle, allusive fragrance. Not wanting his music to die with the production, he then extracted several numbers from his score, added another number he’d composed earlier (the “Sicilienne”), and first performed this Suite in its entirety in Paris in December 1912. First we hear the Prélude to Act I (Quasi adagio), a delicate interweaving of strings and woodwinds that evokes the mystery of the opening forest scene and of Mélisande’s enigmatic character. Occasionally the music rises in intensity, forecasting Golaud’s passion for her. Near the end, a distant hunting-horn call also represents this very virile and tormented prince. Entitled “La Fileuse,” the Prélude to Act III shows the now-married Mélisande sitting at her spinning wheel in Golaud’s castle. The murmuring string ostinato depicts the machine’s rotations, while a oboe solo captures her poignant, passive personality. Interestingly, the Suite’s most famous number, “Sicilienne,” was not originally written for Pelléas; Fauré had created it earlier for performances of Molière’s Le Bourgeois Gentilhomme that apparently never took place. In compiling his Suite, he realized this superb melody for solo flute accompanied by harp ideally matched the mood of his Pelléas music. Its title is drawn from its use of the lilting compound meter known as the siciliano. Emphasizing its haunting low register, the flute plays a very different role in the final piece, “La Mort de Mélisande,” the Prélude to the play’s last act, in which Mélisande dies in childbirth. At Fauré’s obsequies in 1924 in Paris’ grand Church of la Madeleine, this somber but deeply touching funeral march was played as his coffin was carried out of the church.

Requiem, Op. 9 MAURICE DURUFLÉ (b. 1902, Louviers, France; d. 1986, Paris) There are strong parallels between the careers of French composers Gabriel Fauré and Maurice Duruflé. Both were supreme masters of the organ and presided for decades at the consoles of prominent Parisian churches: Fauré at La Madeleine

located close to the Paris Opéra, Duruflé at Saint-Étienne-du-Mont near the Panthéon. Both were renowned teachers at the Paris Conservatoire, Fauré also ascending to the post of the school’s director. And both wrote extraordinary musical settings of the Catholic Requiem Mass for the Dead: Fauré’s in 1888 and Duruflé’s in 1947. Today, Fauré’s Requiem is one of the most often played settings of this liturgical text, Duruflé’s much less so. Nevertheless, it deserves to be heard far more often, for as the famed choral conductor Robert Shaw once wrote, “I wonder if the 20th century has provided a more ‘beautiful’ choral work than the Duruflé Requiem.” Duruflé grew up steeped in the ancient Gregorian chants used for centuries in Catholic services. For him they were timeless sources of melodic inspiration. In fact, he was working on an organ suite based on the Gregorian chants for the Mass for the Dead when the Paris publishing house Durand and Company commissioned him to write a choral/orchestral Requiem. That work then became shaped around these austerely beautiful melodies. We will hear it in a reduced chamber arrangement the composer made instead of the full orchestra version. As Duruflé explained, “I have above all sought to penetrate the particular style of the Gregorian themes, to which I am hopelessly attached. … At times, the text is paramount, and therefore the orchestra intervenes only to sustain or comment. At other times, an original music fabric inspired by the text takes over completely.” Like Fauré but unlike Berlioz or Verdi, Duruflé chose to make his setting predominantly lyrical and consoling. To this end, he, again like Fauré, left out the epic and terrifying “Dies irae” (“Day of Judgment”) section altogether, though he refers to it in the penultimate “Libera me.” Listening to the Music Opening magically over a gentle murmur of low strings, the Introit is based throughout on Gregorian chant melodies. The men sing the opening “Requiem eternam” in unison chant, while the women provide a wordless countersubject above. In the Psalm of Praise (“Te decet hymnus”), sopranos and altos present this text with its traditional chant. As the Requiem text returns, the first chant melody migrates to the violins before the chorus climaxes on a heartfelt “Et lux perpetua” (“Let eternal light shine upon them”). As liturgical practice requires, the Kyrie emerges without pause from the Introit. In this rich contrapuntal tapestry, the Kyrie

Prelude 31

chant is presented like a little fugue, rising from basses to sopranos. Adding to the grandeur, trumpets then enter in a sloweddown version of the chant theme: a revival of the medieval cantus firmus technique. Moving to a non-chant melody, “Christe eleison” is sung in luminous counterpoint by the women. The final Kyrie is grandest of all, with the chant making an impressive entrance in the trumpets. Though it begins quietly, the Offertory is far more dramatic than these first movements. After the cellos solemnly introduce the chant for this text, the altos sing fearfully of the horrors of hell, to which the chorus responds with vehement force, entreating Jesus to free them from this fate. Singing in canon with the strings, the sopranos offer a gentle message of hope (“Sed signifier sanctus Michael”). The more urgent “Hostias” section is sung by either a baritone soloist or the chorus basses in unison; twice it is marked by an instrumental solo organ playing a plaintive variant of the “Hostias” chant melody. The Sanctus is set in an expansive arch form of thrilling power. The women softly sing a harmonized version of the Sanctus chant. As the men enter, this builds layer on layer to a tremendous triple-forte cry of praise. The “Benedictus” than subsides in hushed awe to the beginning. As Fauré did in his Requiem, the “Pie Jesu” is set as a soprano or mezzo solo (sometimes given to all the women in unison) and supported by a maternal cello. Although Fauré came up with a lovely ear-worm of a tune for this, Duruflé’s setting is deeper in feeling, warmer, and more complex.

Duruflé’s treatment of the “Agnus Dei” stresses the mood of the last part of the text: “Give them eternal peace.” Beginning with the altos chanting in unison, the choral writing here is reticent and understated. It is the orchestra instead that carries the emotional impact with a gorgeous countermelody for the violins, later reprised by the viola. Calm and serene, the Communion (“Lux aeterna”) has a beautiful simplicity of expression. The Gregorian chant melody for this text is played by the instruments. Atop a warm cushion of strings, the choral utterances of “Requiem eternam” remain stationary on a single pitch to suggest the idea of eternity. Now taking up the idea of the terrible Day of Judgment menacing humankind — which was bypassed earlier in this Requiem setting — “Libera me” is the work’s most violently intense movement. A trumpet call announces the arrival of this dreaded trial, and the chorus sections, beginning with the basses, gradually enter with growing agitation until a brass-and-drum powered climax is reached. The sopranos plead more tenderly. Then the chorus recovers its composure and quietly reprises the opening melody. This is perhaps an expression of what Duruflé called his “detachment toward the unknown.” The concluding “In Paradisum” is a beautiful, ethereal haze of subtle instrumental colors. The sopranos sing the Gregorian chant for this text, which is then transferred to a high stop in the organ. Adding a magical touch with the final chord, Duruflé makes it an unresolved dissonance that expresses our inability to comprehend the hereafter. Notes by Janet E. Bedell copyright 2019

ERIC BUDZYNSKI, ORGAN

Eric Budzynski is the Associate for Religious Life & Chapel Music at Northwestern University. Previously, he has served as Organist of Our Lady of Mt. Carmel Church (Chicago) and Director of Music for The Church of Saint Paul and the Redeemer (Chicago) and The Parish Church of Saint Luke (Evanston, IL). He holds the MMus in Church Music and Organ degree with honors from Northwestern University and the BM cum laude in Organ Performance from Duquesne University. As a recitalist, he has been featured in many venues including the National AGO Convention, Holy Name Cathedral Music Series, Music Institute of Chicago, and Fourth Presbyterian Church

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(Chicago). Eric has appeared as organist with Elmhurst Symphony, Millar Brass, Music of the Baroque, Northwestern University Symphony Orchestra (featured soloist), Bach Week Evanston and Apollo Chorus.

ANGELA YOUNG-SMUCKER,MEZZO-SOPRANO

Angela Young Smucker has earned praise for her “luscious” voice (Chicago Tribune) and her “robust, burnished timbre” (Chicago Classical Review). She has been featured with world-class ensembles including the Chicago Symphony Orchestra, Music of the Baroque, Oregon Bach Festival, and several other world-class ensembles. Ms. Smucker is currently pursuing her doctorate at Northwestern University and holds degrees from Valparaiso University and University of Minnesota. In 2016, she co-founded Third Coast Baroque and proudly serves as its

Executive Director. Ms. Smucker also belongs to Beyond Artists, a coalition of artists that donates a portion of their concert fee to organizations they care about.

KEVEN KEYS, BARITONE

Keven Keys’ “handsome, mahogany tone” (Washington Post) and beautifully “focused singing” (Chicago Classical Review) have delighted audiences with a wide range of repertoire. He has appeared with several orchestras, performing Fauré’s Requiem with the Grant Park Symphony, the Bach B Minor Mass with the Kalamazoo Bach Festival, Haydn’s “Lord Nelson” Mass at the Peninsula Music Festival, Bach cantata BWV 82, “Ich habe genug,” with the Sherwood Conservatory Orchestra, Vaughn-Williams’ Dona Nobis Pacem, Danielpour’s An American Requiem with the Northwestern University Symphony Orchestra and Mahler’s monumental 8th Symphony with the Colorado Mahlerfest. Recent appearances have included Mozart’s “Coronation Mass” with Music of

the Baroque and the Duruflé Requiem with the Music Institute of Chicago. His concert repertoire includes Mendelsohn’s Elijah, Handel’s Messiah, and Mozart’s Requiem, with groups including the award-winning Orion Ensemble, the Illinois Philharmonic, Waukegan Symphony, Elmhurst Symphony, Northeastern Illinois University Orchestra, and the Acanthus Chamber Orchestra.

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Prelude 33

ANDREW CROW, DIRECTOR OF CHORAL ACTIVITES, BALL STATE UNIVERSITY Dr. Andrew Crow has served on the faculty at Ball State University since 2009. As Director of Choral Activities, he currently leads the Ball State Statesmen and the Chamber Choir, which was recently selected to perform at the combined regional conference for the Central and North Central Regions of the American Choral Directors Association. Crow also teaches conducting and choral literature and supervises the choral conducting program for students pursuing graduate degrees. In addition to teaching, he is also Director of Music Ministries for High Street United Methodist Church. Dr. Crow received the 2017 Mayorâ&#x20AC;&#x2122;s Arts Award for Arts Leadership in the Muncie community. Recent opportunities as guest conductor include the Muncie Symphony Orchestra and performances in North Carolina, California, Ohio, and South Dakota. At the University of Minnesota, Crow earned the degree Doctor of Musical Arts in Conducting following degrees from Temple

BALL STATE UNIVERSITY CHAMBER CHOIR, ANDREW CROW, DIRECTOR

Scott Archer Zac Biddle Eryn Calfee Shelby Crouse Zander Cunningham Elise DeRuby Dalton Dietrich Tara Douglas Jacob Garrett

University and The Ohio State University. Previous teaching positions include Rutgers University in Camden, New Jersey. Each summer from 2011 to 2015 he led an inter-generational choir for a project called Musica in Situ that toured to perform choral music in historic and interesting architectural spaces. He consistently contributes scholarship on topics such as intonation, score study, and rehearsal technique for professional organizations in the choral domain. Crow is also an experienced singer, orchestral conductor, and piano technician.

Amber Grooms Alex Gushrowski Theo Hicks Ethan Hutchinson Anna Jirgal Sally Kelley Laura Kloser Paige Lundy Bryn Marlow

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Andrew Martin Jeremy Mueller JJ Peil Samantha Ragusin Madi Relue Maxx Schneiderhahn Katelyn Speck Aiden Strain Makiaya Street

Jordan Swingle Ethan Tackett Emma Tomasik Jordan Tromp Ceven Webb Katharine Wilhelm

We believe in supporting the arts. Every step of the way.

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Prelude 35

Each artist matters. Discover what matters to you at canterburyschool.org/matters. Early Childhood, Lower School and Middle School Campus: 5601 Covington Road | Fort Wayne, IN 46804 High School Campus: 3210 Smith Road | Fort Wayne, IN 46804

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BEETHOVEN’S 5th SATURDAY, NOVEMBER 2, 2019

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

7:30 p.m. | RHINEHART MUSIC CENTER, PURDUE FORT WAYNE Andrew Constantine, conductor Brett Deubner, viola O’MALLEY

Rest and Restless

DANIELPOUR Concerto for Viola and Orchestra, “The Voyager” I. The Departure II. In The Valley of the Shadows III. Soliloquy IV. Elegy V. The Return Brett Deubner, viola

INTERMISSION

BEETHOVEN Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro

PERFORMANCE MADE POSSIBLE BY:

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, November 14 at 7:00 p.m.

Series sponsor:

The Paul Yergens and Virginia Yergens Rogers Foundation Encore Lounge sponsored by:

Prelude 37

BEETHOVEN’S 5th SATURDAY, NOVEMBER 2, 2019

Rest and Restless PATRICK O’MALLEY (b. 1989; now living in Los Angeles, California) “Music has always acted for me as a gateway into my own imagination,” says Fort Wayne native Patrick O’Malley, a fastrising young composer whose orchestral and chamber works are being played by orchestras throughout the United States and Canada. “The images and emotions I experience when listening to music really inspire me to write something that can have the same effect on other people. I began in music with piano lessons, but eventually discovered that composing unlocked a far more vibrant and fulfilling world of expression for me than practicing and performing ever did.” Now based in Los Angeles, O’Malley earned his master’s degree in composition from the University of Southern California and has also held fellowships at the Aspen Festival and several other prominent American summer programs. The American Prize honored him with a first place in orchestral music in 2015. In a different facet of his creative work, he also serves as the arranger and conductor for the newly formed video game concert series “Journey LIVE.” In addition to piano, O’Malley plays the double bass, and he originally wrote Rest and Restless for that instrument alone. But by 2016, he realized this piece, with its strong dramatic gestures and varied textures, had potential for larger forces and arranged it for orchestra. However, one can still hear elements of that foundation instrument in this new version. “I have tried to preserve the feeling of low, open strings throughout the piece, while adding a greater variety of timbres and layers to the melodic passages.” Here is O’Malley’s commentary on Rest and Restless: “Several of my recent pieces concern themselves with dichotomies, or pairs of ideas that push and pull against each other. I find that I have difficulty writing unless I

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The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

have at least two opposing concepts that I can somehow ‘compose between.’ “Rest and Restless carries this process out with regards to emotional states — I would describe the piece as an ‘emotional landscape.’ The music slowly alternates, pendulum-like back and forth, from low angst-broodings to brighter hopes, but without letting either mood win over the other. These forces eventually come to a head in a tutti explosion, followed by a stark coda that, to me, feels either optimistic or dejected, depending on what mood I am in. “My mind keeps coming back to an image of looking out my bedroom window in Los Angeles at the evening clouds, my imagination being ignited by the simultaneously serene and troubled shades of gray. Perhaps the music reflects that fantasy in some emotional fashion.” Providing one final clue for listeners, O’Malley adds, “There is no ‘story’ behind the piece, but I like the idea of the audience approaching the work like a slow movement of a symphony, where they can map their own emotional experiences onto the music without me telling them what to think.” Concerto for Viola and Orchestra, “The Voyager” RICHARD DANIELPOUR (b. 1955, New York, New York; now living in New Hampshire) “I have a hot-blooded relationship to music. I tend to write works of necessity rather than works focused on the creation of beauty, art, and artifice. I never write abstract works; I always need an internal or extra-musical scena involved in order to create a work. I’m really a theater or opera composer in disguise.” Richard Danielpour With these words, Richard Danielpour reveals the passionate engagement that animates his music no matter what genre he is working in. Whether it’s a cello concerto for Yo-Yo Ma or an opera about the tragedy of slavery in America,

his music is powerful and emotionally direct in its expression — full of grand theatrical gestures, but never empty ones. Tonally based, his music is accessible yet uncompromising. Like a composer Danielpour especially admires — Dmitri Shostakovich — it demands that the listener become emotionally involved.

“The work is cast in a five-movement arc with the central movement being a cadenza involving the viola soloist with an obbligato timpani part. The first movement (“The Departure”) and the last movement (“The Return”) are the longest, and the second and fourth movements are, respectively, an exotic tango and an aria.

As a teenager, Danielpour had early dreams of becoming a piano virtuoso. At Boston’s New England Conservatory, he studied piano with Lorin Hollander while composing on the side. One day in 1979, he brought some of these compositions to his lesson. Hollander listened and gave Danielpour wise, career-altering advice: “You know, if you continue composing, but really want to be a pianist, you’ll just be a decent pianist. But if you keep composing on this level, you could become an important composer. Why don’t you let us be your hands for you, and you take care of this more important thing?”

“Having had a bit of distance from the piece now, I can see that this is a work about restoration, both personal and communal. All restoration, however, has to begin from within, which is why the idea for this piece is centered on an individual, symbolized by the soloist.”

Hollander arranged for Danielpour to visit Juilliard and meet with composer Vincent Persichetti. The budding composer then enrolled at Juilliard and by 1986 had received a doctorate in composition from this prestigious school. The winner of many important prizes for his compositions, Danielpour teamed up with the Nobel Prize-winning author Toni Morrison to create the opera Margaret Garner, which premiered in 2005 and has had numerous subsequent productions. In March 2017 in Long Beach, California, the orchestra Musique sur la Mer and violist Brett Douglas Deubner gave the world premiere of his Viola Concerto, to which he gave the programmatic title “The Voyager.” Here are Danielpour’s comments on this colorful, peripatetic work, which makes such effective use of the mellow alto member of the string family: “My vision for this concerto was centered around the idea of an explorer who leaves the comfort of his domain to embark, search, and reach into the unknown. In the case of this particular voyager, what he discovers in the course of his travels is at once invigorating and disheartening. It is said that the mystic explorer goes out in search of the eternal, and what he ultimately discovers is himself. He recognizes the damage that he has done to his environment and his earth, but also understands the power that is within him to make the world a better place. The damage to the earth and the seas that he witnesses is, in effect, the equivalent of a personal ‘wounding.’ It is this very wounding that becomes the catalyst for his awakening.

Symphony No. 5 in C minor, Op. 67 LUDWIG VAN BEETHOVEN (b 1770, Bonn, Germany; died 1827, Vienna, Austria) For many generations, Beethoven’s Fifth has defined the symphonic experience in the popular imagination, just as Hamlet stands for classical drama and Swan Lake for the ballet. It established the dramatic scenario of the symphony as a heroic progression from tragedy to triumph — and musically here from the minor mode to the Major — that was imitated by countless later composers from Brahms to Shostakovich. Moreover, it wages its epic battle with a breathtaking swiftness — less than 30 minutes in many performances — and a concentrated power its imitators could not match. Europe was a troubled place when Beethoven wrote this work between 1806 and 1808. We tend to concentrate on Beethoven’s battle against his own deafness, forgetting that he was also caught up in external battles throughout his middle or “heroic” creative period (1802–1812). During this decade, the Napoleonic Wars surged across Europe, and the martial tone of many of the Fifth’s themes and the prominent role for trumpets and timpani reflect a society constantly on military alert. And, until Napoleon’s defeat in 1815, Beethoven lived on the losing side. In July 1807, when he was in his most intense phase of work on the Fifth, the signing of the Treaty of Tilsit brought a temporary truce in favor of the French emperor, with the capitulation of Prussia and the cession of all lands between the Rhine and Elbe to France. This humiliation stimulated an uprising of patriotic feeling among the German-speaking countries, and Beethoven shared in this fervor. Thus, it is not surprising

Prelude 39

that the triumphant song of the Fifth’s finale seems as much a military victory as a spiritual one. Beethoven himself gave the description of the four-note motive that pervades the Allegro con brio first movement: “Thus Fate knocks at the door!” he told his amanuensis Anton Schindler. This is the most famous of the pithy rhythmic ideas that animated many of Beethoven’s middleperiod masterpieces; its dynamism as entrance is piled upon entrance drives this movement on its relentless course. The terseness and compression of this music are astonishing — conveying the maximum of expressive power with the minimum of notes. Beethoven only pauses for breath briefly as the violins introduce a gentler, more feminine second theme and, more tellingly later, as the solo oboe interrupts the recapitulation of the Fate theme — brought back with pulverizing power by the entire orchestra — with a plaintive protest of a mini-cadenza. The Andante con moto second movement might be called Beethoven’s “War and Peace.” In an original treatment of the double-variations form devised by Joseph Haydn (two different themes alternating in variations), he mixes variants on a peaceful pastoral melody with episodes of martial might in C Major that foretell the victory to come. Ultimately, even the pastoral music is trumpeted forth in military splendor. The movement closes with a haunting, visionary coda.

OCTOBER | NOVEMBER 2019

E.M. Forster’s novel Howard’s End contains one of the most eloquent passages ever about classical music as it describes the Fifth’s quirkily ominous Scherzo. “The music started with a goblin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible to Helen. They merely observed in passing that there was no such thing as splendor or heroism in the world.” Horns respond to the cello goblins with a military fanfare derived from the first movement’s Fate motive. After the comical trio section in which Beethoven for the first time asked double basses to be agile melodists (a feat beyond players’ capacities then though not today), the goblins return, even more eerily in bassoons and pizzicato strings. Then ensues one of Beethoven’s greatest passages: a dark, drum-filled journey groping toward the light. The music emerges into C-Major daylight with the finale’s joyful trumpet theme. Here for the first time in a symphony, Beethoven adds the power of three trombones, plus contrabassoon and the military skirl of piccolo. This is the grandfather of all symphonic triumphant endings and remains the most exhilarating and convincing. In a masterstroke, Beethoven brings back the Scherzo music to shake us from any complacency. E.M. Forster again: “But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.” Notes by Janet E. Bedell copyright 2019

BRETT DEUBNER, VIOLA

Born in San Francisco in 1968, Brett Deubner studied at the Eastman School of Music in New York. He quickly made a name for himself performing as violin and viola soloist with the Eastman Philharmonia, as well as leading the orchestra in Heidelberg at the Schloss Spiele Festival. His principal teachers at Eastman were Zvi Zeitli (violin), Martha Katz (viola) and John Graham (viola). Since the critically acclaimed world premiere performance of Lalo Schifrin’s Triple Concerto with the New Jersey Symphony Orchestra in 2009, Deubner has gone on to perform worldwide as viola soloist with more than 70 orchestras in 11 countries over 5 continents, to unanimous approval for “the warmth and sparkling” quality of his playing. (Doblinger Press, Vienna) A champion of new music, Deubner has received 40 viola concertos dedicated to him and over 85 works for viola, and viola with piano or in chamber ensembles. Such important composers as Samuel Adler, Richard Danielpour, Lalo Schifrin, and Andrea Morricone have composed for him. Deubner’s most recent recording of three works for viola and orchestra by American

composers Max Wolpert and Amanda Harberg with the Southern Arizona Symphony for Naxos received universal acclaim, ”Deubner’s strong tone, especially in the thin upper register, is notably exploited in these two concertos, but it is the warmth and body of texture he draws from his instrument makes compelling listening of whatever he is playing.” (Gramophone) In 2015 Deubner received the Certificate of Congressional Recognition for his “commitment to cultural and musical exchange.” For 7 seasons he was the Artistic Director of the Music and More Concert Series in the New York Metropolitan area where he is currently on the string faculty of the Aaron Copland School of Music at Queens College in New York.

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Prelude 41

STRENGTHENING STUDENTS’ SKILLS

You will not have to wait long to perform on stage in the Department of Theatre. Special projects and performances, set aside specifically for underclassmen, let you show us your skills right from the start.

CROSSING THE FINISH LINE

Carolynn Gingerich presented her senior thesis project in December at Wunderkammer for the Department of Art and Design. She created marketing for Catnapolis, a feline rescue, café and retreat, combining her two passions, cats and graphic design.

MAKING EXCITING MUSIC

As an incoming freshmen you will choose an ensemble to perform with starting your first semester. Being involved with your music from the very beginning will elevate your passion and provide windows to a world of opportunity.

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OCTOBER | NOVEMBER 2019

MUSIC FROM THE MARRIAGE OF FIGARO NOVEMBER 6 & 10, 2019

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Wednesday, November 6 | 7:30 p.m. | PARKVIEW PHYSICIANS GROUP ARTSLAB Sunday, November 10 | 2:00 p.m. | RHINEHART RECITAL HALL, PURDUE FORT WAYNE MOZART Selections from The Marriage of Figaro for Wind Octet Overture Act I Cinque, dieci Se a caso Madama Se vuol ballare Non piÅ« andrai Act II Porgi amor Voi che sapete Act III Riconosci in questo amplesso Ecco la marcia Act IV Deh vieni non tardar Finale Orion Rapp, oboe; Pavel Morunov, oboe; Campbell MacDonald, clarinet; Cynthia Greider, clarinet Michael Galbraith, horn; Alex Laskey, horn Dennis Fick, bassoon; Anne Devine, bassoon

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PRIOR Call of the Sirens Luke Fitzpatrick, flute; Anne Preucil Lewellen, harp SHOSTAKOVICH String Quartet No. 8, Op. 110 Largo Allegro molto Allegretto Largo Largo Violetta Todorova, violin; Christine Chon, violin Derek Reeves, viola; Andre Gaskins, cello

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

Prelude 43

MUSIC FROM THE MARRIAGE OF FIGARO NOVEMBER 6 & 10, 2019

Selections from The Marriage of Figaro for Wind Octet WOLFGANG AMADEUS MOZART (b. 1756, Salzburg, Austria; d. 1791, Vienna) When Beaumarchais’ subversive comedy Le Mariage de Figaro was premiered in Paris in 1784, it sent shock waves across Europe. Everyone wanted to see it, aristocrats read it on the sly, but the censors guarding Europe’s shaky monarchies on the eve of the French Revolution refused to allow it on the stage. The notion of a barber-valet, Figaro, and his lady’s maidfiancée, Susannah, opposing a count wishing to exercise the droit du seigneur with the bride on her wedding night and, worse still, making their aristocratic boss look like a fool before his entire household was just too threatening to the status quo. There was always a rebellious, irreverent streak in Mozart, and it may well have contributed to his difficulty in obtaining a court post. So it’s not surprising that this scandalous new play should have fascinated him as a subject for a comic opera. But how was he to get it past the censors? Fortunately, in the mid-1780s Mozart was in the good graces of Emperor Joseph II of Austria, who had banned the play from Vienna’s stages. But somehow the emperor was persuaded to allow an operatic treatment, particularly after Mozart’s librettist Dal Ponte had expurgated some of Figaro’s more revolutionary passages. Joseph II’s leniency made possible one of Mozart’s greatest achievements. Instead of stock figures, Mozart’s music gives us flesh-and-blood, fully rounded characters: the hot-tempered but wily Figaro, his quickwitted bride Susannah, the sorrowing but tolerant Countess struggling with her husband’s infidelities, and the pompous, ineffectual Count who can’t seem to get his way as a proper Count should. At this concert, we hear several selections from Figaro that have been arranged by Johann Nepomuk Wendt for wind

OCTOBER | NOVEMBER 2019

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octet. Mozart, who loved writing music for woodwind ensembles, especially for outdoor occasions, would have undoubtedly heartily approved of having this music played by such a group. The ebullient Overture is Mozart’s most popular. Probably written just a few days before the premiere, it is generally descriptive of the plot and characters rather than a medley of the opera’s highlights. We then hear two duets from the opera’s first scene: “Cinque, dieci” as Figaro and Susanna measure their new room for its marital bed and “Se a caso Madama” as the two discuss the room’s proximity to the Countess’s chambers and Figaro realizes this means dangerous closeness to the philandering Count. Next are two arias from Act I: Figaro’s threatening, macho “Se vuol ballare” in which he warns that the Count may want to “dance” with Susanna, but he will really be in control, “playing the tune.” And we meet the horny adolescent page Cherubino, who is in love with every woman in the castle, in the breathless “Non più andrai.” Act II introduces us to the Countess who is grieving over her husband’s infidelities; her beautiful slow aria “Porgi amor” begs love to aid her in winning him back. Next comes Cherubino’s famously lovely aria “Voi che sapete”: this is a formal serenade he sings to the Countess and Susanna at their request. In Act III, the old servant Marcellina, who is in a conspiracy with Dr. Bartolo and the Count to force Figaro to marry her instead of Susanna, is suddenly presented with evidence that Figaro is actually her and Bartolo’s son. The lively ensuing sextet “Riconosci in questo amplesso” reconciles these characters and expresses their shock and delight. A brief, stately orchestral March announces the arrival of the guests for Figaro and Susanna’s wedding. Finally, from Act IV we hear Susanna’s beautiful serenade “Deh vieni non tardar” in the castle gardens at night after the wedding. Figaro, in hiding, thinks she is having a rendezvous with the Count and

singing to him; in fact, she is singing to Figaro himself and enjoying his discomfort. Our tour of the opera’s finest melodies ends with the Sextet Finale sung by the leads as the Count begs the Countess’s forgiveness, Cherubino woos Barbarina, and Figaro and Susanna celebrate their victory over the Count.

Call of the Sirens

RICHARD PRIOR British-born and educated, Richard Prior is a renowned conductor and composer who is now based in Atlanta, Georgia. Long a prominent faculty member at Atlanta’s Emory University, he has enjoyed a close relationship with the Atlanta Symphony Orchestra and its music director Robert Spano, which have commissioned his Symphony No. 4 for performances this season. Gifted both as a choral and instrumental composer, Prior has worked with an eclectic array of celebrated soloists, including clarinetist Richard Stolzman, cellist Matt Haimovitz, soprano Sylvia McNair, jazz saxophonist Victor Goines, and popular vocal star Janelle Monae. His colorful and dramatically expressive music has been played by orchestras throughout Europe and North America. Prior’s recent work for flute and harp Call of the Sirens was commissioned by flutist Jonathan Keebler and harpist Ann Yeung. Not only a virtuoso workout for these two instruments, Sirens also calls for the flutist to convey a fully fleshed out characterization of these irresistible nonhuman creatures from Greek mythology. By turns, she (he?) is asked to be “alluring, sultry” (for the opening passages in the flute’s earthy alto register); like “a whisper in the ear”; “beguiling”; “with a loss of patience”; “petulant”; “imploring”; and “exasperated” (a wild whistle tone!). In his program note, Richard Prior explains more: “One of the series of my solo and chamber works that focuses on elements of Greek mythology, Call of the Sirens explores the inherent duality of these beautiful and alluring, yet dangerously mercurial creatures. Sometimes regarded as Muses of the Lower World, sirens are frequent and fertile subject matter for inspiring composers who have long sought to craft that mesmerizing music and song that leads to an inevitable demise. With a knowledge of the past and future, sirens

were destined to live only until the mortals who heard them were able to pass by. Different schools of thought vary their exact number from anywhere between two and five, with many period art pieces (paintings and pottery) representing them playing musical instruments including the flute but predominantly the harp.”

String Quartet No. 8, Op. 110

DMITRI SHOSTOKOVICH (b. 1906, St. Petersburg, Russia; d. 1975, Moscow, U.S.S.R.) Officially, Dmitri Shostakovich’s Eighth Quartet — one of the greatest of his 15 and the most frequently performed — is dedicated “in memory of the victims of fascism and war.” In July 1960 when he wrote it in just three days of astonishing effort, the composer was in Dresden, East Germany, ostensibly to score a film Five Days —Five Nights on the notorious firebombing of that city in February 1945. In a Russian interview shortly afterwards, Shostakovich commented: “The terror of the bombardment that the inhabitants of Dresden lived through, which we heard about in the words of the victims, suggested the theme for the composition of my Eighth Quartet. I found myself under the influence of the scenes being filmed, reproducing the way it used to be.” But there seems to be a private subtext to this passionate, sorrowful work that is probably more important than this noble and politically correct dedication. A few days after he finished the Quartet, Shostakovich wrote to a close friend Isaak Glikman: “However much I tried to draft my obligations to the film, I just couldn’t do it. Instead, I wrote an ideologically deficient quartet nobody needs. I reflected that when I die some day, it’s hardly likely anyone will write a quartet dedicated to my memory. So I decided to write it myself. ... The main theme is the monogram D-S [representing E-flat in German notation]C-H [representing B-natural]: that is my initials.” The composer then went on to list numerous quotations in the Quartet from his earlier works, such as his First, Fifth, Eighth and Tenth symphonies, the Second Piano Trio, and the First Cello Concerto. Why should Shostakovich suddenly have been inspired to write his musical epitaph? In the previous month, the composer had committed a fateful act that shocked and

Prelude 45

baffled his friends: he had announced that he was going to join the Communist Party, which he despised. Since his international reputation was now so high that he no longer needed to take such a step to preserve his life or career, no one was able to explain what must have been a coerced decision. Shostakovich suffered a minor nervous breakdown immediately afterward and excoriated his cowardice to his friends. Another friend Lev Lebedinsky was convinced he was contemplating suicide. “In fact, he intended [the Eighth] as a summation of everything he had written before. It was his farewell to life. He associated joining the Party with moral as well as physical death. In Dresden, he had purchased a large number of sleeping pills. On the day of his return, he played the Quartet to me on the piano and told me with tears in his eyes that it was his last work.” The crisis eventually passed, and the composer lived on for another 15 years of rich creativity. But the Eighth remains as a powerful work with universal as well as personal meaning. Although Shostakovich had used the D-S-C-H motto before, never had he woven an entire work so tightly with this tense motive of entrapment. Indeed, the first movement begins with this motto rising in a melancholy canon through the instruments. The other important melodic idea in this mournful slow music is drawn from the composer’s youthful First Symphony. Movement two is a savage danse macabre led by the violin and accompanied by

violent, slashing sforzandi in the other instruments. The anguished quotation of the stomping “Jewish theme” from the composer’s Second Piano Trio in the two violins raises the temperature even higher. Throughout, the D-S-C-H motive keeps making its presence felt. Closely tied to the previous movement, the third shifts into 3/4-time for a crazed, tormented waltz. D-S-C-H continues to lurk, and eventually, we hear the related angular theme from the opening movement of the First Cello Concerto, composed the previous year. The deepest and most personal, the fourth movement is bedeviled by a brutal knocking motive that most likely represents the three knocks of warning Soviet citizens commonly used to represent the presence of the KGB. Cello and viola sing the Russian folksong “In Grievous Bondage,” about the prisoners of oppression. Still more poignant is the cello’s high-register singing of a melody from the composer’s opera Lady Macbeth of Mtsensk, which had inspired Stalin’s censure. The final movement returns to the format and mood of the first with a slow fugal treatment of the D-S-C-H motto in the instruments’ lowest ranges. This music seems even sadder and more hopeless than before and – like Tchaikovsky’s “Pathétique” Symphony — ultimately dies away to nothing.

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OCTOBER | NOVEMBER 2019

BACH IN THE BARN FRIDAY, NOVEMBER 8, 2019

Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Bach in the Barn Series

7:30 PM | JOSEPH DECUIS FARM, 6755 EAST 900 SOUTH COLUMBIA CITY, IN Caleb Young, conductor C. P. E. BACH

Sinfonia in D major, H. 663 (Wq. 183)

BLOCH Concerto Grosso No. 1, for Piano & Strings I. Prelude II. Dirge III. Pastorale and Rustic Dances IV. Fugue

INTERMISSION

J. S. BACH

Sinfonia in D major, BWV 1045

HANDEL Royal Fireworks Music, HWV 351 Overture Bourrée La Paix La Réjouissance Menuet I & II

PERFORMANCE MADE POSSIBLE BY: Series sponsor: Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Prelude 47

BACH IN THE BARN FRIDAY, NOVEMBER 8, 2019

Sinfonia in D major, H. 663 (Wq. 183) CARL PHILIPP EMANUEL BACH (b. 1714, Weimar, Germany; d. 1788, Hamburg, Germany) The thoroughly cosmopolitan C.P.E. Bach was the most successful and prolific of Johann Sebastian Bach’s musical sons. Boasting an education in the law and humanities from the universities of Leipzig and Frankfurt, he borrowed from the latest French and Italian styles to keep his music au courant with the times. For nearly 30 years, he served at the Berlin court of Frederick the Great of Prussia, a hotbed of cultural life in mid-18th-century Europe. Frederick was a keen amateur flutist, who performed at concerts several times a week, usually with C.P.E. at the keyboard. However, in 1768 after a struggle with Frederick who was loathe to give up his leading musician, C.P.E. moved on to Hamburg, where he became Telemann’s successor as that city’s music director, much as his father had been decades earlier in the city of Leipzig. Regarded as the leading exponent of the North German empfindsamer Stil or “sensitive style,” C.P.E. wrote music that is lighter and more entertaining than his father’s. The empfindsamer Stil was borrowed from the French taste for music influenced by literature. In his orchestral music, C.P.E. transferred this approach from vocal music to instrumental music: music expressing emotions without words. He was also a pioneer in the still young genre of the concert symphony, although only 19 of his symphonies have survived. Rather brief in comparison to later symphonies and always in three movements — fast-slow-fast — these works were nevertheless considerable advances on the Italian sinfonia of the Baroque period. In the words of Bach scholar Christoph Wolff, a C.P.E. Bach symphony “must sound arresting and audacious in its first movement, meditatively beautiful in its second, and cheerful or innocent in its third.”

OCTOBER | NOVEMBER 2019

Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Bach in the Barn Series Audacious is certainly the adjective to describe the very experimental Allegro molto first movement of the Symphony in D Major, written in 1775–76. The literary movement that inspired this music’s overall turbulence, wild harmonies, and surprising pauses and mood shifts was called “Sturm und Drang” (“Storm and Stress”); it swept over German literature in the mid 1700s and was a precursor to the Romantic movement. With its tender interludes for the woodwinds, we never know quite where this music is going to go. And at the close, it suddenly mutates into something slower and quieter, forming a bridge to the mood of the ensuing Largo. This very brief slow movement brings in a completely different world: pastoral lyricism and the subtle colors of flutes with viola and cello. But just as we settle in to enjoy it, it is over and replaced by the last movement: a bouncing dance in three beats and a Presto tempo. And this movement, too, is unpredictable, interrupted by darker interruptions that recall movement one.

Concerto Grosso No. 1, for Piano & Strings ERNEST BLOCH (b. 1880, Geneva, Switzerland; d. 1959, Portland, Oregon) The Swiss-American composer Ernest Bloch is most famous for his powerful works on Jewish themes: Baal Shem Suite for violin, Schelomo for cello and orchestra, the Israel Symphony, and his liturgical masterpiece the Sacred Service (Avodath Hakodesh). However, he was also one of the most important chamber music composers of the 20th century; his works in this area include five string quartets, two quintets, six suites for unaccompanied string instruments, and two violin sonatas. Of equal importance to his career as a composer was Bloch’s career as an educator. Trained as a violinist under the great Belgian virtuoso Eugène Ysaÿe, Bloch emigrated to the United States during

World War I and was promptly hired as a faculty member at New York’s Mannes College of Music. In 1920, he was invited to found a music school for Cleveland: this became the renowned Cleveland Institute of Music. He later served as director of the San Francisco Conservatory and, after spending a decade back in Europe, in 1940 returned permanently to America where he became a faculty member at the University of California–Berkeley. Among his students at Berkeley were such major composers as Roger Sessions, Leon Kirchner, Howard Hanson, and George Antheil. In 1925 while at the Cleveland Institute, Bloch found himself distressed by the attitudes of some of his radicalized composition students, who — enamored of Schoenberg and Stravinsky — claimed that traditional techniques of tonal keys and classical forms were outmoded and could no longer be used to create music suitable for the twentieth century. Bloch decided to prove them wrong. His proof took the form of the impressive Concerto Grosso No. 1 we’ll hear tonight. Firmly tonal, it even adopted the Baroque form of the concerto grosso espoused by Bach and Handel: a concerto in which several soloists were featured atop a small orchestra. And it closed in Bachian fashion with a splendid fugue. At the Cleveland student orchestra’s first rehearsal of this piece, they expressed open enthusiasm. Bloch responded triumphantly: “What do you think now? This is tonal! It just has old-fashioned notes!” But from those “old-fashioned notes” and forms, Bloch had crafted a work that certainly couldn’t be mistaken for something from the eighteenth t century. It was thoroughly of the twentieth in its harmonic language and even made passing references to impressionism in its lovely slow movement. And it swapped out the Baroque harpsichord for a modern piano. Marked “pesante” or “weighty,” the Prelude has a powerfully etched grandeur that seizes one’s attention immediately. Orchestra and piano together pound out an aggressive chordal theme that will dominate the Concerto. The second movement, “Dirge,” is its complete opposite: a lyrical, meditative development of that same theme, now solemn and shorn of its hard edges.

Finally, Bloch pays homage to Bach with a five-voice Fugue, whose theme, delightfully, is a livelier, sped-up version of the Prelude’s heavy theme. This brilliant contrapuntal display uses all the old fugal tricks — inversion (flipping the theme upside down), augmentation (stretching it out in longer notes), and stretto (speeding up the entrances) — to create a movement that is simultaneously old and refreshingly new.

Sinfonia in D major, BWV 1045 JOHANN SEBASTIAN BACH (b. 1685, Erfurt, Thuringia; d. 1750, Leipzig, Saxony) The spectacular Sinfonia in D Major is one of J. S. Bach’s mystery pieces. Probably composed in Bach’s later years in Leipzig between 1742 and 1746, it was most likely not a free-standing sinfonia at all but rather — as is written at the top of the score — the “Intrada” or opening instrumental movement for a festive cantata for voices. We don’t know whether that cantata was sacred or secular, for no trace of the remaining movements has been discovered. Nevertheless, the handwriting on the score has been determined to be Bach’s. This is an exuberant, even flamboyant work scored for a lavish ensemble for the day: three trumpets, timpani, two oboes, strings, and a virtuosic solo violin. In fact, it combines the elements of a violin concerto with an orchestral work of sumptuous colors. Since Bach wrote for whatever forces were available to him, he must have a remarkable group of virtuosos on hand to perform this Sinfonia. Though he typically favored high-altitude writing for his trumpets, these particular trumpet parts almost require canisters of oxygen standing by! The unbridled energy and excitement of this music are periodically stilled only to allow the brilliance of the violinist’s roulades to shine through.

Bloch called the third movement, “Pastorale and Rustic Dance,” and its nostalgic opening, use of dance melodies inspired by Swiss folksong, and heartfelt, full-toned ending seem to suggest the composer’s homesickness for the country he’d left behind.

Prelude 49

Royal Fireworks Music, HWV 351 GEORGE FRIDERIC HANDEL (b. 1685, Halle, Saxony (now Germany); d. 1759, London, England) By 1749, when he wrote his Music for the Royal Fireworks, George Frideric Handel was 64 and the acknowledged monarch of British music. He had long outlasted King George I and was now entertaining his son, George II. This score of unparalleled instrumental splendor was created for a spectacular fireworks display in London to celebrate the Treaty of Aix-la-Chapelle, ending nearly a decade of war — known as the War of the Austrian Succession — between Great Britain and Austria on one side and France, Spain, and various German principalities on the other. For months, an elaborate Palladian edifice was constructed in the city’s Green Park as a backdrop for the fireworks. George II insisted that Handel’s music (which was to be performed before not during the fireworks) be written only for “warlike instruments,” that is trumpets, horns, and drums. Handel, however, was stubborn enough to override his majesty’s wishes and include strings as well. For this first performance on April 27, 1749, the orchestra consisted of 24 oboes,

12 bassoons, nine horns, nine trumpets, three sets of timpani, and strings! When Handel performed the music at an indoor concert the next month, he significantly reduced the number of wind players. Even without the extra instruments, this is the grandest instrumental work Handel ever wrote and sums up the splendor of Baroque music just as it was about to yield to the cooler Classical style. Its most glorious movement is its Overture in the ceremonial French ouverture style: an opening slow section with stately double-dotted rhythms, followed by a faster section. Usually, the fast section would be highly contrapuntal, even fugal in character. However, knowing that the interplay of so many separate voices would produce a muddle in an outdoor situation, Handel instead stressed splendid antiphonal effects between the different instrumental groups. Then follows a series of short dances: a bourrée and two minuets drawn from the Baroque dance suite as well as two character pieces: La Paix, in which peace is illustrated by gently rocking pastoral music, and the brilliant La Réjouissance (“Rejoicing”). Handel emphasized the contrasting colors of his large ensemble by specifying different scoring for the repeated passages. Notes by Janet E. Bedell copyright 2019

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NOVEMBER 9 - 23

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Bearing Witness: Holocaust Through the Eyes of Soldiers November 3 at 2:00 p.m. | History Center EXHIBITION: Strings of the Holocaust November 9 - December 1 | Ian and Mimi Rolland Center, USF A Conversation with James Grymes about Violins of Hope November 10 at 2:00 p.m. | Allen County Public Library Fort Wayne Philharmonic Youth Symphony Orchestras: The Violins Live On November 10 at 4:00 p.m. | Rhinehart Music Center, PFW The Pianist November 10, 12, 14, 15 & 17 - 7:00 p.m. | Cinema Center November 20 & 21 - 2:00 & 7:00 p.m. | Cinema Center Opening Event: Violins of Hope November 11 at 7:00 p.m. | Fort Wayne Museum Of Art Guitars and Violins: Tone, Wood, and Structure as Described by the Luthiers That Build Them November 12 at 7:00 p.m. | Sweetwater Sound Violins of Hope: Stories of Defiance, Resilience, and Legacy November 14 at 7:30 p.m. | Allen County Courthouse Shabbat Service November 15 at 7:00 p.m. | Congregation Achduth Vesholom Ghetto November 15, 16, 21, 22 & 23 at 8:00 p.m. | Williams Theatre, PFW November 17 at 2:00 p.m. | Williams Theatre, PFW Violins of Hope: Music from the Shoah November 16 at 1:30 p.m. | Allen County Public Library Three Rivers Choral Festival: Voices of Hope November 16 at 4:00 p.m. | Rhinehart Music Center, PFW The Klezmatics November 16 at 7:30 p.m. | Embassy Theatre Researching Victims and Survivors: Holocaust Genealogy November 17 at 2:00 p.m. | Allen County Public Library Genealogy Center Defiance: Screening of the Movie, Starring Daniel Craig November 18 at 7:00 p.m. | PFW, Neff Hall, Rm 101 Perspectives on Defiance: The Courage of the Bielski Partisans November 19 at 7:00 p.m. | PFW, Neff Hall, Rm 101 Culinary Diplomacy: A Melody of Jewish Foods November 21 at 6:00 p.m. | Joseph Decuis Fort Wayne Philharmonic Violins of Hope November 23 at 7:30 p.m. | Embassy Theatre All dates and programs are subject to change. New events will be added. Please visit the website for complete and updated information.

VIOLINSOFHOPEFW.ORG

NOVEMBER 9 - 23

VIOLINS OF HOPE: THE VIOLINS LIVE ON SUNDAY, NOVEMBER 10, 2019

Youth Orchestras

4:00 p.m. | RHINEHART MUSIC CENTER, PURDUE FORT WAYNE Troy Webdell, conductor Ashlee Bickley, mezzo-soprano Shelby Lewis, narrator Violetta Todorova, violin Kevin Wang, piano FORT WAYNE PHILHARMONIC YOUTH SYMPHONY ORCHESTRA FOSS Elegy for Anne Frank Shelby Lewis, narrator; Kevin Wang, piano SCHULHOFF Menschheit, Symphony for Alto and Orchestra *U.S. Premiere* I. Der Dudelsack II. FlÜgellahamer Versuch III. Oft IV. Dämmerung V. Einblick Ashlee Bickley, mezzo-soprano

INTERMISSION

GLASS Violin Concerto No. 1 I. = c. 104 — = 120 II. = c. 108 III. = c. 150 — = 104 Violetta Todorova, violin

PERFORMANCE MADE POSSIBLE BY: The Rea Charitable Trust MARTHA REPLANE ARTS & CULTURAL FUND

People of the Book

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VIOLINS OF HOPE: THE VIOLINS LIVE ON SUNDAY, NOVEMBER 10, 2019

Elegy for Anne Frank LUKAS FOSS (b. 1922, Berlin, Germany; d. 2009, New York, New York) “It is one of the most soulful things I’ve ever done,” Lukas Foss reminisced in a 1998 interview about the composition of his work, Elegy for Anne Frank. Describing it as a surrealistic picture of Anne Frank’s story, the work emerges in a mournful, elegiac fashion, with a simple childlike motive in the piano set against haunting string lines and dissonant clusters. Elegy for Anne Frank contains rhythmic punctuations in the percussion, manipulated fragments of the German national anthem, and an ominous brass climax, cut short by narration and a return of the ominous string harmonies. The piece ends with the narrator hoping that peace and tranquility will return once again, coupled with the strange sounding childlike motive as if to portend the author’s ultimate demise. Menschheit, Symphony for Alto and Orchestra *U.S. Premiere* ERWIN SCHULHOFF (b. 1894, Prague, Czech Republic; d. 1942, Weißenburg, Bavaria) Erwin Schulhoff was born in Prague on June 8, 1894 to a German-Jewish family. Thanks to support from Antonín Dvořák, Schulhoff was accepted as a piano pupil at the Prague Conservatory at the early age of ten. He later continued his studies in Vienna and Leipzig. After military service in the Austrian Army during WWI, Schulhoff became a resident of Germany. Dazzled by the avant-garde, he absorbed influences from many musical styles, from jazz to Social Realism. Believed to have been influenced by Gustav Mahler’s Das Lied von der Erde, the Menschheit Symphony was written in 1919. Lush

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Youth Orchestras poetry, decadent harmonies, sultry muted brass, sensual harp glissandos, and lazily impressionistic harmonies characterize the work. In 1941 Schulhoff acquired Soviet citizenship then was interned in Prague before being deported to the Wülzburg concentration camp near Weißenburg in Bavaria where he died of tuberculosis on August 18, 1942.

Violin Concerto No. 1 PHILIP GLASS (b. 1937, Baltimore, Maryland) Born in Baltimore, Maryland on January 31, 1937, Philip Glass is the son of Jewish emigrants from Lithuania. He recalls that at the end of World War II his mother aided Jewish Holocaust survivors, inviting recent arrivals to America to stay at their home until they could find jobs and places to live. Glass is widely regarded as one of the most influential musicians of the late 20th century. His Violin Concerto No. 1 was commissioned by the American Composers Orchestra and premiered in New York City on April 5, 1987. The work was composed with Glass’s father, Ben, in mind, despite the latter’s death some sixteen years earlier: “I wrote the piece in 1987 thinking, let me write a piece that my father would have liked [...] A very smart nice man who had no education in music whatsoever, but the kind of person who fills up concert halls. [...] It’s popular, it’s supposed to be — it’s for my Dad.” Notes by James W. Palermo

NOVEMBER 9 - 23

ASHLEE BICKLEY, MEZZO-SOPRANO

Mezzo-soprano Ashlee Bickley performs and teaches various genres across the classical singing medium. Recent operatic roles include Dorabella (Così fan tutte), Angelina/Cenerentola (La Cenerentola), Hansel (Hansel and Gretel), Mother (Amahl and the Night Visitors), Alma March (Little Women), Geneviève (Pelléas et Mélisande), and Mother/Grandmother (Little Red Riding Hood). Operatic covers include Stéphano (Roméo et Juliette), Orlofsky (Die Fledermaus), Marcellina (Le nozze di Figaro), and Tisbe (La Cenerentola) Ashlee has appeared with the Fort Wayne Philharmonic, Ocala Symphony, Concordia Theological Seminary, Heartland Sings and Bach Collegium Fort Wayne as the alto soloist in numerous works by J.S. Bach, Stravinsky’s Les Noces, Händel’s Messiah, Charpentier’s Te Deum, Vivaldi’s Gloria, and the US premieres of CPE Bach’s St.

John Passion and Halévy’s Prométhée Enchaîné. An avid recitalist and new music advocate, Ashlee was recently the featured performer at the Manchester University New Music Festival and Rural America New Music Festival and has performed on recital series’ at several churches and schools. Ashlee holds degrees from the Eastman School of Music and Florida State University and was a Resident Artist Fellow with the Atlantic Music Festival from 2014 to 2016. She is on faculty at Purdue University Fort Wayne and Trine University.

SHELBY LEWIS, NARRATOR

Shelby Lewis is a proud alumna of Interlochen Arts Academy, Carnegie Mellon School of Drama (B.F.A. Acting), and University of Northern Colorado (M.A. Theatre Education). She is a union member of SAG-AFTRA and has narrated several audiobooks on Audible.com. Notable performance credits include As You Like It (Rosalind), King Lear (Goneril), Macbeth (Lady Macbeth), Romeo and Juliet (Juliet), Alice in Wonderland (Alice), and as the featured narrator in A Midsummer Night’s Dream with the Fort Wayne Philharmonic. Shelby recently directed a deaf-friendly

production of You’re a Good Man, Charlie Brown and is currently adapting and directing A Christmas Carol to be performed with adults with disabilities this winter. www.shelbylewisofficial.com

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VIOLETTA TODOROVA, VIOLIN

An emerging voice of her generation, Violetta Todorova has performed as a soloist with orchestras and ensembles across the USA, Russia, Europe and Asia. She is currently the Concertmaster of the Fort Wayne Philharmonic and an Artist Violin professor at Taylor University. In February 2019, she won the Arts United Emerging Artist Award. She also holds top prizes from several violin competitions, including the International Competition for Young Violinists in Estonia and the All-Russian Competition for Young Violinists in Nizhny-Novgorod, Russia. Originally from Saint Petersburg, Russia, Violetta Todorova started playing violin at the age of five. By the time she was eleven, Todorova had performed in most major concert halls of St. Petersburg, including an engagement as soloist performing Vivaldi’s The Four Seasons at the S.K.K Arena. When she was twelve, Todorova was invited to the prestigious Interlochen Summer Arts Festival in Michigan, attending for six summers on full scholarship where she won the concerto competition in both the Intermediate and High School divisions. After her studies at the St. Petersburg Conservatory Preparatory School, Ms. Todorova attended Interlochen Arts Academy and DePaul University School of Music in Chicago, where she earned her Bachelor (summa cum laude) and Master (with distinction) Degrees in violin

performance, studying with one of the world’s top concert violinists and pedagogues, Ilya Kaler. During her studies at DePaul, Ms. Todorova also served as an assistant concertmaster of the Civic Orchestra of Chicago. After graduation, Ms. Todorova held the Concertmaster position with the Illinois Symphony, was a part of the Colorado Symphony Orchestra, and performed with the Minnesota Orchestra. She has also been the guest concertmaster with the Las Vegas Philharmonic, Chicago Arts Orchestra, Kalamazoo Symphony Orchestra, Orchestra Iowa, South Shore Orchestra, and Lincolnwood Chamber Orchestra. Ms. Todorova’s musical interests extend beyond classical music to such genres as rock and jazz. Her collaboration with the owner of House Harp in Michigan was featured in the New York Times magazine and she has appeared in the role of a violinist in the pilot episode of the television series “Boss”, directed by Gus Van Sant.

FORT WAYNE CONCERTMASTER SURVIVES THE HOLOCAUST Hugo Gottesmann (April 8, 1896 – January 22, 1970) was an Austrian violinist, violist, conductor, chamber musician, and a highly decorated soldier in World War I. His career in Vienna as a conductor and violinist was cut short when Hitler seized power in Germany in 1933. Due to his Jewish heritage, Gottesmann was fired from positions at Radio Wien, the Vienna Symphony, and the Academie für Musik, forcing him to work elsewhere in Europe and later in the United States. He held various positions in the US before being named as Fort Wayne Philharmonic concertmaster in 1952 by music director Igor Buketoff. During Gottesmann’s tenure, violinists Yehudi Menuhin, Nathan Milstein, Isaac Stern, and pianist Rudolf Serkin soloed with the orchestra. Gottesmann also conducted ballet performances and led the string quartet now known as the Freimann Quartet.

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NOVEMBER 9 - 23

KEVIN WANG, PIANO

Born in 2002, Kevin Wang is an aspiring young pianist who found interest in the piano at age 6. He began his studies with Ms. Carol Hahn, and has been studying with Dr. Hamilton Tescarollo since 2013. He has won numerous competitions including the Gene Marcus Piano Competition, Indiana Music Teachers Association (IMTA) Hoosier Auditions, and the Music Teachers National Association (MTNA) Indiana Junior Piano Competition. He has attended the Gene Marcus Piano Camp & Festival on scholarship and participated in masterclasses with Dr. Caio Pagano, Dr. Karen Taylor, and Dr. Masson Robertson, among others. He has performed in the annual Fort Wayne Germanfest since 2014, and was invited to the Purdue University Fort Wayne Piano Studio Showcase. In spring 2019, Kevin won the Fort Wayne Philharmonic Youth Orchestraâ&#x20AC;&#x2122;s annual Concerto Competition and performed the 1st

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movement of Mendelssohnâ&#x20AC;&#x2122;s Piano Concerto No. 1 with the Youth Symphony Orchestra. Kevin has been a member of the Fort Wayne Philharmonic Youth Orchestras since 2016, playing piano, oboe, and sometimes percussion. Besides performing, he has composed in the FAME Composition Project with Composer David Crowe. Kevin is currently a senior at Carroll High School, where he is actively involved in Student Council, Speech and Debate, and Academic Super Bowl. Kevin is a nationally competitive chess player.

Open to all student musicians in the northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestras program auditions students throughout the year for vacant positions.

twebdell@fwphil.org | 260.481.0757

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YOUTH SYMPHONY ORCHESTRA, TROY WEBDELL, DIRECTOR

1st VIOLIN Mishael Paraiso, Concertmaster* Miranda Bartz, Assist. Concertmaster* Jessica Zhou Mikhayla Palicte Tommy Popp Court Wagner Madhuni Vamadevan Ashley Jing Daniel Liu Alisha Babu Trinity Forish Lucas Valcarcel Kennon Nicholson Ethan Walker 2nd VIOLIN Lydia Bingamon, Principal* Clara Bingamon, Assist. Principal* Kyra Wagmeister Karissa Brath Juliette Mikautadze Ella Hildebrand Kylie Delagrange Jaylynn Kim Jessica Tian Kaitlyn Jones Sara Gierke Yebin Jeong Lucy Gutman Rachel Bardsley Brandon Springer VIOLA Olivia Creech, Principal* Lawrance McDowell, Assist. Principal* Dillon Jackson Grace Buchanan Amir Pierre-Louis Collin Campbell Breanna Burlison CELLO Edward Sun, Principal* Shaan Patel, Assist Principal* Maria Tan

Daniel Gruber Eamonn Keane Maya Racz Niki Babu Payton Kempton Bethany Perkins Donnell Adams-Jones Elizabeth Domsic Jaemin Kim BASS Graydon Brath, Principal* Henri Spoelhof, Assist. Principal Preston Reeves FLUTE/PICCOLO Chloe Morton, Principal Brock Williamson, Assist. Principal Jessel Mehta Sara DeLong OBOE Laurel Morton, Principal Andy Deng, Assist. Principal Grace Rose CLARINET Isaac Bailey, Principal Marlena Haefner, Assist. Principal Mallory Neebes Ian Trout Abby Johnson BASS CLARINET Alec Sanavongsay, Principal

FRENCH HORN Maiah Deogracias, Principal Hannah Offhaus, Assist. Principal Noah Haefner TRUMPET Faith Allison, Principal Ethan Wood, Assist Principal Sam Parnin Henry Wellman Anna Hildebrand Liam Row TROMBONE Andrew Schroeder, Principal Aaron Kreie, Assist. Principal Joshua Walz Noah Jeong Jared White TUBA Alexander Inde, Principal PERCUSSION Hailey Sandquist, Principal Caleb Walz, Assist. Principal Mason Nichols(+saxophone) Catherine Ji (+piano 2) PIANO Kevin Wang, Principal HARP Jaedyn Haverstock, Principal

BASSOON Ashley Plummer, Principal Ben Morton, Assist. Principal

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*Denotes Premier Strings Musicians

NOVEMBER 9 - 23

VIOLINS OF HOPE: STORIES OF DEFIANCE, RESILIENCE, AND LEGACY THURSDAY, NOVEMBER 14, 2019

Special Event

7:30 p.m. | ALLEN COUNTY COURTHOUSE Caleb Young, conductor Michael Rush, narrator Fort Wayne Ballet, Karen Gibbons-Brown, artistic director Fort Wayne Children’s Choir, Jonathan Busarow, director Heartland Sings, Robert Nance, president & artistic director Purdue University Fort Wayne Chorus, William Sauerland, director of choral studies Violetta Todorova, violin; Andre Gaskins, cello KORNGOLD (Arr. Mann) String Quartet No. 3 in D major, Op. 34 III. Sostenuto. Like a Folk Tune MENDELSSOHN Lift Thine Eyes from Elijah, Op. 70 Fort Wayne Children’s Choir, PFW Women’s Chorus TRADITIONAL (Arr. Steinberg) Mi Chamocha from Kol Shalom PWF Chorus, Heartland Sings HIRSCH / MANOR Bashana Haba’ah Combined Choirs Andre Gaskins, cello BARBER Adagio for Strings, Op. 11 Fort Wayne Ballet

INTERMISSION

BACH Allemande from Partita No. 2 in D minor, BWV 1004 Violetta Todorova, violin Fort Wayne Ballet BEETHOVEN (Arr. Mann) String Quartet in C-sharp minor, Op. 131 I. Adagio ma non troppo MAHLER

Adagietto from Symphony No. 5

GLICK The Lord Is My Shepherd (Psalm 23) Fort Wayne Children’s Choir KILAR

A Certain Light from The Portrait of a Lady

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VIOLINS OF HOPE: STORIES OF DEFIANCE, RESILIENCE, AND LEGACY THURSDAY, NOVEMBER 14, 2019

String Quartet No. 3 in D major, Op. 34 III. Sostenuto. Like a Folk Tune ERICH WOLFGANG KORNGOLD (Arr. Mann) (b. 1897, Brünn, Austria, Hungary; d. 1957, Hollywood, California)

and earth. He hath said, thy foot shall not be moved. Thy keeper will never slumber.” ~ Psalm 121: 1, 3 Mi Chamocha from Kol Shalom

Born to a Jewish family in presentday Brno, Czech Republic, Erich Wolfgang Korngold was in Hollywood during the Anschluss of March 1938 composing his Oscar-winning score to The Adventures of Robin Hood. He and his young family remained in the United States, where they became citizens.

TRADITIONAL (Arr. Steinberg)

The String Quartet No. 3 was completed in 1945 and signals the freeing of Korngold’s spirit from a deep depression caused by the war. The autumnal folk-like tune employs the love theme from his score to the film The Sea Wolf. The composer’s sensitivity to texture and melody are most touchingly conveyed in this beautiful slow movement.

The melody for Mi Chamocha was originally composed for Yoducha Rayonai, a poem written by R. Israel Najara (16th century, Tzfat). This melody is emblematic of Turkish Jewish music, and would likely be accompanied by an oud (fretless string instrument), and the Darbuka (Middle Eastern drum.)

Lift Thine Eyes from Elijah, Op. 70 FELIX MENDESSOHN (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Germany) The oratorio Elijah was written for the Birmingham Festival in 1846. It depicts events in the life of the Biblical prophet, taken from the Hebrew Bible. The composer came upon the idea for setting “Lift thine eyes” as an a cappella trio while walking along the Birmingham industrial canal flush from the oratorio’s premiere. For Mendelssohn, the search for beauty and order was compelling even in the grittiest of surroundings. “Lift thine eyes, O lift thine eyes to the mountains, whence cometh help. Thy help cometh from the Lord, the maker of heaven

Special Event

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“Who is like You, Lord among the heavenly powers? Who is like You, majestic in holiness, awesome in praise, doing wonders? Your children beheld Your majesty, as You split the sea before Moses: ‘This is my God’ they exclaimed and said, ‘the Lord will reign for all eternity!’”

Bashana Haba’ah NURIT HIRSCH (b. 1942, Tel Aviv, Israel) EHUD MANOR (b.1941, Binyamina-Giv’at Ada, Israel; d. 2005, Tel Aviv-Yafo, Israel) BaShana HaBa’ah is a classic Israeli song from 1970 with music by Nurit Hirsch and lyrics by Ehud Manor. The song was first performed by the duo Ilan & Ilanit. When Manor asked Hirsch to compose the song, he didn’t tell her that it was written about his younger brother, Yehuda Viner, who was killed in battle in 1968. Not knowing this she wrote an upbeat tune to the lyrics making it a classic Rosh Hashanah song rather than a memorial. It is actually both, a song of sadness with hope that next year, the New Year, will be better.

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Adagio for Strings, Op. 11 SAMUEL BARBER (b. 1910, West Chester, Pennsylvania; d. 1981, Manhattan, New York) Very few can claim to have first experienced Barber’s Adagio for Strings in its original form - as the second movement from his String Quartet, Op. 11. The American composer wrote the quartet in 1936 while in his mid 20s, but it was the great Italian maestro Arturo Toscanini who recognized the brilliance of its second movement, urging Barber to create an arrangement for full string orchestra. Two years later, Toscanini premiered the new work with the NBC Symphony Orchestra. The solemn, heartrending music is often performed at funerals, solemn occasions, and in movie soundtracks. Allemande from Partita No. 2 in D minor, BWV 1004 JOHANN SEBASTIAN BACH (b. 1685, Erfurt, Thuringia; d. 1750, Leipzig, Saxony) The Partita in D minor for solo violin (BWV 1004) by Johann Sebastian Bach was written between 1717 and 1720, part of a compositional cycle called Sonatas and Partitas for Solo Violin. Most of the movements are dance types of the time, and frequently listed by their French names. The apparent simplicity of Bach’s first movement, Allemande, is misleading. Through a singular, linear voice, Bach weaves an amazingly complex and deeply moving musical passage possessing a delicate and intricately interconnected structure. This movement, fittingly, is featured in the documentary Violins of Hope, which chronicles Amon Weinstein’s decades long mission to restore these Strings of the Holocaust. String Quartet in C-sharp minor, Op. 131 LUDWIG VAN BEETHOVEN (Arr. Mann) (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria)

The String Quartet No. 14 in C# minor, Op. 131, was completed by Ludwig van Beethoven in 1826 and was one of his favorites. Said Franz Schubert, “After this, what is left for us to write?” Other composers of the day acknowledged that the work “has a grandeur which no words can express.” It seems “to stand...on the extreme boundary of all that has hitherto been attained by human art and imagination.” The brilliance of the movement’s formal structure is masked by the extraordinary profundity of its fugue.

Adagietto from Symphony No. 5 GUSTAV MAHLER (b. 1860, Kaliště, Czechia; d. 1911, Vienna, Austria) The fifth Symphony was written in the summers between 1901 and 1902. The fourth movement may be Mahler’s most famous composition and is said to represent Mahler’s love for his wife, also named Alma. Leonard Bernstein conducted it during the funeral Mass for Robert F. Kennedy at St. Patrick’s Cathedral in Manhattan, and the movement is regularly performed on its own. It came to popular prominence in the 1971 Luchino Visconti film Death in Venice. Since then, the music has been used in advertising, figure skating competitions, television programs, and other films.

The Lord Is My Shepherd (Psalm 23) SRUL IRVING GLICK (b. 1934, Toronto, Canada; d. 2002, Toronto, Canada) Srul Irving Glick has written hundreds of vocal works for use in the synagogue, and many with a strong message of peace. Commissioned for the Toronto Children’s Chorus and Jean Ashworth Bartle, his Psalm 23 is from a larger Psalm Trilogy for treble chorus and piano or string orchestra. Psalm 23 (“The Lord is my Shepherd”) is slow and stately, opening with a simple, almost minimalist invocation on the words “Mizmor L’David,” which means “The Psalm of David.” The main melody is simple but memorable, and the composer’s straightforward harmonies allow for clear and effective delivery of the psalm text.

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String Quartet No. 3 in D major, Op. 34 III. Sostenuto. a Folk Tune A Certain LightLike from The Portrait of a Lady WOJCIECH KILAR (b. 1932, Lviv, Ukraine; d. 2013, Katowice, Poland) Polish composer Wojciech Kilar is known for having written the musical score to The Pianist, the 2002 biographical World War II film based on a Holocaust memoir by the Polish-Jewish pianist and composer Władysław Szpilman. The film earned significant critical praise and won Oscars for

Best Director, Best Adapted Screenplay, and Best Actor for Adrien Brody. Kilar composed A Certain Light as part of his dramatic score to Jane Campion’s The Portrait of a Lady. With its shimmering strings and immediate and straightforward emotional appeal, A Certain Light serves as a fitting postlude to this Violins of Hope concert. It allows the listener to move from the injustices these heroic musicians suffered through resignation to acceptance and serenity. Notes by James W. Palermo

ROBERT NANCE, PRESIDENT & DIRECTOR HEARTLAND SINGS

Robert Nance is a multi-talented musician who maintains a lively schedule as a conductor, keyboardist, teacher, composer, and arts advocate. A distinguished graduate of DePauw University School of Music and the Peabody Conservatory, he is the President and Artistic Director of the Heartland Sings, which he founded in 1997. Robert has served as a panelist for the National Endowment for the Arts, a guest conductor of the Mormon Tabernacle Choir, and a performer on the Millennium Stage at the Kennedy Center. He has received many honors and awards, including the

Indiana Arts Commission Individual Artist Fellowship. The Attitude Series recordings feature Robert’s piano and organ performances, and his recent recording The Spirit of Christmas featuring Heartland Vocal Artists, is receiving rave reviews.

WILLIAM SAUERLAND, DIRECTOR OF CHORAL STUDIES PURDUE FORT WAYNE

William Sauerland enjoys a varied career of teaching, conducting, and singing. He is currently Assistant Professor of Music and Director of Choral Studies at Purdue University – Fort Wayne. As an academic, he has presented at multiple national and international conferences, including the American Choral Directors Association, Chorus America, College Music Society, Royal Musical Association, Society for Music Teacher Education, and the Forum of Music Education in Puerto Rico. His publications have appeared in the Journal of Singing, Journal of Music Teacher Education, and VOICEPrints.

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As a countertenor, Sauerland has been praised by the San Francisco Chronicle for his “limpid tone and astonishing eloquence.” His recent solo appearances include the American Bach Soloists, Cantata Collective, Festival Opera Company, Folger Consort,

NOVEMBER 9 - 23 Musica Angelica, Oakland Symphony, and the Pacific Chorale. A former member of the Grammy® Award-winning vocal ensemble Chanticleer, Dr. Sauerland has sung throughout the world and recorded multiple albums for Warner Classics.

from Columbia University, and a Master of Music from the Royal College of Music in London as a Marshall Scholar. Originally from a small dairy farm in Ohio, he received a Bachelor of Music from Miami University.

Dr. Sauerland received the Doctor of Education in Music and Music Education

ANDRE GASKINS, CELLO

Principal Cellist of the Fort Wayne Philharmonic, Andre J. Gaskins enjoys a diverse musical career as cellist, conductor, composer and music educator. Maintaining an active schedule as a performing cellist, his recording of Martinu’s ‘Concertino’ for the Summit Records label was nominated for the 2004 Grammy Awards, in the category of ‘Best Performance by a small ensemble (with or without conductor)’. Mr. Gaskins has served as the Music Director and Conductor of the Oshkosh Symphony Orchestra, the Columbus Ballet Orchestra, the University of Wisconsin Oshkosh Symphony, the Earlham College Orchestra and the Youth Orchestra of Greater Columbus. He has served as Assistant or Associate conductor with the Richmond Symphony, the Columbus State University Philharmonic and the New World Youth Orchestra. As an orchestral cellist, Mr. Gaskins served as the principal cellist of the Columbus (GA) Symphony Orchestra, the LaGrange Symphony and the Richmond (IN) Symphony. He also performs regularly as a substitute with the cello section of the Indianapolis Symphony Orchestra.

While pursuing doctoral studies at Indiana University, he served as the teaching assistant to worldrenowned cellist, Janos Starker. He also studied conducting with David Effron and composition with David Dzubay. An aspiring film composer, Mr. Gaskins has composed and performed original music for short films, documentaries and commercials. His music has been heard in commercials produced for American Express, Valspar and Chevrolet. Mr. Gaskins has been a faculty member of the Schwob School of Music at Columbus State University, the University of Wisconsin Oshkosh, Eastern Illinois University, Earlham College and the Brevard Music Center. In February of 2012, Mr. Gaskins made his Carnegie Hall debut, performing in Weill Recital Hall.

Please see page 24 for Fort Wayne Children’s Choir and Jonathan Busarow information, page 25 for Fort Wayne Ballet and Karen Gibbons-Brown information, and page 56 for Violetta Todorova biography.

Prelude 63

Alan Wagmeister and Daughter Kyra

David Wagmeister and Son, Myron

LOCAL VIOLINIST AND THE VIOLINS OF HOPE Kyra Wagmeister, violinist with the Fort Wayne Philharmonic Youth Symphony Orchestra, has been immersed with an understanding of the tragic, interesting, and even triumphant aspects of her father Alan Wagmeister’s family history in Europe. Nearly all of their extended family in Hungary and Czechoslovakia were killed during the Holocaust but a few fortunate survivors found their way to America and new lives. Before that, Alan’s grandfather, David Wagmeister, fled antisemitism in Poland, attempting to emigrate to freedom in America. From 1924 to 1926, the elder Wagmeister walked through Europe searching for a country that would receive him. Finally, on his third attempt, he was given safe passage on the American ship SS President Roosevelt to the USA, where he entered through Ellis Island. Alan Wagmeister also fondly remembers his uncle Dave Spiegel who survived the Auschwitz, Buchenwald, and Theresienstadt concentration camps. Spiegel was liberated by the Russians from Theresienstadt at the age of 19 in 1945, then emigrated to Israel before moving to the USA in the mid 1950s. His Uncle Dave always wore long sleeves to

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hide the tattoo on his arm, forced on him when he arrived at AuschwitzBirkenau. While numbers like this would come to represent David Spiegel iconic symbols of the Holocaust, the elder Spiegel avoided discussing the topic, even with his own children. Young Kyra, heir to a family lineage of survivors who thrived in the USA, is moved by the Violins of Hope project and highly anticipates the privilege of performing on one of these precious instruments at the Youth Symphony Orchestra concert on November 10. Said Kyra, “This means a lot to me - even more to me because of what my family went through. I feel as though I am doing something for people who aren’t here today. I am sharing music with them even though they aren’t here to hear it. I do it to remember that these things happened and hope that they never happen again.”

NOVEMBER 9 - 23

ALFRED MANN MEETS RICHARD STRAUSS In 1936, Alfred Mann, father of principal bass and Philharmonic librarian Adrian Mann, was just beginning studies at the Berlin Academy of Music. Because of his passport (his mother was Jewish), he left Germany to study at the Milan Conservatory, and then 3 years later found passage to America. He subsequently became an American citizen and enlisted in the US Army, first assigned to the band, then as a native German speaker sent behind enemy lines in Europe to interrogate German officers and POWs. In late April of 1945, Mann and another friend, both young lieutenants in the U.S. Counter-Intelligence Corps, were in Garmisch-Partenkirchen, Bavaria. They were friends from the Curtis Institute of Music - Mann played recorder and was a musicologist, and John DeLancie an oboist. One of the townspeople told Mann that the famous composer Richard Strauss was staying at his summer estate there. Mann visited and found Strauss teaching his grandson, using Mann’s own translation into German from the original Latin of J.J. Fux’s Gradus ad Parnassum. No doubt Strauss was shocked to meet an American GI who was author of the source he was holding as they met. Because Mann had Jewish ancestry, his name was not allowed to appear in the printed edition. (Mann’s treatise on counterpoint is still widely used in universities today and has since been translated into English.) Mann was so excited he visited again with his friend DeLancie, who proposed to Strauss the idea of an Oboe Concerto.

Strauss declined, but later reconsidered, and sent the finished work to DeLancie. Alfred Mann taught at the famed Eastman School of Music in Rochester, New York from 1980-87, after which he retired and settled in Fort Wayne to be with Adrian and his family. At the end of the war, Strauss wrote Metamorphosen, a study for 23 solo strings, one of the most profound works of the 20th Century, and the composer’s reaction to the carnage and bloodshed of World War II, which premiered in January of 1946. While Strauss never included an official explanation or explicit program for the work, the composer wrote the following at that time in his personal diary: “The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anticulture under the greatest criminals, during which Germany’s 2000 years of cultural evolution met its doom.” Photo right: “Lieutenant Mann, A Remembrance... Richard Strauss, April 30, 1945.”

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LUTHERAN HEALTH is privileged to serve LUTHERAN HEALTH is privileged to serve patients across the region with a growing patients the region with a acute-care growing family ofacross physicians, full-service family of physicians, full-service hospitals and specialty hospitals acute-care and services. hospitals and specialty hospitals and services.

WE COMMIT TO HEALTHIER COMMUNITIES WE COMMIT TO HEALTHIER COMMUNITIES

Proud to sponsor the Fort Wayne Philharmonic of Hope concert. ProudViolins to sponsor theMasterworks Fort Wayne Philharmonic Violins of Hope Masterworks concert.

Dupont, Lutheran, Rehabilitation, St. Joseph and The Orthopedic hospitals are owned in part by physicians. Dupont, Lutheran, Rehabilitation, St. Joseph and The Orthopedic hospitals are owned in part by physicians.

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NOVEMBER 9 - 23

VIOLINS OF HOPE SATURDAY, NOVEMBER 23, 2019

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

7:30 p.m. | EMBASSY THEATRE Andrew Constantine, conductor; Igor Yuzefovich, violin BRICHT Verwehte Blätter (8 Short Songs), Op. 18b Fliessend Langsam und zart Stürmisch bewegt Rasch und leicht Sehr langsam Fliessend Langsam, ausdrucksvoll Rasch MENDELSSOHN Violin Concerto in E minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo - Allegro molto vivace Igor Yuzefovich, violin WILLIAMS Theme from Schindler’s List Igor Yuzefovich, violin

INTERMISSION

MAHLER Symphony No. 1 in D major (Titan) I. Langsam schleppend II. Kräftig bewegt III. Feierlich und gemessen IV. Stürmisch bewegt

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, December 5 at 7:00 p.m.

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

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Prelude 67

VIOLINS OF HOPE SATURDAY, NOVEMBER 23, 2019

Verwehte Blätter (8 Short Songs), Op. 18b WALTER BRICHT (b. 1904, Vienna, Austria; d. 1970, Bloomington, Indiana) In its lovely new recording of music by Austrian-American composer Walter Bricht, the Fort Wayne Philharmonic is making a valuable effort to resurrect the elegant music of a composer whose voice was largely silenced by the Nazis when they came to power in Germany in 1933 and then annexed Austria in 1938. The favorite pupil of the renowned Austrian neo-Romantic composer Franz Schmidt, Bricht was rapidly making a name for himself in Vienna and beyond when Hitler came to power. Raised a Lutheran, he had little awareness that his grandparents were Jewish and that this fact would soon threaten his life and career. Suddenly, performances of his music in German cities were canceled, followed by opportunities in Vienna. Fortunately, Bricht managed to emigrate to America in 1938. However, if Bricht’s life was spared, his promising career as a composer was not. He became a beloved teacher of piano and voice at the University of Indiana School of Music, but his creative career never recovered. Deeply tied to Austrian musical culture, he felt he could not compose in a style that would appeal to Americans. We will hear Bricht’s Verwehte Blätter: a work whose delicate and ephemeral qualities suggest the blowing of leaves on the wind. Originally, it had been composed in the late 1920s as a series of piano miniatures, then orchestrated in 1932. The longest of these eight pieces lasts just two minutes; many are much shorter. Yet each gives us a fleeting mood, a glimpse of an emotionally charged image: moments that can hardly be described in words but can be conveyed beautifully in music.

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The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

Listeners who want to explore more of Bricht’s music are urged to buy the Philharmonic’s recording on the Toccata Classics label, which contains this work along with his only symphony. Its extensive, eloquent notes by “Forbidden Music” scholar Michael Haas provide much more information about Bricht’s career.

Violin Concerto in E minor, Op. 64 FELIX MENDELSSOHN (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Saxony) During the years he served as director of the Leipzig Gewandhaus Orchestra, Felix Mendelssohn was blessed with an outstanding concertmaster Ferdinand David, one of the 19th century’s finest and most versatile violinists. As early as 1835, the composer promised David a concerto to show off his remarkable abilities. But the promised concerto did not appear for nearly a decade, despite the violinist’s frequent reminders, preserved in some charmingly wheedling letters. This delay was uncharacteristic of Mendelssohn, usually a man who promptly fulfilled his obligations, musical or otherwise. But the early 1840s were particularly trying times for him. Already in demand all over Europe as both a composer and a performer, Mendelssohn in 1841 was summoned to Berlin (his family’s home) by King Friedrich Wilhelm IV of Prussia to be his court musician and establish a grandiose new conservatory. For three years, the composer dutifully served the king’s changing whims while longing to return to Leipzig. The enchanting incidental music to A Midsummer Night’s Dream was about the only good thing to come out of this frustrating period. As soon as he could gracefully extricate himself from Berlin, Mendelssohn turned to the long-delayed concerto and completed it in September 1844. It was premiered by David with the

NOVEMBER 9 - 23 Leipzig Gewandhaus on March 13, 1845. Generations of violinists and audiences can attest that the concerto — one of the most perfect ever written for this instrument — was worth the wait. As Brahms would later do with his Violin Concerto for Joseph Joachim, Mendelssohn constantly sought David’s advice and scrupulously tailored his concerto to the violinist’s skills and musical personality. Mendelssohn is usually regarded as a conservative composer, who despite his allegiance to Romanticism, followed the classical forms and feeling of Mozart and Haydn more closely than did his contemporaries. But Mendelssohn was also a true Romantic who felt free to break the rules of the classical concerto. First Movement: The breaking of old rules begins immediately as the violinist launches the buoyant principal theme in the second measure, dispensing with the customary orchestral exposition. The key of E minor adds a touch of poignancy to this expansive, openhearted melody. The most magical moment of this sonataform movement comes at the end of the development section when in a hushed, mysterious passage the soloist begins searching for the home key. Just he seems to have found it, Mendelssohn pulls a surprise: launching the soloist’s cadenza, which is customarily placed after the recapitulation just before the movement ends. It concludes with chains of rapid arpeggios that continue as the orchestra reprises the principal theme, thus binding cadenza seamlessly to recapitulation. At movement’s end, we hear a lone bassoon holding onto the pitch B. That note then rises a half step for the new key of C Major of the second-movement Andante, which the soloist begins after a brief orchestral bridge passage. This movement is in threepart song form — most appropriate here because Mendelssohn has given the soloist one of his “songs without words.” The middle section interjects passionate agitation amid the lyricism. Another bridge provides harmonic and tempo transition to the E-Major finale. Here we have one of Mendelssohn’s celebrated scherzos, a joyous, scampering romp for the soloist. Conjuring up the world of A Midsummer Night’s Dream, the woodwinds are agile companions to the violin’s gambols.

Theme from Schindler’s List JOHN WILLIAMS Born Long Island, New York, February 8, 1932 Premiered in 1993, Steven Spielberg’s movie Schindler’s List is now acknowledged as one of the great classics of film history. It received seven Oscars in 1994, including the prizes for Best Picture, Best Director, and Best Score for John Williams’ deeply moving soundtrack music. Williams was also honored with a Grammy Award for “Best Instrumental Composition Written for a Motion Picture or TV.” In 2007, the American Film Institute ranked the film as number eight on its list of the 100 best American films ever made. Based on Thomas Keneally’s book Schindler’s Ark, Schindler’s List tells the improbable but true story of Oskar Schindler, a German businessman and a member of the Nazi Party, who came to Krakow, Poland in 1939 as a war profiteer after Hitler’s conquest. At first, he was indifferent to the plight of the Jewish workers in his factories, whom he hired simply because they were cheaper. But the brutal liquidation of the Krakow ghetto shocked his conscience, and he embarked on a risky plot to save not only his employees, but also hundreds of other Jews from the gas chambers of Auschwitz. It is estimated he was ultimately responsible for the survival of more than 1,000 Polish Jews. With his Jewish assistant Itzhak Stern, he drew up a list of Jews who were “skilled workers indispensable to the German war effort” and exhausted his own wealth with copious bribes to the Nazi authorities to keep them safe. Today, Schindler is honored in Israel as a “Righteous Person” among the gentiles and buried in Jerusalem. A tree in the Avenue of the Righteous leading to the Yad Vashem Museum commemorates his heroic rescue effort. For the film’s score, Spielberg turned to John Williams, the dean of American film composers. Williams was initially so overwhelmed by the film’s subject he told the director: “You need a better composer than I am for this film.” Spielberg replied: “I know. But they’re all dead.” Central to the score is the haunting signature theme Williams first played to Spielberg on the piano. The director immediately knew who should play it for the film soundtrack: the master Israeli-American violinist Itzhak Perlman.

Prelude 69

Symphony No. 1 in D major (Titan) GUSTAV MAHLER (b. 1860, Kalischt, Bohemia; d. 1911, Vienna, Austria) When Gustav Mahler, age 29, premiered his First Symphony in Budapest on November 20, 1889, the audience responded with tepid applause and scattered boos. At subsequent performances in Berlin and in Vienna, the reaction was even more negative. Only audiences in Prague and in Amsterdam (where conductor Willem Mengelberg and the Concertgebouw Orchestra were creating something of a Mahler clique) applauded warmly. Before we start feeling smug about our superiority to those benighted audiences 125 years ago, consider what kind of music they were used to hearing. Works contemporary with Mahler’s First include Brahms’ Fourth Symphony, Saint-Saëns’ “Organ” Symphony, Dvorák’s sunny Eighth, and Tchaikovsky’s super-Romantic Fifth. Now forget about all the 20th-century music you’ve heard, time travel back to 1889, and consider how you might have reacted to Mahler’s musical mood swings, daring orchestral sounds, searing dissonances, and shocking mixture of popular and classical idioms if these were the symphonies you were accustomed to. For in what was probably the most remarkable and daring first symphony ever written (only Berlioz’s Symphonie fantastique can match its shock value), Mahler revealed himself as fully and radically himself. Strangely, Mahler had expected an easy success. As he later told his friend Natalie Bauer-Lechner: “Naively, I imagined it would be child’s play for performers and listeners, and would have such immediate appeal that I should be able to live on the profits and go on composing.” When Mahler was composing this work, he would have dearly loved to have been able “to live on the profits,” for he was leading a rather precarious existence. He jumped rapidly from one opera house to another as assistant and eventually chief conductor. But, despite his unquestioned talent, he found keeping a job difficult. Obstinate and uncompromising, Mahler made a bad subordinate. Symphony No. 1 was composed during the winter of 1887-88 in moments stolen from his work as co-

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conductor of the Leipzig Stadttheater; by May, he had been forced to resign. By September, he had signed a contract with the Royal Opera House in Budapest, but that too lasted little more than a year. The symphony the Budapest audience heard was different from the one we hear today. Already an innovator in matters of symphonic form, Mahler had originally created a fivemovement work divided into two sections: the first comprising the opening movement, a slow movement, “Blumine,” eventually tossed out, and the Scherzo second movement; the last, the Funeral March and the fiery finale. He called it a “Symphonic Poem.” The subtitle “Titan,” after a novel by Jean Paul Richter, was later added, then dropped as Mahler grew uneasy with having non-musical programs attached to his symphonies. Unsatisfied, he returned many times to revise this work. Mahler admitted to a friend that the work was inspired by a passionate love: “The symphony begins where the love affair ends; it is based on the affair which preceded the symphony in the emotional life of the composer.” Who was the lady? In 1884, Mahler wrote a song cycle for vocalist and orchestra, Songs of a Wayfarer. It was perhaps inspired by a thwarted affair with a soprano in Kassel, Johanna Richter; two of its songs figure prominently in this symphony. But the lady might also have been Marion von Weber, the wife of a prominent Leipzig citizen; this scandal probably hastened Mahler’s departure from that city. Mahler marked the slow introduction to the first movement as “Wie ein Naturlaut”: “like a sound of nature.” He compared it to life awakening on a beautiful spring morning. A quiet pedal on A, stretched from highest violins to lowest basses, hovers expectantly. Gradually, little motives come to life: a pattern of descending fourths in various woodwinds (the interval of the fourth is central to this work), a military fanfare on the clarinets (Mahler grew up in a army garrison town), woodwind bird calls. Then the tempo accelerates, the key solidifies onto D Major, and we hear in the cellos the jaunty walking theme of the second song of the Wayfarer cycle in which the disappointed lover strides out into the countryside to drown his grief in nature’s beauty. Later, the walking song returns and gradually builds to a big climax, the only loud moment in this subtle movement. En route to this climax, listen for a series of heavily accented, downward swoops in the violins; this anguished music will return much later in the symphony’s finale.

NOVEMBER 9 - 23 Movement 2 is a robust peasant ländler dance based on the composer’s 1880 song, “Hans und Grethe,” and likely inspired by his rural Bohemian childhood. The clattering sounds are the violas and cellos striking the strings with the wooden part of their bows. The trio section is very sentimental, even a little boozy, with lurching glissandos for the strings and some tipsily dissonant harmonies for the woodwinds. The funeral-march third movement in D minor is what really outraged Mahler’s first audiences, for it mixes tragedy and levity, “vulgar” music with “serious” symphonic themes in a schizophrenic manner unique to this composer. The stifled sound of a muted solo bass lugubriously introduces the German children’s song “Brüder Martin” (known to us as “Frère Jacques”) as a funeral dirge, which spreads solemnly in canon through the orchestra. Then Mahler abruptly launches an incongruous episode of uptempo popular music c. 1880, mingling traces of klezmer with the schmaltz of a Hungarian gypsy cafe. And then amid all

this craziness, he offers up a lyrical section in G Major of great peace and loveliness, using the melody of the last Wayfarer song, in which the unhappy lover finds solace under a linden tree. “The cry of a wounded heart” (Mahler’s description) assaults us in the screaming, violently dissonant opening of the finale. Hysteria reigns for many moments, only to yield unexpectedly to peace: one of Mahler’s most beautiful spun-out melodies shared between the cellos and violins. The frenzy returns, but trumpet fanfares signal triumph to come. But first we return to the slow morning music with which the symphony began. In a final struggle, the heavy downward-swooping violin motive from that movement finds resolution in the trumpets’ victory theme. Following Mahler’s instructions, the seven horn players rise to their feet and play “as if to drown out the entire orchestra” in one of the most thrilling endings in the symphonic repertoire. Notes by Janet E. Bedell copyright 2019

IGOR YUZEFOVICH, VIOLIN

Violinist Igor Yuzefovich has most recently been appointed as Concertmaster of the BBC Symphony Orchestra, having previously served in the same role with the Singapore Symphony Orchestra, The Hong Kong Philharmonic, and prior to that, as Assistant Concertmaster with the Baltimore Symphony Orchestra. In addition to a busy orchestral performing calendar, Igor Yuzefovich continues to be an active chamber musician, often reuniting with the Monument Piano Trio which he co-founded in 2004. The trio made its concert debut in the US to critical acclaim and has since captivated audiences across the United States and in China. Its debut recording, featuring works by Brahms, Shostakovich and Schoenfield received high praise from critics and audiences alike. While Mr. Yuzefovich’s concerts and recitals have taken him from Carnegie Hall to the Cairo Opera House, across Europe and throughout Asia, he has been equally committed to educating the next generation of musicians as an Artist Faculty at the Yong Siew Toh Conservatory in Singapore and is

sought after for solo and chamber music masterclasses around the world. Born into a musical family in Moscow, Russia, Mr. Yuzefovich began his violin studies at the age of 5, and soon after enrolled at the Gnessin Music School, studying with Irina Svetlova. In 1991, Mr. Yuzefovich moved to the United States where he continued his violin studies and later earned advanced degrees from The Peabody Conservatory under the tutelage of world renowned pedagogue Victor Danchenko. When he is not leading the BBC Symphony Orchestra, Mr. Yuzefovich can be seen and heard in his frequent appearances as guest concertmaster with many of world’s well-respected orchestras.

Prelude 71

ANDREW CONSTANTINE, MUSIC DIRECTOR

“The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield.

-The Times of London

Born in the northeast of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the SchleswigHolstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire. A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring

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it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met.” In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art.” Earlier in 1991, Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.” Constantine’s repertoire is incredibly broad and, while embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian

music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable; we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but to keep the flame of belief alive and be a resource and supporter of all music educators.” Another project created by Constantine, geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programs the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007, he accepted the position of music director of the Reading Symphony Orchestra in Pennsylvania - after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates.

Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as “the best concert in the last ten years.” Other recent engagements included concerts with the New Jersey Symphony, a return to the St. Petersburg Philharmonic, the Filarmonica de Gran Canarias, and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.

“Elegiac, romantic, and joyous” MUSIC DIRECTOR ANDREW CONSTANTINE’S RECORDING

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Prelude 73

CALEB YOUNG, ASSOCIATE CONDUCTOR

Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series. Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival.

a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop.

In 2016 Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the prestigious Salzburg Festival. Young was also selected as

A native of Asheville, North Carolina, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen.

Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013. KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9.

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TROY WEBDELL, DIRECTOR OF YOUTH ORCHESTRAS

American born and trained, Maestro Troy Webdell continues to enthrall audiences and connect people through the language of music. His innovative programming and balance between contemporary music, world music, and the standard orchestral repertoire has created a welcomed niche in the world of classical music. In May 2018, Webdell was selected to become the new Director of Youth Orchestras for the Fort Wayne Philharmonic in Fort Wayne, Indiana. Under his leadership, the Youth Symphony Orchestra will travel to New York City in April 2020 and perform a featured concert in the Isaac Stern Auditorium/Ronald O. Perelman Stage at Carnegie Hall. Webdell is also the founder, music director, and conductor of South Shore Orchestra, a regional professional orchestra of 70+ musicians located in Valparaiso, Indiana. The South Shore Orchestra is currently in its 15th season and has performed numerous concerts throughout the USA and China featuring national and international guest artists. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renown concert halls in over 40 major cities including Beijing, Hangzhou, Shanghai, Nanjing, Qingdao, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, Xiamen, and Xian, where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In 2013, Maestro Webdell conducted the world premiere and 26 performances of Max Lee’s modern interpretation of the Chinese classic opera Romance of the Western Chamber which was completely sung and spoken in Mandarin Chinese. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus and SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia which

also featured the world premiere of Xiao He’s Long Song. Maestro Webdell has earned acclaim for his orchestral conducting in the USA, receiving outstanding musical/orchestral direction awards for staged and concert productions of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street (2001 & 2004), Jason Robert Brown’s PARADE (2005), and Mitch Leigh’s Man of La Mancha (2006). In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music. As an educator, Webdell taught band and orchestra students for 24 years in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students had consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China. Additionally, Maestro Webdell has been a collaborator in developing El Sistema based youth orchestras in the USA, interactive educational symphony concerts, and community “Unity Event” concerts featuring over 500 community chorus and orchestra musicians. In August 2019, Webdell joined the faculty of the Purdue University Fort Wayne School of Music to conduct the University and Community Orchestra.

Prelude 75

BENJAMIN RIVERA, CHORUS DIRECTOR

Benjamin Rivera has served as Chorus Director and regular conductor of the Fort Wayne Philharmonic since 2013, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Rivera also serves as Choirmaster of Chicago’s Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. After completing a one-year engagement as the Associate Conductor of GRAMMYwinner The Washington Chorus, where he prepared the ensemble for performances with the National Symphony Orchestra at the Kennedy Center and Wolf Trap, Rivera joined the conducting staff of the Chicago Symphony Chorus in 2018. Rivera joins the Florentine Opera Company in the fall of 2019 as their Chorus Master, ad interim. A member of the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings. Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction,

Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music.

FORT WAYNE PHILHARMONIC CHORUS BOARD OF DIRECTORS

OFFICERS

Sarah Reynolds, President Sara Davis, Vice President Greg White, Treasurer Carrie Veit, Secretary

music theory, and history. In addition, he has adjudicated competitions (solo and ensemble) and led master classes and in-school residencies.

BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Joseph Foltz Katy Hobbs Sarah Reynolds

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Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White

FORT WAYNE PHILHARMONIC CHORUS

BENJAMIN RIVERA, CHORUS DIRECTOR LOUISE BONTER PODIUM SOPRANO Joanna Abel Ashley Adamson Karen Campbell Sheila Chilcote-Collins Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Crystal Harter Amy Headings Katy Hobbs Carol Jackson Margo Kelly Natasha Kersjes Maria Kimes Sara Kruger Kaitlin Lamison Katie Littlejohn Jane Meredith LeeAnn Miguel Meg Moss Kasey Needham Brenda Potter Clarissa Reis Rebecca Smith Denise Snider Mary Snow Sherrie Steiner Carrie Velt Sarah Vetter

JONATHAN EIFERT, ASSISTANT DIRECTOR

ALTO Nancy Archer Cathryn Boys Nancy Brown Alison Case Jeri Charles Caitlin Coulter Cassie Daniels Lenore DeFonso Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Camille Lively Joanne Lukas Sharon Mankey Elena Parker Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Cecilia Snow Sue Snyder Ann Morrison Spinney Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum

TENOR Matthew Bowman Thomas Cain Benjamin Cunningham David Eisenheuer Eddie Foggs Charles Goddard Sarah Kindinger John T. Moore Tom Neuer David Arthur Persley Mark Richert John Sabo Greg White BASS Thomas Baker John Brennan Thomas Callahan Jon Eifert Joe Foltz Jonathan Haggis Gerritt Janssen Steve Kaduk Johnathan Liechty Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Jan Silver-Gorges David Tovey

Prelude 77

FORT WAYNE PHILHARMONIC ORCHESTRA

ANDREW CONSTANTINE, MUSIC DIRECTOR

CALEB YOUNG, ASSOCIATE CONDUCTOR

BENJAMIN RIVERA, CHORUS DIRECTOR LOUISE BONTER PODIUM

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair

CELLO Andre Gaskins, Acting Principal Morrill Charitable Foundation Chair

Johanna Bourkova-Morunov, Associate Concertmaster Michael & Grace Mastrangelo Chair

Deborah Nitka Hicks, Assistant Principal Judith & William C. Lee Family Chair

IONE BREEDEN AUER FOUNDATION PODIUM

Timothy Tan, Assistant Concertmaster John & Julia Oldenkamp Chair Christine Chon, Principal Second Wilson Family Foundation Chair

Brian Klickman Linda & Joseph D. Ruffolo Family Foundation Chair Martin Meyer

Betsy Gephart, Acting Assistant Principal Second Eleanor & Lockwood Marine Chair

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann

Marcella Trentacosti Wayne L. Thieme Chair

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Michael Acosta Tomer Marcus Alexandra Tsilibes Pablo Vasquez Kristin Westover Lipeng Chen Daniel Colbert Janet Guy-Klickman Linda Kanzawa Ervin Orban Colleen Tan

Brian Kuhns Andres Gil

VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles & Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney & Janet Myers Heiney Chair Theodore E. Chemey III Erin Kipp Erin Rafferty

Jane Heald David Rezits

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FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. & Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends’ Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair

BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound, Chuck & Lisa Surack Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair

Alex Laskey John D. Shoaff Chair

PERCUSSION Alison Chorn, Principal June E. Enoch Chair Kevin Kosnik North American Van Lines funded by Norfolk Southern Foundation Chair

Michael Galbraith Walter D. Griest, MD Family Chair

Kirk Etheridge Patricia Adsit Chair

HORN Vacant, Principal Mr. & Mrs. Arthur A. Swanson Chair

Katherine Loesch TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair

HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair

CHAMBER MUSICIANS

Brian Johnston, Second Trombone

FORT WAYNE PHILHARMONIC CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Gina Buzzelli Nicole Deguire Amber Dimoff Regan Eckstein Janice Eplett Emelinda Escobar Renee Henley Taishi Namura Linda Oper Sam Petrey Anna Poitrowski Joachim Stepniewski Michelle Taylor Emily Thompson Lauren Tourkow

VIOLA Rachel Goff Carl Larson Emily Mondok Charlie Pikler Ashley Ray Anna Ross Liisa Wiljer CELLO Martyna Bleke Brook Bennett Peter Opie Heather Scott iris Ji BASS Nick Adams Brad Kuhns John Tonne

FLUTE Janet Galbraith Patricia Reeves Jessica Warren OBOE Jennet Ingle Jonathan Snyder Stephanie Patterson CLARINET Gavin Arnold Laurie Blanchet Sergey Gutorov Dan Healton Dan Won

BASSOON Alex McCrory Alan Palider Keith Sweger Mike Trentacosti

TROMBONE Kevin Dombrowski John Grodrian David Parrilla Garth Simmons

HORN Kurt Civilette Amy Krueger Charlotte O’Connor Renèe Vogen

TUBA Paul Mergen

TRUMPET Matt Anklan Matt Baker Alex Carter Dan Price Charles Roberts

PERCUSSION Renee Keller Ben Kipp Dan Zawodniak Jason Yoder KEYBOARD Jonathan Mann

Prelude 79

A MESSAGE FROM THE PHILHARMONIC FRIENDS

Hello Friends! What an honor and a privilege to be serving as the President of the Philharmonic Friends for the 2019-2020 season! I am completely sold out on our mission to identify, facilitate and grow the musical talents of the young people of Fort Wayne. The love of music, the classics and of performing live must be nurtured for the benefit of future generations. As a society, we need this music and our musicians to thrive. It has personally been a rewarding adventure despite having no musical talent, just a love of music and the arts in general. To this end, some of what we do includes providing scholarships for private lessons, this year to 25 students totaling about $10,000. We loan instruments to kids whose families might not otherwise be able to afford the rental rates. We have instruments from all categories that we take to Instrument Playgrounds before each Family Concert for a hands-on experience where, sometimes for the first time ever, kids are able to handle and play instruments. We sponsor a Young Artist Competition and the winner is awarded a $1000 scholarship and the opportunity to play with the Orchestra at a Family concert. We are so very thankful for funding received from the Hefner Foundation that allows us to provide these educational, student-based programs. We are very proud that the Instrument Loan program has been nationally recognized. Other endeavors are funded entirely by fundraising, such as bus trips and raffles. Moreover, the truth

is that all philanthropic organizations rely, not only on the generous donations of the community and its members, but also on the time and talents of its members. The Friends amaze me with how kind, giving and creative they all are. As their President this year, I would love to see two things. First, new members joining or rejoining our ranks because just the simple level of membership is so important and encouraging to our mission. Second, that all members would consider giving a little of their time so that these worthwhile programs have the manpower needed to continue in the level of excellence that the Fort Wayne music community is accustomed to. Your support as a member is very valuable to us. Students join at just $10 for the year and individuals at $40. You can find membership application information on the website, philharmonicfriends.com or message us on Facebook at Fort Wayne Philharmonic Friends. I can personally be reached at carolkellerrealtor@gmail.com. Will you be our friend?

FORT WAYNE PHILHARMONIC FRIENDS OFFICERS Carol Keller – President Sara Davis – Vice President Education Jayne Van Winkle – Vice President Hospitality Patty Arata – Recording Secretary Kathy Sessions – Corresponding Secretary Sarah Reynolds – Treasurer

OCTOBER | NOVEMBER 2019

BOARD MEMBERS Patty Arata ClarAnn Bengs Barbara Boerger Ana Bowman Tadd Bowman Mary Campbell Sara Davis Emily Elko Cynthia Fyock Sandra Hellwege Pat Holtvoigt

Carol Keller Peggy Lee Judy Lopshire Nellie Bee Maloley John McFann Sarah Reynolds Kathie Sessions Marcella Trentacosti Alexandra Tsilibes Julie VanLue Jayne Van Winkle Galen Yordy

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

EXECUTIVE COMMITTEE Chuck Surack – Chair Mary Fink – Treasurer Sherrill Colvin – Vice Chair Mark Hagerman – Vice Chair Kendall Dudley Billows – Vice Chair Vicki James – Secretary Ben Eisbart – Immediate Past Chair Sharon Peters – Vice Chair

Anita Hursh Cast Sherrill Colvin Kendall Dudley Billows Raymond Dusman, MD Ben Eisbart Ron Elsenbaumer Mary Fink Carole Fuller Michael Galbraith Mark Hagerman Jonathan Hancock Vicki James Carol Keller Carol Lindquist Andrew Lott

Scott Miller, MD Dan Nieter Tammy O’Malley Sharon Peters Judy Pursley Sarah Reynolds Dar Richardson Jeff Sebeika Carol Shuttleworth Philip Smith Steve Smith Nancy Stewart Chuck Surack Barb Wachtman

HONORARY BOARD

Patricia Adsit Howard L. & Betsy* Chapman Will & Ginny Clark Drucilla (Dru) S. Doehrman William N. & Sara Lee Hatlem Diane S. Humphrey

Jane L. Keltsch Dorothy Kittaka William Lee Carol Lehman Elise D. Macomber Michael J. Mastrangelo, MD

Jeanette Quilhot Richard & Carolyn Sage Howard & Marilyn Steele Zohrab Tazian W. Paul Wolf Donald F. Wood*

PAST CHAIRMAN OF THE PHILHARMONIC

1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1975 1975-1977 1977-1979 1979-1981

Carl D. Light* Frank Freimann* Byron H. Somers* James M. Barrett, III* Frederick A. Perfect* Miss Helene Foellinger* Robert C. Hanna* J. Francis Cahalan, Jr.* John S. Sturgeon* Allen C. Steere* Alfred Maloley* James F. Anglin* Howard A. Watters* Janet H. Latz* John H. Crocker, Jr.* Mrs. Robert L. Greenlee* George T. Dodd Anita Hursh Cast Jackson R. Lehman*

1981-1983 1983 1983-1985 1985-1987 1987-1989 1989-1991 1991-1993 1993-1995 1995-1997 1997-1999 1999-2001 2001-2003 2003-2005 2005-2007 2007-2011 2011-2013 2013-2015 2015-2017

James K. Posther* Mrs. Donald R. Sugarman John H. Shoaff Howard E. Steele Willis S. Clark The Hon. William C. Lee Leonard M. Goldstein* David A. Haist Scott McGehee Michael J. Mastrangelo, MD Thomas L. Jones Michael E. McCollum Peter G. Mallers Michael J. Mastrangelo, MD Eleanor H. Marine Greg Myers Carol Lindquist Ben Eisbart *Indicates Deceased

Prelude 81

FORT WAYNE PHILHARMONIC STAFF

ADMINISTRATIVE STAFF

DEVELOPMENT

James W. Palermo Managing Director

Brittany Hall Assistant Managing Director

Roxanne Kelker Executive Assistant to the Managing Director & Music Director

Stephanie Wuest Annual Fund Manager

ARTISTIC OPERATIONS Jim Mancuso General Manager Lorenzo Kleine Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/Staff Arranger Joel Dreyer Stage Manager Dalen Wuest Artistic & Development Coordinator EDUCATION Jason Pearman Director of Education & Community Engagement Anne Preucil Lewellen Education & Ensemble Coordinator

FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Emily Shannon Director of Marketing & Public Relations Daniel Cavalancia Ticket Operations & Sales Manager Brooke Sheridan Publications & Graphics Manager Doug Dennis Communications & Public Relations Manager MaryAnne Skora Patron Services Associate Hayley Johnson Patron Services Associate

Aaron Samra Club Orchestra Program Manager Troy Webdell Director of Youth Orchestras Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic. Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777. Sensory Friendly Kits: Sensory friendly kits are available at the Embassy Theatre; please inquire at the Box Office to check out a kit. Sensory friendly kits contain noise reducing headphones, several small fidget items, a communications deck, identification wristband, a weighted comfort item and sanitizing wipes.

OCTOBER | NOVEMBER 2019

FORT WAYNE PHILHARMONIC SPONSORS

The Fort Wayne Philharmonic thanks these sponsors for their generous contributions over the past twelve months. Please call 260.481.0774 to become a sponsor. SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation

Chuck & Lisa Surack

The Robert, Carrie and Bobbie Steck Family Foundation

APPASSIONATO ($150,000 TO $249,999) Chuck & Lisa Surack

The Paul Yergens and Virginia Yergens Rogers Foundation

ALLEGRETTO ($50,000 TO $149,999) Anonymous (1) June E. Enoch Foundation

Robert, Carrie, and Bobbie Steck Family Foundation

FOUNDERâ&#x20AC;&#x2122;S SOCIETY ($25,000 TO $49,999) Rick & Vicki James

VIRTUOSO SOCIETY ($10,000 TO $24,999)

Prelude 83

The Donald F. Wood and Darlene M. Richardson Foundation Miller Family Fund O’Malley Charitable Fund

STRADIVARIUS SOCIETY ($5,000 TO $9,999)

Janice H. Eplett, in memory of Winifred Howe and F. Russell Eplett

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) Anonymous (1) Bose McKinney & Evans LLP Fort Wayne TinCaps

Jim & Gloria Nash James W. Palermo Jeff Sebeika

Carol Shuttleworth & Michael Gavin

PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Anita & Bill Cast Parrish Leasing, Inc. Physicians Health Plan

Purple Blaze Enterprise, LLC Judy Pursley Jeremy & Clarissa Reis

Alfred Zacher

CONCERTMASTER ($500 TO $999) Edward & Kristen Brower

Cosmopolites Business & Professional Women’s Club

CONTRIBUTOR ($1 TO $99) Debra F. Russell IN KIND DONATIONS A Party Apart Arby’s BluSpoon Catering Bravas The Clyde

Don Hall’s Catering Excell Color Graphics Firefly Coffee House Markey’s Rental & Staging Pizza Hut

OCTOBER | NOVEMBER 2019

Subway Taco Bell Wendy’s

PHILharmonious AUCTION SPONSORS AMC Theatres Arena Dinner Theatre Auburn City Steakhouse B. Antonio’s Pizza BakerStreet Belmont Beverage Biaggi’s Ristorante Italiano Ana & Tadd Boman Hope Bowie Bradley Gough Diamonds Judi Bruck Bussick Orthodontics Casa Ristoranti Italiano Bill & Anita Cast Catablu Grille Christopher James Menswear Cinema Center Ginny Clark Andrew Constantine Crestwoods Frame Shop Nicole Croy Cunningham Optical One North Irwin F. Deister Pat Demond Family Edwin Coe Spirits Madelane Elston Fort Wayne Ballet Fort Wayne Civic Theatre Fort Wayne Children’s Zoo

Fort Wayne Dance Collective Fort Wayne Komets Fort Wayne Philharmonic Board of Directors Free Wind Farm French-Deal Fine Art French Kande Natalee Fuller Doug & Cynthia Fyock Grandma Sue’s Pies and More Grant Park Music Festival Habegger Furniture Hall’s Restaurants Holiday World Honeywell Center The Hoppy Gnome Diane Humphrey Emma Hyndman Indiana Caverns Fred Inman Katharos Art & Gift Pamela Kelly Mad Anthonys/Shigs In Pit Eleanor Marine Mike’s Car Wash Scott Miller Moose and Mollies Café Dan & Beth Nieter The North End

Olive Twist Tammy O’Malley The Oyster Bar James W. Palermo Paper Moon Papier Creative Framing Parkview Health Pebblestone Retro, Sarah Schwaiger Peekaboo Lane Peg Perego Pizza Hut Proximo Sarah Reynolds Rick & Vicki James Rolling Pin Bakehouse Ruth’s Chris Steak House San Martin Designs, Steven & Susan Shaikh Chuck & Lisa Surack/ Sweetwater Three Rivers Music Theatre Two EE’s Winery Vera Bradley Viva Vintage 4U Stephanie Wuest The Yergens Rogers Estate Al Zacher Robyn Zimmerman

Prelude 85

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

The Fort Wayne Philharmonic gratefully acknowledges the following individuals for their generous gifts received within the past twelve months. Every attempt is made to include donors who supported the Philharmonic during that time. Please contact the office if errors have been made. For information about supporting the Philharmonic’s 2018-2019 Annual Fund, contact the Development Office at 260.481.0774. ALLEGRETTO (GIFTS OF $50,000+) Vicki & Rick James

Chuck & Lisa Surack, Sweetwater Sound

FOUNDERS SOCIETY (GIFTS OF $25,000 TO $49,999) Anonymous (1) VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy* Chapman Tod Kovara

Floyd & Betty Lou Lancia Eleanor H. Marine Winifred Mayes

Dr. Evelyn M. Pauly* Russ & Jeanette Quilhot Virginia Lee Zimmerman

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Dr. & Mrs.* Alfred Allina Drs. David Paul J. & Jeneen Almdale George & Linn Bartling David & Janet Bell Sherrill & Sarah Colvin Mr. & Mrs.* Irwin F. Deister Jr.

Ben & Sharon Eisbart David & Mary Fink Fort Wayne Metals Mark & Mary Kay Hagerman Drs. Kevin & Pamela Kelly Kirsten LaSalle

Antoinette & Dr. H. S. Lee Kevin & Tamzon O’Malley Michael & Carla Overdahl Judy Pursley Jeff Sebeika John Shoaff & Julie Donnell

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Holly & Gil Bierman David Billows & Kendall Dudley Billows David S. Goodman Patricia S. Griest William N. & Sara Lee Hatlem Dr. Rudy & Rhonda Kachmann

Dorothy K. Kittaka Scott A. & Susan C. Miller James W. Palermo David & Sharon Peters Carolyn & Dick Sage Carol Shuttleworth & Michael Gavin

Philip & Rebecca Smith W. E. Spindler Robert & Donna Streeter Barbara Wachtman & Tom Skillman Al Zacher

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) Anonymous (5) Jeane K. Almdale Tim & Libby Ash Family Foundation Norma & Tom Beadie Donna & Charlie Belch Katherine Bishop Barbara L. Boerger

Janellyn & Glenn Borden Dr. & Mrs. Todd P. Briscoe Mr. & Mrs. Craig D. Brown Barbara Bulmahn Anita & Bill Cast Willis S. Clark Tom & Margaret Dannenfelser

OCTOBER | NOVEMBER 2019

Keith & Kyle Davis Tim & Ann Dempsey Sandra K. Dolson George & Ann Donner Jack & Tammy Dyer Mrs. J. Robert Edwards Emily & Michael Elko Fred & Mary Anna Feitler

Susan & Richard Ferguson Ronald B. Foster Elizabeth Frederick Jane Gerardot & Jeff Leffers Eloise Guy Jonathan & Alice Hancock Bob & Liz Hathaway James & Anne Heger Leonard Helfrich Sattar & Marlene Jaboori Marcia & Andy Johnson Ginny & Bill Johnson Jim & Barbie Lancia Suzanne Light Drs. David & Carol Lindquist Anne Longtine & Marco Spallone

Mr. & Mrs. Duane Lupke Anne & Ed Martin Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Daniel & Beth Nieter Josh & Cristina Parrish Norma J. Pinney Joseph & Lindsay Platt The Rev. C. Corydon Randall & Mrs. Marian Randall Caroll & Bill Reitz The Rothman Family Foundation Dr. Janet Schafer

Jeanette Schouweiler Tracy & Gretchen Shellabarger Stephen R. & Anne S. Smith Nancy & David Stewart Kathleen M. Summers Carol Terwilliger Rachel A. Tobin-Smith Mark Troutman & Ann Wallace Nancy Vendrely Wayne & Helen Waters Joseph Weaver Dr. James C. Wehrenberg Herbert & Lorraine Weier Matthew & Sara Wilcox Leslie & John Williams Dr. & Mrs. Richard E. Zollinger

CONCERTMASTER (GIFTS FROM $500 TO $999) Anonymous (2) David Anzelmo Nancy F. Archer Scott & Barbara Armstrong Mr. & Mrs. William Arnold Jim & Ellen Barr Matt, Beth, & Grace Bechdol Michael & Deborah Bendall David W. Bischoff Richard & Cathryn Boys Nelson & Mary Coats Mrs. Virginia Coats Dr. & Mrs. Fred W. Dahling Sara Davis Erica Dekko Susan Devito George & Nancy Dodd Anita G. Dunlavy Bruce & Ellen England Joseph P. Fiacable John D. & Jane G. Foell Mr. & Mrs. Herb Fuller

G. Irving Latz II Fund Steven & Nancy Gardner Tim & Ann Gibson Thomas E. Green Mrs. Lois Guess Sharon Gustin Linda Hansen & Tim McElwee Ms. Susan Hanzel William & Sarah Hathaway Mr. & Mrs. Addison Johnson Gordon Johnson Kenneth & Martha Johnson Richard & Mary Koehneke Bruce & Mary Koeneman Ed & Linda Kos David Krabach Jon & Kathy Lassus Dr. & Mrs. John W. Lee David & Melissa Long Anne Lovett Paul & Pauline Lyons Thomas & Dianne May

Lusina McNall Jim & Alice Merz Ed & Martha Miller Paul & Bonnie Moore Suzon Motz Kenneth & Linda Moudy Old Crown Brass Band Joan K. Olinghouse William & Melinda Peiserich Keith Raftree Bill & Sue Ransom Dr. Stephen & Carmen Reed Maryellen M. Rice Kay Safirstein Frederica Schaefer Melissa & Peter Schenkel Scot C. Schouweiler & Julie Keller Ruidong Sun & Xue Zhang Carolyn & Larry Vanice

FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (16) Max M. Achleman* Fran & Irv Adler David & Ellen Ahlersmeyer Larry Allen Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter Mr. & Mrs. Brad Altevogt Ambulatory Medical Management Patty Arata Ms. Mary Jo Ardington Tom & Pamela Armbuster Mel & Ruth Arnold Milton & Barbara Ashby Lonnie & Mary Au Dick & Adie Baach Mr. & Mrs. A. Gerald Backstrom

Craig & Peggy Balliet Linda Balthaser Cheryl Bartkavage John & Cathy Batuello Michael & Kay Bauserman Amy & John Beatty Tony & Pat Becker Mr. & Mrs. Don Bendel Bix & Anita Benson Diana Berich Jim & Gay Berlien Larry & Martha Berndt Norb & Melissa Berninger Mr. H. Stephen Beyer Vivan Bickley Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Matthew & Tracy Bilodeau

Joyce Bir David Blackwell Norma Bloom Steven Bloomfield Ann Blue Mr. & Mrs. John P. Boerger Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Bruce Bone Rebecca Bouse Dennis Bowman Anne Marie Bracht James Bradley Ruth A. Braun Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan & SuzAnne Runge

Prelude 87

Roberta Brokaw Evelyn Brosch-Goodwin Mr. David Brumm & Ms. Kim McDonald Mr. & Mrs. William & Joan Bryant William & Dorothy Burford Carol E Burns Dr. David & Gayle Burns Barbara W. Bushnell Joyce & Paul Buzzard Andy & Peg Candor John & Jill Case Janice Cave Barbara Chamberlin David & Patricia Childers Steve Christman Dennis Chubinksi David Coats Mark & Michele Colchin Barbara Collins Nathan Comsia Joseph & Nancy Conrad Matt Converse Dr. John N. Crawford Wendell & Mary Cree Bob & Margita Criswell Dan & Marjorie* Culbertson Pat Darif & Sally Thomas Janet Dawson & Jerry Smith Tom & Holly DeLong Martha Derbyshire Mrs. Kathy Dew Sharon Dietrich Barbara Doehrman Steven Doepker Gene & Carol Dominique Mr. & Mrs. Donald L Duff Kirk Dunkelberger Ann H. Eckrich Sally & Ned Edington Don & Mary Kay Ehlerding Susan Eickenberry Cynthia Elick Robert Ellison Lillian C. Embick Albert & Jeanne Emilian EPCO Products Pam Evans-Mitoraj Pauline Eversole Dave & Yvonne Fee Beverly Fetcko Fitzharris Family Michael & Marcia Flood Dick Florea & Sandy Shearer Robert Forte William Freeman Sheryl A. Friedley Michael Galbraith Leonard Garrett Robert & Barbara Gasser Sharran Gavin Betsy & Geoff Gephart Doug & Ruby Gerber Mark & Susyn Giaquinta Michele Gillespie

Roy & Mary Gilliom Tertuliano & Marcia Giraldo Robert & Constance Godley William & Mary Goudy Janelle & Steven Graber Larry Graham Norm & Ronnie Greenberg James B. Griffith David & Myra Guilford Mary K. Gynn Jay & Sandra Habig Svetlana Hagan Susan Halley Vince & Dianne Hansen Barbara & Brian Harris Dennis & Joan Headlee David Heath Franklin & Dorothy Heath John Heath Jacqueline Heckler Marsha Heller Sandy Hellwege Greg & Emma Henderson Ms. Julie Henricks Mayor Tom C. & Cindy Henry Lois Hess Lucille Hess Mark & Debbie Hesterman Bob & Karen Hoffman Tom & Jane Hoffman Steven & Becky Hollingsworth Philip Hudson Marlene Huffman Tom & Mary Hufford Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. George & Jane Irmscher Kenneth Ivan Carol Jackson Tom Jaquish Jill Jeffery Mike Johnson David & Kathleen Johnston Alex & Sharon Jokay Don & Joyce Jordan Susan Kaiser Larry & Annette Kapp Lois Kaufmann-Hunsberger Emily & Ryan Keirns Charles & Carol Keller LuAnn R. Keller Kendall & Davis, Inc. Bridget Kelly Jane L. Keltsch Mr. & Mrs. Chris Kidd Sheila D. Kiefer Michael & Sarah Kindinger Stephen King John Kirchhofer Audrey Kirk Karen Knepper James & Janice Koday Arthur & Elaine Konwinski Dr. & Mrs. Daniel Krach

OCTOBER | NOVEMBER 2019

Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger John Kruk Georgia Kuhns Miriam Larmore Scott & Amy Lazoff Drs. Chung-Seng & S. Sage Lee William & Judith* Lee Brad & Donna Lehman Douglas Lehman Steve & Rhonda Lehman Mrs. Frances LeMay Michael & Mary Lewis Al & Janet Lindsten Arthur & Marcia Litton Marlene Lobsiger Chuck Logar Dr. Joshua Long Judith Lopshire Andy & Rachel Lott Frank Luarde Jerry L. Mackel M.D. Larry & Janet Macklin Peg Maginn Peter & Christine Mallers Harry & Barbara Manges Rob & Natalie Manges Gale Mann Jane Martin Cheryl Mathews Elmer & Patsy Matthews David & Kathie Matz Judith E Maxwell Linda McArdle Susan J. McCarrol Mary McDonald John H. & Shelby McFann Mr. Scott McMeen Samuel & Anita Medici Leanne Mensing Elizabeth Meyer Sharon Michael David & Ann Miller Kerry A. Miller CJ & Andrea Mills Mr. & Mrs. Carl Moellering David & Linda Molfenter Mary Helen Moore Noel & Diane Moore Ray & Nancy Moore Deborah Morgan Eleanora Moricz Chuck & Becky Morris Charles & April Morrison Marylee Morton Kevin & Pat Murphy Ryan C. Murray Paul Nalliah Steve Naragon & Pam Higgins Ted & Deb Neuenschwander Bob Nicolai David Griebel & Cathy Niemeyer Margaret Nolan

Beverly Norton Mary Novosel Dr. Kay Novotny Elizabeth Nygaard & Travis M. Sims Don & Jenny Oberbillig John Oâ&#x20AC;&#x2122;Connell & James Williams Kristy Ohneck Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty Oâ&#x20AC;&#x2122;Shaughnessey Dr. C. James & Susan J. Owen Jan Paflas Emmanuel & Noemi Paraiso Pat & Mac Parker Rick Partin Brian & Sue Payne Penny Pequignot John & Liat Peters Katherine Phillips David & Billie Pierre Raymond & Betty Pippert Marianne P. Platt Anthony Porter Edwin & Cynthia Powers Marvin & Vivian Priddy Sara Pulse Linda Pulver Marlene Purdy John & Diana Reed Paul & Lu Reiff Jeremy & Clarissa Reis Bev Renbarger Carl & Jaci Reuter Paul Rexroth Madonna Reynolds Sarah & Richard Reynolds Ruth & Phillip Rivard Rita Robbins Karen Roberts Richard & Ann Robinson Janet Roe Suzanne & John Rogers Jim* & Beth Rohrer

Ron & Rhonda Root Susan Rosenberg Stanley & Enid Rosenblatt Stan & Gretchen Roth Shari Roy David & Patricia Rumon Marilyn Salon Marshall Sanders Mr. & Mrs. Robert Savage Jo Ann Schall Mr. & Mrs. Robert Scheimann Gail Scheithauer Albert & Ruth Ann Schlitt Tom & Mary Ellen Schon Chuck & Patty Schrimper Ed Schultz Richard & Ruth Schwartz Ms. Elizabeth Sheets Amanda & Charles Shepard Ms. Cornelia L. Shideler Wayne & Ann Shive Eunice Shoaff Katherine Sider David T. & Nancy Sites Ramona & Dick Sive Mary Jane Slaton Jan Sloan Dr. Darryl & Sharon Smith Hope Swanson Smith Keston Smith & Sandra Guffey Lynda D. Smith Sharon M. Snow Julia Snyder Drs. David A. & Judith J. Sorg Michael E. Sorg Sal & Jackie Soto Rachel Starr Mrs. Lois A. Steere David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Michael & Cheryl Summers Angela Boerger & Jeffrey Strayer Daniel Swartz Lynn & David Syler

Steven & Ruth Anne Teeple Judge Philip R. Thieme Carl & Cynthia Thies Andrea Thomas Craig Tidball Larry Till Larry & Robin Tinsley Mr. Jarod Todd Julianne Toenges Robert Toth Carmen Tse & David Broerman Scott & Jenny Tsuleff J. Phillip Tyndall Don & Amy Urban Jayne Van Winkle Walter Vandagriff Ronald VanDiver Alan Wagmeister Ted & Robin Wagner Andrea Waingold Daniel & June Walcott Carol Ward John & Pat Weicker Angela Weidler William Weinrich Keitha & Steve Wesner Thomas & Tamara Wheeler Dr. & Mrs. Alfred A. Wick David Wiegman John & Nancy Wilhelm Ellen K. Wilson Hope Wilson John & Deb Wilson Sue & Matt Wojewuczki Lea B. Woodrum Bette Worley Franklin & Judith Wright Phil & Marcia Wright Rudy Wuttke Mark Yde Mr. Galen Yordy Bob & Jan Younger Regina Zartman Dodie Zonakis

CONTRIBUTOR (Gifts from $1-$99) Anonymous (17) John Anderson Susan & Gene Andert Thomas Andrews Margaret Ankenbruck Patricia Arthur Walt Asp Russell Augsburger June Augspurger Richard & Matoula Avdul Billie Baldwin Warren & Barbara Barnes Ruth Barry Joyce Bassett Marjorie Baumgartel Mario Bautista Buck & Valerie Becker

David & Jane Beer Konner Bender Jan Berghoff Natasha Berning Betsy Berry John Bertsch Julie Buetel Arlan Birkey Kathleen Black-Haluska Leslie Blakley David & Janice Bleeke Mrs. Louisa Boggs Russell & Melanie Bookout Barbara Boston Candy Bower Robert Brandt Ms. Martha Breitwieser

Susan Britton Molly Brogan Todd Brookmyer David Brown Steven Buckles H. Carolyn & David L. Buckmaster Daniel Bultemeyer Dr. Carol A. Buttell Nancy Button Darlene Buuck James Castillo Phillips Barbara Clark Eva Collis Raymond J. Correa Michael Courtney Earl Covault Carol Crosby

Prelude 89

Wanda Crouse Benjamin Cunningham Joseph Curcio Tamara Dahling Pauline Daly Marleen De Winter Ted & Margie Deal Dr. & Mrs. William Deans John Deiser Maureen Delassus Margaret DeMeritt Albert Deogracias Shirley A. Deschler Sheila Dick Jacqueline Didier Mrs. Carol Diskey Tim Donovan Cathy Edwards Jonathan Ellsworth Janet & Bill Elsea Carol Ensley Stanley Ensley Dwight Ericsson Pam & Steve Etheridge Dr. & Mrs. John Fallon Taylor Feigner Dave Ferro Beth Fisher Luci Foltz Peter Ford Ewa Forgalska Michele Fortune Susan Fox Francis & Ann Frellick Eugene Fulmore Marcia Futter Carol Gaff Scott Gagnon Suzanne Galazka William Gansert Stephen Geders Shane Geist Nancy Getzin* Brandy Gibson Dave & Barb Gibson Marilyn Green Janis Greene Paul & Tauna Griffith Joellen Gross Mr. & Mrs. John Gross Timothy Grossman Leah Habib William Hackett Alexandra Hall Ben Hall Robert Hatcher Tod & Michelle Hauter Patricia Hays Frances Headings John Hein Martin Heiny Judy Helmchen Anthony & Susan Henry Kitty Herod Sandra Hetrick Terach Hoeppner-Dick

Denise Hoff Kenneth Hoffman Forrest Hoover Randall Hoover William Huffman & Rae Huffman Julie Hursey Russell Jehl Monica Johnson Katrina Jones Mark Jordan Gerald & Marie Kanning Kenton Kaufman Diane Kennedy Diane Kessens Priscilla King Robert Kirsch Joel & Donna Kline Colby Knerr William G. Knorr* Dave Kobiela Nick Kochanek Jim & Carol Kohrman Joy Krug Mr. & Mrs. Stephen Kummernuss Babette Lam Jan Lamar Nancy Lamothe Denise Lapsley Mary LaRocque Kenneth Lash Pamela Laux James Leazier Jeanne Lewis Brent & Karna Ley David Long Michele Lord Judy Lower Richard Luedeke Dale Lutz & Virginia Kreamer-Lutz Jim & Pat* Mallers Christopher Marlow Ruth Martin Barbara McCoy Conie McCoy Jim & Dee McCrea Mr. & Mrs. R.L. McDowell Heather McGinnis Howard McKeever Roger & Rachel McNett Ronald Menze Tom & Joann Meyer Maury Mishler Misty Mitra John & Julanne Molitor Bob Mondok Dorothy Montgomery* Peter Moomey Kirsten Moore Ronald Moore Dawn Morris Joseph Muhler Maxwell Murphy Michael Myers Pamela Nelson-Crawford Ed Neufer Thomas Neumann

OCTOBER | NOVEMBER 2019

Jim & Julia Nixon David Oberstar Harry Oelschlager Angela & Dan Oâ&#x20AC;&#x2122;Neill Marvella Overfield Kethleen Parr Carrie Patterson PEO Chapter AN Nick & Giovanna Perego Ms. Nigel Perry Amanda & Shane Pickett Sue & Mike Pries Mr. & Mrs. Delmar J. Proctor David Quick John & Barbara Quick Joseph Quinlisk Emma Reidenbach Ruth Reighter Matthew Reust Robert & Nancy Rhee Paula Neale Rice Mary Ann Ripperger Gwenn Roberts Max & Sandy Robison Dean Rodenbeck Mary Roth William Rujevcan Carl & Joyce Satre Robert Sausaman June Savoie Thomas Schall Robert & Nancy Schantz Dr. & Mrs. Ronald Scheeringa Dale Scherman Kerry & Gail Scheurich Harold Schieferstein Dan & Jan Schult Lisbeth Scott Kevin Scully Barbara Shaffer Susan Shaw Emily Shearer Alexis Shoda Norma Shondell Robert Short Alison Singleton Michael Slosson Craig Smith Lynette Smith Mr. Paul Smith Scotty & Vicki Smuts Stan & Linda Sneeringer Judith Snook Mr. & Mrs. David Snyder Sue Snyder Susan Sockrider Gerald & Barbara Sorg Don & Linda Stebing Mitchell Steffen Alan Steiner Sylvia Stell Aaron Stewart Rex & Jo Stinson Krehl E. Stringer Brenda Sullivan Dolores Szymanski

Laura Taliaferro Elijah Tatman Carolyn Thatcher Marilynn Toops Patricia Trolio Linda Troop Phillip Trout Mary T. True Dale Tucker Sandy McAfee & Jim Turcovsky Tim Twiss Harriet Ulmer S.S. & Patricia Urberg

Luann Vachon Mare Virnich Caroline Voors* Shelli Vucich Gordon & Kay Walter Halon Walton Larry Wardlaw Ann Warner Bob Wasson Mr. & Mrs. George E. Weatherford Ann Weiss Vicki Welch Tina Wells

Mary Lou Whateley Marie Wiebe Qian Williams Terry Winkeljohn Gerald Witte Adam Wittorp Mr. & Mrs. Stephen Wright Alex Wulpi Karmon Young Dennis & Gretchen Zimmerman James Zix Bruce Zoschnick

FOUNDATION AND PUBLIC SUPPORT

MAESTOSO ($250,000+) The James Foundation APPASSIONATO ($150,000 TO $249,999) Anonymous (1)

English Bonter Mitchell Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

ALLEGRETTO ($50,000 TO $149,999) June E. Enoch Foundation Anonymous (2) Edward D. & Ione Auer Foundation Foellinger Foundation Arts United of Greater Fort Wayne W. Gene Marcus Trust The Dekko Foundation

Steel Dynamics Foundation The Robert, Carrie, and Bobbie Steck Family Foundation

FOUNDER’S SOCIETY ($25,000 TO $49,999) AWS Foundation Community Foundation of Greater Fort Wayne

The Huisking Foundation Indiana Arts Commission and National Endowment for the Arts

Lincoln Financial Foundation The Rifkin Family Foundation

VIRTUOSO SOCIETY ($10,000 TO $24,999) Eric A. & Mary C. Baade Charitable Purposes Trust Olive B. Cole Foundation K. Robert Ehrman Endowment Fund

Edward M. and Mary McCrea Wilson Foundation The Rea Charitable Trust The Donald F. Wood and Darlene M. Richardson Foundation

Edward and Hildegarde Schaefer Foundation O’Rourke Schof Family Foundation

STRADIVARIUS SOCIETY ($5,000 TO $9,999) Ecolab Foundation

Ian & Mimi Rolland Foundation

Journal-Gazette Foundation

Prelude 91

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) 3Rivers Credit Union Foundation

BAE Systems Community Investment

Community Foundation of Whitley County

PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Adams County Community Foundation Arthur and Josephine Beyer Foundation Community Foundation DeKalb County

Gerald M. and Carole A. Miller Family Foundation Noble County Community Foundation Porter Family Foundation The Salin Foundation

Steuben County Community Foundation Jennie Thompson Foundation Mary E. Van Drew Charitable Foundation

CONCERTMASTER ($500 TO $999) City of Angola Kappa Kappa Kappa Zeta Upsilon

Kosciusko County REMC Operation RoundUp Fund Psi Iota Xi - Theta Theta Chapter

Randall L. & Deborah F. Tobias Foundation

FIRST CHAIR ($100 TO $499) Psi Iota Xi - Rho Chapter

FORT WAYNE PHILHARMONIC REGIONAL PARTNERS

The Philharmonic gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. The Philharmonic is honored to perform for enthusiastic audiences throughout the Northeast Indiana region and welcomes and values each contribution that makes these concerts and education performances possible. Thank you! MULTIPLE COUNTY SUPPORT Dekko Foundation English Bonter Mitchell Foundation

Parkview Health

Steel Dynamics

Antoinette K. Lee Porter Family Foundation

Joe & Janell Schwartz

Dr. & Mrs. C. B. Hathaway The James Foundation

Rick & Vicki James Scheumann Dental Associates

ADAMS COUNTY Adams County Community Foundation Eichorn Jewelry, INC. DEKALB COUNTY Auburn Moose Family Center Beth, Grace, & Matt Bechdol Community Foundation of DeKalb County

OCTOBER | NOVEMBER 2019

FULTON COUNTY Psi Iota Xi - Eta Mu Chapter KOSCIUSKO COUNTY Ann S. Borne Donn & Linda Baird Irwin F. Deister, Jr. Ben & Elaine Johnston Kosciusko REMC Operation Round-up Fund Fritz Kreutzinger & Sharon Brennan

Omer & Susan Kropf Cindy & Fred Rasp The Salin Foundation in Memory of Bill Salin Smoker Craft, Inc. STAR Financial Bank Jim & Patrice Marcuccilli and Tom & Joan Marcuccilli

Randall & Deborah Tobias Foundation, Inc. Wawasee Property Owners Association Dr. & Mrs. Leamon D. Williams Al Zacher

Dekko Investment Services

Jennie Thompson Foundation

Pat & Bill Culp Carol & Joe Frymier Suzi Hanzel Karen & Jim Huber Javets Inc. Lake James Association Gerald M. and Carole A. Miller Family Foundation

Max & Sandy Robison Rho Chapter of Psi Iota Xi Steuben County Community Foundation Vestil Mfg. Jim & Kathy Zimmerman

AdamsWells Internet Telecom TV

Troxel Equipment

Community Foundation of Whitley County

STAR Financial Bank

NOBLE COUNTY Campbell & Fetter Bank STEUBEN COUNTY Charles & Ruth Ann Sheets Indiana Arts Commission Angola American Legion Post 31 City of Angola Kappa Kappa Kappa, Inc. Zeta Upsilon Chapter Dr. & Mrs. Jonathon Alley Dr. & Mrs. Todd P. Briscoe WELLS COUNTY Anonymous (1) John & Jolin Whicker WHITLEY COUNTY ChromaSource, Inc. Churubusco Family Dentistry Dr. & Mrs. Richard Zollinger

Steel Dynamics Foundation

Regional Patriotic Pops Series MARK MILLETT

President & CEO, Steel Dynamics “At Steel Dynamics, we believe that the right people in the right place are our greatest strength. And it’s in those communities where our co-workers live and work where we provide support through our Steel Dynamics Foundation. In northeastern Indiana, we’re pleased to support the Fort Wayne Philharmonic which enriches the life of tens of thousands… ‘bringing music to our ears.’ ”

Prelude 93

FORT WAYNE PHILHARMONIC ENDOWMENT FUND

The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See pages 80-81 for musician chair endowments. Chorus Director Podium Louise Bonter

Freimann Chamber Series In Memory of Frank Freimann

Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry, by Liz and Mike Schatzlein

Youth Symphony Walter W. Walb Foundation

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Family Concerts Howard and Betsy Chapman Young Peopleâ&#x20AC;&#x2122;s Concerts The Helen P. Van Arnam Foundation

Music Director Podium Ione Breeden Auer Foundation

Philharmonic Preschool Music Program Ann D. Ballinger

Guest Violinist Chair Nan Oâ&#x20AC;&#x2122; Rourke

Radio Broadcasts Susan L. Hanzel

BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Oscar H. & Elda A. Albers* Marjorie R. Cavell* Frederick Beckman* Frank Freimann*

Charlotte A. Koomjohn* Doris Latz* Betty Okeson* Sanford Rosenberg*

Lynne Salomon* Alice C. Thompson

FORT WAYNE PHILHARMONIC TRIBUTES

The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. In Memory of Elizabeth (Betsy) Chapman Janellyn & Glenn Borden Anita & Bill Cast Sarah & Sherrill Colvin In Memory of William Haines Kimberley Haines

In Memory of Carolyn Hoffman Anonymous (1) Karl & Diane Blust Carol Bower Karen K. Butler Roy Cooksey Paul & Eva Correll Pam Dager

OCTOBER | NOVEMBER 2019

Barbara A. Griffin Linda W. Harmon Arden & Cathy Hoffman Rodney & Susan Hoffman Jane L. Keltsch Jennifer Keltsch Rebecca Klenke Shirlie R. Schmidt

In Memory of Winifred F. Howe and F. Russell Eplett Janice Eplett In Memory of Judith Lee Sarah & Sherrill Colvin

In Memory of Naida MacDermid Mary Campbell Fred & Mary Anna Feitler Kenneth & Martha Johnson Lan-Con Electric Mary Parker Max Platt Ford-Lincoln Barbara Wachtman & Tom Skillman Jack & Joyce Walker

In Memory of Gerladine Raufer Ms. Nigel Perry In Memory of Donald F. Wood Anita & Bill Cast In Memory of Olga Yurkova Fred & Mary Anna Feitler Kenneth & Martha Johnson Carl & Jaci Reuter Paula Neale Rice Benjamin & Alexia Rivera

FORT WAYNE PHILHARMONIC ENDOWMENT CONTRIBUTORS

The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0770, or by email at info@fwphil.org for further information. Comprehensive Campaign: Music for Everyone Anonymous (4) Edward D. & Ione B. Auer Foundation George & Linn Bartling Anita Hursh Cast Will & Ginny Clark Sarah & Sherrill Colvin Sara Davis Mr. & Mrs.* Irwin F. Deister, Jr. Ben & Sharon Eisbart English Bonter Mitchell Foundation David & Mary Fink Fort Wayne Metals Franklin Electric Carole Fuller The Goldstein Family Foundation Mark & Mark Kay Hagerman Family

Alice & Jonathan Hancock Leonard Helfrich Rick L. & Vicki L. James Tod S. Kovara Suzanne Light Carol & David Lindquist Eleanor H. Maine Michael J. Mastrangelo Scott A. Miller, MD Dan & Beth Nieter Kevin & Tamzon O’Malley O’Rourke Schof Family Foundation James W. Palermo Parkview Health Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation David & Sharon Peters

Owen & Jean Pritchard Foundation Judy Pursley Sarah & Richard Reynolds Carol Shuttleworth & Michael Gavin The Robert, Carrie and Bobbie Steck Family Foundation Chuck & Lisa Surack, Sweetwater Barbara Wachtman & Tom Skillman Charlie & Jeanne’ Wickens Donald F. Wood* & Darlene M. Richardson Paul Yergens and Virginia Yergens Rogers Foundation, Inc. Daryl Yost Alfred J. Zacher

Endowment Contributors: Mr. & Mrs. Max Achleman Mr. & Mrs. James Ackley Dr. Verna Adams Patricia Adsit, in memory of Gaylord Adsit Mr. & Mrs. Walter Ainsworth Mr. & Mrs. Oscar Albers Sabah Al-Saud Howard & Jeane Almdale Mr. & Mrs. James Almdale Brad Altevogt, in memory of Jeff Altevogt Mr. & Mrs. Dale Amstutz Dorothy Anglin, in memory of James Anglin Bob & Pat Anker

Dr. & Mrs. James Arata Drs. William & Mary Ellen Argus Dr. & Mrs. Thomas Armbuster Dessie Arnold & Richard Dunbar Jr., in memory of Eddy & Beth Lydy Brown Mr. & Mrs. Melvin Arnold Mr. & Mrs. Richard Arnold, in memory of George & Esther Hull Karen & Gerald Arthur Barbara & Milton Ashby Irene & Jim Ator Mr. & Mrs. Edward Auer Virginia Ayers Adie & Dick Baach Mary A. Bach

A. Gerald & Pauline Backstrom H. Norman Ballinger, in memory of Ann Ballinger Linda Balthaser Mr. & Mrs. James Barrett III R. Janice Barton Mr. & Mrs. Glenn Basham Norma & Thomas Beadie Arthur A. Beal Mr. & Mrs. Glen Beams Mr. & Mrs. John Beatty Dennis & Nancy Becker Mary & Joseph Becker Mike & Ellen Becker Pat & Tony Becker Mr. & Mrs. Charles Beckman Betty & Frederick Beckman

Prelude 95

Nancy Bellinger Mr. & Mrs. William Benford Mr. & Mrs. Phillip Bennett Colleen & Jim Benninghoff Colleen Smith Benninghoff Trust Robert & Vera Benninghoff Bonita & William Bernard Bethel United Methodist Church – Chancel Choir Brenda Betley George Bewley Holly & Gil Bierman The Reverend Dr. Virgil Bjork, in honor of the Masson Robertson Family in memory of Frances Mae Bjork Mr. & Mrs. William Black Sherry Blake Connie & Darrell Blanton Dr. & Mrs. Peter Blichert Bob & Judy, in honor of Ervin Orban, in honor of Christine Thompson, in honor of David Borsvold, in honor of Deb & Andrew Hicks, in honor of Eric Schweikert, in honor of Braham Dembar, in honor of Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of our musicians, especially those who are soloists Jocelyn & Jim Blum Ann & David Bobilya Phyllis Boedeker Virginia & Richard Bokern, in memory of Loved Ones Jim & Lois Boomer Janellyn & Glenn Borden Sid & Bonnie Bostic Rebecca Bouse Patricia Boyle, in memory of B.C. Boyle, in memory of Mary A.J. Boyle J. Charles Braden Charlotte D. Bradley Kim & Dwight Brandon Robert Braun Dr. Helene Breazeale, in honor of Andrew Constantine David & Faye Brennan Martha Brenner, in memory of Elsa Brenner Dr. Wm. Lloyd Bridges Dr. Glenn Brinker & Ms. Willi Ratliff, in honor of Mr. & Mrs. John Brinker Carolyn Brody Mrs. Robert Brokaw, in memory of Harriet Parrish Roberta Brokaw, in memory of Miriam Louise Brokaw Joan Baumgartner Brown Barbara & John Bruce Beverly & Larry Brunke Bob & Margaret Brunsman Rosemary Bucklin James Bueter Barbara J. Bulmahn John & Paula Bullman Mr. & Mrs. Wayne Burnside Karen Butler Sean Butler & Paula George Dr. Carol Buttell Joyce & Paul Buzzard

Mr. & Mrs. Thomas Callison Princess Cameron Kevin Campbell Isa & Elizabeth Canavati Alan Candioto Peg & Andy Candor Mr. & Mrs. John Cantrell Richard Carlson Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Charles Walter Hursh Brian & Vicki Castle Donald & Sally Caudill Kim Caudill Mr. & Mrs. M. Stuart Cavell Charles Caylor, MD Mrs. Harold Caylor Mr. Michael Cayot Elizabeth & Howard Chapman Charles Chidester, in memory of Jean Chidester Mr. & Mrs. C. Gregory Childs Will & Ginny Clark Mr. & Mrs. Beresford Clarke Don Cleary Willis Clouse Mr. & Mrs. Lowell Coats Mr. & Mrs. John Coe Nancy Cole Annelie & Bob Collie, in memory of Capt. Otto Eichrodt, in memory of “Suse” Gitterman Eichrodt, in memory of Judge Turner, in memory of Mrs. Zula Collie Sherrill & Sarah Colvin, in memory of Herbert Cooper Gwendolyn & Donald Converse J. Philip & Susan Cooling Cook Patricia Cook Mr. & Mrs. Herbert Cooper Harry Crawford Dr. & Mrs. John Crawford Rosemarie & Stephen Crisafulli Kathleen & Robert Crispin Dawn, Dave & Nate Crofton Patricia & Robert Cross Brenda & David Crum Michael Crump Dr. & Mrs. John Csicsko Mr. & Mrs. King Culp Joseph Culver Gloster Current Jr. Bill & MaryAnn Dahlman Albert & Yvonne Dahm Edward & Linda Dahm Mr. & Mrs. George Davis Janet Davis Mr. & Mrs. Ronald Davis Ted Davis Judy & Wayne Dawes Cathleen & David Debbink Cindy & Mark Deister Gwen & Dick DeKay Martha & William Derbyshire Jane & Tom Dickson Roslyn Didier Beverly Dildine Mr. & Mrs. John Dillard Mr. & Mrs. Lloyd Doehrmann Mr. & Mrs. Richard Doermer Mr. & Mrs. Fred Doloresco Nancy & Harley Donnell Mr. & Mrs. Richard Donnelly George & Ann Donner

OCTOBER | NOVEMBER 2019

Mr. & Mrs. Barry Dorman Dr. Robert Doyal Mr. & Mrs. George Drew Douglas Driscoll Mr. Richard Dunbar, Jr. Delores Dunham Phyllis Dunham Dr. & Mrs. John Dyer Dot & Bill Easterly Lawrence Eberbach Mr. & Mrs. Thomas J. Eckrich Mr. & Mrs. John Edris, Jr. Dr. & Mrs. J. Robert Edwards Ben & Sharon Eisbart Cynthia Elick Mr. & Mrs. C.B. Ellis, Jr. Constance Ellis Madelane & Ralph Elston Thomas Elyea Lillian C. Embick, in memory of Byron L. Embick Bruce & Ellen England English, Bonter, Mitchell Foundation June Enoch Dr. & Mrs. James Epps Richard Erb Mr. & Mrs. Walter Erxleben Rev. James & Helen Eshleman James Evans Trust Mr. & Mrs. Charles Eversole Dow & Angelique Famulak Dorothy Faulkner Mr. & Mrs. Robert Fay Mary Anna Feitler Susan & Richard Ferguson Vernell & Peter Fettig Charles Fine Gloria Fink Mr. & Mrs. Richard Fink Betty Fishman Margaret & Mark Flanagan, Jr. Cleon Fleck Richard E. Ford Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn Theresa & Michael Franke Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C. William Goebel Mr. & Mrs. Edward Goetz Jr.

Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm Mrs. Hugo Gottesman Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty Dave & Sandy Haist Dr. & Mrs. Fouad Halaby Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B. F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD David Kaminsakas, MD

Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD Robert Swint, Sr., MD Gregory Tomlinson, MD Ravi Vaela, MD Stacie Wenk, MD Carl Wrobleski, MD Christopher Zee-Cheng, MD Ronald Heilman John Heiney, in memory of Janet Heiney, in memory of S. Marie Heiney Leonard Helfrich Jerome Henry Dr. & Mrs. T.L. Herendeen Nancy & Philip Hershberger, MD Deborah & Andrew Hicks James & Dorothy Hilmert Ann Hoard Jenny & Andrew Hobbs Mark Hochstetler & Mary Maloney Dr. & Mrs. Arthur Hoffman Donald Hoffman Dr. & Mrs. Gregory Hoffman Colleen J. Hohn Hook Drug Foundation John & Dawn Hopkins Nancy & Tuck Hopkins Jody & Jim Horein Suzanne & Michael Horton Barbara & Phillip Hoth Mrs. Rod Howard Mary & Tom Hufford Amanda Hullinger & Family Diane Humphrey David & Nancy Hunter Leonard Iaquinta Gordon & Marie Iddles Martha Herbert Izzi Jo Bess Jackson, on behalf of The Windrose Ensemble Ms. Ruthie Jackson Marlene Jessup Sheila & David Joest Ginny & Bill Johnson Mary & George Johnson, in memory of M. Johnson Anderson Mr. & Mrs. Kenneth Johnson Mr. & Mrs. M. James Johnston Barbara Jones Mr. & Mrs. Christopher Jones Mr. & Mrs. Joseph Jones Mr. & Mrs. Thomas Jones Richard Juergens, MD Philip & Phyllis Kaiser Dr. & Mrs. Martin Kaplan Dr. & Mrs. Gerry Kaufman Dr. & Mrs. Carleton Keck Marcile Keck Keefer Printing Company, Inc. Leslie Keeslar

Mr. & Mrs. David Keim Dale Kelly Pamela Kelly, MD & Kevin Kelly, MD Mr. & Mrs. Geoffrey Kelsaw Jane Keltsch, in memory of Donald Keltsch Dr. & Mrs. Norman Kempler Diane Keoun Craig & Diane Keoun Dr. & Mrs. S. Bruce Kephart Anne Kern Mr. & Mrs. Ross King Dr. & Mrs. Robert Kittaka, in memory of Mr. Kizo KometanI, in memory of Kumako Kittaka, Beloved Mother John & James Knight Foundation Mr. & Mrs. Lynn Koehlinger Mary Koehlinger Bruce & Mary Koeneman John Korte Tod Kovara, in memory of Earl Kovara, in memory of Judy Ann Kovara Fritz & Joan Kraber Bil & Shirley Kransteuber Krouse Foundation Hedi & Irwin Krueger Keith Kuehnert Mr. & Mrs. Don E. Lahrman Mr. & Mrs. Rex Lamm Mr. & Mrs. Theron Lansford Dr. & Mrs. William LaSalle Janet & Bud Latz Mr. & Mrs. William Latz William Lawson Doretta Laycock Pat Leahy Mr. & Mrs. Ivan Lebamoff Ruth Lebrecht Dr. Chung-Seng & Sage Lee Antoinette & H.S. Lee John Lee, MD Judith & William Lee Mr. & Mrs. Joseph Leeuw Dr. & Mrs. Robert Leininger Mr. & Mrs. Gerald LeMasters Mr. & Mrs. James Lewellen Paul Liechty David & Carol Lindquist Mr. & Mrs. Nocholas Litchin David & Melissa Long Anne Longtine & Marco Spallone Judy & Gerald Lopshire Eleanor Ludy Duane & Carol Lupke Margaret & Doug Lyng Mr. & Mrs. William Macomber Mr. & Mrs. George Mallers Peter & Christine Mallers, in honor of the Philharmonic musicians & staff Joyce Mallory Nellie Maloley Sylvia Manalis & Richard Manalis Don Mansfield George & Mary Marchal Mr. & Mrs. Michael Marchese, Jr. Mrs. Charles Marcus Greg Marcus Wilda Gene Marcus Trust Eleanor & Lockwood Marine Christina & Stephen Martin

Prelude 97

Don & Eleanor Martin Nancy & Victor Martin Wayne Martin & Nancy Olson-Martin Christian & Michelle Maslowski Michael Mastrangelo, in memory of Grace Mastrangelo Michael & Grace Mastrangelo George & Doris Mather Judge & Mrs. Dalton McAlister Mrs. Byron McCammon Emery McDaniel Shelby & John McFann, in memory of Sarah Smith & Ben McFann J. McFann Consulting Co. Monarch Capital Management Monty McFarren Scott & Charles McGehee George McKay Mr. & Mrs. Richard McKee Mrs. Thomas McKiernan Lee McLaird Mary McLisle Mr. & Mrs. Alan McMahan McMillen Foundation Joan McNagny Eugene & Betty McQuillan, in memory of Betty McQuillan Donald Mefford Julie & Bob Mehl Mr. & Mrs. Richard Menge, in memory of Elsie Menge Fred Meriwether Mr. & Mrs. Edwin Metcalfe Ralph Meyer Sidney & Barbara Meyer Susan & David Meyer Dr. & Mrs. Joseph Meyers Mr. & Mrs. George Mikula Barbara & Joe Miller Bradley Miller Kerry Miller Mr. & Mrs. P. Michael Miller Susan & Scott Miller, MD Dr. & Mrs. Michael Mirro Judge & Mrs. Alfred Moellering Mr. & Mrs. Charles Momper Monarch Capital Management Mr. & Mrs. Frank Monroe Mr. & Mrs. Bruce Montgomery Bill Morgan Aloyse Moritz James Morrell Amy Morrill Trust Morrill Charitable Foundation Marie Moser Sue & Rowland Moser Dr. & Mrs. Dwight Mosley Mr. & Mrs. Lindy Moss Mr. & Mrs. Leslie Motz Mrs. Nancy Moyer Akira Murotani & Alexandra Tsilibes Mr. & Mrs. John Murray Mr. & Mrs. Wilbur Nahrwold Ralph & Becky Naragon Gloria & Jim Nash National Endowment for the Arts Agnes Nelson, in memory of Sheldon Nelson Marilyn Newman Barb & Tom Niezer Mr. & Mrs. Carson Noecker

The Carson & Rosemary Noecker Family Foundation Carol Nole, in memory of Bobbie & Bob Shilling Walter & Margaret Nollen North American Van Lines & Norfolk Southern Foundation Catharine Norton, in memory of Philip Norton Sally & David Norton Terrence Nufer Marta & Jim Oberlin Carol & Joe Offerle Mr. & Mrs. Harry Okeson Mr. & Mrs. John Oldenkamp Mr. & Mrs. Larry O’Maley Ervin & Cynthia Orban The O’Rourke-Schof Family Foundation Connie Overholser Harry & Ruth Owen Mr. & Mrs. Ralph Paetz Janet & Daniel Paflas, MD Patricia & Maclyn Parker Harriet & Robert Parrish Kathy & Michael Parrott Kevin & Ann Patrick Patrick Payment Mr. & Mrs. Kenneth Pearson Lucio & Ann Perego Douglas & Lenore Perry Mrs. Theodor Petry Pat & John Pfister Phelps Dodge Philharmonic Staff, in recognition of Christopher D. Guerin Ron Philips Dr. & Mrs. Richard L. Phillips Richard Phillips, in memory of Evelyn Phillips Mr. & Mrs. Richard Phillips Mr. & Mrs. Douglas Pinner Poinsatte-Altman Foundation Mr. & Mrs. Howard Polk Mrs. H. Leslie Popp Jr. Vivian Purvis David Quilhot Mr. & Mrs. A. Russell Quilhot, in memory of Mr. & Mrs. Byron Holmes Somers Barbara Mann Ramm Dr. & Mrs. Fred Rasp Mrs. J. E. Rawles Betty Rayl John Reche Dr. & Mrs. John Reed Mr. & Mrs. Thomas Rehrer Paul & Lula Belle Reiff Carroll & Bill Reitz Laura Ress Robert & Nancy Rhee Nancy Rieke Willis & Anne Ritter Ann & Dick Robinson Mr. & Mrs. Don Robinson Max & Sandy Robinson Phyllis Roby Mr. & Mrs. Richard Roese David & Kathy Rogers Nancy Rogers Ian & Mimi Rolland Sanford Rosenberg Trust Philip & Barbara Ross Madelon Rothschild

OCTOBER | NOVEMBER 2019

Drs. Roush & Roush, Inc. Emily & Matt Roussel Bette Sue Rowe Phillip & Ruth Ruder Mr. & Mrs. Joseph Ruffolo Carol Lynn Rulka Deb & Bob Rupp Rabbi Richard & Lois Safran Richard & Carolyn Sage Lynne Salomon Dr. & Mrs. Joel Salon Alma Salzbrenner Ann & Morrie Sanderson Nancy & Tom Sarosi Saturday Club Schaefer Foundation Patricia Schaefer Liz & Mike Schatzlein, in honor of George Schatzlein Timothy Scheidt Letha Scherer Kathleen & Dale Schipper Mr. & Mrs. Donald Schmidt Phillis Schmidt, in memory of Eugene Schmidt, MD Jeanne Schouweiler, in memory of Edwin Schouweiler William Schreck Schust Foundation Mike Scott Mr. & Mrs. Frank Sechler Mr. & Mrs. Daniel Serban Mr. & Mrs. William Serstad Shearson Lehman Hutton Inc. Erin Sheehan Joan & Don Sherman Roqua Shideler, in memory of Jack Shideler, Jr. John Shoaff & Julie Donnell, in memory of John Shoaff Mr. & Mrs. Thomas Shoaff Mack Short Mary & Robert Short Carol Shuttleworth & Michael Gavin Dr. & Mrs. James Sidell C. David & Ann Silletto Pauline Ware Silva Mark & Sharon Simmons Roberta & Robert Simmons Hank & Marilyn Skinner Sledd Foundation Mr. & Mrs. Walter Sloffer Michael Slutsky & Jean Tipton, in memory of Tasha Tipton Dr. Edra Smiley Mr. & Mrs. Daniel Smith Herbert & Donna Snyder Byron Somers Foundation Carol Baxter Somerville Thelma Somerville Kathryn & Ray Sommers Shari & Jim Sousley William Spindler Mr. & Mrs. Arthur Spirou Barbara Spreen Square D Company Staehle Foundation Ronald Stagg Star Financial Bank – Deposit Services Howard & Marilyn Steele Mr. & Mrs. Allen Steere

Lois A. Steere, in memory of Allen C. Steere Mr. & Mrs. A. James Stein Todd & Janet Stephenson Rev. & Mrs. Daniel Stewart Nancy & David Stewart Marjorie Stewart, in memory of Carlton Stewart Amy Stone Robert Stouffer Edith Stout Mr. & Mrs. Leo Stroncczek James & Jeanne Leita Stump Styles Beyond Salon Carl Suedhoff, Jr. James Suelzer Thomas Summerill Kathleen Summers Mrs. Thomas Summers Sunriver Music Festival Friends The Bowerman Family of Sunriver Sunset Drive Neighbors, in memory of Betty McQuillan Chuck & Lisa Surack & Sweetwater Sound, in honor of Samuel Gnagey Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas

Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc. Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Mr. & Mrs. Robert Walda Jane & Frank Walker Mr. & Mrs. John Walley Mr. & Mrs. James Walper Esther Walter Robert & Irene Walters Nathan & Natalie Wanstrath Marie & David Warshauer Michael & Ruth Wartell Bob & Martha Wasson Mrs. Richard Waterfield Helen & Wayne Waters Mr. & Mrs. Herbert Weier

Dorothy Weiss Mr. & Mrs. Paul Welker Nicholas Werdell Lynn Wernet Kristin Westover Cathleen Westrick Mrs. Charles Weyrick Catherine White Perry & Jackie White Dana Wichern Dr. & Mrs. Alfred Wick Mr. & Mrs. Ray Wiley William Willennar Foundation Fred & Marion Williams Eloise Willis Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf Melody Wolff Lawrence & Lea Woodrum Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger

FORT WAYNE PHILHARMONIC LAUREATE CLUB

The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (23) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Kevin Paul Beuert Ana Luisa Boman Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Howard & Betsy* Chapman Fred & Mary Anna Feitler

Richard & Susan Ferguson Mrs. Edward Golden Leonard* & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Donald Hicks Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara John Kurdziel

Antoinette Lee Jeff Leffers & Jane Gerardot Lockwood* & Eleanor Marine Mick & Susan McCollum John & Shelby McFann Donald Mefford John Shoaff & Julie Donnell Chuck & Lisa Surack Herbert & Lorraine Weier Mr. & Mrs. W. Paul Wolf *Indicates deceased

Please contact the Development Office at 260.481.0770 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

Prelude 99

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2209 St. Joe Center Road, Fort Wayne, IN 46825 CherishedPosessions_PhilHarmonic_FullPage.indd 1

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