Fort Wayne Philharmonic Prelude September/October/November 2017 by Fort Wayne Philharmonic

PRELUDE 2 01 7 S e p te m b e r - O c to b e r - N ove m b e r

FORT WAYNE PHILHARMONIC PROGRAM

PRELUDE FORT WAYNE PHILHARMONIC PROGRAM Design: Brooke Sheridan

Contributing Editors: James W. Palermo, Jim Mancuso

Prelude is created and produced four times per year by the Fort Wayne Philharmonic, 4901 Fuller Drive, Fort Wayne, IN 260.481.0777 - FWPHIL.ORG. The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors.

VOLUME 74 NO. 1

Cover photo credit to Shervin Lainez.

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Welcome Letter, Andrew Constantine Youth Orchestra Rosters Colleen Tan, YSO Conductor Marcella Trentacosti, YCO Conductor Philharmonic Friends Fort Wayne Philharmonic Chorus Roster Andrew Constantine, Music Director Caleb Young, Assistant Conductor

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Benjamin Rivera, Chorus Director Fort Wayne Philharmonic Orchestra Roster Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Administrative Staff Series Sponsors Sponsors Donors Advertisers Index

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Violetta Todorova, violin John Williams, composer Karen Gibbons-Brown, FWB Artistic Director Philippe Quint, violin

ARTIST BIOS

11 Joshua Bell, violin 17 Johannes Moser, cello 22 André Gaskins, cello 27 Orion Rapp, oboe

7 Great Performers JOSHUA BELL IN CONCERT | Thurs, Sept 28 13 Masterworks OPENING NIGHT: MOSER AND TCHAIKOVSKY | Sat, Oct 7 19 Special BACH IN THE BARN | Tues, Oct 10, Wed, Oct 11 & Thurs, Oct 12 35 Freimann CAMBINI, BEETHOVEN, AND MENDELSSOHN | Wed, Oct 18 & Sun, Oct 22 41 Pops E.T.™ THE EXTRA-TERRESTRIAL | Sat, Oct 28 45 Family HALLOWEEN SPOOKTACULAR | Sun, Oct 29 47 Youth Orchestras FALL CONCERT | Sun, Oct 29 53 Masterworks BRAHMS AND RACHMANINOFF | Sat, Nov 4

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61 Chamber Orchestra BEETHOVEN AND THANKSGIVING | Sat, Nov 11 3

WELCOME FROM THE MUSIC DIRECTOR Dear Friends: Welcome to the 2017-18 Season of the Fort Wayne Philharmonic. We have an impressive treasure trove of classical music and some of the brightest stars assembled just for you. There are two openings to celebrate this season: the first, on September 28, will be with Hoosier native Joshua Bell, considered a classical music superstar and one of the most celebrated violinists of his era. Bell will inaugurate the new Robert, Carrie, and Bobbi Steck Family Foundation Great Performers Series with Leonard Bernstein’s lively Serenade. Then, on October 7, we officially open the Masterworks Series through the wonderful support of our new sponsor, the Paul Yergens and Virginia Yergens Rogers Foundation. Featuring one of the finest young virtuoso cellists, Johannes Moser, the concert includes works by Elgar and Tchaikovsky. Our Bach in the Barn concerts have been rescheduled for October 10-12. The 3-concert series has been relocated to the elegant, climate-controlled indoor venue at Joseph Decuis Farm, just 5 miles west of I-69 via West Jefferson Blvd. and Liberty Mills Rd.

I am delighted to thank Ben Eisbart, our outgoing Board Chair, for his notable service. Ben has been a transformational leader for the Philharmonic, having paved the way for many of the exciting new programs and services you will be enjoying over the next few years. Ben hands the baton, so to speak, to Chuck Surack who will serve as his successor. We wish Chuck all the best as he makes his mark on the Philharmonic, leading the way into an exciting new era. Offstage, Philharmonic musicians are filling the region with quality music for thousands of students and seniors. Our hope is to inspire a movement where musicians, teachers, funders, and classical music fans embrace these education and community engagement programs, energizing the community to use the symphony orchestra as a learning tool based on rigor, compassion, and joy. Everything we do begins with you. We cannot thank you enough for your ongoing support of this cultural and community treasure known as the Fort Wayne Philharmonic. Sincerely,

Andrew Constantine, Music Director

ANDREW CONSTANTINE

The Robert, Carrie and Bobbie Steck Family Foundation Great Performers Series

JOSHUA BELL IN CONCERT Thursday, September 28, 2017 - 7:30 p.m. Embassy Theatre

Dedicated to helping you stay well.

Andrew Constantine, conductor Joshua Bell, violin

ELGAR

Enigma Variations (Variations on an Original Theme), Op. 36

ELGAR

Pomp and Circumstance, Military Marches, Op. 39 No. 1, D major

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BERNSTEIN Serenade, after Plato’s “Symposium” Phaedras — Pausanias: Lento - Allegro Aristophanes: Allegretto Eryximachus: Presto Agathon: Adagio Socrates — Alcibiades: Molto tenuto - Allegro molto Joshua Bell, violin

we can build a healthier community together. Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com) and Primo Artists (www.primoartists.com). Mr. Bell records exclusively for Sony Classical. THANK YOU TO THE FOLLOWING SPONSORS: The Robert, Carrie and Bobbie Steck Family Foundation

JOSHUA BELL IN CONCERT ENIGMA VARIATIONS (VARIATIONS ON AN ORIGINAL THEME), OP. 36 Sir Edward Elgar (b. 1857, Broadheath, England; d. 1934, Worcester, England) Seldom in musical history has one work propelled a composer from obscurity to fame to the degree that the Enigma Variations did for Edward Elgar. Before the Enigma, he was a provincial composer in the west of England, somewhat in demand for writing oratorios for the regional choral festivals that flourished in that era, but also needing to give music lessons to the local gentry to make ends meet. After the Enigma’s premiere in London on June 19, 1899, Elgar instantly became England’s leading composer. A year later, Cambridge University awarded him an honorary doctorate, and a knighthood followed in 1904. The Enigma Variations is an unusual and felicitous blending of the theme and variations form with a series of beguiling, psychologically astute musical portraits of Elgar’s friends and family. It began innocently one evening in October 1898 when the composer was improvising at the piano for his wife. She praised a theme he’d invented, and he began to vary it to match the personalities of members of their circle. So far, the plan was straightforward enough, and although Elgar cryptically labeled the variations with initials, they were easily decoded to reveal his wife and friends’ identities. But a month before the premiere, the composer threw in his real “enigma”. In a letter to the work’s first annotator, he wrote: “The enigma I will not explain — its ‘dark saying’ must be left unguessed … through and over the whole set another and larger theme ‘goes,’ but is not played … 8

PROGRAM NOTES September 28, 2017

So the principal Theme never appears, even as in some late dramas … the chief character is never on stage.” Scholars and listeners have wracked their brains to decipher this unheard theme; their guesses have ranged from tunes such as “Auld Lang Syne” and “Rule, Britannia” to abstract ideas such as “friendship” and “the loneliness of the artist”. The secret died with Elgar, but the composer was an incorrigible jokester, and maybe the “dark saying” was just another of his “leg pulls”. The Theme on which the 14 variations are based is an extremely subtle and personal creation — apparently a portrait of Elgar himself. Its first part, wistful and hesitant in G minor, features the yearning melodic interval of a seventh that Elgar loved; its second part, in G Major, is more optimistic and aspiring. The beautiful Variation I, C.A.E., stands for Caroline Alice Elgar, the composer’s unfailingly supportive wife. “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions.” (All quoted descriptions are Elgar’s.) II. H.D. S.-P.: Hew D. Steuart-Powell was the pianist for Elgar’s trio in Worcester. Here, Elgar parodies his characteristic runs over the keys before playing. III. R.B.T.: Richard Baxter Townshend was a local eccentric who was slightly deaf and rode around on a tricycle, constantly ringing its bell. IV. W.M.B.: This blustering, masculine variation portrays William Meath Baker, a country squire, as he “forcibly read out the arrangements for the day” to his house guests (tittering in the woodwinds), then left the room, slamming the door. V. R.P.A.: A pensive portrait of Richard P. Arnold, a young philosopher and son of poet Matthew Arnold. “His serious conversation was continually broken up by whimsical and witty remarks.” (The oboes mimic his laughter.)

VI. “Ysobel” stands for Isabel Fitton, who struggled to learn the viola from Elgar, finally giving up lessons with the explanation, “I value our friendship much too much.” In her honor, the solo viola and viola section are featured. VII. Troyte: Arthur Troyte Griffith was another ungifted student. The music describes his “maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.” VIII. W.N.: A very genteel and gracious portrait of Winifred Norbury and her lovely 18th-century house, Sherridge. IX. Nimrod: The heart of the variations, this noble slow movement restores the Theme in clearly recognizable form and pays tribute to August Jaeger, Elgar’s publisher, untiring supporter, and close friend. “Jaeger” is the German for “hunter”, and Nimrod was a mighty hunter in the Old Testament. Elgar recalled a moving conversation in which he and Jaeger had discussed the greatness of Beethoven’s slow movements. X. Dorabella: Dora Penny was a charming and very pretty young friend of the Elgars. This variation’s “dance-like lightness” describes Dora’s fondness for improvising dances to Elgar’s playing. XI. G.R.S.: Elgar tells us that this is not actually about Dr. G. R. Sinclair, organist of neighboring Hereford Cathedral. “The first few bars were suggested by his great bulldog Dan (a well-known character) falling down a steep bank into the River Wye; his paddling up stream to find a landing place; and rejoicing [with a] bark on landing.” XII. B.G.N. A magnificent variation spotlighting the cello section honors Basil G. Nevinson, the cellist in Elgar’s trio, “a serious and devoted friend”.

XIII. *** Romanza: “The asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage … the clarinet quotes a phrase from Mendelssohn’s ‘Calm Sea and Prosperous Voyage.’ ” The lady is believed to be Lady Mary Lygon, a patroness of Worcestershire music, but the intensity of feeling in this variation suggests a closer relationship. XIV. E.D.U. “Edu” or “Edoo” was Alice Elgar’s nickname for her husband. This final variation portrays Elgar himself, overcoming the original tentativeness of his Theme and striding with confidence into the future. Reminiscences of the lovely “C.A.E.” variation and “Nimrod” place his two greatest allies, his wife and Jaeger, at his side. As brass and organ peal forth, it is almost as though Elgar intuited the acclaim awaiting him.

POMP AND CIRCUMSTANCE, MILITARY MARCHES, OP. 39 NO. 1, D MAJOR Sir Edward Elgar Elgar had a gift for writing grand British melodies, but he knew he really had a winner in the central tune of his Pomp and Circumstance March No. 1. “Come here,” he yelled to a friend. “I’ve got a tune that will knock ‘em flat!” And indeed it did, for when Sir Henry Wood premiered the march in London in 1901, he had to play it three times “merely to restore order,” he remembered. Edward VII so loved this melody that he made a personal request to Elgar the next year to fit it out with words and incorporate it into his Coronation Ode; the result, “Land of Hope and Glory,” became England’s unofficial second national anthem. And in America, hardly a high school graduation can take place without the graduates processing in to this superb tune. 9

SERENADE, AFTER PLATO’S “SYMPOSIUM” Leonard Bernstein (b. 1918, Lawrence, Massachusetts; d. 1990, New York City)

and a variety of percussion instruments; and equally adroitly for the violin soloist, whose virtuosity never overwhelms expressiveness. Bernstein provided the following brief guideline to Serenade:

The mid-1950s, along with the mid-1940s, were the richest periods of Leonard Bernstein’s compositional career. In 1957, West Side Story followed hard on the heels of Candide (1956). These two works for Broadway were preceded in 1953–54 by one of his finest works for the concert hall: Serenade for Solo Violin, Strings, Harp and Percussion. At its debut in Venice on September 12, 1954, with Isaac Stern as soloist and Bernstein himself conducting the Israel Philharmonic, it was universally acclaimed by the critics and today is firmly established in the contemporary concerto repertoire.

“I. Phaedrus; Pausanias (Lento; Allegro). Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.

Serenade was commissioned by the Koussevitzky Music Foundation, founded by Bernstein’s mentor, the Boston Symphony’s revered music director Serge Koussevitzky. Koussevitzky had died in 1951 and was still mourned by Bernstein, who for the rest of his life wore “Koussy’s” cuff links at every concert he conducted and kissed them for good luck before going on stage.

“III. Erixymathus (Presto). The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.

However, Serenade was not a memorial to Koussevitzky; rather, Bernstein tells us, it was inspired by “a re-reading of Plato’s charming dialogue, The Symposium.” One of Plato’s shorter and lighter dialogues, The Symposium takes place at a well-lubricated dinner party at the poet-dramatist Agathon’s house, during which Socrates, Aristophanes, and the other guests praise the god Eros and discourse on love in all its aspects. Bernstein wrote that “there is no literal program” for the work, but by following the basic tone of each speaker, ranging from humorous to elegiac, he created a fivemovement work of marvelous variety and momentum. He wrote gorgeously for an unusual ensemble, consisting of string orchestra augmented by harp

“II. Aristophanes (Allegretto). Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime story-teller, invoking the fairy-tale mythology of love.

“IV. Agathon (Adagio). Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is a simple three-part song. “V. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements; and serves as a highly developed reprise of the middle section of the “Agathon” movement. … The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, … ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.” Notes by Janet E. Bedell copyright 2017

Artist Biography: Joshua Bell, violin With a career spanning more than 30 years as a soloist, chamber musician, recording artist, and conductor, Joshua Bell is one of the most celebrated violinists today. An exclusive Sony Classical artist, Bell has recorded more than 40 albums garnering GRAMMY®, Mercury, Gramophone, and Echo Klassik awards. Named the Music Director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir Neville Marriner formed the orchestra in 1958. This weekend he joins the Los Angeles Chamber Orchestra and partakes in the New York Philharmonic’s celebration of Leonard Bernstein’s centennial, performing Bernstein’s Serenade led by Alan Gilbert. A nine-city North American recital tour with pianist Alessio Bax includes Chicago’s Symphony Center and Washington, D.C.’s Strathmore Center. He makes appearances with the Vienna Symphony and the Monte-Carlo Philharmonic and performs multiple concerts at London’s Wigmore Hall with the Academy of St Martin in the Fields. In spring 2018, Bell continues with the Academy in tours covering the United Kingdom, the United States, and Asia, with highlights in London, New York, San Francisco, Tokyo, Seoul, Beijing, and Shanghai. With pianist Sam Haywood, he performs 10 recitals in Europe and America that take them to the Philharmonie de Paris, Tonhalle-Orchester Zürich, and beyond. On February 7, 2018, Bell reunites with longtime collaborator pianist Jeremy Denk for a recital broadcast live from Carnegie Hall. Further season highlights include the Philadelphia Orchestra conducted by Yannick Nézet-Séguin and Cristian Măcelaru, the Danish National Symphony with Măcelaru, and an all-Beethoven play/ direct program with the Orchestre National de Lyon. On August 18, Sony Classical released Joshua Bell – The Classical Collection, a 14-CD set of albums of classical repertoire that displays Bell’s unique range, versatility and breathtaking virtuosity. This year also saw the release of the illustrated children’s book The Dance of the Violin, recalling a seminal moment in Bell’s 12-year-old life when, after initially making a mistake at the Stulberg International String Competition, he is given a second chance. Published by Annick Press, the book was written by Kathy Stinson and illustrated by Dušan Petričić. This marks Bell’s second appearance in a children’s book. The first was The Man With the Violin, released a year ago by the same author and illustrator, retelling the story of Bell’s famous experiment in Washington, D.C.’s Metro station 10 years ago. A dedicated arts advocate, Bell is involved with Education Through Music and Turnaround Arts, a partnership between The President’s Committee on the Arts and the Humanities and the John F. Kennedy Center for the Performing Arts.

M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

OPENING NIGHT: MOSER AND TCHAIKOVSKY SPONSORED BY 80/20 INC.

Saturday, October 7, 2017 - 7:30 p.m. Embassy Theatre Andrew Constantine, conductor Johannes Moser, cello DVOŘÁK

Carnival Overture, Op. 92

ELGAR Cello Concerto in E minor, Op. 85 Adagio Lento Adagio Allegro Johannes Moser, cello

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TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 Andante - Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso - Allegro vivace Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, October 19 at 7:00 p.m. THANK YOU TO THE FOLLOWING SPONSORS: The Paul Yergens and Virgina Yergens Rogers Foundation

EnCue digital annotations sponsored by Jane and Andrew Constantine. 12

OPENING NIGHT: MOSER AND TCHAIKOVSKY CARNIVAL OVERTURE, OP. 92 Antonín Dvořák (b. 1841, Nelahozeves, Bohemia (now Czech Republic); d. 1904, Prague) The Carnival Overture is the second of a set of three concert overtures Antonín Dvořák composed on the broad philosophical themes of “Nature, Life and Love.” This vivid trio of works — which also includes In Nature’s Realm and Othello — was written between 1891 and 1892, when the great Czech composer had just passed his 50th birthday and was at the height of his artistic powers and international fame. For Dvořák, it was a good moment for taking stock by reviewing his personal beliefs about the meaning of life and giving them musical expression. He introduced all three overtures at a farewell concert in his home city of Prague on April 28, 1892 shortly before leaving for several years of teaching and composing in America (where he would create his popular “New World” Symphony). The second overture was originally titled “Life”; Dvořák changed it to “Carnival” shortly before the premiere performance. But vivacious as its opening and closing moments are, it is not intended to be a portrait of a Czech folk carnival with clowns and Ferris wheels; rather we should listen to this music in the broader sense of the “Carnival of Life.” The work opens with music of tremendous fire and vitality, tossing us immediately into the whirlwind of energetic, healthy human life. (With his roots in the Czech countryside and his unquestioning Catholic faith, Dvořák was one of the most mentally well balanced of all the great composers.) But the loveliest and most subtle moments come in an interlude of quiet reflection, led by 14

PROGRAM NOTES October 7, 2017 woodwinds and solo violin, at the work’s midpoint. Here the clarinets and later the English horn sing the rocking “Nature” theme that unites all three overtures; for Dvořák, all human life derived from the power of unspoiled Nature. Following this gentle interlude, Dvořák sends the overture’s many melodic themes through a mysterious thicket of ever-changing keys before returning us to the fiery opening music.

CELLO CONCERTO IN E MINOR, OP. 85 Sir Edward Elgar (b. 1857, Broadheath, England; d. 1934, Worcester, England) One of the masterpieces of the cello literature, Sir Edward Elgar’s Cello Concerto is also a powerful, poignant farewell to an era irretrievably destroyed by World War I. Its creator was a true product of the late-Victorian and Edwardian age, who needed the cushioned security of pre-war England in order to flourish as an artist. The war’s wanton slaughter horrified and depressed Elgar. He mourned the innocence of an earlier England. “Everything good & nice & clean & fresh & sweet is far away — never to return,” he wrote in 1917 during the war’s darkest days to his friend Alice Stuart-Wortley, the inspiration for his Violin Concerto. And yet out of his despair came a final quartet of masterpieces, including three chamber works and the Cello Concerto. The Concerto, with its mournful, elegiac quality, seems like a very personal war requiem, and Elgar marked it with the enigmatic words “Finis. R.I.P.”

was that “R.I.P.” would soon apply to his beloved wife of 30 years and even to his career as a composer. Five months after the work’s premiere that October, Alice Elgar, eight years older than her husband, was dead. She had been his indispensable prop: supporting him with intelligent criticism, pushing him back into his study when he lost heart over a composition, and even ruling his score paper for him. After her death, Elgar’s creative life was over, though he lived on for another 14 years. Without Alice, he seemed to lack the discipline to master his depressions and drive his musical inspirations through to completion. After the Cello Concerto, he wrote nothing of consequence. But what a swan song it is! Masterfully drawing on the cello’s power to speak with an almost human voice, it expresses all of Elgar’s regret and nostalgia for his lost past. Although he wrote the work for a fairly large orchestra, Elgar contrived to use this ensemble in such a spare and subtle way that the cello is nearly always in the foreground, singing its song of loss. First movement: The concerto begins with a grand rhetorical gesture from the soloist: a sweep of chords suggesting the opening of a bardic tale. Then the violas launch a wandering theme that is quickly passed to the soloist and eventually the entire orchestra. The mood and key brighten somewhat from E minor to E major in the movement’s pastoral middle section, introduced by a lilting theme in the clarinets and bassoons and a swaying response from the cello. The second movement, a scherzo predominantly in G major, is as nervous and high-strung as its creator and a challenge to the nimble fingers of the

soloist. He begins with a recitative passage of agitated repeated notes, punctuated by pizzicato snaps. Eventually he flings himself into a flurry of sixteenth notes; these are periodically interrupted by a bold downward-upward leaping phrase that is a characteristically Elgarian assertion of selfhood and confidence. Abruptly, the movement bursts like a balloon, with a pizzicato pop. Although brief, the Adagio third movement in B-flat major is the emotional heart of the work. Here the soloist pours out a magnificent longlined lament, while the orchestra is reduced to woodwinds and strings to throw the spotlight on the cello’s song. Upward leaps of an octave in the soloist’s melody gradually slip to leaps of a seventh, making the mood yet more poignant as the cello is unable to reach its longed-for goal. In the rondo finale, the orchestra tries to launch the refrain theme, but is unable to budge the soloist from his mood of mourning. Eventually, he is willing to take up the quicker tempo and the very rhythmic rondo theme. This is dark, bitter music, and it becomes truly sardonic in a passage begun by the soloist and the cello section in unison, to which the rest of the orchestra gives savage commentary. The closing coda is the finale’s most remarkable feature. The tempo slows, and the cello descends into a world of grief, dragging the orchestra with it. A quotation of the third movement’s lament is followed by the dramatic chords of the Concerto’s opening. Then Elgar abruptly jerks the music back to Allegro for a frenzied, fast finish.

What Elgar couldn’t know as he completed the work on August 3, 1919 15

SYMPHONY NO. 5 IN E MINOR, OP. 64 Peter Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) More than a decade elapsed between the composition of Tchaikovsky’s Fourth and Fifth symphonies. The composer who sat down in May 1888 to create his Fifth had grown enormously in fame and confidence during this period. In 1877, he was still recovering from his disastrous marriage and suicide attempt; in 1888, he was world famous and had just returned to Russia from a highly successful European tour conducting programs of his works before cheering audiences from London to Berlin. Czar Alexander III had recently acknowledged his importance to Russia with a handsome life pension. And yet Tchaikovsky was still plagued by doubts about his creativity and by the morbid nervousness that was the dark side of his genius. In 1887, he had rushed to the bedside of a dying friend, Nikolai Kodratyev, and for a month was tormented nearly as much as the poor victim: “Painful, terrible hours! Oh, never will I forget all that I have suffered here.” To his benefactress, Nadezda von Meck, he wrote despairingly: “Can it be that we are all so afraid when we die?” As he began his new symphony, he wrote again: “I am dreadfully anxious to prove not only to others but also to myself, that I am not yet played out as a composer.” Far from being played out, Tchaikovsky found that, once he’d begun the Fifth, inspiration flowed in abundance, and by the end of August, the Fifth Symphony was completed. The composer himself led the premiere in St. Petersburg on November 17, 1888; both the audience and the orchestra gave him a prolonged ovation. Yet even then he continued to have doubts about the work. Leaping to extremes, he pronounced the work “a failure”; for listeners then and now, however, it was an unqualified success. Like the Fourth, the Fifth Symphony 16

has a motto theme that appears in all movements and is also associated with the concept of Fate. Here fate begins as a menacing force, threatening the composer’s happiness, but is ultimately transformed into a major-mode song of triumph. We hear it immediately, played in the minor by two clarinets in their deepest register, in the first movement’s slow introduction. Then the tempo accelerates for the sonata form proper. A duo of clarinet and bassoon introduces the rhythmically intricate first theme, a halting march. The contrasting second theme, sung by the violins, is a tender syncopated melody in Tchaikovsky’s best lyric vein that taps wells of passion as it builds to a vigorous climax. After an intense development based mostly on the first theme, the solo bassoon ushers in the recapitulation. The movement’s lengthy coda is fascinating: beginning with a frenzied treatment of the halting-march theme, it descends into the orchestral basement for a surprisingly quiet ending, veiled in deepest black. The Andante cantabile second movement is one of the most beautiful Tchaikovsky ever wrote, and the ardor and yearning of its two main themes seem to link it with romantic love. As a homosexual unreconciled with his nature, Tchaikovsky found love an ideal nearly always out of reach. In another letter to Mme von Meck, he wrote: “I disagree with you absolutely that music cannot fully express the feelings of love. On the contrary — only music can do so.” Solo horn opens with the great yearning principal theme. Soon violins pour out the passionate second theme: an upward-aspiring melody reminiscent of the music Tchaikovsky created for his most romantic balletic pas de deux. A lighter middle section, featuring woodwind motives decorated with exotic arabesques, is suddenly smashed by the trumpets proclaiming the Fate motto. The violins recover to sing the horn melody on their rich-toned G-strings. But again Fate rudely intervenes, this time in the trombones, and the movement ends in very subdued tones.

The waltz third movement also belongs to Tchaikovsky’s beloved world of ballet. He wrote that the main theme was inspired by a tune sung by a street urchin in Florence, but that street song probably lacked the smoothly flowing sophistication we find here. By contrast, the middle trio section is nervous, agitated music based on brusque string scales. The Fate motto makes a discreet appearance toward the end in the clarinets.

E major, rather than minor. The Allegro vivace main section returns to the minor with an off-the-beat principal theme that seethes with aggressive energy. A huge coda brings the Fate theme back again — and again! — in majestically slow E major and, after an acceleration, also reprises the first movement’s haltingmarch theme, now blazing away in brass splendor. Here Tchaikovsky perhaps overplays his triumph, but audiences happily succumb to his joy.

Fate is vanquished in the finale as the movement opens with a majestic statement low in the strings and now in

Artist Biography: Johannes Moser, cello 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 and works regularly with conductors of the highest caliber. In the 2017-2018 season, Moser’s European engagements include appearances with the Amsterdam Concertgebouw; The Orchestre de la Suisse Rommande, Geneva; Danish Radio Orchestra; Orchestra National de Lille; and Tonhalle Orchestra Zürich. In North America, he appears with Oregon Symphony, Houston Symphony Orchestra, Toronto Symphony, Seattle Symphony and New World Symphony, among several others. Next week, he will give the world premiere of a new work by Julia Wolfe, in Costa Mesa, California, with the Bloomington Indiana-based Pacifica Quartet. Known for his efforts to expand the reach of the classical genre, his passionate focus on new music, and his commitment to reaching out to new audiences, Moser aims to present classical music in ways with which listeners of all ages can engage and connect. Recent and notable projects include the premiere of Enrico Chapela’s electric cello concerto Magnetar with the Los Angeles Philharmonic and a new work with composer Andrew Norman. Moser won the top prize at the 2002 Tchaikovsky competition and was the recipient of the 2014 Brahms prize. His recordings have earned him two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik. He is an exclusive Pentatone recording artist, for which label he recently completed a new recording of concertos by Lutoslawski and Dutilleux, with Rundfunksymphonieorchester Berlin.

IPFW/SHRUTI INDIAN PERFORMANCE SERIES PRESENTS...

Saturday, Oct. 14, 2017 7:30 p.m. IPFW Auer Performance Hall Admission: Students with Current School ID Are Free $10 for All Others

Tickets Available at IPFW Box Office: 260-481-6555 ipfw.edu/tickets

Gregory Hancock Dance Theatre (GHDT), a professional contemporary dance company from Indianapolis, will present A Night in India. This spectacular performance of dance is inspired by the fascinating region of India. Colorful costumes, brilliant lighting, romantic and dramatic stories combine with passionate dancing and vibrant music to create a feast for the senses. Travel half way around the world with GHDT to celebrate India’s beautiful art and culture.

IPFW DEPARTMENT OF MUSIC

Reformation Celebration!

Special Event

BACH IN THE BARN SPONSORED BY ROBERT J. PARRISH, HARRIET A. PARRISH AND DAVID T. PARRISH FOUNDATION

Tuesday, October 10, 2017 - 7:30 p.m. Joseph Decuis Farm - 6755 E 900 S, Columbia City, IN Caleb Young, conductor Andre Gaskins, cello

H. PURCELL

Overture to Dido and Aeneas

G.F. HANDEL

Overture to Agrippina

J.S. BACH

Jesu, Joy of Man’s Desiring from Cantata 147

LEO Cello Concerto in A major, L. 50 Andre Gaskins, cello

500th Anniversary

The IPFW University Singers join forces with the 7:30 IPFW Community Orchestra to present a concert commemorating the 500th anniversary of the Reformation with Bach’s cantata on “A Mighty Fortress,” Mendelssohn’s “Reformation” symphony and settings of texts by Martin Luther. David Cooke and Vaughn Roste, conductors

IPFW Box Office: 260-481-6555 www.ipfw.edu/tickets

Tuesday, October 31, 2017 p.m. IPFW Auer Performance Hall

J.S. BACH Orchestral Suite No. 1 in C major, BWV 1066 Overture Courante Gavotte I & II Forlane Menuet I & II Bourrée I & II Passepied I & II

Admission: Free Admission for IPFW Students with ID and Students 18 Years of Age and Younger $7 Adults, $6 Seniors (60 and Older), $4 Non-IPFW University Students

THANK YOU TO THE FOLLOWING SPONSORS: Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

BACH IN THE BARN OVERTURE TO DIDO AND AENEAS Henry Purcell (b. 1659, London, England; d. 1695, London, England) Henry Purcell was a musical giant during the flowering of English music of the late 17th century. He was born in London, lived in London, worked in London, and died in London. While Purcell assimilated French and Italian styles, his music was undeniably English and very few composers since have matched the brilliance with which he set his native language to music. During his brief 36-year life, Purcell wrote church music, instrumental music, music for the theatre, popular drinking songs, and the very first English opera. Dido and Aeneas gave Purcell the opportunity to compose a sustained musical setting of a dramatic text, where the music carried the entire work. At just under one hour, Dido and Aeneas derives from the original source in Virgil’s epic, The Aeneid. The short, two-part overture is in the French style and full of imaginative chromaticism. Purcell is buried next to the organ on which he so often performed in Westminster Abbey. His epitaph reads, “Here lyes Henry Purcell Esq., who left this life and is gone to that blessed place where only his harmony can be exceeded.” (This selection by James W. Palermo)

OVERTURE TO AGRIPPINA George Frideric Handel (b. 1685, Halle, Germany; d. 1759, London, England) George Frideric Handel composed operas, oratorios and instrumental works. He moved to London to satisfy the English 20

PROGRAM NOTES October 10, 2017 musical public’s insatiable appetite for Italian opera, and when that went out of fashion, he wrote oratorios such as Messiah, his 1741 work that is considered among the most famous in history. Composed during 1709-10 for the Venice Carnevale season, the opera Agrippina tells the story of the mother of Nero as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. The dramatic overture boasts several contrasting sections: a solemn march, followed by hurried allegro, which is suddenly cut short by an improvised sounding oboe solo before returning to the original march. It is curious that after its initial success, Handel did not promote further stagings of this masterpiece. Falling out of fashion for several hundred years, the work has enjoyed numerous revivals in the late 20th and early 21st centuries, with several excellent recordings in the catalogue. (This selection by James W. Palermo)

Usually performed just before the sermon, it interpreted the Gospel reading of the day and was essentially, in Gerhard Herz’s words, “a sermon in music”. As director of music at St. Thomas Church in Leipzig, Bach was responsible for providing a new cantata for every Sunday in the church year, as well as additional ones for the church’s holy days. These cantatas included choral sections as well as arias and ensembles for solo singers. Frequently, Bach’s cantatas were built around a popular Lutheran chorale tune, and that is the case with his Cantata No. 147, “Herz und Mund und Tat und Leben” (“Heart and Mouth and Deed and Life”), which uses an exceptionally beautiful chorale by the 17th-century Hamburg-based violinist and composer Johann Schop. Cantata No. 147 is a double cantata lasting more than half an hour, and each of its two sections closes with this chorale with different words for the chorus. We will hear the last of these chorales, which is one of Bach’s most beloved works, “Jesu, Joy of Man’s Desiring”. Here Bach weaves a gorgeous arpeggio accompaniment in the orchestra like a garland around the chorus’s simple presentation of Schop’s chorale melody in Bach’s harmonization.

“JESU, JOY OF MAN’S DESIRING” FROM CANTATA NO. 147

CELLO CONCERTO IN A MAJOR, L. 50

Johann Sebastian Bach (b. 1685, Eisenach, Thuringia, Germany; d. 1750, Leipzig, Saxony, Germany)

Leonardo Leo (b. 1694, San Vito degli Schiavi, Italy; d. 1744, Naples, Italy)

Exactly what is a cantata? Developed in Italy during the 17th century, it was a multi-movement but still fairly brief dramatic form whose title tells us that it was meant to be sung (cantare). A cantata could set either a secular text or a religious one. Though Johann Sebastian Bach created a number of secular cantatas, his greatest works in this category were church cantatas, of which he is believed to have written some 300. In late 17th and 18th-century Germany, the sacred cantata became a major component of the Lutheran service.

The leading composer of his era in the court of Naples, one of the great musical centers of Italy in the 17th and 18th centuries, Leonardo Leo was renowned for his operas, both serious and comic, as well as for his impressive sacred music. Though he is too little remembered today, his extraordinary “Miserere” for double choir remains one of the masterpieces of the sacred choral repertoire. He was also an influential teacher and music theorist. Though vocal music was his specialty, between 1734 and 1738 Leo wrote a series of six cello concertos for Domenico Marzio

Caraffa, Duke of Maddaloni, who was an excellent amateur cellist. Highly attractive and melodious, they show the more elaborate Baroque style developing into the lighter, more entertaining galant style of the middle 18th century. In these concertos, as one commentator wrote, the soloist’s role “is not one of competition, but of relaxed cooperation” with the orchestral ensemble. Leo’s musical style is also much more relaxed than the more familiar Baroque concerto approach of Antonio Vivaldi’s with its “wired,” high-energy fast movements. Also, instead of adopting Vivaldi’s formula of three movements in fast-slow-fast tempos, Leo opts for four movements, and in his Cello Concerto No. 4 in A major, composed in 1738, he makes the unusual choice of beginning with a moderate-speed movement. That first movement is marked Andante piacevole or “pleasing Andante,” and it fulfills that description with its attractive, gently flowing melodies. Lively but still fairly leisurely in style, the Allegro second movement is rhythmically vivacious and gives more emphasis to the soloist’s episodes. The Largetto third movement is a stately and rather pensive slow movement; the downward plunges of its opening ritornello are later an effective means of showing off the the cello’s depths. A bouncing, high-spirited Allegro closes the Concerto and shines the spotlight on the cellist’s agility.

ORCHESTRAL SUITE NO. 1 IN C MAJOR, BWV 1066 Johann Sebastian Bach Running through a catalogue of J. S. Bach’s complete works is a mind-boggling experience. Page after page of works in every genre of music common to his period, except opera; several thousand pieces in all, and little of it hackwork — how can one explain such prolific creativity? Certainly the circumstances of his life didn’t help: the 21

daily grind of teaching pupils of widely varying musical aptitudes at Leipzig’s Thomasschule; composing and leading music for St. Thomas’ weekly services; later also directing and creating repertoire for weekly concerts of the Collegium musicum ensemble; constantly battling with the Leipzig town fathers for money and artistic resources; and, not least, struggling for private space in a household into which 20 children were born, five of whom he would train to become significant musicians in their own right. If any harried professional today thinks he or she has an impossible schedule, please salute this phenomenally overworked man of the 18th century! The First Orchestral Suite in C Major was probably written around 1720, before Bach’s Leipzig period, when he was court musician at Cöthen. It combines two forms that were then very popular at stylish courts like that of the music-loving Prince Leopold: the French overture and the dance suite. Bach’s duties at Cöthen were quite different from those at Leipzig. He had no church responsibilities there, but instead supplied secular music for the Prince and his small orchestra. French musical taste dominated even German courts like

Cöthen, and the rhythms and moods of traditional French courtly dances, such as the gavotte, minuet, and bourée, formed the basis for the Baroque dance suite. In these suites the dances were stylized: intended for listening not dancing. In addition to the four Orchestral Suites, this tradition inspired Bach’s partitas and English and French suites for keyboard. The lion’s share of the First Orchestral Suite is devoted to a three-part Overture in the French style with two stately slow sections, studded with dotted rhythms, enclosing a brilliantly fugal fast-tempo section. The three woodwind instruments, two oboes and bassoon, are often spotlighted against the string ensemble. Then follows a series of short dances, many of them in pairs with the first dance repeated after its companion. Bach’s most piquant inventions often come in these second dances. In the second Gavotte, he emphasizes the woodwind trio above the strings, who keep repeating a little French military fanfare. The second Bourée features the woodwind trio in a wailing minor-mode peasant dance. This suite shows not the learned master of counterpoint at work, but rather Bach as supreme entertainer. Notes by Janet E. Bedell copyright 2017

Artist Biography: Andre Gaskins, cello Principal Cellist of the Fort Wayne Philharmonic, Andre J. Gaskins enjoys a diverse musical career as cellist, conductor, composer and music educator. 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.

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.

Special Event

BACH IN THE BARN SPONSORED BY ROBERT J. PARRISH, HARRIET A. PARRISH AND DAVID T. PARRISH FOUNDATION

Wednesday, October 11, 2017 - 7:30 p.m. Joseph Decuis Farm - 6755 E 900 S, Columbia City, IN Caleb Young, conductor Orion Rapp, oboe

C.P.E. BACH Symphony No. 2 in B-Flat major, H. 658 Allegro di molto Poco adagio Presto J.C. BACH Sinfonia in G minor, Op. 6, No. 6 Allegro Andante più tosto adagio Allegro molto BACH (attrib.) Oboe Concerto in G minor, BWV 1056 Orion Rapp, oboe BACH Orchestral Suite No. 3 in D major, BWV 1068 Overture Air Gavotte I & II Bourrée Gigue THANK YOU TO THE FOLLOWING SPONSORS: Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

BACH IN THE BARN SYMPHONY NO. 2 IN B-FLAT MAJOR, H. 658 Carl Philipp Emanuel Bach (b. 1714, Weimar, Germany; d. 1788, Hamburg, Germany) The thoroughly cosmopolitan C.P.E. Bach was the most successful and prolific of all Johann Sebastian Bach’s musical sons. Boasting an education in the law and humanities from the universities of Leipzig and Frankfurt, he borrowed from the latest French and Italian styles to keep his music au courant with the times. For nearly 30 years, he served at the Berlin court of Frederick the Great of Prussia, a hotbed of cultural and especially musical life in mid-18thcentury Europe. Frederick was a keen amateur flutist, who performed at concerts several times a week, usually with C.P.E. at the keyboard. In 1768 after a struggle with Frederick who was loathe to give up his leading musician, C.P.E. moved on to Hamburg where he became Georg Philipp Telemann’s successor as that city’s music director. Regarded as the leading exponent of the North German empfindsamer Stil or “sensitive style”, C.P.E. wrote music that is much lighter and more entertaining than his father’s. The empfindsamer Stil was borrowed from the French taste for music influenced by literature. In his solo keyboard and orchestral music, C.P.E. transferred this approach from vocal music to instrumental music: music expressing emotions without words. He was also a pioneer in the still very young genre of the concert symphony, although only 18 of his symphonies have survived. Rather brief in comparison to later symphonies and always in three movements — fast-slow-fast — these works were nevertheless considerable 24

PROGRAM NOTES October 11, 2017 advances on the Italian sinfonia of the Baroque period. In the words of Bach scholar Christoph Wolff, a C.P.E. Bach symphony “must sound arresting and audacious in its first movement, meditatively beautiful in its second, and cheerful or innocent in its third.” Composed in 1773, the Symphony No. 2 in B-flat major is scored for a small string orchestra with harpsichord. With its furiously descending opening gesture, its Allegro di molto first movement certainly lives up to Wolff’s description; this is dashing, boldly energetic music that seizes and holds our attention throughout. Full of languishing dissonances and luscious writing for the violins, the poignantly lovely second movement epitomizes the empfindsamer style. The Presto finale returns to the furious descending scales of the first movement and increases the energy into a swirling whirlwind.

SINFONIA IN G MINOR, OPUS 6, NO. 6 Johann Christian Bach (b. 1735, Leipzig, Saxony, Germany; d. 1782, London, England) Johann Christian Bach was Johann Sebastian’s youngest son, born when his father was 50 and therefore a composer of the Classical era of Haydn and Mozart rather than of the Baroque. When his father died in 1750, the adolescent J.C. moved to Berlin to live with his brother C.P.E., 21 years his senior, and also studied with him. But unlike his father and brother’s, his career would be made outside of Germany. After beginning his career in Italy as organist at the Milan Cathedral (J.C. would leave the family’s Lutheran faith behind and become a Roman Catholic), he arrived in London in 1762 to fulfill an

operatic commission. His operatic career flourished, and he stayed on in that city for the rest of his life, becoming known as “the London Bach”. In 1764, the eight-year-old Mozart and his father arrived in London to demonstrate his prodigious keyboard talent and developed an instant friendship with J.C. Bach. Mozart adored the amiable composer both for his warm personality and for his charming music, and they remained in contact for the rest of J.C.’s life. Upon hearing of Bach’s death in 1782, Mozart exclaimed that this was “a loss to the musical world” and promptly memorialized J.C. in his Twelfth Piano Concerto. J.C. Bach was one of the leaders of the entertaining galant style that in the middle of the 18th century bridged the Baroque and Classical eras. But his Sinfonia in G minor also epitomizes a literary/musical movement that swept through the German-speaking lands at that time: Sturm und Drang (“Storm and Stress”). Named for a contemporary play, Sturm und Drang emphasized strong emotions expressed in highly colored, nearly melodramatic language; it was a forerunner of the coming Romantic movement. Haydn and Mozart would also explore this style, and Mozart’s Symphony No. 25 of 1773 — also in G minor and so memorably featured in the movie Amadeus — strongly resembles J.C.’s Sinfonia, published in 1770. Swirling fast figures, unexpected harmonies and dissonances, and explosive accents from the full orchestra drive the turbulent energy of the Allegro first movement. Those loud accents also punctuate a brief development section that seems to grope for a way out of a harmonic prison. Still in the minor mode — a dark and threatening C minor — the slower movement two continues to be haunted by sharp, stinging accents and harmonic instability. Rather than being music of galant sentimentality typical of the

period, this is a powerful expression of apprehension and torment. The Allegro molto finale is even more frenzied than the first movement. Here the mood seems to be one of furious anger, which eventually abruptly wears itself out. OBOE CONCERTO IN G MINOR, BWV 1056 Johann Sebastian Bach (b. 1685, Eisenach, Thuringia, Germany; d. 1750, Leipzig, Saxony, Germany) Some audience members may listen to this Oboe Concerto and feel that it sounds oddly familiar but not be able to pinpoint why. That’s because this is a transcription of a much more famous Bach Concerto for Keyboard in F minor, also listed as BWV 1056. And indeed, the keyboard version may well not be the original version at all. Here is an explanation of this mystery. Although 24 J.S. Bach concertos have come down to us, he probably wrote many, many more, especially during his period in the 1710s at the court of Cöthen, where he was required to write mostly secular music for the Prince of Cöthen’s crack orchestra. Typically, these concertos would have been written for a melody instrument, especially a violin or in some cases a wind soloist. Later when Bach moved on to Leipzig, he would revise these concertos for use there, especially as keyboard vehicles to show off his and his sons’ virtuosity; many of these have survived. However, even if the Cöthen originals mostly didn’t, scholars have been able to deduce them from the Leipzig versions for keyboard, and that seems to be the situation with Concerto BWV 1056, which is also sometimes played as a Violin Concerto. Bach would probably have had no problem with any of these versions because he frequently re-arranged his concertos for other instruments — or

even for voices in his church cantatas — as new occasions for performances with different forces arose. For him, there was no sense of there being a definitive version of a piece; it could continue to evolve and be reconsidered over time. In this concerto’s first movement, the soloist can’t wait to get into action until after the orchestra has completed its opening refrain; he jumps right in to slyly echo each phrase. The refrain itself has a dogged, stubborn quality, obsessively twisting around the tonic note G. The middle movement, in the traditional contrasting slow tempo, is one of Bach’s loveliest and most famous; Woody Allen used the keyboard version memorably as the background of a clumsy seduction scene in his film Hannah and Her Sisters. Above a delicately understated accompaniment, the oboe weaves a spellbound song that fits its plaintive tone perfectly. The Presto finale demonstrates that a minor-mode movement can be as light and lively as one in the major. Here Bach develops the first movement’s echo idea in a witty game of who-makes-theecho — orchestra or soloist.

ORCHESTRAL SUITE NO. 3 IN D MAJOR, BWV 1068 Johann Sebastian Bach In the intellectual rigor of his fugues and the spiritual depth of his passions and cantatas, J. S. Bach seems to represent the loftiest state to which music can aspire. But this formidable German had his lighter side as well, and his four orchestral suites show him as a master entertainer, wielding the courtly dance forms of his day with wit and panache. Scholars are still not sure when and where the Suites were written. Their secular nature and courtly style would seem to place them in the period of 1717 to 1723 when Bach served as 26

kapellmeister at the princely court of Cöthen and primarily created secular instrumental works, notably the six Brandenburg Concertos. But Prince Leopold’s orchestra was of modest size and presumably unable to provide the exceptionally sumptuous complement of three trumpets required by Suites 3 and 4. Therefore, though Bach may have composed earlier versions of these works at Cöthen, most likely the work we hear today was created in the late 1720s or early 1730s during his long service in Leipzig. In addition to his primary duties providing music for the services of St. Thomas Church in Leipzig, from 1729 to 1737 Bach directed that city’s Collegium Musicum, a voluntary association of professional musicians and university students. The Collegium gave weekly concerts — in summer in an outdoor square and in winter at Zimmermann’s coffee house. Here Bach could put aside sacred texts and exercise his secular genius. And since he had a large pool of musicians to draw upon, if he wanted three trumpets and timpani they were at his service. With their splendid scoring, the Third and Fourth Suites must have been intended for very festive occasions and most likely for outdoor performance. Like its three siblings, the Suite No. 3 in D major is an amalgamation of two forms very popular in this period: the French overture, used to introduce operas and plays, and the dance suite, based on traditional French courtly dances. Taking up more than half the work, the opening movement follows the traditional Frenchoverture form with slow outer sections emphasizing stately dotted rhythms enclosing a faster, fugal middle section. Here the music is very grand indeed, with its majestic rising phrases italicized by the brilliance of the trumpets and the roll of the kettledrum. When Mendelssohn played this overture on the piano for Goethe in 1830, Goethe’s response, even without benefit of trumpets, was: “There is such pomp and ceremony here that one can actually see a procession of

elegantly dressed people descending a vast flight of stairs.” This is followed by an Air, a pair of Gavottes, a Bourrée, and a buoyantly bounding Gigue to finish. The Air is one of Bach’s most beloved creations. Adapted for solo violin by A. Wilhelmj in 1871, it has become almost too familiar as the “Air on the G String.” But listen to how much more beautiful it sounds in Bach’s original setting, with the two violin parts and the violas weaving in rich counterpoint above the walking bass. The

vigorous pair of Gavottes, with the first repeated after the second, emphasizes the contrast between the power of the full ensemble and the gentleness of the strings with their accompanying oboes. In the Bourrée, Bach plays delicious rhythmic games, stressing the “weak” second beat with melodic leaps and emphatic trumpet entrances and pretending that the usually dominant first beat doesn’t exist at all. Notes by Janet E. Bedell copyright 2017

Artist Biography: Orion Rapp, oboe Orion Rapp holds the Margaret Johnson Anderson Principal Oboe Chair with the Fort Wayne Philharmonic, a position he has held since the fall of 2013. He has also served as Principal Oboist of the Illinois Symphony Orchestra since 2009, where he is regularly featured as a soloist. Orion maintains an active performance career outside of Indiana. He has performed as principal oboist with the San Diego Symphony, the Mansfield Symphony Orchestra, and the Opera in the Ozarks Opera Orchestra. Orion made his New York debut in 2013 in a production of Benjamin Britten’s opera, “The Rape of Lucretia.” An avid educator, Orion regularly coaches chamber music and teaches oboe reed-making at the historic Interlochen’s Summer Arts Camp. In addition, he has taught undergraduate chamber music at Rutgers University, and for three years Orion was a conductor and woodwind coach for the Youth Orchestra of Central Jersey in Princeton, New Jersey. Orion holds a master’s degree from the Cleveland Institute of Music and is currently a doctoral candidate (DMA) at Rutgers University.

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Special Event

BACH IN THE BARN SPONSORED BY ROBERT J. PARRISH, HARRIET A. PARRISH AND DAVID T. PARRISH FOUNDATION

Thursday, October 12, 2017 - 7:30 p.m. Joseph Decuis Farm - 6755 E 900 S, Columbia City, IN Caleb Young, conductor Violetta Todorova, violin

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BOYCE Sinfonia No. 5 in D major Allegro ma non troppo — Adagio — Allegro assai Tempo di Gavotta Tempo di Menuetto ALBINONI Adagio in G minor for Organ and Strings (Giazotto) BACH Violin Concerto No. 1 in A Minor, BWV 1041 Allegro Andante Allegro assai Violetta Todorova, violin BACH Orchestral Suite No. 4 in D major, BWV 1069 Overture Bourrée I & II Gavotte Minuet Réjouissance THANK YOU TO THE FOLLOWING SPONSORS:

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

BACH IN THE BARN SINFONIA NO. 5 IN D MAJOR William Boyce (b. 1711, London, England; d. 1779, London) Twenty-six years his junior, William Boyce spent much of his composing career during the era when George Frideric Handel thoroughly dominated the world of English music. Nevertheless, he succeeded in bringing a distinctively British sensibility to his music and in 1757 was appointed Master of the King’s Music, a position he held for many years. His attractive, highly melodic, and thoroughly entertaining music represented the final expression of Baroque style as it gradually slid over into the easier-toassimilate galant style and then on to the Classical-era works of Haydn and Mozart. Today, Boyce’s Eight Symphonies, published in 1760 but actually written many years earlier, are his best-known works. However, they were not really symphonies at all, but were mostly derived from the many multi-sectional overtures he wrote for his Odes: vocal pieces usually in praise of his royal masters, George II and George III. In fact, they are closer to the model of the Baroque orchestral suites, such as those of Bach we’ve been listening to at these concerts, which comprise an elaborate overture movement followed by shorter dance movements. Listening to the regal splendor of the Symphony No. 5 in D major with its brilliant complement of two trumpets and timpani reminds us of a more familiar Baroque masterpiece: Handel’s Music for the Royal Fireworks. However, Boyce was not imitating Handel here; he actually wrote this work in 1739, a full decade before Handel wrote his.

PROGRAM NOTES October 12, 2017 Like many Baroque overtures, the first movement is in two different sections, here linked together by a little cadenza for the solo oboe in a slower tempo. The first section is a grandly ceremonial Allegro ma non troppo, with the trumpets playing fanfare-like music. The second section is a spirited Allegro assai in dancing triple rhythm whose many imitative entrances make it resemble a fugue. This is followed by two shorter dance movements. Movement two is a stately Gavotte in two beats; its sonority is much lighter even though the trumpets and timpani are still active. The final movement is a lilting minuet displaying the charming outdoorsy quality, enhanced by fine woodwind passages, that was a Boyce specialty.

ADAGIO IN G MINOR FOR ORGAN AND STRINGS (GIAZOTTO) Remo Giazotto (b. 1910, Rome, Italy; d. 1998, Pisa, Italy) Attributed to: Tomaso Albinoni (b. 1671, Venice, Italy; d. 1751, Venice) Who actually wrote the famous Adagio in G minor for Organ and Strings? It has long been attributed to the Italian Baroque composer Tomaso Albinoni, a colleague of Antonio Vivaldi in early 18th-century Venice. The son of a wealthy merchant, Albinoni was a prolific composer of both instrumental music and operas, most of which have been forgotten. In fact, he is best known today for the beautiful Adagio in G minor, a work he would surely not have recognized as his own. Instead, the Adagio may have been created partly or totally by the 20th-

century Italian musicologist and composer Remo Giazotto. A scholar of Albinoni’s music, Giazotto claimed that shortly after the end of World War II while trying to compile a catalogue of Albinoni’s compositions, he had been sent some fragments of an Albinoni score — perhaps of a lost trio sonata —from Dresden’s Saxon State Library, which had been destroyed by Allied bombs in 1945. He then re-constructed this Adagio from just the surviving bass line and the first six measures and published it in 1958. But a few years later, he declared that the Adagio was completely his own composition. Whatever its true origin, the Adagio in G minor has become a beloved work, used frequently in film scores such as Gallipoli and Flashdance. Its poignant melody and sumptuous use of the string instruments tear at the heartstrings.

VIOLIN CONCERTO NO. 1 IN A MINOR, BWV 1041 Johann Sebastian Bach (b. 1685, Eisenach, Thuringia, Germany; d. 1750, Leipzig, Saxony, Germany) In an era when musicians were mere servants either of the church or a princely court, Bach was an early example of a successful musical entrepreneur whose ambition and talent allowed him to jump rapidly from one post to another in the pursuit of higher earnings and greater artistic challenges. In 1717, he made a bold career move—so bold, in fact, that it landed him in jail. For nine years he had been music director at the ducal court at Weimar and during that time had become one of the most admired organists and composers of organ music in central Europe. But the small princely court at Cöthen deeply attracted him. Prince Leopold was a cultivated ruler who sang well and played several

instruments; as Bach described him, he “not only loved but knew music.” He had an accomplished court orchestra of 17 players, and he was willing to pay considerably more than Weimar for Bach’s services. Since Bach had a rapidly growing family (he was eventually to sire 20 children), the generous salary was a strong inducement. On the negative side of the scale was the fact that Cöthen practiced the Calvinist faith, which preached liturgical austerity and reduced music for religious services largely to unaccompanied hymns; Bach would thus have little opportunity to continue his artistry at the organ. But he would have new challenges creating a rich secular repertoire for Cöthen’s instrumentalists. All things considered, Bach decided to accept the post at Cöthen. But he had not reckoned on one important detail: the Duke of Weimar refused to release him from his post. When Bach persisted in making plans for his transfer to Cöthen, the Duke threw his stiff-necked employee in prison. But the jail term lasted for only a month before Duke Ernst August finally relented and gave the composer a “dishonorable discharge.” Bach flourished at Cöthen. Here he wrote his six Brandenburg Concertos, the first book of the Well-Tempered Clavier, at least some of the orchestral suites, and the extraordinary six sonatas for unaccompanied cello. Inspired by the Italian masters Vivaldi, Corelli, and Torelli, he created many concertos for solo instruments and combinations of instruments, but because these were considered to be one-performance pieces, to be quickly replaced by newer ones, only a few of these have come down to us. Their beauty and craft tantalize us —what other Bach musical treasures have vanished forever? The Violin Concerto in A minor was written for the Cöthen orchestra sometime between 1718 and 1723. It follows the Vivaldian model of three movements, fast-slow-fast, but Bach enriched the Italian style with his own 31

contrapuntal powers and produced a subtler melding of tutti (orchestra) with soloist. In the first movement, he contrives a seamless flow of music by not lingering at cadences or avoiding them altogether. The slow movement is remarkable for its seriousness and introspection as well as for its beauty. A weighty six-note ostinato pattern in the bass provides wonderful contrast with the violinist’s limpid triplet rhythms. Prominent use of the pitch B-flat in the key of C major — it is the second note we hear — gives a brooding modal feeling. The finale, in dancing gigue rhythm, opens with a dense web of fugal counterpoint. Toward the end, the soloist takes an obsessive repeated-note motive and stretches it to the breaking point, creating exciting tension against the orchestra.

ORCHESTRAL SUITE NO. 4 IN D MAJOR, BWV 1069 Johann Sebastian Bach Bach’s four orchestral suites show him as a master entertainer, wielding the courtly dance forms of his day with wit and panache. Scholars are still not sure when and where they were written. Their courtly style would seem to place them in the period 1717 to 1723 when Bach served at the princely court of Cöthen. But Prince Leopold’s orchestra was of modest size and presumably unable to provide the exceptionally sumptuous complement of three trumpets required by Suites 3 and 4. Therefore, though Bach may have composed earlier versions of these works at Cöthen, most likely the Suite we hear tonight was created in the late 1720s or early 1730s during his long service in Leipzig. In Leipzig, Bach directed that city’s Collegium Musicum, a voluntary association of professional musicians 32

and university students. The Collegium gave weekly concerts — in summer in an outdoor square and in winter at Zimmermann’s coffee house. Since Bach had a large pool of musicians to draw upon, if he wanted three trumpets and timpani they were at his command. And they are used in the Fourth Orchestral Suite in D major, the most resplendent and festive of all the suites. The festive quality comes from the opening Overture’s connection with Christmas: this music was also used for the first movement of Bach’s Cantata No. 110, “Unser Mund sei voll Lachens” (“Our mouths shall be filled with laughter”), composed for the Christmas Day service. Especially striking in this Overture is how Bach plays off the contrasting colors of his large ensemble against each other: the silkiness of the strings, the sassy tang of the oboes, the brilliant thrust of the trumpets. Instead of the traditional formal dances that usually comprised the Baroque suite, here Bach opts for lighter alternative dances known as galanterien. So we hear a pair of highspirited Bourées; an elegant, highly rhythmic Gavotte with charming antiphonal effects; and a pair of very rapid Minuets omitting the trumpets and timpani. The second Minuet is for strings only and features an oddcouple duet between the first violins and cellos. The concluding French-style “Réjouissance” is a tour de force of exuberant rhythmic games. Notes by Janet E. Bedell copyright 2017

Artist Biography: Violetta Todorova, violin In the spring of 2016, Violetta Todorova was named the Concertmaster of Fort Wayne Philharmonic. An emerging voice of her generation, Ms. Todorova holds prizes from the International Competition for Young Violinists in Estonia and the All-Russian Competition for Young Violinists in Nizhny-Novgorod, Russia and has appeared as a soloist with various orchestras and ensembles across the US, Russia, Finland, and Sweden. She also has held the Concertmaster position with the Illinois Symphony, has been an Assistant Concertmaster with the Northwest Indiana Symphony, and a member of the Colorado Symphony Orchestra. Originally from Saint Petersburg, Russia, Ms. Todorova started playing violin at the age of five. After her studies at the St. Petersburg Conservatory Preparatory School, she attended Interlochen Arts Academy and DePaul University School of Music in Chicago, where she earned her bachelor’s and master’s degrees in violin performance. Todorova has also been a guest concertmaster with the Chicago Arts Orchestra, Kalamazoo Symphony Orchestra, Orchestra Iowa, South Shore Orchestra, and Lincolnwood Chamber Orchestra. In 2013, Ms. Todorova co-founded 42nd Parallel, a self-conducted orchestra in Chicago. Passionate about bringing classical music to new audiences, members of the ensemble offer performances in a variety of nontraditional venues, including black box theaters and churches.

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CAMBINI, BEETHOVEN, AND MENDELSSOHN

Pops Series

Wednesday, October 18, 2017 - 7:30 p.m. Parkview Physicians Group ArtsLab Sunday, October 22, 2017 - 2:00 p.m. Rhinehart Music Center, Recital Hall, IPFW CAMBINI Wind Quintet No. 2 in D minor Allegro espressivo Larghetto sostenuto ma con moto Presto ma non tanto Luke Fitzpatrick, flute Orion Rapp, oboe Campbell MacDonald, clarinet Dennis Fick, bassoon TBD, horn

AN ALL-NEW HOLIDAY POPS December 8, 9 & 16 Vocalist Mike Eldred from Broadway’s Les Misérables, the NEW Holiday Pops Chorale, and spectacular immersive lighting and multimedia visual effects

FORT WAYNE PHILHARMONIC 2017 - 2018

BEETHOVEN Piano Trio in D major, Op. 70, No. 1 “Ghost” Allegro vivace e con brio Largo assai Presto Johanna Bourkova-Morunov, violin Deborah Nitka Hicks, cello Alexander Klepach, piano

-- Intermission --

MENDELSSOHN String Quartet No. 2 in A minor, Op. 13 Adagio - Allegro vivace Adagio non lento Intermezzo: Allegretto con moto - Allegro di molto Presto Violetta Todorova, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello THANK YOU TO THE FOLLOWING SPONSORS:

CAMBINI, BEETHOVEN, AND MENDELSSOHN WIND QUINTET NO. 2 IN D MINOR Giuseppe Maria Cambini (b. 1746, Livorno, Italy; d. c.1825, Paris, France) Music for woodwind ensembles became very popular in aristocratic circles in the late 18th century because it was so effective as entertainment for parties, especially those given outdoors. As a contemporary critic commented about wind music, “out of doors it sounded better than strings; indoors it could hold its own against the clatter of dishes.” Early wind ensembles featured larger groups of instrumentalists, but around 1800, composers began to focus on what is now the classic woodwind ensemble: a quintet of flute, oboe, clarinet, bassoon, and horn. One of the pioneers of music for this bright-sounding five-some was the Italian composer Giuseppe Maria Cambini, who published three woodwind quintets around 1802. Most of Cambini’s career took place in Paris during the last three decades of the 18th century. As an accomplished violinist and prolific composer of instrumental and vocal music, he was even able to thrive during the French Revolution, when he created a number of popular revolutionary hymns and odes. A master of the entertaining French galant style of music, he was especially renowned for his concertante symphonies: a genre in which various soloists were spotlighted against the orchestra. His Second Woodwind Quintet in D minor epitomizes the kind of charming music that made him so well-liked in his day. Though the key of D minor might suggest we will hear dark, troubled music, his opening Allegro espressivo is light, melodious, and without a cloud. Stylistically, it resembles a concertante 36

PROGRAM NOTES October 18 & 22, 2017 work of the type he specialized in. The clarinet, followed soon by the bassoon (which will play a very active role) opens a series of little solo moments for each of the instruments. Movement two is a lovely rocking interlude in Italian siciliano style, led off by the oboe; the contrasting colors of the five instruments are very attractively juxtaposed throughout. The Presto ma non tanto final movement is a merrily effusive conversation, with every player encouraged to put his two cents in.

PIANO TRIO IN D MAJOR, OP. 70, NO. 1 “GHOST” Ludwig van Beethoven (b. 1770, Bonn, Rhine Palatinate, Germany; d. 1827, Vienna, Austria) Beethoven’s first opus number in 1795 consisted of three piano trios. However, this chamber combination did not seem to hold the fascination for him that the string quartet obviously did, and he did not write another full piano trio until 1808, when he produced two remarkable ones as his opus 70. They were dedicated to Countess Marie von Erdödy, in whose mansion Beethoven was temporarily living then. This was a wholly platonic arrangement although it ended in a strange quarrel that suggests there may have been an erotic undercurrent in Beethoven’s mind. Finding that the Countess had been paying money on the side to his servant, he erupted in rage, insultingly accusing her of purchasing sexual favors. On sketches for his “Emperor” Concerto then in progress, he wrote: “You have received the servant from me instead of the master. … What a substitution!!!! What a glorious exchange!!!! Beethoven

is no servant. … You wanted a servant, now you have one.” Fortunately, the misunderstanding was soon cleared up because the Countess’s assistance was crucial to the composer’s future; it was she who helped negotiate the extraordinary life annuity from the Archduke Rudolf and the Princes Kinsky and Lobkowitz of March 1809 that guaranteed Beethoven a substantial annual sum so that “the necessaries of life shall not cause him embarrassment or clog his powerful genius.” In return, the composer pledged to remain in Vienna pursuing his art and not to decamp to a foreign court as he had been threatening to do. The most famous of these two piano trios is the first in D major, which has become known as the “Geister” or “Ghost” for its eerily dramatic second movement. (Like many of the catchy nicknames — such as “Moonlight” or “Emperor” — attached to Beethoven works, it was not the composer’s title.) In the same period in which he wrote this trio, Beethoven also composed his great A major Cello Sonata. And it is the cello’s full equality with the violin and piano in the “Ghost” that helps make this work so powerful and fascinating. In his sonata-form first movement, Beethoven makes a startling innovation: he presents his two contrasting major themes side by side at the very opening, proclaiming their equality in the movement’s unfolding. First, the loud, racing principal theme — which is not so much a theme as an explosive Beethovenian gesture, pounded out in octaves by all three instruments. Then right on its heels, the smoothly singing second theme led by the cello. And in fact, Beethoven gives this lyrical theme so much immediate attention, we are in danger of forgetting all about its predecessor! When the first theme returns, it has already been transformed into the rolling scale passages that will propel much of the music.

It is only in the development section that the explosive first theme comes into proper prominence, featured in a fuguelike passage between the instruments. Indeed, the development is animated throughout by lively contrapuntal dialogue, as well as some quiet “ghostly” chromatic passages that hint at what’s to come. Movement two is a masterpiece of Romantic atmosphere and enigmatic drama in darkest D minor. It opens with two interlocking ideas: chill, hollow octaves in violin and cello against a graceful yet eerie figure in the piano. In this movement, there is a surprise around every corner. The persistent tremolos in the piano, the tortured cast of harmonies and melodic lines, and the prevailing hush of the dynamic — occasionally bursting out in brief loud explosions — all work their spell. The concluding descending scales in the piano and plucked notes of the strings lend a final shiver. After this dark mystery, the playful finale brings brightness and relaxation. It is all about uncomplicated melodies and sparkling scales. Again, the two themes are presented together at the beginning, though here Beethoven returns the winsome, swaying second theme to its proper position in the exposition. This music bubbles with Beethovenian humor: odd little pauses, a wildly exaggerated buildup before the recapitulation, and a madcap bout of string pizzicato before the “There, take that!” close.

STRING QUARTET NO. 2 IN A MINOR, OP. 13 Felix Mendelssohn (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Saxony, Germany) In the year 1827, Beethoven died at age 56, and Felix Mendelssohn celebrated his 18th birthday. The extraordinary Octet he’d composed two years earlier as well as the magical A Midsummer Night’s Dream Overture of 1826 proved he had reached his artistic if not his chronological majority, and so with his father’s support, he ceased working with the conservative Carl Zelter who had supervised his musical studies for many years. From now on, Mendelssohn would be his own music teacher. But the young composer did continue his education in a variety of other ways. That May, he enrolled at the University of Berlin, studying history, philosophy (with Hegel), and his favorite subject, geography. During the summer, he traveled around Germany with a small group of fellow students and apparently fell in love with the young singer Betty Pistor. The evidence of that romance has come down to us in a charming love song, “Frage” (“Question”), which Mendelssohn composed and possibly supplied the words for that summer. It opens: “Is it true that you are always waiting for me in the arbored walk?” and that breathless little three-note question “Ist es wahr?” fills the entire song. Soon it would also animate a much more ambitious work: Mendelssohn’s first mature string quartet, the astonishing String Quartet in A minor, opus 13. While the song and Mendelssohn’s summer romance comprised one inspiration for this Quartet, written between June and October 1827, the late works of Beethoven were the other critical component. That year, Mendelssohn had been closely studying Beethoven’s last quartets and the Ninth 38

Symphony. Scholars have found many resemblances here to Beethoven’s formal strategies in many of the late works and especially in the opus 13 Quartet, also in A minor. Yet in no way should this Quartet be regarded as merely an example of a student copying a master. Rather it is a marvelous demonstration of youthful high spirits and imagination combined with complete mastery of craft and medium. The sonata-form first movement begins with a rich-toned slow introduction; unusually, Mendelssohn’s trajectory here is from a pensive, slightly melancholy A major to a fast, joyous A minor. After the eloquently simple opening idea, we encounter the upward-questioning phrase for the words “Ist es wahr?”. The sudden whirring of the viola propels us into the Allegro vivace main tempo, as the other strings rush exuberantly upward. Now Mendelssohn uses the “Ist es wahr?” motive to build the movement’s spirited principal theme, introduced in eager canon between the instruments. Later the cello offers an impassioned new theme sung in its high register. And with a return of the up-rushing music, Mendelssohn sails off into his development: an exhilarating, expert working out of the principal theme, mingled with the whirring idea, that risks daring dissonances for this period. It culminates in a glorious apotheosis for the first violin. A wonderful final coda intensifies the ardent emotions still further. The slow movement is both startlingly original and deeply moving. It opens as a beautiful, sorrowful song somewhat resembling the opening gestures of the first movement; its one connection with the “Ist es wahr?” motive is its rhythm. Then the viola launches a dark, mournful fugue, made more intense by tormented chromaticism. The fugue subject, now inverted, powers the harmonically strenuous development section. Then we hear the opening song again, now beautifully ornamented. And when the fugal music returns one final time, it seems transformed by the song’s

loveliness: its chromaticism washed away and its conclusion serene and radiant in F major. After the complexity of the first two movements, Mendelssohn turns to a charming Intermezzo of the sort Brahms would later favor. The first violin sings an artless song in folk style over a guitar-like pizzicato accompaniment. The middle trio section introduces a bit of Mendelssohn’s signature fairy-scherzo music in a slightly faster tempo. The finale begins abruptly and with startling force. Over a melodramatic tremolo, the first violin sings an anxious recitative. Gathering up the second violin and viola, it then segues into the bold and restless principal theme, which also contains the “Ist es wahr?” motto’s rhythm. For the development section, the viola launches a new version of movement two’s dark fugue; underneath, the cello mutters the beginning notes of the violin recitative. Soon the finale’s principal theme is woven into the elaborate contrapuntal tapestry. After the recapitulation, the first violin calms the fray with a recitative of reminiscence, probably inspired by Beethoven’s Ninth, which includes a slower version of the fugue’s subject, the finale’s opening recitative, and the first movement’s principal theme, demonstrating their close relationship. And then we hear the Quartet’s slow opening again, now not only quoting the “Ist es wahr?” motto but more of the love song as well. It reminds us that this technically assured masterpiece was written by a very young man, who was still experiencing the joys and pangs of first love. Notes by Janet E. Bedell copyright 2017

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Sweetwater Pops Series

A STEVEN SPIELBERG Film

E.T.™ THE EXTRA-TERRESTRIAL IN CONCERT

Jim Bushey

Saturday, October 28, 2017 - 7:30 p.m. Embassy Theatre

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Caleb Young, conductor DEE WALLACE PETER COYOTE HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE

Tonight’s program is a presentation of the complete film E.T. The Extra-Terrestrial with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. windows

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Artist Biography: John Williams, composer

Sweetwater Pops Series

E.T.™ THE EXTRA-TERRESTRIAL IN CONCERT

Program continued from page 41.

E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. Available on Blu-ray and DVD from Universal Pictures Home Entertainment. Director Steven Spielberg’s heartwarming masterpiece is one of the brightest stars in motion picture history. Filled with unparalleled magic and imagination, E.T. The Extra-Terrestrial follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott. Experience all the mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences around the world. PRODUCTION CREDITS E.T. The Extra-Terrestrial – Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Chris Szuberla Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, Mark Graham and the musicians and staff of the Fort Wayne Philharmonic.

In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all seven Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, and Lincoln. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 50 Oscar nominations (making him the second most nominated person in the history of the Oscars), seven British Academy Awards, twenty-three Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009 he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016 he received the 44th Life Achievement Award from the American Film Institute – the first time a composer was honored with this award. FROM THE COMPOSER Steven Spielberg’s film E.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes… but the performances, particularly by the children and by E.T. himself, are so honest, timeless and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about tonight’s concert is that we’ll hear one of our great symphony orchestras, the Fort Wayne Philharmonic, performing the entire score live, along with the complete picture, sound effects and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event… and I hope that tonight’s audience will find great joy in experiencing this magical film.

www.filmconcertslive.com 42

F STAR Family Series

HALLOWEEN SPOOKTACULAR SPONSORED BY INDIANA MICHIGAN POWER

Sunday, October 29, 2017 - 2:00 p.m. Rhinehart Music Center, IPFW Caleb Young, conductor Fort Wayne Ballet, Karen Gibbons-Brown, artistic director

BACH (Orch. by Stokowski)

Toccata and Fugue in D minor, BWV 565

SAINT-SAËNS

Danse macabre, Op.40

CHADWICK

Hobgoblin from Symphonic Sketches

GOUNOD

Funeral March of a Marionette

WAGNER Siegfried’s Death & Funeral Music from Götterdämmerung

LE ARN MORE AT

WILLIAMS

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

BERLIOZ

Dream of a Witches’ Sabbath from Symphonie Fantastique

THANK YOU TO THE FOLLOWING SPONSORS:

Biography: Karen Gibbons-Brown, Fort Wayne Ballet Artistic Director Karen Gibbons-Brown trained in ballet, modern, jazz, tap, and theater dance, beginning in Columbia, South Carolina and later at American Ballet Theatre and David Howard School of Ballet. Her professional experiences, among many, include South Carolina Chamber Dance Ensemble, Ballet Celeste, Bristol Ballet and the Theatre Ballet of San Francisco. Ms. Gibbons-Brown is known for her work in the classroom and enjoys teaching a variety of dance-related subjects including ballet, pointe, repertoire, terminology, dance history, pedagogy and makeup and hair for stage as well as restaging major classical works. She received her certification in Labanotation while serving on the faculty of Virginia Intermont College and served as Ballet Mistress for John McFall as he created his production of The Nutcracker for Atlanta Ballet. In 1985, Ms. Gibbons-Brown founded the Kingsport Guild of Ballet and became Artistic Director of the State of Franklin Dance Alliance at its inception in 1988. She served on the Tennessee Association Board of Directors in many capacities including president and on the Performing Arts Panel for the Tennessee Arts Commission. She assumed directorship of Fort Wayne Ballet in 1998. In 2010, renowned choreographer Dean Speer, in his book “On Technique”, identifed Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. In 2016 she received the Lifetime Achievement Award from Arts United.

Youth Orchestra Series

YOUTH ORCHESTRA FALL CONCERT PROJECT SUPPORTED BY LINCOLN FINANCIAL FOUNDATION

Sunday, October 29, 2017 - 5:30 p.m. Rhinehart Music Center, IPFW

Fort Wayne Philharmonic Youth Concert Orchestra Marcella Trentacosti, Conductor CHARLES GOUNOD

March of the Marionette

ARR. RICHARD A. STEPHAN

Fantasia on a 17th Century Theme

The Auer Academy of Fort Wayne Ballet provides dance education to more than 300 students annually ranging from age 3 to 93. Their classes extend to pre-professional students looking to dance as a career, and children and adults who enroll for the love of dance.

RICHARD MEYER

An American Rhapsody

Fort Wayne Ballet’s performance season consists of three mainstage performances at the Arts United Center, three family series performances in the Fort Wayne Ballet studios, and two performances featuring the professional company and their own choreography.

Fort Wayne Philharmonic Youth Symphony Orchestra Colleen Tan, Conductor

Biography: Fort Wayne Ballet

Performances range from the traditional classics such as Romeo and Juliet, Cinderella and The Nutcracker to contemporary works from renowned choreographers such as José Limon, Edward Stierle and Gerald Arpino. This season Fort Wayne Ballet continues its collaboration with the Philharmonic in three performances of a full-scale production of Coppélia, in March 2018. Fort Wayne Ballet’s Community Engagement programs are comprised of in-school programs, in-theatre educational youth performances, and community performances/ outreach. They collaborate with Fort Wayne Community Title One Schools and other area educational entities such as YMCA, to increase the accessibility of arts education to under-served people in the region. Free performances are available throughout the year at locations in downtown Fort Wayne including Taste of Arts Festival, the YMCA of Greater Fort Wayne, and the Allen County Public Library. For more information, visit fortwayneballet.org. 46

L. VAN BEETHOVEN

Egmont Overture, Op. 84

C. SAINT-SAËNS

Danse macabre, Op. 40

EDVARD GRIEG

“Holberg” Suite, Op. 40

C. FRANCK Edited by Clinton F. Nieweg

Symphony in D minor, movement I

THANK YOU TO THE FOLLOWING SPONSORS:

Youth Orchestra Series

FORT WAYNE PHILHARMONIC YOUTH SYMPHONY ORCHESTRA Colleen Tan, Conductor

FORT WAYNE PHILHARMONIC YOUTH CONCERT ORCHESTRA Marcy Trentacosti, Conductor

VIOLIN Alisha Babu Miranda Bartz Karissa Brath John Copeland Julia Eifert Trinity Forish Wendy Kleintank Grant Hart Miles Nicholson Michaela Palicte Mishael Paraiso Lucas Valcarcel Jessica Zhou

VIOLIN 1 Clara Bingamon, Concertmaster Yebin Jeong, Co-Concertmaster Court Wagner Daniel Liu Juliette Mikautadaze Ella Hildebrand Trinity Forish Lydia Bingamon

VIOLA Olivia Creech Leeza Gallagher Jodi Sarno Grace Henchen

CELLO Ethan Hart Alex Moss John Sarno Destiny Seelig Maria Teel Helen Wargo Kyra Warren Moira Halbauer BASS Graydon Brath Henri Spoelhof FLUTE Alyssa Parr Chloe Morton

OBOE Jackson Brummett Laurel Morton CLARINET Stephen Tsai Isaac Bailey Yehyun Song FRENCH HORN Nathan Merz Maiah Deogracias Megan Merz TRUMPET Henry Wellman Faith Allison Sam Parnin

Keefer

TROMBONE Aaron Kreie TUBA Spencer Mohre PERCUSSION Allyn Beifus Hailey Sandquist PIANO Allyn Beifus

VIOLIN 2 Isabel Carillo, Principal Elisabeth Rowdabaugh, Asst. Principal Kieran Niska Andrew Habig Kaitlyn Jones Jessica Tian Frankie Cai Timothy Chan Alexis Deam CELLO Edward Sun, Principal Shaan Patel, Asst. Principal Maria Tan Nikitha Babu Bethany Perkins Joel Hembree Maya Racz Martina Beam Adam Donat Madison Greenfield VIOLA Dillon Jackson, Principal Amir Pierre-Lewis, Asst. Principal Kylie Johnson Owen Dankert STRING BASS Preston Reeves

OBOE Andy Deng Kevin Wang FLUTE Madilyn Mory Madelyn Myers Sara Delong CLARINET Marlena Haefner Abigail Johnson Melody Sutter Kristen Foti FRENCH HORN Hannah Offhaus Lydia Bingamon

TRUMPET Faith Allison Audrey Germain Rylee Eagleson Ethan Wilson TROMBONE Noah Jeong TUBA Alex Robles PERCUSSION Evelyn Rowdabaugh Hailey Sandquist Andy Deng

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Biography: Colleen Tan, Youth Symphony Orchestra Conductor

Biography: Marcella Trentacosti, Youth Concert Orchestra Conductor

Colleen Tan is the Director of Orchestras at Canterbury School and performs with the Fort Wayne Philharmonic. An active violinist and violist, she has performed in the Vatican, Italy, Bermuda, Ireland, Portugal, and with the Washington Concert Opera, Montclaire String Quartet, Cincinnati Ballet, and Harrisburg Symphony. She is a member of the Lake String Quartet, the quartet in residence at Yellowstone National Park. Previously, she was a member of the West Virginia Symphony Orchestra and directed the Youth Strings Ensemble of the West Virginia Youth Symphony. She is the current chairperson for the American String Teachers Association’s State Leadership Committee. She has served as state president for the WV ASTA Chapter, vice president for the WV Orchestra Directors Association, and currently co-chairs the Indiana ASTA Certificate Achievement Program exams.

Born and raised in Allentown, Pennsylvania, Marcy has been a full-time section violinist in the Fort Wayne Philharmonic since 1976. Marcy graduated from Indiana University with a Bachelor of Music Education and in 2008 completed a Master of Music from Bowling Green State University in Bowling Green, Ohio.

Colleen earned her M.Mus in Violin Performance at University of Cincinnati CollegeConservatory of Music and B.Mus in Violin Performance and Instrumental Music Education at The Catholic University of America. A National Board Certified Teacher in Orchestra for Early Adolescents and Young Adults, she has enjoyed conducting bands, honors orchestras, all-county orchestras and presenting at national ASTA conferences. She maintains a private violin studio in Fort Wayne. Colleen is married to Philharmonic violinist Timothy Tan and they are blessed with two daughters.

In addition to performing and conducting the Fort Wayne Philharmonic Youth Concert Orchestra since 2010, she maintains a private teaching studio for the IPFW Community Arts Academy, teaches Violin and String Techniques for the IPFW Department of Music and is the Director & Founder of the IPFW Community Arts Academy Summer String Camp.

She participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago; Bach, Beethoven, Breckenridge Music Festival in Breckenridge, Colorado and served as Concertmaster of the Marion Philharmonic. As an educator she has taught at Snider High School, Woodside Middle School, Canterbury School and Blue Lake Fine Arts Camp. In 2012, she received an Arts United Artie Award for “Outstanding Music Educator”.

Marcy is an active member of Sigma Alpha Iota in which she has held several offices, ASTA (American String Teachers Association) and IMEA. She serves on the board of the Philharmonic Friends and is currently faculty adviser for the SAI Zeta Psi Collegiate Chapter.

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BLACK VIOLIN M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

BRAHMS AND RACHMANINOFF SPONSORED BY THE PHILHARMONIC FRIENDS

Saturday, November 4, 2017 â&#x20AC;¢ 7:30 p.m. Embassy Theatre Andrew Constantine, conductor Philippe Quint, violin

VERDI

Overture to Nabucco

BRAHMS Violin Concerto in D major, Op. 77 Allegro non troppo Adagio Allegro giocoso; ma non troppo vivace Philippe Quint, violin

-- Intermission --

RACHMANINOFF Symphony No. 1 in D minor, Op. 13 Grave - Allegro ma non troppo Allegro animato Larghetto Allegro con fuoco

CHUCK & LISA SURACK

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, November 16 at 7:00 p.m. THANK YOU TO THE FOLLOWING SPONSORS: The Paul Yergens and Virgina Yergens Rogers Foundation

BRAHMS AND RACHMANINOFF OVERTURE TO NABUCCO Giuseppe Verdi (b. 1813, Le Roncale, near Busseto, Italy; d. 1901, Milan, Italy) Premiered at La Scala, Milan, on March 9, 1842, Nabucco was Giuseppe Verdi’s third opera and the one that finally made him famous. However, if it had not been for the stubborn support of La Scala’s chief, Bartolomeo Merelli, who had unwavering faith in the 28-year-old composer, it might never have been written. A year and a half before, Verdi’s comic opera Un giorno di regno had been a disastrous failure at La Scala. He had also lost his wife and two young children a short time earlier. In despair, he vowed to never compose again. However, Merelli kept tempting him to come back. Finally, he forced Temistocle Soler’s libretto about the Israelites suffering in their Babylonian captivity under King Nebuchadnezzar, as told in the Old Testament, on the reluctant composer. Verdi later recalled that the libretto fell open at the eloquent words of “Va, pensiero,” the lament of the Israelites by the waters of Babylon, and he was immediately captivated. “Va, pensiero, sull’ ali dorate” — “Fly, thoughts, on golden wings” — became the great chorus that opens Act III of Nabucco; it also became virtually the national anthem of Italy. Living under the tyranny of Austria, its first Italian audiences identified completely with those long-ago Israelites, and before long, Verdi became the musical voice of the Risorgimento: the Italian fight for independence.

Written hastily just before the premiere, the Overture, after a fashion, introduces us to that famous chorus. First, though, we hear a solemn chorale played by three trombones, establishing the Biblical

PROGRAM NOTES November 4, 2017

origins of the story. It is soon followed by a fast, very rhythmic melody, which will be sung by some of the Israelite priests when they believe one of their number has betrayed them to the Babylonians. Then solo oboe and clarinet sing an unusual version of “Va, pensiero’s” gracious melody, disguised by being in triple meter and thus sounding rather like a waltz. The fast denunciation melody ultimately returns for a big curtain-raising finish. VIOLIN CONCERTO IN D MAJOR, OP. 77 Johannes Brahms (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) The late 1870s, when Johannes Brahms wrote his only violin concerto, were the high summer of the composer’s artistic life. In 1876, he had finally won his twodecade struggle to write a symphony and had completed and premiered his First Symphony. The next year, 1877, brought its successor, the relatively conflict-free Symphony No. 2 in D major. The Violin Concerto, also in D major, followed immediately on its heels; composed during the summer and fall of 1878, it was premiered in Leipzig on New Year’s Day 1879, with its dedicatee, the great violinist and one of Brahms’ closest friends, Joseph Joachim, as soloist and Brahms himself conducting the Gewandhaus Orchestra. Now in his mid-forties, Brahms had settled into an established routine that met both his creative and personal needs. During most of the year, he was based in Vienna, attending to the editing, publishing, and performing of his works. Summers were devoted to composing in mountain or lakeside retreats in rural Austria or Switzerland; like many composers, Brahms needed beautiful scenery to stimulate his

creative juices. In 1877 and 1878, he had found a particularly inspiring location at Pörtschach on Lake Worth in southern Austria, where, he claimed, “melodies are so abundant one must be careful not to step on them.” Here in the shadow of the beautiful snow-capped peaks of the Carinthian Alps, he wrote both the Second Symphony and the Violin Concerto. A confirmed bachelor — but with a soft spot for the ladies, especially if they had beautiful singing voices — Brahms depended on a network of friends to maintain his “Frei aber froh” motto: “free but happy.” Chief among them was Joseph Joachim, one of the foremost musicians of the 19th century: violin virtuoso, composer of stature (though his works are seldom heard today), conductor, chamber musician, and an artist who shared Brahms’ own commitment to music of substance and profundity. Brahms and Joachim had known each other since they were very young men. Inevitably, Brahms would create a concerto for his friend, and, equally inevitably, this concerto would be the product of close collaboration. Not only did Brahms confer with Joachim about what figurations would work most effectively on the violin, but Joachim also influenced the orchestral part, suggesting where Brahms could thin his often-thick textures to allow a better balance with the violin. But, stubborn in his artistic principles, Brahms always had the last say. The sonata-form first movement paints an epic canvas with vast exposition and development sections. Brahms introduces his first theme immediately in the most austere fashion: just the dark tones of bassoons, horns, violas, and cellos playing in octaves. Yet some 15 minutes later, at the beginning of the recapitulation section, we will experience a tremendous sense of homecoming and fulfillment as this theme returns in the full orchestra, now richly harmonized and melodically embellished. The buildup to the soloist’s first entrance is one of the most exciting in the repertoire: a whirling string ostinato topped by a rising, syncopated line in the woodwinds.

The soloist lives up to the excitement in an extended rhapsody that shows off his command of the violin’s range, agility, and multiple-stopped chords. Brahms saves his best tune for later: a mellow, arching waltz melody launched by the soloist. Finally, notice the dreamlike coda that follows the solo cadenza (composed by Joachim). Here, the violin meditates gently on the first theme over slow-moving harmonies before accelerating to a heroic cadence. Lyrical melody rules the F-major slow movement. The woodwinds, led by a solo oboe singing one of Brahms’ most famously beautiful melodies, are answered by the strings, led by the soloist. Ironically, the violinist never gets to play that wonderful oboe tune, but instead rhapsodizes on it in a series of subtle, high-flying variations. After a ruefully passionate episode in the distant key of F-sharp minor, the violin and oboe are united for the movement’s close. Machismo dominates the finale: an exhilarating gypsy-rondo dance. Brahms spent his late teens as accompanist to the flamboyant Hungarian violinist Eduard Rémenyi and developed a lifelong fondness for the fire of gypsy music. Here he combines those early memories and his love of intricate rhythmic cross-play to create a blazing finish for violinist and orchestra.

SYMPHONY NO. 1 IN D MINOR, OP. 13 Sergei Rachmaninoff (b. 1873, Semyonovo, Russia; d. 1943, Beverly Hills, California) The young Sergei Rachmaninoff seemed to be Fortune’s favorite child. Prodigiously gifted as a pianist, he graduated early from the Moscow Conservatory in 1892 and was awarded the Great Gold Medal, given only twice before. He had already composed the first version of his Piano Concerto No. 1. In May 1892, his graduation piece, the

opera Aleko, received its premiere at the famed Bolshoi Opera, and none other than Tchaikovsky was seen applauding vociferously in the balcony. But just a few years later, on March 15, 1897, Rachmaninoff’s golden path ran into a major obstacle. In January 1895, emboldened by his early successes, he began his First Symphony and largely completed it the same year. His doting teacher Sergei Taneyev arranged for it to be premiered in the Great Hall of the Nobles in St. Petersburg with the noted composer Alexander Glazunov as conductor. But that premiere was a disaster, and Glazunov’s sloppy conducting seems to have been the major culprit. The critical reaction was brutal. Rachmaninoff was devastated. He stopped composing for two years and buried his insulted symphony in a drawer. When he fled to the West in 1917 he left the manuscript behind, and it eventually disappeared. At the close of World War II, Soviet musicologists reconstructed it from the orchestral parts and gave the second performance on October 1945, nearly 50 years after its first. This time it was a triumph. But Rachmaninoff had died in America two years earlier. Though not as refined as his later opuses, the First Symphony did not deserve its original fate. It is a powerfully dramatic work on a big scale, and though it bears traces of Tchaikovsky, it already reveals the distinctive voice of Rachmaninoff with many of the characteristics that marked his later works. One of these is the prominent use of the haunting upand-down chant melody “Dies Irae” (“Day of Judgment”) from the Roman Catholic mass for the dead. Its appearance here may be related to the Biblical quotation the composer wrote at the head of the score: “ ‘Vengeance is mine; I will repay,’ saith the Lord” (which also appears at the beginning of Tolstoy’s Anna Karenina). Thus, there may be a hidden program behind this fiery, fatalistic music.

The first movement begins with a somber slow introduction presenting two elements that will pervade the symphony: first, a fiercely bristling figure in the woodwinds and then the opening notes of the “Dies Irae” thumped out by low strings. Then with another whirl of the bristling motive in the violas, the main Allegro section chugs into action. The “Dies Irae” now moves up to solo clarinet and is enlarged into the principal theme. After this initial fury subsides, the melancholy second theme emerges from the floating high note of the violins. Using the exotic intervals of the gypsy scale and rising to a passionate outburst, this lengthy theme finally dies out in a rumble of those bristling figures.

The bristling motive roars out from the strings and woodwinds yet again to launch the finale, but now it has an aggressive rhythm added to it. Blazing trumpet fanfares and snare drums create an imperial military atmosphere for a new version of “Dies Irae.” After a powerful transition, the violins soar aloft in an early edition of the big, ardently Romantic melody that would become Rachmaninoff’s trademark.

With a triple-forte shout, they launch an intense development section, featuring a furious fugal treatment of the “Dies Irae” theme. This grows into a sonorous trombone chorale in an orchestral setting of militant Slavic brilliance. At its peak, the chugging rhythm announces the recapitulation. Rachmaninoff paces the closing coda for maximum dramatic effect, reigning in full volume until the end.

Lauded by the Daily Telegraph (UK) for his “searingly poetic lyricism” violinist Philippe Quint is carving an unconventional path with his impassioned musical desire for reimagining traditional works, rediscovering neglected repertoire to commissioning works by contemporary composers. His dedication to exploring different styles and genres with an award-winning discography has solidified him as one of the foremost violinists of today.

As light as the first movement was massive, the second-movement scherzo opens again with the spiral figure, now in the violas. A gently swaying version of the “Dies Irae” appears in the violins. But it is only one of many fleeting whispers and rumors flying around the orchestra. The middle trio section becomes even more elusive, with a fleet Slavic dance version of “Dies Irae” in the woodwinds and a solo violin melody created from the whirring spiral figures.

Born in Leningrad, Soviet Union ( now St. Petersburg, Russia), Philippe Quint studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov, and made his orchestral debut at the age of nine, performing Wieniawski’s Concerto No. 2. After moving to the United States, he earned both bachelor’s and master’s degrees from Juilliard. His distinguished pedagogues and mentors included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki, Isaac Stern, Itzhak Perlman, Arnold Steinhardt and Felix Galimir.

Again but more gently, the violas sound the spiral motive to generate the Larghetto slow movement. This continues as an accompaniment to the solo clarinet’s sorrowful, gypsy-flavored melody. The mood changes for the central section as horns ominously growl and fragments of the “Dies Irae” mutter in low strings. The opening melody returns, and as it transfers to the clarinets, it gains a soaring violin countermelody.

Quint’s most recent appearances included performances with the orchestras of London, Los Angeles, Chicago, Detroit, Indianapolis, Seattle, Toulouse, New Jersey, Minnesota, Bournemouth, Houston, Weimar Staatskapelle, Royal Liverpool, China National, Orpheus, Berlin Komische Oper, and Leipzig’s MDR at the Gewandhaus. He has performed under the batons of Marin Alsop, Carl St. Clair, Tugan Sokhiev, Grant Llewellyn, Andrew Litton, Cristian Macelaru, Kurt Masur, Jorge Mester, Edo de Waart, Jahja Ling, Krzysztof Urbanski, Ludovic Morlot, Marco Parisotto, Carlos Miguel Prieto, Tugan Sokhiev, Steven Sloane, Michael Stern, Bramwell Tovey, and Martin Yates among many others.

Shifting to a lilting 3/4 beat, the development is surprisingly dreamy for its ultra-dramatic surroundings. But a tamtam sounds, signaling the end game. Over a tremendous drum roll and more tamtam blows, trombones and low strings repeat the bristling motive over and over with implacable force, and the Symphony closes in the grip of vengeance repaid.

Artist Biography: Philippe Quint, violin

Receiving several GRAMMY® nominations for his two albums of Korngold and William Schuman Concertos, Mr. Quint is in constant demand worldwide appearing with major orchestras at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York.

Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society®. 57

FORT WAYNE PHILHARMONIC FRIENDS Our mission and purpose at the Philharmonic Friends is to support the orchestra, discover and encourage musical talent, and to promote musical education for all ages.

Our mission and purpose at the Philharmonic Friends is to support the orchestra, discover and encourage musical talent, This past year, we hosted the Young Artists’ Competition on March 26. and promote musical education for all ages. The winner of the senior division and a $1000.00 scholarship was Lydia Rhea (16), a cellist from Fishers. Indiana. She played her competition

This we hostedofthe Artist’s Competition piece,past the year, first movement theYoung Cello Concerto in B minor by on Dvorak, March 26. The winner of the senior division and a $1,000 with the Fort Wayne Philharmonic Orchestra on April 30 at the Family scholarship was Lydia Rhea, 16, aHall cellist fromIPFW Fishers, Indiana. Concert in the Auer Performance on the campus. The next She played will herbe competition piece, firstour movement the Cello competition held November 18.the Check website forofdetails. Our missionin and purpose the Philharmonic Friends is to Philharmonic support the Orchestra on April Concerto B minor byatDvořák, with the Fort Wayne orchestra, discover and encourage musical talent, and toonpromote 30 the Family seeking Concert in the Auer Performance Hallthree the IPFW Campus. The next We at are currently chairpersons for the following programs. This is an excellent musical education for all ages. competition be held November 18.not Check for details. opportunity towill use your talents to serve only our the website Philharmonic Friends, but the entire Fort

Wayne community: Competition on March This past year, we hosted thechairpersons Young Artists’for We are seeking the following three26. programs. Thiswho is an  winner Our currently national award winning Instrument Loan Program ensures that any child wants to The of the senior division and a $1000.00 scholarship was Lydia excellent opportunity to use your talents to serve not only the Philharmonic Friends, but learn to play a musical instrument will have one available. Rhea (16), a cellist from Fishers. Indiana. She played her competition also the entire Fort Wayne community:  Before each of the Masterworks Musically Speaking, a half hour piece, the first movement of the Celloconcerts, Concerto the in BFriends minor host by Dvorak, discussion led by Caleb Young, Assistanton Director of the orchestra. with the Fort Wayne Philharmonic Orchestra April 30 at the Family These sessions are sure to • enhance award-winning Instrument Loan Program yourPerformance appreciation of the concerts. Concert inOur the national Auer Hall onMasterworks the IPFW campus. The nextensures that any child who wants to learn to play a musical instrument will the have one available. Playgrounds are another wayour to website enjoy serving with Friends. I have heard the  Instrument competition will be held November 18. Check for details. playground called a “petting zoo” as children (of all ages) have the opportunity to handle are • currently Before each of the Masterworks concerts, Friends hostofMusically and play a musical instrument with for guidance from athe musician. Lots fun! We seeking chairpersons the following three programs. This is anSpeaking, excellent a to half-hour led bynot Caleb Assistant Friends, Conductor opportunity use yourdiscussion talents to serve only Young, the Philharmonic but of thethe entire Fort Masterworks concerts. Also, acommunity: word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support Wayne over the last several years, many of our education programs would not have been possible.  Our national award winning Instrument Loan Program ensures that any child who wants to learn • to Instrument Playgrounds are another way to enjoy serving with the Friends. play a musical instrument will have one available. This past Iseason, the Friends held two fundraisers; the firstzoo” was aasbus trip to Toledo, Ohio tohave see have heard the playground called a “petting children (of all ages) Speaking, half hour  theBefore eachmusical, of the Masterworks the Friends Musically Boots.concerts, The trip was to the host Stranahan Theatre, just aa short drive Broadway Kinky the opportunity to handle and play a musical instrument with guidance from led byshow! CalebWe Young, of from the orchestra. These areToledo, surea anddiscussion a spectacular wereAssistant served a Director box lunch Bagel Station onsessions the trip to musician. Lots of fun! enhance your d’oeuvres appreciation of the Masterworks concerts.door prizes to boot. andtowine and hors on the return trip with generous  Instrument Playgrounds are another way to enjoy serving with the Friends. I have heard the Also a word of thanks to the William J. & Bonnie Hefner Foundation, without whose called a fund “petting zoo”was as the children (offorallL. ages) have the to handle the Symphony III opportunity golf outing held in July. Theplayground second, our major raiser, Swing support over the last few years, many of our education programs would not have play awe musical with from musician. of fun! Weand thought would instrument be rained out forguidance the outing, buta the OrchardLots Ridge country club was not in been possible. the path of the storms. We had a great day golfing and a good time at the cocktail party as well. Also, a word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support Thisthe past season, the Friends held two fundraisers: the first not washave a bus trippossible. to Toledo, over years, many of our programs been To join last theseveral Philharmonic Friends andeducation lend your talents would to these programs, please visit our

FORT WAYNE PHILHARMONIC FRIENDS

OFFICERS President: Cynthia Fyock Vice-President Education: Sara Davis Vice-President Hospitality: Jayne Van Winkle Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds BOARD MEMBERS ClarAnn Bengs Anna Boman Tad Boman Mary Campbell Carol Dellinger

Sandra Hellwege Pat Holtvoight Kelly Hudson Judy Lopshire Nellie Bee Maloley

John McFann Tamzon O’Malley Janet Ormiston Marcella Trentacosti Alexandea Tsilibes

IS PRESENTED BY THE PHILHARMONIC FRIENDS BEFORE EVERY MASTERWORKS CONCERT! Free pre-concert talks are presented one hour before every Masterworks concert by conductors, Philharmonic musicians, and special guests. Hear all about the evening’s repertoire, enhancing your symphony experience. If you or your company would like to sponsor an evening of Musically Speaking, contact ClarAnn Bengs at 260.744.1476 or cbengs59@gmail.com Benefits may include an ad in the Prelude, free concert tickets, and more.

Ohio to see the Broadway musical, Kinky Boots. The trip was to the Stranahan Theatre,

website at www.philharmonicfriends.com You'll be glad you did. You will make some interesting justpast a short drive a spectacular show! We the were served boxtrip lunch from Ohio the Bagel This season, theand Friends held two fundraisers; first was a abus to Toledo, to see friends and enhance your appreciation of trip our was wonderful orchestra! Boots. to the Stranahan Theatre, just a short the Broadway musical, Kinky Station on the trip to Toledo, and The wine and hors d’oeuvres on the return trip with drive and a spectacular show! to Weboot. were served a box lunch from Bagel Station on the trip to Toledo, generous door prizes and wine and hors d’oeuvres on the return trip with generous door prizes to boot.

The second major fundraiser was the Swing for the Symphony III golf outing held in for a the Symphony III golfand outing held in July.at The second, major Ridge fund raiser, wasClub. the Swing July at the our Orchard Country We had great day golfing a good time We thought we would be rained out for the outing, but the Orchard Ridge country club was not in aPresident cocktail party as well. the path of the storms. We had a great day golfing and a good time at the cocktail party as well.

To join the Philharmonic Friends and lend your talents to these programs, please visit

Toour join the Philharmonic Friends and lend your talents please visit our website at www.philharmonicfriends.com. You’lltobethese glad programs, you did. You will make website at www.philharmonicfriends.com glad you did.ofYou make some interesting some interesting friends and enhanceYou'll yourbe appreciation ourwill orchestra! friends and enhance your appreciation of our wonderful orchestra!

Cynthia Fyock

Playing With Food Still some copies left! Clearance priced only $10/copy Order by calling Cynthia Fyock 260-710-1085 Also available at the Philharmonic Box Office and online at www.philharmonicfriends.com Playing with Food makes great gifts for any occasion.

President

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Ambassador Enterprises Chamber Orchestra Series

BEETHOVEN AND THANKSGIVING Saturday, November 11, 2017 - 7:30 p.m. First Wayne Street UMC Caleb Young, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director

BEETHOVEN

Feast Day Overture, Op. 115

BEETHOVEN

Elegiaic Song, Op. 118

BEETHOVEN

Calm Sea and Prosperous Voyage, Op. 112

-- Intermission --

CANNING

Fantasy on a Hymn by Justin Morgan

IVES

Thanksgiving and Forefathers’ Day, No. 4 from New England Holidays

COPLAND Suite from The Tender Land Introduction and Love Music Party Scene Finale: The Promise of Living TRADITIONAL

Text: Netherlands folk hymn; tr. Theodore Baker (1851-1934) Tune: Nederlandtsch Gedenckclanck, 1626; arr. Edward Kremser (1838-1914)

12 11 12 11 KREMSER

We Gather Together

THANK YOU TO THE FOLLOWING SPONSORS:

www.hymnary.org/text/we_gather_together_to_ask_the_lords

This hymn is in the public domain. You may freely use this score for personal and congregational worship. If you reproduce the score, please credit Hymnary.org as the source.

BEETHOVEN AND THANKSGIVING

TEXTS & TRANSLATIONS November 11, 2017

BEETHOVEN Elegischer Gesang (Elegiaic Song, Op. 118) Elegischer Gesang Sanft, wie du lebtest, hast du vollendet, zu heilig für den Schmerz! Kein Auge wein’ ob des himmlischen Geistes Heimkehr.

Elegiaic Song Gently, as you lived, have you died, too holy for pain! Let no eye shed tears for the spirit’s heavenly homecoming.

Text: Ignaz Franz Castelli (1781–1862) BEETHOVEN Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage, Op. 112) Meeresstille Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche ringsumher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich.

Calm Sea Deep stillness rules the water, Without motion lies the sea, And sadly the sailor observes Smooth surfaces all around. No air from any side! Deathly, terrible stillness! In the immense distances not a single wave stirs.

Glückliche Fahrt: Die Nebel zerreißen, Der Himmel ist helle, Und Äolus löset Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer. Geschwinde! Geschwinde! Es teilt sich die Welle, Es naht sich die Ferne; Schon seh ich das Land!

Prosperous Voyage: The fog is torn, The sky is bright, And Aeolus releases The fearful bindings. The winds whisper, The sailor begins to move. Swiftly! Swiftly! The waves divide, The distance nears; Already, I see land!

Text: Johann Wolfgang von Goethe (1749-1832) IVES Thanksgiving and Forefathers’ Day God! Beneath Thy guiding hand Our exiled fathers crossed the sea, And as they trod the wint’ry strand With prayer and praise they worshipped Thee. COPLAND Suite from The Tender Land The Promise of Living The promise of living with hope and thanksgiving Is born of our loving our friends and our labor. The promise of growing With faith and with knowing Is born of our sharing Our love with our neighbor. The promise of living The promise of growing Is born of our singing In joy and thanksgiving. 62

For many a year we’ve known these fields And known all the work that makes them yield, Are you ready to lend a hand? We’re ready to work, we’re ready to lend a hand. We’ll bring in the harvest, the blessings of harvest. By working together we’ll bring in the harvest The blessings of harvest. We plow and plant each row with seeds of grain

And Providence sends us the sun and the rain, By lending a hand, by lending an arm, Bring out, bring out from the farm, Bring out the blessings of harvest. O let us be joyful, O let us be grateful, Come join us in thanking the Lord for His blessing. O let us sing our sing, and let our song be heard. Let’s sing our song with our hearts, and find a promise in that song. Give thanks there was sunshine, Give thanks there was rain, Give thanks we are here to deliver the grain.

O let us be joyful, O let us be grateful, Come join us in thanking the Lord for His blessing. O let us sing our sing, and let our song be heard. Let’s sing our song with our hearts, and find a promise in that song. The promise of ending In right understanding Is peace in our own hearts and peace with our neighbor. The promise of living The promise of growing The promise of ending is labor and sharing and loving.

Libretto by Horace Everett (Pseudonym for Erik Johns)

Ambassador Enterprises Chamber Orchestra Series

FORT WAYNE PHILHARMONIC CHORUS ROSTER Benjamin Rivera, director Soprano Joanna Abel Ashley Adamson Karen Campbell Sheila Chilcote-Collins Kaitlin Clancey Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Ruth Fearnow Katy Hobbs Carol Jackson Jill Jeffery Natasha Kersjes Maria Kimes Sara Kruger Jane Meredith LeeAnn Miguel Meg Moss Brenda Potter Kelly Redmond Clarissa Reis Rita Robbins Jill Robinson Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter Stephanie Wuest

Alto Nancy Archer Caitlin Banton Cathryn Boys Nancy Brown Jeri Charles Caitlin Coulter Lenore DeFonso Joan Gardner Ronnie Greenberg Sandra Hellwege Darah Herron Joy Jolley Jody Jones Susan Maloney Sharon Mankey Tara Olivero Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Cindy Sabo Lyndsey Seely Lynn Shire Hope Swanson Smith Sue Snyder Sunny Stachera Ruth Trzynka Frederique Ward Mary Winters Lea Woodrum

Tenor Michael Bienz Matthew Bowman Garrett Butler Thomas Cain David Courtney Sarah Kindinger John T. Moore Nathan Pose Mark Richert John Sabo Fr. Daniel Whelan Greg White Randy Wurschmidt Bass Thomas Baker John Brennan Thomas Callahan Neil Davey Jon Eifert Gerrit Janssen Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selif Kent Sprunger

BEETHOVEN AND THANKSGIVING FEAST DAY OVERTURE, OP. 115, ELEGIAIC SONG, OP. 118, AND CALM SEA AND PROSPEROUS VOYAGE, OP. 112 Ludwig van Beethoven (b. 1770, Bonn, Rhine Palatinate, Germany; d. 1827, Vienna, Austria) The three short works by Beethoven that open this program were all composed at about the same time — in 1814 (although the “Feast Day” or “Namensfeier” Overture was not completed until March 1815). This was a period during which Beethoven was experimenting to find a new musical style that would supersede the “Heroic” style, which had dominated his music during the first decade of the 1800s. Originally, the “Feast Day” Overture was intended to celebrate the name day celebration of the Austrian Emperor Franz on October 4, 1814, the feast day of St. Francis of Assisi, the saint for whom Franz was named — hence the title the Overture is often given: “Namensfeier.” However, for one reason or another, Beethoven did not complete the Overture in time for the festivities; therefore, he eventually gave the work a more general title on his manuscript: “Overture for any occasion — or for concert use.” The Overture was premiered, along with Calm Sea and Prosperous Voyage, on Christmas Day 1815 at a charity concert at Vienna’s Hofburg Palace. “Feast Day” opens majestically with mighty orchestral fanfares and a noble theme for the horns. Then follows a vigorous but compact sonata form in a boisterous Allegro tempo, leading to a barnstorming finish. Interesting, the themes we hear in this piece were originally found in Beethoven’s first sketches for a setting of Schiller’s “Ode to Joy,” the theme of his Ninth Symphony. 64

PROGRAM NOTES November 11, 2017

Elegiac Song If the Namesfeier was intended for a public occasion, the beautiful Elegiac Song was written for a very private and intimate one. Off and on from 1804, Beethoven had lived in a house in Vienna belonging to a friend and patron, the Baron Johann Baptist von Pasqualati. Seven years later, Pasqualati’s beloved 24-year-old wife, Eleonore, died in childbirth. In 1814, for the third anniversary of her death, Beethoven consoled his friend with this work, which was first privately performed at Pasqualati’s house on August 5, 1814. On the score, the composer wrote: “To the memory of the transfigured wife of my honored friend.” The author of the short text to which this song is set is unclear; it could have been Pasqualati himself. In English, it reads: “Tender as thou lived/ So thou died/ Too holy for sorrow./ No eye can weep/ At the homecoming of a heavenly spirit.” Originally set for just four solo singers backed by a string quartet, it represents the tranquil, otherworldly sublimity that can be found in Beethoven’s finest slow movements. Predominantly soft, it only swells to forte at the words “zu heilig für den Schmerz” — like a vehement protest at the death of one so young. Calm Sea and Prosperous Voyage The English title of Beethoven’s Meeresstille und glückliche Fahrt gives a very misleading impression of this exquisite short cantata. It suggests that this music is one continuous celebration of a happy and peaceful voyage. When we travel on today’s motor-powered vessels, a calm, windless sea is the perfect antidote to seasickness. But in Beethoven’s age of exclusively sailpowered boats, a calm sea without wind was the last thing travelers would wish for! Thus, the two components of the title refer to highly contrasted emotional and meteorological states: the first very negative and only the second positive.

Indeed, it was this very contrast that drew Beethoven to setting these two poems together, as the composer told their author, Johann Maria von Goethe, when he dedicated the score to him upon publication in 1822. Sadly, Beethoven was snubbed by the famed German poet when he sent the score to him. The two had met in 1812, but Goethe was never a Beethoven fancier — he far preferred the music of Mozart — so he never responded to Beethoven’s lovely gift. (Interestingly, it was another composer Goethe loved — the young Felix Mendelssohn — who would create the most famous response to these two poems in his fine concert overture of the same name.) In his cantata in D major, Beethoven paints both the words and the emotional states of mind behind them with superb skill. For his wonderfully imaginative setting of “Calm Sea”. he creates a sense of ominous stillness through a very slow tempo and harmonies moving at a glacial pace over becalmed pedal points in the orchestra. In this predominantly hushed music, notice the sudden explosion of terror at the words “ungeheuren Weite (“horrifying vastness”), as the sopranos leap upward to a high A while the basses plunge downward, creating a watery gulf of more than three octaves between their clashing pitches. As “Prosperous Voyage” opens, we hear a surging crescendo of rising and falling scales in the orchestra illustrating the rising winds and the now billowing sails. In a bounding rhythm, the chorus joyfully describes the ship’s swift passage across the waters and the sighting of land.

FANTASY ON A HYMN BY JUSTIN MORGAN Thomas Canning (b. 1911, Brookville, Pennsylvania; d. 1989) There is a strong parallel between Thomas Canning’s Fantasy on a Hymn by Justin Morgan and a more famous work for string orchestra, Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis, which many audience members will recognize immediately. Both contrast the lush, soaring sonorities of a string orchestra with the leaner sounds of a smaller ensemble of double string quartet. Each composer has chosen a hymn tune written centuries earlier by a composer from his own native country — one from America and one from England. And both works develop those borrowed melodies in a free fantasia style. A graduate of Oberlin College and the Eastman School of Music, Thomas Canning taught composition for many years at both Eastman and West Virginia University. He specialized in choral and vocal works, but Fantasy on a Hymn by Justin Morgan, for instruments only, is the work for which he is remembered today. He chose a fascinating Early American piece to provide its melody: Justin Morgan’s 1791 hymn “Amanda” or “Despair,” written in mourning for the death of Morgan’s wife in childbirth. Today Morgan (1747–1798) is even more famous as the developer of the versatile Morgan Horse of Vermont, America’s oldest distinctive horse breed. However, he was also one of America’s earliest composers: a creator with a highly original musical voice that owed no debt to European models. After a brief introduction, we hear Morgan’s haunting, grieving melody presented very clearly. The rest of the piece muses on this theme in a loose variations-like process. At the end, Morgan’s melody re-emerges in the foreground as high violins create a halo around it. 65

THANKSGIVING AND FOREFATHERS’ DAY, NO. 4 FROM NEW ENGLAND HOLIDAYS Charles Ives (b. 1874, Danbury, Connecticut; d. 1954, New York, New York) Charles Ives was an American original. His father, George E. Ives, was a talented organist and bandleader with a questing mind. He became Charles’ teacher and inspiration. The composer later recalled: “He thought that man as a rule didn’t use the faculties that the Creator had given him hard enough … he would have us sing a tune in E-flat, but would play the accompaniment in C … he made us stick to the end, and not stop when it got hard.” By 12, Charles was experimenting with writing “fugues in four keys”. Since he was hardly interested in composing the kind of late-Romantic music popular in the America of his day, Ives realized he’d better not try to make his living as a musician. Instead, he went into the insurance business and became one of the most successful insurance men in the country. By night, he composed prolifically: more than 100 songs, four symphonies, chamber pieces, and keyboard works that experimented freely with dissonance, polytonality, and polyrhythms. However, it was decades before his music reached public attention; for example, Thanksgiving and Forefathers’ Day, the fourth movement of his Holidays Symphony, was composed in 1904, but not premiered until April 1954, about a month before he died. The Holidays Symphony, which Ives completed in 1913, is a kind of American “Four Seasons”. In fact, it’s not really an integrated symphony at all, but a series of four separate pieces, each one celebrating a different season through the American holiday associated with it: Washington’s Birthday (Winter), Decoration Day (Spring), The Fourth of July (Summer), and Thanksgiving and Forefathers’ Day (Autumn). (Forefathers’ 66

Day is a little-known holiday celebrated in Massachusetts on December 21st to remember the Pilgrims’ actual landing in Plymouth in 1620.) The pieces were intended to be musical evocations of Ives’ childhood memories of these holidays as he experienced them growing up in the late 19th century in Danbury, Connecticut. Thanksgiving Day grew out of two organ preludes Ives wrote while he was still at student at Yale in 1897. Like many of his works, it is built around traditional American hymns: in this case, the Civil War-era gospel hymn “The Shining Shore” and the familiar Thanksgiving hymn “God, Beneath Thy Guiding Hand”. The Thanksgiving mood emerges from a phase of musical suffering and struggle. The dark, stern opening seems to recall the flinty courage of the Pilgrims themselves; conflicting keys and themes clash against each other as they labor to tame a harsh environment. Out of this, a solo oboe finally appears singing the melody of “The Shining Shore”, which is reflected on by the orchestra. More struggle and toil follow over what Ives identified as “the swinging of the scythe” reaping the harvest. This culminates in joy, as the chorus enters singing the Thanksgiving hymn and the bells toll in jubilation.

SUITE FROM THE TENDER LAND Aaron Copland (b. 1900, Brooklyn, New York; d. 1990, North Tarrytown, New York) Nearly three decades after his death, Aaron Copland remains perhaps the most popular of American classical composers. Uncannily, he managed to create music that seems more quintessentially American than that of any of his peers. As he once said, he saw his mission as expressing “the deepest

reactions of the American consciousness to the American scene.” Though he studied music in France and initially followed the most challenging modern idioms, the Depression ignited Copland’s sense of musical mission. He became part of the group of New Deal artists clustered around the photographer Alfred Stieglitz (including Georgia O’Keefe, Ansel Adams, and Hart Crane) who, taking the motto “Affirm America” as their credo, sought to express the American democratic ideal in their art. Copland decided to address his music not to the elite few but to the general music-lover and “to see if I couldn’t say what I had to say in the simplest possible terms.” The composer’s only full-length opera, The Tender Land was premiered at the New York City Opera in April 1954. With a libretto by Copland’s friend Erik Johns, it is set on a Midwestern farm in the mid1930s at the height of the Depression and the Dust Bowl. But the emphasis here is less on the drama of those events and more on the coming of age of the Moss family’s 18-year-old daughter, Laurie, as she graduates from high school. Needing help for the spring harvest, Laurie’s mother and grandfather hire two drifters who come looking for work. Laurie falls in love with one of them, Martin. Falsely suspecting that Martin and his sidekick are the men who have been molesting girls in the area, Grandpa Moss orders them off the farm on the night of Laurie’s graduation party. Martin and Laurie decide to elope, but Martin has second thoughts. When Laurie finds the next morning that she has been jilted, she decides to follow her dream and leave home anyway.

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and Martin. The second movement is the vivacious square-dance music for Laurie’s graduation party in Act II. This segues directly into the opera’s finale: an orchestral expansion of the vocal quintet “The Promise of Living” that concludes Act I, as the main characters admire the sunset before the party and express their different emotions. It makes striking use of a traditional American revivalist hymn, “Zion’s Walls”, first heard in trombones and low strings midway through. Notes by Janet E. Bedell copyright 2017

In 1956, Copland created a threemovement orchestral suite from the opera’s music, which beautifully expresses the feeling of rural America in an earlier, more innocent time. Its first movement combines the dramatic music that introduces Act II with the tender music for the love scene between Laurie 67

Andrew Constantine, Music Director “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the northeast of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the 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.”

many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.” Constantine’s repertoire is incredibly broad and, while embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable; we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but to keep the flame of belief alive and be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programs the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of music director of the Reading Symphony Orchestra in Pennsylvania - after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates. Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as “the best concert in the last ten years.” Other recent engagements included concerts with the New Jersey Symphony, a return to the St. Petersburg Philharmonic the Filarmonica de Gran Canarias, and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.

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 68

Caleb Young, Assistant Conductor Caleb Young joined the Philharmonic as Assistant Conductor in the fall of 2016. He serves as cover conductor to all Masterworks and other selected programs, and conducts various concerts throughout the season including Pops, Family, Education, and ballet. Young also serves as founder and conductor of KammerMahler, a daring mobile chamber orchestra. Founded in 2013, KammerMahler focuses on presenting the music of Mahler in a fresh and intimate medium. KammerMahler has recorded and released the World Premiere album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9. In 2016, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the Salzburg Festival. During the festival’s Don Giovanni production, he filled in last minute, conducting the off-stage banda with members of the Vienna Philharmonic. Young has also been selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross, and as Assistant Conductor for the National Music Festival. Other ensembles Young has conducted include the Fort Worth Symphony, the Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations such as the St. Louis Symphony, Atlanta Opera, Portland Symphony, National Music Festival and the Jacobs School of Music at Indiana University. A native of Asheville, North Carolina, Caleb started his musical training on piano at the age of three. Young received his Master’s Degree in orchestral conducting from Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

Benjamin Rivera, Chorus Director Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He has served as Chorus Director and regular conductor of the Fort Wayne Philharmonic since 2013, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago since 2000, Rivera also serves as Music Director and Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. He takes on the position of Associate Conductor of GRAMMY-winner The Washington Chorus this fall. A member of the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings. Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and inschool residencies, and has presented at the Iowa Choral Directors Association summer conference. Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria, 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. Dr. 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 PHILHARMONIC CHORUS BOARD OF DIRECTORS OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Carrie Viet, Secretary

BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Lenore Defonso Sandy Hellwege

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Veit Greg White 71

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

ANDREW CONSTANTINE, Music Director IONE BREEDEN AUER FOUNDATION PODIUM

CHAMBER MUSICIANS

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair

CALEB YOUNG, Assisant Conductor BENJAMIN RIVERA, Chorus Director LOUIS BONTER PODIUM

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair David Ling Alexandra Tsilibes Pablo Vasquez Kristin Westover Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan

VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun

Theodore E. Chemey III Erin Maughan Erin Rafferty

FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair

CELLO Andre Gaskins, Principal Morrill Charitable Foundation Chair

Vivianne Bélanger Virginia R. and Richard E. Bokern Chair

Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair HORN Vacant, Principal Mr. & Mrs. Arthur A. Swanson Chair Vacant John D. Shoaff Chair Michael Galbraith Walter D. Greist, MD Family Chair

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

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

VIOLA Katrin Meidell

CELLO Martin Meyer Heather Scott BASS Brad Kuhns Garry Wasserman FLUTE Kayla Burggraf Janet Galbraith Alistair Howlett Patricia Reeves Mihoko Watanabe OBOE Jennet Ingle Stephanie Patterson Aryn Sweeney Sarah Thelen

HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach English, Bonter, Mitchell Foundation Chair

CONTRIBUTING MUSICIANS Emily Mondok Anna Ross Liisa Wiljer

PERCUSSION Vacant, Principal June E. Enoch Chair Alison Chorn North American Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair

Vacant Second Trombone

Katherine Loesch

VIOLIN Shanna Brath Rachel Brown Lipeng Chen Yu-Fang Chen Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Caleb Mossburg Emily Nash Linda Oper Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Lauren Tourkow

TIMPANI Eric Schweikert, Principal William H. Lawson Chair

CLARINET Elizabeth Crawford Dan Healton Dan Won BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won BASSOON David Husby Michael Trentacosti

TRUMPET Alessandro Bonotto Douglas Hofherr Greg Jones Dan Price TROMBONE Jim Kraft Jamie Foster John Grodian Loy Hetrick David Parrilla

TUBA CONTRA-BASSOON Manny Colburn Alan Palider Matt Lyon Keith Sweger Paul Mergen HORN Gene Berger Kurt Civilette Albert Houde Charlotte O’Connor Kenji Ulmer

PERCUSSION Matt Hawkins Renee Keller Ben Kipp Kevin Kosnik Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

ADMINISTRATIVE STAFF

BOARD OF DIRECTORS OFFICERS

George Bartling Vicky Carwein Chuck Surack, Chair Anita Cast Ben Eisbart, Immediate Past Chair Sherrill Colvin Ben Eisbart Sherrill Colvin, Vice Chair Dennis Fick Sharon Peters, Vice Chair Mary Fink Carole Fuller Barb Wachtman, Vice Chair Cynthia Fyock Greg Marcus, Secretary Michael Galbraith George Bartling, Treasurer Mark Hagerman

Jonathan Hancock Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Suzie Light Kevin Lowe Greg Marcus Eleanor Marine Nick Mehdikhan Scott Miller

Tammy O’Malley Sharon Peters Judy Pursley Eric Sank Melissa Schenkel Carol Shuttleworth Nancy Stewart Chuck Surack Barb Wachtman Jeanné Wickens Alfred Zacher

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

Richard & Carolyn Sage Lynne Salomon Herbert Snyder Howard & Marilyn Steele Zohrab Tazian W. Paul Wolf Donald F. Wood

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1775 1975-1977 1977-1979 1979-1981 1981-1983 74

James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Scott Stolarz Director of Operations

HONORARY BOARD Patricia Adsit Mrs. James M. Barrett III Howard L. & Betsy Chapman Will & Ginny Clark Drucilla (Dru) S. Doehrman Dr. June E. Enoch Leonard M. Goldstein William N. & Sara Lee Hatlem

FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF

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

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

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

Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Joel Dreyer Stage Manager EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Patricia Reeves Youth Orchestra Manager Derek Reeves Lead Instructor, Club Orchestra program

DEVELOPMENT Clarissa Reis Assistant Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Development Coordinator FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Doug Tuck Interim Director of Marketing and Public Relations Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager Dalen Wuest Patron Services Associate

Aaron Samra Club Orchestra Program Manager

*Indicates Deceased 75

SERIES SPONSORS

The Robert, Carrie and Bobbie Steck Foundation Great Performers Series

Ambassador Enterprises Chamber Orchestra Series

ARLAN FRIESEN

President, Ambassador Enterprises “Ambassador Enterprises is proud to support The Fort Wayne Philharmonic and their impactful work in the region. We value the shared experiences that The Phil creates in our community for the people that live, work, grow, and play here. Thank you to the talented people on and off the stage that make each performance possible.”

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

Brotherhood Mutual Insurance Company Freimann Series

MARK ROBISON

Chairman & President, Brotherhood Mutual Insurance Company “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.”

Steel Dynamics Foundation Regional Patriotic Pops Series

Sweetwater Pops Series

CHUCK SURACK

MARK MILLETT

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

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.”

Founder & President, Sweetwater Sound, Inc.

Parkview Health Regional Holiday Pops Series

STAR Family Series

JIM MARCUCCILLI

Chairman & CEO, STAR Bank

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

President & CEO, Steel Dynamics

MIKE PACKNETT

President & CEO, Parkview Health

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 All of us at Parkview, and from my wife, Donna, and me, heartfelt wishes to you for a blessed holiday season.

FORT WAYNE PHILHARMONIC SPONSORS The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor.

FORT WAYNE PHILHARMONIC SPONSORS VIRTUOSO SOCIETY | $10,000 to $24,999 continued Honeywell Foundation

SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation

Rick & Vicki James The Robert, Carrie, and Bobbie Steck Family Foundation

City of Kendallville

Psi Iota Xi, Eta Mu Chapter

Tamzon O’Malley and Family

Jeff Sebeika, Subway

Warsaw Performing Arts Center

MAESTOSO | $250,000+

STRADIVARIUS SOCIETY | $5,000 to $9,999

Madge Rothschild Foundation

Anonymous (1)

Jim & Gloria Nash

ALLEGRETTO | $50,000 to $149,999 Anonymous (1)

Chuck & Lisa Surack

The Paul Yergens and Virginia Yergens Rogers Foundation

Russ & Jeanette Quilhot

The Robert, Carrie, and Bobbie Steck Family Foundation

Alfred Zacher, in memory of Hannah Zacher

FOUNDER’S SOCIETY | $25,000 to $49,999 CONDUCTOR’S CIRCLE | $2,500 to $4,999

VIRTUOSO SOCIETY | $10,000 to $24,999

3Rivers Federal Credit Union

Mark & Mary Kay Hagerman

Brotherhood Mutual Insurance Company

James W. Palermo

Anita & Bill Cast

Parkview Field, home of the TinCaps

Janice Eplett

Vera Bradley

FORT WAYNE PHILHARMONIC SPONSORS

COMPOSER’S CIRCLE | $1,000 to $2,499 Anonymous (1) Crumpet the Trumpet Mr. & Mrs. Lawrence Ewing Omer & Susan Kropf MedPartners

Parrish Leasing, Inc. Porter Family Foundation Purple Blaze Enterprise, LLC Metal Technologies Wawasee Property Owners Association

Kappa Kappa Kappa - Zeta Upsilon Psi Iota Xi, Pi Chapter Salin Bank & Trust Scheumann Dental Associates UniFirst Dr. & Mrs. Richard Zollinger

FIRST CHAIR | $300 to $499 Mike’s Car Wash

Lake James Association The Papers, Inc. Psi Iota Xi, Alpha Delta Chapter Psi Iota Xi, Honorary Pi Chapter Psi Iota Xi, Rho Chapter Satek Winery Stueben County REMC Operation RoundUP Troxel Equipment Company Unified Wealth & Retirement Planning Wawasee Boat Co. Zimmerman Bros. Funeral Home

IN KIND DONATIONS A Party Apart Barnes & Thornburg, LLP Ann Eckrich IPFW Joseph Decuis Wagyu Farm Keefer Printing 80

For information about supporting the Philharmonic’s 2017-2018 Annual Fund, contact the Development Office at 260.481.0775.

Anonymous (1) Vicki & Rick James

Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (2) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs. Irwin F. Deister Jr.

Dr. June E. Enoch William N. & Sara Lee Hatlem Eleanor H. Marine

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999)

SECTION PLAYER | $100 to $299 Adams Wells Internet Telecom TV Akron Area Arts League Almco Steel Products Corp Berne Rotary Club Bluffton Rotary Club Harold Copp Farms, Inc. Daniel Menu & Party Consulting Decatur Rotary Club Frances Elliott Clark Music Club Gilpin Ironworks Javets Inc. Main Channel Marina

The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. Every attempt is made to include donors who supported the Philharmonic during that time. Please contact the office if errors have been made.

FOUNDERS SOCIETY (GIFTS OF $25,000+)

CONCERTMASTER | $500 to $999 Auburn Arts Commission Auburn Moose Family Center ChromaSource Inc. Lew & LuAnn Derrickson Dekko Investment Services Eichhorn Jewelry

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

NIPR Benjamin Rivera WANE TV WOWO 107.5 FM WLDE 101.7 FM

Drs. David Paul J. & Jeneen Almdale George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark O. Flanagan Mark & Mary Kay Hagerman Steven Hinkle

Drs. Kevin & Pamela Kelly Tod S. Kovara Kevin & Tamzon O’Malley Russ & Jeanette Quilhot Jeff Sebeika, Subway Herb & Donna Snyder

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs. Alfred Allina Anita & Bill Cast Sarah & Sherrill Colvin Andrew & Jane Constantine Elizabeth A. Frederick Mr. & Mrs. Michael Gavin David S. Goodman Dr. Rudy & Rhonda Kachmann Mr.* & Mrs. John Krueckeberg Antoinette K. Lee Greg Marcus Dr. Michael Mastrangelo

Michael & Carla Overdahl James W. Palermo Carolyn & Dick Sage John H. Shoaff & Julie Donnell Philip & Rebecca Smith W. E. Spindler Barbara Wachtman & Tom Skillman Joseph L. Weaver Al & Hannah* Zacher Brian & Kyla Zehr

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Bill Andrews & Vicky Carwein Tim & Libby Ash Family Foundation Nancy Archer Norma & Tom Beadie Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner Clayton Ellenwood Emily & Michael Elko Fred & Mary Anna Feitler Susan & Richard Ferguson Scott & Melissa Glaze Leonard Helfrich Sattar & Marlene Jaboori Drs. Carol & David Lindquist Kevin & Nicole Lowe

Mr. & Mrs. Donald T. Mefford Dr. Scott Miller Greg & Barbara Myers David & Sharon Peters Linda Pulver The Rev. C. Corydon Randall & Mrs. Marian Randall The Rothman Family Foundation Melissa & Peter Schenkel Nancy & David Stewart Carolyn & Larry Vanice Nancy Vendrely Wayne & Helen Waters Lewie Wiese Virginia Lee Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (2) Holly & Gil Bierman Katherine Bishop Roberta Brokaw Barbara Bulmahn Dr. & Mrs. Jerald Cooper Tim & Ann Dempsey Sandra K. Dolson The Dyer Family Foundation Fort Wayne Philharmonic Chorus Anne & James Heger Floyd & Betty Lou Lancia Susan & David Meyer

Kathryn A. Miller Norma J. Pinney Joseph & Lindsay Platt Caroll & Bill Reitz Kay Safirstein Dr. Janet Schafer Dr. Darryl & Sharon Smith Kathleen M. Summers Rachel A. Tobin-Smith Herbert & Lorraine Weier Deborah Weinswig

ENCORE CIRCLE (GIFTS OF $750 TO $999) Anonymous (1) John & Janice Cox Janellyn & Glenn Borden Dr. & Mrs. Todd Briscoe Mr. & Mrs. Craig D. Brown Sara Davis

Anita G. Dunlavy Bruce & Mary Koeneman Ed & Linda Kos Anne & Ed Martin Paul & Bonnie Moore

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (1) Jeane K. Almdale Frederick Beckman* Michael & Deborah Bendall Joan Baumgartner Brown 82

Mrs. Virginia Coats Wanda Crouse Dr. & Mrs. Fred W. Dahling Erica Dekko Dr. James Dozier

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

CONCERTMASTER (GIFTS FROM $500 TO $749) continued Bruce & Ellen England Roy & Mary Gilliom Leonard & Rikki Goldstein Mr. & Mrs.* G.L. Guernsey Mrs. Eloise Guy Bob & Liz Hathaway Warren & Ardis Hendryx Mr. & Mrs. Kenneth Johnson Marcia & Andy Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund Dr. & Mrs. John W. Lee Stephen* & Jeanne Lewis Anne A. Lovett Thomas & Dianne May Lusina McNall

Nick & Amber Mehdikhan April & Charles Morrison Old Crown Brass Band Joan K. Olinghouse Brian & Sue Payne Mr. & Mrs. William Peiserich William & Sue Ransom Dr. Stephen & Carmen Reed Ltc. Ret. Richard* & Beverly Reeves Maryellen M. Rice Benjamin & Alexia Rivera Scot C. Schouweiler & Julie Keller Wayne & Ann Shive Stephen R. & Anne S. Smith Ronald VanDiver Virginia & Don Wolf

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (3) Scott & Barbara Armstrong Mr. & Mrs. William Arnold Mr. & Mrs. Craig Balliet Matthew & Elizabeth Bechdol Tony & Pat Becker Larry & Martha Berndt Jon Bomberger & Kathryn Roudebush Richard & Cathryn Boys Tom Cain Dan & Marjorie Culbertson George & Nancy Dodd Dr. & Mrs. John Dyer Albert & Jeanne Emilian Dr. Joseph P. Fiacable Dick Florea & Sandy Shearer John & Jane Foell Jeff Frappier Cynthia & Douglas Fyock Linda Gaff Leonard Garrett Robert & Barbara Gasser Robert & Constance Godley Lois Guess Mayor Tom C. & Cindy Henry Mark & Debbie Hesterman Ellen & Bishop Holliman Mr. & Mrs. Arnold Huge Jennifer Jacobson Larry & Annette Kapp John & Lorene Kelley Jane L. Keltsch Dr. & Mrs. Daniel Krach

Steve & Rhonda Lehman Mr. & Mrs. Duane Lupke Paul & Pauline Lyons Peg Maginn Peter & Christine Mallers John & Shelby McFann Leanne Mensing David & Linda Molfenter Noel & Diane Moore John & Jacqueline Moore Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Pat & Mac Parker Josh Parrish Mr. & Mrs. John M. Peters Raymond & Betty Pippert Dr. & Mrs. Fred L. Rasp Paul J. & Lula Belle Reiff Martin & Rita Runge Douglas & Laura Runyan Robert & Ramona Scheimann Chuck & Patty Schrimper Fort Wayne Alumnae Chapter of Sigma Alpha Iota Sharon Singleton Matt & Cammy Sutter Carol Ann Terwilliger Carl & Cynthia Thies Scott & Jenny Tsuleff Don & Amy Urban Kari & Jeannine Vilamaa Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy 83

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

SECTION PLAYER (GIFTS OF $100 TO $299) continued

SECTION PLAYER (GIFTS OF $100 TO $299) Ambulatory Medical Management Anonymous (11) Max M. Achleman John & Mary Ackerman Irving Adler Larry & Francine Allen Dr. Michael & Alysia Alter Thomas & Maryanne Alter Mr. & Mrs. Brad Altevogt Mary Jo & Michael Amorini Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mr. & Mrs. Lonnie Au Dr. & Mrs. Richard N. Avdul Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Gerald Backstrom Jim & Ellen Barr Greg Batterton Mr. & Mrs. John Batuello Mike & Kay Bauserman Carol M. Bennett Janet Bergeron Diana Berich Kevin Beuret Mr. & Mrs. Don Bierberich Matthew & Tracy Bilodeau Robert & Mary Binns Mr. & Mrs. Arlan Birkey David W. Bischoff David Blackwell Sherry L. Blake Steve Bloomfield & Linda Tannas Barbara L. Boerger Barbara Boggs Virginia Bokern Dr. Charles & Nonda Bolyard Mr. & Mrs. Bruce Bone Bill Borgmann Brian Bostwick Rebecca Bouse Dennis Bowman Anne Marie Bracht Jim & Sue Bradley Ruth Braun Dr. Helene Breazeale John P. Brennan & SuzAnne Runge 84

Evelyn M. Brosch-Goodwin Richard & Gloria Brown Dave Brumm & Kim McDonald William & Joan D. Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Bonnie Carroll Jim & Diane Carter John & Jill Case Barbara Chamberlin Jeri Charles Kathy Choka Arlene Christ Dr. & Mrs. Dennis Chubinski Bruce Cleveland Nelson & Mary Coats Barbara Collins Matt Converse Wendell & Mary Cree Bob & Margita Criswell Amy Crouch Janet Dawson & Jerry Smith Lenore DeFonso Kathy Dew Sharon Dietrich Gene & Carol Dominique Fred & Joan Domrow Mr. & Mrs. Donald Duff Mr. & Mrs. Rodney Dunham Fred & Tina Eckart Ned & Sally Edington G. Edwards Don & Mary Kay Ehlerding Susan Eikenberry Cynthia Elick Lillian C. Embick Mr. & Mrs. George Emmert EPCO Products Inc. Pam Evans-Mitoraj Jan Evrard Mr. & Mrs. David Fee Susan Fox Nathan & Angela Freier Francis & Ann Frellick Peggy Frey Sheryl A. Friedley

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

Mr. & Mrs. Herb Fuller Michael & Janet Galbraith Elizabeth Garr Tim & Ann Gibson William & Mary Goudy Janelle & Steven Graber Janet Graham Leah Grant Marcia Grant Don & Kate Griffith James B. Griffith David & Myra Guilford Sharon Gustin Mary K. Gynn Jennifer Hagerty Jonathan & Alice Hancock Linda Hansen & Tim McElwee Brian & Barbara Harris Melissa Hartman Marcia Haskins Paul J. Haughan* Dennis & Joan Headlee John Heath Jacqueline Heckler Cynthia Heffelfinger Mr. & Mrs. Martin Heiny Sandy Hellwege Matt Hendryx Anthony & Susan Henry Lucille Hess Andrew & Katy Hobbs Tom & Jane Hoffman Doug & Karla Hofherr Mr. & Mrs. Andrew Hosey Winifred Howe* Philip Hudson Mark & Karen Huntington Ed & Mary Lou Hutter George & Jane Irmscher Jocelyn Ivancic Carol Jackson Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Stephen Johnson Alex & Sharon Jokay Don & Joyce Jordan Scott Kardys Lois Kaufman-Hunsberger Erick Keirn LuAnn R. Keller

Bridget Kelly Dale Kelly* Sheila D. Kiefer Sarah Kindinger Priscilla King Linda J. Kirby Richard & Audrey Kirk William G. Knorr James & Janice Koday Mr. & Mrs. Fred Kohler Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Georgia Kuhns Paula Kuiper-Moore Drs. Chung & Sage Lee Jeff Leffers & Jane Gerardot Frances LeMay & Peter D. Smith Arthur & Marcia Litton Raymond & Mary Lou Loase Marlene Lobsiger Chuck Logar Anne C. Longtine & Marco J. Spallone Janet & Larry Macklin Mr. & Mrs. Steven Malloris Dr. & Mrs. Richard Manalis Harry & Barbara Manges Ellen* & Eric Mann Jane Martin Roy & Sharon Martin Mark & Sarah Masloob Cheryl Mathews Elmer & Patsy Matthews Judith Maxwell Dr. & Mrs. Michael L. McArdle Diane McCammon Susan J. McCarrol Mary McDonald Debra McKinney Alice McRae Elizabeth Meyer David & Ann Miller Edward Miller Kerry A. Miller Mr. & Mrs. Carl Moellering Ray & Nancy Moore Chuck & Becky Morris Meg Moss

Suzon Motz Kenneth & Linda Moudy John & Barbara Mueller Kevin & Pat Murphy Steve Naragon & Pam Higgins Ed Neufer Beverly Norton Harold & Martha* Oechsle Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty Oâ&#x20AC;&#x2122;Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Penny Pequignot Ms. Nigel Perry Gary & Alice Peterson Marianne Platt R. W. Poorman Edwin & Cynthia Powers Marvin & Vivian Priddy Marlene Purdy Helen F. Pyles Keith Raftree RAM Production Backline Roger & Catherine Rang John & Diana Reed Jeremy & Clarissa Reis Anne Rettenmaier Madonna Reynolds Sarah & Richard Reynolds Mr. & Mrs. David Ridderheim Alan & Pat Riebe Ruth & Phillip Rivard Ms. Rita Robbins Janet Roe Mr. & Mrs. John W. Rogers Rhonda & Ron Root Stanley & Enid Rosenblatt Gretchen Roth Drs. Alan & Jane Roush Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Samuel Savage Gail Scheithauer Tom & Mary Ellen Schon Ed & Julia Schulz Andrew Scriven Ken & Mary Scrogham Richard & Suzanne Shankle Elizabeth Sheets Ms. Cornelia L. Shideler

Norma Shondell David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Lynda D. Smith Keston Smith Sharon M. Snow Mary & Rob Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Salvador Soto Don & Linda Stebing Starla Steckbeck Mr. & Mrs. Donald D. Stedge Michael & Barbara Stedge Lois A. Steere Elizabeth Stehulak David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Brenda Sullivan Michael & Cheryl Summers Arthur & Karen Surguine Tim & Colleen Tan Steven & Ruth Anne Teeple Judge Philip R. Thieme Joe & Larysa Thorsteinson Martin Tierney Larry & Ellen Till Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Walter & Martini Vandagriff Dave & Sharon vonGunten Carol Ward Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick John & Nancy Wilhelm Ellen Wilson Stephen & Marsha Wright Dalen & Stephanie Wuest Susan Wygant Bob & Jan Younger Jeanne Zehr

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

CONTRIBUTORS (GIFTS FROM $1 TO $99) Anonymous (10) Brenda Armentrout Patricia Arthur Milton & Barbara Ashby Walter & Susan Asp June & Jerry Augspurger Billie Lou Baldwin Carla Bauman & Owen Franks Ann Beeching Jim & Gay Berlien Mr. & Mrs. Bryan Bernstein Dr. John Bertsch Leslie Blakley Norma J. Bloom Mr. & Mrs. Lon Bohnke Richard & Carolyn Bokern Patricia Bond Melanie Bookout Barbara Boston Rick Bower Robert Brandt Molly Brogan Casi Bromelmeier Dr. & Mrs. David Brown H. Carolyn & David L. Buckmaster Marguerite Burrell Scott & Barbara Bushnell Darlene Buuck Mr. & Mrs. Stephen Callender Mr. & Mrs. John Cannon Deanna Casiano Janice Cave Susan Chipps Steve Christman Nena & Willard Clark Will & Ginny Clark David Coats Delaina Cole Macia Cole Eva Collis Doris Cook Elaine & Jon Cooper Raymond & Cheri Correa Joan Coslow David & Carol Courtney Earl & Erlene* Covault Dawn Custard Tamara Dahling Mr. & Mrs. Paul Dahm Pauline Daly Ted & Margie Deal Dr. William Deans 86 Steven Dearmond

Maureen Delassus Douglas & Jean Deller Tom & Holly DeLong Keith DeMeritt William & Martha Derbyshire Jacqueline Didier Carol Diskey Marcus Dye Caroline Dykehouse Cathy Edwards Nick Edwards Robert & Sally Ellison Janet & Bill Elsea Carol Ensley Larry & Carol Ewing Mr. & Mrs. Spencer Fiandt Tineshia Fincher Drs. Robert & Jill Forte Michele Fortune Jan Fuller Scott Gagnon Dana Gall Stephen & Renee Gardt Daniel & Sara Gebhart Mr. & Mrs. Gibson Janet Gibson Joy Giguere & Ben Proud Joy Gilbert John Glass Nancy E. Gossett Bruce Gregg Bret Griffith Paul & Tauna Griffith Paul & Debra Grime Mr. & Mrs. John Gross Bruce & Melinda Haines James & Nancy Hall Dirk Hansen Patricia Harris Robert Hatcher Tod & Michelle Hauter Atta Hayes Frances Headings David & Susanne Held Judy Helmchen Ms. Julie Henricks & Mrs. Jean Henricks Dr. Gail Hickey Scott & Catherine Hill Mary Hoffman Art & Linda Holman Randall Hoover Richard Hoover Phil & Sharon Howard

Jerry Hudson James & Sally Huhn James & Dianna Ireton Mr. & Mrs. Kyle Jane Linda Jeffrey Franklin & Susan Johnson David & Kathleen Johnston Katrina Jones Gerald & Marie A Kanning Emily Keirns Ross & Betty King Mr. & Mrs. William Koenig Dale & Virginia Lutz John Kruk Elizabeth Kuebler-Wolf Timothy Kumfer Jan Lamar Dr. & Mrs. Vernon Lambright Janet Lantz Cristina Lantz Mr. & Mrs. Robert Layman Amy Lazoff Michael & Mary Lewis Brent & Karna Ley Thomas & Susan Lough Norma Lyman Dennis M. Mahoney Michael & Diane Makarewich Jim & Pat Mallers James & Mary Martin Conie McCoy Jim & Dee McCrea Heather McGinnis Mr. Scott McMeen Rachel McNett R.E. Mendez Janet Menze Ronald Menze Jane Meyer Mr. & Mrs. Jerry R. Meyer Sharon Michael Maury Mishler Dr. & Mrs. William Miskelly Susan Mittelstadt John & Julanne Molitor Dorothy Montgomery Mary Helen Moore Mary Morrison Marylee Morton Ted & Deb Neuenschwander Thomas & Lori Neumann Val Neuhouser Cindy Nolot Vicky Nussbaum

(GIFTS FROM $1 TO $99) continued Virginia Nussbaum Don & Jenny Oberbillig Maxine Peck Nick & Giovanna Perego Mr. & Mrs. Ewing Potts Mr. & Mrs. Delmar J. Proctor Abigail Puckett Sara Pulse John Quick Elizabeth Racine Ellis Ralston Hugo & Lisa Ramos Corbin Reed Linda Reef Emma Reidenbach Bev Renbarger Thelma Retz Marcia Reynolds Max & Sandy Robison Mr. & Mrs. Randee Robison Melysa Rogen Charles & April Rogers Mitchell & Laura Rorick Mary Roth Thomas & Madonna Ryan John & Cindy Sabo Robert Sausaman

Robert & Sarah Savage Mr. & Mrs. Will Schafer Robert & Nancy Schantz Dr. & Mrs. Ron Scheeringa Kerry & Gail Scheurich Mr. & Mrs. Albert Schlitt Mr. & Mrs. Daniel Schult Jane Scudder-Clark David & Lynn Shipe Alison Singleton Shirley Slater Mrs. Dale Smith Lynn & Vicki Smuts Stan & Linda Sneeringer Mr. & Mrs. David Snyder Julia Snyder Sue Snyder Barbara & Gerald Sorg Dewey L. Souers John & Carolyn Stachera Ed Stevens & Lori Morgan Rex & Jo Stinson Daniel Stockman Adam Strong Lynn Syler Dolores Szymanski Carolyn Thatcher

David Thatcher Joan Thoorsell Larry Tinsley Linda Troop Carmen Tse Jim Turcovsky & Sandy McAfee Mr. & Mrs. Tim Twiss Harriet Ulmer Patricia Van Leuven Chris Walda Gordon & Kay Walter Halon Walton Donald Ward Natalie Warner Joanne Weber Ron & Ann Weiss Susan Williams John Wilson Terry Winkeljohn Brian & Sally Witwer Rickie & Lisa Woebbeking Jennifer L. Woodruff Rudy Wuttke Lingshan Xu Kelly Zachrich Jerry Zent

Pursue Your Passion 2018 Undergraduate Audition Dates Friday, January 19, 2–8 p.m. (voice and all instruments except percussion)

Saturday, February 10, 9 a.m.–5 p.m. (winds/strings/percussion only)

Sunday, February 11, 1–8 p.m. (voice and keyboard only)

Monday, February 19, noon–8 p.m. (voice and all instruments)

Application Deadline: January 1, 2018

Visit bsu.edu/music for complete program and audition information. Award-winning faculty • Internationally renowned guest artists • State-of-the-art facilities 507567 FtWayne Philharmonic 5.75x4.25 ad v6.indd 1

8/28/17 10:22 AM

FOUNDATION AND PUBLIC SUPPORT

PHILHARMONIC SOCIETY | $1,000,000+

COMPOSER’S CIRCLE | $1,000 to $2,499

Edward D. & Ione Auer Foundation

Adams County Community Foundation Arthur and Josephine Beyer Foundation Community Foundation DeKalb County Kenneth & Lela Harkless Foundation

MAESTOSO | $250,000+

Steuben County Community Foundation Mary E. Van Drew Charitable Foundation Whitley County Community Foundation

Madge Rothschild Foundation

CONCERTMASTER | $500 to $999

APPASSIONATO | $150,000 to $249,999 Anonymous (1) Arts United of Greater Fort Wayne

English, Bonter, Mitchell Foundation

ALLEGRETTO | $50,000 to $149,999 Anonymous (2) Foellinger Foundation Steel Dynamics Foundation The Robert, Carrie, and Bobbie Steck Family Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

Huser Charitable Foundation Kosciusko County REMC Operation RoundUp Fund Quentin K. & Gladys F. Mavis Music Fund Gerald M. and Carole A. Miller Family Foundation

Psi Iota Xi - Pi Chapter Randall L. & Deborah F. Tobias Foundation Unity Performing Arts Foundation

FOUNDER’S SOCIETY | $25,000 to $49,999 Community Foundation of Greater Fort Wayne Indiana Arts Commission Lincoln Financial Foundation

W. Gene Marcus Trust PNC Charitable Trusts The Rifkin Family Foundation

VIRTUOSO SOCIETY | $10,000 to $24,999 Eric A. & Mary C. Baade Charitable Purposes Trust Olive B. Cole Foundation The Rea Charitable Trust

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

STRADIVARIUS SOCIETY | $5,000 to $9,999 3Rivers Credit Union Foundation Ecolab Foundation Journal-Gazette Foundation

Kuhne Charitable Trust Ian and Mimi Rolland Foundation Wells County Foundation

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Howard P. Arnold Foundation BAE Systems Community Investment Ann & Gordon Getty Foundation 88

SIA Foundation, Inc. Jennie Thompson Foundation

“Nothing Can Be Said To Be Certain, Except Death and Taxes.” -

Benjamin Franklin

You have been fortunate enough to contribute money into your Individual Retirement Account for all those years at work, and it’s grown to a tidy sum. Now that you are 70 ½, Uncle Sam would like his cut! Those people 70 ½ or older must begin making required minimum distributions, or RMD’s, from their qualified retirement accounts. The Philharmonic can help alleviate the sting because a donation counts as a required minimum distribution, but doesn’t increase your adjusted gross income. Contact your IRA administrator today to support unsurpassed musical experiences in Fort Wayne.

ENDOWMENT FUND

ENDOWMENT CONTRIBUTORS

SPECIAL ENDOWMENTS

The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 72-73 for musician chair endowments. Chorus Director Podium Louis Bonter

Youth Symphony Walter W. Walb Foundation

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

Family Concerts Howard and Betsy Chapman

Music Library Josephine Dodez Burns and Mildred Cross Lawson Music Director Podium Ione Breeden Auer Foundation 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

Freimann Chamber Series In Memory of Frank Freimann BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Gloria Fink* Henrietta Goetz* Joyce Gouwens* John Heiney*

Charlotte A. Koomjohn* Sanford Rosenberg* Alice C. Thompson

ALPHABETICAL INDEX OF ADVERTISERS 12 80/20 Inc. 67 Ambassador Enterprises 33 Arts United 96 Audiences Unlimited 87 Ball State University School of Music 27 Beers, Mallers, Back & Salin, LLP 28 Bose, McKinneuy & Evans LLP 40 Bushey’s Windows, Doors & Remodel 39 Concordia Lutheran HIgh School 52 Embassy Theatre 51 Indiana Arts Commission 90

4 Indiana Michigan Power 4 18 IPFW Department of Music 2 Lake City Bank 6 Parkview 39 Science Central 99 Strategence Capital 100 Sweetwater 59 Musically Speaking/Playing With Food 49 The Towne House 70 Troyer & Good 28 WBOI 89.1 FM 50 WOWO 107.5 FM

The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information. Mr. & Mrs. Max Achleman Mr. & Mrs. James Ackley Dr. Verna Adams Patricia Adsit, in memory of Gaylord Adsit Mr. & Mrs. Walter Ainsworth Mr. & Mrs. Oscar Albers Sabah Al-Saud Howard & Jeane Almdale Mr. & Mrs. James Almdale Brad Altevogt, in memory of Jeff Altevogt Mr. & Mrs. Dale Amstutz Dorothy Anglin, in memory of James Anglin Bob & Pat Anker Dr. & Mrs. James Arata Drs. William & Mary Ellen Argus Dr. & Mrs. Thomas Armbuster Dessie Arnold & Richard Dunbar Jr., in memory of Eddy & Beth Lydy Brown Mr. & Mrs. Melvin Arnold Mr. & Mrs. Richard Arnold, in memory of George & Esther Hull Karen & Gerald Arthur Barbara & Milton Ashby Irene & Jim Ator Mr. & Mrs. Edward Auer Virginia Ayers Adie & Dick Baach Mary A. Bach A. Gerald & Pauline Backstrom H. Norman Ballinger, in memory of Ann Ballinger Linda Balthaser Mr. & Mrs. James Barrett III R. Janice Barton Mr. & Mrs. Glenn Basham Norma & Thomas Beadie Arthur A. Beal

Mr. & Mrs. Glen Beams Mr. & Mrs. John Beatty Dennis & Nancy Becker Mary & Joseph Becker Mike & Ellen Becker Pat & Tony Becker Mr. & Mrs. Charles Beckman Betty & Frederick Beckman Nancy Bellinger Mr. & Mrs. William Benford Mr. & Mrs. Phillip Bennett Colleen & Jim Benninghoff Colleen Smith Benninghoff Trust Robert & Vera Benninghoff Bonita & William Bernard Bethel United Methodist Church – Chancel Choir Brenda Betley George Bewley Holly & Gil Bierman The Reverend Dr. Virgil Bjork, in honor of the Masson Robertson Family in memory of Frances Mae Bjork Mr. & Mrs. William Black Sherry Blake Connie & Darrell Blanton Dr. & Mrs. Peter Blichert Bob & Judy, in honor of Ervin Orban, in honor of Christine Thompson, in honor of David Borsvold, in honor of Deb & Andrew Hicks, in honor of Eric Schweikert, in honor of Braham Dembar, in honor of Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of musicians, especially those who are soloists

Jocelyn & Jim Blum Ann & David Bobilya Phyllis Boedeker Virginia & Richard Bokern, in memory of Loved Ones Jim & Lois Boomer Janellyn & Glenn Borden Sid & Bonnie Bostic Rebecca Bouse Patricia Boyle, in memory of B.C. Boyle, in memory of Mary A.J. Boyle J. Charles Braden Charlotte D. Bradley Kim & Dwight Brandon Robert Braun Dr. Helene Breazeale, in honor of Andrew Constantine David & Faye Brennan Martha Brenner, in memory of Elsa Brenner Dr. Wm. Lloyd Bridges Dr. Glenn Brinker & Ms. Willi Ratliff, in honor of Mr. & Mrs. John Brinker Carolyn Brody Mrs. Robert Brokaw, in memory of Harriet Parrish Roberta Brokaw, in memory of Miriam Louise Brokaw Joan Baumgartner Brown Barbara & John Bruce Beverly & Larry Brunke Bob & Margaret Brunsman Rosemary Bucklin James Bueter Barbara J. Bulmahn John & Paula Bullman Mr. & Mrs. Wayne Burnside Karen Butler Sean Butler & Paula George Dr. Carol Buttell

Ted Davis Joyce & Paul Buzzard Judy & Wayne Dawes Mr. & Mrs. Thomas Callison Cathleen & David Debbink Princess Cameron Cindy & Mark Deister Kevin Campbell Gwen & Dick DeKay Isa & Elizabeth Canavati Martha & William Derbyshire Alan Candioto Jane & Tom Dickson Peg & Andy Candor Roslyn Didier Mr. & Mrs. John Cantrell Beverly Dildine Richard Carlson Mr. & Mrs. John Dillard Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Mr. & Mrs. Lloyd Doehrmann Mr. & Mrs. Richard Doermer Charles Walter Hursh Mr. & Mrs. Fred Doloresco Brian & Vicki Castle Nancy & Harley Donnell Donald & Sally Caudill Mr. & Mrs. Richard Donnelly Kim Caudill George & Ann Donner Mr. & Mrs. M. Stuart Cavell Mr. & Mrs. Barry Dorman Charles Caylor, MD Dr. Robert Doyal Mrs. Harold Caylor Mr. & Mrs. George Drew Mr. Michael Cayot Elizabeth & Howard Chapman Douglas Driscoll Charles Chidester, in memory of Mr. Richard Dunbar Jr. Delores Dunham Jean Chidester Phyllis Dunham Mr. & Mrs. C. Gregory Childs Dr. & Mrs. John Dyer Will & Ginny Clark Dot & Bill Easterly Mr. & Mrs. Beresford Clarke Lawrence Eberbach Don Cleary Mr. & Mrs. Thomas J. Eckrich Willis Clouse Mr. & Mrs. John Edris Jr. Mr. & Mrs. Lowell Coats Dr. & Mrs. J. Robert Edwards Mr. & Mrs. John Coe Ben & Sharon Eisbart Nancy Cole Cynthia Elick Annelie & Bob Collie, in Mr. & Mrs. C.B. Ellis Jr. memory of Capt. Otto Constance Ellis Eichrodt, in memory of “Suse” Gitterman Eichrodt, Madelane & Ralph Elston in memory of Judge Turner, in Thomas Elyea Lillian C. Embick, in memory of memory of Mrs. Zula Collie Byron L. Embick Sherrill & Sarah Colvin, in Bruce & Ellen England memory of Herbert Cooper Gwendolyn & Donald Converse English, Bonter, Mitchell J. Philip & Susan Cooling Cook Foundation June Enoch Patricia Cook Dr. & Mrs. James Epps Mr. & Mrs. Herbert Cooper Richard Erb Harry Crawford Mr. & Mrs. Walter Erxleben Dr. & Mrs. John Crawford Rosemarie & Stephen Crisafulli Rev. James & Helen Eshleman James Evans Trust Kathleen & Robert Crispin Mr. & Mrs. Charles Eversole Dawn, Dave & Nate Crofton Dow & Angelique Famulak Patricia & Robert Cross Dorothy Faulkner Brenda & David Crum Mr. & Mrs. Robert Fay Michael Crump Mary Anna Feitler Dr. & Mrs. John Csicsko Susan & Richard Ferguson Mr. & Mrs. King Culp Vernell & Peter Fettig Joseph Culver Charles Fine Gloster Current Jr. Gloria Fink Bill & MaryAnn Dahlman Mr. & Mrs. Richard Fink Albert & Yvonne Dahm Betty Fishman Edward & Linda Dahm Margaret & Mark Flanagan Jr. Mr. & Mrs. George Davis Cleon Fleck Janet Davis Richard E. Ford Mr. & Mrs. Ronald Davis 92

Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn Theresa & Michael Franke Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C. William Goebel Mr. & Mrs. Edward Goetz Jr. Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm Mrs. Hugo Gottesman Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel

Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty Dave & Sandy Haist Dr. & Mrs. Fouad Halaby Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B. F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD David Kaminsakas, MD Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD

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

Leslie Keeslar Mr. & Mrs. David Keim Dale Kelly Pamela Kelly, MD & Kevin Kelly, MD Mr. & Mrs. Geoffrey Kelsaw Jane Keltsch, in memory of Donald Keltsch Dr. & Mrs. Norman Kempler Diane Keoun Craig & Diane Keoun Dr. & Mrs. S. Bruce Kephart Anne Kern Mr. & Mrs. Ross King Dr. & Mrs. Robert Kittaka, in memory of Mr. Kizo KometanI, in memory of Kumako Kittaka, Beloved Mother John & James Knight Foundation Mr. & Mrs. Lynn Koehlinger Mary Koehlinger Bruce & Mary Koeneman John Korte Tod Kovara, in memory of Earl Kovara, in memory of Judy Ann Kovara Fritz & Joan Kraber Bil & Shirley Kransteuber Krouse Foundation Hedi & Irwin Krueger Keith Kuehnert Mr. & Mrs. Don E. Lahrman Mr. & Mrs. Rex Lamm Mr. & Mrs. Theron Lansford Dr. & Mrs. William LaSalle Janet & Bud Latz Mr. & Mrs. William Latz William Lawson Doretta Laycock Pat Leahy Mr. & Mrs. Ivan Lebamoff Ruth Lebrecht Dr. Chung-Seng & Sage Lee Antoinette & H.S. Lee John Lee, MD Judith & William Lee Mr. & Mrs. Joseph Leeuw Dr. & Mrs. Robert Leininger Mr. & Mrs. Gerald LeMasters Mr. & Mrs. James Lewellen Paul Liechty David & Carol Lindquist Mr. & Mrs. Nocholas Litchin David & Melissa Long Anne Longtine & Marco Spallone Judy & Gerald Lopshire Eleanor Ludy Duane & Carol Lupke 93

Margaret & Doug Lyng Mr. & Mrs. William Macomber Mr. & Mrs. George Mallers Peter & Christine Mallers, in honor of the Philharmonic musicians & staff Joyce Mallory Nellie Maloley Sylvia Manalis & Richard Manalis Don Mansfield George & Mary Marchal Mr. & Mrs. Michael Marchese Jr. Mrs. Charles Marcus Greg Marcus Wilda Gene Marcus Trust Eleanor & Lockwood Marine Christina & Stephen Martin Don & Eleanor Martin Nancy & Victor Martin Wayne Martin & Nancy Olson-Martin Christian & Michelle Maslowski Michael Mastrangelo, in memory of Grace Mastrangelo Michael & Grace Mastrangelo George & Doris Mather Judge & Mrs. Dalton McAlister Mrs. Byron McCammon Emery McDaniel Shelby & John McFann, in memory of Sarah Smith & Ben McFann J. McFann Consulting Co. Monarch Capital Management Monty McFarren Scott & Charles McGehee George McKay Mr. & Mrs. Richard McKee Mrs. Thomas McKiernan Lee McLaird Mary McLisle Mr. & Mrs. Alan McMahan McMillen Foundation Joan McNagny Eugene & Betty McQuillan, in memory of Betty McQuillan Donald Mefford Julie & Bob Mehl Mr. & Mrs. Richard Menge, in memory of Elsie Menge Fred Meriwether Mr. & Mrs. Edwin Metcalfe Ralph Meyer Sidney & Barbara Meyer Susan & David Meyer Dr. & Mrs. Joseph Meyers Mr. & Mrs. George Mikula 94 Barbara & Joe Miller

Patrick Payment Bradley Miller Mr. & Mrs. Kenneth Pearson Kerry Miller Lucio & Ann Perego Mr. & Mrs. P. Michael Miller Douglas & Lenore Perry Susan & Scott Miller, MD Mrs. Theodor Petry Dr. & Mrs. Michael Mirro Judge & Mrs. Alfred Moellering Pat & John Pfister Phelps Dodge Mr. & Mrs. Charles Momper Monarch Capital Management Philharmonic Staff, in recognition of Christopher D. Mr. & Mrs. Frank Monroe Guerin Mr. & Mrs. Bruce Montgomery Ron Philips Bill Morgan Dr. & Mrs. Richard L. Phillips Aloyse Moritz Richard Phillips, in memory of James Morrell Evelyn Phillips Amy Morrill Trust Mr. & Mrs. Richard Phillips Morrill Charitable Foundation Mr. & Mrs. Douglas Pinner Marie Moser Poinsatte-Altman Foundation Sue & Rowland Moser Mr. & Mrs. Howard Polk Dr. & Mrs. Dwight Mosley Mrs. H. Leslie Popp Jr. Mr. & Mrs. Lindy Moss Vivian Purvis Mr. & Mrs. Leslie Motz David Quilhot Mrs. Nancy Moyer Mr. & Mrs. A. Russell Quilhot, Akira Murotani & in memory of Mr. & Mrs. Alexandra Tsilibes Byron Holmes Somers Mr. & Mrs. John Murray Barbara Mann Ramm Mr. & Mrs. Wilbur Nahrwold Dr. & Mrs. Fred Rasp Ralph & Becky Naragon Mrs. J. E. Rawles Gloria & Jim Nash National Endowment for the Betty Rayl John Reche Arts Dr. & Mrs. John Reed Agnes Nelson, in memory of Mr. & Mrs. Thomas Rehrer Sheldon Nelson Paul & Lula Belle Reiff Marilyn Newman Carroll & Bill Reitz Barb & Tom Niezer Laura Ress Mr. & Mrs. Carson Noecker Robert & Nancy Rhee The Carson & Rosemary Nancy Rieke Noecker Family Foundation Willis & Anne Ritter Carol Nole, in memory of Ann & Dick Robinson Bobbie & Bob Shilling Mr. & Mrs. Don Robinson Walter & Margaret Nollen Max & Sandy Robinson North American Van Lines & Phyllis Roby Norfolk Southern Foundation Catharine Norton, in memory of Mr. & Mrs. Richard Roese David & Kathy Rogers Philip Norton Nancy Rogers Sally & David Norton Ian & Mimi Rolland Terrence Nufer Sanford Rosenberg Trust Marta & Jim Oberlin Philip & Barbara Ross Carol & Joe Offerle Madelon Rothschild Mr. & Mrs. Harry Okeson Drs. Roush & Roush, Inc. Mr. & Mrs. John Oldenkamp Emily & Matt Roussel Mr. & Mrs. Larry O’Maley Bette Sue Rowe Ervin & Cynthia Orban Phillip & Ruth Ruder The O’Rourke-Schof Family Mr. & Mrs. Joseph Ruffolo Foundation Carol Lynn Rulka Connie Overholser Deb & Bob Rupp Harry & Ruth Owen Rabbi Richard & Lois Safran Mr. & Mrs. Ralph Paetz Richard & Carolyn Sage Janet & Daniel Paflas, MD Lynne Salomon Patricia & Maclyn Parker Dr. & Mrs. Joel Salon Harriet & Robert Parrish Alma Salzbrenner Kathy & Michael Parrott Ann & Morrie Sanderson Kevin & Ann Patrick

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

Lois A. Steere, in memory of Allen C. Steere Mr. & Mrs. A. James Stein Todd & Janet Stephenson Rev. & Mrs. Daniel Stewart Nancy & David Stewart Marjorie Stewart, in memory of Carlton Stewart Amy Stone Robert Stouffer Edith Stout Mr. & Mrs. Leo Stroncczek James & Jeanne Leita Stump Styles Beyond Salon Carl Suedhoff Jr. James Suelzer Thomas Summerill Kathleen Summers Mrs. Thomas Summers Sunriver Music Festival Friends The Bowerman Family of Sunriver Sunset Drive Neighbors, in memory of Betty McQuillan Chuck & Lisa Surack & Sweetwater Sound, in honor of Samuel Gnagey Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc.

Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Mr. & Mrs. Robert Walda Jane & Frank Walker Mr. & Mrs. John Walley Mr. & Mrs. James Walper Esther Walter Robert & Irene Walters Nathan & Natalie Wanstrath Marie & David Warshauer Michael & Ruth Wartell Bob & Martha Wasson Mrs. Richard Waterfield Helen & Wayne Waters Mr. & Mrs. Herbert Weier Dorothy Weiss Mr. & Mrs. Paul Welker Nicholas Werdell Lynn Wernet Kristin Westover Cathleen Westrick Mrs. Charles Weyrick Catherine White Perry & Jackie White Dana Wichern Dr. & Mrs. Alfred Wick Mr. & Mrs. Ray Wiley William Willennar Foundation Fred & Marion Williams Eloise Willis Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf Melody Wolff Lawrence & Lea Woodrum Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger 95

TRIBUTES

REGIONAL PARTNERS

The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. In Honor of Eleanor Marine Dr. Rudy & Rhonda Kachmann In Memory of David Platt for the Youth Symphony Jane & Frank Walker In Memory of Ltc. Ret. Richard Reeves Beverly Reeves In Honor of Nancy Stewart’s Birthday Liz Frederick In Honor of Al Zacher’s Birthday Marie Warshauer & the boys

THE FORT WAYNE PHILHARMONIC IS PROUD TO PARTNER WITH AUDIENCES UNLIMITED

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

In Memory of Hannah Frankenstein Zacher Anonymous (1) Fritz & Sally Aichele Scott & Suzanne Amstutz Barrett McNagny LLP Norma & Tom Beadie Brian & Carrie Bean Barbara L. Boerger Bridget Bonham CBRE Sturges Lisa Clarke CME Corporation Allen & Harriet Cohen Georgia Cook Ward & Marjorie Crago Kathy Denig Philip & Patricia Didier Shawn Matheny Dresser Vernell Fettig Laura, William, & Ellen Frankenstein Elizabeth Frederick Haller & Colvin, P.C. Amy Isaacs Dr. Robert & Kris Jensen Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Mary Lawrence Likens Families Mr. & Mrs. Duane Lupke Peter & Christine Mallers Eleanor Marine Michael & Marlene Myrick Joy Neuenschwander Richard Nickolson Margaret Nolan Kevin & Tamzon O’Malley Linda & Robert Marshall Pat & Mac Parker Elizabeth Patterson Reinhard Pollach Judy Pursley David & Miriam Resnick The Robertson Family Jim Rubin & Faye Weitzman Ann Sanderson Alfred & Norma Slatin George Slenski Deb & Eric Stoll Julio Tierno Mark Troutman & Ann Wallace Cindy Veatch Norma Wallman Robert Wartenbe Matthew & Susan Wojewuczki Patricia Wyneken The Zaremba Family

The Philharmonic gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. The Philharmonic is honored to perform for enthusiastic audiences throughout the Northeast Indiana region and welcomes and values each contribution that makes these concerts and education performances possible. Thank you! MULTIPLE COUNTY SUPPORT 3 Rivers Federal Credit Union Parkview Regional Medical Center/ Parkview Health

Steel Dynamics Foundation, Inc.

ADAMS COUNTY Anonymous (3) Adams County Community Foundation

Bunge North America Eichhorn Jewelers Gilpin, Inc.

Antoinette K. Lee Porter Family Foundation

PNC Miller Family Fund Ron & Sylvia Scheeringa Jeff Sebeika, Subway Chuck & Lisa Surack, Sweetwater

Unified Wealth & Retirement Planning Unifirst WAJI Majic 95.1 WOWO 107.5FM

William & Mary Goudy William & Sarah Hathaway David & Pat Kruse Metal Technologies, Inc. Kenneth & Kelly Metzger

Quentin K. & Gladys F. Mavis Music Fund Psi Iota Xi, Eta Xi Chapter Scheumann Dental Associates Norman & Peg Yoder

ALLEN COUNTY Anonymous (3) Howard & Betsy Chapman Mark O. Flanagan James Palermo Parkview Field, home of the Fort Wayne TinCaps

DEKALB COUNTY Anonymous (1) Auburn Arts Commission, Inc. Auburn Moose Family Center Community Foundation DeKalb County DeKalb Outdoor Theater

FULTON COUNTY Akron Area Arts League Psi Iota Xi, Eta Mu Chapter

Zimmerman Bros. Funeral Homes

KOSCIUSKO COUNTY Anonymous (1) Anita & Bill Cast In memory of Edward & Linda Dahm Lew & LuAnn Derrickson Kenneth & Lela Harkless Foundation

Bud & Mary Hursh Mike’s Car Wash Omer & Susan Kropf The Papers Inc. Dr. & Mrs. Fred L. Rasp Salin Bank & Trust STAR Financial

Randall & Deborah Tobias Foundation Warsaw Performing Arts Center Wawasee Boat Co. Inc. Wawasee Property Owners Association 97

REGIONAL PARTNERS continued

LAUREATE CLUB

NOBLE COUNTY Airframe Components by Williams AMI Investments Baker’s Fruit & Flower Farm Black & Ramer Insurance Campbell & Fetter Bank Community State Bank City of Kendallville Dekko Investment Services Mr. & Mrs. Larry Doyle Dr. & Mrs. Chris Frazier Scott R. Frick, CPA, P.C Councilman James & Rhea Dazey

Mayor Suzanne & Randy Handshoe Tim & Anita Hess – RE / MAX Results Jansen Family Dentistry J.O. Mory, Inc. Kammerer Design & Fabrication Dr.’s Craig & Elizabeth Lichlyter Dr. Kevin & Nicole Lowe - Parkview Oncology Parkview Noble Hospital Dr. Alan & Mrs. Roush

Shepherd’s Family Auto Group Steward Brimner, Peters & Lear Sylvan Cellars Jennie Thompson Foundation Tri State Veterinary Clinic WAWK 95.5 FM, The Hawk Wible Lumber Work Prep, Inc. Yoder & Kraus PC

Javets Inc. Kappa Kappa Kappa – Zeta Upsilon Chapter Lake James Association Pokagon State Park

Psi Iota Xi, Rho Chapter Tusie & Chuck Sheets Steuben County Community Foundation Jim & Kathy Zimmerman

STEUBEN COUNTY Joseph F. & Carol Frymier Jim & Karen Huber Indiana Arts Commission Indiana Department of Natural Resources

WABASH COUNTY Honeywell Foundation

WELLS COUNTY Anonymous (1) Mr. & Mrs. Lawrence Ewing

Ouabache State Park Wells County Foundation

The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (22) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman* Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch* Fred & Mary Anna Feitler Richard & Susan Ferguson Mrs. Edward Golden Leonard & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Mr. & Mrs. Donald Hicks

Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara John Kurdziel Doris Latz* Antoinette Lee Jeff Leffers & Jane Gerardot Naida MacDermid Lockwood* & 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 Philharmonic is proud to honor its 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 benefit both you and your family. The Philharmonic welcomes the opportunity to assist donors and their advisors in planning a contribution that suits your particular needs. Please contact the Development Office at 260.481.0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

WHITLEY COUNTY 80/20 Inc. Churubusco Family Dentistry ChromaSource, Inc. Community Foundation of Whitley County

Daniel Menu & Party Don Wood & Dar Richardson Consulting Dr. & Mrs. Richard Zollinger Kappa Kappa Kappa – Alpha Iota Chapter

Financial guidance that puts you on the podium. Graig P. Stettner, CFA, CMT

Strategence Capital was founded with the goal of assisting our clients in every aspect of their financial lives. As an independent investment firm, we focus on you and your dreams. Call or visit us online to learn more. Securities offered through LPL Financial, Member FINRA/SIPC. Investment advice offered through Strategence Capital, a registered investment advisor and separate entity from LPL Financial.

260.236.0385

Tim Stoller, AAMS, AIF, CRPS

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