2015-2016 Prelude 1

FORT WAYNE PHILHARMONIC PROGRAM OCTOBER/NOVEMBER 2015

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PRELUDE

VOLUME 72, NO. 1 2015/16 SEASON O C T O B E R / N OV E M B E R

FORT WAYNE PHILHARMONIC PROGRAM Editor: Brooke Sheridan

Contributing Editors: Melysa Rogen, Jim Mancuso, Adrian Mann

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table of contents

5 40 41 43 44 45

Welcome Letter, Andrew Constantine The Phil Friends Andrew Constantine, Music Director Chia-Hsuan Lin, Assistant Conductor Benjamin Rivera, Chorus Director Board of Directors

45 Administrative Staff 46 Orchestra Roster 48 The Phil Chorus Roster 50 Series Sponsors 52 Donors 57 Sponsors

31 38 38 39 39

ARTIST BIOS

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Johannes Moser, cello David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello Tim Burton, director

Danny Elfman, composer Rosalind Lee, soprano Angela Young Smucker, mezzo-soprano Alan Taylor, tenor Dan Richardson, bass

7 MASTERWORKS RACHMANINOFF AND DVOŘÁK

SATURDAY, OCTOBER 3 13

FREIMANN BRAHMS' SEXTET NO. 1 WEDNESDAY, OCTOBER 14 SUNDAY, OCTOBER 18

17 MASTERWORKS BEETHOVEN'S EIGHTH SYMPHONY saturday, OCTOBER 24 25

FAMILY HALLOWEEN SPOOKTACULAR SUNDAY, OCTOBER 25

29 POPS DISNEY IN CONCERT: TIM BURTON'S

THE NIGHTMARE BEFORE CHRISTMAS

SATURDAY, OCTOBER 31 33

CHAMBER ORCHESTRA LORD NELSON MASS SATURDAY, NOVEMBER 14

3 Fort Wayne Locations • debrand.com • 260.969.8335 OCT NOV

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WELCOME FROM THE MUSIC DIRECTOR Welcome back to the Fort Wayne Philharmonic for a Fall of music and music making as splendid as you will find just about anywhere in the country. We have fabulous soloists, both international and home grown, great singing, music from the “big screen”, music in intimate settings and a celebration of the young talent of Fort Wayne with our Youth Symphony and Youth Concert orchestras.

Opening night features the outstanding talents of the great cellist Johannes Moser in what most people regard, yours truly included, as the pinnacle of the repertoire for the instrument, the Concerto in B minor by Dvořák. Then, to conclude the concert we have Rachmaninoff’s hypnotic and, at times, almost primal Symphonic Dances: two masterpieces by two of the leading figures from central and eastern Europe – both written in the USA.

i GO: plug in

Our second Masterworks programme on October 24th at IPFW features not only much loved classics by Beethoven, his defiant and heroic Egmont Overture as well as the more urbane yet equally energetic Symphony No. 8, but also little known gems by figures from the generation before Beethoven, Christian Cannabich and Francesco Geminiani. And another dynamic masterpiece at the core of this programme will have you, and the players, on the edges of your seats: Elgar’s Introduction and Allegro for Strings is unique in how it pits the soloists of a string quartet against the massed strings of a full symphony orchestra and is unparalleled for its resonance and dynamism.

Sandwiched between these two Masterworks shows is the little bit of intimacy I mentioned earlier as we present our first Freimann chamber music concert of the season. Brahms’ warm and lyrical Sextet No. 1 is the core of a programme that also includes music for wind quintet and percussion. Catch it first at the Fort Wayne History Center on Wednesday, October 14th and then treat yourself to a repeat the following Sunday, the 18th, at the Rhinehart Music Center at IPFW. The extended ‘Philharmonic Family’ would also like to invite you to celebrate Fort Wayne’s youthful talent on Sunday, October 25th when both the Youth Symphony and Youth Concert Orchestras will perform their annual Fall Concert in the Auer Performance Hall of IPFW. Sibelius, Copland, Bach and so much more besides.

Rounding out the month of October – the 31st to be precise - is our first offering of the season in our Sweetwater Pops. Tim Burton’s The Nightmare before Christmas is the perfect pairing of music and visuals to set you on your Halloween way!

Into November and our opening Chamber Orchestra concert features great choral music by Haydn, his Nelson Mass, when The Phil’s very own chorus comes to the fore along with an array of superb soloists. Prior to this the orchestra will put you in a lighter, more Italian mood with music by Rossini, Britten and Respighi. That’s Saturday, November 14th at the First Wayne Street Methodist Church, 7:30 P.M. For the greatest music, it’s always The Phil!

And let the music set you free.

Have you heard? Listening to your favorite tunes is actually good for you, helping to lower stress levels and increase endorphins.

It’s one easy thing you can do right now to improve your wellbeing. For more healthy ideas, log on to parkviewGO.com.

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Andrew Constantine, Music Director

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MADGE ROTHSCHILD FOUNDATION

Rachmaninoff and DvoŘÁk Saturday, October 3, 2015 | 7:30 P.M. Embassy Theatre

that art can make us see the world differently.

Andrew Constantine, conductor Johannes Moser, cello Frank Almond, guest concertmaster SMETANA

DVOŘÁK Concerto in B minor for Violoncello & Orchestra, Op. 104

Allegro Adagio ma non troppo Finale: Allegro moderato

Johannes Moser, cello

PNC is proud to be a part of the Fort Wayne Philharmonic. Because

Overture to The Bartered Bride

-- Intermission --

RACHMANINOFF Symphonic Dances, Op. 45

Non allegro - Lento - Tempo I Andante con moto (Tempo di valse) Lento assai - Allegro vivace

we believe in and support everything the arts can accomplish.

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, October 15 at 7:00 P.M.

Call (888)PNC-BANK Or visit us at a nearby branch location pnc.com ©2015 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

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M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS SATURDAY, OCTOBER 3, 2015 Overture to The Bartered Bride Bedrich Smetana (b. 1824, Litomysl, Bohemia, 1824; d. 1884, Prague) Antonín Dvořák may be the most famous of Czech composers, but Bedrich Smetana, his senior by 17 years, was the man who first brought the distinctive Czech folk idiom into the concert hall and opera house. The son of a well-to-do brewer, Smetana in his early years found little opportunity for his musical ambitions in Bohemia — then a backwater of the Austrian Empire and dominated

by Austro-German musical traditions and artists — and moved abroad to pursue his career. But when a competition for an opera in Czech was announced in 1861 as well as plans for the Provisional Theatre in Prague, he felt the time was ripe to return from Sweden where he’d become a successful pianist, conductor, and teacher.

In 1863, he won the competition with his first opera, The Brandenburgers in Bohemia, and swiftly moved on to a second, The Bartered Bride. The story is a warmly comic slice of life in a rural Czech village.

Marenka and Jeník are in love, but Marenka’s ambitious parents favor a match with the witless and unattractive Vasek, son of the wealthy farmer Mícha. The village marriage broker induces Jeník to renounce his sweetheart for the substantial sum of 300 gulden; Jeník agrees, with the proviso that Marenka shall marry no one but a son of Mícha.

Marenka’s parents are delighted while the girl is broken-hearted at her lover’s apparent betrayal. But Jeník has the last laugh. He reveals that he is the long-lost son of Mícha, Vasek’s elder half-brother, and is recognized joyfully by his father. Meanwhile, Vasek finds his true calling as a circus clown and runs off with a pretty tightrope walker. True love triumphs after all — with a bonus of 300 gulden!

Premiered on May 30, 1866 (with the 24-year-old Dvořák playing viola in its orchestra), The Bartered Bride initially displeased the wealthy Prague audience, who found its rural tale too down-market for their cosmopolitan tastes. But after a number of revisions, Smetana’s engaging score, inspired by the earthy songs and dances of Bohemia, won favor not only in Prague but throughout Europe. Its vivacious overture, composed in 1863 before Smetana had written the opera, is surely one of the most popular of all curtain raisers. From its opening gesture of a jubilant crowd on carnival day, to its bustling string fugues suggesting the village gossips at work, it perfectly establishes the mood of the high-spirited comedy to follow.

Concerto in B minor for Violoncello & Orchestra, Op. 104 Antonín DvoŘák (b. 1841, Nelahozeves, Bohemia; d. 1904, Prague) Dvořák’s two most popular orchestral works — the “New World” Symphony and the Cello Concerto — were both “made in America” during the three

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in haunting duet. Here, Dvořák explores the darker, more introspective side of his hitherto extroverted theme. Ringing with brass fanfares, the movement finally comes to a glorious close that begs for applause.

years the composer spent as director of the National Conservatory in New York City. But while the symphony partly draws its inspiration “from the New World,” the concerto is definitely “from the Old World.” In fact, many commentators hear in this work an expression of Dvořák’s homesickness for his beloved Bohemia.

In a letter to his mentor and friend Johannes Brahms written from New York in December 1894 as he was composing this work, Dvořák alluded to his yearning for Bohemia: “I left five children in Prague, and my only boy Otakar and my wife are here, and so we are often homesick. If I can write something, that is the only recovery for me.”

The slow movement stresses the cello’s ability to sing with the pathos and feeling of the human voice.

Its heart is a poignant central section for the soloist and woodwind companions, introduced by four stormy orchestral measures. Here, we are listening to a paraphrase of Dvořák’s song “Leave Me Alone” of 1887. The composer had just learned of the serious illness of his wife’s elder sister, Josefina Kaunitzová, and this quote from a favorite song of hers pays tribute to an old love. In the 1860s, Josefina, a beautiful young actress, had come with her sister Anna for piano lessons with Dvořák. The composer fell hopelessly in love with her, but, as there was no reciprocation, he — like Mozart with his Constanze — married the younger sister.

The composer had been lured to America by Mrs. Jeannette Thurber, a passionate arts patron and wife of a multi-millionaire grocery magnate. A visionary who had already launched an opera company producing opera in English, she now created a conservatory in New York City that was intended to launch an American school of composition and train talented musicians of all backgrounds, with special attention to African Americans. She offered Dvořák the princely sum of $15,000 per annum (around a quarter of a million in today’s dollars) to head the National Conservatory and teach its advanced composition students. For three seasons from 1892 to 1895, the composer spent most of his time in New York and threw himself wholeheartedly into the task of encouraging an indigenous American musical voice.

Shortly after Dvořák returned to Bohemia in the spring of 1895, Josefina died. The composer returned to his nearly completed concerto and appended a remarkable grieving epilogue to its finale. This rondo-form movement begins merrily, though, with a vivacious rondo refrain, jingling with triangle.

But there are more bittersweet moments here than one usually finds in concerto finales, including an impassioned duet for the cello with solo violin. As the movement seems to be drawing to a close, it flows instead into the epilogue in which we hear a wistful reminiscence of the first movement’s theme and of Josefina’s song from the second. Then, Dvořák pulls himself together and delivers a fast, electric finish.

But by late 1894, Dvořák was longing to return home. The Czech cellist Hanus Wihan had been begging Dvořák for a concerto, and when the composer heard Victor Herbert — a prominent cellist before he became the toast of Broadway — play his new Second Cello Concerto with the New York Philharmonic, inspiration struck. In November 1894, he began his Cello Concerto, and by February 9, 1895, the score was largely completed. One of his masterpieces, it remains today perhaps the greatest of all cello concertos. So impressed was Brahms that he exclaimed to cellist Robert Hausmann, for whom he had written his Double Concerto for Violin and Cello: “Why on earth didn’t I know that one could write a cello concerto like this? Had I known, I would have written one long ago!”

The first movement opens mysteriously and with barely suppressed excitement as clarinets (one of the signature instruments of this work) and other woodwinds murmur the principal theme; this quickly builds to a fortissimo declaration by the violins. The second major theme, a marvelous, flowing melody with a touch of sentimentality, is introduced a few moments later by the solo horn; it will reveal its full personality a bit later when sung by the cello. After the orchestra’s exposition, the soloist enters with a very grand statement of the principal theme in bold chords.

The development section of this sonata-form movement is striking in that, instead of being a dramatic working out of thematic fragments, it centers on a lengthy slower-tempo version of the principal theme by the cellist and solo flute

Symphonic Dances, Op. 45 Sergei Rachmaninoff (b. 1873, Semyonovo, Russia; d. 1943, Beverly Hills, California) By 1940, Sergei Rachmaninoff, then 67 and in failing health, believed his composing career was over. Since fleeing Russia during the Bolshevik Revolution in late 1917 for refuge in Western Europe and America, he had managed to create only five substantial works, including his popular keyboard masterpiece Rhapsody on a Theme of Paganini.

Many factors contributed to Rachmaninoff’s creative drought. Exile from Russia had turned his life upside down: he had forfeited a considerable fortune there, and in America was forced to turn to arduous annual tours as a concert pianist to support his family. One of the greatest pianists of our century, he soon rebuilt his fortune, but a life on Pullman cars shuttling from one concert hall to the next exacted a heavy price on his composing. Pondering his predicament, he wrote: “Perhaps the incessant practice and eternal rush inseparable from life as a concert artist takes too much toll of my strength; perhaps I feel that the kind of music I care to write is not acceptable today.

And perhaps my true reason for adopting the life of an interpreter rather than that of a creator … is none of these. For when I left Russia, I left behind the desire to compose: losing my country I lost myself also. To the exile whose musical roots, traditions and background have been annihilated, there remains no desire for self-expression.”

But the desire for self-expression still smoldered. In the summer of 1940 as Rachmaninoff recuperated

from minor surgery at a rented estate near Huntington, Long Island, it blazed up again for the last time. On August 21, he startled his friend Eugene Ormandy, conductor of his favorite Philadelphia Orchestra, with news of a new composition. Ormandy happily accepted the new work, and Rachmaninoff rushed to orchestrate it, completing it just in time for its premiere by the Philadelphians on January 3, 1941.

His swan song, Symphonic Dances is a retrospective work that sums up Rachmaninoff’s musical and personal philosophy. Yet it is also an astonishingly youthful creation that shows the composer at the peak of his powers. With its incisive dance rhythms, it was intended for the ballet, to be choreographed

by Rachmaninoff’s friend, the great Russian choreographer Michel Fokine, but Fokine’s sudden death in 1942 sadly killed that possibility. Here Rachmaninoff creates a wondrous kaleidoscope of instrumental colors, from the mellow crooning of an alto saxophone to the dry-bones clatter of a xylophone. Prone to sentimental excess in his younger days, he maintains a careful balance between emotion and detachment as he surveys the world with the wisdom of a man approaching life’s end.

First Movement: Softly, the violins establish the incessant chugging rhythm of the first dance.

Woodwinds trace a three-note descending idea that soon grows into the nervously driven main theme. Then the tempo slows for a peaceful oasis.

Here Rachmaninoff gives us the last of his heartstoppingly beautiful tunes, introduced by the mellow alto saxophone, a visitor from Big Band jazz. Violins soon sweep up this gorgeous melody, steeped in the flavor of Russian folk song. In the closing coda, the strings sing a lovely Russian chant-like melody: a theme from the composer’s First Symphony, a bitter failure in his youth but now recalled with tranquility through a radiant mist of bells, harp, and piano.

Movement two’s dance is a phantasmic waltz, like something heard in a dream. It is introduced by ominous brass chords that return to disturb its flow.

With difficulty the orchestra tries to launch the waltz; finally, the English horn succeeds in establishing the swaying melody. Occasionally, the waltz blossoms lushly in the divided strings, but biting harmonies constantly undercut any sentimentality.

The finale opens with the weary sighs of old age.

Here Rachmaninoff’s old nemesis, the “Dies Irae” (“Day of Judgment”), a Gregorian funeral chant he used so often in his music, returns as the composer contemplates death. The music seems to describe man’s final struggle for life and then its end, as woodwinds vanish upward over a harp glissando.

Music of mourning issues from the depths of the orchestra. But the tempo soon accelerates to a dance of triumph. The “Dies Irae” chant sounds again in the brass, but is vanquished by a rhythmically vivacious Orthodox chant melody rising from low strings and woodwinds. This is the song “Blagosloven Yesi, Gospodi” from Rachmaninoff’s choral masterpiece All-Night Vigil, telling of Christ’s resurrection. Here the composer seems to be joyfully proclaiming his own faith in resurrected life. At the end of the score, he wrote the words: “I thank Thee, Lord!”

Notes by Janet E. Bedell copyright 2015

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artist biography j ohannes moser cello

Presented by the Fort Wayne Philharmonic Friends

Wine Tasting, cheese & crackers and Entertainment featuring Alicia Pyle at the piano Wednesday, October 14, 2015 5:30 - 7:30 PM at Country Heritage Winery & Vineyard* $40 per person R.S.V.P. to Susan Lehmann - (260) 755-0041 slehmann01@hotmail.com or online at www.fwphilfriends.com

by October 10, 2015

IPFW Department of Theatre

* 185 County Rd 68, LaOtto, IN 46873 Just north of Huntertown on Hwy 3 (Lima Rd)

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God’s Ear

IS PRESENTED BY THE PHILHARMONIC FRIENDS November 13-21 Road If you or your company would like to sponsor an evening of February 19-27 Musically Speaking, contact Susan Lehmann at 260-755-0041 or slehmann@hotmail.com A Midsummer Night’s Dream Benefits include an ad in the Prelude, free concert tickets and more.

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Crocker engages the help of some Choreography by Brittney Coughlin very colorful characters,singing classic Music and Lyrics by Cole Porter.

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masterworks

Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists”, German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic and Israel Philharmonic Orchestras as well as the Chicago Symphony, London Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Royal Concertgebouw, Tokyo Symphony, Philadelphia and Cleveland Orchestras. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz WelserMöst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Jarvi and Semyon Bychkov, Yannick Nézet-Séguin and Gustavo Dudamel.

Johannes grows increasingly renowned for his efforts in expanding the reach of the classical genre, as well as his passionate focus on new music, and over the next season, Johannes is looking forward to working on a number of new works with Julia Wolfe, Andrew Norman and Anna Clyne, amongst others. In October 2012 he premiered “Magnetar”, a concerto for electric cello by Enrico Chapela, which Johannes performed with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel and in the 2013-14 season, Johannes continued this relationship with the Los Angeles Philharmonic by performing Michel van der Aa's cello concerto “Up-close”.

Johannes is committed to reaching out to young audiences, from kindergarten to college and beyond.

From his 2010 American tour with toy pianist Phyllis Chen “Sounding Off: A Fresh Look at Classical Music”, to outreach activities on campuses and performances in alternative venues, Johannes aims to present classical music in terms with which listeners of all ages can connect.

A dedicated chamber musician, Johannes has played with: Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori and Jonathan Biss. He has also performed at many festivals including the Verbier, Schleswig-Holstein, Gstaad and Kissinger festivals, the Mehta Chamber Music Festival and the Colorado, Seattle and Brevard music festivals.

In 2014, Johannes was announced as recipient of the prestigious 2014 Brahms prize, along with his brother, pianist Benjamin Moser. Johannes has received two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik for his recordings on Hänssler Classics. His concerto debut disc, which features the complete works of Saint-Saëns for cello and orchestra with the Stuttgart Radio Symphony Orchestra, was honoured as one of Classics Today’s Top 10 CDs of 2008. Following an album of works by Britten, Bridge and Bax, a disc of Martinu, Hindemith and Honegger concerti received great acclaim and was listed for the prestigious “Preis der Deutschen

Schallplattenkritik”. The latest concerto album of the Britten Cello Symphony and the Shostakovich Cello Concerto No. 1 with WDR Cologne and Pietari Inkinen was released in January 2012.

Born into a musical family in 1979 as a dual citizen of Germany and Canada, Johannes began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations.

A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker in what little spare time he has.

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October 4th, 2015 10:00 AM Holy Eucharist Trinity Episcopal Church 611 West Berry Street, Fort Wayne, IN

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Wednesday, October 14, 2015 | 7:30 P.M. Fort Wayne History Center Sunday, October 18, 2015 | 2:30 P.M. Rhinehart Music Center, IPFW DE MEY Musique de tables Eric Schweikert Scott Verduin Alison Chorn KLUGHARDT Wind Quintet in C major, Op. 79

Allegro non troppo Allegro vivace Andante grazioso Adagio - Allegro molto vivace Luke Fitzpatrick, flute Orion Rapp, oboe Cynthia Greider, clarinet Michael Lewellen, horn Dennis Fick, bassoon

-- Intermission --

BRAHMS String Sextet No. 1 In B-flat major, Op. 18

Allegro ma non troppo Andante, ma moderato (Tema con variazioni) Scherzo: Allegro molto Rondo: Poco allegretto e grazioso David Ling, violin Olga Yurkova, violin Derek Reeves, viola Debra Welter, viola Andre Gaskins, cello Deborah Nitka Hicks, cello

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freimann PROGRAM NOTES wednesday, october 14 & sunday, october 18, 2015

For those that aren’t fluent in French the name of the piece is exactly as you read it: “Table Music.” One could easily mistake the name as a reference to the practice of sharing music on a table that was popular during the early baroque and renaissance era but no, this is literally three musicians playing three small tables as their instruments.

De Mey is a living Belgian composer who was born in Brussels in 1956. He is prolific in both film music and dance works. Many of these include specific choreography to be performed along with the music. He also began his own contemporary music ensemble Maximalist! and has been an active player in modern music throughout Belgium and Europe.

Musique de tables, composed in 1987 for the dance company Ultima Vez, is as much a choreographed dance as it is a percussion piece. The hands of the musicians are instructed to strike and sweep the table with specific gestures often resting on various poses and emphasizing the motion as much as the rhythm.

Even the page turns are choreographed as part of the composition. In some interpretations the performers sit in the dark with only the light focused on their hands, as if they were representing six dancers performing a tightly choreographed dance.

Contemporary percussion music often embraces the theatrical side of music as much as the sound, and De Mey’s “Table Music” seems to focus more on the former. As an observer I couldn’t help be reminded of children’s clapping games taken to a much more precise and complex level. Sometimes these types of theatrics can come across as humorous, but any listener can appreciate the complexity and preparation involved in putting together a performance piece such as this.

Wind Quintet in C Major Op. 79 August Klughardt (b. 1847 - d. 1902) August Klughardt is a name that remains in relative obscurity, however not due to lack of talent of the composer. This late 19th century composer’s music is full of charm, color, and character. Perhaps he was able to pick up these positive traits from being surrounded by the music of Liszt and Wagner. Yet he never embraced the “New German School” trends of massive tone poems and extended harmony which may have kept music historians from adding his name to the movers and shakers list

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shine and show off their technical skills, it is no the listener want to curl up in the fetal position doubt the presence of the additional middle and and just let the music sing them to sleep. The lower voices that give this music its incredible second movement is a dramatic “not quite” depth. Brahms beefing up the lower strings is marche funebre. With a driving accompaniment R.S.V.P. part to Susan 755-0041 of whatLehmann makes many-of(260) his symphonies so in the lower strings the theme established effective andslehmann01@hotmail.com perhaps this chamber music was by the viola develops into some remarkable a sort of experimentation ground that helped variations. The third is a playful scherzo that or composer online atfind www.fwphilfriends.com the his potential. And when he seems to be an homage to some of Beethoven’s finally did feel brave enough to tackle the more clever rhythmic tricks with frequent

by October 10,string 2015 quartet, the hesitation hardly seems justified. metric displacements. The final movement is almost an extension of the first with a return * 185 County Rd 68, LaOtto, IN 46873 Notes by Ed Stevens, copyright 2015 to the warm, almost lullaby-esque melodies Just north of Huntertown on Hwy 3 (Lima Rd) heard earlier in the work. Yet, this time there is an energy woven throughout that makes for a satisfying finale.

$40 per person

freimann

Musique de tables Thierry De Mey (b. 1956)

Wednesday, October 14, 2015 5:30 - 7:30 PM atmakes Country Heritage Vineyard* While the upper Winery strings are & given plenty to the haunting yet beautiful cello line that

of late romanticism. Instead, chamber music seemed to capture Klughardt’s attention more than anything for he penned over 8 works for various smaller configurations and generally shied away from the large-scale symphonic poems popular with his colleagues and mentors.

This work, in a traditional four movement structure, features each instrument of the quintet in a prominent fashion. Klughardt’s lyrical writing resembles the works of Schumann and Brahms more closely than Wagner and Liszt. The first movement opens with a pastoral quality setting a cheerful tone to the work, while the second movement is a pleasant dance with almost none of the late romantic German darkness that otherwise might be heard by other composers during the time.

The third movement is a gentle Andante that is reminiscent of the beginning of the piece with the fourth movement opening with probably the only few somber notes of the work. But Klughardt doesn’t keep the mood dark for very long before erupting into a cheerful and vivacious finale.

The work demands a capable ensemble as no instrument can hide for very long without gaining some melodic or prominent material.

The last movement alone represents a significant challenge with numerous fast passages that combine both smooth and staccato lines. The work, completed in 1901, only one year before the composer’s death, earns its place as a significant entry into the woodwind chamber music canon.

String Sextet No. 1 in B-flat major, Op. 18 Johannes Brahms (b. 1833 – d. 1897) Anyone who studies Brahms has no doubt read about the composer’s often crippling obsession with perfection. He held his predecessors in such high regard that when it came to writing symphonies or for the revered string quartet configuration perfected by Haydn and Beethoven, he treaded lightly and cautiously. In fact, he didn’t write his first string quartet until 1865 and well into his 30’s.

However, Brahms obviously had an interest in string writing because he wrote two sextets in his 20s which feature double violas and double celli. The results were two of the most lush and gut-wrenchingly beautiful pieces of music ever written.

His first String Sextet, written in 1860 in the key of B-Flat major, starts out weaving a melody that is almost mischievous in its use of time signature. The melody can easily be interpreted in a four beat structure yet is written in 3/4 time. Maybe it is this deception that adds to

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beethoven's eighth symphony Sponsored by The Phil Friends Saturday, October 24, 2015 | 7:30 P.M. Rhinehart Music Center, IPFW Andrew Constantine, conductor Freimann Quartet David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello BEETHOVEN

Overture to Egmont, Op. 84

CANNABICH

Symphony No. 63 in D major

ELGAR Introduction and Allegro, Op. 47 Freimann Quartet

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Thursday November 5, 2015 7:30PM Presented by

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-- Intermission --

GEMINIANI

Concerto Grosso No. 12, D minor, after Corelli, Op. 5, No. 12 ("La Follia")

BEETHOVEN Symphony No. 8 in F major, Op. 93 Allegro vivace con brio Allegretto scherzando Tempo di menuetto Allegro vivace

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, November 5 at 7:00 P.M. OCT NOV

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M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS SATURDAY, OCTOBER 24, 2015 Overture to Egmont Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) In the story of the Dutch Count Lamoral van Egmont, executed by the Spanish in 1568 for leading a movement to free the Netherlands from Spanish rule, Beethoven found the kind of hero he always idealized and could have happily honored in his “Eroica” Symphony.

The history of Egmont and the aspirations of the 16th-century Netherlanders to break the yoke of Spanish Hapsburg tyranny — a story which also figures in Schiller’s famous play Don Carlos and Verdi’s opera Don Carlo — was very much in the air in Vienna at this time.

Goethe had seized on it as an appropriate subject for a theatrical drama, and in turn, Schiller touched up Goethe’s play for its Viennese premiere on May 14, 1810.

It was customary then for composers to create overtures and incidental music to enhance spoken dramas, and Beethoven also provided such scores for The Ruins of Athens and King Stephan. When he was asked to participate in the production of Egmont, he readily assented.

He even waived any fee for his work (though he later sold the music to a publisher) and wrote that he took on the assignment “only out of devotion to [Goethe].” In addition to the famous overture, Beethoven created two songs, four entr’actes, a melodrama to accompany a spoken scene, and a final Siegessymphonie or Victory Symphony, as Egmont goes triumphantly to his death on the scaffold, confident that his cause will win in the end. (In fact, the Dutch had to wait nearly a century for their freedom from Spain.)

Beyond his generalized admiration for men like Egmont who lived and died for their ideals, the composer found contemporary relevance in this story from the already distant past. In 1809, Napoleon had invaded Austria and even bombarded and occupied Vienna. By 1810, this foreign conqueror had been driven from Austrian soil, but the bitter memories of that occupation were still fresh for the composer.

A virile, martial portrait of the play’s protagonist, the famous overture touches on Egmont’s tragic fate in the dark, ominous chords of its F-minor slow introduction.

Egmont’s heroic struggle against oppression is sketched in the Allegro main section.

Then, after a quiet bridge passage comes

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the exhilarating coda, now in F major. This is the music of the Victory Symphony, the play’s finale, with Egmont’s triumph-indeath shouted out by the entire orchestra, dominated by the brass and topped by exuberant flourishes of the piccolo.

Symphony No. 63 in D Major Christian Cannabich (b. 1731, Mannheim, now Germany; d. 1798, Frankfurt am Main, Germany) Born just three months before Haydn, Christian Cannabich was even more famous as a conductor and orchestra trainer than he was as a composer, though he wrote more than 70 symphonies and numerous popular ballets. That is because as music director from 1774 to his death in 1798 of the Mannheim Orchestra, the court ensemble of the Elector of the Rhine Palatinate in western Germany, he turned the group into the finest orchestra in Europe. The Englishman Charles Burney, a friend of Mozart’s and one of the most widely traveled musical observers, called it an army of generals, “equally fit to plan a battle as to fight it.”

Attracted by the Orchestra’s fame and the well-funded musical life at the Elector’s court, in 1777 the young Mozart came to Mannheim in search of a position. Cannabich, who had met him as a child prodigy, received him cordially, and the two struck up a warm friendship. Mozart was so mightily impressed

by Cannabich that he wrote to his father: “Cannabich, who is the best director that I have ever seen, has the love and awe of those under him.” (Unfortunately, despite Cannabich’s assistance, Mozart did not succeed in joining the court musical establishment.)

The Mannheim Orchestra was a large orchestra for its day and staffed with superb musicians for all the instrumental sections. Cannabich’s symphonies capitalize on this fact; they feature especially rich scoring for all the instruments, not just the strings, and boast quantities of very attractive melodies in the pleasing galant style of the day.

We will hear the Symphony No. 63 in D Major, which features prominent parts for trumpets and timpani; D Major was a key in which the valveless trumpets of the period sounded particularly effective. Launched by an upwardvaulting gesture known as the “Mannheim rocket,” movement one opens with an

imposing slow introduction featuring the splendor of the trumpets as well as extremely colorful writing for the woodwinds. Then it accelerates into a forceful Allegro in sonata form, with a charming contrasting second theme again showing off the woodwinds.

This is music reflecting the grandeur of the Mannheim court.

his “Welsh tune,” a melody he’d heard in his imagination during a seaside holiday in South Wales. Whether it is based on an actual folk melody or is purely Elgar’s invention has never been established. But it is a very personal, nostalgic creation: a tribute, Elgar wrote, to “that sweet border land [western England] where I have made my home.”

One of the woodwinds, an oboe, steps forward to sing an enchanting theme for the gracious Andante moderato second movement in A Major. Later, a solo clarinet will appropriate that theme as well. The trumpets return for the merry D-Major finale with a comic-opera mood in a brisk Presto tempo.

G minor changes to G major for the longer Allegro section. Its opening exposition features three themes: the first gracefully arcing, the second energetically chugging. The expansive third theme is pure Elgar, marked with his signature tempo nobilmente — meaning to him “warm, dignified, with strong feeling.” The fugal development section is a vigorous, scampering scherzando with playful flourishes. After all the themes return, Elgar brings back his trump card, the Introduction’s haunting “Welsh tune.” This melody, so gentle and wistful in its first appearance, is now taken up fortissimo by the full ensemble for a close of true Elgarian grandeur.

Introduction and Allegro, op. 47 Sir Edward Elgar (b. 1857, Broadheath, England; d. 1934, Worcester, England) In 1904, Edward Elgar’s publisher and close friend August Jaeger (immortalized in the Enigma Variation’s beautiful “Nimrod” variation) urged the composer to write a work for the newly formed London Symphony Orchestra. “Why not a brilliant quick string scherzo, or something for those fine strings only? a real bring down the house torrent of a thing such as Bach could write. ...”

A violinist himself, Elgar happily took up the challenge, but produced a work of greater scope than a scherzo: a full symphonic Allegro movement, incorporating a fugue in place of a development section and preceded by an introduction featuring the sort of deeply expressive melody that was becoming an Elgar trademark. His Opus 47 became a tribute not just to the LSO’s string section, but to the string family itself and its special musical powers: its sensuous beauty, facility in brilliant passage work, and capacity for floating a plangent melody.

Strangely, this beautiful work was poorly received at its first performance in London on March 8, 1905, with Elgar himself conducting the LSO, and did not establish itself in the repertoire until well after his death. Yet Elgar doggedly believed in the work. “That’s good stuff,” he told his wife. “Nothing better for strings has ever been done — and they don’t like it!” Elgar’s younger colleague Ralph Vaughan Williams, however, did like it. The Introduction and Allegro became a model for his famous Fantasia on a Theme by Thomas Tallis, written five years later, even to the combination of string quartet and string orchestra.

After a bold G-minor opening by the full ensemble, the quartet’s viola introduces a simple but haunting melody that is completed by the quartet’s first violin. Elgar called this

Concerto Grosso No. 12, D minor, after Corelli, Op. 5, No. 12 "La Follia" Arcangelo Corelli/ arranged by Francesco Geminiani No composer had a first name better suited to his music than Arcangelo Corelli, who indeed wrote string music of angelic beauty.

Born in 1653 in the generation before Bach, Telemann, and Handel to a wealthy family living near Bologna, he was blessed with fame in his own lifetime, a fame that lasted long after his death as his works continued to be eagerly circulated throughout Europe.

As well as composing, Corelli was an outstanding violin virtuoso and perhaps the most influential violin teacher of his era. And he lived at the perfect moment for creating music for strings, when master instrument makers like Stradivari, Guarneri, and Amati were bringing these instruments to full perfection. Serving as music master first for Queen Christina of Sweden and then for the fabulously wealthy arts patron Cardinal Pietro Ottobani, Corelli became the most admired and imitated musician of his day. His solo sonatas, trio sonatas, and concerti grossi — all for string instruments with keyboard support — embodied the musical ideals of the middle Baroque period.

Born in Tuscany in 1687 just two years after Handel, Francesco Geminiani was a pupil of Corelli’s and himself became a superb violin virtuoso as well as an eminent teacher. In 1714, he emigrated from Italy to London and spent the rest of his very successful career

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primarily in England and occasionally in Ireland (he died in Dublin in 1762).

The cult of Corelli was huge in England, sometimes exceeding even the passion for Handel’s music. To meet the demand for more works by Corelli, Geminiani in 1726 published his brilliant arrangements for concerto grosso ensemble of Corelli’s remarkably forward-looking Opus 5 of 1700, which was originally conceived as 12 sonatas for violin and continuo.

The last of the Opus 5 concertos is “La Follia,” a theme and variations on a tune of that name, which may have originated in Portugal in the 15th century and in early 17th century Spain became associated with frenzied singing and dancing. During the Baroque period, variations on “La Follia” were a mini-obsession as Alessandro Scarlatti and J.S. Bach, among many, created works based on it. In Opus 5, Corelli created 25 scintillating variations on the tune in a stunning variety of tempi and moods.

And Geminiani’s arrangement for Baroque orchestra intensified the sonic brilliance of this irresistible fantasy.

Symphony No. 8 in F Major, op. 93 Ludwig van Beethoven In his respected and entertaining guide to Beethoven’s symphonies, British musicologist George Grove said of the Eighth Symphony: “The hearer has before him not so much a piece of music as a person.” That person, of course, is Beethoven himself, but not the serious, brooding artiste of his portraits. No, the Eighth is a musical image of the composer in the mood he called “aufgeknöpft”: “unbuttoned.” In his “unbuttoned” state, Beethoven was given to explosive pranks — once up-ending a bowl of pasta over a waiter’s head at a favorite restaurant — silly puns, and practical jokes on his friends accompanied by howls of laughter. And in the summer of 1812 when much of this Symphony was written, he was often in this antic mood.

Troubled with a cranky digestion, he spent the summer at Teplitz, a fashionable spa in Bohemia. There he relaxed with friends and met the poet Goethe, who described him as “an utterly untamed personality.” But the more serious Beethoven was also on the scene at Teplitz; here he wrote his famous letter to the “Immortal Beloved,” yearning for a permanent union with a mysterious woman, now believed to have been the married and unattainable Antonie Brentano. And in October, as he was finishing the Eighth, he revealed another side of his mercurial nature as he descended on Linz and his younger brother Johann who had formed an illicit union with his housekeeper.

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Now quite properly buttoned up, Beethoven denounced the woman to the Bishop of Linz and commandeered the police to throw her out of the city. Fortunately, Johann married his lady just in the nick of time.

The lighter side of these wild personality shifts animates the Eighth, the second shortest of Beethoven’s symphonies. The composer doesn’t waste a second, immediately hurling his terse principal theme at us as the Allegro vivace first movement begins. This sonata form is an extraordinary mixture of grace and bluster: a bull in a china shop. The grace appears in a second theme for violins, but the bluster upsets its flow with aggressive rhythms, rude sforzando jabs, and ungainly octave pogo jumps. These harry the poor opening idea throughout the development section, which ultimately explodes in one of Beethoven’s rare triple fortes at the beginning of the recapitulation. Buried in the mayhem is the reprise of that hapless theme, now in the cellos and bassoons.

Instead of a slow movement, Beethoven offers a merry second movement, which lives up to its expressive marking “scherzando”: “joking.”

This is a send-up of the marvelous mechanical devices of his friend Johann Nepomuk Maelzel, inventor of the metronome. To the tick-ticktick of the woodwinds, the violins play like little automatons, periodically pausing to rewind themselves in a whir of 64th-notes. In the final seconds, the machine breaks down altogether in a rattle of B-flats.

Because he has already played his Scherzo card, Beethoven reverts to the old courtly minuet for his third movement. But its aggressive, heavy-footed accents wouldn’t be welcome in a proper court and remind us that this composer was reputedly a clumsy dancer.

Even though it is not so very long, Donald Francis Tovey rightly calls the finale “one of Beethoven’s most gigantic creations.”

The violins open with a nervously scurrying theme that is soon ambushed by a loud, dissonant C-sharp, definitely NOT part of the key. Soon with a startlingly sudden shift to A-flat major, a beautiful second theme leaps in. After a thundering F-major chord has restored us to the home key, the nervous theme is extremely reluctant to venture out again. The movement’s most remarkable feature is its lengthy coda. Here the nervous theme is whipped from pillar to post and eventually chased by an angry chorus of nasty C-sharps into the distant key of F-sharp minor. Trumpets yell at it in F major until it scrambles home. Beethoven completes his pranks with the most hilariously overextended final cadence in the symphonic repertoire.

Notes by Janet E. Bedell copyright 2015

artist biography david ling violin masterworks

Acting Concertmaster David Ling has played violin with The Phil for eleven years. He began his studies at age 5 in his hometown of Canton, Ohio, and went on to receive a Bachelor of Music degree from Oberlin College. He also has a Master of Music degree from Cleveland Institute of Music and a Doctor of Musical Arts from the State University of New York, Stony Brook. He has played with the Grant Park Orchestra, the Canton Symphony and participated in the Aspen and Tanglewood music festivals. Ling also plays piano and cites

yoga and the works of Carl Jung as some of his other interests.

olga yurkova violin She holds a Doctorate of Music and Violin Performance from Moscow Tchaikovsky Conservatory and has toured extensively in Italy, Spain, Belgium, Turkey, France, Romania, Korea and other countries. Olga is a first prizewinner of several international competitions and festivals including: The International Violin Competition in Budapest, Tenth International Music Festival in Korea, International String Quartet Competition in Tallin (Estonia) as well as violin competitions in Russia and Moldova.

She was Concertmaster of National Chamber Orchestra of Moldova and also a Soloist and Concertmaster with the Symphony Orchestra of Europe. In the U.S., she was invited to many festivals as a Concertmaster and principal

violinist including Ash Lawn-Highland Festival and the Colorado Music Festival. Olga is also Assistant Professor of Music at Grace College.

derek reeves viola Derek Reeves, principal violist, has played with or performed as soloist with symphony orchestras throughout the United States, Europe and Japan. Born in Okinawa, Japan, Reeves began his musical studies at age 2½ and made his Carnegie Hall debut while still in high school. At Indiana University, he earned Bachelor and Master of Music degrees in Violin Performance and served as Concertmaster for four of the school’s five orchestras. He also served as Concertmaster of the Columbus (Indiana) Philharmonic and as Associate Concertmaster of the Evansville Philharmonic.

Reeves won the Detroit Symphony Orchestra fellowship in 1997 and performed with that orchestra for two years. He has been Associate Concertmaster of the Charleston Symphony Orchestra and was a member of the New World Symphony in Miami Beach. Reeves is director

of Club O, The Phil’s educational outreach at the Fort Wayne Boys and Girls Clubs, and also serves as adjunct faculty at IPFW. He enjoys running, yoga and biking. He and his wife, Patricia, have a son, Preston.

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artist biography andre j . gaskins cello masterworks

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).'

Solo appearances with orchestra have included performances with the Indianapolis Chamber Orchestra, the Central Jersey Symphony, the Richmond Philharmonic, the Columbus Symphony Orchestra, the Richmond Symphony Orchestra, the Pro Arte Chamber Orchestra, the Fort Smith Symphony, the Carmel Symphony Orchestra and the Butler Symphony Orchestra.

Mr. Gaskins has appeared as solo cellist from historic venues as the Grand Philharmonic Hall in St. Petersburg, Russian Federation to the cities of Indianapolis, Richmond, Cincinnati, Ann Arbor, Concepcion (Chile), Okinawa (Japan) and Beijing (China).

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 world-renowned 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.

2016 Undergraduate Audition Dates Friday, January 22, 2—8 p.m.

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Ball State University

Application deadline: Friday, January 8, 2016.

To prepare for your audition, please review guidelines at bsu.edu/music/auditions.

Halloween spooktacular Sponsored by Vera Bradley Sunday, October 25, 2015 | 2:00 P.M. Rhinehart Music Center, IPFW Chia-Hsuan Lin, conductor Christopher J. Murphy, director Jeffery Moore, narrator dAnce.Kontemporary STRAVINSKY

Firebird: Suite (1919 Version): Infernal Dance

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RACHMANINOFF Tempo di Valse from Symphonic Dances, Op. 45 dAnce.Kontemporary BERLIOZ

Dream of a Witches’ Sabbath from Symphonie Fantastique

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In the Hall of the Mountain King from Peer Gynt, Op. 46

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Danse macabre, Op. 40

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Witch’s Ride, from Hänsel und Gretel

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

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disney in concert: Tim burton's the nightmare before christmas Saturday, October 31, 2015 | 7:30 P.M. Embassy Theatre Directed by Tim Burton Music & Lyrics by Danny Elfman Featured Singers: Jack Skellington Sally Mayor Oogie Boogie

Danny Elfman Catherine O’Hara Glenn Shadix Ken Page

Lock Shock Barrel Santa Claus

THIS IS HALLOWEEN JACK’S LAMENT WHAT’S THIS? TOWN MEETING SONG JACK’S OBSESSION KIDNAP THE SANDY CLAWS

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MAKING CHRISTMAS OOGIE BOOGIE’S SONG SALLY’S SONG POOR JACK FINALE

Paul Reubens Catherine O’Hara Danny Elfman Ed Ivory

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artist biography tim burton director

artist biography danny elfman composer

Pops

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TIM BURTON, widely regarded as one of the cinema’s most imaginative filmmakers, has enjoyed great success in both the live-action and animation arenas. Most recently Burton directed and produced the critically acclaimed “Frankenweenie” which was a 2012 Academy Award® nominee for Best Animated Picture.

Earlier in 2012 Burton directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothic thriller “Dark Shadows,” based on the cult favorite television show. He also produced the fantasy horror “Abraham Lincoln: Vampire Hunter” which was directed by Timur Behmambetov.

In 2010, he directed “Alice in Wonderland,” an epic fantasy based on the classic story

by Lewis Carroll, and starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, and Mia Wasikowska in the title role. The film earned more than a billion dollars at the worldwide box office, making it the secondhighest-grossing release of 2010. “Alice in Wonderland” also received a Golden Globe nomination for Best Picture – Musical or Comedy, and won two Academy Awards®, for Best Art Direction and Best Costume Design.

Burton was previously honored with an Academy Award® nomination for Best Animated Feature for the 2005 stop-motion film “Corpse Bride,” which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama “Big Fish.” More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on “Sweeney Todd: The Demon Barber of Fleet Street,” which also won the Golden Globe for Best Film – Musical or Comedy. Depp earned an Oscar® nomination for his performance in the title role of Burton’s 2007 film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and Alan Rickman.

Burton began his film career in animation, and, in 1982, directed the stop-motion animated short “Vincent,” narrated by Vincent Price, which was an award winner on the film festival circuit. He made his feature film directorial debut in 1985 with the hit comedy “Pee-wee’s Big Adventure.”

In 1988, Burton helmed the inventive comedy hit “Beetlejuice,” starring Michael Keaton as

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the title character. He then reteamed with Keaton on the action blockbusters “Batman,” which became the top-grossing film of 1989 and also starred Jack Nicholson as the Joker, and “Batman Returns,” also starring Michelle Pfeiffer and Danny DeVito.

In 1990, Burton directed, co-wrote and produced the romantic fantasy “Edward Scissorhands,” which was acclaimed by both critics and audiences. The film also marked the start of his successful cinematic partnership with Johnny Depp, who delivered a poignant performance in the title role. Their subsequent collaborations include the Burton-directed films “Ed Wood,” also starring Martin Landau in an Oscar®-winning portrayal of Bela Lugosi; “Sleepy Hollow,” adapted from the classic tale by Washington Irving; and the 2005 worldwide smash “Charlie and the Chocolate Factory,” which was based on Roald Dahl’s beloved book and grossed more than $470 million worldwide.

Burton’s additional directing credits include the all-star sci-fi comedy “Mars Attacks!,” which he also produced, and the 2001 remake of “Planet of the Apes,” which marked his first collaboration with producer Richard Zanuck.

Burton also conceived and produced the stopmotion animated feature “The Nightmare Before Christmas,” which remains an enduring holiday favorite. In addition, he has produced such films as “Cabin Boy,” “Batman Forever,” and the animated features “James and the Giant Peach” and “9.”

In 2010, the filmmaker released The Art of Tim Burton, a 430-page book comprising more than 40 years of his personal and project artwork. In November of that year, the Museum of Modern Art (MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Toronto, Los Angeles, Paris, and Seoul.

Over the last 30 years, four-time Oscar nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry.

He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored a broad range of films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas, Alice in Wonderland, David O. Russell’s awardwinning films Silver Linings Playbook and American Hustle, Sam Raimi’s Oz: The Great and Powerful, Mr. Peabody and Sherman, the Errol Morris documentary The Unknown Known: The Life and Times of Donald Rumsfeld, and Tim Burton’s Big Eyes. Most recently he has provided the music for Fifty Shades of Grey and Marvel’s Avengers: Age of Ultron.

A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big

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Adventure. 25 years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony entitled Serenada Schizophrana for Carnegie Hall, an overture called The Overeager Overture for the Hollywood Bowl, and, Iris—a Cirque du Soleil show. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.”

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ROSSINI

BRITTEN Matinées musicales, Op. 24 (after Rossini)

March Nocturne Waltz Pantomime Moto perpetuo (Solfeggi e gorgheggi) RESPIGHI Suite III from Ancient Airs and Dances

Anon. (late 16th century): Italiana Giovanni Battista Besardo (17th century): Arie di Corte Anon. (late 17th century): Siciliana Lodovico Roncalli (1692): Passacaglia

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Overture to Il signor Bruschino

-- Intermission --

HAYDN Mass, Hob. XXII:11, D minor ("Lord Nelson Mass") Kyrie Gloria Credo Sanctus & Benedictus Agnus Dei Fort Wayne Philharmonic Chorus Rosalind Lee, soprano Angela Young Smucker, mezzo-soprano Alan Taylor, tenor Dan Richardson, bass-baritone OCT NOV

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CHAMBER ORCHESTRA SERIES PROGRAM NOTES chamber orchestra series SATURDAY, NOVEMBER 14, 2015 Overture to Il Signor Bruschino Gioacchino Rossini (b. 1792, Pesaro, Italy; d. 1868, Passy, near Paris, France) With all the gloriously elaborate arias Rossini gave us in his operas, we tend to think of him first and foremost as the master of the voice. But he was also the master of the orchestra, as the continuing popularity of his overtures attests.

By age 37, he’d written his canon of 38 operas, and of these, only a handful —The Barber of Seville, The Italian Girl in Algiers, La Cenerentola, primarily — remain in the active repertoire. Yet how many more of Rossini’s overtures continue to flourish, even as the operas they once opened have been forgotten! Once the perfect curtain raiser for the theatre, now they are the perfect warm up for an evening of symphonic music.

Matinées Musicales, op. 24 Benjamin Britten (b. 1913, Lowestoft, England; d. 1976, Aldeburgh, England) Both Rossini and Benjamin Britten, the preeminent British composer of the 20th century, were masters of vocal music and especially of opera. Though their individual styles were very different, Britten biographer Christopher Palmer identifies the qualities that undoubtedly drew the Englishman to Rossini’s music. “Rossini exhibits many of the qualities Britten admired in the music of others — fertile, spontaneous, uncomplicated invention, warmth, melodiousness and color.”

In addition to his effortless musical gifts, Rossini was a wit and bon vivant (his love of fine food ballooned him from a trim young man to a very obese one during his long retirement), and when a younger composer once inquired what was the best way to write an overture, he replied as follows. “Wait till the evening of the day the opera is scheduled for performance. Nothing excites the imagination more than necessity, the presence of a copyist waiting for the music, and the pressing of an impresario in despair tearing out his hair. In my day in Italy, all impresarios were bald by the age of 30!”

In 1936, Britten recast Rossini melodies for large orchestra in his suite Soirées Musicales, its title borrowed from the Italian’s series of playful songs created in his old age for his popular salon evenings in Paris. Five years later in 1941, Britten was temporarily living in America during the opening years of World War II and became friends with the ballet impresario Lincoln Kirstein. Kirstein commissioned him to create another Rossinian suite, which became the Matinées Musicales, to pair with his original Soirées Musicales for a ballet to be choreographed by the legendary George Balanchine for the American Ballet Company.

Premiered in January 1813, when Rossini was only 20 years old, Il Signor Bruschino is a lighthearted one-act farce composed for Venice. It involves two young lovers Florville and Sofia’s efforts to get rid of an unwanted suitor, the younger Signor Bruschino, with Florville actually impersonating his usually absent young rival to paint him in the most unattractive colors. The sudden arrival of the elder Signor Bruschino on the scene simply adds to the complications.

Taking mostly intimate pieces for voice and piano and tranforming them into music for a large, highly colored modern orchestra involved much more than simply new arrangements; it forced Britten to compose considerable music of his own, though always in the spirit of Rossini. The Suite opens with a whimsical, quick-tempo “March” drawn from a Pas de Six in Rossini’s last opera William Tell and featuring sassy scoring for brass and woodwinds.

Next we hear “Nocturne,” a lovely romantic piece based on Rossini’s song “La Pesca” (“Fishing”). It is accented charmingly by an instrument not yet invented in Rossini’s day, the celesta.

The overture follows the surefire formula Rossini had invented for himself, but with a memorable twist. First we hear a rumbling, conspiratorial motive low in the strings. Soon this idea is joined by something never before heard by audiences in Rossini’s time: the motive answered by the second violins wrapping out the rhythm with their bows against their music stands. This charming comic effect will return frequently throughout the rest of the overture. Twice we also hear miniature versions of the composer’s trademark: the famous slow-building Rossini crescendo, as instrument after instrument is progressively added to build a little adrenaline rush. As Rossini later told the composer SaintSaëns: “They criticize me for the crescendo in

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my overtures, but forget that if I had dared leave it out, the opera would never be performed!”

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Britten creates a rambunctious “Waltz” out of Rossini’s song “L’orgia” (“Revelry”).

“Pantomime” turns the song “Il rimprovero” (“Reproach”) into a subtle tour de force for the woodwind instruments, both solo and in imaginatively colored ensembles. To conclude, the effervescent, brilliantly scored “Moto perpetuo” (“Perpetual Motion”) is subtitled “Gorgheggi e solfeggi” or “Bird Warblings and Solfeggios.”

suite iii from Ancient Airs and Dances, Ottorino Respighi (b. 1879, Bologna, Italy; d. 1936, Rome, Italy)

string chords conjure the full-bodied tones of the guitar and the grandeur of the high- Baroque era.

Long before there was an early-music movement, in a time when even Vivaldi’s The Four Seasons had been almost completely forgotten, Ottorino Respighi became fascinated with Italian and French music of the Renaissance and Baroque eras. Pouring over 16th-century lute and 17th-century guitar pieces, he decided to do his bit to rescue such lovely melodies from oblivion by freely arranging some of them for small orchestra. Under the title Antiche danze ed arie (“Ancient Airs and Dances”), he created three suites, the first in 1917 and the one we hear tonight in 1931. A related work is his popular The Birds, another suite for chamber orchestra compiled in 1927 from Renaissance and Baroque keyboard pieces.

Mass in D Minor: Missa in angustiis ("lord Nelson Mass") Joseph Haydn (b. 1732, Rohrau, Austria; d. 1809, Vienna, Austria)

While today’s transcribers of early music take careful account of recent scholarship about the instrumental sounds and performance practices of the earlier era, Respighi had no such knowledge or inhibitions and happily — and very beautifully — recreated his lute songs in the sensuous instrumental colors and rich harmonizations of his own day. A pupil of Nikolai Rimsky-Korsakov, he was a master of spectacular orchestral effects, as anyone familiar with his sumptuous tone poems The Pines of Rome, The Fountains of Rome, and Roman Festivals can attest. But the Ancient Airs and Dances show a more delicate side of Respighi’s art, especially the Third Suite which is scored for strings alone.

Pizzicato cellos accompanying the melody remind us of the original lute in the gracious opening Italiana, based on an anonymous lute composition of the 16th century. Longer and more complex is the second movement Arie di corte or “Songs of Courtship”; it is based on six lute songs composed by Jean-Baptist Besard (1567–c. 1617). Respighi focuses most attention on the melancholy first song, “It is sad to be in love with you,” which returns at the movement’s close; doleful violas dominate this heartfelt air.

It is followed by two quick songs run together (“Farewell forever, shepherdess” and “Lovely eyes that see clearly”), the richly chorded and slow-tempo “The Skiff of Love,” and two more quick airs, “What divinity touches my soul” (in feathery pizzicato) and “If it is for my innocence that you love me.”

Based on another anonymous 16th-century lute piece, the third movement is anachronistically called a Siciliana by Respighi after the later pastoral Baroque dance with prominent dotted rhythms, believed to have originated in Sicily.

Its melancholy grace is enhanced in its second verse by delicate descending scale patterns in the lower strings. Finally, Respighi closes with a sonorous arrangement of a much later work from 1692: a Passacaglia (a form built on a repeating melodic-harmonic pattern, here introduced by the first violins) for guitar by Lodovico Roncalli. Sweeping multi-stopped

For most of his career, Joseph Haydn served the fabulously wealthy Austrian/Hungarian noble family of Esterházy as its chief court composer.

However, in the early 1790s, he was able to escape for several years and become a freelance composer. His two multi-year sojourns in London won him the greatest successes of his career as he dazzled the London public and even the royal family with his twelve magnificent London Symphonies. Nevertheless, when Prince Nicholas II assumed the Esterházy title in 1795, he managed to lure Haydn back with an offer no composer — especially a sexagenarian worried about providing for his old age — could refuse: a handsome salary, the freedom to live in his own home in Vienna for much of the year, and lodgings and all personal needs provided for while he was in residence at the Esterházy palace. And Haydn’s duties would be extremely light: all he would have to do for the Prince (who had a particular passion for sacred music) would be to write one mass setting every year to celebrate the name day of the Prince’s wife, Princess Marie Hermenegild.

These terms were congenial to Haydn in every way. While absent from the court, he had plenty of time to create his two giant choral masterpieces, The Creation and The Seasons, and his final and greatest string quartets, Opuses 76 and 77.

The six late masses for the Esterházys also rank with these works among the supreme creations of the composer’s long and prolific career.

Haydn scholar H.C. Robbins Landon calls them “enormous symphonies to the glory of God.” A devout Catholic, Haydn combined his personal devotion, his love for choral writing (enriched by his exposure to Handel’s music in London), and his mastery of symphonic form and orchestration to create these masses, each one strikingly different from its siblings.

There was an additional factor that added to Haydn’s joy in fulfilling these annual commissions.

Princess Marie was a lovely and charming woman with a musical and diplomatic sensitivity considerably exceeding her husband’s. She adored Haydn and he adored her in return; she often interceded on the composer’s behalf when he clashed with her crusty and overbearing consort. Paying tribute to her name day (a September Sunday honoring the Virgin Mary) became an act of love more than duty.

The third of these masses, the Missa in Angustiis (“Mass in Troubled Times”), is unique in that it was the only mass setting Haydn wrote in a minor key: D minor. The choice of this dark and dramatic key reflected the year in which it was written: 1798. This was a time of ongoing wars as the young Napoleon began his quest to dominate

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Europe and continually menaced the rival power of Austria. And since Austria’s generals were greatly inferior to him, Austria kept losing battle after battle. At last, in September 1798, while Haydn was composing this Mass, came a piece of good news: Horatio Nelson, the heroic commander of the English navy — England was one of Austria’s chief allies against France — had defeated the French navy at the Battle of the Nile. With its prominent parts for trumpets and drums and frequent fanfare motives, the Missa in Angustiis reflected this time of constant military alert with its alternating moods of fear and triumphant joy.

When Lord Nelson paid a visit to the Esterházy family in 1800, the Missa in Angustiis was performed for him and received a new, less formal title by which it is generally known today: the “Nelson” Mass. Nelson was reportedly so moved by the work that he gave Haydn a watch in exchange for the pen with which the composer had written the score.

Much of what had made the London Symphonies such masterpieces was transferred into the “Nelson” Mass. Haydn employed a symphonic structure and span here so that each main section of the mass is like a contrasting movement in a symphony. The vocal soloists are no longer given separate arias as had been the custom in the 18th century, but are integrated freely into the texture alongside the chorus. And the orchestra is given much greater importance, providing extended and impressive introductions to such sections as “Et incarnatus” and “Benedictus.”

With its pealing military fanfares, fierce choral cries, and minor key, the “Kyrie” has a uniquely somber and anxious emotional quality reflecting a continent at war. The soprano soloist’s airy coloratura contrasts vividly with the solid homophonic utterances of the chorus.

God is joyous, exuberant, almost dancelike. Its most extraordinary section is the setting of “Qui tollis peccata mundi” (“Who bears the sings of the world”), a deeply felt Adagio dominated by the dark, weighty voice of the bass soloist. The final section, “Quoniam tu solus,” returns to the joyful melody of the opening and closes in lavish fugal counterpoint for the chorus.

The “Credo” opens as a two-part canon between sections of the chorus, echoing the proclamation of the tenets of Christian belief. Here and throughout this movement, Haydn frequently has the chorus singing in unison to place maximum emphasis on the text. “Et incarnatus” about the birth and death of Christ is a superbly conceived passage opened by an eloquent orchestral prelude and a beautiful solo for the soprano. This poignant music then explodes into the joy of the Resurrection, topped by the soprano’s ecstatic coloratura.

The “Sanctus” opens solemnly with crescendos of awe from the chorus, then erupts in a lively setting of “Pleni sunt coeli.” Back in war-torn D minor, the “Benedictus” is one of the Mass’s most remarkable movements, featuring an imposing, militant orchestral prelude and a lovely, earnest solo for the soprano, echoed by the chorus. It is as though “He who comes in the name of the Lord” were a military hero, sent to save a beleagered nation. The movement builds to a powerful climax before a reprise of “Pleni sunt coeli.”

The “Agnus Dei” (“Lamb of God”) unfurls a tender melody with beautiful arching lines for the alto and soprano soloists, eventually joined by the rest of the solo quartet. After all the anxiety underlying this Mass, Haydn gives the closing “Dona nobis pacem” (“Give us peace”) a celebratory contrapuntal setting in which the chorus confidently proclaims their faith that peace will come at last.

Moving to D major, the “Gloria” is something altogether different. Its opening section praising

Notes by Janet E. Bedell copyright 2015

TEXTS/TRANSLATIONS I

II

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Kyrie eleison.

Christe eleison.

Kyrie eleison.

Lord have mercy.

Christ have mercy.

Lord have mercy.

Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis.

Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Domine Deus, rex coelestis, Pater omnipotens, Domini Fili unigenite, Jesu Christe altissime, Domine Deus, Agnus Dei, Filius patris.

Qui tollis peccata mundi, miserere nobis, suscipe

Glory to God in the highest, and on earth, peace towards men of good will.

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We praise You, we bless You, we adore You, we glorify You. We give thanks to You for Your great glory.

Lord God, heavenly king, Father almighty, Lord, the only-begotten Son, Jesus Christ, the most high, Lord God, Lamb of God, Son of the Father.

You, who takes away the sins of the world, have mercy upon us,

deprecationem nostram.

Qui sedes ad dexteram patris, II miserere nobis.

receive our prayers.

You, who sits at the right hand of the Father, have mercy upon us.

Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.

For You alone are holy, You alone are the Lord, You alone are the Lord, O Jesus Christ.

Cum sancto spiritu in gloria Dei Patris. Amen.

With the Holy Spirit, in the glory of God the Father. Amen.

Credo in unum Deum, Patrem omnipotem, factorem coeli et terrae, visibilium omnium et invisibilium.

Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia secula.

I believe in one God, Father almighty, maker of heaven and earth, and of all things visible and invisible.

And in one Lord Jesus Christ, only begotten Son of God, who was begotten by his Father before all worlds.

Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt.

Qui propter nos homines et propter nostram salutem descendit de coelis.

God of God, light of light, very God of very God, begotten, not made, being of one substance with the Father, by whom all things were made.

Who, for us, and for our salvation descended from heaven.

Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

III Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad dexteram Patris.

Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis.

Et in Spiritum sanctum, Dominum et vivificantem, qui ex Patre et Filio precedit.

Qui cum Patre et Filio simul adoratur et conglorificatur. qui locutus est per Prophetas.

Et unam sanctam catholicam et apolstolicam ecclesiam.

Confiteor unum baptisma in remissionem peccatorum, Et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, pleni sunt coeli et terra gloria ejus.

IV Osanna in excelsis.

Benedictus qui venit in nomine Domine.

Osanna in excelsis.

Agnus Dei, qui tollis peccata mundi, V miserere nobis.

Dona nobis pacem.

And was incarnate by the Holy Spirit of the Virgin Mary, and was made man.

And was also crucified for us under Pontius Pilate, suffered, and was buried.

And on the third day, He rose again according to the Scriptures, and ascended into heaven, and sits on the right hand of the Father.

And He shall come again, with glory, to judge both the living and the dead, whose kingdom shall have no end.

And in the Holy Spirit, the Lord and giver of life, who proceeds from the Father and Son. Who, with the Father and Son is worshipped and glorified, Who spoke by the Prophets.

And one holy, catholic, and apostolic Church.

I acknowledge one baptism for the remission of sins, And I expect the resurrection of the dead, and the life of the world to come. Amen.

Holy, holy, holy, Lord God of Sabaoth, heaven and earth are filled with His glory.

Hosanna in the highest.

Blessed is he who comes in the name of the Lord.

Hosanna in the highest.

Lamb of God, who takes away the sins of the world, have mercy on us.

Grant us peace.

artist biography rosalind lee soprano

Continuedfrom page 38.

She has also worked with GRAMMY-nominated Seraphic Fire and GRAMMY-winning ensembles: Chicago Symphony Chorus, Oregon Bach Festival Chorus, and Conspirare.

chamber

Rosalind Lee, soprano, has been described as "a beautiful soprano with a glowing voice."

Among many other performances, Ms. Lee sang the "Echo" in "Flößt, mein Heiland" from Bach’s Christmas Oratorio with Kathleen Battle under the baton of Raymond Leppard and was the soprano soloist in the Vivaldi Gloria under Bernard Labadie, both with the Indianapolis Symphony Orchestra. Ms. Lee has presented Beethoven’s magnificent concert aria, Ah! Perfido with the Civic Orchestra of Chicago and has appeared as a soloist in numerous other concert works including Bach’s Magnificat, Brahms' Ein Deutsches Requiem, Gounod’s St. Cecilia Mass, Haydn’s Paukenmesse, Mozart’s Vesperae solennes de confessore, Orff’s Carmina Burana, Schubert’s Mass in G, and the Chicago premiere of Mollicone’s Beatitude Mass. Ms. Lee is very pleased to be making her debut with the Fort Wayne Philharmonic in this performance of Haydn’s Missa in Angustiis (Lord Nelson Mass). Other upcoming appearances include performances of Brahms' Ein Deutsches Requiem, a concert of opera selections called “Seasons of Song” at Governor’s State University and her debut with Haymarket Opera Company in a concert performance of Stradella’s oratorio San Giovanni Battista.

Ms. Smucker holds degrees from Valparaiso University and the University of Minnesota and

alan taylor tenor

On the opera stage, Ms. Lee has appeared in Verdi’s La Traviata (Annina) at Music by the Lake. She has also appeared in the ensemble of many productions with Lyric Opera of Chicago, including the recent productions of Carousel, The Sound of Music and Porgy & Bess.

Ms. Lee is pleased to appear regularly with the Chicago Symphony Chorus, the Grant Park Festival Chorus, and the choruses of Soli Deo Gloria’s Chicago Bach Project and Music of the Baroque. She's also very proud to be heard singing in the Chicago Symphony Chorus on Chicago Symphony Orchestra's 2010 GRAMMYwinning recording of Verdi's Messa da Requiem, under the baton of Maestro Riccardo Muti and again with them on the soundtrack of Dreamwork's film, Lincoln, under the direction of Maestro John Williams.

Hailed for his “ringing and confident tenor,” Alan Taylor, a native of Atlanta Georgia, is a graduate of Northwestern University (M.Mus.) and Samford University (B.Mus.) under the tutelage of W. Stephen Smith. He is a twotime winner of Samford’s Concerto-Aria competition and the National Association of Teachers of Singing audition, and won first place in the Federation of Music Clubs annual collegiate competition.

He has been the tenor soloist for Bach’s Magnificat, Mozart’s Coronation Mass, Vaughan Williams’ Serenade to Music, Britten’s Saint Nicholas, and Charpentier’s Messe de Minuit pour Noël. He was featured in recital at the Aspen Music Festival with pianist Kenneth Merrill and has sung for Maestri Nicholas McGegan and Jane Glover.

Taylor’s opera credits include title roles in Britten’s Albert Herring, the Chicago premiere of Musto’s Bastianello as well as Alfredo

A ngela Y oung S mucker me z z o - soprano

Concert work from past seasons Mozart’s Coronation Mass (Music Baroque), Mendelssohn’s Elijah Symphony Orchestra, Oregon Bach Haydn’s Creation (Oregon Bach

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includes of the (Chicago Festival), Festival),

in J. Strauss’s Die Fledermaus, Arnalta in Monteverdi’s L’incoronazione di Poppea, and Ralph Rackstraw in Sullivan's H.M.S. Pinafore, praised for his “delightfully pretty singing.” He maintains voice and piano studios and is a member of the Chicago Symphony Chorus, Grant Park Chorus, and Chicago’s historic Saint James Episcopal Cathedral and its choir.

dan richardson bass - baritone

Angela Young Smucker has earned praise for her “rich, secure mezzo-soprano” (Chicago Tribune) and her "powerful stage presence" (The Plain Dealer). Her performances in concert, stage, and chamber works have made her a highly versatile and sought-after artist.

Highlights of the 2015-16 season include debut performances with Spire Chamber Ensemble in the Duruflé Requiem and Handel’s Messiah, the Fort Wayne Philharmonic’s Lord Nelson Mass (Haydn), and with the San Diego Pro Arte Voices as featured soloist in Copland’s In the Beginning.

Ms. Smucker will make return appearances with Bach Collegium San Diego in Handel’s Messiah and Monteverdi’s Vespers; Indianapolis Chamber Orchestra under the baton of new conductor Matthew Kraemer; and Chicago Bach Ensemble lead by Baroque specialist Rubén Dubrovsky.

was awarded acceptance into the 2015 NATS Intern Program while serving as an adjunct voice instructor at Valparaiso University (2008-2015).

Bass-baritone Dan Richardson is known for his "clean, clear, declarative" tone and "lovely core sound and earnest musicianship."

Mozart’s Requiem, Vivaldi’s Gloria, Handel’s Israel in Egypt, and Duruflé’s Requiem. Ms. Smucker has also appeared on Garrison Keillor’s A Prairie Home Companion, WFMT’s Impromptu, and WTTW’s Chicago Tonight.

Ms. Smucker’s work as a chamber artist has earned high praise. Her debut performances with French Baroque ensemble Les Délices were chosen as a 2013 “Cleveland Favorite” by The Plain Dealer.

Continued on page 39.

Recently, Mr. Richardson appeared as Elijah with Choral Union in Mendelssohn's Elijah, Figaro in Le nozze di Figaro with the Salt Creek Chamber Orchestra, as Papageno with Candid Concert Opera, and performed with the New Millennium Orchestra as Death in Viktor Ullmann's the Emperor of Atlantis on the Pritzker Pavilion Stage at Millennium Park.

He has also performed with the Florentine Opera, Opera Omaha, Opera Louisiane, Des Moines Metro Opera, the Cedar Rapids Opera Theatre, Sarasota Opera, and the Lyric Opera of Chicago, where he performed the role of Don Bartolo for their “Opera in the Neighborhoods” production of Rossini's The Barber of Seville.

As a concert soloist Mr. Richardson has performed with the Fox Valley Orchestra, Milwaukee Symphony Orchestra, The Virginia Consort, the Milwaukee Ballet, Music by the Lake, and the Grant Park Chorus.

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music director

message from the phil friends Welcome to the 2015/16 Season of the Fort Wayne Philharmonic! Our annual Friends Membership Drive is just wrapping up and we invite all of you to join. We need more volunteers with time, talent, imagination and the skills to put ideas into action. Check off your area of interest on the program insert, fill out the reverse side, and send to the address provided. If you’d like to be a member of our board, call 260•481•0770 or e-mail friends@fwphil.org.

andrew constantine

The Fort Wayne Philharmonic Friends was first known as the Women's Committee, then as the Philharmonic Volunteers and have been around since 1944. Over all these years our mission has remained the same: to be an advocate for The Phil and support its fundraising and education activities while discovering and encouraging musical talent. Below is a list of what we’ve been doing over the summer, what’s going to happen during the next few months and some of our ongoing activities: •

The first annual Swing for the Symphony golf outing was held on August 20 at the Orchard Ridge Country Club.

•

Our first Instrument Playground of the season was held August 29 at Taste of the Arts.

•

In July, our Scholarship Committee awarded almost $4,000 to twenty-five applicants for the 2015/16 school year.

•

The second Vines & Vibes will be held on October 14 at Country Heritage Winery with Alicia Pyle providing the vibes. See the ad on page 10 for more details.

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The Friends are again pleased to be able to sponsor the October 24 Masterworks.

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Another Symphony of Style fashion show is being planned for April 19, 2016. Keep an eye on this space and our web site www.fwphilfriends.com for more information.

•

Our nationally recognized Instrument Loan program is busy serving young musicians throughout the area.

•

The Friends continue to sponsor Musically Speaking before the Masterworks concerts.

•

We also provide overnight housing for out-of-town musicians; refreshments for the Friday Masterworks rehearsals and between Holiday Pops matinee and evening performances; and dozens of trips to and from the airport for the Music Director, visiting artists and other transportation needs

This kind of support for The Phil and the community is only possible through your generous contributions. If you want to see it continue, please consider joining us, attending our fundraisers and participating on our board.

Again, thank you all for your past help and enjoy another season of first class symphonic music from the Fort Wayne Philharmonic!

THE PHILHARMONIC FRIENDS BOARD OF DIRECTORS OFFICERS Vice-President Education: Sara Davis Vice-Presidents Fundraising: Susan Lehmann, Elizabeth Lehmann Vice-President Hospitality: Jayne Van Winkle Vice-President Marketing: Cynthia Fyock Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions

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BOARD MEMBERS Suzi Hanzel Sandra Hellwege Pat Holtvoigt Naida MacDermid Nellie Bee Maloley Nan Nesbitt Tamzon O'Malley John McFann Janet Ormiston Ruth Springer Marcella Trentacosti Alexandra Tsilibes

“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 north-east 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 Schleswig-Holstein 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 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 Degree of Doctor of Music by the University of Leicester for his “contribution to music.”

Constantine’s repertoire is incredibly broad and, whilst 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

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Photo courtesy of Music for All

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 keep the flame of belief alive and to 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 programmes 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 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.”

Engagements in 2014 included concerts with the Orchestra Sinfonica Siciliana in Italy and, the NWD Philharmonie in Germany.

make the arts happen

ASSistant conductor chia-hsuan lin Chia-Hsuan Lin is pleased to begin her second season as Assistant Conductor with the Fort Wayne Philharmonic.

Lauded for her clarity and elegance on the podium, Chia-Hsuan has shared her talents in many diverse musical settings throughout the world. She recently conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and she was a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania. Earlier this year, Chia-Hsuan conducted a performance of Mark Adamo’s Little Women at Northwestern University. She led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the University of Cincinnati, where she also served as music director of the University of Cincinnati Symphony Orchestra, and later participated in the 2012 Cabrillo Festival of Contemporary Music in California. In celebration of the Taiwanese premiere of Bach’s St. Matthew Passion, Chia-Hsuan returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus for a lecture series by conductor and Bach scholar Helmuth Rilling.

In the summer of 2011, she traveled to Italy to serve as Assistant Conductor of Opera at the CCM Spoleto Music Festival.

Chia-Hsuan first received musical training as a pianist in Taiwan at age three. At age nine, she began studies as a percussionist and later performed with the renowned Taipei Percussion Group from 2003 to 2010. Chia-Hsuan received her undergraduate degree in percussion and graduate degree in conducting from National Taiwan Normal University, where she studied with Apo Hsu. Her musical training continued in the United States after being selected to study with Harold Farberman as a Fellow of the Conductor Institute at Bard College. Under

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midwinter mozart

jan 23 7:30 P.M. | Andrew Constantine, conductor Boris Slutsky, piano freimann:

mozart’s clarinet quintet

jan 27 & 31 7:30 P.M. & 2:30 p.m. | Freimann Quartet

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chamber orchestra:

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feb 6 7:30 P.M. | Andrew Constantine, conductor Fort Wayne Philharmonic Chorus call today! 260 • 481 • 0777 | fwphil.org

the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati, and in 2012, Chia-Hsuan received the Foreign Study Award for Music from the Taiwan Education Bureau to begin her doctoral degree with Victor Yampolsky at Northwestern University.

Chia-Hsuan has furthered her education through masterclasses and workshops, including sessions with the Richmond Symphony Orchestra, Baltimore Chamber Orchestra, and the Romanian Royal Camerata, as well as with conductors Günther Herbig, Jorma Panula, Imre Palló, Steven Smith, Helmuth Rilling, Gábor Hollerung, Mei-Ann Chen, Markand Thakar, Israel Yinon, and Douglas Bostock.

BOARD OF DIRECTORS

chorus director

officers

benjamin rivera Benjamin Rivera has been artistic director and conductor of Cantate Chicago since December of 2000. He has prepared and conducted choruses at all levels, from elementary school through adult, in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. He prepared the Fort Wayne (IN) Philharmonic Chorus and members of Cantate for a performance of William Walton’s Belshazzar’s Feast in March of 2013. He was appointed director of the Fort Wayne Philharmonic Chorus in the fall of the same year. He has also served as Guest Chorus Director of the Grant Park Music Festival in Chicago.

In his nineteenth season as a member of the Chicago Symphony Chorus, including twelve seasons as bass section leader, Rivera also sings professionally with Chicago a cappella, the Grant Park Chorus, and many other ensembles.

He is a frequent soloist, appearing with these ensembles and others, most often in sacred and

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Ben Eisbart, Chair Chuck Surack, Chair-Elect Carol Lindquist, Vice-Chair Sharon Peters, Vice-Chair Philip Smith, Vice-Chair Daryl Yost, Vice-Chair concert works. He has sung across the U.S., and can be heard on numerous recordings.

He has been on the faculty of several colleges and universities, directing choirs and teaching voice, diction, music theory, and history. In addition, he has adjudicated many competitions (solo and ensemble), led numerous master classes and in-school residencies, and he has presented at the Iowa Choral Directors Association summer conference.

Especially adept with languages, Benjamin Rivera frequently coaches German and Spanish, among several 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 also have included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music.

In 2011, he researched choral rehearsal and performance practice in Berlin, Germany.

Benjamin Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

the phil chorus board of directors OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Sara Davis, Secretary BOARD MEMBERS Tom Cain Sara Davis Lenore Defonso Sandy Hellwege

Katy Hobbs Nathan Pose Sarah Reynolds Greg White

Greg Marcus, Secretary George Bartling, Treasurer

George Bartling Sarah Bodner Earl D. Brooks, II Vicky Carwein Anita Cast Keith Davis Ben Eisbart Dennis Fick Michael Galbraith Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Carol Lindquist Greg Marcus Eleanor Marine

Nick Mehdikhan Timothy Miller Tamzon O’Malley Sharon Peters Dr. Lance Richey (Intern) Melissa Schenkel Jeff Sebeika Rob Simon Philip Smith Nancy Stewart Chuck Surack Barb Wachtman Daryl Yost Alfred Zacher Mary Ann Ziembo

HONORARY BOARD Patricia Adsit Mrs. James M. Barrett III Howard and Betsy Chapman Will and Ginny Clark Dru Doehrman June E. Enoch Leonard M. Goldstein William N. and Sara Lee Hatlem

Diane Humphrey Jane L. Keltsch William Lee Carol Lehman Elise D. Macomber Alfred Maloley Michael J. Mastrangelo, MD Dr. Evelyn M. Pauly Jeanette Quilhot

Carolyn and Dick Sage Lynne Salomon Herbert Snyder Howard and Marilyn Steele Zohrab Tazian Ronald Venderly W. Paul Wolf Don Wood

ADMINISTRATIVE STAFF Jim Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director

education

finance & technology

Jason Pearman Director of Education and Community Engagement

Beth Conrad Director of Finance

artistic operations

Anne Preucil Lewellen Education and Ensemble Coordinator

Jim Mancuso General Manager

Joseph Kalisman Youth Orchestra Manager

Christina Brinker Director of Operations

Derek Reeves Instructor, Club Orchestra program

Timothy Tan Orchestra Personnel Manager

development

Adrian Mann Orchestra Librarian/ Staff Arranger

Sarah Kimou Grants and Sponsorship Coordinator

Ryan Pequignot Stage Manager

Clarissa Reis Annual Fund Coordinator

Kathleen Farrier Accounting Clerk Angelyn Begley Technology Coordinator marketing & communications Melysa Rogen Assistant Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager OCT NOV

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the phil orchestra roster andrew constantine music director Ione Breeden Auer Podium

chia-hsuan lin assistant conductor benjamin rivera chorus director

Violin David Ling, Acting Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair

Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III

Cello Andre Gaskins, Principal Morrill Charitable Foundation Chair

Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair

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

Marcella Trentacosti Wayne L. Thieme Chair

Jane Heald David Rezits Edward Stevens Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Pablo Vasquez Kristin Westover Dessie Arnold Zofia Glashauser Janet Guy-Klickman

Bass

Linda Kanzawa

Adrian Mann, Principal

Ervin Orban

Viola Derek Reeves, Principal

Hillary Feibel Mary-Beth Gnagey Chair

2015

Michael Lewellen, Principal Mr. & Mrs. Arthur A. Swanson Chair

David Cooke, Principal W. Paul and Carolyn Wolf Chair

J. Richard Remissong John D. Shoaff Chair

Adam Johnson

Michael Galbraith Walter D. Greist, MD Family Chair

Bass Trombone

Katherine Loesch

Tuba

Trumpet Vacant, Principal Gaylord D. Adsit Chair

Oboe Orion Rapp, Principal Margaret Johnson Anderson Chair

Akira Murotani Charles Walter Hursh 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

Brian Kuhns

Dennis Fick, Principal

Joel Braun

Trombone

Daniel Ross George M. Schatzlein Chair

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Andres Gil

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Vivianne BĂŠlanger Virginia R. and Richard E. Bokern Chair

Joseph Kalisman

Alexandra Tsilibes

46

Luke Fitzpatrick, Principal Rejean O’Rourke Chair

Erin Rafferty

Olga Yurkova, Principal Second Wilson Family Foundation Chair

Timothy Tan

Flute

Horn

Anne Devine Joan and Ronald Venderly Family Chair

Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair

Harp

Andrew Hicks

Samuel Gnagey, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

Timpani Eric Schweikert, Principal William H. Lawson Chair

Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Organ Irene Ator Robert Goldstine Chair

Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair

Percussion Scott Verduin, Principal June E. Enoch Chair

Contributing Musicians VIOLIN

VIOLA

FLUTE

BASSOON

TRUMPET

Jenna Anderson Nathan Banks Nicole DeGuire Regan Eckstein Janice Eplett Paul Hauer Michael Houff Victoria Moore Caleb Mossburg Irina Mueller LInda Oper Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Jessica Wiersma

Rachel Goff Melissa Lund Ziegler Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

Alistair Howlett Patricia Reeves

Michael Trentacosti

Alan Palider Keith Sweger

Edmund Cord Brittany Hendricks Douglas Hofherr Larry Powell Adam Strong Aaron Trammel

HORN

PERCUSSION

Gene Berger Kurt Civilette Kenji Ulmer

Colin Hartnett Renee Keller Kevin Kosnik Jerry Noble

CELLO Jonathan Mann Gena Taylor

BASS Brad Kuhns John Tonne

OBOE Jennet Ingle Aryn Sweeney Sarah Thelen

CLARINET Elizabeth Crawford Dan Healton Spencer Prewitt

BASS CLARINET

CONTRABASSOON

SAXOPHONE Farrell Vernon

Elizabeth Crawford Daniel Healton Spencer Prewitt

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the phil chorus roster Benjamin Rivera chorus director Jonathan Eifert assistant director soprano Micaela Basillici Sheila Chilcote-Collins Nicoline Dahlgren Sara Davis Natasha Kersjes Meg Moss Clarissa Reis Sue Stump Kaitlin Clancey Ashley Adamson Karen Campbell Elaine Cooper Kathy Dew Ruth Fearnow Katy Hobbs Joanna Jessup Carol Anne McMillen Jane Meredith LeeAnn Miguel Karma Remster Rita Robbins

Mary Snow Sherrie Steiner Michelle Urban Carrie Veit Marshelle Schutte Alto Nancy Archer Lenore DeFonso Rachael Hartmann Sandra Hellwege Jody Jones Paula Neale Rice Sabrina Richert Cindy Sabo Lynn Shire Ruth Trzynka Frédérique Ward Mary Winters Cathryn Boys Ronnie Brooks Jeri Charles

Joan Gardner Ronnie Greenberg Cheryle Griswold Sharon Mankey Sarah Reynolds Sue Snyder Gretchen Weerts Lea Woodrum tenor Thomas Cain C. Alin Cass Sarah Kindinger John Sabo Greg White Garrett Butler John T. Moore Nathan Pose Mark Richert

BASS Thomas Baker Thomas Callahan Kris Gray Gerrit Janssen Fred Miguel Ewing Potts Gabriel Selig Kent Sprunger John Brennan Jon Eifert Michael F. Popp Keith Raftree

How do you get to Carnegie Hall?

Practice, Practice, Practice and $$$!

Symphonic Wind Ensembles Concert Highlighting the works of awardwinning guest composer-inresidence John Mackey.

Thursday, Oct. 8 at 7:30 p.m.

Daniel Tembras, Conductor Auer Performance Hall

Symphonic Wind Ensembles Concert

Featuring the “Acrostic Song” from Final Alice by Pulitzer Prize winner David del Tredici.

Wind Ensemble at Carnegie Hall The IPFW Symphonic Wind Ensemble will be representing IPFW (for the first time) with a performance at the world famous Carnegie Hall in New York City as part of the 2016 New York Wind Band Festival. Upcoming fall concerts are excellent opportunities to see the Symphonic Wind Ensemble as they prepare for their upcoming performance in Carnegie Hall.

Contributions to help make this trip possible for the IPFW Symphonic Winds are needed and appreciated. So much of our success is due to your generous donations. Thank you!

Donate Now Online: ipfw.edu/carnegie-hall

Thursday, Dec. 3 at 7:30 p.m.

Daniel Tembras, Conductor Auer Performance Hall

IPFW Box Office

260-481-6555 TTD: 260-481-4105 ipfw.edu/tickets Monday–Friday 12:30–6:30 p.m.

Gates Athletics Center

series sponsors

series sponsors

mark robison chairman & president, brotherhood mutual insurance company

robert wagner

the madge rothschild foundation During her lifetime, Madge Rothschild’s philanthropy in support of many local charities was frequent and generous, but, far more often than not, was done anonymously.

Aware of her mortality, Madge established The Madge Rothschild Foundation and at death willed her remaining estate to it in order that her support for various local charitable organizations would be continued. The Fort Wayne Philharmonic was one of the charities she supported, remarking, “Without The Phil, there would be so much less culture in this city for us to be proud of and for me to enjoy with others.”

"We're fortunate to have the Fort Wayne Philharmonic at the center of Fort Wayne's arts community. It strengthens our community character and helps make Fort Wayne a great place to live. Brotherhood Mutual is proud to sponsor the Fort Wayne Philharmonic."

Mark Millett president & CEO, Steel dynamics chuck surack founder and president, sweetwater sound, inc.

The Phil is truly one of our most important assets, enhancing northeastern Indiana in the areas of culture, education, and economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.

st e e l dy n a m i c s

patriotic pops 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.”

Mike Packnett president & ceo, parkview medical center

jim marcuccilli PRESIDENT & CEO, STAR BANk parkview regional medical center

holiday pops

STAR is proud to call Fort Wayne home. As a local company, we’re 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 Phil Family Music Series is one of those underwriting commitments. (The three-part Family Series is held in IPFW’s Auer Performance Hall). The programs showcase classical music to families in a fun, relaxed setting. The perfect fit for a culturally rich family experience.

For so many of us, a Fort Wayne Philharmonic Holiday Pops Concert is a treasured part of our end-of-year festivities. The familiar carols bring us together in the spirit of community, evoking happy memories with friends and family.

We at Parkview Health are very pleased to sponsor the Regional Holiday Pops Concert series. From the physicians and the clinical, administrative and support staff members, and from my wife, Donna, and me, heartfelt wishes to you and yours for a blessed and joyous holiday season.

annual fund individuals The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. We make every attempt to include everyone who has supported The Phil during that time. Please let us know if we've made an error.

For information about supporting The Phil’s 2015/16 Annual Fund, contact the Development Office at 260•481•0774.

FOUNDERS SOCIETY (GIFTS OF $25,000+) Anonymous (2) Gloria Fink* Diane S. Humphrey

Russ & Jeanette Quilhot Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman June E. Enoch Leonard & Rikki Goldstein William N. & Sara Lee Hatlem

Drs. Kevin & Pamela Kelly Eleanor H. Marine Ian & Mimi Rolland Herb & Donna Snyder Jeff Sebeika, Subway

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Dr. & Mrs. Alfred Allina Drs. David Paul J. & Jeneen Almdale Nancy Archer George & Linn Bartling David & Janet Bell

Andrew & Jane Constantine Drs. Kevin & Pamela Kelly Tod Kovara Mr. & Mrs. Victor Porter The Rifkin Family Foundation

CONDUCTOR’S CIRLCE (GIFTS OF $2,500 TO $4,999) Tim & Libby Ash Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin John H. Shoaff & Julie Donnell Mr. & Mrs. Irwin F. Deister Jr. Ann H. Eckrich Mark O. Flanagan Patricia S. Griest Susan Hanzel Dr. Rudy & Rhonda Kachmann

Drs. Carol & David Lindquist Greg Marcus Michael Mastrangelo Kevin & Tamzon O’Malley Dr. Evelyn M. Pauly Carolyn & Dick Sage Ms. Carol Shuttleworth & Mr. Michael Gavin Barbara Wachtman & Tom Skillman Daryl Yost Al & Hannah Zacher Brian & Kyla Zehr

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Norma & Tom Beadie Katherine Bishop Joan Baumgartner Brown Kathy Callen Tom & Margaret Dannenfelser George & Ann Donner

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Ben & Sharon Eisbart Fred & Mary Anna Feitler Susan & Richard Ferguson Fredrica Frank* David S. Goodman Sattar & Marlene Jaboori Ginny & Bill Johnson

Dorothy K. Kittaka Mr. & Mrs. John Krueckeberg Mr. & Mrs. Robert Leeper Greg & Barbara Myers Rosemary Noecker Kathryn & Michael Parrott Linda Pulver The Rev. C. Corydon Randall

& Mrs. Marian Randall

The Rothman Family Foundation Melissa & Peter Schenkel Philip & Rebecca Smith Wayne & Helen Waters Lewie Wiese Virginia Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Dr. & Mrs. James G. Buchholz Beth Conrad Dr. & Mrs. Jerald Cooper Keith & Kyle Davis The Dyer Family Foundation Mr. & Mrs. Ronald B. Foster Elizabeth A. Frederick Leonard Helfrich Floyd A. & Betty Lou Lancia Lyman & Joan Lewis Mr. & Mrs. Donald T. Mefford

Timothy & Jennifer Miller Norma J. Pinney Carol & Bill Reitz Dr. Joseph Schneider John & Barb Snider Kathleen M. Summers Rachel A. Tobin-Smith Carolyn & Larry Vanice Nancy Vendrely Herbert & Lorraine Weier

ENCORE CIRCLE (GIFTS OF $750 TO $999) Glenn & Janellyn Borden Mr. & Mrs. Craig D. Brown Anita G. Dunlavy Emily & Michael Elko Mr. & Mrs. Daniel C. Ewing Diane Keoun David B. Lupke

Anne & Ed Martin Bonnie & Paul Moore Mr. & Mrs. Joseph L. Nave, Jr. Linda & Alan Richards Robert Simon Norma Thiele Kari & Jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (3) Jeane K. Almdale John Bales Frederick A. Beckman Larry & Martha Berndt Elizabeth Bueker Margaret L. & Richard F. Bugher Barbara Bulmahn Mary Campbell Virginia Coats John & Janice Cox Dr. & Mrs. Fred W. Dahling Sara Davis Dr. & Mrs. J. Robert Edwards Clayton Ellenwood Bruce & Ellen England Steven & Nancy Gardner Roy & Mary Gilliom Scott & Melissa Glaze Shirley H. Graham Mrs. Eloise Guy Bob & Liz Hathaway William & Sarah Hathaway Anne & James Heger Mr. & Mrs. Mark Hesterman Mark & Karen Huntington Mr. & Mrs. Kenneth Johnson

Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund Dr. & Mrs. John W. Lee Stephen & Jeanne Lewis Frank Luarde David B. Lupke Peter & Christine Mallers Anne & Ed Martin Thomas & Dianne May Susan & David Meyer Bonnie & Paul Moore Sean & Melanie Natarajan Paul Oberley Mr. & Mrs. Maurice O’Daniel Brian & Susan Payne William & Sue Ransom Dr. & Mrs. Stephen Reed LTC Ret. & Mrs. Richard Reeves Alan & Pat Riebe Anne & David Silletto Mr. Marco Spallone & Ms. Anne Longtine Nancy & David Steward Jane C. Thomas Mr. John Ulmer Angela & Dick Weber Virginia & Don Wolf

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FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (1) Michael & Mary Jo Amorini Scott & Barbara Armstrong Linda Balthaser Amy & John Beatty Michael & Deborah Bendall Dr. & Mrs. Robert Burkhardt Andy & Peg Candor Bob & Margita Criswell Ann & Tim Dempsey George & Nancy Dodd Bill & Dot Easterly Mrs. Philip W. Eherenman Al & Jeanne Emilian Pauline Eversole Dan & Nacy Fulkerson Linda Gaff Robert & Barbara Gasser Mr. & Mrs. Thomas E. Green Lois Guess Warren & Ardis Hendryx Tom & Mary Hufford Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Larry & Annette Kapp Mr. John A. Kirchhofer Bruce & Mary Koeneman

Ed & Linda Kos Dr. & Mrs. Richard D. Lieb Anne A. Lovett Paul & Pauline Lyons Peg Maginn Lusina McNall Suzon Motz Cathy A. Niemeyer Paul A. Oberley Janet Paflas Mr. & Mrs. Delmar J. Proctor Paul J. & Lula Belle Reiff Maryellen Rice Robert & Ramona Scheimann Mary Schneider Scot C. Schouweiler & Julie Keller Chuck & Patty Schrimper Fort Wayne Alumnae Chapter of

Sigma Alpha Iota Stephen R. & Anne S. Smith Lois A. Steere Carol Ann Terwilliger Carl & Cynthia Thies Michael J. Vorndran & Joshua Long Lorraine & Shepard Weinswig Steve & Keitha Wesner

SECTION PLAYER (GIFTS OF $100 TO $299) Anonymous (6) Irving Adler Max M. Achleman Ms. Jean Altevogt Terry & Phil Andorfer Keith & Lynn Apple Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Thomas Armbuster Mel & Ruth Arnold Mr. & Mrs. William Arnold John & Dianna Thornhill Auld Richard & Matoula Avdul Dick & Adie Baach Dave & Bev Baals Patricia Barrett Mike & Kay Bauserman Tony & Pat Becker Kevin Beuret Beth & Don Bieberich Holly & Gil Bierman Matthew Bilodeau Robert & Mary Binns Sherry L. Blake Virginia Bokern Jon Bomberger & Kathryn Roudebush Dennis Bowman David & Joan Boyer Sue & James C. Bradley Dr. Helene Breazeale Mr. & Mrs. David Brennan

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John P. Brennan & SuzAnne Runge Dr. & Mrs. Todd Briscoe Mr. Mike Britten Ms. Evelyn Brosch-Goodwin David N. Brumm & Kimberly S. MacDonald William & Joan D. Bryant William & Dorothy Burford Dr. David & Gayle Burns Marguerite W. Burrell Philip Burt Joyce & Paul Buzzard Anne & Michael Cayot Mr. & Mrs. David Childers Arlene Christ Willard & Nena Clark Nelson & Mary Coats Robert & Annelie Collie Mr. & Mrs. Richard Cook John Crawford Wendell & Mary Cree Dan & Marjorie Culbertson Jane Dehaven Tom & Holly DeLong Vera & Dominick DeTommaso Carol Diskey Daryle L. Doden Gene & Carol Dominique Fred & Joan Domrow George Drew & Janet Arnold Phyllis Dunham Dr. & Mrs. John Dyer Don & Mary Kay Ehlerding

Cynthia Elick Lillian C. Embick Pam & Steve Etheridge Pam Evans-Mitoraj Mr. & Mrs. Larry Farver Dr. & Mrs. Joseph P. Fiacable John & Jane Foell David & Mary Fink Daniel & Sara Gebhart Geoff & Betsy Gephart Robert & Constance Godley Edward & Henrietta Goetz William & Mary Goudy Mr. & Mrs. Ronald Greek Norm & Ronnie Greenberg Don & Kate Griffith James B. Griffith David L. Guilford Mary K. Gynn Mark Hagerman Dr. & Mrs. Charles Frederick Haigh Melanie & Robert Hall Jonathan & Alice Hancock Brian & Barbara Harris Paul J. Haughan Dennis & Joan Headlee Jacqueline Heckler Marsha Heller Mayor Tom C. & Cindy Henry Tom & Jane Hoffman Douglas & Karla Hofherr Phil & Sharon Howard Winifred Howe Dr. & Mrs. Joseph Huguenard Ed & Mary Lou Hutter George & Jane Irmscher Jocelyn Ivancic Mr. & Mrs. Arlin Jansen Gordon & Julie Johnson Sharon & Alex Jokay Gwen Kaag James R. Karlin LuAnn R. Keller Bridget Kelly Dale Kelly Jane L. Keltsch Carol & Norman Kempler Dr. & Mrs. Bruce Kinsey Richard & Audrey Kirk William G. Knorr James & Janice Koday Kay & Fred Kohler Dr. & Mrs. Daniel Krach Hedi Krueger Paula Kuiper-Moore JJ Carrol & Jeff Lane Drs. Chung & S. Sage Lee Steven & Rhonda Lehman Ms. Frances Lemay Raymond & Mary Lou Loase Dale & Virginia Lutz Janet & Larry Macklin Nellie Bee Maloley Cheryl Mathews David Matz Dr. & Mrs. Michael L. McArdle Susan J. McCarrol

John H. & Shelby McFann Scott McMeen Alice McRae Leanne Mensing Elizabeth Meyer Mr. & Mrs. Jerry R. Meyer Carolyn Miller Al & Cathy Moll Ray & Nancy Moore Deborah Morgan Dr. David Moser Kenneth & Linda Moudy John & Barbara Mueller Ms. Mary Musson Ed Neufer Martha L. Noel Ron & Ruth Nofzinger David & Sally Norton Jay & Jill Nussel Betty O’Shaughnessey C. James & Susan J. Owen Mr. & Mrs. Paraiso Mac & Pat Parker Edwin & Maxine Peck Mr. & Mrs. John M. Peters Raymond & Betty Pippert Marvin & Vivian Priddy Helen F. Pyles Dr. & Mrs. George F. Rapp Dr. Donald & JoEllen Reed John & Diana Reed Emma Reidenbach Jeremy & Clarissa Reis Mr. & Mrs. Robert Relitz Thomas Remenschneider Anne Remington Dennis L. Reynolds Benjamin & Alex Rivera Janet Roe Ms. Rita Robbins Jim & Phyllis Ronner Stanley & Enid Rosenblatt Martin & Rita Runge James M. Sack Marilyn Salon Nancy & Tom Sarosi Jan & Steve Sarratore Harold Schick Mary Ellen Schon David Seligman Mr. & Mrs. Richard Shankle Phyllis Shoaff Lt. Col. & Mrs. Tom Sites Ramona & Dick Sive Curt & Dee Smith Darryl R. Smith Delois Smith Lynda D. Smith Sharon Snow Betty Somers Michael Sorg Thomas & Mary Jane Steinhauser Annetta Stork Matt & Cammy Sutter Tim & Colleen Tan Lois Teders Horn Judge Philip Thieme

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Tom & Maureen Thompson Scott & Jenny Tsuleff Dr. & Mrs. J. Phillip Tyndall Donald & Amy Urban Mr. & Mrs. David Van Gilder Jayne Van Winkle Daniel & June Walcott Dr. James C. Wehrenberg Pat & John Weicker

Dr. & Mrs. Alfred A. Wick Ellen Wilson Hope Wilson Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy Glen & Janice Young Bob & Jan Younger

sponsors The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260•481•0774 to join our family of sponsors.

Series Sponsors

contributor (GIFTS OF $1 TO $99) Anonymous (6) Ms. Candis Allwein Milton & Barbara Ashby Walt & Sue Asp The Baggett Family Stan & Karen Barker Mr. & Mrs. Thomas Barnett Mr. & Mrs. James Barr Mr. & Mrs. John Batuello Marjorie Baumgartel Mr. Jim Berlien H. Stephen Beyer David W. Bischoff Barbara Boerger Mr. & Mrs. John P. Boerger Barbara Boston Garrett Butler Ms. Judith Butler Dr. Carol A. Buttell Mr. Bryan Christie Mr. & Mrs. John Coe Ms. Barbara Collins Elaine & Jon Cooper Avon Crismore Tamara Dahling Mr. & Mrs. Paul &

Kathleen Dahm Mr. Jonathan M. Dalby Miles J. & Lorraine Hook

Davis Fund Dr. William Deans Mr. & Mrs. Douglas D. Deller Ms. Martha Derbyshire Mrs. Shirley Deschler Mr. & Mrs. Larry Dubach Mrs. Carol Ensley Mr. Wayne Erxleben Dr. & Mrs. John Fallon Vernell Fettig Ms. Michele Fortune Francis & Ann Frellick Ms. Vida Garnder Mr. & Mrs. Stephen Gardt Elizabeth Garr Ms. Sharon Gillen Mr. & Mrs. Tertuliano Giraldo L. Judith Glasgow John & Carol Glass Ms. Bonean Gore Ms. Nancy E. Gossett Ms. Janelle Graber Paul & Tauna Griffith

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Madge Rothschild Foundation Ms. Madonna Hackbush Mr. & Mrs. Jeff Hall Carol Haller Patricia Harris Fran Heading Sandra Hellwege Greg & Emma Henderson Ms. Julie Henricks &

Mrs. Jean Henricks Inge Hermann Donald Hicks Steve Naragon & Pam Higgins James & Dorothy Hilmert Mr. Robert Hoffman William Holman Ms. Betty J. Hood Mr. & Mrs. Jeff &

Stacey Hudson Patricia J. Jackson Marian I. Keller Mr. Maurice C. Keltsch Russ & Marcia Kirby Mr. & Mrs. A.D. Klein Yvette Kleven George L. Knight Arlene & George Konley Mr. & Mrs. John Kruk Janet Lantz Mary LaRocque James Larowe Mr. & Mrs. Robert E. Layman Galen Lehman Mr. & Mrs. Duane Lupke Norma Lyman Mr. & Mrs. Jim Machock Ms. Pat MacWhorter Dennis M. Mahoney Mr. & Mrs. Michael Makarewich Jim & Pat Mallers Harry & Barbara Manges Elmer & Patsy Matthews Conie McCoy Mary McDonald Dawn McDowell Mr. & Mrs. Ralph McDowell Ms. Denise A. Mericle Laura Migliore Kathryn Miller Kerry A. Miller Moake Park Group Mr. & Mrs. John Molitor Ms. Marilyn Molyneux

Mrs. Mary Helen Moore Marjorie Moorhead Christine Moring Margaret Nolan Mr. Gregory R. Norris Ms. Catharine Norton Joan Olinghouse Ron & Nancy Orman Ms. Joyanne Outland Ms. Carol Anne Patterson Mr. & Mrs. Jay D. &

Shirley J. Platte Ms. Nigel Perry Edwin & Cynthia Powers Mike, Sue & Alana Pries Ms. Kim Randinelli Max & Sandy Robinson Mr. & Mrs. Gerson Rosenbloom Gretchen Roth Dr. Janet Schafer Dr. Ronald & Sylvia Scheeringa Mr. Dale Scherman Sylvia Schmidt Mr. & Mrs. Paul Sheets Ms. Cornelia L. Shideler Kay & Kent Simmons Shirley Slater Ms. Marjorie Smith Mr. Paul Smith Mrs. Mary Snow Norman & Joanne Snow Mr. Kenneth Stahl Don & Linda Stebing James Stegman &

Donald McIntyre David & Beth Steiner Rex & Jo Stinson Dan & Krista Stockman Ida Mary Stringer Herbert & Bonnie Stuelpe David Sult Dolores Szymanski Mr. & Mrs. Steven B. Teeple Ann & Mark Troutman Jim Turcovsky Ms. Patricia Urberg Mrs. Carol Ward Ms. Ann Weiss Thomas & Tamara Wheeler Mr. & Mrs. Norman H. Williams Ms. Deborah Willig Mr. John D. Wilson Mr. Greg Yonke

Maestoso $250,000+

Madge Rothschild Foundation Appassionato $150,000 to $249,999 Anonymous (1) Allegretto $50,000 to $149,999 Anonymous (1)

Founder’s Society $25,000 to $49,999

Virtuoso Society $10,000 to $24,999 The Huisking Foundation, Inc.

Drs. Kevin & Pamela Kelly

OCT NOV

2015

57

Virtuoso Society (continued) $10,000 to $24,999

Concertmaster $500 to $999 Russ and Jeanette Quilhot

The Miller Family Fund

Britton Marketing & Design Group Christopher James Menswear Club, Car, Limousine, & Trolley Downtown Improvement District Joseph Decuis Monarch Capital Management, Inc.

Old Crown Brass Band Parkview Field Paul Davis Restoration & Remodeling Unified Wealth & Retirement Planning Vision Scapes

First Chair $300 to $499

Stradivarius Society $5,000 to $9,999

AEGIS Sales & Engineering Inc. ChromaSource Inc. Club Soda Erika’s Spa & Wellness Club Hyndman Industrial Products, Inc.

Old National Insurance Ottenweller Co., Inc. String Shift The Oyster Bar Web Industries Inc.

Mildred Roese and Gloria Nash Charitable Fund Section Player $100 to $299

Nancy Archer

Jeff Sebeika

Ambulatory Medical Management Leonard J. Andorfer & Co., LLP Aunt Millie’s Bakeries Belmont Beverage Bone Asset Management Bradley Gough Diamonds Brown Equipment Co. Cali Nails Catablu Grille Certified Burglar & Fire Alarm Systems Crazy Pinz Dekko Investments Design Collaborative EPCO Products Fort Wayne Tin Caps Friendly Fox Hakes & Robrock Design-Build Inc.

Jophiel Clothing Longhorn Steakhouse Masolite Metro Real Estate Mike’s Carwash Moose Lake Products Co., Inc. Northeast Indiana Building Trades Paula’s on Main Rudy’s Shop Sheridan Stables John Shoemaker SkyZone Smoothie King Tomkinson BMW Two Ee’s Winery Ultrazone Family Entertainment Center

Conductor’s Circle $2,500 to $4,999 BAE Systems BKD Debrand Fine Chocolates MedPartners Pain Management & Anti-Aging Center,

Dr. Alfred Allina

Parrish Leasing Inc. PBS 39 Subway Travel Leaders

Financial guidance that puts you on the podium.

Graig P. Stettner, CFA, CMT

Composer’s Circle $1,000 to $2,499 Alpha Rae Personnel, Inc. Brotherhood Mutual Insurance Co. Fort Wayne Parks & Recreation Hagerman Construction Corp.

Indiana Wesleyan University – Fort Wayne

Jehl & Kreilach Financial Management Papillion Inspirations Shambaugh, Kast, Beck, & Williams, LLP Ueber & Friedrich Dentistry Wells Fargo Advisors

Tim Stoller, AAMS, AIF, CRPS

260.236.0385

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OCT NOV

2015

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DEKALB COUNTY

regional partners The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. We take great pleasure in performing for enthusiastic audiences throughout the Northeast Indiana region and welcome and value each contribution that makes those concerts and education performances possible. Thank you!

MULTIPLE COUNTY SUPPORT Indiana Michigan Power Olive B. Cole Foundation Parkview Regional Medical Center/

Parkview Health

Star Financial Bank Steel Dynamics Foundation, Inc.

ADAMS COUNTY Adams County Community Foundation Bunge North America Decatur Rotary Club Eichhorn Jewelers Gilpin, Inc. Janet & Larry Macklin

Ellen Mann Mr. & Mrs. Victor Porter Psi Iota Xi (Alpha Delta) Mr. & Mrs. James Shrader Sandra Striker

ALLEN COUNTY Jonathan Atkins Dr. & Mrs. Justin Arata George & Linn Bartling Craig & Diana Bartscht Amy & John Beatty Leaanne Bernstein Sarah Bodner Charles Bolyard Joan Baumgartner Brown Richard Brown Anita & Bill Cast Carolyn Colpetzer City Of Fort Wayne Jane Dehaven Matthew & Kris Derby Downtown Improvement District Teresa Dustman Ann H. Eckrich Suzie Fast Hagerman Construction Corp.

Robert Hoffman Stanley & Mary Hursh Martha Jones Dr. Rudy & Rhonda Kachmann Gerald & Marie Kanning Stephen Kelker Drs. Kevin & Pamela Kelly Russ & Marcia Kirby Ronald & Patricia Kohart Joellen Lauer

Drs. Carol & David Lindquist Paul & Pauline Lyons John Martin Michael Mastrangelo Diane McCammon Douglas McCoy John H. & Shelby McFann Roger & Rachel McNett Susan & David Meyer Greg & Barbara Myers Mike & Pat Miller Ray & Nancy Moore Mr. & Mrs. Terence O’Neil Ms. Nigel Perry PNC Mr. & Mrs. David Ridderheim Alan & Pat Riebe Madonna Ryan Richard Scheumann Grant & Stephanie Schultz John Smith Nancy & David Stewart Mr. & Mrs. Robert Streeter Mrs. Carol Ward Wayne & Helen Waters Jeanne Weber Rush Wells Fargo Advisors Donna Windmiller David Winters Daryl Yost

Auburn Arts Commission, Inc. Auburn Moose Family Center Auburn Dental Associates Von & Nancy Baum Beverly Blech Gary & Lisa Bowser John & Cheryl Chalmers Gerald Chapp Rita Collins DeKalb County Community Foundation Dekalb County Council On Aging DeKalb Outdoor Theater Erica Dekko Phyllis Dunham William & Mary Goudy FULTON COUNTY Psi Iota Xi (Eta Mu) Ronnie Shreffler KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Aunt Millie’s Bakeries Mrs. Carol B. Bennett James H. Benninghoff Al Campbell Bill & Anita Cast Georgia Cook Thomas & Nancy Cottrell Edward & Linda Dahm Gretchen & Greg Dahm Tom & Sandi Druley David & Judith Eckrich Richard & Susan Ferguson Mr. Alan Fox Norman Grandos Michael Glasper Rhonda Gipson Dr. & Mrs. Lloyd Hagedorn Mr. & Mrs. Vaughn Hankins Kenneth & Lela Harkless Foundation Bruce & Sabine Hopkins Mrs. Hope Huber Stanley & Mary Hursh Needham & Mary Lou Hurst Rosalie Hurst Harriet Inskeep Phyllis James Dr. Rudy & Rhonda Kachmann Phillip & Janet Keim

OCT NOV

2015

Dan & Sarah Kitch Kosciusko County Community Foundation Kosciusko REMC Operation Round Up Program Lakeland Community Concert Association Floyd A. & Betty Lou Lancia Mr. & Mrs. Max Laudeman Jim & Pat Marculccilli Mr. & Mrs. Paul Mast Garth & Susie McClain Mr. & Mrs. William F. McNagny Dr. Dane & Mary Louise Miller Family Foundation Dave & Dorothy Murphy Walter & Ann Palmer Dr. & Mrs. Ronald Pancer Mr. & Mrs. Paul Phillabaum Richard & Susan Pletcher Prickett’s Properties, Inc. Maryellen Rice Ian & Mimi Rolland Ms. Mary Roth Ann Strong Dick & Linda Tillman Wawasee Property Owners Association Mr. Larry Weigand Dr. & Mrs. Leamon D. Williams Tod & Sandy Wolfrum James Young Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Dr. & Mrs. Craig Atz Greg & Sheila Beckman Arthur & Josephine Beyer Foundaton Gregory & Michele Bricker Kappa, Kappa, Kappa, Inc. – Alpha Iota Chapter Dr. & Mrs. Kenneth Cripe

60

C. Bishop Hathaway William & Sarah Hathaway Greg & Emma Henderson David & Pat Kruse Steve & Linda Kummernuss Metal Technologies Inc. Foundation Margery Norris Kevin & Tamzon O’Malley Dr. & Mrs. Keith Perry Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Gary Sible Rosemary Sprunger Mayor Norman & Peggy Yoder

Erica Dekko Ms. Ellen Holliman KPC Media Group Noble County Community Foundation Jennie Thompson Foundation

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2015

61

STEUBEN COUNTY Anonymous (1) Velma Kenning Sandra Agness Leo & Marlene Kuhn Donald & Janet Ahlersmeyer Lake James Association American Legion Angola Post 31 Mr. & Mrs. Wally Leuenberger Mr. Ron Ball Mr. &Wayne Mrs. RalphPhilharmonic McDowell Presented by the Fort Friends Glen & Chris Bickel Gerald & Carole Miller Family Foundation Mr. & Mrs. Robert Bigelow Steve & Jackie Mitchell Ray & Marianne Bodie Stan & Jeancheese Parrish Wine Tasting, & crackers and James & Lynn Broyles Miles & Judith Perkins Entertainment featuring Laura Buell Psi Iota Xi (Rho Chapter) Chuck & Maureen Buschek Max & Sandy Robison Alicia Pyle at the piano Cameron Memorial Community Hospital Satek Winery James & Wanda Carper Fred & Bonnie Schlegel City of Angola, Richard Hickman, Mayor Joseph Seyfer Wednesday, October 14, 2015 Judith Clark-Morrill Foundation Mr. & Mrs. Charles Sheets Coldwell Banker Roth Wehrly Graber Erik & Laura Sorensen 5:30 - 7:30 PM Mrs. Margie Deal Dick & Karen Spake Heritage Vineyard* First Federal Savings Bank of Angola at CountrySteuben CountyWinery Community& Foundation Frank Gray Steuben County REMC Round Up Foundation $40 per person Susan Hanzel Trine University Linda Hawkins Linda Wagoner Jim & Karen Huber Warren R.S.V.P. toNorma Susan Lehmann - (260) 755-0041 Patricia Huffman B. Lynn Wernet CPA slehmann01@hotmail.com Thomas & Cheryl Hughey Jim & Kathryn Zimmerman orDale online atZinn www.fwphilfriends.com Mr. & Mrs. Roger Kaiser & Judy Kappa, Kappa, Kappa, Inc. – Zeta Upsilon

by October 10, 2015

* 185 County Rd 68, LaOtto, IN 46873 COUNTY JustWHITLEY north of Huntertown on Hwy 3 (Lima Rd)

WELLS COUNTY

Copp Farm Supply AdamsWells Internet Telecom TV Mr. & Mrs. Harold Copp Almco Steel Products Corp.

Ronald Davis Bluffton Rotary Club Fred Geyer Mr. & Mrs. Doug Gerber J & J Insurance Solutions Mrs. Diane Humphrey Performance PC, LLC L.A. Brown Co. Mr. & Mrs. Nicholas Steill Grace Moser Pamela Thompson Pretzels, Inc. John Underwood Richard & Donna Scheumann Mr. & Mrs. Jeffrey Walker Mr. & Mrs. Kenneth Steffen IS PRESENTED BY THE HILHARMONIC RIENDS Whitley County Community Foundation Troxel Equipment Dr. & Mrs. Richard Zollinger United REMC Wells County Foundation If you or your company would like to sponsor an evening of Phillip Zent Musically Speaking, contact

MUSICALLY SPEAKING P

F

Susan Lehmann at 260-755-0041 or slehmann@hotmail.com Benefits include an ad in the Prelude, free concert tickets and more.

foundation and public support

Philharmonic Society $1,000,000+ Edward D. & Ione Auer Foundation Maestoso $250,000+ Dekko Foundation Appassionato $150,000 to $249,999 Anonymous (1) Arts United of Greater Fort Wayne

STILL A FEW COPIES LEFT!

NOW CLEARANCE SALE PRICED ONLY $10/COPY Order by calling Marylou Hipskind 260-485-0945 (MLH121@aol.com) The books are also available at the Box Office and online at

www.fwphilfriends.com

Playing with Food makes a great holiday gift.

English, Bonter, Mitchell Foundation O’Rourke-Schof Family Foundation

Allegretto $50,000 to $149,999 Anonymous (1) Steel Dynamics Foundation

Foellinger Foundation

Founder’s Society $25,000 to $49,999 Community Foundation of

Greater Fort Wayne Indiana Arts Commission

Lincoln Financial Foundation PNC Charitable Trusts W. Gene Marcus Trust

Virtuoso Society $10,000 to $24,999 Olive B. Cole Foundation The Huisking Foundation The Miller Family Fund

Edward & Hildegarde Schaefer Foundation Edward M. & Mary McCrea Wilson Foundation

Stradivarius Society $5,000 to $9,999 Journal Gazette Foundation Robert, Carrie, and Bobbie Steck Foundation

PLAYING WITH FOOD

Madge Rothschild Foundation

Wells County Foundation Wells Fargo Charitable Trusts

Conductor’s Circle $2,500 to $4,999 Ann and Gordon Getty Foundation

Jennie Thompson Foundation

Composer’s Circle $1,000 to $2,499 Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Judith Clark-Morrill Foundation Dekalb County Community Foundation

Greater Fort Wayne Chamber of Commerce Foundation Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation

OCT NOV

2015

63

Composer’s Circle (continued) $1,000 to $2,499

endowment fund

MAXIMUS Foundation Dr. Dane & Mary Louise Miller Foundation Gerald & Carole Miller Family Foundation Steuben County Community Foundation Mary E. VanDrew Charitable Foundation Whitley County Community Foundation

Special Endowments The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 46-47 for musician chair endowments.

Chorus Director Louis Bonter

Youth Symphony Walter W. Walb Foundation

Auburn Arts Commission Noble County Community Foundation

Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry,

by Liz and Mike Schatzlein

Family Concerts Howard and Betsy Chapman

in kind donations

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Concertmaster $500 to $999

Arts Consulting Group, Inc. Linda Branan Barnes & Thornburg LLP IPFW Keefer Printing Summit City Radio WANE-TV WAJI-FM WLDE-FM WFWI-FM Patricia Weddle

Music Director Podium Ione Breeden Auer Foundation

Lutheran Health Network Access Corporate Wellness Occupational Medicine

medpartnersonline.com

Guest Violinist Chair Nan O’ Rourke

Young People’s Concerts The Helen P. Van Arnam Foundation Philharmonic Preschool Music Program Ann D. Ballinger Radio Broadcasts Susan L. Hanzel

Bequests The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Charlotte D. Bradley Beverly Dildine Gloria Fink Henrietta Goetz

Joyce Gouwens John Heiney Sanford Rosenberg Alice C. Thompson

Contributors Due to space limitation we will share the full list of endowment contributors in our first program book of each season. We're grateful for each gift that has helped build our endowment and appreciate your ongoing contributions.

Ms. Dessie Arnold & Mr. Richard Dunbar Milton & Barbara Ashby Mr. & Mrs. John Beatty Dennis & Nancy Becker Tony & Pat Becker Mary & Joseph Becker Nancy Bellinger Bonita & William Bernard Mr. & Mrs. George Bewley Ms. Sherry Blake Mrs. Virginia Bokern Ms. Roberta Brokaw Karen Butler Mr. & Mrs. T. Andrew Candor Bryan & Vicki Castle Mr. Michael Cayot Janet Davis William & Martha Derbyshire George & Ann Donner Ben & Sharon Eisbart Bruce & Ellen England Mr. & Mrs. Fred Feitler David & Kathy Fuller

Betsy & Geoff Gephart Mr. Edward Goetz James & Ann Golm Mr. & Mrs. Robert Gouwens Ron & Nicole Greek Dr. & Mrs. C Hathaway Dr. & Mrs. William Hathaway David & Suzanne Hathaway Mr. & Mrs. Melvin Hathaway Deborah Nitka Hicks Thomas & Mary Hufford David & Nancy Hunter Jess & Marlene Jessup Bil & Shirley Kransteuber Keith Kuehnert Ms. Ruth Lebrecht Drs. David & Carol Lindquist Mr. Greg Marcus Julie & Bob Mehl Mr. & Mrs. Victor Martin Stephen & Christina Martin Sidney & Belva Meyer

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2015

65

Bradley Miller Akira Murotani & Alexandra Tsilibes Mr. & Ms. Ervin Orban Ron Philips Richard Phillips Mrs. Vivian Purvis Mr. & Mrs. John Reche William & Carroll Reitz Philip & Barbara Ross Mr. & Mrs. Robert Rupp Mr. & Mrs. William Schreck Robert & Mary Short Mrs. Jane C Thomas

Cyndy & Jim Taber Michael & Janet Tucker Jane & Frank Walker Robert & Irene Walters Nathan & Natalie Wanstrath Bob & Martha Wasson Ms. Kristin Westover Ms. Cathleen Westrick Gene Marcus Charitable Trust Old Bethel United Methodist Church –

Chancel Choir O'Rourke-Schof Foundation Styles Beyond Salon

tributes We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated.

In Memory of Dr. Richard D. Lieb Anonymous (1) Brian & Vicki Castle Bruce & Ellen England Fred & Mary Anna Feitler David & Kathy Fuller Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway

Melvin & Sandra Hathaway William & Sarah Hathaway Bil & Shirley Kransteuber Sidney & Belva Meyer Philip & Barbara Ross Styles Beyond Salon Nathan & Natalie Wanstrath

In Memory of David Platt for the Youth Symphony Jane & Frank Walker

laureate club The following people have provided for a deferred gift to the Philharmonic, through an estate plan or other financial planning instrument. We gratefully acknowledge their kindness, forethought and lifelong commitment. All gifts are allocated to the Philharmonic Endowment Fund unless otherwise specified by the donor.

Anonymous (26) Patricia Adsit Richard & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hurst Cast Betsy & Howard Chapman June E. Enoch Fred & Mary Anna Feitler Richard & Susan Ferguson Gloria Fink* Henrietta Goetz* Mrs. Edward Golden Leonard & Rikki Goldstein Joyce Gouwens* Jay & Sandra Habig Susan Hanzel

Jeff Haydon John Heiney* Mr. & Mrs. Donald Hicks Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara Doris Latz Antoinette Lee Jeff Leffers & Jane Gerardot Naida MacDermid Eleanor H. 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

The Phil is proud to honor our 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 and can benefit both you and your family. The Phil welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

keefer

Please contact the Development Office at 260•481•0774 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

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