PRELUDE O CTO B E R /N O V E M B E R 2 0 1 8
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PRELUDE FORT WAYNE PHILHARMONIC PROGRAM
VOLUME 75
NO.
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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 260.481.0770 - FWPHIL.ORG The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors. Programs and artists are subject to change.
TABLE OF CONTENTS 4 34 38 39 60 66 68 69 70 72 74 76 77 78 80 83
Welcome Letter, Andrew Constantine Karen Gibbons-Brown, Fort Wayne Ballet Artistic Director Troy Webdell, Youth Orchestras Conductor Fort Wayne Philharmonic Youth Orchestra 75th Anniversary Andrew Constantine, Music Director Caleb Young, Associate Conductor Benjamin Rivera, Chorus Director Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Chorus Fort Wayne Philharmonic Friends Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Administrative Staff Series Sponsors Sponsors Donors
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Vaughan Roste, PFW University Singers Director Purdue University Fort Wayne Singers Jonathan Busarow, FWCC Artistic Director Fort Wayne Children’s Choir Clayton Parr, Battle Creek Chorus Director Battle Creek Community Chorus
ARTIST BIOS & LISTINGS 16 Renée Fleming, soprano 17 Joel Puckett, composer 29 Lise de la Salle, piano 54 Twyla Robinson, soprano 55 Thomas Cooley, tenor 56 Daniel Scofield, baritone 6 Masterworks OPENING NIGHT WITH
37 Youth Orchestra NEW BEGINNINGS: REFLECTIONS
Saturday, October 6
Sunday, October 28
19 Freimann BEETHOVEN AND MENDELSSOHN Wednesday, October 17 Sunday, October 21
41 Pops DISNEY’S FANTASIA Saturday, November 3 43 Masterworks BRITTEN’S WAR REQUIEM Saturday, November 10
RENÉE FLEMING
25 Masterworks THE RACH 2 Saturday, October 27
OF WAR AND PEACE
33 Family HALLOWEEN SPOOKTACULAR Sunday, October 28
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WELCOME FROM THE MUSIC DIRECTOR
Dear Friends: Welcome to the 2018-19 75th Anniversary Season of the Fort Wayne Philharmonic. My colleagues from the Orchestra, Board, Friends, Chorus, Staff, and I are delighted to offer a season full of renowned artists and creative programs for your enjoyment. Our volunteers are working overtime to make this Anniversary special and memorable. From unexpected surprises, community events, fun receptions, to moving tributes, you’ll experience their efforts all season long. Please read through this Prelude for articles devoted to 75 years of glorious music making. We’ll cover two decades in each book, and by closing night you’ll gain a fuller grasp of the enormity of the Philharmonic’s service since 1944. We open with opera star and icon of classical music, the incomparable Renée Fleming. What a beautiful and generous program Ms. Fleming has put together for us. And, if you enjoy being up close and personal with our musicians, the Freimann Series is just right for you. The opening concert features two of the greatest composers of the 19th century: Beethoven and Mendelssohn. For those who revel in romanticism, you won’t be disappointed with the late October Masterworks Series concert of two virtuosic showpieces by Richard Strauss and Rachmaninoff’s Piano Concerto No. 2, with its blizzard of notes and luxuriant string melodies. We welcome Troy Webdell as our new Youth Orchestras Director in a fall program of works by Holst, Respighi, and others that show off the promise of these fine young musicians. Our Family Series concert at the end of October features kid-friendly ghosts and goblins that converge in costume to perform Halloween favorites. 4
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Who doesn’t love Walt Disney’s Fantasia? The live Fort Wayne Philharmonic will perform a compilation of scenes with film from the original 1940 movie version and Fantasia 2000, including “The Sorcerer’s Apprentice,” “Pomp and Circumstance,” and music from “The Firebird.” What a great way to introduce young people to the wonders of classical music. I look forward with great anticipation to Benjamin Britten’s War Requiem. Scheduled for November 10, nearly 100 years to the day after the Armistice of World War I, the Philharmonic and vocalists will present this powerful composition that juxtaposes the Roman Catholic Requiem Mass with texts depicting the ravages of war. This Anniversary is not merely a celebration of music and artistry, but a time when we pause to remember all those who led us to this point. Throughout the year, we will be reminded about how we’ve evolved and grown - reflecting on the contributions of people who influenced the intellectual and artistic life of our region over 75 Seasons. Thank you for allowing us to discover and celebrate beauty as a community. Sincerely,
Andrew Constantine Music Director
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The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, OCTOBER 6, 2018 | 7:30 P.M. | EMBASSY THEATRE
OPENING NIGHT WITH RENÉE FLEMING Also part of the Robert, Carrie and Bobbie Steck Family Foundation Great Performers Series Andrew Constantine, conductor Renée Fleming, soprano Opening Remarks by: David C. Long, Indiana State Senate President Pro Tempore Geoff Paddock, Councilman, City of Fort Wayne Chuck Surack, Board Chair Andrew Constantine, Music Director James W. Palermo, Managing Director PUCKETT Fanfare for the 15th Night of the Moon (World Premiere) R. STRAUSS Dance of the Seven Veils from Salome R. STRAUSS Four Last Songs, TrV 296 1. Frühling (Spring) 2. September 3. Beim Schlafengehen (Upon Going To Sleep) 4. Im Abendrot (At Sunset) Renée Fleming -- INTERMISSION --
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SAINT-SAËNS Bacchanale, from Samson et Dalila REFICE “Ombra di Nube,” featured in the film Bel Canto FLOTOW “The Last Rose of Summer” from Martha, featured in the film Three Billboards Outside Ebbing, Missouri WARREN (Arr. Alexandre Desplat) “You’ll Never Know” featured in the 2018 Best Picture The Shape of Water Renée Fleming MARQUEZ Danzon No. 2 WILLSON “Till There was You” from The Music Man KANDER/EBB “Love and Love Alone” from The Visit STING “August Winds” from The Last Ship SONDHEIM “The Glamorous Life” from A Little Night Music Renée Fleming Flowers for Ms. Fleming are Courtesy of the Fort Wayne Alumnae Chapter of Sigma Alpha Iota International Music Fraternity Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, October 18 at 7:00 p.m. Renée Fleming appears by arrangement with IMG Artists, www.imgartists.com www.reneefleming.com Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK). Ms. Fleming’s gowns are by Vera Wang. Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z. Photo credit: Andrew Eccles
Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation
The Robert, Carrie, and Bobbie Steck Family Foundation
Encore Lounge sponsored by:
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OPENING NIGHT WITH RENÉE FLEMING
TEXTS AND TRANSLATIONS | October 6, 2018 Richard Strauss (1864-1949) Four Last Songs Frühling (Spring) Text by Hermann Hesse (1877-1962)
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In dämmrigen Grüften träumte ich lang von deinen Bäumen und blauen Lüften, Von deinem Duft und Vogelsang.
In dusky graveyards I dreamed long of your trees and blue skies, of your scent and your bird song.
Nun liegst du erschlossen In Gleiß und Zier von Licht übergossen wie ein Wunder vor mir.
Now you lie uncovered glittering and ornamented bathed in light like a jewel before me.
Du kennst mich wieder, du lockst mich zart, es zittert durch all meine Glieder deine selige Gegenwart!
You recognize me, you entice me gently, a tremor runs through my limbs at your blissful presence.
September Text by Hermann Hesse (1877-1962)
September
Der Garten trauert, kühl sinkt in die Blumen der Regen. Der Sommer schauert still seinem Ende entgegen.
The garden grieves, coolly the rain sinks into the flowers. The summer shivers quietly at the prospect of its end.
Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum. Sommer lächelt erstaunt und matt In den sterbenden Gartentraum.
Golden, the leaves drop slowly from the tall acacia tree, Summer smiles faintly, in surprise, in the dying dream of the garden.
Lange noch bei den Rosen bleibt er stehn, sehnt sich nach Ruh. Langsam tut er die müdgeword’nen Augen zu.
For a long time it lingers, upon the roses, longing for rest. Slowly it closes its great now weary eyes.
Beim Schlafengehen Text by Hermann Hesse (1877-1962)
Upon Going to Sleep
Nun der Tag mich müd gemacht, soll mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein müdes Kind empfangen.
Made tired by the day now, my deepest longing shall welcome the starry night like a tired child.
Hände laßt von allem Tun, Stirn vergiß du alles Denken, Alle meine Sinne nun wollen sich in Schlummer senken.
Hands leave all your activity, brow, forget all thought, for all my senses long to sink into sleep.
Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben.
And my soul, unguarded, yearns to float freely, to live in the magic circle of the night deep and a thousand-fold.
OCTOBER/NOVEMBER
Im Abendrot Text by Joseph Von Eichendorff (1788-1857)
At Sunset
Wir sind durch Not und Freude gegangen Hand in Hand; vom Wandern ruhen wir beide nun überm stillen Land.
In times of trial and joy we have gone hand in hand, now we can rest from our travels across the quiet land.
Rings sich die Täler neigen, es dunkelt schon die Luft. Zwei Lerchen nur noch steigen nachträumend in den Duft.
All around the valleys slope away, the sky is already growing dark, only two larks ascend night-dreaming into the fragrant air.
Tritt her und lass sie schwirren, bald ist es Schlafenszeit. Dass wir uns nicht verirren in dieser Einsamkeit.
Come closer and leave them to their fluttering, soon comes the time for sleep, lest we lose our way in this lonely hour.
O weiter, stiller Friede! So tief im Abendrot. Wie sind wir wandermüde-- Ist dies etwa der Tod?
Oh, boundless, silent peace, so profound in the sunset! How tired we are from our travellingcan this perhaps be death?
Licinio Refice (1883-1954) “Ombra di Nube” featured in the film Bel Canto Text by Emidio Mucci (1886-1977)
Shadow of a Cloud
Era il ciel un arco azzurro di fulgor; chiara luce si versava sul mio cuor. Ombra di nube, non mi offuscare; della vita non velarmi la beltà.
The sky was an azure arch of splendour; bright light poured into my heart. Cloud-cast shadow, bring me no darkness; veil not life’s beauty from me.
Vola, o nube, vola via da me lontan; sia disperso questo mio tormento arcan. Ancora luce, ancora azzurro! il sereno io vegga per l’eternità!
Fly, o cloud, fly far away from me; let this mysterious torment of mine vanish. Let there be light again, and azure skies! Let me gaze forever upon serenity!
Friedrich von Flotow (1812-1883) “‘Tis the Last Rose of Summer” from Martha Text by Friedrich Wilhelm Riese (1805-1879) ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, no rosebud is nigh, To reflect back her blushes, Or give sigh for sigh! I’ll not leave thee, thou lone one To pine on the stem: Since the lovely are sleeping, Go sleep thou with them.
Thus kindly I scatter Thy leaves o’er the bed Where thy mates of the garden, Lie scentless and dead. So soon may I follow, When friendships decay, And from love’s shining circle The gems drop away! When true hearts lie withered, And fond ones are flown, Oh! who would inhabit This bleak world alone?
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Harry Warren (1893-1981) Alexandre Desplat, Arranger (1961 - ) “You’ll Never Know” featured in the film The Shape of Water Text by Mack Gordon (1904-1959) You’ll never know just how much I miss you You’ll never know just how much I care And if I tried I still couldn’t hide my love for you You oughta know, for haven’t I told you so A million or more times You went away and my heart went with you I speak your name in my every prayer If there is some other way to prove that I love you I swear, I don’t know how You’ll never know if you don’t know now You’ll never know just how much I miss you You’ll never know just how much I care You said goodbye, now stars in the sky refuse to shine Take it from me, it’s no fun to be alone With moonlight and memories You went away and my heart went with you I speak your name in my every prayer If there is some other way to prove that I love you I swear, I don’t know how You’ll never know if you don’t know now Robert Meredith Willson (1902-1984) “Till There Was You” from The Music Man Text by Robert Meredith Willson
When you’re young, Feeling oh so strong What can prove you wrong? Love, and love alone. When the sun, Seems forever bright What can dim its light? Love, and love alone. So beware, young love, lost in your kiss. There’s a truth, young love, simple as this: Every fond hello ends in goodbye. What you’re certain will live, will die. It was winter, snow was falling. It was winter, you were calling. And I heard it and I trembled. Winter. And you held me, it was thrilling. You said “always.” I was willing. Then it ended. I remember. Winter. Other voices telling me it’s done, it’s through. Other voices warning me I dare not dream of having youSo enjoy all the time there is. If you’re his, be his. Make each day your own.
There were bells on the hill But I never heard them ringing, No, I never heard them at all Till there was you.
When tomorrows come And your heart is stone What has made you numb? Love and love alone. Love and love alone.
There were birds in the sky But I never saw them winging No, I never saw them at all Till there was you.
Gordon Sumner (Sting) (1951- ) August Winds from The Last Ship Text by Gordon Sumner
And there was music, And there were wonderful roses, They tell me, In sweet fragrant meadows of dawn, and dew. There was love all around But I never heard it singing No, I never heard it at all Till there was you!
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John Kander (1927-) “Love and Love Alone/Winter” from The Visit Text by Fred Ebb (1928-2004)
OCTOBER/NOVEMBER
When August winds are turning The fishing boats set out upon the sea I watch ‘til they sail out of sight The winter follows soon I watch them drawn into the night Beneath the August moon No one knows I come here Some things I don’t share I can’t explain the reasons why It moves me close to tears Or something in the season’s change Will find me wandering here
And in my public moments I hear the things I say but they’re not me Perhaps I’ll know before I die Admit that there’s a reason why I count the boats returning to the sea I count the boats returning to the sea And in my private moments I drop the mask that I’ve been forced to wear But no one knows this secret me Where, albeit unconsciously, I count the boats returning from the sea I count the boats returning from the sea Stephen Sondheim (1930- ) The Glamorous Life from A Little Night Music Text by Stephen Sondheim based on a book by Hugh Wheeler (1912-1987) Ordinary mothers lead ordinary lives Keep the house and sweep the parlor Cook the meals and look exhausted Ordinary mothers, like ordinary wives Fry the eggs and dry the sheets And try to deal with facts I act! Darling, I miss you a lot But, darling, this has to be short As mother is getting a plaque From the Halsingborg Arts Council Amateur Theatre Group Whether it’s funny or not I’ll give you a fuller report The minute they carry me back From the Halsingborg Arts Council Amateur Theatre Group Love you
Ordinary daughters, which sadly I am not Tend each asset, spend it wisely While it still endures I tour! Mother, forgive the delay My schedule is driving me wild But, mother, I really must run I’m performing in Rottwig, and don’t ask “where is it,” please. How are you feeling today? And are you corrupting the child? Don’t. Mother, the minute I’m done With performing in Rottwig, I’ll come for a visit And argue. Mayors with speeches, la la la Children with posies, la la la Half-empty houses, la la la Hi-ho, the glamorous life! Cultural lunches, la la la Dead floral tributes, la la la Ancient admirers, la la la Hi-ho, the glamorous life! Pack up the luggage, la la la Unpack the luggage, la la la Mother’s surviving, la la la Leading the glamorous life! Cracks in the plaster, la la la Youngish admirers, la la la Which one was that one, la la la Hi-ho, the glamorous life! Bring up the curtain, la la la Bring down the curtain, la la la Bring up the curtain, la la la Hi-ho, the glamorous Life!
Unpack the luggage, la la la Pack up the luggage, la la la Unpack the luggage, la la la Hi-ho, the glamorous life! Ice in the basin, la la la Cracks in the plaster, la la la Mice in the hallway, la la la Hi-ho, the glamorous life! Run for the carriage, la la la Wolf down the sandwich, la la la Which town is this one, la la la Hi-ho, the glamorous life! Ordinary daughters ameliorate their lot Use their charms and choose their futures Breed their children, heed their mothers
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OPENING NIGHT WITH RENÉE FLEMING PROGRAM NOTES | October 6, 2018 Fanfare for the 15th Night of the Moon JOEL PUCKETT (1977 – ) Hailed as “visionary” by The Washington Post and “an astonishingly original voice” by The Philadelphia Inquirer, Joel Puckett is one of the most performed composers in America. His flute concerto, The Shadow of Sirius, has received more than 200 performances, and its recording on Naxos was nominated for a 2016 Grammy Award. His opera The Fix about the rise and fall of the 1919 Chicago White Sox will receive its world premiere by the Minnesota Opera next March. He is the Chair of Music Theory, Ear Training, and Piano Skills at Baltimore’s Peabody Conservatory of Music. Puckett has provided these words about his new Fanfare: “As the Fort Wayne Philharmonic enters its 75th season, I am struck by the strength and vitality of this orchestra, its members, its leadership, and its audience. I have loved my visits to work with this group in the past and always look forward to the next invitation. “In thinking about this anniversary season, I am reminded of a quote from Joseph Campbell’s The Way of Art: ‘We come then to the fifteenth night of the moon. Now the image here is of these two great lights: the lunar light, which dies and is resurrected, and the solar light, which is independent of the vicissitudes of time. At this moment, the moon and the sun are equivalent lights. Out on the plains on the fifteenth night of the moon, at the time of sunset looking to the west, you see the sun at a moment just resting right on the horizon. And if you look there to the east, the moon will be in the same position on the eastern horizon. “‘This is a moment of great mystical importance. Here your consciousness, your body, and its consciousness are at their prime. And you are in a position to ask yourself: Who or what am I? Am I the consciousness or am I the vehicle of consciousness? Am I this body which is the vehicle of light, solar light, or am I the light?’”
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“Dance of the Seven Veils” from Salome RICHARD STRAUSS (1864–1949) In 1905, Richard Strauss upended the world of opera with his exotic Biblical drama Salome. When premiered at the Metropolitan Opera in 1907, it created such a scandal it was banned from the Met’s stage for nearly 30 years. Strauss based his libretto on the recent Frenchlanguage play by Oscar Wilde, which was a huge expansion of a story only hinted at in the gospels of Matthew and Mark. The great prophet John the Baptist has been imprisoned in the palace of King Herod of Israel. Herod has a 16-year-old stepdaughter, Salome, who is infatuated with the holy prisoner, but John spurns her attentions. At a party, Herod, who himself lusts after Salome, begs her to dance for him; as a reward, he will give her anything she desires. The girl agrees and performs the ten-minute “Dance of the Seven Veils.” After a fast introduction, the music settles into the dance’s slow and sultry opening phase, with woodwind solos creating a Middle Eastern atmosphere over the bumpand-grind of violas and percussion. Warm strings then usher in a sensuous waltz; this was an inevitable, if anachronistic, choice for Strauss, who adored waltzes. The dance closes in a wild virtuoso frenzy. Exhausted and triumphant, Salome throws herself at Herod’s feet, ready to claim her gruesome reward: John’s decapitated head! Four Last Songs RICHARD STRAUSS Strauss’ last messages to the world were the sublime Four Last Songs of 1948, written when he was 84, and they are as different from Salome as music can be. They combine consummate musical craft with the serene, otherworldly vision of a very old man who still loves life but sees approaching death as a blessing. At the end of World War II, Strauss and his wife of more than 50 years, Pauline, found themselves in limbo. In 1933, Strauss foolishly accepted an official musical post
under the newly installed Nazi government and though he was fired a year and a half later for insubordination and spent the war years on Hitler’s persona non grata list, he was charged by the Allies as a suspected Nazi collaborator. Until he was absolved by the De-Nazification Board, he was not allowed to work in Germany or collect any royalties. However, since he and Pauline were in frail health, they were permitted to go into exile in Switzerland while his case was being considered. When the composer’s son, Franz, visited his parents in Montreux, he found Strauss deeply depressed and urged him to write some songs to keep himself occupied. The composer had already been musing over a poem Im Abendrot (“At Sunset”) by Joseph Eichendorff; its description of an old couple who have shared years of “Not und Freude” (“need and joy”) together and now contemplate death in a strange land mirrored exactly his and Pauline’s situation. And an admirer had sent him a book of poems by Hermann Hesse, winner of the 1946 Nobel Prize for Literature; from these, he selected three: “Frühling” (“Spring”), “September,” and “Beim schlafengehen” (“Going to sleep”). So special were these poems that Strauss decided to give them a full orchestral scoring and set them for the voice he loved best — soprano. The best way to appreciate these indescribably beautiful songs is to read along with the translations provided. Here words and music fuse into a mood of glowing serenity, without regret or pain. “Frühling,” stands a little apart from the others in its youthful ecstasy: a remembrance of the glories of springs past, with soaring melismas for the soprano. “September” was actually the last song Strauss composed. It shows the old master of imaginative orchestration in top form, with glistening rain drops conjured by high strings at the beginning and an autumnal horn solo at the end (the horn was Strauss’ favorite instrument). A deepening sense of weariness pervades “Beim schlafengehen”: a longing for sleep, for death the ultimate sleep. The solo violin sings a wordless third verse introducing the soaring theme the soprano will use to describe the soul’s yearning to fly into the starry skies. “Im Abendrot” is set with great simplicity, as if Strauss were speaking
quietly to his wife. Magical flute trills describe two larks flying overhead. At the end they return, higher still in two piccolos — voices from beyond this world. Bacchanale from Samson et Dalila CAMILLE SAINT-SAËNS (1835–1921) In the late 19th century, the gilded Paris Opéra was the center of fashionable Parisian society, and that society liked to have plenty to look at as well as to listen to. In Camille Saint-Saëns’ biblical epic Samson et Dalila of 1877, spectacular scenes for chorus and the ballet almost crowd the soloists off the stage. The story is drawn from the Old Testament tale of the mighty Israelite hero Samson, who is shorn of his hair and his strength by the Philistine seductress Dalila. In the “Bacchanale,” Act III’s famous choral ballet, the Philistines celebrate riotously in their temple, sure that the now-blind Samson can no longer harm them. Saint-Saëns’s sensuous musical evocation of the Middle East here was still inspiring Hollywood film scores in the 1950s. As if this scene wasn’t sufficient to titillate the Parisian public, at the final curtain Samson brings the Philistine temple down, crushing the entire cast! Music from Film Renée Fleming has been chosen as the featured singer for a number of major films in recent years, including The Shape of Water and Three Billboards Outside Ebbing Missouri of 2017 and the just-released romantic thriller Bel Canto. In each film, her voice has played a significant but quite different role. Published in 2001, Ann Patchett’s haunting novel Bel Canto has become a modern classic about the power of music to transform a perilous political hostage situation. Based on actual events that took place in Lima, Peru in 1995-96, it describes the ordeal of a group of international diplomats and businessmen taken hostage by South American guerilla fighters during a party featuring a famous operatic soprano, Roxane Coss. As the crisis drags on for months, Coss’ glorious voice gradually draws both the hostages and their captors together. In the film, Coss is played by Julianne Moore, but her mesmerizing voice belongs to Ms. Fleming. One of the diva’s
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signature arias is the bittersweet Italian classic “Ombra di nube” (“Shadow of a Cloud”) written by the priest-composer Licinio Refice (1883–1954) in 1935 for the legendary soprano Claudia Muzio. Its soaring legato lines epitomize a great soprano’s ability to break one’s heart. A dual Oscar-winner starring Frances McDormand, Three Billboards Outside Ebbing, Missouri is a harrowing tale of brutal crime and revenge. However, it begins with an idyllic portrait of the fictional Ebbing, MO set to the nostalgic Irish song “The Last Rose of Summer,” as sung by Ms. Fleming. With words written by the Irish poet Thomas Moore in 1805 and set to a traditional Irish tune, “The Last Rose” has been a popular favorite for two centuries and was adopted by the German operatic composer Friedrich von Flotow (1812–1883) for his 1847 romantic opera Martha. At the 2018 Oscars, Three Billboards was a nominee for Best Picture, but it was bested by Guillermo del Toro’s beautiful sciencefiction fantasy The Shape of Water, in which a courageous deaf-mute cleaning lady falls in love with and saves a mysterious humanoid amphibian from American and Russian agents. For this film, Renée Fleming revealed a very different side of her vocal talents singing the up-tempo jazz classic “You’ll Never Know,” written by Harry Warren in 1943. As a young singer beginning her career, Fleming moonlighted as a jazz vocalist, and in this song, performed at the movie’s close, she displays her mellow alto register rather than her high notes. French composer Alexandre Desplat arranged it for his Academy Award-winning score. Danzón No. 2 ARTURO MÁRQUEZ (1950 – ) Though it was born in Cuba, the Latino danzón became extremely popular in Mexico during the 1940s, particularly in Mexico City, where special dance halls continue to be devoted to it. American composer Aaron Copland, who wrote a famous example, Danzón Cubano, described it as “a stately dance ... that fulfills a function rather similar to that of the waltz in our own music.” So captivated is Mexican composer Arturo Márquez by this suave and seductive dance that he has now written seven Danzóns. By 14
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far the most popular is the Danzón No. 2, premiered in Mexico City on March 5, 1994 and now a frequent visitor to concert halls around the world. Traditionally, the danzón begins slowly and in a restrained mood; then it grows faster, more passionate, and utterly dominated by its propulsive Afro-Cuban rhythms. Its opening melody becomes a refrain, returning to calm the mood in between more intense phases. And that’s exactly what we’ll hear in Danzón 2, which begins with a solo clarinet singing the elegantly sauntering refrain melody over piano and soft percussion. Its most exciting section features a solo trumpet intensifying the dissonant clashes and fiery sensuality. Music from Broadway Renée Fleming has recently been featured on Broadway in a lauded revival of Rodgers and Hammerstein’s Carousel. Concluding tonight’s program, she has chosen four songs from vintage as well as recent Broadway musicals that, once again, call upon very different aspects of her versatile voice. Her first song is the classic love song “Till There Was You,” sung by Marion Paroo to the con-man music salesman Harold Hill in Meredith Willson’s The Music Man, winner of the 1957 Tony Award for Best Musical (and surprisingly defeating Bernstein’s West Side Story for that honor). Though she is on to Hill’s game from the very beginning, “Marion the Librarian” realizes his charm has brightened her life and sings him this radiant song in Act II. Marion was sung by sopranos Barbara Cook (the musical) and Shirley Jones (the film), but “Love and Love Alone” was created for the deep alto voice of Chita Rivera, who played the role of the sinister Claire Zachanassian in John Kander (1927– ) and Fred Ebb’s (1928–2004) The Visit. It was originally scheduled to debut on Broadway in 2001, but the 9/11 attack prevented that run. Its belated Broadway debut then waited till March 2015. Based on Friedrich Dürenmatt’s 1956 satirical masterpiece The Visit of the Old Woman, it involves one of the world’s wealthiest women, Claire Z., who visits her old home town, the nowimpoverished Brachen, with a proposition: she will revive the town’s fortunes with her
money if the citizens will put to death the man who jilted her there as a young girl. But a meeting with the condemned Anton late in the show changes her mind, as she recalls their former love in “Love and Love Alone” (whose style recalls Kander & Ebb’s earlier hit Cabaret). The legendary rock musician Sting was born Gordon Matthew Thomas Sumner in 1951 in Wallsend, a harbor town on the northeast coast of England. His talent enabled him to escape this town where the ship-building industry was dying out, but he never forgot the atmosphere of the place. It inspired his only Broadway musical, The Last Ship, which premiered on Broadway in September 2014 and for which he wrote both the words and music. The melancholy ode to Wallsend “August Winds” has become one of his most haunting and wellloved songs.
Premiered in 1973, A Little Night Music is one of the enduring creations of the extraordinary composer/lyricist Stephen Sondheim. It was inspired by Ingmar Bergman’s classic film Smiles of a Summer Night and took its name from Mozart’s beloved suite Eine kleine Nachtmusik. The central character of this story of romantic entanglements on a Swedish country estate around 1900 is Désirée Armfelt, a touring actress who left her daughter behind with her grandmother in order to pursue her career. “The Glamorous Life” is initially sung in Act I by all three women, and the chorus. For Ms. Fleming, who combined her operatic career with raising two daughters. Desirée just might be a soprano, and the group number (in time-honored diva fashion) is distilled to a monologue.. Notes by Janet E. Bedell copyright 2018
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RENÉE FLEMING, SOPRANO
Renée Fleming is one of the most highly-acclaimed singers of our time. In 2013, President Obama awarded her America’s highest honor for an artist, the National Medal of Arts. She brought her voice to a vast new audience in 2014, as the only classical artist ever to sing the US National Anthem at the Super Bowl. Winner of the 2013 Grammy Award (her fourth) for Best Classical Vocal Solo, Renée has sung for momentous occasions from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at Buckingham Palace. In 2008 Renée became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala. Renée earned a Tony Award nomination this year for her performance in the Broadway production of Rodgers and Hammerstein’s Carousel. Her recent tour schedule has included concerts in New York, London, Vienna, Paris, Madrid, Tokyo, and Beijing. She is heard on the soundtracks of the films The Shape of Water and Three Billboards Outside Ebbing, Missouri, and she provided the singing voice of Roxane, played by Julianne Moore, in the just-realeased film of the best-selling novel Bel Canto. As Artistic Advisor to the John F. Kennedy Center for the Performing Arts, Renée currently spearheads a collaboration with the U.S. National Institutes of Health, with participation by the National Endowment of the Arts, focused on the science connecting music, wellness, and the brain. Known for bringing new audiences to classical music and opera, Renée has sung not only with Luciano Pavarotti, Plácido Domingo, and Andrea Bocelli, but also with Elton John, Paul Simon, Sting, Josh Groban, and Joan Baez. She has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera’s Live in HD series, and Live from Lincoln Center. Decca has just released her new album, Renée Fleming: Broadway, which featuring a collection of great musical theater songs from the 1920’s to the present day. Renée has recorded everything from complete operas and song recitals to indie rock and jazz; and her album Signatures was selected by the U.S. Library of Congress for the National Recording Registry, as an “aural treasure worthy of preservation as part of America’s patrimony.” In 2010, she was named the first-ever Creative Consultant at Lyric Opera of Chicago. She is a member of the Board of Trustees of Carnegie Hall, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation. She is a spokesperson for the American Musical Therapy Association. Renée’s memoir The Inner Voice, published in 2004, is currently in its 16th printing. Among her awards are the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, Sweden’s Polar Music Prize, and France’s Chevalier de la Légion d’Honneur.
Pursue Your Passion Award-winning faculty Internationally renowned guest artists State-of-the-art facilities Intense focus on entrepreneurship, teaching, and performance Undergraduate scholarships and graduate assistantships available For information about our programs, degree offerings, and 2019 audition dates, visit bsu.edu/music.
JOEL PUCKETT, COMPOSER
Joel Puckett is one of the most performed composers in America. Hailed as “visionary” (Washington Post) and “an astonishingly original voice” (Philadelphia Inquirer), his music has been performed by the leading artists of our day and is consistently recognized by organizations such as the American Composers Forum, BMI, Chorus America, National Public Radio, and the American Bandmasters Association. Puckett’s music attracts diverse performers and listeners through its emotional energy and commitment. Melding tradition with innovation, his distinctive style grows from his power to create transcendent experiences using charismatic musical language. The Fix, a grand opera commissioned by Minnesota Opera, will premiere in the March 2019, with a libretto by Academy Award and Tony Award winner, Eric Simonson. The work depicts the rise and fall of the 1919 Chicago White Sox. It is a tragedy ripe with power, romance and redemption, set against the backdrop of America’s favorite pastime. Puckett’s earlier commissions have been premiered and performed worldwide, to exuberant critical acclaim. His flute concerto, The Shadow of Sirius, premiered in 2010 and has received more than 200 performances and been recorded multiple times, including 2015’s Naxos Surround Sound disc, “Shadow of Sirius,” which received a 2016 Grammy Nomination. Currently the Chair of Music Theory, Ear Training, and Piano Skills at the Peabody Conservatory in Baltimore, Puckett presents workshops nationwide and frequently serves as an adjudicator at competitions for rising composers. His music is represented worldwide by Bill Holab Music.
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Brotherhood Mutual Insurance Company Freimann Series WED., OCT. 17, 2018 | 7:30 PM | PARKVIEW PHYSICIANS GROUP ARTSLAB SUN., OCT. 21, 2018 | 2:00 PM | RHINEHART MUSIC CENTER, PFW
BEETHOVEN AND MENDELSSOHN BEETHOVEN Variations on La ci darem la mano from Don Giovanni Thema: Andante Variation I - Allegretto Variation II - L’istesso tempo Variation III - Andante Variation IV - Allegro moderato Variation V - Moderato Variation VI - Lento espressivo Variation VII - Allegretto scherzando Variation VIII - Allegretto giocoso Coda - Vivace Orion Rapp, oboe; Pavel Morunov, oboe; Leonid Sirotkin, english horn MENDELSSOHN Trio for Piano, Violin and Cello No. 2, Op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato Alexander Klepach, piano; Johanna Bourkova-Morunov, violin Deborah Nitka Hicks, cello -- INTERMISSION -BEETHOVEN String Quartet in E-Flat major, Op. 74 “Harp” Poco Adagio - Allegro Adagio ma non troppo Presto Allegretto con Variazioni Violetta Todorova, violin; David Ling, violin; Derek Reeves, viola Edward Stevens, cello
Many thanks to the generous supporters of this event:
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BEETHOVEN AND MENDELSSOHN
PROGRAM NOTES | October 17 & 21, 2018 Variations on La ci darem la mano from Don Giovanni LUDWIG VAN BEETHOVEN (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) Did Beethoven and Mozart ever meet? Although the record is a bit ambiguous, it seems likely they did encounter each other in 1787 when the 16-year-old Beethoven was sent to Vienna by his local prince, the Elector Maximilian Franz, who doted on the teenager’s precocious talents as a pianist and improviser. Beethoven may even have taken some lessons from the Salzburg genius, and a flattering, prescient remark from Mozart about him has come down to us: “Keep your eyes on him; some day he will give the world something to talk about.” But Beethoven himself never said or wrote anything about this, and in any case, the sudden illness of his mother forced him to return to Bonn after two weeks in the Austrian capital. He did not return there again until a year after Mozart’s death. What is unquestionably true is that Mozart ranked high among the composers Beethoven revered most and that his music profoundly influenced Beethoven’s development as a composer. Over the course of his career, he created at least four sets of variations on themes drawn from three of Mozart’s greatest operas for different groups of instruments. On this program, we’ll hear the set of ingenious variations on the main melody of the famous duet from Mozart’s Don Giovanni, “Là ci darem la mano” (“Then we shall take hands”). In this duet from the opera’s first act, Don Giovanni is trying to seduce the pretty peasant girl, Zerlina, on the very day of her wedding to another man. These variations were probably written quite early in Beethoven’s career, about 1795 when he was in his mid-twenties. They were originally composed for a rather unusual ensemble: a trio of two oboes and an English horn. Scholars believe they may have been intended as the final movement of a Trio in C Major Beethoven composed that same year for the same three instruments and that, for whatever reason, the composer discarded them in favor of a shorter movement. Depending 20
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on how one counts them, eight or nine variations follow the presentation of the theme. Beethoven was a master of the art of creating variations on a theme, and these explore a wide variety of tempos, rhythms, and moods. Particularly striking is the sixth variation: a somber treatment of the theme in the minor mode. Throughout the variations, each instrument is given an opportunity to display its agility and virtuosity. Trio for Piano, Violin and Cello No. 2, Op. 66 FELIX MENDELSSOHN (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Saxony, Germany) During the winter and spring of 1844–45, Felix Mendelssohn — worn out by the endless demands of his work at the Leipzig Gewandhaus Orchestra and at the Prussian Court in Berlin — retreated to his wife Cecile’s home city of Frankfurt to find some quality time with his growing family (he and Cecile had five children) and peace for composing. The Frankfurt period fulfilled its mission, both by rehabilitating the composer’s strength and generating two major chamber music compositions: the String Quintet in B-flat Major and the Piano Trio No. 2 in C minor, which we’ll hear on this concert. Far less often performed than the ingratiatingly melodious First Piano Trio of 1839, the Second Piano Trio is actually the more original and adventurous work, especially in its first and final movements. So impressive is its finale that Johannes Brahms later used it as a model, complete with uplifting chorale melody, for his Piano Quartet in the same key of C minor. Performing the piano part himself, Mendelssohn introduced the Trio in Leipzig on December 20, 1845. The Allegro energico et fuoco first movement is propelled by the restless momentum of its opening theme: a series of churning arpeggios in the piano that swell quickly from pianissimo to forte. This is an idea built for development and for modulating away from the C-minor home tonality. Great lyrical melodist that he was, Mendelssohn did, however, add a lovely arching phrase for the violin and cello that
slightly moderates this theme’s agitation. And the second theme offers a far more expansive melody, also in an arching shape and sung warmly by violin and cello.
majestic reappearances as Mendelssohn conjures up an entire orchestra with just three instruments.
Since the restless arpeggio theme receives plenty of development during the exposition, the true development section, which is fairly brief, is largely devoted to exploring the harmonic possibilities of the second theme. Finally, a magnificent closing coda achieves Brahmsian power with the brilliance of the piano part dominating the quasi-orchestral textures. And here the second theme, now in the minor mode, makes a final, wistful appearance in the strings.
String Quartet in E-flat major, Op. 74, “Harp” LUDWIG VAN BEETHOVEN
In E-flat Major, the second movement rocks gently like a lullaby. The piano initially presents the tranquil theme, but when the violin and cello enter, they quickly take over the melodic leadership, relegating the piano to an accompanimental role. This is a “song without words” for soprano and tenor duet, and it challenges the players to capture its sweetness without slipping into sentimentality. The G-minor third movement is one of the best and most high-spirited of Mendelssohn’s patented “fairy scherzos”; at a Molto allegro quasi presto tempo, the composer admitted it is “a trifle nasty to play.” Violin followed by cello in close canon initiate its breakneck rush of fast notes, which are carried on by at least one instrument through virtually every measure. The middle trio section switches to G Major for a more robust, earthbound peasant dance. The scherzo’s reprise incorporates a bit of the trio music before everything evaporates in pizzicato bubbles. In a large-scaled rondo form, the Allegro appassionato finale boasts three strongly contrasted ideas. First comes the main theme: a scampering, rather frivolous tune opening with a striking leap, which is introduced by the cello and violin. It is succeeded by a richly lyrical theme for all three instruments. And, finally, the piano offers the third theme: a noble chorale melody intoned in solemn chords with the strings’ interjections of the scampering theme providing a provocative contrast. For the movement’s closing coda, the music swings from C minor to C Major and a grand return of the chorale, inflated with massive chords and keyboard octaves. Similarly beefed up, the other two themes also make
The year 1809 was a dark time for the city of Vienna and for its most famous musical citizen, Beethoven. In May, the French army under Napoleon invaded the city for the second time in the Napoleonic Wars. The Royal Family, including Beethoven’s friend and patron, the Archduke Rudolf, fled the city. After two days of heavy artillery bombardment, Vienna fell to the French, who occupied it for the next five months. There were severe hardships for all the Viennese during this period, and concert life essentially dried up. Michael Steinberg has vividly described Beethoven’s experience during the bombardment. “On the worst night of all, Beethoven picked his way through the broken glass, the collapsed masonry, the fires, the din, to find refuge in the cellar of his friend, the poet Castelli. There he covered his head with pillows in the hope of protecting the remaining shreds of his hearing.” In July, after the hostilities had ended, he wrote his publisher that he had been unable to create musical ideas or concentrate at all since May. But somehow Beethoven summoned up his iron determination and began working again, completing in the next several months three masterpieces in different genres. They included the ironically named (but not by Beethoven) “Emperor” Piano Concerto; the programmatic “Les Adieux” Piano Sonata, written to describe his sorrow over Archduke Rudolf’s absence; and the beautiful, subtle “String Quartet in E-flat, opus 74,” that we’ll hear tonight. Interestingly, all these works are in the key of E-flat Major: the key Beethoven had used so impressively in his earlier “Eroica” Symphony. Written during the summer and fall of 1809, the Quartet was dedicated to Prince Lobkowitz, who along with Rudolf and Prince Kinsky, had pledged an annual stipend to the composer at the beginning of the year. It was first performed in Prince Lobkowitz’s palace shortly after completion.
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This Quartet is one of the most rarely performed of Beethoven’s mighty sixteen, but it shouldn’t be. Though it breaks no radical new ground for the quartet medium, it is one of his loveliest and most assured, full of surprising events and sonorities. It is known as the “Harp” Quartet because of its unprecedented emphasis on plucked or pizzicato strings, mimicking the sound of a harp. Pizzicato playing became standard practice in later 19th and 20th century music, but in 1809, it was very sparingly used. Beethoven employed it as a special sound world that infiltrates key moments throughout the first movement. Steinberg calls the sonata-form first movement “a fascinating mixture of the demure and the unpredictable.” It begins softly with a slow introduction launched by a four-note motive that sounds like a question. The fact that it pauses on a D-flat that does not belong to the key of E-flat intensifies that ambiguity. In fact, it’s not clear what key we’re in until the Allegro section begins. This is a combination of brusquely emphatic chords and the mysterious lyricism previewed in the slow introduction. Its most stunning element is the lovely, rising pizzicato lines that shimmer midway through. After the exposition section repeats, the development meshes mysterious vagueness with bold assertions. At its conclusion, the pizzicato lines return and intensify excitingly to bring back the recapitulation. Most dazzling of all is the movement’s closing coda, in which the first violin takes off on a spectacular solo flight over gentle pizzicato pattering in the lower instruments. The rogue D-flat that was so prominent an intrusion in the first movement now finds a legitimate home in the A-flat Major key of the second movement. The form of this bittersweet slow movement is a hybrid of a theme and variations with a rondo, in which a recurring melody is separated by contrasting episodes. A beautiful, consoling theme led by first violin makes three appearances, beginning high in its range and then on each return dropping an octave until it sounds like a maternal viola. The first episode darkens to minor and is more disturbed in spirit. The second features a duo between first violin and cello spinning a serene ascending melody. The coda brings this reverie to a delicate, perfect close. 22
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In the third movement, Beethoven shatters this contemplative mood with one of his most boisterous scherzos in the key of C minor. Its rhythm sounds vaguely familiar: in fact, it is a very sped-up version of the dada-da-dum motive of the Fifth Symphony! The C-Major trio section is a frenzy of scales tossed from one instrument to another. The final return of the scherzo music is reduced to a conspiratorial whisper before transitioning directly into the finale. This last movement is a theme with six variations. The theme has an odd, slippery rhythm: as Steinberg points out, it always stresses the weak or up beat of its 2/4 meter rather than the stronger down beat. The sequence of variations lines up neatly: the odd-numbered ones are active and vigorous while the even ones are calm and lyrical. However, the sixth variation, while still soft, is considerably more energetic and leads us eventually to a brisk Allegro finish. Notes by Janet E. Bedell copyright 2018
STRENGTHENING STUDENTS’ SKILLS
Knowing that education is a process, Seth Green, ceramics professor, helps our summer students prepare for tomorrow by strengthening their skills today. Green shares his expertise by teaching the art of building ceramic kilns.
FIND WHAT DRIVES YOU
Laura Laudeman is a motivated student. A double major in theatre and education, with designs on being a teacher, she served as the president of the Student Theatre Organization. Laura Laudeman, maximizing her potential at Purdue Fort Wayne.
MAKING MUSIC FOR LIFE
The new Purdue Fort Wayne Sweetwater Music Center is where our students are now earning degrees in popular music and music industry. A world-class facility, committed faculty, and interaction with Sweetwater music pros—it’s music to students’ ears.
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The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, OCTOBER 27, 2018 | 7:30 P.M. | EMBASSY THEATRE
THE RACH 2 Sponsored by the O’Malley Charitable Fund Andrew Constantine, conductor Lise de la Salle, piano STRAUSS Don Juan, Op. 20 STRAUSS Suite from Der Rosenkavalier, Op. 59 -- INTERMISSION -RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 Moderato Adagio sostenuto Allegro scherzando Lise de la Salle, piano Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, November 8, at 7:00 p.m.
Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation
The O’Malley Charitable Fund
Encore Lounge sponsored by:
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THE RACH 2
PROGRAM NOTES | October 27, 2018 Don Juan, Op. 20 RICHARD STRAUSS (b. 1864, Munich, Bavaria; d. 1949, Garmisch-Partenkirchen, West Germany) On November 11, 1888, Richard Strauss, age 24, premiered his tone poem Don Juan with the Weimar court orchestra. With its opening upward vault by the strings, Strauss catapulted himself into world fame. And as the Don finally gasped his last breath over shuddering violas, the astonished audience realized it had never heard an orchestra sound like this before or been so swept up in a musical drama without benefit of costumes or sets. The legend of this insatiable lover had inspired many other significant works, including Mozart’s immortal Don Giovanni. As an attractive young man about town, Strauss had cut his own Juanian capers, but, just before writing Don Juan, he had fallen hard for the soprano Pauline de Ahna, eventually to become his wife. With love coursing through his veins, he turned to Nikolaus von Lehnau’s unfinished verse drama (published posthumously in 1851), which explored the psychological roots of the erotic life force that drove the Don. Strauss prefaced his score with quotations from Lenau’s poem. Describing his passion for living each moment to the fullest, the Don says (in Donald Francis Tovey’s somewhat antiquated prose translation): “Fain would I run the circle, immeasurably wide, of beautiful women’s manifold charms, in full tempest of enjoyment, to die of a kiss at the mouth of the last one.” Late in the poem, when his appetite for life has changed into disgust and a longing for death: “Beautiful was the storm that urged me on; it has spent its rage, and silence now remains. … Perhaps a thunderbolt from the heights … struck fatally at my power of love, and suddenly my world became a desert and darkened. And perhaps not — the fuel is all consumed and the hearth is cold and dark.” The trajectory outlined by these two quotations is the substance of Strauss’ tone poem. Don Juan’s impetuous spirit is immediately introduced by the full-orchestra explosion that opens the work and the virile 26
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leaping theme for the violins that follows. After this subsides, the solo violin ushers in the first of two love episodes. This boasts an ardent, luxuriant theme for the strings: music of a sensuous passion inspired by Wagner’s Tristan und Isolde. After another burst of his opening theme, the Don takes off to seek new loves. Cellos and violas introduce the second love episode, in which the solo oboe sings a haunting love song of genuine tenderness. But even this cannot detain the Don for long. The horns call out a heroic new theme, as he rushes off to a masked ball, glittering with glockenspiel. At the height of the festivities, the orchestra suddenly plunges into a dark abyss. Don Juan’s zest for life has vanished. With a huge effort, he summons his energies again in a recapitulation of his violin and horn themes. But as he fights a duel, the will to live expires in a musical pause. Over shuddering strings, his opponent runs him through. Only “silence now remains.” Suite from Der Rosenkavalier, Op. 59 RICHARD STRAUSS Having devoted his early career to the composition of tone poems, in middle age Richard Strauss moved on to the most dramatic musical form of all — opera. Of his 15 operas, the most popular and, in the opinion of many critics, the finest is Der Rosenkavalier, his bittersweet comedy set in 18th-century Vienna. With a libretto by the Austrian poet Hugo von Hofmannsthal, it tells the story of a love triangle involving different generations: two women — one, mature and the other, only a teenager — vying for the love of one young man. The older woman is the Marschallin Maria Theresa: a beautiful, married aristocrat who is carrying on an affair with the 17-yearold Octavian, Count Rofrano. (Because he personally disliked the tenor voice, Strauss cast Octavian as a mezzo-soprano, making it a female “trouser role” like Cherubino in Mozart’s The Marriage of Figaro.) When the Marschallin’s cousin, the boorish country bumpkin Baron Ochs von Lerchenau, arrives with the news he is wooing the teenaged Sophie von Faninal and needs a young man
to present a silver rose to her as a token of his love (the old Viennese aristocratic ceremony of the “Rose Cavalier”), the Marschallin proposes Octavian as rosebearer, half knowing she may thereby lose him to an attractive woman his own age. And indeed, the story unfolds as she suspected: Sophie and Octavian are instantly smitten with each other during the rose presentation ceremony; Ochs’ crude wooing throws Sophie into Octavian’s arms; and, after various comic episodes, Ochs admits defeat, and the Marschallin gracefully surrenders Octavian to Sophie. Ever since its premiere in 1911, this opera has entranced audiences with its soaring ensembles for its three female (Octavian included here) leads, its comic sparkle, and especially its anachronistic (the waltz hardly existed in the 18th century) but gloriously Viennese waltzes. The concert suite we’ll hear is a potpourri of its greatest melodies pulled together by an unknown arranger with the elderly Strauss’ blessing in 1945, when World War II had left him in desperate financial straits. In it, we will hear: from Act I the ardent prelude that opens the opera, in which the Marschallin and Octavian are discovered in bed together; the Act II “Rose Presentation Scene,” with its high cascading motive shimmering in celesta, harps, flutes, and strings and including the enraptured duet in which Octavian and Sophie first express their mutual attraction; also from Act II, Baron Ochs’ sentimental waltz “Mit mir” (the most famous of Rosenkavalier’s waltzes) as well as his more boisterous waltz proclaiming the “Luck of the Lerchenaus”; the glorious Act III trio in which the Marschallin tenderly renounces her claims to Octavian and gives him to Sophie; and the charmingly naive duet for the young lovers that closes the opera. Finally, though Baron Ochs loses in the opera, he gets the last word in the Suite with a reprise of his exuberant waltz boasting of the “Luck of the Lerchenaus.”
Piano Concerto No. 2 in C minor, Op. 18 SERGEI RACHMANINOFF (b. 1873, Oneg, Russia; d. 1943, Beverly Hills, California) Composers have dedicated their works to many different sorts of people: royal patrons, family members, soloists, conductors. But, to the best of this writer’s knowledge, only one work has been dedicated to the composer’s psychiatrist: Rachmaninoff’s Second Piano Concerto to Dr. Nikolai Dahl, who, by freeing Rachmaninoff of his creative block, had made this work possible. In 1897, Rachmaninoff’s First Symphony — a work in which he had great faith — was given a dreadfully inept premiere in St. Petersburg. Unable to separate a promising new work from a bad performance, the critics gave the sensitive 23-year-old composer reviews that would devastate even a more seasoned artist. The older composer César Cui wrote: “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the ‘Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell.” Rachmaninoff withdrew the symphony and would never let it be performed again. He sank into a deep depression. Despite a standing commission from the London Philharmonic to write a piano concerto, for several years he created almost nothing. Dr. Nikolai Dahl was an internist who dabbled in the infant practice of psychiatry, including hypnosis. He was also a gifted amateur viola and cello player. In March 1900, Rachmaninoff’s relatives brought the composer to Dr. Dahl, who put him into a light trance during which he repeated over and over: “You will begin your concerto — You will work with great facility — The concerto will be excellent.” Over several sessions, this mantra, combined with sympathetic talk with a wise and cultivated man, produced a cure. By summer, Rachmaninoff’s creative juices were pouring into the new concerto, which was completed the following spring. Premiered by Rachmaninoff with the Moscow Philharmonic on October 24, 1901, its immediate success has never faded. The first movement’s opening is one of the most justly famous in the repertoire: a series
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of nine chords in the piano, underpinned by the tolling of a deep F, that crescendos from pianissimo to fortissimo and leads directly into the first theme, played low in the strings and clarinets. Surely this is an evocation of the great bells of Russian churches, which fascinated Rachmaninoff from his childhood and inspired many stunning moments in his music. Also influenced by Russian Orthodoxy is the melancholy principal theme, which moves chant like within a narrow range. The piano introduces the even lovelier second theme, pure Rachmaninoff and full of romantic yearning. After a brief development section (announced by a brass fanfare) featuring both themes, the chant theme returns in the strings, but now with the piano providing an incisive march tread beneath. A quiet prelude by muted strings opens the slow movement and moves the tonality from C minor to a very distant E Major. The movement’s main theme is oddly introduced: over a piano arpeggio a solo flute presents a little phrase that turns out
to be the theme’s ending. Then the solo clarinet offers the theme proper: a subdued, repetitive tune that will only find passionate release when the piano takes it on late in the movement. Rachmaninoff saves his loveliest music for the close: the woodwinds singing birdcalls mesh magically with the piano while the violins complete the melody. Another bridge prelude opens the finale. Here in the midst of much bold, aggressive music comes a surprise: the marvelous soaring melody, first heard in the plangent tones of solo oboe and viola, for which this concerto is so beloved. This tune almost lost its dignity forever when Tin Pan Alley highjacked it in the 1940s for the sentimental love song “Full Moon and Empty Arms.” The work closes with one last sweeping statement by full orchestra and soloist of the big tune, then hustles to an exciting finish. Notes by Janet E. Bedell copyright 2018
HOLIDAY POPS December 7, 8 & 15 | Embassy Theatre
Sweetwater Pops Series
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LISE DE LA SALLE, PIANO
Through her acclaimed international concert appearances and her award-winning Naïve recordings, Lise de la Salle has established a reputation as one of today’s most exciting young artists and as a musician of uncommon sensibility and maturity. Her playing inspired a Washington Post critic to write, “For much of the concert, the audience had to remember to breathe... the exhilaration didn’t let up for a second until her hands came off the keyboard.” A native of France, Ms. de la Salle first came to international attention in 2005, at the age of 16, with a Bach/Liszt recording that Gramophone Magazine selected as “Recording of the Month.” Ms. de la Salle, who records for the Naïve label, was then similarly recognized in 2008 for her recording of the first concertos of Liszt, Prokofiev, and Shostakovich – a remarkable feat for someone only 20 years old. Recent recordings offer works of Schumann and the Complete Works of Rachmaninoff for Piano and Orchestra with Fabio Luisi and the Philharmonia Zurich. Lise de la Salle has played with many of the world’s leading orchestras and conductors. She made her London Symphony Orchestra debut with Fabio Luisi and in 2016 returned to the orchestra with Antonio Pappano. Luisi, who invited her to become the first Artist-in-Residence of the Zurich Opera in 2014, has also frequently featured Ms. de la Salle with the Vienna Symphony, including a performance in New York on the Great Performers Series at Lincoln Center. In the U.S., Ms. de la Salle has played with the Boston Symphony, Chicago Symphony, San Francisco Symphony, Philadelphia Orchestra, National Symphony, and four times with the Los Angeles Philharmonic, among others. Following triumphs in 2017-18 with Luisi and the Dallas Symphony and a six-week recital tour of the U.S., Ms. de la Salle’s coming seasons include appearances with the Atlanta, Austin, Detroit, Ft. Wayne, Quebec, Rogue Valley, and Wichita (complete Rachmaninoff cycle) Symphonies. She will be heard in recital in Aspen, Atlanta, Ashland, and New Jersey and will also be a guest artist with the Chamber Music Society of Lincoln Center. Her critically acclaimed Naïve CDs include an all-Chopin disc with a live recording of the Piano Concerto 2, Op. 21 with Fabio Luisi conducting the Staatskapelle Dresden, and the Four Ballades. In May 2011, Naïve issued her sixth recording, released in celebration of Liszt’s Bicentennial. The recording includes both original Liszt compositions, such as the Ballade No. 2 in b minor, Funerailles, and the Dante Sonata, as well as Liszt’s transcriptions of others’ pieces, such as Mozart’s Lacrymosa and Schubert’s Ständchen. Diapason Magazine named the album the “Diapason D’or,” and it was the “Editor’s Choice” in Gramophone Magazine, which stated that “...the wonderfully gifted 23-year-old Lise de la Salle gives us a Liszt recital of astonishing strength, poetry, and, for one so young, musical maturity.” Born in Cherbourg, France in 1988, Ms. de la Salle was surrounded by music from her earliest childhood. She began studying the piano at the age of four and gave her first concert at nine in a live broadcast on Radio-France. When she was eleven, Ms. de la Salle received special permission to enter the Paris Conservatoire Supérieur de Musique to study with Pierre Réach. At 13, she made her concerto debut with Beethoven’s Piano Concerto No. 2 in Avignon, and her Paris recital debut at the Louvre before going on tour with the Orchestre National d’Ile de France playing Haydn’s Concerto in D Major. Ms. de la Salle graduated in 2001 and subsequently enrolled in the postgraduate cycle with Bruno Rigutto. Since 1997, she has worked closely with Pascal Nemirovski and studied with Genevieve Joy-Dutilleux. Ms. de la Salle also takes pleasure in educational outreach and conducts master classes in many of the cities in which she performs including Fort Wayne at PFW Rhinehart Music Center.
For more information, please visit www.lisedelasalle.com. PRELUDE 29
“LET THE MUSIC LIVE FOREVER!”
Are you looking to make a lasting impact that could help guarantee the vibrant future of live symphonic music in Northeast Indiana for generations to come? Orchestrate your legacy with a planned gift to the Fort Wayne Philharmonic.
Since its earliest days, the Fort Wayne Philharmonic has depended on planned and deferred gifts to help sustain extraordinary artistry, a stellar array of musical programming and invaluable music education resources to our community. A properly designed planned gift may enable you to: • Provide a meaningful and lasting investment in the arts and in our community • Ensure that your assets benefit the people and charities of your choice • Substantially decrease income and estate tax obligations, while maximizing the amount provided to your heirs through thoughtful tax planning If you believe that the Fort Wayne Philharmonic enriches the quality of life in Northeast Indiana, then a planned gift can become your ultimate commitment of support and enthusiastic love to the Philharmonic. In appreciation of your generosity and vision, you will become a member of the Laureate Club. With your permission, you will be acknowledged in the Philharmonic’s Prelude program books. Should you wish to remain anonymous, we will acknowledge your gift privately. There is no minimum gift to become a member of the Laureate Club; simply inform us that you have named the Philharmonic as the beneficiary of a bequest in your will.
We are happy to meet with you and your financial advisor to discuss your plans and charitable goals. Contact the Development Office at 260.481.0775 or by email at info@fwphil.org to find out more information.
“Nothing Can Be Said To Be Certain, Except Death and Taxes.” -
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.
Benjamin Franklin
We believe in supporting the arts. Every step of the way.
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lakecitybank.com
STAR Family Series SUNDAY, OCTOBER 28, 2018 | 2:00 P.M. | RHINEHART MUSIC CENTER, PFW
HALLOWEEN SPOOKTACULAR
Sponsored by Wirco, Inc., with additional support from Indiana Michigan Power Caleb Young, conductor Fort Wayne Ballet, Karen Gibbons Brown, Artistic Director WILLIAMS Devil’s Dance from Witches of Eastwick BACH (Orch. Stokowski) Toccata and Fugue in D minor, BWV 565 SAINT-SAËNS Danse macabre, Op. 40 WILLIAMS Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone GRIEG March of the Dwarfs from Lyric Suite, Op. 54 Fort Wayne Ballet FALLA (Orch. Ryden) Ritual Fire Dance from El amor brujo Fort Wayne Ballet OFFENBACH Overture to Orpheus in the Underworld Fort Wayne Ballet
Many thanks to the generous supporters of this event:
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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,” identified Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. In 2016, she received the Lifetime Achievement Award from Arts United. The Fort Wayne Ballet 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. Fort Wayne Ballet’s performance season consists of three mainstage performances at the Arts United Center, three family series performances in the Fort Wayne Ballet studios, and two performances featuring the professional company and their own choreography. Performances range from the traditional classics such as Romeo and Juliet, Swan Lake and The Nutcracker to contemporary works from renowned choreographers such as José Limon, Edward Stierle and Gerald Arpino. This season, Fort Wayne Ballet continues its collaboration with the Philharmonic in four performances of a full-scale production of Cinderella in March 2019. 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.
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Sparks fly in support of the Fort Wayne Philharmonic!
HEAT RESISTANT FABRICATIONS & CASTINGS www.wirco.com
PRELUDE 35
Online @WBOI.ORG Download t he WBOI Mobile App
UPCOMING WITH THE FORT WAYNE PHILHARMONIC
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260.481.0777 | FWPHIL.ORG
PETROUCHKA January 12
AN EVENING WITH JAKE SHIMABUKURO January 26
BIZET’S CARMEN February 2
THE SOUNDS OF SIMON AND GARFUNKEL February 16
OCTOBER/NOVEMBER
Youth Orchestras SUNDAY, OCTOBER 28, 2018 | 5:30 P.M. | RHINEHART MUSIC CENTER, PFW
NEW BEGINNINGS: REFLECTIONS OF WAR AND PEACE Troy Webdell, conductor FORT WAYNE PHILHARMONIC JUNIOR STRINGS ENSEMBLE ALBERT WANG Lijiang River Landscape ANTONIO VIVALDI Sinfonia Alla Rustica FORT WAYNE PHILHARMONIC YOUTH SYMPHONY ORCHESTRA GUSTAV HOLST Mars, the Bringer of War from The Planets OTTORINO RESPIGHI The Adoration of the Magi from Trittico Botticelliano WITOLD LUTOSLAWSKI Mala Suita OTTORINO RESPIGHI The Pines of the Appian Way from The Pines of Rome LOUIS J. F. HEROLD Zampa Overture
Many thanks to the generous supporters of this event: Dekko Foundation
Rea Charitable Trust
FORT WAYNE PHILHARMONIC FRIENDS
PRELUDE 37
TROY WEBDELL, DIRECTOR OF YOUTH ORCHESTRAS
American born and trained, Maestro Troy Webdell has enthralled audiences for years with his ability to connect people through the language of music. His innovative programming and balance between contemporary music, world music and the standard orchestral repertoire has created a welcomed niche in the world of classical music. As an advocate of new music, Webdell has conducted the American and world premieres of numerous works by composers including Anton Garcia Abril, Roxanna Panufnik, Alan Hovhaness, Michael Schelle, Miho Sasaki, Halim El Dabh, Ana Milosavljevic, David DeBoor Canfield, Rudolph Dolmetsch, and Max Lee. Webdell is the founder and conductor of South Shore Orchestra, a regional orchestra located in Valparaiso, Indiana. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus with SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renowned concert halls in over 40 cities including Beijing, Hangzhou, Shanghai, Nanjing, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, and Hong Kong where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia, which also featured the world premiere of Xiao He’s Long Song. Additionally, Webdell has earned awards for his orchestral conducting in the USA, in the genre of musical theatre, receiving outstanding musical/orchestral direction awards for productions of Sweeney Todd: The Demon Barber of Fleet Street and Man of La Mancha. Maestro Webdell’s dedication to music education and his commitment to engage students of all ages into the fabric of music has been evident for over 20 years teaching band and orchestra students in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students have consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China. Webdell has also been a collaborator in developing El Sistema based youth orchestras, interactive educational symphony concerts, scholarships for college-bound students, and “Unity Event” concerts featuring over 300 community chorus and orchestra musicians. As a clinician and guest speaker, Webdell has presented clinics at the International Music and Confucianism Symposium (USA) and at the Indiana Music Educators Association (IMEA) Festivals and State Conventions including an instrumental conducting clinic entitled “Conducting Young Musicians Expressively,” and a music composition clinic entitled “Composing Kids!” In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music.
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YOUTH SYMPHONY ORCHESTRA | TROY WEBDELL, CONDUCTOR 1st VIOLIN Mishael Paraiso, Concertmaster* Miranda Bartz, Asst. Concertmaster* Mikhayla Palicte Trinity Forish Jessica Zhou Kennon Nicholson Lucas Valcarcel Court Wagner Daniel Liu
BASS Graydon Brath, Principal* Henri Spoelhof Preston Reeves
2nd VIOLIN Lydia Bingamon, Principal* Karissa Brath, Asst. Principal* Juliette Mikautadze Alisha Babu Kyra Waymeister Yebin Jeong Isabel Carrillo Ella Hildebrand
OBOE Jackson Brummett, Principal (+Eng. Hn) Laurel Morton, Asst. Principal Andy Deng
VIOLA Olivia Creech, Principal* Lawrance McDowell, Asst. Principal* Dillon Jackson Amir Pierre-Louis CELLO Alex Moss, Principal* Shaan Patel, Asst. Principal* Destiny Seelig Maria Tan Edward Sun Daniel Gruber Eamonn Keane Niki Babu Maya Racz
FLUTE/Piccolo Alyssa Parr, Principal Chloe Morton, Asst. Principal Jessel Mehta Sara DeLong
CLARINET Isaac Bailey, Principal Ian Trout, Asst. Principal Mallory Neebes Marlena Haefner (+Bass Clarinet) Yehyun Song BASSOON Ashley Plummer, Principal Ben Morton Connor Rybka FRENCH HORN Maiah Deogracias, Principal Megan Merz, Asst. Principal Grayson Welch Hannah Offhaus Shawn Knapp Preston Brent Noah Haefner
TRUMPET Faith Allison, Principal Sam Parnin, Asst. Principal Henry Wellman Liam Row Anna Hildebrand TROMBONE Andrew Schroeder, Principal Aaron Kreie, Asst. Principal Joshua Walz Noah Jeong TUBA Joshua Vandre, Principal PERCUSSION Hailey Sandquist, Principal Caleb Walz Andrew Schweyer PIANO Kevin Wang, Principal HARP Jaedyn Haverstock, Principal *Denotes Chamber Strings Musicians
JUNIOR STRINGS ENSEMBLE 1st VIOLIN Jessica Tian, Concertmaster Alexis Deam, Asst. Concertmaster Kylie Delagrange Frankie Cai
2nd VIOLIN Kaitlyn Jones, Principal Lillian Sorg, Asst. Principal Lucy Gutman Andrew Habig Dontel Glaspy
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Sweetwater Pops Series SATURDAY, NOVEMBER 3, 2018 | 7:30 P.M. | EMBASSY THEATRE
DISNEY’S FANTASIA LIVE IN CONCERT Caleb Young, conductor BEETHOVEN Opening from Symphony No. 5 in C minor, Op. 67 BEETHOVEN Selections from Symphony No. 6 in F major, Op. 68, Pastorale TCHAIKOVSKY Selections from Nutcracker, Op. 71 DEBUSSY Claire De Lune STRAVINSKY Selections from The Firebird -- INTERMISSION -PONCHIELLI Dance of the Hours (Danza delle ore) from La Gioconda DUKAS L’apprenti sorcier (The Sorcerer’s Apprentice) ELGAR Pomp and Circumstance: No. 1, D major RESPIGHI Selections from Pines of Rome, P. 141
Presentation licensed by Disney Concerts © All rights reserved
Many thanks to the generous supporters of this event:
Chuck & Lisa Surack
PRELUDE 41
The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, NOVEMBER 10, 2018 | 7:30 P.M. | EMBASSY THEATRE
BRITTEN’S WAR REQUEIM
Sponsored by the Donald F. Wood and Darlene M. Richardson Foundation Andrew Constantine, conductor Twyla Robinson, soprano; Thomas Cooley, tenor; Daniel Scofield, baritone Fort Wayne Philharmonic Chorus, Benjamin Rivera, director PFW University Singers, Vaughn Roste, Director of Choral Studies Fort Wayne Children’s Choir, Jonathan Busarow, director Battle Creek Community Chorus, Clayton Parr, director BRITTEN War Requiem, Op. 66 I. Requiem aeternum II. Dies irae III. Offertorium IV. Sanctus V. Agnus Dei VI. Libera me Concert is presented without intermission. Fort Wayne Philharmonic Chorus Roster page 72, and Benjamin Rivera Biography on page 69.
Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, November 22, at 7:00 p.m.
Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation
The Donald F. Wood and Darlene M. Richardson Foundation
Encore Lounge sponsored by:
PRELUDE 43
BRITTEN’S WAR REQUEIM
TEXTS AND TRANSLATIONS | November 10, 2018 WAR REQUIEM, OP. 66 Benjamin Britten (1913-1976) Words from the Missa pro Defuntis and the poems of Wilfred Owen I Requiem aeternam CHORUS Requiem aeternam dona eis Domine, et lux perpetua luceat eis
Rest eternal grant them, Lord; and may everlasting light shine upon them.
TREBLE CHOIR Te decet hymnus, Deus in Sion; et tibi reddetur votum in Jerusalem; exaudi orationem meam, ad te omnis caro veniet
Songs of praise are due to Thee, God, in Zion; and prayers offered up to Thee in Jerusalem; hear my prayer, all flesh shall come to Thee.
TENOR SOLO What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs, – The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. [‘Anthem for Doomed Youth’] CHORUS Kyrie eleison Christe eleison Kyrie eleison
Lord have mercy, Christ have mercy, Lord have mercy.
II Dies irae
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CHORUS Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.
Day of anger, that day, Shall dissolve this generation into ashes, With David and the Sibyl as witness.
Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum.
How much quaking there will be, When the Judge will come, To weigh all things strictly. The trumpet pouring forth its awful sound Through the tombs of the lands Drives everyone before the throne.
OCTOBER/NOVEMBER
Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.
Death shall be stunned, and nature, When life shall rise again, To answer for itself before the Judge.
BARITONE SOLO Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept. [untitled] SOPRANO SOLO AND CHORUS Liber scriptus proferetur, A book inscribed shall be brought forth, In quo totum continetur In which all is contained, Unde mundus judicetur. From which the world shall be judged. Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.
When the Judge, therefore, shall sit, Whatever is concealed shall appear: Nothing unavenged shall remain.
Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?
What am I, a wretch, to say then? To whom as defender shall I entreat, Since the just man is scarcely safe?
Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.
King of fearful majesty, Who freely savest those who are to be saved, Save me, fountain of compassion.
TENOR AND BARITONE SOLOS Out there, we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland, – Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath, – Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorussed when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death – for life; not men – for flags. [‘The Next War’] CHORUS Recordare Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Quaerens me, sedisti lassus: Redemisti crucem passus: Tantus labor non sit cassus.
Recall, kind Jesus, That I am the reason for your being: Lest Thou do away with me on that day. Searching for me, Thou didst sit exhausted: Thou hast redeemed me by suffering the cross: So much toil should not be in vain.
PRELUDE 45
Ingemisco, tamquam resu: Culpa rubet vultus meus: Supplicanti parce Deus.
I sigh, so great a sinner: Guilt reddens my face: Spare the supplicant, God.
Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.
Thou who hast forgiven Mary, And hast listened to the robber, And hast also given hope to me.
Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.
Set me down amongst the sheep, And remove me from the goats, Standing at Thy right hand.
Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis.
With the damned confounded, To the crackling flames consigned, Call me with your saints.
Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.
I pray, kneeling and supplicant, My heart worn away like ashes: Protect me at my ending.
BARITONE SOLO Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul! [from ‘Sonnet: On Seeing a Piece of Our Artillery Brought into Action’] CHORUS AND SOPRANO SOLO Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla.
Day of anger, that day, Shall dissolve this generation into ashes, With David and the Sybil as witness.
Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!
How much quaking there will be, When the Judge will come, To weigh all things strictly.
Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus, Huic ergo parce Deus.
That tearful day, On which shall arise again from the ashes, The sinner to be judged, Spare him accordingly, God.
TENOR SOLO Move him into the sun – Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Think how it wakes the seeds, – Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved – still warm – too hard to stir? Was it for this the clay grew tall? 46
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– O what made fatuous sunbeams toil To break earth’s sleep at all? [‘Futility’] CHORUS Pie Jesu Domine, dona eis requiem. Amen.
Kind Jesus, Lord grant them rest. Amen.
III Offertorium TREBLE CHOIR Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profondo lacu: libera eas de ore leonis, ne absorbeat eas tartarus ne cadant in obscurum.
Lord Jesus Christ, King of glory, free the souls of all the faithful dead from the tortures of hell, and from the bottomless pit: free them from the mouth of the lion, that hell may not swallow them up, nor may they fall into darkness.
CHORUS Sed signifier sanctus Michael repraesentet eas in lucem sanctam: quam olim Abrahae promisisti, et semini ejus.
But the holy standard-bearer Michael shall bring them back into the holy light: as Thou once didst promise to Abraham, and his offspring.
BARITONE AND TENOR SOLOS So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Issac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, – And half the seed of Europe, one by one. [‘The Parable of the Old Man and the Young’] TREBLE CHOIR Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam.
Sacrifices and prayers we offer to Thee, Lord, with praise: receive them for the souls of those whose memory we recall today: make them, Lord, to pass from death to life.
PRELUDE 47
IV Sanctus SOPRANO SOLO AND CHORUS Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra Gloria tua, Hosanna in excelsis.
Holy, holy, holy Lord God of Hosts. Full are heaven and earth with Thy glory. Hosanna in the highest.
Benedictus qui venit in nomine Domini. Hosanna in excelsis.
Blessed is he who comes in the name of the Lord. Hosanna in the highest.
BARITONE SOLO After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage? – Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: ‘My head hangs weighed with snow.’ And when I hearken to the Earth, she saith: ‘My fiery hear shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.’ [‘The End’] V Agnus Dei TENOR SOLO One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him. CHORUS Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God who takest away the sins of the world, grant them rest.
TENOR SOLO Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied. CHORUS Agnus Dei, qui tollis peccata mundi, dona eis requiem.
Lamb of God who takest away the sins of the world, grant them rest.
TENOR SOLO The scribes on all the people shove 48
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And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate. [‘At a Calvary near the Ancre’] CHORUS Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.
Lamb of God who takest away the sins of the world, grant them rest everlasting.
TENOR SOLO Dona nobis pacem.
Grant us peace.
VI Libera me CHORUS AND SOPRANO SOLO Libera me, Domine, de morte aeterna, in die illa tremenda: Quando coeli movendi sunt et terra: Dun veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Libera me, Domine, de morte aterna, Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Libera me, Domine . . .
Free me, Lord, from eternal death, on that dreadful day. When the skies and ground shall quake: When Thou comest to judge our generation through fire. I am made to tremble, and am afraid, until the trial shall come, and the anger arrive. Free me, Lord, from eternal death, When the skies and ground shall quake. That day, day of anger of disaster and misery, a great day and intensely bitter. Free me, Lord . . .
TENOR SOLO It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. ‘Strange friend,’ I said, ‘here is no cause to mourn.’ BARITONE SOLO ‘None,’ said the other, ‘save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world. For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress,
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None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels, I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.’ TENOR AND BARITONE SOLOS ‘Let us sleep now . . .’ [‘Strange Meeting’] TREBLE CHOIR, CHORUS, AND SOPRANO SOLO In paradisum deducant te Angeli: To heaven may the Angels escort you; in tuo adventu suscipiant te Martyres, on your arrival may the Martyrs accept you, et perducant te and lead you in civitatem sanctam Jerusalem. to the sacred city Jerusalem. Chorus Angelorum te suscipiat, May the Choir of Angels receive you et cum Lazaro quondam paupere and with Lazarus, once a pauper, aeternam habeas requiem. may you have rest eternal. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Requiescant in pace. Amen.
Rest eternal grant them, Lord, and may everlasting light shine upon them. May they rest in peace. Amen.
BRITTEN’S WAR REQUIEM
PROGRAM NOTES | November 10, 2018 War Requiem, Op. 66 BENJAMIN BRITTEN (b. 1913, Lowestoft, England; d. 1976, Aldeburgh, England) On the night of November 14, 1940, German bombs rained down on Coventry, an industrial city near Birmingham in England’s Midlands. Aside from the great loss of life — most tragically many children evacuated for their “safety” from London — the chief catastrophe of that fiery night was the total destruction of Coventry’s prized medieval Cathedral of St. Michael. One of England’s symbolic acts of postwar recovery was the rebuilding of Coventry Cathedral. But, as many audience members may have seen for themselves in visits to the U.K., the new Cathedral — a bold contemporary structure designed by Sir Basil Spence and decorated by such prominent British artists as Graham Sutherland and Henry Moore — did not 50
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rise from the ashes of the old, but instead stands in haunting proximity to the original Cathedral’s blackened shell. The rebuilders had chosen to leave the memory of that terrible night in 1940 to be contemplated by generations to come. The leaders of Coventry also caused another powerful memorial to the devastation of two world wars to be created when they asked Benjamin Britten to write a work for the Cathedral’s rededication ceremonies on May 30, 1962. As England’s leading composer of the post-war period, Britten was the logical choice for such a commission. But beyond his undisputed musical gifts — especially his mastery of operatic and choral forms — he was a deeply committed pacifist and had been a conscientious objector throughout World War II. He saw the commission as a philosophical as well as a musical opportunity: a forum for expressing his profound convictions about the futility and
barbarism of all wars — even the so-called “Good War” of 1939–1945. Britten’s War Requiem is like no other musical requiem in that it combines the traditional liturgy of the Latin Mass for the Dead with the tough, unsentimental poetry of a man who was himself a victim of war. Wilfred Owen was an officer in the British Army during World War I and also a poet of rare quality. Convinced there was no glory in dying for one’s country, he wrote about what he really saw — the mud, the mangled bodies, the “green thick odour” of death — and what he really felt — that war was a meaningless waste, with men slaughtering other men whose lives and dreams were much like their own. Tragically, his eloquence was silenced by a bullet just weeks before the Armistice. He was 25. Britten, whose greatest works usually sprang from his remarkable literary sensibilities, chose portions of nine of Owen’s poems and set them in juxtaposition to the Requiem text in ways that are at times complementary, at others jarring. He assigned these texts to tenor and baritone soloists, accompanied by a chamber orchestra of 13 players. The Requiem portions were written for large adult chorus and orchestra with a soprano soloist. A third group, also associated with the liturgical text, is the children’s chorus, accompanied by organ. Writing with a cathedral acoustic in mind, Britten intended these three performing groups to be separated spatially so that they would make distinctly different aural impressions on the listener. Adding to the symbolic power of the War Requiem, Britten assigned the solo parts for the premiere to three singers representing countries recently or currently at enmity with each other: Soviet soprano Galina Vishnevskaya (replaced in Coventry when she couldn’t secure permission to leave the U.S.S.R. but used on the work’s first recording), British tenor (and longtime Britten companion) Peter Pears, and German baritone Dietrich Fischer-Dieskau (who had been a teenaged German soldier in the last years of the war). The 1962 premiere was one of the greatest moments in 20th-century musical history. And today, it remains well-nigh impossible to experience a performance of the War Requiem and not be moved.
Listening to the Music The opening “Requiem aeternam” movement begins as a dark, dirge-like processional punctuated by bells tolling the dissonant tritone: the interval that is the signature sound of the whole work, recurring in melodic patterns, harmonies, and key relationships. The tritone was known in Renaissance times as the “diabolus in musica” — “the devil in music” — so painful, even evil did it sound in our ancestors’ ears. Here it could stand for the specter of war: the “devil” in human life. After the sumptuousness of the large ensemble’s music, the first Owen poem, “Anthem for Doomed Youth,” sung by the tenor soloist, hits us like a cold, hard slap, with its ironic textual and musical commentary on the preceding Requiem material and its brittle, astringent chamber orchestration. Here the mood of corporate ceremony is shattered by the pain of the individual: the soldier who has watched his friends cut down one by one and asks bitterly, “What passing bells for these who die as cattle?” With its military bugle calls for brass and rolling percussion suggesting artillery barrages, the “Die Irae” is more a vision of mankind’s ferocity in war than God’s anger at the Judgment Day. This bellicose movement rings the rafters with its fortissimo brass fanfares and its repetitive pounding rhythms. The chamber orchestra miniaturizes these fanfares to open the second Owen poem, “Voices,” allotted to the baritone. A quiet interlude amid the “Dies Irae’s” fury, this song again draws the scale down to the personal: the emotions of soldiers on the eve of battle as they await their own “Day of Judgment.” Heavy dissonances in the strings and horn graphically portray their dread — almost the sound of stomachs turning over. The soprano soloist makes her entrance with the Requiem’s “Liber Scriptus” text; her wide-arching phrases sound oracular and superhuman as though she were the very voice of the Book of Judgment. The twisting lines of the chorus suggest humanity writing in terror before the judgment. Contrasting with this terror is the bravado of Owen’s “The Next War,” a tenor-baritone duet. Introduced by the snare drum, the soldiers boast of their friendly intimacy with death; virtuoso
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effects from woodwinds and two violins imitate the whine of bullets and scream of shells overhead. After this very macho duet comes the contrast of the women’s voices singing the Requiem’s “Recordare, Jesu pie” — a prayer for Jesus’s mercy — in silken fourpart harmony. Their grace is chopped off by the rhythmic violence of the choral basses’ “Confutatis maledictus,” punctuated by ferocious snaps from the low brass, like demonic jaws devouring the souls of the damned. The tenors’ swelling theme pleading for mercy (“Oro supplex”) combines with the bass theme to create a distorted sonic nightmare, leading directly into the pounding timpani of the next Owen poem. Britten set only six lines of Owen’s “Sonnet on Seeing a Piece of our Artillery Brought into Action” for the baritone soloist, but with them he paints an overpowering musical portrait of the monstrous gun using the singer’s ponderously elongated notes and the hard-stick accompaniment of the timpani. After the baritone crests to a tripleforte high note, we are again inundated by the “Dies Irae” music. Its fury spent, the “Dies Irae” collapses into the tender, melancholy “Lacrymosa” for soprano and chorus. Here an Owen poem, “Futility” set for the tenor, is virtually merged with the liturgical text. As the soprano sings of “the days of tears and mourning,” the tenor-soldier mourns his recently dead comrade in one of the War Requiem’s finest examples of Britten’s exquisitely sensitive text setting. The “Offertorium” opens with the distant, otherworldly voices of the children’s choir, surrounded by a halo of piled-up tritones and other dissonances on the organ. This is followed by one of the work’s most spectacular moments: Britten’s brilliant, fulldress choral fugue on the words “Quam olim Abrahae” (“As you promised to Abraham and his seed”), with its finger-snapping hemiola rhythms and trilling “look at me” flourishes from the orchestra. Working as a textual countersubject to the fugue is Owen’s bitter “The Parable of the Old Men and the Young,” in which the tenor and baritone retell the Old Testament story of Abraham and Isaac — this time without a happy ending. Abraham does not listen to 52
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the voice of God telling him to spare his son, but instead sacrifices him “and half the seed of Europe one by one.” The horror of this new version is intensified by barbaric sounds from the chamber orchestra’s percussion section. The children’s choir’s chaste singing of “Hostias et preces” casts ironic shadows on this unholy sacrifice. A quieter, more subdued version of the “Quam olim Abrahae” fugue closes the movement. The “Sanctus” and “Benedictus” are the War Requiem’s only wholly joyous and untroubled sections. Against a glittering panoply of percussion — vibraphone, glockenspiel, antique cymbals, bells, piano — the soprano declaims the “Holy, holy.” Then follows another Britten tour-deforce: a slow-building crescendo on the words “Pleni sunt coeli,” in which all the voices enter gradually, freely chanting the words and spanning all 12 pitches of the chromatic scale. Set against the staggered, shimmering entrances of the large orchestra’s instruments, this cumulative pile-up becomes an uncanny musical evocation of every living creature praising God. This explodes into an “Osanna” of thrilling power, but with its own militaristic overtones — like an aerial bombardment experienced from a safe distance. Owen’s poem “The End” bursts the bubble of this confident celebration. Here the baritone questions the Christian message of resurrection, the hope of life after death. Though Britten himself was a devout Christian, he doesn’t flinch from examining the troubling questions of faith vs. doubt. The tenor’s beautiful, hushed “At a Calvary near the Ancre” in turn offers the message of Christ’s suffering on the Cross and forgiveness of humankind, yet also fiercely condemns leaders who push their subjects into war. This poem actually takes the place of the Requiem’s “Agnus Dei.” The final movement, “Libera Me,” begins as a slow, dragging death march, dominated by drums; the music gradually accelerates in tempo, volume, and urgency as the soprano soloist enters. Chorus and soloist frantically cry out to God for salvation as the “Dies Irae” music returns in the orchestra. After the soprano’s hysterical high C, the whole movement collapses in on itself, dying away into isolated cries from the chorus as we tumble down from the battlefield into the subterranean world of “Strange Meeting.”
Despite its spare setting — tenor and baritone soloists over the barest accompaniment — this poem is the emotional climax and “message” of the War Requiem. The tenor-soldier meets in the baritone “the enemy you killed, my friend,” who tells him of what he has learned in death: “the truth untold/The pity of war, the pity war distilled.” In this moment of reconciliation, the two antagonists find that, now united in death, they are no longer enemies. As they unite their voices in “Let us sleep now,” the entire tripartite apparatus of the War Requiem locks together for the only time in the work for
a serene, drawn-out coda reminiscent of one of Britten’s favorite composers Gustav Mahler. But the serenity is broken by the “diabolus” — the dissonant tritone tolling in the bells — as the “Requiem aeternam” theme returns for the last time. Peace may reign for now, Britten seems to tell us, but man’s old devil — war — still lurks, ready to rage again. And in the words of Wilfred Owen, quoted by Britten on the score’s title page: “All a poet can do today is warn.” Notes by Janet E. Bedell copyright 2018
FORT WAYNE PHILHARMONIC ANNUAL FUND “I strongly believe that the Fort Wayne Philharmonic greatly enhances the quality of life in Northeast Indiana. For years, it has provided my family and me an opportunity to enjoy live classical music. The experience has brightened many dreary winter nights. I’m thankful for the continued commitment of the Fort Wayne Philharmonic to provide outstanding music to this region and I’m anxious to support your mission.” — Anonymous Donor and Subscriber
YOU MAKE GREAT MUSIC SOUND Like the notes of a symphony – each one important whether loud or soft, short or long – your gift at any level is appreciated and celebrated because it shows your love for music and the community. The Fort Wayne Philharmonic’s artistic, education, and community engagement programs are made possible by generous donors. Your generosity directly helps the Philharmonic maintain its place as a cultural treasure for this community.
CONTACT THE DEVELOPMENT OFFICE AT 260.481.0775 OR BY EMAIL AT INFO@FWPHIL.ORG FOR MORE INFORMATION ABOUT SUPPORTING THE 2019 ANNUAL FUND.
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TWYLA ROBINSON, SOPRANO
Twyla Robinson’s incisive musicianship, ravishing vocal beauty, and dramatic delivery have taken her to the leading concert halls and opera stages of Europe and North America. She has been heard in performance with the London Symphony Orchestra, New York Philharmonic, Berlin Staatskapelle, The Cleveland Orchestra, Philadelphia Orchestra, and Los Angeles Philharmonic, among others. She has worked with conductors including Christoph Eschenbach, Alan Gilbert, Bernard Haitink, Pierre Boulez, Franz Welser-Möst, Donald Runnicles, Yannick Nézet-Séguin, Esa-Pekka Salonen, Hans Graf and Michael Tilson Thomas. In the current season, Ms. Robinson performs Mahler’s Symphony No. 2 “Resurrection” in a return to the Portland Symphony in Maine and with the Memphis Symphony Orchestra. In Palermo, she sings Zemlinsky’s Lyric Symphony with the Teatro Massimo. She recently performed Brahms’ Ein deutsches Requiem with the Portland Symphony Orchestra, Sieglinde in Act I of Die Walküre with the Atlanta Symphony Orchestra, Mahler’s Symphony No. 4 with the Orchestra Sinfonica di Milano Giuseppe Verdi, and Claude Vivier’s Lonely Child with the Orchestre Philharmonique de Radio France. Additional recent performances for Ms. Robinson include her Opera Colorado debut as the Countess in Le nozze di Figaro, a performance of Mahler’s Symphony No. 8 “Symphony of a Thousand” with Jiří Bílohláek at the opening night of the BBC Proms, which was broadcast worldwide on BBC television. She made her Carnegie Hall debut with Robert Spano and the Atlanta Symphony in performances of Leoś Janáček’s Glagolitic Mass. Ms. Robinson made her debut with the New York Philharmonic in performances of Mendelssohn’s Elijah with Alan Gilbert and was heard in performance of Mahler’s Symphony No. 2 with Edo de Waart and the Milwaukee Symphony. She debuted with San Diego Opera as the Marschallin in Der Rosenkavalier, and returned to the National Symphony for performances of Zemlinsky’s Lyric Symphony with Christoph Eschenbach. Ms. Robinson opened the season with New Jersey Symphony Orchestra in performances of Beethoven’s Symphony No. 9 and was heard in Ein deutsches Requiem with David Robertson and the St. Louis Symphony. In the summer of 2011, she was heard in performances of Mahler’s Symphony No. 2 “Resurrection” with Robert Spano at the Aspen Music Festival. As an opera singer, Ms. Robinson has won particular acclaim for her portrayal of Mozart heroines. She has sung Donna Anna in Don Giovanni for New York City Opera and Florida Grand Opera, and, during the 2006–2007 season, sang Donna Elvira for San Francisco Opera, which was later broadcast in movie theaters throughout the United States. She has also been heard at Florida Grand Opera as Arminda in La finta giardiniera and as the Countess in Le nozze di Figaro, a role she repeated at New Orleans Opera and in concert for San Francisco Opera. Other roles include Fiordiligi in Così fan tutte and the title roles of Arabella and Susannah. Her recordings include Brahms’s Ein deutsches Requiem with the Atlanta Symphony Orchestra, Mahler’s Symphony No. 8 “Symphony of a Thousand” with Pierre Boulez and the Berlin Staatskappelle, Schubert’s Fierrabras with Franz Welser-Möst on DVD with EMI, and Strauss’ Elektra and Daphne with Semyon Bychkov and the West German Radio Orchestra on the Decca label.
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THOMAS COOLEY, TENOR
Thomas Cooley is a singer of great versatility, expressiveness, and virtuosity, in demand internationally for a wide range of repertoire in concert, opera, and chamber music. Thomas Cooley’s repertoire on the symphonic stage includes works such as Beethoven’s Missa Solemnis and Ninth Symphony, Berlioz’ Requiem, Nuits d’été, and L’enfance du Christ; Haydn’s Seasons; Britten’s War Requiem and Serenade; Stravinsky’s Les Noces; Mendelssohn’s Lobgesang and Elijah; Mozart’s Requiem; Elgar’s Dream of Gerontius; Rihm’s Deus Passus; Mahler’s Lied von der Erde; and Penderecki’s Credo. Recent concert highlights include the world premiere and recording of Christopher Theofanidis’ Creation/Creator with Atlanta Symphony, Kodály’s Psalmus Hungaricus, Bruckner’s Te Deum, and his first foray into Wagner with an excerpt from Parsifal with the St. Louis Symphony. He has collaborated with internationally prominent conductors including Helmuth Rilling, Donald Runnicles, Osmo Vänskä, Eji Oue, Lan Shui, Michael Tilson-Thomas, Wolfgang Sawallisch, Nicholas McGegan, Robert Spano, David Robertson, Markus Stenz, Carlo Rizzi, Franz Welser-Möst, Manfred Honneck, and Bernard Labadie. He performs regularly with major orchestras and festivals such as the Lincoln Center Mostly Mozart Festival; Atlanta (including an appearance at Carnegie Hall), St. Louis, Pittsburgh, Baltimore, National, Oregon, and Milwaukee Symphonies; the Minnesota Orchestra and St. Paul Chamber Orchestra; Orchestre Symphonique de Quebec; Coppenhagen Philharmonic; Bavarian Radio Symphony; the National Arts Center Orchestra of Ottawa; the Gewandhaus Orchestra Leipzig; and the Osaka Philharmonic. Particularly renowned for his agility and skill in Baroque music, Mr. Cooley is in demand as an interpreter of the works of Bach and Handel, most especially in the role of the Evangelist in Bach’s Passions and in the great oratorios of Handel. He appears regularly with such historically informed groups as Philharmonia Baroque Orchestra, Handel and Haydn Society, Music of the Baroque, Bethlehem Bach Choir, Akadamie für Alte Musik, Boston Baroque, the Carmel and Oregon Bach Festivals, Les Violons du Roy, and the Munich Bach Choir. Named Artist-in-Residence for the 2015-16 season at Music of the Baroque in Chicago, he performed Monteverdi’s Vespers of 1610, a program of Bach cantatas, and the title role in Handel’s Judas Maccabaeus.
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DANIEL SCOFIELD, BARITONE
Daniel Scofield, a native of Binghamton, NY, continues to garner acclaim for his performances of the baritone repertoire across the United States, including St Petersburg, San Jose, Santa Barbara, Los Angeles, and New York City. For his appearance in Rigoletto with Opera in the Heights, the Houston Press declared, “He’s the finest court jester I’ve seen in years.” Daniel joins Painted Sky Opera as Verdi’s tragic hunchback as part of their 18-19 season, St Petersburg Opera as Sharpless in an international cast of Madama Butterfly, Leporello with Opera Idaho, Haydn’s Creation with the Boise Baroque Orchestra, and Britten’s War Requiem with the Fort Wayne Philharmonic for the centennial observation of the end of World War 1, as well as orchestral concerts with the symphonies of Charlotte and Paducah. In August, Daniel was an artist with Sherrill Milnes’ Savannah Opera, where he sings excerpts from Otello and Macbeth under the tutelage of the renowned baritone. In the 2017-18 season, Mr. Scofield returned to the Phoenicia Festival of the Voice as Schaunard In La Bohème, after performances as Malatesta in Martha’s Vineyard with Opera at Featherstone. Other season engagements included Enrico in Lucia di Lammermoor with Pacific Opera Project, and Gideon Marsh in Little Women with Annapolis Opera; house debuts as the title role in Rigoletto with Gulfshore Opera, and Marcello in La Bohème with Opera San Antonio; and soloist in the Plano Symphony’s Carmina Burana. In the 2016-17 season, Mr. Scofield covered the Four Villains in Offenbach’s Les Contes d’Hoffmann for St. Petersburg Opera. Other season engagements include Montano in Otello with Phoenicia Festival of the Voice; Silvio with Cedar Rapids Opera Theater; and Masetto with the South Dakota Symphony. His engagements in the 2015-16 season included Schaunard in La Bohème with St Petersburg Opera; Ford in Falstaff; and Lord Henry Wotton in The Portrait of Dorian Grey with Opera Fayetteville. In season 2014-15, he reprised the role of Count Almaviva and Tonio in Le Nozze di Figaro and Pagliacci at Opera Columbus; debuted as Valentin with Tri-Cities Opera, and sang the title role in Rigoletto with Opera in the Heights. His 2013-14 season engagements included Enrico in Lucia di Lammermoor with the Southern Illinois Music Festival, also Masetto in Don Giovanni in his debut with Opera San Jose with the late Maestro George Cleve at the podium; other debuts that year included Santa Barbara in Falstaff, and Los Angeles as Count Almaviva with Pacific Opera Project. In 2012-13, he sang the antecedent title roles in Dead Man Walking with Opera Fayetteville and Die Fledermaus with Knoxville Opera, where he also sang Sonora in La Fanciulla del West, for Opera Idaho he performed Tonio in Pagliacci, and Sharpless for Loon Opera in Bemidji, Minnesota.
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VAUGHN ROSTE, DIRECTOR, PURDUE FORT WAYNE UNIVERSITY SINGERS
Vaughn Roste, Director of Choral Studies at Purdue University Fort Wayne, now has almost two decades of college teaching experience, including previous positions in Georgia, Oklahoma, Ohio, and Illinois. Canadian by birth, he holds four degrees, the most recent of which is a Doctor of Musical Arts in Choral Conducting from Louisiana State University. He has had six feature articles published in the Choral Journal as well as over two dozen other articles elsewhere; 2003 also saw the publication of his first monograph, entitled The Xenophobe’s Guide to the Canadians.
PURDUE FORT WAYNE UNIVERSITY SINGERS Dr. Vaughn Roste, Director of Choral Studies Dr. Geoffrey North, Rehearsal Accompanist Soprano Caitlyn Kahn Zoey Lippi Carol Morris Emily Scifres Brittany Sprunger Cassandra Stith Julia Bokern Dyllin Bolen Rochelle Faull Molly Rea * Sonia Rodriguez Sydne Zuber
Alto Madison Boyden Hannah Hobson Madison Magdziarz Anna Samels Katie Steckbeck Jenna Coleman Taylor Duncan Katie Justice Mary Landrigan * Anjelica Mojica Nicole Sewell
* denotes section leader FORT WAYNE PHILHARMONIC YOUTH ORCHESTRAS
Tenor Dorion Jones Sterling Lind Jimmy Mitchell * Braxton Matthews Bass Tylar Brockhouse Noah Davers Matthew Plavec Kaleb Robertson Corwin Daniels Tyler Doyle Ronan O’Connor Jared Stephens *
The Fort Wayne Philharmonic welcomes Troy Webdell as the new Director of its Youth Orchestras program. Open to all student musicians in the northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestra program auditions students throughout the year for vacant positions.
For more info or to schedule an audition, please contact Troy Webdell, Director of Youth Orchestras, at twebdell@fwphil.org or 260.481.0757 PRELUDE 57
JONATHAN BUSAROW, FORT WAYNE CHILDREN’S CHOIR ARTISTIC DIRECTOR
Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir. He holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and Kodály Certification from the Kodály Institute at Capital University. Mr. Busarow also serves on the faculty of Purdue University Fort Wayne where he teaches voice and choral music education. He has also served as the interim director of choral studies at Purdue Fort Wayne and Valparaiso University. Mr. Busarow serves as the choir director at Emanuel Lutheran Church in New Haven, IN. Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association National and Regional Conferences, the Association of Lutheran Church Musicians, the Indiana Music Educators Association Convention, and the Bach Institute at Valparaiso University. Mr. Busarow serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference. In 2015, he received the Arts United Award as the Emerging Leader. He lives in Fort Wayne with his family, Nicole, Simon, and Matthias.
FORT WAYNE CHILDREN’S CHOIR YOUTH CHORALE Jonathan Busarow, director Abby Ayers Quinn Barlow Zoe Berkes Lydia Bingamon Tatihana Black Marissa Butcher Claire Cappetta Lacey Darnell Anna Duly Hope Fehlinger Delaney Fosnaugh Hannah Gerig Madeline Gerig Emma Hallman Rebekah Hammond
Simone McCowan Alli McQueen Kailey Mizzell Rena Mwangi Katie North Anna Popkov Elena Ray Allison Reed Alexis Rios Emily Robinson Sarah Rodenbeck Shelby Schlicker Kathleen Simunek Jensen Snyder Sydney Spilker
Maili Sproul Rebekah Staples Kathleen Suelzer Ava Thuringer Mia Vickery Elizabeth Wagner Sarah Wahl Abby Westropp Kalleah Wilfong Tori Wilfong Delaney Wilson Lillian Wilson Lucy Workman
SATURDAY, NOVEMBER 3 | 7P Featuring The Space in Between, inspired by The Great Divorce by C.S. Lewis, and Ballet 5:8 audience favorite Four Seasons of the Soul.
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CLAYTON PARR, BATTLE CREEK COMMUNITY CHORUS DIRECTOR
Clayton Parr is Director of Choral Activities at Albion College, Albion, Michigan. A native of Detroit, Dr. Parr graduated from Albion with degrees in music and physics. He taught music and mathematics in the public schools in Michigan and New York and received his Master’s and DMA from Michigan State University. He is entering his seventh year as director of the Battle Creek Community Chorus. His choirs have performed at conventions of the American Choral Directors Association, Illinois Music Education Association, Ohio Music Educators Association, Intercollegiate Men’s Choruses and College Music Society. His activity as guest conductor, lecturer, adjudicator and performer has taken him to 23 states and 18 foreign countries, including the Republic of Georgia, where he was a Fulbright scholar and guest lecturer at the Sarajishvili State Conservatoire. His guest conducting appearances include the Ohio All-State Choir, and the Men’s High School Honor Choir for the Michigan School Vocal Music Association in 2016. He is music director of MEME (Michigan Educators Male Ensemble), a men’s singing group made up of teachers from around the state. As a performer, Parr has sung with the Cincinnati Opera, Music of the Baroque, the Grant Park Music Festival, Oregon Bach Festival, the Santa Fe Desert Chorale, Battle Creek Symphony and the Billings Symphony. He is music director of and Ensemble Alioni, a Chicago-based group dedicated to the performance of Georgian folk song. He is co-author of Supra! A Feast of Georgian Song, a collection of 18 3-part Georgian folk songs, just published by Hal Leonard.
BATTLE CREEK COMMUNITY CHORUS Clayton Parr, director Soprano Susan Driscoll Carol Bennett Lynda Hensel Tonya Prewitt Jayne Kempf Kristen Steenhoven Yvonne Holso Jean Wing Natalie Schoch Pat Zook
Alto Alexis Stark Carol MacKenzie Wanza Grantier Aleah Johnson Jaynan Montague Teri Maisner Sammie Hershock Christine Kosmowski
ALBION COLLEGE CONCERT CHOIR Clayton Parr, director Dulce Aceves Rayna Archibald LaRoy Bell Adriana Cazzell Maria Clear Gigi Marzano
Dan McGarry Joshua McGarry Lillian Nuss San Pham Alivia Stille Tori Wiese
Tenor Michael Doolan Randy Turpin Wayne Kukuk
Bass Bill VanZandt Brooks Grantier Craig Bennett Grant Maichele Ian Bäby
MEMBERS OF CANTATE CHICAGO Benjamin Rivera, artistic director Peter Aarestad J. Mark Baker Terry Booth Naomi Brigell Robb Geiger
Amy Johnson Janet Raciti Silfredo Serrano Mariama Torruella
PRELUDE 59
CELEBRATING THE 2018 - 2019 75TH ANNIVERSARY SEASON
PRELUDE TO AN ANNIVERSARY On the occasion of the Fort Wayne Philharmonic’s 75th Anniversary, let us stop to pay tribute to all those who came before us, those whose tireless efforts made this season possible. Since 1944, countless musicians, volunteers, patrons, and music lovers have taken seriously the responsibility of maintaining our treasured orchestra, and in doing so have emblazoned our region with beauty, culture, and meaning.
Chuck Surack, Board Chair
PHILHARMONIC 1940s
False Starts And Auspicious Beginnings Several false starts, from as early as 1924, thwarted attempts to establish an orchestra in Fort Wayne. Finally, a group of leaders formed The Philharmonic Society of Fort Wayne and hired Hans Schwieger from Germany to lead the new orchestra during the 1944-45 Season. Schwieger ended his Fort Wayne tenure in 1948 after many successes and national media attention.
Verdi’s Requiem, Scottish Rite Auditorium
Fort Wayne Civic Symphony Orchestra, 1935
From the Archives: Musical Roots The Verweire Symphony Orchestra was founded in January 1924 and disbanded four years later due to lack of funds. Inaugural Concert Held at the newly refurbished Palace Theater on October 18, 1944, the mood was festive and the orchestra was well received by the community. “Hans Schwieger’s readings reflected mature scholarship and gave proof of painstaking care,” wrote Walter A. Hansen, the News-Sentinel critic. He also commented that Mr. Schwieger conducted the entire program from memory. Children’s Crusade Hans Schwieger presented “The Children’s Crusade” concert in 1946, featuring a 250-voice children’s choir and an adult chorus of 150. Time magazine featured the event in its “City Notice” section. Coast-to-Coast By 1948, the Fort Wayne Philharmonic drew national attention: NBC’s Coast-to-Coast broadcast the orchestra and Newsweek published a feature story about the thriving new orchestra. Based on Anita Cast’s “History of the Fort Wayne Philharmonic,” compiled for the 50th Anniversary in 1994.
Magnavox Commissioned Cover
First Concert, First Season, October 18, 1944
Hans Schwieger Unwinds Post Concert
Notable Quotes: “We’re fortunate to live in a community that appreciates and values the impact that the Fort Wayne Philharmonic has brought to residents and visitors. As the orchestra kicks off its 75th Anniversary series, I want to take this opportunity to congratulate the Philharmonic on being a jewel for cultural opportunities in Fort Wayne and northeast Indiana.” - Mayor Tom Henry, City of Fort Wayne “We have a fine orchestra performing at the top of its game. And, we have a community that is coalescing around the mission of the orchestra at one of the most exciting times in its 75-year history.” - Chuck Surack, Chair, Board of Directors “In 1949, Fort Wayne was called America’s ‘Happiest Town’ in Look magazine, which mentioned our Philharmonic. I thought, ‘Wow! We must have something very special here.” - Betty Stein, Long-Time Supporter of the Fort Wayne Philharmonic
PHILHARMONIC 1950s
Buketoff, Van Cliburn, and More Igor Buketoff led the Orchestra to new heights as Music Director during the 1950s. Further elevating the young orchestra’s stature, he attracted national pop and classical stars to Fort Wayne. Hoagy Carmichael, Benny Goodman, Marian Anderson, Andres Segovia, Isaac Stern, and Van Cliburn all shared the stage with the Fort Wayne Philharmonic.
From the Archives:
Selling Young People’s Concerts
Board Chair Janet Latz and Manager Marshall Turkin
From the Archives: High Fidelity Wolf and Dessauer was the site for a 1954 Magnavox national campaign where the Philharmonic helped demonstrate the company’s revolutionary recording technology. Concertmaster Emeritus After his successful European career was cutoff by the Nazis, Austrian violinist Hugo Gottesmann eventually arrived in Fort Wayne in 1953. The popular concertmaster played with the Philharmonic for 15 years. Ticket Crisis of 1950 With only half the Philharmonic season tickets sold during the 1950 campaign, the board of directors considered cancelling the coming season. Musicians then rallied and sold tickets door-to-door, wrote articles for local newspapers, and enlisted Igor Buketoff’s help. By the end of August, nearly all the tickets were sold.
Based on Anita Cast’s “History of the Fort Wayne Philharmonic,” compiled for the 50th Anniversary in 1994.
Board Chair John Sturgeon, Mayor Robert Meyer, Igor Buketoff
Hugo Gottesmann with Philharmonic Sring Quartet
Chorus Rehearsal
Chamber Music Concert
Notable Quotes: “Music allows us to discover and celebrate beauty as a community. It helps us navigate through the mysteries of life and offers public expression of our aspirations and potential.” ~ Andrew Constantine, Music Director “After 45 years with the Philharmonic, I continue to be amazed at our ever-improving quality of music-making and the generous dedication of our staff, Board, Friends, and audience.” ~ Adrian Mann, Principal Bass, Fort Wayne Philharmonic “From its inception 75 years ago, the Fort Wayne Philharmonic has provided a glorious musical and cultural experience for my wife Hannah, her parents, and for me. A special thank you.” ~ Alfred Zacher, Longtime Board Member and Supporter
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.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.”
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Constantine’s repertoire is incredibly broad and, while embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable; we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but to keep the flame of belief alive and be a resource and supporter of all music educators.” Another project created by Constantine, geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programs the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007, he accepted the position of music director of the Reading Symphony Orchestra in Pennsylvania - after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates. Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as “the best concert in the last ten years.” Other recent engagements included concerts with the New Jersey Symphony, a return to the St. Petersburg Philharmonic, the Filarmonica de Gran Canarias, and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.
“ELEGIAC, ROMANTIC, AND JOYOUS” MUSIC DIRECTOR ANDREW CONSTANTINE’S NEW RECORDING
FOR SALE IN THE EMBASSY LOBBY.
PRELUDE 67
CALEB YOUNG, ASSOCIATE CONDUCTOR
Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series. Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival. In 2016, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the prestigious Salzburg Festival. Young was also selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross. Young has also served as assistant conductor for the National Music Festival. Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013, which specializes in performing large scale symphonic works in a chamber orchestra setting. Among its many accomplishments, KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9. During the 2012-13 season Young served as the Music Director of the Indiana Youth Musicians, where he conducted the youth orchestra and coached chamber music. A native of Asheville, North Carolina, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.
RECORDING NOW AVAILABLE The Philharmonic’s first-ever commercial recording is available for purchase by the British label Toccata Classics. This album of ultra-romantic music by Viennese composer Walter Bricht can be ordered on Amazon.com and iTunes. Order your copy today. 68
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BENJAMIN RIVERA, CHORAL 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 serves as Chorus Director and regular conductor of the Fort Wayne Philharmonic, 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—featured at Chorus America’s national conference in 2018—Rivera also serves as Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. Last season he served as Associate Conductor of The Washington Chorus, and this season he joins the conducting staff of the Chicago Symphony Chorus. A professional singer in 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 in-school 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; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. He has also 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 Sarah Reynolds, President Sara Davis, Vice President Greg White, Treasurer Carrie Veit, Secretary
BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Sandy Hellwege Katy Hobbs
Sarah Reynolds Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White
PRELUDE 69
FORT WAYNE PHILHARMONIC ORCHESTRA ANDREW CONSTANTINE, Music Director
CALEB YOUNG, Associate Conductor
IONE BREEDEN AUER FOUNDATION PODIUM
BENJAMIN RIVERA, Chorus Director LOUISE BONTER PODIUM
VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, 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 Youngsin Seo Alexandra Tsilibes Pablo Vasquez Kristin Westover Lipeng Chen Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan
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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 Theodore E. Chemey III Erin Kipp Erin Rafferty CELLO Edward Stevens, Acting Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens Vacant Linda and Joseph D. Ruffolo Family Foundation Chair Martin Meyer
BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. and Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair
CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair
Anne Devine Joan and Ronald Venderly Family Chair
Alex Laskey John D. Shoaff Chair Michael Galbraith Walter D. Greist, MD Family Chair Katherine Loesch
Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair
BASSOON Dennis Fick, Principal
HORN Megan Shusta, Principal Mr. & Mrs. Arthur A. Swanson Chair
TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair
TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair Vacant Second Trombone BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair
PERCUSSION Vacant, Principal June E. Enoch Chair Alison Chorn North American Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair
TIMPANI Eric Schweikert, Principal William H. Lawson Chair
CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Rachel Brown Nicole DeGuire Amber Dimoff Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Linda Oper Ilona Orban Sam Petrey Jeremias Sergiana- Velazquez Joachim Stepniewski Colleen Tan Lauren Tourkow VIOLA Rachel Goff Sara Knight Carl Larson Emily Mondok Anna Ross Liisa Wiljer
CELLO Brian Klickman Iris Ji Peter Opie Jose Rocha Heather Scott Yoonhae Swanson BASS Brad Kuhns Nick Adams FLUTE Katie Althen Janet Galbraith Shantanique Moore Patricia Reeves OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder CLARINET Brian Bowman Elizabeth Crawford Daniel Healton Kevin Schempf Rajesh Soodeen Krista Weiss Dan Won
BASSOON Michael Trentacosti CONTRA-BASSOON Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette Charlotte O’Connor Renée Vogen TRUMPET Matt Anklan Alex Carter Douglas Hofherr Greg Jones Dan Price TROMBONE Darren Castellanos Rachel Castellanos Jim Kraft John Grodian Loy Hetrick Alex Krawczyk Heather Miller Ryan Miller David Parrilla
TUBA Manny Colburn Matt Lyon Paul Mergen PERCUSSION Matt Hawkins Ben Kipp Renee Keller Kevin Kosnik David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Farrell Vernon HARP Lisa Kahn Katie Ventura
PRELUDE 71
FORT WAYNE PHILHARMONIC CHORUS BENJAMIN RIVERA, DIRECTOR JONATHAN EIFERT, ASSISTANT DIRECTOR Soprano Joanna Abel Ashley Adamson Karen Campbell Sheila Chilcote-Collins Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Miranda Good Crystal Harter Katy Hobbs Carol Jackson Natasha Kersjes Maria Kimes Sara Kruger Kaitlin Lamison Katie Littlejohn Jane Meredith LeeAnn Miguel Meg Moss Kasey Needham Brenda Potter Clarissa Reis Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter
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Alto Nancy Archer Michelle Bonahoom Cathryn Boys Nancy Brown Alison Case Jeri Charles Maeve Cook Caitlin Coulter Cassie Daniels Lenore DeFonso Joan Gardner Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Susanna Lauer Joanne Lukas Sharon Mankey Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Cecelia Snow Sue Snyder Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum
Tenor Matthew Bowman Thomas Cain David Courtney Benjamin Cunningham Sarah Kindinger John T. Moore David Arthur Persley Mark Richert John Sabo Father Daniel Whelan Greg White Randy Wurschmidt Bass Malachi Abel Thomas Baker John Brennan Thomas Callahan Jon Eifert Joe Foltz Jonathan Haggis Gerritt Janssen Steve Kaduk Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig David Tovey
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PRELUDE 73
A MESSAGE FROM THE FORT WAYNE PHILHARMONIC FRIENDS Our mission and purpose at the Philharmonic Friends is to support the orchestra, to discover and encourage musical talent, and to promote musical education for all ages. Last November we hosted the Young Artists’ Competition for exceptionally talented Middle and High School musicians living within a 100 mile radius of Fort Wayne. The winner of the Senior Division and a $1,000 scholarship was Sage Hamm (16), a pianist from Middletown, Indiana. He played a movement from Saint-Saens’ Piano Concerto in G minor. The Junior Division winner was Lydia Bingamon (13), a violinist from Huntertown, Indiana. She won a scholarship of $500 and played the first movement of Mozart’s Violin Concerto in A Major. Both winnners were soloists at separate Family Concerts last spring. This year’s competition will be held in November. Please check our website (www.philharmonicfriends.com) for further details. Currently, our Instrument Playground, Instrument Loon and Musically Speaking programs are going very well. At our Taste of the Arts Instrument Playground we were kept very busy helping over two hundred children handle and “play” musical instruments. The next Playground will be held in October before the Spooktacular Family Concert at the PFW Rhinehart Music Center. Our national award-winning Instrument Loan program is going strong, with at least fifty instruments loaned out to families of the community so far this year. This program is designed to ensure that any child who wants to play a musical instrument will have one available. Hosted by the Fort Wayne Philharmonic Friends, Musically Speaking is held from 6:30 to 7:00 p.m. before each Masterworks concert. It features a discussion of the music of the evening’s concert led by Caleb Young, Associate Conductor of the Fort Wayne Philharmonic. Many thanks go to the William J. & Bonnie L. Hefner Foundation for their very generous support of the Philharmonic Friends Education program over the past few years. Many of our projects would not have happened without their generosity. This past year, the Philharmonic Friends held two fund-raisers: a bus trip to Toledo, Ohio, to see the musical Beautiful at the Stranahan Theatre and a summer bus trip to the Ann Arbor Art Fair. Each trip featured great food and drink, door prizes, and a raffle. This year’s fund-raiser will e a bus trip to Toledo to see Evita, offering the same amenities as past bus trips. The trip is scheduled for February 2, 2019, with the bus departing Fort Wayne at 11:00 a.m. and returning at 6:00 p.m. Money from all fundraisers go to support our sponsorship of a Fort Wayne Philharmonic concert. We hope you will join the Fort Wayne Philharmonic Friends and lend your talents to our programs. Go to the website for a membership form and to learn more about us at www.philharmonicfriends.com. Sara Davis
Vice President of Education, Fort Wayne Philharmonic Friends 74
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THE FORT WAYNE PHILHARMONIC FRIENDS OFFICERS President: Executive Committee Vice-President Education: Sara Davis Vice-President Hospitality: Jayne Van Winkle Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds Past President: Cynthia Fyock BOARD MEMBERS ClarAnn Bengs Barbara Boerger Ana Boman Tad Boman Mary Campbell
Carol Keller Sandra Hellwege Pat Holtevoght Judy Lopshire Nellie Bee Maloley
John McFann Janet Ormiston Marcella Trentacosti Alexandra 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.
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 a great gift for any occasion.
PRELUDE 75
FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS BOARD OF DIRECTORS EXECUTIVE COMMITTEE Chuck Surack, Chair Sherrill Colvin, Vice Chair Kendall Dudley Billows, Vice Chair Ben Eisbart Mary Fink, Treasurer Mark Hagerman Vicki James, Secretary Sharon Peters, Vice Chair
HONORARY BOARD Patricia Adsit Howard L. & Betsy Chapman Will & Ginny Clark Drucilla (Dru) S. Doehrman Leonard M. Goldstein* William N. & Sara Lee Hatlem Diane S. Humphrey Jane L. Keltsch
Sherrill Colvin Sara Davis Kendall Dudley Billows Ben Eisbart Ron Elsenbaumer Mary Fink Carole Fuller Michael Galbraith Mark Hagerman Jonathon Hancock Leonard Helfrich Vicki James Suzie Light Carol Lindquist Andrew Lott Eleanor H. Marine Scott Miller
Dorothy Kittaka William Lee Carol Lehman Elise D. Macomber Michael J. Mastrangelo, MD Dr. Evelyn M. Pauly Jeanette Quilhot Richard & Carolyn Sage
CJ Mills Dan Nieter Tammy O’Malley Sharon Peters Judy Pursley Sarah Reynolds Dar Richardson Melissa Schenkel Jeff Sebeika Carol Shuttleworth Nancy Stewart Chuck Surack Dan Swartz Barb Wachtman Jeanné Wickens Alfred Zacher
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 1973-1975 1975-1977 1977-1979 1979-1981 1981-1983 76
Carl D. Light* Frank Freimann* Byron H. Somers* James M. Barrett, III* Frederick A. Perfect* Miss Helene Foellinger* Robert C. Hanna* J. Francis Cahalan, Jr.* John S. Sturgeon* Allen C. Steere* Alfred Maloley* James F. Anglin* Howard A. Watters* Janet H. Latz* John H. Crocker, Jr.* Mrs. Robert L. Greenlee* George T. Dodd Anita Hursh Cast Jackson R. Lehman* James K. Posther*
OCTOBER/NOVEMBER
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
*Indicates Deceased
FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF ADMINISTRATIVE STAFF James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Lorenzo Kleine Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Joel Dreyer Stage Manager Vacant Artistic and Development Coordinator EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Aaron Samra Club Orchestra Program Manager
DEVELOPMENT Clarissa Reis Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Annual Fund Manager FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Emily Shannon 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 MaryAnne Skora Patron Services Associate
Troy Webdell Director of Youth Orchestras
PRELUDE 77
SERIES SPONSORS The Robert, Carrie and Bobbie Steck Foundation Great Performers Series
The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series
Sweetwater Pops Series
CHUCK SURACK
Founder & President, Sweetwater Sound, Inc. The Fort Wayne Philharmonic is truly one of our most important assets, enhancing northeastern Indiana with hundreds of music and education programs, and making a significant contribution to economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.
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.
SERIES SPONSORS 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.”
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
MARK MILLETT
President & CEO, Steel Dynamics
At Steel Dynamics, we believe that the right people in the right place are our greatest strength. And it’s in those communities where our co-workers live and work where we provide support through our Steel Dynamics Foundation. In northeastern Indiana, we’re pleased to support the Fort Wayne Philharmonic which enriches the life of tens of thousands …“bringing music to our ears.”
Parkview Health Regional Holiday Pops Series
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.
PRELUDE 79
FORT WAYNE PHILHARMONIC SPONSORS The Fort Wayne Philharmonic thanks these sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor. SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation The Robert, Carrie, and Bobbie Steck Family Foundation Chuck & Lisa Surack
MAESTOSO | $250,000+
Chuck & Lisa Surack
APPASSIONATO | $150,000 to $249,000 The Paul Yergens and Virginia Yergens Rogers Foundation
ALLEGRETTO | $50,000 to $149,000 Anonymous (1) The Robert, Carrie, and Bobbie Steck Family Foundation
FOUNDER’S SOCIETY | $25,000 to $49,999
VIRTUOSO SOCIETY | $10,000 to $24,999 June E. Enoch Foundation Ms. Janice H. Eplett, in memory of Winifred Howe and F. Russell Eplett 80
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Fort Wayne Philharmonic Friends
VIRTUOSO SOCIETY | $10,000 to $24,999 continued
Rick & Vicki James Miller Family Fund O’Malley Charitable Fund
The Donald F. Wood and Darlene M. Richardson Foundation
STRADIVARIUS SOCIETY | $5,000 to $9,999 Anonymous (1)
Suzanne Light George & Linn Bartling
James W. Palermo Russ and Jeanette Quilhot
CONDUCTOR’S CIRCLE | $2,500 to $4,999 Anonymous (1) Allina Anesthesiology, P.C. First Merchants Bank
Fort Wayne TinCaps Tracy and Gretchen Shellabarger
PRINCIPAL’S CIRCLE | $1,000 to $2,499 Anonymous (1) Bill and Anita Cast Mr. Andrew Constantine Ben and Sharon Eisbart David and Mary Fink Mark and Mary Kay Hagerman Mr. & Mrs. Michael Gavin
Eleanor H. Marine Dr. Scott Miller Parrish Leasing, Inc. Purple Blaze Enterprise, LLC Rothberg Logan & Warsco, LLP Alfred Zacher
PRELUDE 81
FORT WAYNE PHILHARMONIC SPONSORS CONCERTMASTER | $500 to $999 Edward & Kristen Brower
Nancy & David Stewart
FIRST CHAIR | $100 to $499 Mrs. Jill Gutreuter
Allison & Jonathan Hancock
CONTRIBUTOR | $1 to $99 Barbara Wachtman & Thomas Skillman
IN KIND DONATIONS Keefer Printing Markey’s Rental & Staging Tim McCulloch — McCulloch Auctions New Haven Print
A Party Apart Arby’s BluSpoon Catering Bravas The Clyde Don Hall’s Catering
Pizza Hut Subway Taco Bell Wendy’s
AUCTION CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges these sponsors for their generous contributions to our 2018 PHILharmonious Gala Auction. Please call 260.481.0774 for more information on becoming an auction sponsor. “I” Wood Artist Al Zacher AMC Theatre Anonymous Anita Cast Antionette Lee Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Bradley Gough Camp Timberlake Cap n’ Cork Carole Fuller Casa Ristoranti Italiano Catablu – BluSpoon Charles & Amanda Shephard Chop’s Steaks & Seafood Chuck & Lisa Surack and Sweetwater
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Christopher James Club Soda Della Terra Photography Diane Humphrey Eleanor Marine Embassy Theatre Free Wind Farm Fort Wayne Ballet Fort Wayne Children’s Zoo Fort Wayne Parks & Recreation Fort Wayne Philharmonic Fort Wayne Philharmonic Board of Directors Fort Wayne Tin Caps Ginny Clark Habegger Furniture Hall’s Restaurants Hoppy Gnome Indianapolis Colts
OCTOBER/NOVEMBER
Indianapolis Symphony Orchestra Jophiel Junk Ditch Brewing Company Kay Kohler Loggins Fireplace & Patio Lopshire Flowers Mad Anthony/Shigs in Pit Mitch-Stuart Inc. Pam Kelly Papier’s Creative Framing Park Place on Main Parkview Field Parkview Health Paula’s on Main Peg Perego Pyle Style Events Roddy Dammeyer
Ruth’s Chris Steak House Sandy Shumaker Schoolhouse Stoneware Sharon Eisbart Corporate Art Six Flags Great America Summit City Bicycles & Fitness Suzie Emley Tammy O’Malley T&D Printing The Urban Hippie Vera Bradley Vision Scapes Wine Down
FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS The Fort Wayne Philharmonic gratefully acknowledges the following individuals for their generous gifts received within the past twelve months. Every attempt is made to include donors who supported the Philharmonic during that time. Please contact the office if errors have been made. For information about supporting the Philharmonic’s 2017-2018 Annual Fund, contact the Development Office at 260.481.0775.
ALLEGRETO (GIFTS OF $50,000+) Rick & Vicki James
FOUNDER’S SOCIETY (GIFTS OF $25,000 TO $49,999) 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. William N. & Sara Lee Hatlem
Tod Kovara Eleanor H. Marine Virginia Lee Zimmerman
STRADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark & Mary Kay Hagerman Drs. Kevin & Pamela Kelly Doris Klug Mr.* & Mrs. John Krueckeberg
Kevin & Tamzon O’Malley Michael & Carla Overdahl Judy Pursley Russ & Jeanette Quilhot Jeff Sebeika, Subway Carolyn & Larry Vanice Charlie & Jeanné Wickens
CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs.* Alfred Allina Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin Andrew & Jane Constantine David & Mary Fink David S. Goodman Patricia S. Griest Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Antoinette K. Lee
Dr. Scott Miller James W. Palermo David & Sharon Peters John H. Shoaff & Julie Donnell Carol Shuttleworth & Michael Gavin W. E. Spindler Robert & Donna Streeter Barbara Wachtman & Tom Skillman Joseph L. Weaver Al Zacher Brian Zehr, PPG Pulmonary and Critical Care
PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) Anonymous (4) Tim & Libby Ash Family Foundation Norma & Tom Beadie Holly & Gil Bierman
Katherine Bishop Janellyn & Glenn Borden Roberta Brokaw Barbara Bulmahn PRELUDE 83
PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) continued Mrs. Virginia Coats Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner Bill & Peggy Dotterweich John & Tamara Dyer Mrs. J. Robert Edwards Emily & Michael Elko Clayton J. Ellenwood Ronald & Linda Elsenbaumer Robert & Carol Fawley Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth Frederick Scott & Melissa Glaze Dave & Sandy Haist Jonathan & Alice Hancock Bob & Liz Hathaway
James & Anne Heger Leonard Helfrich Ginny & Bill Johnson Dorothy K. Kittaka Floyd A. & Betty Lou Lancia Jim & Barbie Lancia Suzanne Light Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Jim & Gloria Nash Daniel & Beth Nieter Josh & Cristina Parrish Norma J. Pinney Joseph & Lindsay Platt The Rev. C. Corydon Randall & Mrs. Marian Randall
Caroll & Bill Reitz Benjamin & Alexia Rivera Dr. Peter M. Rothman Eric & Kimberly Sank Dr. Janet Schafer Melissa & Peter Schenkel Dr. Darryl & Sharon Smith Nancy & David Stewart Kathleen M. Summers Carol Terwilliger Rachel A. Tobin-Smith Nancy Vendrely Wayne & Helen Waters Herbert & Lorraine Weier Lewie Wiese Matthew Wilcox Leslie & John Williams Dr. & Mrs. Richard E. Zollinger
CONCERTMASTER (GIFTS FROM $500 TO $999) Anonymous (2) Jeane K. Almdale Dr.* & Mrs. Justin Arata Nancy F. Archer Dr. & Mrs. Thomas Armbuster Mr. & Mrs. William Arnold Richard & Matoula Avdul Mr. & Mrs. Craig Balliet Michael & Deborah Bendall Larry & Martha Berndt Barbara L. Boerger Dr. & Mrs. Todd Briscoe Mr. & Mrs. Craig D. Brown Curt & Amy Crouch Dr. & Mrs. Fred W. Dahling Tim & Ann Dempsey Susan Devito Anita G. Dunlavy Bruce & Ellen England Mr. & Mrs. Herb Fuller G. Irving Latz II Fund Leonard Garrett Jane Gerardot & Jeff Leffers Tim & Ann Gibson Thomas E. Green
Mrs. Lois Guess Sharon Gustin Eloise Guy Ms. Susan Hanzel William & Sarah Hathaway Mark & Debbie Hesterman Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Mr. & Mrs. Kenneth R. Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke Mr. & Mrs. Bruce Koeneman Ed & Linda Kos Stephen* & Jeanne Lewis Anne C. Longtine & Marco J. Spallone Anne A. Lovett Mr. & Mrs. Duane Lupke Anne & Ed Martin Mark & Sarah Masloob Thomas & Dianne May Dr. & Mrs. Michael L. McArdle Lusina McNall Mr. & Mrs. Donald T. Mefford Nick & Amber Mehdikhan
Paul & Bonnie Moore Kenneth & Linda Moudy J. M. Noonan Paul Oberley Joan K. Olinghouse Brian & Sue Payne Raymond & Betty Pippert Bill & Sue Ransom Dr. & Mrs. Fred L. Rasp Dr. Stephen & Carmen Reed Jeremy & Clarissa Reis Maryellen M. Rice Kay Safirstein Scot C. Schouweiler & Julie Keller Stephen R. & Anne S. Smith David Krabach & Susan Steffy Arthur & Karen Surguine Carl & Cynthia Thies Mark Troutman & Ann Wallace Ronald H. VanDiver Ted & Robin Wagner
FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (15) Max M. Achleman Fran & Irv Adler Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter Mr. & Mrs. Brad Altevogt 84
OCTOBER/NOVEMBER
Ambulatory Medical Management Ms. Mary Jo Ardington Scott & Barbara Armstrong Mel & Ruth Arnold Milton & Barbara Ashby Mr. & Mrs. Lonnie Au
Yvonne August Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Mr. & Mrs. A. Gerald Backstrom Linda Balthaser
Christine Baron Jim & Ellen Barr Mr. & Mrs. John Batuello Marjorie Baumgartel Michael & Kay Bauserman Matt, Beth, and Grace Bechdol Tony & Pat Becker Donna & Charlie Belch Mr. & Mrs. Don Bendel Bix & Anita Benson Diana Berich Jim & Gay Berlien Kevin Paul Beuret Mr. H. Stephen Beyer Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Joyce Bir David W. Bischoff David Blackwell Sherry L. Blake Bev & Jean Blessing Steve Bloomfield & Linda Tannas Barbara Boggs Virginia R. Bokern* Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Bill Borgmann John Bottglia Rebecca Bouse Richard & Cathryn Boys Jim & Sue Bradley Ruth Braun Dr. Helene Breazeale Mr. & Mrs. David C. Brennan Evelyn M. Brosch-Goodwin David Brumm & Kim McDonald Geneva Brummett Mr. & Mrs. William & Joan Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Family of Scott & Barbara Bushnell Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Shane Cary Jill Case Janice Cave Steve Christman Bruce Cleveland David Coats Nelson & Mary Coats Barbara Collins Dr. & Mrs. Nathan Comsia
Matt Converse Mike Conyers John & Marcia Crawford Wendell & Mary Cree Bob & Margita Criswell Dan & Marjorie* Culbertson Miles J. & Lorraine Hook Davis Fund Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Martha Derbyshire Vera & Dominick DeTommaso George & Nancy Dodd Steven Doepker Gene & Carol Dominique Fred & Joan Domrow Kirk Dunkelberger Ann H. Eckrich Ned & Sally Edington Don & Mary Kay Ehlerding Jon Eifert Susan Eikenberry Cynthia Elick Lillian C. Embick Albert & Jeanne Emilian Pam & Steve Etheridge Pam Evans-Mitoraj Pauline Eversole Larry & Judy Farver Dave & Yvonne Fee Dick Florea & Sandy Shearer John & Jane Foell Jeff Frappier Nathan & Angela Freier Sheryl A. Friedley Melinda Fuchs Cynthia & Douglas Fyock Linda Gaff Michael & Janet Galbraith Elizabeth Garr Robert & Barbara Gasser Geoff & Betsy Gephart Joy A. Gilbert Michele Gillespie Roy & Mary Gilliom Mr. & Mrs. Tertuliano Giraldo Robert & Constance Godley Thomas & Beverly Goff Janelle & Steven Graber Janet Graham Kristy Greutman James B. Griffith David & Myra Guilford Leonard Guthier Mary K. Gynn Melanie & Robert Hall Vince & Dianne Hansen Brian & Barbara Harris Joseph Hayes & Gregory
Bowman Dennis & Joan Headlee John Heath Jacqueline Heckler Sandy Hellwege Matt Hendryx Warren & Ardis Hendryx Ms. Jullie Henricks and Mrs. Jean Henricks Anthony & Susan Henry Mayor Tom C. & Cindy Henry Lucille Hess Scott & Catherine Hill Andrew & Katy Hobbs Tom & Jane Hoffman Philip Hudson Marlene Huffman Tom & Mary Hufford Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Mike Johnson Alex & Sharon Jokay Don & Joyce Jordan Larry & Annette Kapp Lois Kaufman-Hunsberger LuAnn R. Keller Bridget Kelly Kendall & Davis, Inc. Chris & Angie Kidd Sheila D. Kiefer Michael & Sarah Kindinger Ross & Betty King John Kirchhofer Audrey M. Kirk Karen Knepper James & Janice Koday Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Kevin Kurtz Shelby Lamm Carolyn N. Lane JJ Carroll & Jeff Lane George & Lois Lange Miriam Larmore Drs. Chung & Sage Lee Brad & Donna Lehman Douglas & Minda Lehman Steve & Rhonda Lehman
PRELUDE 85
Frances LeMay & Peter D. Smith Al & Janey Lindsten Arthur & Marcia Litton Marlene Lobsiger Chuck Logar Dr. Joshua Long Paul & Pauline Lyons Mr. & Mrs. Jim Machock Jerry L. Mackel M.D. Janet & Larry Macklin Peg Maginn Michael & Diane Makarewich Peter & Christine Mallers Harry & Barbara Manges Linda Marshall Jane Martin Dr. & Mrs. Naomichi Masaki Cheryl Mathews Elmer & Patsy Matthews David & Kathleen Matz Judith Maxwell Linda McArdle Diane McCammon Susan J. McCarrol Mick & Sue McCollum Mary McDonald Linda Hansen & Tim McElwee John H. & Shelby McFann Debra McKinney Mr. Scott McMeen Alice McRae Leanne Mensing Elizabeth Meyer Jane A. Meyer David & Ann Miller Ed & Martha Miller Kerry A. Miller Mr. & Mrs. Carl Moellering David & Linda Molfenter LTC & Mrs. John T. Moore Noel & Diane Moore Ray & Nancy Moore Deborah Morgan Chuck & Becky Morris April & Charles Morrison Marylee Morton Suzon Motz John & Barbara Mueller Mr. & Mrs. David Murphy Kevin & Pat Murphy Ryan C. Murray
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OCTOBER/NOVEMBER
Steve Naragon & Pam Higgins Sean & Melanie Natarajan Ed Neufer Beverly Norton Don & Jenny Oberbillig John O’Connell & James Williams Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O’Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Pat & Mac Parker Penny Pequignot Ms. Nigel Perry Mr. & Mrs. John M. Peters Edwin & Cynthia Powers Marlene Purdy Helen F. Pyles Keith Raftree RAM Production Backline John & Diana Reed Paul J. & Lula Belle Reiff Ruth Reighter Ann Rettenmaier Sarah & Richard Reynolds Ruth & Phillip Rivard Ms. Rita Robbins Karen Roberts Richard & Ann Robinson Janet Roe John W. Rogers Ron & Rhonda Root Stanley & Enid Rosenblatt Stan & Gretchen Roth Patricia C. Rumon Martin & Rita Runge Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Robert Sausaman Robert & Sarah Savage Dr. & Mrs. Ron Scheeringa Bob & Ramona Scheimann Ms. Mary Francis Schneider Tom & Mary Ellen Schon Chuck & Patty Schrimper Ed & Julia* Schulz Richard & Ruth Schwartz Ken & Mary Scrogham Richard & Suzanne Shankle Ms. Cornelia L. Shideler Wayne & Ann Shive Eunice Shoaff
David & Ann Silletto David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Keston Smith & Sandra Guffey Lynda D. Smith Mary & Rob Snow Sharon Snow Drs. David A. & Judith J. Sorg Michael E. Sorg Jeff & Sunny Stachera Mr. & Mrs. Donald D. Stedge Mrs. Lois A. Steere David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Jeffrey Strayer Brenda Sullivan Jack Swain Lynn Syler Steven & Ruth Anne Teeple Joe & Larysa Thorsteinson Larry & Ellen Till Jarod Todd Scott & Jenny Tsuleff Don & Amy Urban Jayne Van Winkle Walter & Martini Vandagriff Karen & David von Loesecke Carol Ward Mr. & Mrs. George E. Weatherford John & Pat Weicker Deborah Weinswig Keitha & Steve Wesner Thomas & Tamara Wheeler Dr. & Mrs. Alfred A. Wick Ruth Wiegmann John & Nancy Wilhelm Ellen Wilson Hope Wilson Lea B. Woodrum Franklin & Judith Wright Phil & Marcia Wright Stephen & Marsha Wright Dalen & Stephanie Wuest Mr. Galen Yordy Bob & Jan Younger Dodie Zonakis
CONTRIBUTORS (GIFTS FROM $1 TO $99) Anonymous (14) Joanna J. Abel John & Mary Ackerman Thomas Andrews Gema Aparicio Patricia Arthur June & Jerry Augspurger Thomas Baker Ruth Barry Joyce Bassett Mario Bautista Ann Beeching David & Jane Beer Cheryl Belschner Jan Berghoff David & Janice Bleeke Norma Bloom Mr. & Mrs. John P. Boerger Barbara Boston Kimberly Bowman Stan & Judy Bozarth Anne Marie Bracht Robert Brandt John P. Brennan & SuzAnne Runge John Briggs Molly Brogan Casi Bromelmeier & Michael Walsh Dr. & Mrs. David Brown H. Carolyn & David L. Buckmaster Dave & Julie Buckner Dr. Carol A. Buttell Karen Campbell Jeri Charles Judith Church Robert Clark Nicole Cocklin Delaina Cole Eva Collis Deborah Conklin Joseph & Nancy Conrad Doris Cook Elaine & Jon Cooper Caitlin Coulter David Courtney Earl Covault Liliana Cuesta Tinnell Nicoline Dahlgren Tamara Dahling Steven & Mary Jane Dale Patricia DaRif Philip R. & Victoria R. Davis Sara Davis Dr. William Deans Maureen Delassus Doug & Jean Deller Keith & Margaret DeMeritt David Dent Shirley A. Deschler Dr. Sheila A. Dick
Jacqueline Didier Mrs. Carol Diskey Rick & Linda Dumford Kathleen Dunbar Caroline Dykehouse Cathy Edwards Andrea Ellis Robert & Cheryl Ellis Janet & Bill Elsea Carol Ensley Susan Ensley Dwight Ericsson Michael Evans Larry & Carol Ewing Dave Ferro Mr. & Mrs. Spencer P. Fiandt Thomas & Susan Fisher Sherri L. Foster Francis & Ann Frellick Yvette Gaff Kleven Scott Gagnon Dana Gall John Gardner Sharran Gavin Daniel & Sara Gebhart Stephen Geders Janie Geoffrion Nancy Getzin Mark & Susyn Giaquinta Mr. & Mrs. Gibson Joy Giguere & Ben Proud John & Carol Glass Rev. Royce Gregerson Paul Greve Paul & Tauna Griffith Joellen Gross Mr. & Mrs. John Gross Timothy Grossman Leah Habib Bruce & Melinda Haines Dirk Hansen Myles Harris Frances Headings Judy Helmchen Dorothy Hendricksen Darah L. Herron Dr. Gail Hickey Denise Hoff Douglas E. & Karla K. Hofherr Art & Linda Holman Randall Hoover Jane Hope Mr. & Mrs. Jeff & Stacey Hudson James & Sally Huhn Kenneth Ivan Carol Jackson Patricia Jackson Gerrit Janssen Russell Jehl Franklin & Susan Johnson Pam Johnson David & Kathleen Johnston
Susan Kaiser Gerald & Marie Kanning Daniel Katter Kay Kiess Maria Kimes Colby Knerr William G. Knorr Mr. & Mrs. Fred Kohler Mr. & Mrs. Jim Kohrman Jan Lamar Mr. & Mrs. Robert E. Layman Bill Leeuw Michael & Mary Lewis Brent & Karna Ley Raymond & Mary Lou Loase Dale & Virginia Lutz Norma Lyman Dennis M. Mahoney Marilyn Marchionni Roy & Sharon Martin Ruth Martin Conie McCoy Jim & Dee McCrea Thomas & Janice McElhaney Sue McLeod Roger & Rachel McNett Sharon Meier Janet Menze Jane Meredith Fred & LeeAnn Miguel Maury Mishler Dr. & Mrs. William Miskelly John & Julanne Molitor Elizabeth Monnier Mary Helen Moore Dr. David Moser Meg Moss Paul Nalliah Kelley Nebosky Ted & Deb Neuenschwander Robert & Cindy Nolot Frank Noonan Dr. Kay Novotny Virginia Nussbaum Teresa Parsons Nick & Giovanna Perego Wayne H. Peterson Cheryle Phelps-Griswold Amanda & Shane Pickett Michael F. Popp Nathan Pose Mr. & Mrs. Ewing Potts Sue & Mike Pries Mr. & Mrs. Delmar J. Proctor Sara Pulse Elaine Raber Elizabeth Racine Ellis Ralston Richard & Yvonne Ramsey Corbin Reed Emma Reidenbach Tom Renz
PRELUDE 87
Paula Rice Mary Ann Ripperger Max & Sandy Robison John & Cindy Sabo Robert & Nancy Schantz Kerry & Gail Scheurich Harold Schieferstein Albert & Ruth Ann Schlitt Daniel & Janice Schult Lisbeth Scott David & Lynn Shipe Norma Shondell Richard & Stephanie Sibley Mr. Paul Smith Scotty & Vicki Smuts Stan & Linda Sneeringer Julia Snyder Sue Snyder Gerald & Barbara Sorg Rev. Jeffrey Springer
Mr. Kenneth Stahl Don & Linda Stebing Ed Stevens & Lori Morgan Aaron Stewart Rex & Jo Stinson Thomas & Laurel Stockamp Donna Stover Geraldine Sudduth Dolores Szymanski Carolyn Thatcher Andrea Thomas Tom & Maureen Thompson Larry Tinsley Patricia Trolio Linda Troop Jim Turcovsky & Sandy McAfee Harriet Ulmer Patricia Urberg Brett & Carrie Veit
Esther Wagner Mr. & Mrs. Chris Walda Gordon & Kay Walter Charlotte Warner Dr. James C. Wehrenberg Ann Weiss Tina Wells Greg White John Wilcox Terry Winkeljohn Mary Winters Cindy Witters Mr. & Mrs. Rickie J. Woebbeking Jennifer L. Woodruff Alex Wulpi Nancy S. Yorke Kelly Zachrich Dennis Zimmerman
FOUNDATION AND PUBLIC SUPPORT PHILHARMONIC SOCIETY ($1,000,000+) Edward D. & Ione Auer Foundation 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) Dekko Foundation Foellinger Foundation Steel Dynamics Foundation
The Robert, Carrie, and Bobbie Steck Family Foundation The Paul Yergens and Virginia Yergens Rogers Foundation
FOUNDER’S SOCIETY ($25,000 TO $49,999) Community Foundation of Greater Fort Wayne The Huisking Foundation Indiana Arts Commission Flora Dale Krouse Foundation and PNC Charitable Trusts
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OCTOBER/NOVEMBER
Lincoln Financial Foundation W. Gene Marcus Trust National Endowment for the Arts The Rifkin Family Foundation
VIRTUOSO SOCIETY ($10,000 TO $24,999) Edward M. and Mary McCrea Wilson Foundation The Donald F. Wood and Darlene M. Richardson Foundation Edward and Hildegarde Schaefer Foundation O’Rourke Schof Family Foundation
Olive B. Cole Foundation June E. Enoch Foundation K. Robert Ehrman Endowment Fund Charles W. Kuhne Charitable Trust Miller Family Fund The Rea Charitable Trust STRADIVARIUS SOCIETY ($5,000 TO $9,999) Journal-Gazette Foundation The LaFontaine Arts Council
Ian and Mimi Rolland Foundation Wells County Foundation
CONDUCTOR’S CIRCLE ($2,500 TO $4,999) 3Rivers Credit Union Foundation Community Foundation DeKalb County
BAE Systems Community Investment
PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Fulton County REMC Fulton County Community Foundation Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation
Gerald M. and Carole A. Miller Family Foundation Porter Family Foundation Steuben County Community Foundation Jennie Thompson Foundation Mary E. Van Drew Charitable Foundation Community Foundation of Whitley County
CONCERTMASTER ($500 TO $999) Huser Charitable Foundation Kosciusko County REMC Operation RoundUp Fund Quentin K. & Gladys F. Mavis Music Fund
Randall L. & Deborah F. Tobias Foundation Unity Performing Arts Foundation
FIRST CHAIR ($100 TO $499) Psi Iota Xi - Pi Chapter
PRELUDE 89
REGIONAL PARTNERS The Philharmonic gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. The Philharmonic is honored to perform for enthusiastic audiences throughout the Northeast Indiana region and welcomes and values each contribution that makes these concerts and education performances possible. Thank you! MULTIPLE COUNTY SUPPORT Parkview Regional Medical Center/ Parkview Health
Steel Dynamics Foundation, Inc. The Dekko Foundation
ADAMS COUNTY Adams County Community Foundation Eichhorn Jewelry
Antoinette K. Lee Porter Family Foundation
DEKALB COUNTY Auburn Moose Family Center Community Foundation of DeKalb County David & Pat Kruse
Quentin K. & Gladys F. Mavis Music Fund Scheumann Dental Associates
FULTON COUNTY Akron Area Arts League Beacon Credit Union Wendell Bearss First Federal Savings Bank Fulton County Community Foundation Fulton County REMC Joyce Good Indiana Arts Commission
Psi Iota Xi - Eta Mu Peterson, Waggoner & Perkinks, LLP RapidView Thomas & Janet Ravencroft Rochester Metal Products Rochester Telephone Company Violet Seiwert
KOSCIUSKO COUNTY Aunt Millie’s Bakeries Gale & Joyce Baumgartner Anita & Bill Cast Mr. & Mrs. Irwin F. Deister Jr. Lew & LuAnn Derrickson Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation Kosciusko REMC Operation Round-up Fund Fritz Kreutzinger
Omer & Susan Kropf The Papers Inc. Salin Bank & Trust Smoker Craft, Inc. STAR Financial Bank Randall & Deborah Tobias Foundation Wawasee Property Owners Association Monica & Larry Weigand Al Zacher
NOBLE COUNTY AccuTemp Products, Inc. Airframe Components by Williams, Inc. Alum-Elec Structures, Inc. Black & Ramer Insurance 90
OCTOBER/NOVEMBER
Baker’s Flowers & Gifts LLC Campbell & Fetter Bank City of Kendallville Councilman James & Rhea Dazey
Diehm Construction Mr. Larry & Jane Doyle Dr. Chris & Sasha Frazier Freedom Academy Mr. & Mrs. William Freeman Scott R. Frick, CPA, P.C. Dr. Terry & Susan Gaff Tim & Michele Gerst Mr. Randy & Mayor W. SuzAnne Handshoe Tim & Anita Hess – RE/MAX Results Indiana Michigan Power Jansen Chiropractic – Dr. Tom & Linda Jansen and Dr. Gerard & Lori Jansen Jansen Family Dentistry Jansen Law – Christopher T. & Angela Jansen Dr. Jim & Pam Jansen
J.O. Mory, Inc. Dekko Investment Services 95.5 FM, The Hawk Quicktanks, Inc. Shepherd’s Family Auto Group Jennie Thompson Foundation Tri-State Veterinary Clinic & Equine Center Drs. Roush & Will Optometrists – Dr. Alan & Jane Roush and Dr. Craig & Dr. Elizabeth Lichlyter Dr. Gerald & Kara Warrener Wick Fab, Inc. Work Prep, Inc. - Allyson Witt X-Y Tool & Die, Inc. Yoder Kraus & Jessup, P.C.
STEUBEN COUNTY Angola American Legion Post 31 City of Angola Coldwell Banker Roth Wehrly Graber Bill & Pat Culp Joseph F. & Carol Frymier Jim & Karen Huber Indiana Arts Commission Indiana Department of Natural Resources Javets Inc.
Kappa Kappa Kappa – Zeta Upsilon Chapter Lake James Association Psi Iota Xi, Rho Chapter Max & Sandy Robison Charles & Ruth Ann Sheets Steuben County Community Foundation Trine University Jim & Kathy Zimmerman
WABASH COUNTY First Farmers Bank and Trust
Honeywell Foundation
WELLS COUNTY Anonymous (1) AdamsWells Internet Telecom TV K. Robert Ehrman Endowment Fund
Carol & Larry Ewing Wells County Foundation Troxel Equipment
WHITLEY COUNTY Churubusco Family Dentistry Community Foundation of Whitley County
STAR Financial Bank Dr. & Mrs. Richard Zollinger
PRELUDE 91
TRIBUTES The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. In Memory of Karen Allina (Gifts in memory of Karen Allina will be added to the Philharmonic Chorus fund, where they will provide support to the work and the future of the Chorus.) Anonymous (2) Dr. Alfred Allina Rose Atz Marsha Baltes Bryan & LeaAnne Bernstein Sunitha Bhat William & Judith Carrigan Marcia Clupper Dean Cutshall Graly & Guido Law Office, LLC Connie Gibstine Nancy Hamiln Andrew & Katy Hobbs Carol Jackson Ginny & Bill Johnson Michael Mastrangelo Richard & Merle-Lee Miers Noel & Gloria Phegley Benjamin & Alexia Rivera David & Vivian Slosson John & Judith Stenger Robert & Margaret Vegeler Lewie Wiese Lea B. Woodrum
In Memory of Winifred F. Howe and F. Russel Eplett Janice Eplett In Memory of Greg Marcus Anita & Bill Cast Eleanor H. Marine In Memory of Donna Snyder Anita & Bill Cast Eleanor H. Marine
In Memory of Virginia Bokern Margaret Ankenbruck Steven & Jana Ankenbruck Mary Campbell Anita & Bill Cast Lillian C. Embick Eleanor H. Marine Elizabeth & Terrence Neu Russ & Jeanette Quilhot Thomas Remenschneider Paul Spoelhof
In Honor of Al Zacher’s 90th Birthday The Aichele’s Anonymous (2) Alex and George Azar Norma & Tom Beadie Barbara L. Boerger Julie & Dave Buckner Vernell Fettig Laura, Bill, and Ellen Frankenstein and their families Geoff & Betsy Gephart Lois Harris George Huber Herbert Krumsick Doulas & Ilene Klegon Peter & Christine Mallers Alfred & Norma Slatin Norman Thal Andrew Warshauer Marie, Michael, Andrew, Mia, and Daniel Warshauer Bill & Louise Warshauer Judy Pursley Employees of the Zacher Co. Steven & Judy Zacher
In Memory of Marjorie R. Cavell Eleanor H. Marine
In Memory of Hannah Zacher Alfred & Norma Slatin
In Memory of June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Eleanor H. Marine Michael Mastrangelo
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In Memory of Leonard Goldstein Anita & Bill Cast Eleanor H. Marine
OCTOBER/NOVEMBER
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PRELUDE 93
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ENDOWMENT FUND SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 76-77 for musician chair endowments. Chorus Director Podium Louise Bonter
Freimann Chamber Series In Memory of Frank Freimann
Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry, by Liz and Mike Schatzlein
Youth Symphony Walter W. Walb Foundation
Music Library Josephine Dodez Burns and Mildred Cross Lawson Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke
Family Concerts Howard and Betsy Chapman Young People’s Concerts The Helen P. Van Arnam Foundation Philharmonic Preschool Music Program Ann D. Ballinger Radio Broadcasts Susan L. Hanzel
BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Sanford Rosenberg* Alice C. Thompson
Oscar H. & Elda A. Albers* Marjorie R. Cavell* Frederick Beckman* Charlotte A. Koomjohn* Doris Latz*
*Indicates Deceased
ENDOWMENT CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information. Comprehensive Campaign: Music for Everyone Anonymous (2) Edward D. & Ione B. Auer Foundation Will & Ginny Clark Sarah & Sherrill Colvin Mr. & Mrs. Irwin F. Deister Jr. Ben & Sharon Eisbart David & Mary Fink
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Mark & Mary Kay Hagerman Family Rick & Vicki James Eleanor H. Marine Dr. Scott Miller Daniel & Beth Nieter Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation Owen & Jean Pritchard Foundation
The Robert, Carrie and Bobbie Steck Family Foundation Chuck & Lisa Surack, Sweetwater Donald F. Wood & Darlene M. Richardson Foundation The Paul Yergens and Virginia Yergens Rogers Foundation Daryl Yost
Endowment Contributors: Mr. & Mrs. Max Achleman Mr. & Mrs. James Ackley Dr. Verna Adams Patricia Adsit, in memory of Gaylord Adsit Mr. & Mrs. Walter Ainsworth Mr. & Mrs. Oscar Albers Sabah Al-Saud Howard & Jeane Almdale Mr. & Mrs. James Almdale Brad Altevogt, in memory of Jeff Altevogt Mr. & Mrs. Dale Amstutz Dorothy Anglin, in memory of James Anglin Bob & Pat Anker Dr. & Mrs. James Arata Drs. William & Mary Ellen Argus Dr. & Mrs. Thomas Armbuster Dessie Arnold & Richard Dunbar Jr., in memory of Eddy & Beth Lydy Brown Mr. & Mrs. Melvin Arnold Mr. & Mrs. Richard Arnold, in memory of George & Esther Hull Karen & Gerald Arthur Barbara & Milton Ashby Irene & Jim Ator Mr. & Mrs. Edward Auer Virginia Ayers Adie & Dick Baach Mary A. Bach A. Gerald & Pauline Backstrom H. Norman Ballinger, in memory of Ann Ballinger Linda Balthaser Mr. & Mrs. James Barrett III R. Janice Barton Mr. & Mrs. Glenn Basham Norma & Thomas Beadie Arthur A. Beal Mr. & Mrs. Glen Beams Mr. & Mrs. John Beatty Dennis & Nancy Becker Mary & Joseph Becker Mike & Ellen Becker Pat & Tony Becker Mr. & Mrs. Charles Beckman Betty & Frederick Beckman 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 Mason Robertson Family in memory of Frances Mae Bjork Mr. & Mrs. William Black Sherry Blake Connie & Darrell Blanton Dr. & Mrs. Peter Blichert Bob & Judy, in honor of Ervin Orban, in honor of Christine Thompson, in honor of David Borsvold, in honor of Deb & Andrew Hicks, in honor of Eric Schweikert, in honor of Braham Dembar, in honor of Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of our musicians, especially those who are soloists Jocelyn & Jim Blum Ann & David Bobilya Phyllis Boedeker Virginia & Richard Bokern, in memory of Loved Ones Jim & Lois Boomer Janellyn & Glenn Borden Sid & Bonnie Bostic Rebecca Bouse Patricia Boyle, in memory of B.C. Boyle, in memory of Mary A.J. Boyle J. Charles Braden Charlotte D. Bradley Kim & Dwight Brandon Robert Braun Dr. Helene Breazeale, in honor of Andrew Constantine David & Faye Brennan Martha Brenner, in memory of Elsa Brenner Dr. Wm. Lloyd Bridges Dr. Glenn Brinker & Ms. Willi Ratliff, in honor of Mr. & Mrs. John Brinker Carolyn Brody Mrs. Robert Brokaw, in memory of Harriet Parrish Roberta Brokaw, in memory of Miriam Louise Brokaw Joan Baumgartner Brown Barbara & John Bruce Beverly & Larry Brunke Bob & Margaret Brunsman Rosemary Bucklin James Bueter Barbara J. Bulmahn John & Paula Bullman Mr. & Mrs. Wayne Burnside Karen Butler Sean Butler & Paula George
Dr. Carol Buttell Joyce & Paul Buzzard Mr. & Mrs. Thomas Callison Princess Cameron Kevin Campbell Isa & Elizabeth Canavati Alan Candioto Peg & Andy Candor Mr. & Mrs. John Cantrell Richard Carlson Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Charles Walter Hursh Brian & Vicki Castle Donald & Sally Caudill Kim Caudill Mr. & Mrs. M. Stuart Cavell Charles Caylor, MD Mrs. Harold Caylor Mr. Michael Cayot Elizabeth & Howard Chapman Charles Chidester, in memory of Jean Chidester Mr. & Mrs. C. Gregory Childs Will & Ginny Clark Mr. & Mrs. Beresford Clarke Don Cleary Willis Clouse Mr. & Mrs. Lowell Coats Mr. & Mrs. John Coe Nancy Cole Annelie & Bob Collie, in memory of Capt. Otto Eichrodt, in memory of “Suse” Gitterman Eichrodt, in memory of Judge Turner, in memory of Mrs. Zula Collie Sherrill & Sarah Colvin, in memory of Herbert Cooper Gwendolyn & Donald Converse J. Philip & Susan Cooling Cook Patricia Cook Mr. & Mrs. Herbert Cooper Harry Crawford Dr. & Mrs. John Crawford Rosemarie & Stephen Crisafulli Kathleen & Robert Crispin Dawn, Dave & Nate Crofton Patricia & Robert Cross Brenda & David Crum Michael Crump Dr. & Mrs. John Csicsko Mr. & Mrs. King Culp Joseph Culver Gloster Current, Jr. Bill & MaryAnn Dahlman Albert & Yvonne Dahm Edward & Linda Dahm Mr. & Mrs. George Davis Janet Davis Mr. & Mrs. Ronald Davis
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Ted Davis Judy & Wayne Dawes Cathleen & David Debbink Cindy & Mark Deister Gwen & Dick DeKay Martha & William Derbyshire Jane & Tom Dickson Roslyn Didier Beverly Dildine Mr. & Mrs. John Dillard Mr. & Mrs. Lloyd Doehrmann Mr. & Mrs. Richard Doermer Mr. & Mrs. Fred Doloresco Nancy & Harley Donnell Mr. & Mrs. Richard Donnelly George & Ann Donner Mr. & Mrs. Barry Dorman Dr. Robert Doyal Mr. & Mrs. George Drew Douglas Driscoll Mr. Richard Dunbar, Jr. Delores Dunham Phyllis Dunham Dr. & Mrs. John Dyer Dot & Bill Easterly Lawrence Eberbach Mr. & Mrs. Thomas J. Eckrich Mr. & Mrs. John Edris, Jr. Dr. & Mrs. J. Robert Edwards Ben & Sharon Eisbart Cynthia Elick Mr. & Mrs. C.B. Ellis, Jr. Constance Ellis Madelane & Ralph Elston Thomas Elyea Lillian C. Embick, in memory of Byron L. Embick Bruce & Ellen England English, Bonter, Mitchell Foundation June Enoch Dr. & Mrs. James Epps Richard Erb Mr. & Mrs. Walter Erxleben Rev. James & Helen Eshleman James Evans Trust Mr. & Mrs. Charles Eversole Dow & Angelique Famulak Dorothy Faulkner Mr. & Mrs. Robert Fay Mary Anna Feitler Susan & Richard Ferguson Vernell & Peter Fettig Charles Fine Gloria Fink Mr. & Mrs. Richard Fink Betty Fishman Margaret & Mark Flanagan, Jr. Cleon Fleck Richard E. Ford Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn
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Theresa & Michael Franke Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C. William Goebel Mr. & Mrs. Edward Goetz, Jr. Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm Mrs. Hugo Gottesman Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty Dave & Sandy Haist Dr. & Mrs. Fouad Halaby
Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B. F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD David Kaminsakas, MD Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD Robert Swint, Sr., MD Gregory Tomlinson, MD Ravi Vaela, MD Stacie Wenk, MD Carl Wrobleski, MD Christopher Zee- Cheng, MD Ronald Heilman John Heiney, in memory of Janet Heiney, in memory of S. Marie Heiney Leonard Helfrich Jerome Henry Dr. & Mrs. T.L. Herendeen Nancy & Philip Hershberger, MD Deborah & Andrew Hicks
James & Dorothy Hilmert Ann Hoard Jenny & Andrew Hobbs Mark Hochstetler & Mary Maloney Dr. & Mrs. Arthur Hoffman Donald Hoffman Dr. & Mrs. Gregory Hoffman Colleen J. Hohn Hook Drug Foundation John & Dawn Hopkins Nancy & Tuck Hopkins Jody & Jim Horein Suzanne & Michael Horton Barbara & Phillip Hoth Mrs. Rod Howard Mary & Tom Hufford Amanda Hullinger & Family Diane Humphrey David & Nancy Hunter Leonard Iaquinta Gordon & Marie Iddles Martha Herbert Izzi Jo Bess Jackson, on behalf of The Windrose Ensemble Ms. Ruthie Jackson Marlene Jessup Sheila & David Joest Ginny & Bill Johnson Mary & George Johnson, in memory of M. Johnson Anderson Mr. & Mrs. Kenneth Johnson Mr. & Mrs. M. James Johnston Barbara Jones Mr. & Mrs. Christopher Jones Mr. & Mrs. Joseph Jones Mr. & Mrs. Thomas Jones Richard Juergens, MD Philip & Phyllis Kaiser Dr. & Mrs. Martin Kaplan Dr. & Mrs. Gerry Kaufman Dr. & Mrs. Carleton Keck Marcile Keck Keefer Printing Company, Inc. Leslie Keeslar Mr. & Mrs. David Keim Dale Kelly Pamela Kelly, MD & Kevin Kelly, MD Mr. & Mrs. Geoffrey Kelsaw Jane Keltsch, in memory of Donald Keltsch Dr. & Mrs. Norman Kempler Diane Keoun Craig & Diane Keoun Dr. & Mrs. S. Bruce Kephart Anne Kern Mr. & Mrs. Ross King Dr. & Mrs. Robert Kittaka, in memory of Mr. Kizo KometanI, in memory of Kumako Kittaka, Beloved Mother John & James Knight Foundation
Mr. & Mrs. Lynn Koehlinger Mary Koehlinger Bruce & Mary Koeneman John Korte Tod Kovara, in memory of Earl Kovara, in memory of Judy Ann Kovara Fritz & Joan Kraber Bil & Shirley Kransteuber Krouse Foundation Hedi & Irwin Krueger Keith Kuehnert Mr. & Mrs. Don E. Lahrman Mr. & Mrs. Rex Lamm Mr. & Mrs. Theron Lansford Dr. & Mrs. William LaSalle Janet & Bud Latz Mr. & Mrs. William Latz William Lawson Doretta Laycock Pat Leahy Mr. & Mrs. Ivan Lebamoff Ruth Lebrecht Dr. Chung-Seng & Sage Lee Antoinette & H.S. Lee John Lee, MD Judith & William Lee Mr. & Mrs. Joseph Leeuw Dr. & Mrs. Robert Leininger Mr. & Mrs. Gerald LeMasters Mr. & Mrs. James Lewellen Paul Liechty David & Carol Lindquist Mr. & Mrs. Nocholas Litchin David & Melissa Long Anne Longtine & Marco Spallone Judy & Gerald Lopshire Eleanor Ludy Duane & Carol Lupke Margaret & Doug Lyng Mr. & Mrs. William Macomber Mr. & Mrs. George Mallers Peter & Christine Mallers, in honor of the Philharmonic musicians & staff Joyce Mallory Nellie Maloley Sylvia Manalis & Richard Manalis Don Mansfield George & Mary Marchal Mr. & Mrs. Michael Marchese, Jr. Mrs. Charles Marcus Greg Marcus Wilda Gene Marcus Trust Eleanor & Lockwood Marine Christina & Stephen Martin Don & Eleanor Martin Nancy & Victor Martin Wayne Martin & Nancy Olson-Martin Christian & Michelle Maslowski
Michael Mastrangelo, in memory of Grace Mastrangelo Michael & Grace Mastrangelo George & Doris Mather Judge & Mrs. Dalton McAlister Mrs. Byron McCammon Emery McDaniel Shelby & John McFann, in memory of Sarah Smith & Ben McFann J. McFann Consulting Co. Monarch Capital Management Monty McFarren Scott & Charles McGehee George McKay Mr. & Mrs. Richard McKee Mrs. Thomas McKiernan Lee McLaird Mary McLisle Mr. & Mrs. Alan McMahan McMillen Foundation Joan McNagny Eugene & Betty McQuillan, in memory of Betty McQuillan Donald Mefford Julie & Bob Mehl Mr. & Mrs. Richard Menge, in memory of Elsie Menge Fred Meriwether Mr. & Mrs. Edwin Metcalfe Ralph Meyer Sidney & Barbara Meyer Susan & David Meyer Dr. & Mrs. Joseph Meyers Mr. & Mrs. George Mikula Barbara & Joe Miller Bradley Miller Kerry Miller Mr. & Mrs. P. Michael Miller Susan & Scott Miller, MD Dr. & Mrs. Michael Mirro Judge & Mrs. Alfred Moellering Mr. & Mrs. Charles Momper Monarch Capital Management Mr. & Mrs. Frank Monroe Mr. & Mrs. Bruce Montgomery Bill Morgan Aloyse Moritz James Morrell Amy Morrill Trust Morrill Charitable Foundation Marie Moser Sue & Rowland Moser Dr. & Mrs. Dwight Mosley Mr. & Mrs. Lindy Moss Mr. & Mrs. Leslie Motz Mrs. Nancy Moyer Akira Murotani & Alexandra Tsilibes Mr. & Mrs. John Murray Mr. & Mrs. Wilbur Nahrwold Ralph & Becky Naragon Gloria & Jim Nash National Endowment for the Arts
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Agnes Nelson, in memory of Sheldon Nelson Marilyn Newman Barb & Tom Niezer Mr. & Mrs. Carson Noecker The Carson & Rosemary Noecker Family Foundation Carol Nole, in memory of Bobbie & Bob Shilling Walter & Margaret Nollen North American Van Lines & Norfolk Southern Foundation Catharine Norton, in memory of Philip Norton Sally & David Norton Terrence Nufer Marta & Jim Oberlin Carol & Joe Offerle Mr. & Mrs. Harry Okeson Mr. & Mrs. John Oldenkamp Mr. & Mrs. Larry O’Maley Ervin & Cynthia Orban The O’Rourke-Schof Family Foundation Connie Overholser Harry & Ruth Owen Mr. & Mrs. Ralph Paetz Janet & Daniel Paflas, MD Patricia & Maclyn Parker Harriet & Robert Parrish Kathy & Michael Parrott Kevin & Ann Patrick Patrick Payment Mr. & Mrs. Kenneth Pearson Lucio & Ann Perego Douglas & Lenore Perry Mrs. Theodor Petry Pat & John Pfister Phelps Dodge Philharmonic Staff, in recognition of Christopher D. Guerin Ron Philips Dr. & Mrs. Richard L. Phillips Richard Phillips, in memory of Evelyn Phillips Mr. & Mrs. Richard Phillips Mr. & Mrs. Douglas Pinner Poinsatte-Altman Foundation Mr. & Mrs. Howard Polk Mrs. H. Leslie Popp Jr. Vivian Purvis David Quilhot Mr. & Mrs. A. Russell Quilhot, in memory of Mr. & Mrs. Byron Holmes Somers Barbara Mann Ramm Dr. & Mrs. Fred Rasp Mrs. J. E. Rawles Betty Rayl John Reche Dr. & Mrs. John Reed Mr. & Mrs. Thomas Rehrer Paul & Lula Belle Reiff Carroll & Bill Reitz Laura Ress Robert & Nancy Rhee Nancy Rieke
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Willis & Anne Ritter Ann & Dick Robinson Mr. & Mrs. Don Robinson Max & Sandy Robinson Phyllis Roby Mr. & Mrs. Richard Roese David & Kathy Rogers Nancy Rogers Ian & Mimi Rolland Sanford Rosenberg Trust Philip & Barbara Ross Madelon Rothschild Drs. Roush & Roush, Inc. Emily & Matt Roussel Bette Sue Rowe Phillip & Ruth Ruder Mr. & Mrs. Joseph Ruffolo Carol Lynn Rulka Deb & Bob Rupp Rabbi Richard & Lois Safran Richard & Carolyn Sage Lynne Salomon Dr. & Mrs. Joel Salon Alma Salzbrenner Ann & Morrie Sanderson Nancy & Tom Sarosi Saturday Club Schaefer Foundation Patricia Schaefer Liz & Mike Schatzlein, in honor of George Schatzlein Timothy Scheidt Letha Scherer Kathleen & Dale Schipper Mr. & Mrs. Donald Schmidt Phillis Schmidt, in memory of Eugene Schmidt, MD Jeanne Schouweiler, in memory of Edwin Schouweiler William Schreck Schust Foundation Mike Scott Mr. & Mrs. Frank Sechler Mr. & Mrs. Daniel Serban Mr. & Mrs. William Serstad Shearson Lehman Hutton Inc. Erin Sheehan Joan & Don Sherman Roqua Shideler, in memory of Jack Shideler Jr. John Shoaff & Julie Donnell, in memory of John Shoaff Mr. & Mrs. Thomas Shoaff Mack Short Mary & Robert Short Carol Shuttleworth & Michael Gavin Dr. & Mrs. James Sidell C. David & Ann Silletto Pauline Ware Silva Mark & Sharon Simmons Roberta & Robert Simmons Hank & Marilyn Skinner Sledd Foundation Mr. & Mrs. Walter Sloffer Michael Slutsky & Jean Tipton, in memory of Tasha Tipton
Dr. Edra Smiley Mr. & Mrs. Daniel Smith Herbert & Donna Snyder Byron Somers Foundation Carol Baxter Somerville Thelma Somerville Kathryn & Ray Sommers Shari & Jim Sousley William Spindler Mr. & Mrs. Arthur Spirou Barbara Spreen Square D Company Staehle Foundation Ronald Stagg Star Financial Bank – Deposit Services Howard & Marilyn Steele Mr. & Mrs. Allen Steere Lois A. Steere, in memory of Allen C. Steere Mr. & Mrs. A. James Stein Todd & Janet Stephenson Rev. & Mrs. Daniel Stewart Nancy & David Stewart Marjorie Stewart, in memory of Carlton Stewart Amy Stone Robert Stouffer Edith Stout Mr. & Mrs. Leo Stroncczek James & Jeanne Leita Stump Styles Beyond Salon Carl Suedhoff Jr. James Suelzer Thomas Summerill Kathleen Summers Mrs. Thomas Summers Sunriver Music Festival Friends The Bowerman Family of Sunriver Sunset Drive Neighbors, in memory of Betty McQuillan Chuck & Lisa Surack & Sweetwater Sound, in honor of Samuel Gnagey Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins
Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc. Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Mr. & Mrs. Robert Walda Jane & Frank Walker Mr. & Mrs. John Walley Mr. & Mrs. James Walper Esther Walter Robert & Irene Walters Nathan & Natalie Wanstrath Marie & David Warshauer
Michael & Ruth Wartell Bob & Martha Wasson Mrs. Richard Waterfield Helen & Wayne Waters Mr. & Mrs. Herbert Weier Dorothy Weiss Mr. & Mrs. Paul Welker Nicholas Werdell Lynn Wernet Kristin Westover Cathleen Westrick Mrs. Charles Weyrick Catherine White Perry & Jackie White Dana Wichern Dr. & Mrs. Alfred Wick Mr. & Mrs. Ray Wiley William Willennar Foundation Fred & Marion Williams Eloise Willis Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf
Melody Wolff Lawrence & Lea Woodrum Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger
LAUREATE CLUB The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (23) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman 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 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
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. Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic. Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777.
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CHOCOLATE LOVERS UNITE
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