2017-2018 Prelude 2 by Fort Wayne Philharmonic

PRELUDE 2 01 7- 2 01 8 N ove m b e r - D e ce m b e r - J a n u a r y

FORT WAYNE PHILHARMONIC PROGRAM

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PRELUDE FORT WAYNE PHILHARMONIC PROGRAM Design: Brooke Sheridan

Contributing Editors: James W. Palermo, Jim Mancuso

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

VOLUME 74 NO. 2

TABLE OF CONTENTS 4 24 24 31 50 52 54 55

Welcome Letter, Andrew Constantine Jonathan Busarow, FWCC director Fort Wayne Childrenâ&#x20AC;&#x2122;s Choir Fort Wayne Philharmonic Chorus Philharmonic Friends Andrew Constantine, Music Director Caleb Young, Assistant Conductor Benjamin Rivera, Chorus Director

56 60 61 62 64 67 72

Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Administrative Staff Series Sponsors Sponsors Donors Advertisers Index

37 38 39 47 48

Ashlee Bickley, mezzo-soprano Ryan Townsend Strand, tenor David Govertsen, bass-baritone Campbell MacDonald, clarinet NIcholas Bardonnay, multimedia artist

ARTIST BIOS

11 Alessio Bax, piano 23 Mike Eldred, vocalist 25 Gregory Stieber, director and producer 25 Daisy Paroczy Hickey, producer 26 Kevan Loney, projection designer 36 Josefien Stoppelenburg, soprano

7 Masterworks SCHUMANN AND BRAHMS Saturday, November 18 13 Pops HOLIDAY POPS Friday, December 8 Saturday, December 9 29 Chamber Orchestra Series MESSIAH BY CANDLELIGHT Thursday, December 14 Friday, December 15 19 Pops HOLIDAY POPS Saturday, December 16 41 Masterworks NORDIC LANDSCAPES Saturday, January 13

WELCOME FROM THE MUSIC DIRECTOR Dear Friends: We’ve been busy with an enjoyable autumn of varied concerts, beginning with celebrated violinist Joshua Bell and continuing with other classical concerts, chamber music performances, youth events, Bach in the Barn festival, and a screening of the cinematic classic E.T. The virtuosity and versatility of our wonderful orchestra certainly have been on full display these last few months. We now enter the busiest time of the year, beginning with a concert featuring the remarkable young Italian pianist Alessio Bax in a program of Suppé, Schumann, and Brahms. Then the orchestra collaborates with Fort Wayne Ballet in annual performances of Tchaikovsky’s beloved Nutcracker before we premiere the rebranded Holiday Pops, boasting spectacular immersive lighting and multimedia visual special effects. If that weren’t enough, once again Handel’s beloved Messiah by Candlelight is on the schedule, set to the warm glow of candlelight. The holiday season ends as the orchestra traverses the entire region performing Yuletide concerts in six different communities. If you ever needed a cogent reminder about the value of our musicians and their work in Northeast Indiana, follow

them throughout December as they inspire, entertain, and enrich the lives of thousands of citizens in so many diverse communities. We move into the New Year with Nordic Landscapes, a classical program of compositions by Liadov, Pärt, Sibelius, and sumptuous photo-choreography by Westwater Arts projected on a large screen above the orchestra. Principal clarinet Campbell MacDonald will perform Nielsen’s profoundly beautiful concerto on that same program. The Fort Wayne Philharmonic is not just a place, a building, or simply a concert in a darkened theatre. It is also a powerful collaboration between our musicians and the community, an artistic ensemble committed to serving today’s needs while cultivating the audiences of tomorrow. Thank you for supporting the music we all love – and our exemplary musicians who have chosen Fort Wayne to build their careers and practice their art, while contributing to our lives. Sincerely,

Andrew Constantine Music Director

ANDREW CONSTANTINE

that time is better spent together. PNC hopes you have a great holiday full of family, friends and loved ones.

M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

SCHUMANN AND BRAHMS Saturday, November 18, 2017, 7:30 p.m. Rhinehart Music Center, IPFW Andrew Constantine, conductor Alessio Bax, piano SUPPĂ&#x2030;

Overture to Poet and Peasant

SCHUMANN Piano Concerto in A minor, Op. 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace Alessio Bax, piano

-- Intermission --

BRAHMS Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, November 30 at 7:00 p.m. Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

SCHUMANN AND BRAHMS OVERTURE TO POET AND PEASANT Franz von Suppé (b. 1819, Split, Dalmatia, now Croatia; d. 1895, Vienna, Austria) Franz von Suppé was a contemporary of Johann Strauss II, and while Strauss was reigning as the Waltz King of Vienna, von Suppé was the king of Viennese operetta, a lighter form of opera using spoken dialogue. Born in the ancient city of Split on the coast of Dalmatia, now Croatia, he shortened and simplified his name after coming to Vienna; it was originally the breath-taking Francesco Ezechiele Ermengildo Cavaliere Suppé Demelli! Von Suppé’s well-to-do family wanted him to study law or medicine, but music was his passion from an early age. Encouraged by the famed Italian operatic composer Gaetano Donizetti, a distant relative, he studied music seriously and in 1840 landed an apprentice position at the Theater in der Josefstadt in Vienna. There he began writing the first of his numerous operettas and making a name for himself. In 1845, he moved on to the prestigious Theater an der Wien, a theater associated with Mozart and Beethoven, where he became not only the house composer but also a highly successful conductor. Wildly popular in their day, von Suppé’s frothy comedies are now forgotten. But many of their overtures remain well-loved concert pieces, notably the romantic Poet and Peasant Overture; Morning, Noon, and Night in Vienna, and the vivacious Light Cavalry Overture. Premiered at the Theater an der Wien on August 24, 1846, the operetta Poet and Peasant (Dichter und Bauer in German) was one of von Suppé’s early major successes. Very episodic in structure, its overture bursts with appealing melodies. It opens with a noble slow brass chorale, from which flows a gorgeously melodic cello solo, full 8

PROGRAM NOTES November 18, 2017 of romantic feeling. A stormy fast episode is reminiscent of a portion of Rossini’s beloved William Tell Overture, written less than two decades earlier. This is calmed by a lilting Viennese waltz. A whirlwind concluding episode even incorporates a bit of syncopated can-can music for an irresistible finish.

PIANO CONCERTO IN A MINOR, OP. 54 Robert Schumann (b. 1810, Zwickau, Germany; d. 1856, Endenich, near Bonn, Germany) It seems astonishing that one of Robert Schumann’s greatest works and one of the finest concertos in the Romantic repertoire — the Piano Concerto in A minor — was actually written in two installments four years apart. The first movement came into being as a fantasy for piano and orchestra in May 1841, created in Leipzig by a happy and emotionally stable composer, newly married to Clara Wieck and awaiting their first child. Four years later, the couple had moved to Dresden and Schumann was just recovering from a serious depression during which he had been able to compose virtually nothing. He turned to writing counterpoint exercises — one of his favorite ways to combat his inner demons — and suddenly creativity flowed again. Between May and July 1845, he returned to the Fantasy, revised the first movement, and added an intermezzo and a vivacious rondo to transform it into a full-fledged concerto. Despite all the elapsed time, the concerto emerged all of a piece, with a cohesion and unity of inspiration that carries through from beginning to end. It was premiered by Clara Schumann — she, not Robert, was the virtuoso of the family — on January 1, 1846 with the Leipzig Gewandhaus

Orchestra and has been a favorite of pianists ever since. Before their marriage, Robert wrote to Clara: “I cannot write a concerto for a virtuoso. I must think of something else.” By “concerto for a virtuoso” he was thinking of his contemporaries Liszt and Paganini, who wrote works that served mostly to display their extraordinary technical feats while the orchestra played discreetly in the background. In an article in his Neue Zeitschrift für Musik, Schumann praised a concerto by Ignaz Moscheles because the piano “makes an imaginative interplay with the orchestra, each instrument having its own role, its own say, and its own significance.” And this is what he achieved in his own concerto: a dialogue of soloist and orchestra, with the woodwinds — especially the solo clarinet and oboe — having particularly prominent parts. The first movement opens with an explosive series of descending chords from the soloist. Then the woodwinds sing, somewhat plaintively, the eloquent principal theme, followed by the soloist’s more forthright statement. As rich in melody as this concerto is, nearly everything flows from this one motto theme, which will evolve continually through Schumann’s technique of thematic transformation. For example, instead of a new second theme, the solo clarinet offers a more lyrical version of this motto over rippling piano accompaniment. After a robust orchestral statement wraps up the exposition, the development begins quietly in distant A-flat major with a dreamy piano rhapsody of the motto, embellished by woodwinds. Then the tempo increases for a dramatic soloist-versus-orchestra dialogue based on the piano’s bold descending entrance. A new, faster lyrical section reshuffles the motto theme again to lead the way to the recapitulation. After a solo cadenza that is more meditative than showy comes a quickstep march coda (again the motto in new guise!) that propels the movement to an exhilarating conclusion.

The Intermezzo second movement in F major begins with pert, four-note upward patterns tossed between soloist and orchestra, which are based on the second part of our old friend, the motto. A lovely, soaring song for the cellos, later passed to solo clarinet and bassoon, forms the middle section of this movement, which segues via an ingenious bridge directly into the finale. The A-major finale is a rondo with a refrain theme of marvelous buoyancy and verve. Its first episode, repeated later in the movement, begins with a mincing rhythm in the strings that cleverly gives the illusion of slowing the tempo; it eventually broadens into a spacious dialogue. Joy, a wealth of melodic invention, and irresistible forward momentum propel this brilliant rondo to its finish.

SYMPHONY NO. 4 IN E MINOR, OP. 98 Johannes Brahms (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) Brahms’ last — and, in the opinion of many — greatest symphony made an inauspicious debut with its first audience, a small group of the composer’s friends (including conductor Hans Richter and Viennese critic Eduard Hanslick) gathered around two pianos in 1885 as Brahms and a colleague played through the score. The friends listened in stunned silence, then began tearing the work apart. Max Kalbeck, the composer’s first biographer, suggested Brahms publish the finale as a separate piece, throw out the thirdmovement scherzo, and rewrite the first two movements! A discouraged Brahms asked Kalbeck the next day, “If people like … you do not like my music, who can be expected to like it?”

Fortunately, the musical public liked the Fourth Symphony much better than did Brahms’ friends. It was a resounding success at its premiere with the Meiningen Orchestra under the composer’s baton on October 25, 1885 and was equally applauded on a nine-city tour that followed, with Brahms and the distinguished conductor Hans von Bülow alternating on the podium. Von Bülow responded to the Fourth as we do today, calling it “stupendous … individual and rocklike. Incomparable strength from start to finish.” What could have been so distressing about this noble work to those first listeners, all sophisticated musical professionals? While composing it during the summers of 1884 and 1885 in Mürzzuschlag in southern Austria’s Styrian Alps, Brahms wrote to von Bülow: “It tastes of the climate hereabouts; the cherries are hardly sweet here, you wouldn’t eat them!” Certainly compared to his first three symphonies, the work has something of the bitterness of sour cherries in its austerity, harmonic bite, and predominantly tragic mood. It is the most tightly constructed of his symphonies, governed by an internal logic inspired by the strictness of its celebrated passacaglia finale. But listeners will be less aware of this than of the work’s amazing range of moods, its wealth of lyrical melody, and its overall drama. For Brahms, a firm structural foundation gave freedom for unfettered expressiveness. This is epitomized by the finale’s use of the Baroque passacaglia or chaconne form, in which a series of variations are created over a repeated theme. Brahms adopted his theme from Bach’s Cantata No. 150, “Nach Dir, Herr, verlanget mich” (“Toward You, Lord, I Long”). In 1880, he had played this cantata for von Bülow and, pointing out the theme, suggested: “What would you say to a symphonic movement written on this theme some day?” 10

The intimate opening of the Allegro non troppo first movement is utterly unique, suggesting the symphony has already been in progress for some time. The violins’ sighing motive, descending then ascending, will be the cornerstone of Brahms’ symphonic cathedral; by movement’s end, this gentle idea will reach heights of dramatic pathos. The complete melody then unfolds in the violins, followed by a variation on it. Already Brahms is announcing that the variations process will be an important force throughout this entire symphony. A mysterious passage of string arpeggios and cloudy harmonies, and a fanfare motive are also important elements in this sonata form in E minor. The overall mood is subtle and autumnal, rising to heroic tragedy over a heavy drum roll at the end. The slow movement, in E major, is full of nostalgia and melancholy. A dark, cloudy color is established by the four horns (the movement’s signature instruments), followed by clarinets, singing the principal melody in mournful middle register over a steady rhythmic pattern in plucked strings. The second major theme in this compressed sonata form is one of Brahms’ lovely yearning tunes, sung by the cellos below arcing high violins. Of this movement Brahms’ close friend Elisabeth von Herzogenberg wrote: “It is a walk through exquisite scenery at sunset, when the colors deepen and the crimson glows to purple.” Evening’s purple brightens to golden daylight in the exuberant scherzo movement, in C major and marked Allegro giocoso. All melancholy is temporarily swept away in the most extroverted, joyful symphonic movement the introspective Brahms ever wrote. The ringing of the triangle intensifies the jubilation. And now comes the celebrated finale with its eight-measure passacaglia theme stated clearly at the beginning by the wind instruments. You may subliminally feel this pattern throughout

the 30 variations, but you will be more conscious of the overall emotional trajectory. Brahms groups his variations in large blocks so there is no feeling of start and stop. A slower middle section opens with one of the most beautiful, sorrowful melodies ever written for the flute. After a prominent recapitulation

of the passacaglia theme, a dramatic set of variations builds to a tragic coda, intensified by pounding timpani. Here Brahms achieves a Pyrrhic victory in a mighty conclusion to his symphonic career. Notes by Janet E. Bedell copyright 2017

Alessio Bax, piano Combining exceptional lyricism and insight with consummate technique, Alessio Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on four continents, not only as a recitalist and chamber musician, but as a concerto soloist who has appeared with more than 100 orchestras, including the London and Royal Philharmonic Orchestras, Dallas and Cincinnati Symphonies, NHK Symphony in Japan, St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony with Sir Simon Rattle. After inaugurating a new three-year appointment as Artistic Director of Tuscany’s Incontri in Terra di Siena festival in summer 2017, Bax launched Chamber Music Society of Lincoln Center’s 2017-18 season in company with his wife and fellow pianist, Lucille Chung. Further highlights of his full season include a pair of high-profile U.S. duo recital tours with violinist Joshua Bell and flutist Emmanuel Pahud, respectively. Alessio Bax graduated with top honors at the record age of 14 from the conservatory of Bari, his hometown in Italy, where his teacher was Angela Montemurro. He studied in France with Francois-Joël Thiollier and attended the Chigiana Academy in Siena under Joaquín Achúcarro. In 1994 he moved to Dallas to continue his studies with Achúcarro at SMU’s Meadows School of the Arts, where, with Lucille Chung, he is now the Johnson-Prothro Artist-in-Residence. He also serves with Chung as co-artistic director of Dallas’ Joaquín Achúcarro Foundation, created to cultivate the legacy of the Basque pianist and to support young pianists’ careers. A Steinway artist, Bax resides in New York City with Chung and their three-year-old daughter, Mila. Outside the concert hall he is known for his longtime obsession with fine food; as a 2013 New York Times profile noted, he is not only notorious for hosting “epic” multi-course dinner parties, but often spends his intermissions dreaming of meals to come.

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Sweetwater Pops Series

HOLIDAY POPS Sponsored by Parkview Health Friday, December 8, 2017, 7:30 p.m. Saturday, December 9, 2017, 2:00 p.m. & 7:30 p.m. Embassy Theatre Caleb Young, conductor Mike Eldred, vocalist Fort Wayne Children’s Choir, Jonathan Busarow, director Holiday Pops Chorale, Benjamin Rivera, director Greg Stieber, co-producer/director Daisy Paroczy Hickey, co-producer/director, choreographer Kevan Loney, projection designer WASSON

Festival Fanfare for Christmas

KENT (Marty Gold)

I’ll Be Home For Christmas

EVANS (Robert Lowden)

Silver Bells

BRITTEN

Men of Goodwill; Variations on a Christmas Carol

ADAM (Jeff Steinberg)

O Holy Night

Program continued on page 14. Many thanks to the generous supporters of this event:

Chuck & Lisa Surack

Sweetwater Pops Series

HOLIDAY POPS Program continued from page 13. LUTHER (Carmen Dragon)

Away in a Manger

REGNEY & SHAYNE (Carmen Dragon)

Do You Hear What I Hear?

MANN

LIGHTSONGS - A Chanukah Medley

AMUNDSON

Shepherd’s Jubilee -- Intermission --

AMUNDSON Rejoice! TRADITIONAL (Jeff Steinberg)

Winter Medley

TRADITIONAL (Carmen Dragon)

The Twelve Days of Christmas

HUMPERDINCK

Prelude to Hänsel und Gretel

TRADITIONAL (Jeff Steinberg)

Christmas ‘Round the World

TRADITIONAL (Carmen Dragon)

The First Noel

SILVESTRI AND BALLARD (War. Ross)

“Believe” from Polar Express

HANDEL

Messiah: Hallelujah Chorus

TRADITIONAL (John Finnegan) Christmas Sing-Along (Sing-Along lyrics on page 15)

Celebrating The Philharmonic

Offices in Fort Wayne, LaGrange, Syracuse and Warsaw

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10/19/16 12:47 PM

HOLIDAY POPS

SINGALONG December 8,9 & 16, 2017

JOY TO THE WORLD

DECK THE HALL

Joy to the world! The Lord is come; Let earth receive her King; Let ev’ry heart prepare Him room, And heav’n and nature sing, And heav’n and nature sing, And heav’n, and heav’n, and nature sing!

Deck the Hall with boughs of holly, Fa la la la la, la la la la, ‘Tis the season to be jolly, Fa la la la la, la la la la, Don we now our gay apparel Fa la la la la la, la la la, Troll the ancient Yuletide carol Fa la la la la, la la la la.

HARK! THE HERALD ANGELS SING Hark! The herald angels sing, Glory to the newborn King! Peace on earth and mercy mild, God and sinners reconciled! Joyful all ye nations rise, Join the triumph of the skies; With th’angelic host proclaim, Christ is born in Bethlehem! Hark! The herald angels sing, Glory to the newborn King!

O COME, ALL YE FAITHFUL

SILENT NIGHT

Sing, choirs of angels, Sing in exultation, Sing, all ye citizens of heav’n above; Glory to God in the highest;

Silent night, holy night, All is calm, all is bright Round yon Virgin Mother and Child. Holy Infant so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace.

O come, all ye faithful, Joyful and triumphant, O come ye, O come ye to Bethlehem; Come and behold Him, Born the King of angels; REFRAIN: O come, let us adore Him, O come, let us adore Him, O come, let us adore Him, Christ, the Lord.

(Repeat Refrain)

SAVE THE DATE.

AMY GRANT IN CONCERT

Sweetwater Pops Series

FORT WAYNE PHILHARMONIC 260.481.0777 Saturday, January 27, 7:30 p.m.

FWPHIL.ORG

Embassy Theatre

Sensational GrammyÂ® Award-winning singer Amy Grant performs some of her greatest hits with a colossal back-up band: the Philharmonic!

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Sweetwater Pops Series

HOLIDAY POPS Sponsored by Parkview Health and Old National Wealth Management Saturday, December 16, 2017, 2:00 pm & 7:30 pm Embassy Theatre Caleb Young, conductor Mike Eldred, vocalist Fort Wayne Children’s Choir, Jonathan Busarow, director Holiday Pops Chorale, Benjamin Rivera, director Greg Stieber, co-producer/director Daisy Paroczy Hickey, co-producer/director, choreographer Kevan Loney, projection designer WASSON

Festival Fanfare for Christmas

KENT (Marty Gold)

I’ll Be Home For Christmas

EVANS (Robert Lowden)

Silver Bells

BRITTEN

Men of Goodwill; Variations on a Christmas Carol

ADAM (Jeff Steinberg)

O Holy Night

Program continued on page 20.

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack

Sweetwater Pops Series

HOLIDAY POPS Program continued from page 19. LUTHER (Carmen Dragon)

Away in a Manger

REGNEY & SHAYNE (Carmen Dragon)

Do You Hear What I Hear?

MANN

LIGHTSONGS - A Chanukah Medley

AMUNDSON

Shepherd’s Jubilee -- Intermission --

AMUNDSON Rejoice! TRADITIONAL (Jeff Steinberg)

Winter Medley

TRADITIONAL (Carmen Dragon)

The Twelve Days of Christmas

HUMPERDINCK

Prelude to Hänsel und Gretel

TRADITIONAL (Jeff Steinberg)

Christmas ‘Round the World

TRADITIONAL (Carmen Dragon)

The First Noel

SILVESTRI AND BALLARD (War. Ross)

“Believe” from Polar Express

HANDEL

Messiah: Hallelujah Chorus

TRADITIONAL (John Finnegan)

Christmas Sing-Along (Sing-Along lyrics on page 15)

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Mike Eldred, vocalist Mike Eldred is one of North America’s most beloved tenors, thrilling audiences on Broadway, in concert halls, and on recordings, radio and television. Eldred appeared, as Jean Valjean in Les Misérables on Broadway and across the US (Pennsylvania Shakespeare Festival, Schermerhorn Symphony Hall, and Aspen Theatre). He was also on Broadway in the original cast of the Tony-nominated The Civil War. He performed in the 25th anniversary national tour of Jesus Christ Superstar, and starred as The Tenor in the national concert tour of Handel’s Messiah Rocks. Eldred’s starring role as Tony in the Nashville Symphony’s production of West Side Story has earned international praise as “arguably the best ‘Tony’ on record”. The cast recording starring Mike Eldred on NAXOS International is recognized around the world. An artist of tremendous depth and reach, Eldred’s diversity and generosity of spirit fuel the many facets of his career. He is increasingly interested in using his performances to raise awareness and funds for causes close to him. A benefit concert in Montana raised thousands of dollars for Court Appointed Special Advocates (CASA). In addition to numerous appearances on recordings and DVDs, Eldred has released three solo CDs that have garnered critical and popular acclaim. These include favorites from his years on Broadway, a holiday album, and a celebration of the music of John Denver, which he offers as a symphony pops concert. Eldred has performed in concert with most of North America’s finest symphony orchestras including Baltimore, Boston, Chautauqua, Chicago, Cincinnati, Dallas, Detroit, Edmonton, Fort Worth, Houston, Indianapolis, Jacksonville, Kansas City, Long Beach, Milwaukee, Modesto, Naples, Nashville, Oklahoma City, Omaha, Phoenix, Portland, San Diego, Seattle, Toronto and Vancouver. Visit www.mikeeldred.com.

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Jonathan Busarow, Executive Artistic Director, FWCC Jonathan Busarow holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music in Choral Conducting from The Ohio State University, and Kodaly Certification from the Kodaly Institute at Capital University. Mr. Busarow also serves on the faculty of Indiana University-Purdue University Fort Wayne where he teaches voice and choral music education. He has also served as the interim director of choral studies at IPFW and Valparaiso University. Mr. Busarow is 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 ROSTER Jonathan Busarow, Executive Artistic Director Irene Ator, Accompanist Abby Ayres Eliza Clegg Rachel Cluts Anna Corley Savannah Copeland Lacey Darnell Hope Fehlinger Isabel Follrod Nora Foltz Nadia Frese Mariah Grim Rebekah Hammond Jillian Hanson Dara Hinsch Gwendolyn Hofman Cooper Inman Olivia Kuhns

Paisley Lane Nora Lemish Elena Matyas Simone McCowan Autumn Miles Claire Miller Jenna Miller Rena Mwangi Katie North Benjamin Peters Lillian Pierce Molly Pierson Preston Reeves Chris Reppert Sarah Rodenbeck Olivia Ruckel Benjamin Sarrazine

Noah Schlicker Halle Shewman Jensen Snyder Sydney Spilker J J Swanson Natalie Todd Megan True Mia Vickery Rachel Wahl Ashley Ward Bre Ward Delaney Wilson Lillian Wilson Isabella Yates

HOLIDAY POPS CHORALE Choral Preparation: Benjamin Rivera

Michael Brown Erich Buchholz Beena David Kathryn Duncan

Kristin Lelm Joachim Luis Alexandra Olsavsky John Orduña

Brett Potts Dan Richardson Alexia Rivera Marissa Simmons

Greg Stieber, Co-producer and Director Greg Steiber’s artistic mission of joining theatre and dance with the fantastic world of orchestra music has inspired several original works for The Phil. His theatrical collaborations with the orchestra have resulted in productions such as An Evening with Romeo and Juliet, An Evening of Hamlet and A Soldier’s Tale. In 2008, he wrote, directed and acted in Haydn vs. Beethoven, a theatrical concert for young audiences for The Phil’s Discovery Concerts. Other symphony productions include The Gershwin Gala in the Pops Series; Spooktacular and The Composer is Dead in the Family Series; Classics Rock and Bring It On in the Unplugged Series; and Mozart and Salieri in the Spectrum Series. Gregory’s other directing credits include Romance, Romance, 1776, To Kill a Mockingbird, and Into the Woods for the Fort Wayne Civic Theatre; The Bald Soprano, The Baltimore Waltz, Catholic School Girls, A Piece of my Heart, and Blood Wedding for IPFW Department of Theatre; and Vanities and A Streetcar Named Desire for Arena Dinner Theatre. In 2003, Gregory directed and produced the world premiere of SEX 7 by Tony Award-winning playwright George Furth. Gregory has served as acting and directing instructor for Fort Wayne Community Schools, Fort Wayne Ballet and Fort Wayne Youtheatre. Daisy Paroczy Hickey, Co-Director Daisy Paroczy Hickey is a native of Fort Wayne and a graduate of University of Saint Francis with a Bachelor of Science in Biology and an Associate of Science in Nursing. She currently works for Triple Threat Performing Arts Academy as Dance Studio Director and resident teacher, and at Fort Wayne Dance Collective as Artistic Coordinator, as well as an outreach dance instructor. Daisy is professionally trained in ballet and other forms of dance, having received training from Fort Wayne Ballet, Joffrey Ballet NYC, Ballet Austin, Richmond Ballet and Grand Rapids Ballet. Locally, Daisy has performed and choreographed for countless dance productions, has acted in film and commercials, and is regularly seen in musicals and plays. Recent credits include A Christmas Carol with Fort Wayne Civic Theatre and Hair with Three Rivers Music Theatre.

Kevan Loney, projection designer Kevan Loney is a Projection Designer with a background in interactive computing, 3D animation, and live performance. Recently, he has worked as a Video/Projection Designer for The Trial of an American President (The Lion | Off-

Broadway), Icon (NYMF, The Duke on 42nd street), Show Boat (CITI Shubert Theatre), The Nina Variations, The Wiz and Antony and Cleopatra (CMU), Gertrude Stein SAINTS! (Abrons Arts Center), Emily Dickinson OUTER SPACE! (The Bushwick Starr), The Irresistible (Immersive Gallery), the regional premier of Pete ’N’ Keely and Mack and Mabel (Stages Repertory Theatre), Altar Boyz (Pittsburgh CLO Cabaret), Chang(e), and This Tree (HERE Arts Center). He was also the Augmented Reality Design Associate for The Builders Association’s Elements of Oz (3LD Art & Technology Center). He graduated with a Masters of Fine Arts in Video and Media Design from Carnegie Mellon University School of Drama.

CIRQUE GOES TO THE CINEMA Sponsored by Franklin Electric Saturday, February 17, 2018 7:30 p.m. | Embassy Theatre Caleb Young, conductor

Sweetwater Pops Series

An all-new program featuring Cirque de la Symphonie’s awe-inspiring acrobats, jugglers and aerial gymnasts, paired with musical film classics from Titanic, James Bond, Harry Potter and Star Wars.

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ALFRED MANN 1917 – 2006 The Fort Wayne Philharmonic Chorus dedicates these performances of Messiah to the memory of Alfred Mann, Professor Emeritus of Musicology at the Eastman School of Music, Handel scholar, and father of Principal Bass Adrian Mann.

Author of the autobiography, “A European at Home Abroad”, Mann was born into an artistic family in Hamburg and became accomplished on the violin, viola, and string bass. Maneuvering through Nazi Germany and fascist Italy, Mann eventually found his way to the United States where his career as a musician and educator flowered. An ironic twist of fate placed him in the U.S. Army, reaching Normandy a few months after the Allied invasion, before being assigned to the Counter-Intelligence Corps. He received a citation for bravery in the conduct of his duties under enemy shelling. Mann became involved in creating an edition of Handel’s Messiah that more accurately reflected the composer’s own conducting score, and his work is still widely used to this day. After moving to Fort Wayne in 1999, he devoted his attention to various translation projects and to writing his reminiscences. Mann’s influence on our understanding of seventeenth-century music and his role in the revival of music from that era cannot be underestimated. It is with great respect, admiration, and a deeply personal connection that members of this Chorus remember Alfred Mann at these performances, during what would have been his 100th year.

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MESSIAH BY CANDLELIGHT The Fort Wayne Philharmonic Chorus Dedicates These Performances in Memory of Alfred Mann Thursday, December 14, 2017, 7:30 p.m. Friday, December 15, 2017, 7:30 p.m. First Wayne Street United Methodist Church Benjamin Rivera, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Josefien Stoppelenburg, soprano Ashlee Bickley, mezzo-soprano Ryan Townsend Strand, tenor David Govertsen, bass-baritone HANDEL

Messiah, HWV 56 PART ONE Overture (Sinfony) Recitative: “Comfort ye, my people” Aria: “Every valley shall be exalted” Chorus: “And the glory of the Lord” Recitative: “Behold, a virgin shall conceive” Aria: “O thou that tellest good tidings to Zion” Recitative: “For, behold” Aria: “The people that walked in darkness” Chorus: “For unto us a Child is born” Pifa (Pastoral Symphony) Recitative: “There were shepherds” Chorus: “Glory to God” Aria: “Rejoice greatly” Recitative: “Then shall the eyes of the blind” Aria: “He shall feed His flock” Chorus: “His yoke is easy” Continued on page 30. 29

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MESSIAH BY CANDLELIGHT

Program continued from page 29. -- Intermission -PART TWO Chorus: “Behold the Lamb of God” Aria: “He was despised” Chorus: “Surely He hath borne our griefs” Chorus: “And with His stripes we are healed” Chorus: “All we, like sheep, have gone astray” Recitative: “Thy rebuke hath broken His heart” Aria: “Behold, and see” Recitative: “He was cut off” Aria: “But Thou didst not leave” Chorus: “Their sound is gone out” Aria: “Why do all the nations rage” Recitative: “He that dwelleth in heaven” Aria: “Thou shalt break them” Chorus: “Hallelujah” PART THREE Aria: “I know that my Redeemer liveth” Chorus: “Since by man came death” Recitative: “Behold I tell you a mystery” Aria: “The trumpet shall sound” Recitative: “Then shall be brought to pass” Duet: “O death, where is thy sting?” Chorus: “But thanks be to God” Chorus: “Worthy is the Lamb”

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

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

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

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MESSIAH BY CANDLELIGHT MESSIAH, HWV 56 George Frideric Handel (b. 1685, Halle, Saxony (now Germany); d. 1759, London) Handel’s great oratorio Messiah has become such a beloved musical icon since its birth in 1741 that it is not at all surprising that many myths and legends have grown up around it. We have been told that Handel himself compiled its mostly Biblical text or, alternatively, that it was sent to him by a stranger; that its success transformed him overnight from a bankrupt operatic has-been to England’s most revered composer; that at its London premiere the king himself rose during the “Hallelujah Chorus” to express his approbation. But Messiah’s real story is much more complicated, though no less fascinating. In the early 1740s, Handel was indeed in considerable professional and financial trouble. After emigrating from Germany to England as a young man, he had enjoyed a celebrated career as the country’s leading composer of operas, mostly in Italian and enhanced by spectacular costumes and scenic effects. But by the end of the 1730s, Handel’s serious grand operas were falling out of fashion. The success of John Gay’s much simpler, English-language The Beggar’s Opera fueled a new enthusiasm for popular-style comic operas. Unable to fill London’s opera houses anymore, Handel retreated from the field and turned his genius to sacred dramas or oratorios. He was not a novice in this genre. Even while busy writing operas, Handel had composed a number of oratorios, notably Israel in Egypt and Saul. Typically, his oratorios were not very different from his operas: they told a dramatic story — in this case drawn from the Bible or other sacred literature — and their soloists 34

PROGRAM NOTES December 14 & 15, 2017

played actual characters. They were performed in theaters and concert halls, not churches. But Israel in Egypt took a new musical approach in that the chorus now became the central character. And Messiah, while giving the soloists more to do, still emphasized the chorus for its climactic moments. Moreover, it broke with Baroque oratorio tradition in that it was a meditation on the coming of the Messiah and his promise for humanity rather than a narrative of events in his life. Handel himself did not compile the group of texts drawn from the Bible’s Old and New Testaments for Messiah. Instead, this was the work of Charles Jennens, a wealthy landowner and literary figure who was a longtime friend of the composer’s and had created texts for several other Handel oratorios. But Handel, devoutly religious as well as worldly, responded with a burst of almost miraculous creative energy to the words Jennens had prepared for him. Beginning his work on August 22, 1741, he completed the two-and-a-half-hour oratorio in just over three weeks. Besides inspiration from God, he also had a little practical assistance in this huge task: like most Baroque composers (Bach included), he did not hesitate to borrow from earlier works if they were suitable for use here. Three of the choruses in Part I — “He shall purify,” “His yoke is easy,” and even the famous “For unto us a child is born” — are based on music he’d originally composed as Italian vocal duets. Messiah was introduced to the world in Dublin, Ireland on April 13, 1743, during Holy Week (the tradition of performing it during the Christmas season is fairly recent). At the invitation of the Duke of Devonshire, the Lord Lieutenant of Ireland, Handel had been presenting concerts of his works there since the previous November and winning the

kind of warm response that had been eluding him in London. On that Tuesday, Neal’s Musick Hall was packed beyond its capacity; audience members had been specifically requested to leave their swords and hoop shirts at home in order to fit more people into the hall! The Dublin audience responded with enormous enthusiasm to the new work, and another performance was quickly scheduled. But when Handel brought Messiah to London in March 1743, attendance was disappointing and the critics unkind. A subsequent Handel oratorio, Samson, was much preferred. Much of Messiah’s failure was caused by a heated controversy that broke out in the city as to whether such a serious sacred subject ought to be presented as an “entertainment” in secular concert halls. Receiving few subsequent performances, the oratorio went back on Handel’s shelf. By 1749, when Handel was 64, the trustees of London’s Foundling Hospital invited him to present Messiah there at a charitable fundraising concert. This time the oratorio aroused no controversy, more than 1,000 people attended, and for the first time Messiah enjoyed a London triumph. From then on, annual performances during the Lenten season became a London tradition, soon spreading throughout Europe. Handel was finally acknowledged as England’s leading musical citizen, and he lived long enough — until 1759 — to be able to savor the success of the work he loved so dearly. Listening to Messiah Messiah’s heroic journey is divided into three parts. Part I revolves around the Old Testament prophecies (emphasizing the Book of Isaiah) of the Messiah’s coming and culminates with his birth as told in the Gospel of Luke. Indeed, more of Messiah’s text is drawn from the Old Testament than the New, and, apart from the Nativity story, the Gospel histories are seldom used. Thus, the emphasis falls on the broader meaning of Christ’s redemption of the human race rather

than on the details of Jesus’ life. Part II meditates on human sinfulness, the Messiah’s rejection and suffering, and his sacrifice to redeem humankind; it concludes with that famous song of praise and triumph, the “Hallelujah” Chorus. Finally moving into the New Testament, Part III tells of the Messiah’s vanquishing of death and the promise of everlasting joy for the believer. Handel did not leave behind a definitive version of Messiah; instead, he reworked numbers and re-assigned arias to different voice categories depending on the soloists available for each performance. Messiah’s solo sections are divided between recitatives, which place greater emphasis on delivery of the words, and arias, in which musical values and the showcasing of the singer’s technical prowess take precedence. The tenor’s two opening numbers are a good example: “Comfort Ye, My People” is an accompanied recitative and “Every Valley” is an aria. Perhaps the most stunning sequence in Part I is the juxtaposition of the bass soloist’s aria “The people that walked in darkness” with the beloved chorus “For unto us a child is born.” In a marvelous example of musical text painting, the bass literally wanders in a chromatically confused maze in the dark key of B minor. The “great light” for which he yearns is then joyfully revealed in G major as the chorus salutes Jesus’ birth. All the choruses, including the “Hallelujah,” demonstrate Handel’s exhilarating technique of mixing powerful homophonic or chordal utterances (“Mighty! Counselor!”) with a more intricate polyphonic style in which each voice part pursues its own elaborately decorated line (“For unto us a child is born”). The origins of the ritual of standing for the “Hallelujah Chorus” are rather misty. Scholars believe that the Prince of Wales may have stood up when he attended that historic London performance in 1749. Certainly by 1780, 35

everyone in the audience was following King George III’s lead in rising for Handel’s mighty hymn of praise.

“ELEGIAC, ROMANTIC, AND JOYOUS”

Perhaps even exceeding “Hallelujah” in majesty and joy is the magnificent chorus “Worthy is the Lamb” that closes Part III, the shortest of the three sections but also the one most densely packed with the oratorio’s greatest sequences (the soprano’s serenely beautiful statement of faith “I Know that my Redeemer Liveth”; the bass’s hair-raising proclamation of the Final Judgment, based on First Corinthians, “The Trumpet Shall Sound,” with its glorious trumpet accompaniment). “Worthy is the Lamb” itself is capped with an “Amen” Chorus on an epic scale worthy of the masterpiece it closes, unfurling in grand sweeps some of the finest, most inspired choral counterpoint this Baroque master ever devised.

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Josefien Stoppelenburg, soprano Called “an astonishing singer” by the Chicago Tribune, and praised for her “crystalline soprano and keen expressive penetration of words and music,” Dutch soprano Josefien Stoppelenburg has become a favorite of Chicago audiences. She has performed as a soloist in Europe, The United States, Asia, South America, and the Arab Emirates. Her appearance on Chicago’s classical radio program “Live from WFMT” was selected as one of the 10 best performances in 2016. She has become one of the most sought-after singers among baroque groups in the United States. She won the Chicago Oratorio Award and second prize in The American Prize Opera Competition. Josefien has given vocal masterclasses on baroque performance practice at Indiana University’s Jacobs School of Music, the University of Colorado, Illinois State University and for the Boulder Bach Festival. Recent appearances have included Camerata Amsterdam, the Black Tulip Ensemble, Boulder Bach Festival, Arizona Bach festival, Champaign Urbana Symphony Orchestra, Cincinnati Bach Ensemble, Elmhurst Symphony Orchestra, Fort Wayne Philharmonic, Peoria Symphony Orchestra, Peoria Bach Festival, and numerous orchestras and choruses in the Netherlands. 36

From 2005 until 2007, Josefien was part of the Young Opera Ensemble of Cologne, Germany. Leading operatic roles have included Aci in the Haymarket Opera Company’s acclaimed production of Handel’s Aci, Galatea e Polifemo and Tirsi in Clori, Tirsi e Fileno, and Poulenc’s La Voix Humaine in the International Chamber Opera Festival (The Netherlands). Josefien has performed on several occasions for the Dutch Royal Family. The ensemble Brothers and Sisters (vocal duo Charlotte and Josefien Stoppelenburg and piano duo Martijn and Stefan Blaak) recently appeared live on Radio 4, the Dutch classical radio station for Classical Music and made their ensemble debut in the Concertgebouw in Amsterdam. A strong proponent of contemporary music, Josefien has performed works by Jacob TV, Esa-Pekka Salonen, Stacy Garrop, Lita Grier, Eric Whitacre, Alan Terricciano, William Neil, as well as numerous Dutch composers, including her father, Willem Stoppelenburg. Stoppelenburg’s second love is painting. She was the Artist in Residence at the Evanston Art Center, where she gave a series of lectures about Art and Music, and organized performances and exhibitions. She paints frequently on commission. Her colorful creations have been used as opera sets, cd booklets, (such as the 2017 cover for “Rainbow Toccatas, a CD by British organist and composer Paul Ayres), music festival posters, and as note cards. www.josefienstoppelenburg.com www.inspiration-paintings.com

Ashlee Bickley, mezzo-soprano Mezzo-soprano Ashlee Bickley performs and teaches various genres across the classical singing medium. Recent operatic roles include Dorabella (Così fan tutte), Angelina/ Cenerentola (La Cenerentola), Hansel (Hansel and Gretel), Mother (Amahl and the Night Visitors), Meg (Little Women), Geneviève (Pelléas et Mélisande), and Mother/Grandmother (Little Red Riding Hood). Operatic covers include Stéphano (Roméo et Juliette), Orlofsky (Die Fledermaus), Marcellina (Le nozze di Figaro), and Tisbe (La Cenerentola). Ashlee has appeared with the Fort Wayne Philharmonic, Ocala Symphony, Concordia Theological Seminary, Heartland Sings and Bach Collegium Fort Wayne as the alto soloist in numerous works by J.S. Bach, Stravinsky’s Les Noces, Händel’s Messiah, Charpentier’s Te Deum, Vivaldi’s Gloria, and the US premieres of CPE Bach’s St. John Passion and Halévy’s Prométhée Enchaîné. Ashlee was a Resident Artist Fellow with the Atlantic Music Festival from 2014 to 2016. Having won numerous competitions, her 2017 accolades include the Claudette Sorel award at the Mu Phi Epsilon International Competition and third place in the Classical Singer Magazine Online Competition. Ashlee holds degrees from the Eastman School of Music and Florida State University and is on the faculty of Indiana University - Purdue University Fort Wayne. 37

Ryan Townsend Strand, tenor Ryan Townsend Strand, tenor, has been hailed as having “beautiful vocalism” (San Francisco Chronicle) and “an attractive nimble tenor” with “a nice sense of Baroque style” (Chicago Classical Review). Strand holds his master’s degree in Voice & Opera from Northwestern University and the Bienen School of Music. He has been a featured soloist under the direction of conductors Paul Agnew, Jane Glover, and William Jon Gray with Music of the Baroque in Chicago. A passionate performer of Bach, Strand was most recently the tenor soloist in the Johannes-Passion with the Madison Bach Musicians. In the 2017-2018 season, Strand will sing Ferrando in Mozart’s Così fan tutte with Transgressive Theater Opera. Other Chicago credits include Laurie in Mark Adamo’s Little Women, Nerone in Monteverdi’s L’incoronazione di Poppea and Al Joad in Ricky Ian Gordon’s The Grapes of Wrath. With Chicago Opera Theater, Strand has sung chorus roles in productions of Philip Glass’ The Perfect American, Mozart’s Lucio Silla, and Bloch’s Macbeth. He made his professional Chicago opera debut in Haymarket Opera’s production of Scarlatti’s Gli equivoci nel sembiante. Strand sings with the contemporary vocal ensemble The Crossing in Philadelphia under the direction of Donald Nally. In Chicago, Strand performs with Music of the Baroque, Third Coast Baroque, The Strangers Early Music Ensemble, the Chicago Bach Project and the Chicago’s Grant Park Chorus. He is a founding member and Executive Director of the new Constellation Men’s Ensemble. www.facebook.com/ryantownsendstrand

David Govertsen, bass-baritone Chicago native David Govertsen has been active as a professional singer for fifteen years, portraying a wide variety of opera’s low-voiced heroes, villains, and buffoons. An alumnus of the Ryan Center at Lyric Opera of Chicago, he has performed ten roles with the company, most recently appearing as Sprecher in Die Zauberflöte and King Priam in Les Troyens. This past season he also appeared at Santa Fe Opera as Frank in Die Fledermaus, and he created the role of Stoever in Stewart Copeland’s The Invention of Morel for Chicago Opera Theater. As a concert soloist Mr. Govertsen has performed with the Chicago Symphony Orchestra, Detroit Symphony Orchestra, Madison Symphony Orchestra, Rochester Philharmonic Orchestra, Grant Park Orchestra, Santa Fe Symphony and Santa Fe Chamber Music Festival among many others. He made his Carnegie Hall debut in 2011 as the Herald in Otello with the Chicago Symphony Orchestra conducted by Riccardo Muti. He is an alumnus of both the Santa Fe Opera and Central City Opera apprentice programs and holds degrees from Northwestern University, Northern Illinois University and the College of DuPage. Mr. Govertsen is currently on faculty at Valparaiso University, Lewis University and the College of DuPage.

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M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

NORDIC LANDSCAPES Saturday, January 13, 2018, 7:30 p.m. Rhinehart Music Center, IPFW Andrew Constantine, conductor Campbell MacDonald, clarinet Nicholas Bardonnay, multimedia artist with Westwater Arts LIADOV The Enchanted Lake, Op. 62 Pacifica visual concerto* NIELSEN Concerto for Clarinet and Orchestra, Op. 57 Allegretto un poco Poco adagio Allegro non troppo Allegro vivace Campbell MacDonald, clarinet

-- Intermission --

PĂ&#x201E;RT Fratres for Strings and Percussion Sagaland visual concerto* SIBELIUS Symphony No. 5 in E-flat major, Op. 82 I. Tempo molto moderato - Allegro moderato - Presto II. Andante mosso; quasi allegretto III. Allegro molto - Misterioso *Pacifica and Sagaland were photographed, produced and performed by Nicholas Bardonnay Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, January 25 at 7:00 p.m. Many thanks to the generous supporters of this event:

The Paul Yergens and Virgina Yergens Rogers Foundation

NORDIC LANDSCAPES THE ENCHANTED LAKE, OP. 62 Anatoly Liadov (b. 1855, St. Petersburg, Russia; d. 1914, at Polynovka, Novgorod, Russia) Anatoly Liadov, one of the less famous of the 19th-century Russian nationalist composers, has the unfortunate distinction of being better known for a work he never wrote than for those he did. Born into a family of musicians, Liadov was a gifted composer, conductor, and pianist, but he was cursed with two character flaws that prevented him from fulfilling all his promise. He was a rather lazy and undisciplined man who was kicked out of the St. Petersburg Conservatory in 1876 (he was later reinstated and even became a professor there) for failing to attend classes. And he was so excessively self-critical that he was often trapped by composer’s block. Thus, he never succeeded in writing large-scale works and became instead a miniaturist, creating short descriptive orchestral works, piano pieces, and songs. When the ballet impresario Serge Diaghilev offered him the chance to write the score for The Firebird, Liadov dithered and procrastinated until Diaghilev finally turned it over to Igor Stravinsky instead. The rest, of course, is musical history. In 1909, when he should have been creating music for The Firebird, Liadov instead was writing the little tone poem The Enchanted Lake. For decades, he had wanted to write a fairytale opera he called “Zoryushka” after the princess who was its central character. Sadly, given his penchant for procrastination, it was never completed. However, music from it went into his three wonderful tone poems Babi-Yaga, Kikimora, and The Enchanted Lake.

PROGRAM NOTES January 13, 2018 Like his friend and colleague Nikolai Rimsky-Korsakov, Liadov was a masterful orchestrator with a remarkable affinity for creating colorful, mysterious fairytale atmospheres. The lake in this tone poem does not belong to our natural world, but to another realm, where time stands still. Therefore, in terms of musical momentum and activity, nothing really happens here; instead, we are simply caught up in a beautiful spell.

CONCERTO FOR CLARINET AND ORCHESTRA, OP. 57 Carl Nielsen (b. 1865, Lyndelse, Funen, Denmark; d. 1931, Copenhagen, Denmark) Denmark’s greatest composer, Carl Nielsen was born — just six months before Jean Sibelius — in a two-room cottage on the rural island of Funen, the seventh of twelve children of an impoverished housepainter and his wife. But despite these unpromising circumstances, he came from a very musical family. At age four, he discovered that the various pieces of timber in the local woodpile produced different pitches when struck with a hammer, and so he arranged them into his first primitive instrument. At six, he began learning the violin, later piano, and finally the cornet. His mastery of this last instrument was sufficient to win him a post as a musician in the Danish Royal Army at age 14. Four years later, Nielsen received a scholarship to the Copenhagen Conservatory, where he studied for three years while voraciously reading literature, history, and philosophy to make up for his limited schooling on Funen (interspersed with his duties herding geese!). His formal training in composition was not extensive, but that probably enhanced

the pronounced originality of his creative voice. Inspired by his rural childhood, Nielsen drew his musical principles from keen observations of nature, animals, and the people around him. Rhythmic vitality was critical to his music; he once observed: “Rhythm is life itself, revealing itself in lively, whimsical irregularity.” His international fame is based on his six symphonies, which have a vigorous dramatic sense and honest optimism quite at odds with the overripe world-weariness of many of his late Romantic colleagues. Matching them in quality are the two woodwind concertos he wrote late in life: the Flute Concerto (1926) and the Clarinet Concerto (1928), his last orchestral work. In 1921–22, Nielsen had composed an extremely successful Wind Quintet for the Copenhagen Wind Quintet and, impressed by the ensemble’s five players, vowed to compose a concerto for each of them. Unfortunately for posterity, only the Flute and Clarinet concertos came to fruition. The most remarkable of these two is the Clarinet Concerto, written for Aage Oxenvad and premiered by him in Copenhagen on October 11, 1928. Nielsen had a very special take on this instrument, which he called “troll-like” after those dangerous, infamously changeable Scandinavian legendary creatures. He further described the clarinet’s sound as “at once warmhearted and completely hysterical, one minute gentle as balm, the next screaming like a tram on badly lubricated rails.” Therefore, he did not write a conventionally pretty, virtuosic part for his soloist, though the technical demands are formidable. (Michael Steinberg astutely described it as “a piece for an actor who happens to play the clarinet wonderfully.”) And Nielsen made the small, rattling side drum a side-kick to goad the clarinet along.

The Concerto is in four movements that flow into each other without pauses. In movement one, low strings introduce a dignified hopping-dance theme, which the clarinet first joins decorously, then wildly. Its increasingly antic efforts to pursue its own way eventually spur the side drum into action. Steinberg comments that this sets up “the alternations between unruly behavior and attempts at restoring law and order” that will dominate the piece. The clarinet remains unpredictable throughout, becoming momentarily calm and lyrical, then launching an extended solo cadenza that drives the orchestra into a frenzy. The Poco adagio second movement opens with a rich-toned horn passage and a moodily lyrical melody for the soloist. But this serenity does not persist, and instigated by the clarinet and side drum, the mood becomes more agitated. A solo horn establishes a pastoral atmosphere for the Allegro non troppo third movement, which is again thrown off balance by the willful clarinet. The soloist gets into a brief altercation with the snare drum and then a gentler duet with the bassoon. The Allegro vivace finale begins in a rambunctiously playful manner. But here, too, there is space for the clarinet to assume its more pensive, melancholy persona. The Concerto’s ending is totally surprising: it seems to simply dissolve into the ether. “Strange how everything changes!” commented Nielsen. “We are as motes of dust and nothing amid time and space.”

FRATRES FOR STRINGS AND PERCUSSION Arvo Pärt (b. 1935, Paide, Estonia; now living in Berlin, Germany) Arvo Pärt’s distinctive musical voice has been shaped by the fact that he is an Estonian who spent his first 45 years living and creating music under the Soviet system. After angering Soviet cultural authorities with avant-garde serial works early in his career, in the 1970s Pärt found a more personal style that was just as defiant, but in a quieter way. A deeply religious man, he turned to the study of traditional Gregorian and orthodox chant as well as Western European vocal music of the 14th through 16th centuries. In chant and early polyphony, he discovered a cleansing simplicity and spirituality still relevant for the 20th and 21st centuries. He called his new style “tintinnabuli” (“little bells”). As he explains, “I have discovered that it is enough when a single note is beautifully played. … I work with very few elements — with one voice, with two voices. I build with the most primitive materials — with the triad [three-note chord], with one specific tonality [key]. The three notes of the triad are like bells. And that is why I call it tintinnabulation.” This return to musical basics suggests that Pärt shares a creative kinship with American minimalists such as Philip Glass, Steve Reich, and John Adams. However, while their repetitive chords evoke a striving secular culture, Pärt’s minimalism is saturated with mysticism and spirituality. His music invites us to close our eyes and drift into an inner space of quietness and contemplation. In 1977, Pärt created the first version of a work he would return to many times again in the future: Fratres, or in English, “Brethren”. The composer initially scored this spare, haunting work for string and wind quintets to be played by an early-music ensemble. 44

But subsequently he made many other arrangements; we will hear the version for string orchestra and percussion. In keeping with Pärt’s tintinnabuli style, Fratres is made out of just a few basic musical elements that continue throughout its ten-minute span. The most important is a chant melody, made up of three parallel voices. It is underpinned by a continuous drone on the notes A and E. And it is punctuated by a simple, but insistent knocking rhythm, separating each of its nine statements. Each statement of the chant melody is lower in pitch than the previous one, and each becomes progressively louder until the midpoint, then grows softer until the hushed conclusion. Though this description may sound rather mechanical, Fratres is actually a mesmerizing work, and the continual repetition draws the listener deeper into its contemplative world, giving the music a beautiful, otherworldly coloring.

SYMPHONY NO. 5 IN E-FLAT MAJOR, OP. 82 Jean Sibelius (b. 1865, Hämeenlina, Finland; d. 1957, Järvenpää, Finland) In September 1914, Sibelius began the most difficult creative journey of his career, but one that ultimately achieved one of his greatest works: his Fifth Symphony. The journey took five years and three different versions until it would be ready for its first public hearing on November 24, 1919 in Helsinki under the composer’s baton. During those years, Europe was convulsed by World War I, the Russian Revolution spread to Finland, and Sibelius found himself for a time a political prisoner in his own home. World War I cut the composer off from the outside world and made him a virtual recluse at his rustic villa, Ainola, north of Helsinki. Money was tight and food was scarce. When Russia was swept by revolution, Finland seized her opportunity and declared independence on December 6, 1917. But Finland also became embroiled in the power struggle between the Red Bolsheviks and the White monarchists/democrats, and the Bolsheviks briefly placed Sibelius under house arrest and tore his possessions apart looking for a nonexistent arms cache. It was the composer’s passionate, virtually religious attachment to nature that saved his sanity and animated his new symphony. Ainola, overlooking Lake Tuusula and surrounded by Finland’s deep, mysterious woods, was an ideal place for nature worship. The wheeling patterns and wild cries of the migratory swans, geese, and cranes over the lake filled him with profound wonder and joy. On April 21, 1915, he wrote in his diary: “Today at ten to eleven I saw 16 swans. One of my greatest experiences! Lord God, that beauty! They circled over me for a long time. Disappeared into the

solar haze like a gleaming silver ribbon. Their call the same woodwind type as that of cranes, but without tremolo. The swan-call closer to the trumpet. … The Fifth Symphony’s finale-theme: Legato in the trumpets!!” From that mystical experience came the great swinging theme, the Swan Hymn, that dominates the Fifth’s finale. It is clear from Sibelius’ diary entries that these cries of nature and Finland’s brooding Nordic landscapes inspired the composer’s unique orchestral sound. And he created this sound world, full of mysterious rustlings and epic power, using the standard 19th-century orchestra, with no exotic additions. At its heart are the woodwinds — not singing sweet birdcalls as in Beethoven’s “Pastorale” Symphony, but evoking the wild voices of untamed Nature. Even the symphony grows like life itself by natural evolutionary processes rather than by being squeezed into traditional symphonic molds such as sonata and rondo forms. We hear this at the beginning of the first movement. Out of a mysterious horn chord, a little upward flip of a motive emerges in the high woodwinds. At each reiteration, it grows a bit, soon acquiring a trilling tail, which in turn spawns a shimmering, exotic flight of woodwinds. Slow to make their entrance, the strings finally arrive with an initial sting and a whirring sound that opens a new musical phase of passionate struggle. This string buzzing becomes faster, wilder, and more menacing; only a majestic brass climax can tame it. But then another cycle begins, the woodwind upward flourishes now joined by strings, the angry buzzing growing more ferociously dissonant. The brass again sweeps to a climax, which we expect will lead to the movement’s end. But Sibelius fools us. The music suddenly metamorphoses into a light-footed 3/4-beat dance: the composer’s deft telescoping of what was originally a second-movement scherzo into his opener. Listen closely: the themes 45

actually remain the same. The powerful finale built from this playful episode grandly caps the whole movement. Movement two is much gentler; annotator Michael Steinberg aptly calls it “variations on a rhythm”. Almost immediately, we hear a little five-note phrase played by plucked strings and flutes. Sibelius builds a number of melodic themes from it, some warmly romantic, others faintly disturbing. But under the grace and lightness of this Just because you’re ready to take life a music there are latent powers barely in little easier doesn’t mean you’re ready check. Though we can’t hear it yet, the to stop enjoying life. The Towne House finale’s Swan Hymn is striving to be born. may be the perfect place for you. Call to arrange a tour at 260-483-3116. The finale begins with agitated strings. Then the horns begin the mighty, tolling Swan Hymn; above it rides a yearning melody sung by high woodwinds. It is the goal toward which the whole symphony has been striving, its great swings implied in the earlier movements. Late in the movement, the Hymn struggles to return www.TowneHouse.org to the home key of E-flat, and it finally achieves it with a splendid pealing of brass. But Sibelius will not permit us to Philharmonic-1-Generic1/4vert.indd 1 2/15/17 wallow in this grandeur. In one of the most startling endings in the symphonic literature, he suddenly wraps matters up with six loud, sharp chords separated by oddly spaced pauses. Their blunt power reflects the tough, idiosyncratic Nordic genius who created them.

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9:59 AM

Campbell MacDonald, clarinet Seattle native Campbell MacDonald is Principal Clarinet of the Fort Wayne Philharmonic and a member of the acclaimed International Contemporary Ensemble in New York. Before joining the Philharmonic in 2004, Campbell held positions in the Ann Arbor Symphony Orchestra and the Michigan Opera Theatre Orchestra in Detroit, and spent six summers in Mexico City as Solo Clarinetist of La Orquésta Sinfónica de Minería. Mr. MacDonald’s uncommonly varied musical activities include regular performances as a recitalist, concerto soloist, compositional collaborator, recording artist, and educator. Campbell has performed with orchestras in Detroit, Indianapolis, and Grand Rapids, and has appeared with the Pittsburgh New Music Ensemble, Alarm Will Sound, NOW Ensemble, and the Detroit Chamber Winds. Performance credits of note include Wien Modern (Vienna), Aspekte Festival (Salzburg), Festival Fringe (Edinburgh), the Huddersfield Festival (England), the Lincoln Center Festival, the Mostly Mozart Festival, the Ojai Music Festival, Da Camera Houston, and the Great Lakes Chamber Music Festival. He has performed at Carnegie Hall, the Library of Congress, L.A. Opera’s REDCAT, EMPAC (Troy, NY), the Green Music Center (Sonoma, CA), and the Metropolitan Museum of New York. Campbell’s educational residencies and performances include concerts at Brevard Music Center, Columbia University, Stanford University, Oberlin College, Boston Conservatory, the Hartt School, Dartmouth College, and Harvard University. Recent engagements include collaborations with Ensemble l’Itineraire in Paris and Marseille, France, and performances at the Clark Art Institute in Williamstown, Massachusetts. His recorded work can be heard on the Naxos, Koch, Nonesuch, Tzadik and New Focus labels. Mr. MacDonald attended Oberlin College Conservatory of Music and continued his formal education at DePaul University in Chicago. He studied clarinet with Larry Combs, David Weber, Lawrence McDonald, and Laura DeLuca. This is Campbell MacDonald’s sixth solo appearance with the Fort Wayne Philharmonic. His previous performances as soloist include concertos by Richard Strauss, Jukka Tiensuu, Joel Puckett, Aaron Copland, and Mozart.

Nicholas Bardonnay, multimedia artist Nicholas Bardonnay is a photographer, multimedia artist, and the Creative Director & CEO of Westwater Arts. Founded in 1973, Westwater Arts has created multimedia experiences for more than half a million classical music lovers. To date, over 180 U.S. and international orchestras have programmed their groundbreaking art form: symphonic photochoreography. Westwater Arts’ visual repertoire is set to music by Dvořák, Mahler, Copland, Shostakovich and 22 other renowned composers. Since joining Westwater Arts in 2009, Nicholas has photographed, produced, and performed over a dozen photochoreography pieces. His creative process begins with either a visual concept or a musical work; then he pairs one with the other. During concerts, Nicholas uses multiple digital projectors to fill a large panoramic screen with hundreds of tightly choreographed image transitions, which he live-cues from memory. He has worked on more than 80 concerts with orchestras in cities across the U.S. as well as in Scotland, England, Singapore, Canada and Germany. Nicholas is usually accompanied by his wife and colleague, Erin, who is the multitalented Operations Manager for Westwater Arts. From their home base in California, Nicholas and Erin travel frequently, often in their vintage Airstream, both for performances and when he photographs new “visual concertos.” His more recent projects have taken them to many of our amazing national parks, as well as to Iceland, Mexico and the Czech Republic. Nicholas photographed Pacifica during the atmospheric winter months in the coastal Pacific Northwest. The region boasts a landscape and resources similar to parts of Scandinavia—so much so that a quarter of Seattle’s immigrant population hailed from Scandinavian countries by the 1890s. The piece is an exploration of the landscape, from damp forest floors to aerial views of the coastline and many perspectives between. For Sagaland, Nicholas camped in Iceland for two months while photographing the country’s black volcanic beaches, fjords, glaciers, and countless waterfalls. Iceland is one of the most beautiful places Nicholas has ever been, and he is excited to share some of its wonders with Fort Wayne.

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

A MESSAGE FROM THE PHILHARMONIC FRIENDS

This past year, we hosted the Young Artists’ Competition on March 26.

Our mission and purpose at the Philharmonic Friends is to The winner of the senior division and a $1000.00 scholarship was Lydia support thea orchestra, discover and encourage talent, Rhea (16), cellist fromtoFishers. Indiana. She playedmusical her competition and tothe promote musical education all ages. piece, first movement of the Cellofor Concerto in B minor by Dvorak,

Our mission and purpose at the Philharmonic Friends is to support the with the Fort Wayneand Philharmonic on Apriland 30 at the Family orchestra, discover encourage Orchestra musical talent, Our membership drive is in full swing. youIPFW would liketotopromote join next Concert in the Auer Performance Hall onIfthe campus. The musical education for all ages. the Friends,will now a great time 18. to do so. Our next Bus to competition be is held November Check our website forTrip details.

Toledo onhosted February 10, andArtists’ if youCompetition are a new member on Marchto 26. This past will year,bewe the Young the Friends, you will receive a $5 discount on your bus trip BusisTrip be We are currently seeking chairpersons for the following three programs. an will excellent The winner of the senior division and a $1000.00 scholarship was ticket! Lydia TheThis to see Beautiful, The Carole King Musical. opportunity to use your talents to serve not only the Philharmonic Friends, but the entire Fort Rhea (16), a cellist from Fishers. Indiana. She played her competition Wayne community: piece, the first movement of the Cello Concerto in B minor by Dvorak, Our special thanks to winning the Hefner Foundation for providing thethat funding for who our wants to with Fort Wayne Philharmonic Orchestra on April 30 at ensures the Family  the Our national award Instrument Loan Program any child community education programs. We are truly blessed to be able to provide the Concert in to theplay Auer Performance Hall on IPFW learn a musical instrument willthe have one campus. available.The next following services to encourage musical talent in the Fort Wayne and Northeast competition will be held November 18. Check our website for details.  Before each of the Masterworks concerts, the Friends host Musically Speaking, a half hour Indiana areas. led by Caleb Young, Assistant Director of the orchestra. These sessions are sure discussion We are currently your seeking chairpersons the following three programs. This is an excellent to enhance appreciation of thefor Masterworks concerts. opportunity use your talents serve the Friends, butatIthe entire Fort Our YoungtoArtists’ Competition thisnot year will bePhilharmonic held onwith November 18, Purdue Playgrounds aretoanother wayonly to enjoy serving the Friends. have heard the  Instrument Wayne community: University Fort Wayne from 8:00 a.m. to noon, and possibly from noon to 4:00 p.m. playground called a “petting zoo” as children (of all ages) have the opportunity to handle competition is open to students living within miles ofthat Fortany whowants have to and play a musical instrument with guidance from 100 a musician. Lots ofWayne fun!  TheOur national award winning Instrument Loan Program ensures child who studied with current teacher will for have at least months. The winner of the senior learn to playtheir a musical instrument onesix available. receives a $1000 scholarship an opportunity to perform with the Also, a word of of thanks to the William J. &and Bonnie L. Hefner Foundation, without whose Speaking, a halfsupport hour  division Before each the Masterworks concerts, the Friends host Musically over the last several years, many of our education programs would not have been possible. Orchestra in the spring. Visit the Friends’ website for additional information at discussion led by Caleb Young, Assistant Director of the orchestra. These sessions are sure www.philharmonicfriends.com to enhance your appreciation of the Masterworks concerts. past season, the Friends two fundraisers; first was busFriends. trip to Toledo, see Playgrounds areheld another way to enjoythe serving with athe I have Ohio heardtothe  This Instrument Boots. The trip was to the Stranahan Theatre, just a short drive theplayground Broadway Kinky We also have musical, an ongoing Instrument Loan Program ensuring that any child who wants called a “petting zoo” as children (of all ages) have the opportunity to handle andlearn a spectacular We were served a box lunch from BagelLots Station on the to Toledo, to to aplay a show! musical instrument will have one available. At this time wetrip have 53 and play musical instrument with guidance from a musician. of fun! and wine and hors d’oeuvres on the return trip with generous door prizes to boot. instruments loaned. Also, a word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support for the would Symphony III golf outing held Thethe second, our major fund raiser, was the Swing over last several years, many of our education not have been possible. Before each of the Masterworks concerts, theprograms Friends host Musically Speaking, a in July. We thought we would be rained out for the outing, but the Orchard Ridge country club was not in half-hour discussion led by Caleb Young. These sessions are sure to enhance your thepast pathseason, of the storms. We had great day golfing the andfirst a good thetococktail This the Friends heldatwo fundraisers; was time a busattrip Toledo,party Ohioas to well. see

appreciation of the Masterworks concerts.

the Broadway musical, Kinky Boots. The trip was to the Stranahan Theatre, just a short drive To ajoin the Philharmonic and lend your talents to these programs, visit our and spectacular show! WeFriends were served a box Bagel Station the please tripI to Toledo, Instrument Playgrounds are another way tolunch enjoyfrom serving with the on Friends. have heard website at www.philharmonicfriends.com You'll begenerous glad you door did. prizes You will make some interesting and wine and hors d’oeuvres on the return trip with to boot. the playground called a “petting zoo”, as children (of all ages) have the opportunity to friends and enhance your appreciation of our wonderful orchestra! handle and play a musical instrument with guidance from a musician. Lots of fun! The second, our major fund raiser, was the Swing for the Symphony III golf outing held in July. We thought we would be rained out for the outing, but the Orchard Ridge country club was not in The Philharmonic Friends also award Scholarships to music students. We have awarded the path of the storms. We had a great day golfing and a good time at the cocktail party as well.

20 scholarships this year.

ToPresident join the Philharmonic Friends and lend your talents to these programs, please visit our To join the Philharmonic Friends and lend your talents to these programs, please website at www.philharmonicfriends.com You'll be glad you did. You will make some interesting visit our website at www.philharmonicfriends.com. You will be glad you did. You friends and enhance your appreciation of our wonderful orchestra!

will make some interesting friendships and enhance your appreciation of our wonderful orchestra!

President

FORT WAYNE PHILHARMONIC FRIENDS

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

Sandra Hellwege Pat Holtvoight Kelly Hudson Judy Lopshire Nellie Bee Maloley

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

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

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. 51

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 52

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

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

Benjamin Rivera, Chorus Director Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He has served as Chorus Director and regular conductor of the Fort Wayne Philharmonic since 2013, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago since 2000, Rivera also serves as Music Director and Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. He takes on the position of Associate Conductor of GRAMMY-winner The Washington Chorus this fall. A member of the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings. Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and in-school residencies, and 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 Doctor of Musical Arts in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. In 2011, he researched choral rehearsal and performance practice in Berlin, Germany. Dr. Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

THE PHILHARMONIC CHORUS BOARD OF DIRECTORS OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Carrie Viet, Secretary

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

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Veit Greg White 55

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

ANDREW CONSTANTINE, Music Director IONE BREEDEN AUER FOUNDATION PODIUM

CHAMBER MUSICIANS

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

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair

Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham

Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair

Debra Graham S. Marie Heiney and Janet Myers Heiney Chair

Olga Yurkova, Principal Second Wilson Family Foundation Chair

Theodore E. Chemey III Erin Maughan Erin Rafferty

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

CELLO Andre Gaskins, Principal Morrill Charitable Foundation Chair

Marcella Trentacosti Wayne L. Thieme Chair

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

David Ling Alexandra Tsilibes Pablo Vasquez Kristin Westover Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan 56

VIOLA Derek Reeves, Principal

Jane Heald David Rezits Edward Stevens

Greg Marcus 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

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair HORN Vacant, Principal Mr. & Mrs. Arthur A. Swanson Chair

Vacant John D. Shoaff Chair Michael Galbraith Walter D. Greist, MD Family Chair Katherine Loesch TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Allison Chorn, Acting Principal June E. Enoch Chair Kirk Etheridge Acting North American Van Lines funded by Norfolk Southern Foundation Chair

Akira Murotani Ben Kipp Charles Walter Hursh Acting Chair Patricia 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

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

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Rachel Brown Lipeng Chen Yu-Fang Chen Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Caleb Mossburg Linda Oper Ilona Orban Kristine Papillon Eleanor Pifer Joachim Stepniewski Colleen Tan Lauren Tourkow

OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder Aryn Sweeney

VIOLA Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

CONTRA-BASSOON Alan Palider Keith Sweger

CELLO Iris Ji Martin Meyer Peter Opie Heather Scott BASS Brad Kuhns Garry Wasserman FLUTE Kayla Burggraf Janet Galbraith Alistair Howlett Patricia Reeves 58 Mihoko Watanabe

CLARINET Elizabeth Crawford Dan Healton Dan Won BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won BASSOON Marat Rakhmatullaev Michael Trentacosti

HORN Gene Berger Kurt Civilette Albert Houde Charlotte Oâ&#x20AC;&#x2122;Connor Kenji Ulmer TRUMPET Alessandro Bonotto Douglas Hofherr Greg Jones Dan Price

TROMBONE Jim Kraft Jamie Foster John Grodian Loy Hetrick David Parrilla TUBA Manny Colburn Matt Lyon Paul Mergen PERCUSSION Matt Hawkins Renee Keller Kevin Kosnik David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

ROCKING CONCERT FOR SPRING 2018 Buy now and save!

Special Events

THE MUSIC OF LED ZEPPELIN

Presented by

Friday, April 13, 7:30 p.m. Embassy Theatre Conductor/arranger Brent Havens, the Philharmonic, a rock band, and vocalist Randy Jackson in a musically pulsing, visually exciting concert.

FORT WAYNE PHILHARMONIC 260.481.0777

FWPHIL.ORG

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS OFFICERS

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

Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Suzie Light Kevin Lowe Greg Marcus Eleanor Marine Nick Mehdikhan Scott Miller Tammy O’Malley Sharon Peters

Judy Pursley Eric Sank Melissa Schenkel Carol Shuttleworth Nancy Stewart Chuck Surack Barb Wachtman Jeanné Wickens Alfred Zacher

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

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

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1775 1975-1977 1977-1979 1979-1981 1981-1983 60

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

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

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

*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 Scott Stolarz Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger

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

Joel Dreyer Stage Manager

Doug Tuck Interim Director of Marketing and Public Relations

EDUCATION

Ed Stevens Sales Manager

Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator

Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager

Patricia Reeves Youth Orchestra Manager

Dalen Wuest Patron Services Associate

Derek Reeves Lead Instructor, Club Orchestra program

MaryAnne Skora Patron Services Associate

Aaron Samra Club Orchestra Program Manager

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.

FORT WAYNE PHILHARMONIC SPONSORS

The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor. SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation The Robert, Carrie, and Bobbie Steck Family Foundation

MAESTOSO | $250,000+ Madge Rothschild Foundation Chuck & Lisa Surack ALLEGRETTO | $50,000 to $149,999

Anonymous (1) The Robert, Carrie, and Bobbie Steck Family Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

FOUNDERâ&#x20AC;&#x2122;S SOCIETY | $25,000 to $49,999

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

FORT WAYNE PHILHARMONIC SPONSORS VIRTUOSO SOCIETY | $10,000 to $24,999 continued Janice Eplett Rick & Vicki James Tamzon O’Malley and Family

Jeff Sebeika, Subway

The Donald F. Wood and Darlene M. Richardson Foundation

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

Russ & Jeanette Quilhot

Suzanne Light Alfred Zacher, in memory of Hannah Zacher Jim & Gloria Nash

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Anonymous (1)

James W. Palermo

Allina Anesthesiology, P.C.

Parkview Field, home of the TinCaps

Brotherhood Mutual Insurance Company

Vera Bradley

Anita & Bill Cast Mark & Mary Kay Hagerman

FORT WAYNE PHILHARMONIC SPONSORS

COMPOSERâ&#x20AC;&#x2122;S CIRCLE | $1,000 to $2,499 Anonymous (1) Crumpet the Trumpet Mr. & Mrs. Michael Gavin Eleanor H. Marine

MedPartners Purple Blaze Enterprise, LLC.

CONCERTMASTER | $500 to $999 Nacy & David Stewart UniFirst

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

NIPR Benjamin Rivera WANE TV WOWO 107.5 FM WLDE 101.7 FM

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. FOUNDERS SOCIETY (GIFTS OF $25,000+) Anonymous (1) Vicki & Rick James

Chuck & Lisa Surack, Sweetwater Sound

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

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

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Drs. David Paul J. & Jeneen Almdale George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark O. Flanagan Mark Hagerman Steven Hinkle

Drs. Kevin & Pamela Kelly Tod Kovara Kevin & Tamzon O’Malley Russ & Jeanette Quilhot Jeff Sebeika, Subway Herb & Donna Snyder 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 Elizabeth A. Frederick Mr. & Mrs. Michael Gavin David S. Goodman Dr. Rudy & Rhonda Kachmann Mr.* & Mrs. John Krueckeberg Antoinette K. Lee Greg Marcus

Dr. Michael Mastrangelo Michael & Carla Overdahl James W. Palermo Carolyn & Dick Sage John H. Shoaff & Julie Donnell Philip & Rebecca Smith W. E. Spindler Barbara Wachtman & Tom Skillman Joseph L. Weaver Al & Hannah* Zacher Brian Zehr, PPG Pulmonary and Critical Care

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Bill Andrews & Vicky Carwein Nancy Archer Tim & Libby Ash Family Foundation Norma & Tom Beadie Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner Emily & Michael Elko Clayton Ellenwood Fred & Mary Anna Feitler Susan & Richard Ferguson Scott & Melissa Glaze Leonard Helfrich Sattar & Marlene Jaboori Drs. Carol & David Lindquist Kevin & Nicole Lowe Mr. & Mrs. Donald T. Mefford

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

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

Susan & David Meyer Kathryn A. Miller Norma J. Pinney Caroll & Bill Reitz Benjamin & Alexia Rivera Kay Safirstein Dr. Janet Schafer Dr. Darryl & Sharon Smith Kathleen M. Summers Carol Ann Terwilliger Rachel A. Tobin-Smith Herbert & Lorraine Weier Deborah Weinswig

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

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

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (1) Jeane K. Almdale Richard & Matoula Avdul 68

Frederick Beckman* Michael & Deborah Bendall Richard & Cathryn Boys

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

CONCERTMASTER (GIFTS FROM $500 TO $749) continued Joan Baumgartner Brown Mrs. Virginia Coats Wanda Crouse Dr. & Mrs. Fred W. Dahling Erica Dekko Dr. James Dozier Bruce & Ellen England Roy & Mary Gilliom Leonard & Rikki Goldstein Mr. & Mrs.* G.L. Guernsey Mrs. Eloise Guy Ms. Suzan Hanzel Bob & Liz Hathaway William & Sarah Hathaway Warren & Ardis Hendryx Mr. & Mrs. Kenneth Johnson Marcia & Andy Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund Dr. & Mrs. John W. Lee

Stephen* & Jeanne Lewis Anne A. Lovett Thomas & Dianne May Lusina McNall Nick & Amber Mehdikhan April & Charles Morrison Old Crown Brass Band Joan K. Olinghouse Brian & Sue Payne Mr. & Mrs. William Peiserich William & Sue Ransom Dr. Stephen & Carmen Reed Ltc. Ret. Richard* & Beverly Reeves Jeremy & Clarissa Reis Maryellen M. Rice Scot C. Schouweiler & Julie Keller Wayne & Ann Shive Stephen R. & Anne S. Smith Ronald VanDiver Virginia & Don Wolf

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

Jennifer Jacobson Larry & Annette Kapp John & Lorene Kelley Jane L. Keltsch Dr. & Mrs. Daniel Krach Steve & Rhonda Lehman Mr. & Mrs. Duane Lupke Paul & Pauline Lyons Peg Maginn Peter & Christine Mallers John & Shelby McFann Leanne Mensing David & Linda Molfenter Noel & Diane Moore LTC & Mrs. John T. Moore Sean & Melanie Natarajan Mr. & Mrs. Maurice Oâ&#x20AC;&#x2122;Daniel Pat & Mac Parker Josh Parrish Mr. & Mrs. John M. Peters Raymond & Betty Pippert Keith Raftree Dr. & Mrs. Fred L. Rasp Paul J. & Lula Belle Reiff Martin & Rita Runge Douglas & Laura Runyan Robert & Ramona Scheimann Chuck & Patty Schrimper

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

FIRST CHAIR (GIFTS FROM $300 TO $499) continued Fort Wayne Alumnae Chapter of Sigma Alpha Iota Sharon Singleton Matt & Cammy Sutter Carl & Cynthia Thies Scott & Jenny Tsuleff

Don & Amy Urban Kari & Jeannine Vilamaa Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy

SECTION PLAYER (GIFTS OF $100 TO $299)

Ambulatory Medical Management Anonymous (12) Max M. Achleman John & Mary Ackerman Irving Adler Larry & Francine Allen Dr. Michael & Alysia Alter Thomas & Maryanne Alter Mr. & Mrs. Brad Altevogt Mary Jo & Michael Amorini Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mr. & Mrs. Lonnie Au Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Gerald Backstrom Jim & Ellen Barr Greg Batterton Mr. & Mrs. John Batuello Mike & Kay Bauserman Carol M. Bennett Janet Bergeron Diana Berich Kevin Beuret Mr. & Mrs. Don Bierberich Matthew & Tracy Bilodeau Robert & Mary Binns Mr. & Mrs. Arlan Birkey David W. Bischoff David Blackwell Sherry L. Blake Steve Bloomfield & Linda Tannas Barbara L. Boerger Barbara Boggs Virginia Bokern Dr. Charles & Nonda Bolyard Mr. & Mrs. Bruce Bone Bill Borgmann

Brian Bostwick Rebecca Bouse Dennis Bowman Anne Marie Bracht Jim & Sue Bradley Ruth Braun Dr. Helene Breazeale John P. Brennan & SuzAnne Runge Evelyn M. Brosch-Goodwin Richard & Gloria Brown Dave Brumm & Kim McDonald William & Joan D. Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Bonnie Carroll Jim & Diane Carter John & Jill Case Barbara Chamberlin Jeri Charles Kathy Choka Arlene Christ Dr. & Mrs. Dennis Chubinski Bruce Cleveland Nelson & Mary Coats Barbara Collins Matt Converse Wendell & Mary Cree Bob & Margita Criswell Amy Crouch Miles J. & Lorraine Hook Davis Fund Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Kathy Dew

Sharon Dietrich Gene & Carol Dominique Fred & Joan Domrow Mr. & Mrs. Donald Duff Mr. & Mrs. Rodney Dunham Fred & Tina Eckart Ned & Sally Edington G. Edwards Don & Mary Kay Ehlerding Susan Eikenberry Cynthia Elick Lillian C. Embick Mr. & Mrs. George Emmert EPCO Products Inc. Pam Evans-Mitoraj Jan Evrard Mr. & Mrs. David Fee Susan Fox Nathan & Angela Freier Francis & Ann Frellick Peggy Frey Sheryl A. Friedley Melinda Fuchs Mr. & Mrs. Herb Fuller Michael & Janet Galbraith Elizabeth Garr Tim & Ann Gibson William & Mary Goudy Janelle & Steven Graber Janet Graham Leah Grant Marcia Grant Don & Kate Griffith James B. Griffith David & Myra Guilford Sharon Gustin Mary K. Gynn Jennifer Hagerty Melanie & Robert Hall Jonathan & Alice Hancock Linda Hansen & Tim McElwee Brian & Barbara Harris

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

SECTION PLAYER (GIFTS OF $100 TO $299) continued Melissa Hartman Marcia Haskins Paul J. Haughan* Dennis & Joan Headlee John Heath Jacqueline Heckler Cynthia Heffelfinger Mr. & Mrs. Martin Heiny Sandy Hellwege Matt Hendryx Anthony & Susan Henry Lucille Hess Andrew & Katy Hobbs Tom & Jane Hoffman Doug & Karla Hofherr Mr. & Mrs. Andrew Hosey Winifred Howe* Philip Hudson Mark & Karen Huntington Ed & Mary Lou Hutter George & Jane Irmscher Jocelyn Ivancic Carol Jackson Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Stephen Johnson Alex & Sharon Jokay Don & Joyce Jordan Scott Kardys Lois Kaufman-Hunsberger Erick Keirn LuAnn R. Keller Bridget Kelly Dale Kelly* Sheila D. Kiefer Sarah Kindinger Priscilla King Linda J. Kirby Audrey M. Kirk William G. Knorr James & Janice Koday Mr. & Mrs. Fred Kohler Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Georgia Kuhns Paula Kuiper-Moore Shelby Lamm Drs. Chung & Sage Lee Jeff Leffers & Jane Gerardot

Frances LeMay & Peter D. Smith Arthur & Marcia Litton Raymond & Mary Lou Loase Marlene Lobsiger Chuck Logar Anne C. Longtine & Marco J. Spallone Janet & Larry Macklin Mr. & Mrs. Steven Malloris Dr. & Mrs. Richard Manalis Harry & Barbara Manges Ellen* & Eric Mann Jane Martin Roy & Sharon Martin Mark & Sarah Masloob Cheryl Mathews Elmer & Patsy Matthews Judith Maxwell Dr. & Mrs. Michael L. McArdle Diane McCammon Susan J. McCarrol Mary McDonald Debra McKinney Alice McRae Elizabeth Meyer David & Ann Miller Edward Miller Kerry A. Miller Mr. & Mrs. Carl Moellering Ray & Nancy Moore Chuck & Becky Morris Meg Moss Suzon Motz Kenneth & Linda Moudy John & Barbara Mueller Kevin & Pat Murphy Steve Naragon & Pam Higgins Ed Neufer Beverly Norton Harold & Martha* Oechsle Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty Oâ&#x20AC;&#x2122;Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Penny Pequignot Ms. Nigel Perry Gary & Alice Peterson Marianne Platt R. W. Poorman Edwin & Cynthia Powers Marvin & Vivian Priddy

Marlene Purdy Helen F. Pyles RAM Production Backline Roger & Catherine Rang John & Diana Reed Anne Rettenmaier Madonna Reynolds Sarah & Richard Reynolds Mr. & Mrs. David Ridderheim Alan & Pat Riebe Ruth & Phillip Rivard Ms. Rita Robbins Janet Roe Mr. & Mrs. John W. Rogers Ron & Rhonda Root Stanley & Enid Rosenblatt Gretchen Roth Drs. Alan & Jane Roush Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Samuel Savage Gail Scheithauer Tom & Mary Ellen Schon Ed & Julia Schulz Andrew Scriven Ken & Mary Scrogham Richard & Suzanne Shankle Elizabeth Sheets Ms. Cornelia L. Shideler Norma Shondell David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Keston Smith Lynda D. Smith Sharon M. Snow Mary & Rob Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Salvador Soto Jeff & Sunny Stachera Don & Linda Stebing Starla Steckbeck Mr. & Mrs. Donald D. Stedge Michael & Barbara Stedge Lois A. Steere Elizabeth Stehulak David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Brenda Sullivan

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

SECTION PLAYER (GIFTS OF $100 TO $299) continued Michael & Cheryl Summers Arthur & Karen Surguine Tim & Colleen Tan Steven & Ruth Anne Teeple Judge Philip R. Thieme Joe & Larysa Thorsteinson Martin Tierney Larry & Ellen Till Dr. & Mrs. J. Phillip Tyndall

Jayne Van Winkle Walter & Martini Vandagriff Dave & Sharon vonGunten Carol Ward Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner

Dr. & Mrs. Alfred A. Wick John & Nancy Wilhelm Ellen Wilson Stephen & Marsha Wright Dalen & Stephanie Wuest Susan Wygant Bob & Jan Younger Jeanne Zehr

ALPHABETICAL INDEX OF ADVERTISERS 32 Ambassador Enterprises

12 Parkview

17 Amy Grant In Concert

73 Philharmonic Friends

36 Andrew Constantine

16 PHILharmonious: Save the Date

27 Arts United

6 PNC Bank

49 Audiences Unlimited

2 Purdue Fort Wayne 2 Department of Music

14 Beers, Mallers, Backs & Salin, LLP 27 Bose, McKinney & Evans LLP 26 Brian Kuhns, Realtor 33 Brotherhood Mutual 84 Busheyâ&#x20AC;&#x2122;s Windows, Doors & Remodel 32 Concordia Lutheran HIgh School 26 Cirque Goes To The Cinema 83 DeBrand Fine Chocolates 40 Embassy Theatre 39 Indiana Arts Commission 66 Keefer Printing 2 Lake City Bank 51 Musically Speaking/Playing With Food 18 Old National Wealth Management 72

23 Science Central 48 Strategence Capital 82 Steel Dynamics 21 Sweetwater 59 The Music of Led Zeppelin 46 The Towne House 54 Troyer & Good 81 Video Games Live 32 WBOI 89.1 FM 38 WOWO 107.5 FM

Founded in 1944, the purpose of the Fort Wayne Philharmonic Friends is to support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra in its fundraising and educational endeavors, while striving to discover and encourage musical talent. THERE ARE MANY OPPORTUNITIES TO CONNECT AS A PHILHARMONIC FRIEND EDUCATION Instrument Loan Program Instrument Playgrounds Young Artistâ&#x20AC;&#x2122;s Competition Musically Speaking Scholarships HOSPITALITY Guest Musician transport and housing Guest Artist transportation Rehearsal Refreshments for Musicians Recognition Parties for Chorus and Orchestra ADMINISTRATION Office Support Electronic Media Board Membership Newsletter Assist at Special Events FUNDRAISING Trips to art, music and entertainment venues Annual Golf Outing Cookbook Sales

For additional membership information go to www.philharmonicfriends.com or contact John McFann at 260-637-1506 or jmcfann@aol.com.

FOUNDATION AND PUBLIC SUPPORT

PHILHARMONIC SOCIETY | $1,000,000+ Edward D. & Ione Auer Foundation

MAESTOSO | $250,000+ Madge Rothschild 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) 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

Lincoln Financial Foundation PNC Charitable Trusts The Rifkin Family Foundation

VIRTUOSO SOCIETY | $10,000 to $24,999 Olive B. Cole Foundation The Rea Charitable Trust Edward M. and Mary McCrea Wilson Foundation

The Donald F. Wood and Darlene M. Richardson Foundation

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

Kuhne Charitable Trust Ian and Mimi Rolland Foundation Wells County Foundation

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Community Foundation DeKalb County BAE Systems Community Investment SIA Foundation, Inc. 74

FOUNDATION AND PUBLIC SUPPORT

COMPOSER’S CIRCLE | $1,000 to $2,499 Howard P. Arnold Foundation Adams County Community Foundation Arthur and Josephine Beyer Foundation Kenneth & Lela Harkless Foundation Porter Family Foundation

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

CONCERTMASTER | $500 to $999 Huser Charitable Foundation Kosciusko County REMC Operation RoundUp Fund Quentin K. & Gladys F. Mavis Music Fund Gerald M. and Carole A. Miller Family Foundation

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

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

Benjamin Franklin

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

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 3 Rivers Federal Credit Union Parkview Regional Medical Center/ Parkview Health

Steel Dynamics Foundation, Inc.

ADAMS COUNTY Anonymous (3) Adams County Community Foundation

Michael Bauserman Bunge North America Eichhorn Jewelers

Gilpin, Inc. Antoinette K. Lee Porter Family Foundation

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

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

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

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

Zimmerman Bros. Funeral Homes

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

Bud & Mary Hursh Mikeâ&#x20AC;&#x2122;s Car Wash Omer & Susan Kropf The Papers Inc. Dr. & Mrs. Fred L. Rasp Salin Bank & Trust STAR Financial

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

REGIONAL PARTNERS continued

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

Mayor Suzanne & Randy Handshoe The Hawk, 95.5 FM Tim & Anita Hess – RE / MAX Results Jansen Family Dentistry J.O. Mory, Inc. Kammerer Design & Fabrication Dr.’s Craig & Elizabeth Lichlyter Dr. Kevin & Nicole Lowe Parkview Oncology

Parkview Noble Hospital Dr. Alan & Mrs. Roush Shepherd’s Family Auto Group Steward Brimner, Peters & Lear Sylvan Cellars Jennie Thompson Foundation Tri State Veterinary Clinic Wible Lumber Work Prep, Inc. Yoder & Kraus PC

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

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

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

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

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

Ouabache State Park Wells County Foundation

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

Daniel Menu & Party Consulting Kappa Kappa Kappa – Alpha Iota Chapter

The Donald F. Wood and Darlene M. Richardson Foundation Dr. & Mrs. Richard Zollinger

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 June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Michael Mastrangelo In Honor of Eleanor Marine Dr. Rudy & Rhonda Kachmann Sarah & Sherrill Colvin In Memory of Anthony Palermo Lillian C. Embick In Memory of David Platt for the Youth Symphony Jane & Frank Walker In Memory of Ltc. Ret. Richard Reeves Beverly Reeves In Honor of Nancy Stewart’s Birthday Liz Frederick In Honor of Al Zacher’s Birthday Marie Warshauer & the boys

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

ENDOWMENT FUND

SPECIAL ENDOWMENTS

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

Youth Symphony Walter W. Walb Foundation

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

Family Concerts Howard and Betsy Chapman

Music Library Josephine Dodez Burns and Mildred Cross Lawson Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan Oâ&#x20AC;&#x2122; Rourke

Young Peopleâ&#x20AC;&#x2122;s Concerts The Helen P. Van Arnam Foundation Philharmonic Preschool Music Program Ann D. Ballinger Radio Broadcasts Susan L. Hanzel

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

Sanford Rosenberg* Alice C. Thompson

*Indicates Deceased

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 (22) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman* Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch* Fred & Mary Anna Feitler Richard & Susan Ferguson Mrs. Edward Golden Leonard & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Mr. & Mrs. Donald Hicks

Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara John Kurdziel Doris Latz* Antoinette Lee Jeff Leffers & Jane Gerardot Naida MacDermid Lockwood* & Eleanor H. Marine Mick & Susan McCollum John & Shelby McFann Donald Mefford John Shoaff & Julie Donnell Chuck & Lisa Surack Herbert & Lorraine Weier Mr. & Mrs. W. Paul Wolf * Indicates Deceased

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.

A SPECIAL CONCERT FOR FAMILIES, GAMERS AND MUSIC LOVERS Buy now and save!

Special Events

VIDEO GAMES LIVEâ&#x201E;¢ Saturday, March 3, 7:30 p.m. Rhinehart Music Center, IPFW A thrilling, immersive concert featuring music from the most popular video games of all time. Created, produced and hosted by game industry legend Tommy Tallarico.

FORT WAYNE PHILHARMONIC 260.481.0777

FWPHIL.ORG

Fiberglass Replacement Windows

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Sunrooms

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Interior Remodeling

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