2016-2017 Prelude 2 by Fort Wayne Philharmonic

Prelude

FORT WAYNE PHILHARMONIC PROGRAM

November/December 2016 & January 2017

Prelude

VOLUME 73 NO. 2 2016|17 SEASON

FORT WAYNE PHILHARMONIC PROGRAM

November/December/January

Editor: Brooke Sheridan Contributing Editors: Melysa Rogen, Jim Mancuso Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department, 4901 Fuller Drive • 260•481•0777 • fwphil.org.

Printed by Keefer Printing Company, 3824 Transportation Drive, 260•424•4543. We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue. Table Of Contents 5 Welcome Letter, Andrew Constantine 18 A Holly Jolly Sing-A-Long 19 Fort Wayne Children’s Choir Roster 38 The Phil Friends 40 Andrew Constantine, Music Director 42 Caleb Young, Assistant Conductor 43 Benjamin Rivera, Chorus Director 44 Orchestra Roster

Artist Bios 14 Chia-Hsuan Lin, Conductor 19 Jonathan Busarow, FWCC Director 26 Josefien Stoppelenburg, soprano 26 Lindsey Adams, mezzo-soprano

46 Board of Directors 47 Administrative Staff 48 Fort Wayne Philharmonic Chorus Roster 49 How to Enjoy the Concert Experience 50 Series Sponsors 52 Sponsors 55 Donors

27 27 34 35

Cameo Humes, tenor David Govertsen, bass James Judd, Conductor Terrence Wilson, piano

7 Masterworks holst: the planets Saturday, November 19 13 Pops holiday pops Friday, December 9 Saturday, December 10 Saturday, December 17 21 Chamber Orchestra Series messiah by candlelight Thursday, December 15 Friday, December 16

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29 Masterworks mozart and tchaikovsky Saturday, January 14

Welcome From The Music Director

Dear Friends: We’ve had a magnificent opening to the Fort Wayne Philharmonic season with well-attended concerts and enthusiastic audiences. Your generosity as ticket buyers and donors is directly responsible for all of our accomplishments, both onstage and throughout the region. You truly do make the music sound. Thank you.

the arts are the highest form of expression. The arts serve as a source of inspiration for us all. That’s why PNC is proud to sponsor The Fort Wayne Philharmonic.

I want to tell you about the extraordinary amount of musical activity in which our brilliant orchestra members engage behind the scenes and away from the concert hall, all year long. Just this October, Fort Wayne Philharmonic chamber ensembles have performed in over 50 schools and nursing homes, all over the community. These ensembles will bring performances to more than 36,000 students and seniors this year. Education and community engagement programs encourage a lifelong appreciation of the arts. This is music that lifts the spirit, educates, enriches, and broadens the human perspective, while providing social gratification and community connections sorely needed in our society. Your Fort Wayne Philharmonic is serving as a tool to help build a stronger community, encouraging families to become part of a more vibrant, thriving region. I am excited about the programs we have now and into the New Year. One of my favourites offers Gustav Holst’s The Planets, a lush exploration of the planets of our Solar System and their corresponding astrological characters. Chadwick’s Jubilee, a sparkling early American overture, brims with unbridled promise, and Brahms’ Variations on a Theme of Joseph Haydn is irrepressible with its stately chorale and ingenious variations, ending in a rousing conclusion with full orchestral forces. During the Christmas holidays, we participate in a roster of seasonal programs for audiences of all ages. If you haven’t been to a Holiday Pops performance in a while, I do urge you to come. Fort Wayne’s cherished holiday tradition is back, with Broadway personalities joining the Philharmonic, Chorus, and special guests in a program of the traditional and contemporary seasonal favourites we all know and love. This program is surely to dazzle in the majestic Embassy Theatre, decorated in holiday splendor especially for the occasion. If you are looking for a sacred experience, please do attend Messiah by Candlelight, our newest holiday tradition. Handel’s most recognizable and revered masterpiece is performed to the warm glow of candlelight in the most luminous of settings, the First Wayne Street United Methodist Church. And, don’t forget Nutcracker, where the Philharmonic performs as part of Fort Wayne Ballet’s holiday classic. After the New Year, my friend and colleague James Judd returns to lead the Philharmonic in a program of Mozart favorites, ending with Tchaikovsky’s Suite No. 4, Mozartiana, which pays homage to the Austrian master, written as a tribute on the 100th anniversary of his opera Don Giovanni. We do hope you come back to the Philharmonic, and often. Have a wonderful holiday season and a Happy New Year. Sincerely,

Call Kendall Dudley Billows (260) 461-7436 pnc.com 4

Andrew Constantine, Music Director 5

Madge Rothschild Foundation

Holst: The Planets

Sponsored by Fort Wayne Philharmonic Friends Saturday, November 19, 2016 • 7:30 P.M. Embassy Theatre

Thank You to the Following Sponsors: MADGE ROTHSCHILD FOUNDATION

Andrew Constantine, Conductor Fort Wayne Philharmonic Women’s Chorus, Benjamin Rivera, Director CHADWICK

“Jubilee” from Symphonic Sketches

BRAHMS Variations on a Theme of Joseph Haydn, Op. 56a Chorale St. Antoni: Andante Finale: Andante Variation I: Poco piūanimato Variation II: Piūvivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo

-- Intermission --

HOLST The Planets 1. Mars, the Bringer of War 2. Venus, the Bringer of Peace 3. Mercury, the Winged Messenger 4. Jupiter, the Bringer of Jollity 5. Saturn, the Bringer of Old Age 6. Uranus, the Magician 7. Neptune, the Mystic Fort Wayne Philharmonic Women’s Chorus See page 48 for the Fort Wayne Philharmonic Women’s Chorus Roster, and page 43 for Benjamin Rivera, director’s biography. Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, December 1 at 7:00 P.M. 7

Madge Rothschild Foundation

asterworks

Program Notes

Holst: The Planets

Saturday, november 19, 2016 “Jubilee” from Symphonic Sketches George W. Chadwick (b. 1854, Lowell, Massachusetts; d. 1931, Boston) George W. Chadwick was the dean of the group of American composers that emerged in New England during the late 19th-century and included Edward McDowell, Amy Beach, and John Knowles Paine. All were trained in Europe, but upon returning to this country, they — and especially Chadwick — began developing a distinctively American style for music — most noticeable in their melodies, rhythms, and harmonies — that would culminate a generation and a half later in the voice of Aaron Copland. In his early twenties, the ambitious Chadwick took himself to Germany where he studied for several years with prominent teachers at both the Leipzig and Munich conservatories. Returning to Boston, he became a teacher at the New England Conservatory of Music and in 1897 its Director; there he transformed the school into a full-fledged conservatory on the European model. He also became a prolific composer in all musical genres, but especially strong in the orchestral medium. He developed a close relationship with the newly formed Boston Symphony Orchestra, for whom he wrote two symphonies followed by a series of innovative programmatic works, including his most prominent piece Symphonic Sketches. Written between 1895 and 1904, Symphonic Sketches comprises four orchestral portraits of contemporary American life. Its first movement, “Jubilee,” was inspired by Chadwick’s memories of the 1869 “Peace Jubilee” in Boston to celebrate America’s recovery from the Civil War. Only 15 at the time, Chadwick remembered that its spectacular music, featuring a chorus of almost 11,000 singers, crystallized his dream of becoming a composer. Though there are no singers in Chadwick’s “Jubilee,” its score is prefaced by the following poem: “No cool gray tones for me! / Give me the warmest red and green, / A cornet and a tambourine, / To paint MY jubilee! / For when pale flutes and oboes play, / To sadness I become a prey; / Give me the violets and the May, / But no gray skies for me!”

This little verse sets out the two contrasting moods found in this full-hearted movement: its boisterous, quick-tempo opening section, mixed with more reflective, lyrical interludes featuring a spacious, open-air American melody. And even the reference to particular instruments is included: a jangling tambourine accompanies the fast sections, while a melancholy oboe solo appears in the last lyrical episode. Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) When Johannes Brahms composed his Variations on a Theme by Haydn in the late summer of 1873, he had not written a purely orchestral work in nearly 15 years. Throughout this period, he had been struggling with his First Symphony, a 20year project not successfully completed until 1876. At last, he gave the symphony a rest and wrote a more modest orchestral work in a form at which he excelled, for Brahms was probably the 19th century’s greatest writer of variations. Unusually for the Romantic period, Brahms was a devoted scholar of the past, finding inspiration in the masters of the Renaissance, Baroque, and Classical periods. Bach’s Goldberg Variations and Beethoven’s Diabelli and Eroica variations shaped his developing craft, epitomized by the massive Handel variations for piano of 1861. Like these predecessors, Brahms saw the art of thematic variation as far more than improvising a series of attractive melodic embellishments. Adhering to the harmonic and phrase structure of the original, he felt free to wander far from the theme to construct an imaginative work, rich in contrasts and moving logically toward a satisfying culmination. But first he had to find the right theme. Brahms was introduced to the theme he believed was by Haydn by Haydn’s biographer C. F. Pohl. It was in a divertimento for wind instruments, and it was a deliciously asymmetrical melody, with two phrases of five measures followed by four phrases of four measures and a concluding three measures of tolling chords in B-flat. Recent scholarship has proven that this theme was, in fact, not by Haydn, but probably by his student Ignaz Pleyel. And even Pleyel hadn’t written the tune itself; known as the “Chorale St. Antoni,” it may have been a pilgrims’ hymn from an earlier era. Whatever its true origins, the theme had just what Brahms needed to set his imagination

afire. First, he created his variations as a twopiano piece for himself and Clara Schumann; the orchestral version followed immediately after.

the haunting Choral Hymns from the Rig Veda) — had won him esteem in musical circles, but little public attention.

Brahms imitated the original wind-band scoring by having oboes and bassoons introduce the theme in their distinctive, plaintively colored tones. The tolling ending is immediately picked up in the first variation where continuous B-flats in winds anchor the free-flowing string lines. All eight variations alternate between B-flat Major and minor.

Holst’s first and only work for very large orchestra, The Planets created an immediate sensation. The New York Philharmonic and Chicago Symphony fought so heatedly for the American premiere that a compromise had to be struck: both performed it on the same day, but New York received the edge because of the timezone difference. But Holst kept to his credo. He never repeated himself with another big, colorful work in this style and was relieved when the world’s attention finally shifted away. However, The Planets remains one of the 20th century’s most popular orchestral showpieces.

Variation 4 is one of the finest, a mournful, minor-mode piece led by solo oboe and horn. Darkly colored, it is a tour-de-force of graceful counterpoint with winds and strings trading off the melody and its flowing accompaniment. This reverie is blown away by Variation 5, a lively scherzo with bright high winds and Brahms’ favorite rhythmic play of three beats against two. Teutonic hunting horns open the bounding, crisply rhythmic number 6. Its antithesis is Variation 7, a graceful siciliana melody, emphasizing the warm colors of violas and horns. Strangest of all is the last variation: a soft, mysterious scurrying of muted strings and winds in the minor mode, in which one can barely detect the beat. For the finale, Brahms built a series of 17 brief variations on the theme over a five-measure phrase in the bass, repeated over and over as a Baroque-style passacaglia. Brahms scholar Karl Geiringer wrote that the composer’s “imagination rose to the greatest height when under the constraint of the strictest laws.” This and the remarkable passacaglia finale of his Fourth Symphony are the proof. As Brahms’ invention soars to the empyrean above his strict bass, the St. Antoni theme plays hide-and-seek, finally emerging in a triumphant apotheosis. The Planets Gustav Holst (b. 1874, Cheltenham, England; d. 1934, London) “Every artist ought to pray not to be a success. If nobody likes your work, you have to go on just for the sake of the work, and you are in no danger of letting the public make you repeat yourself.” Gustav Holst said this before the premiere of The Planets — on November 15, 1920 by the London Symphony Orchestra, suddenly catapulting this shy, idiosyncratic composer onto the world stage. Already 46, he had previously worked in happy obscurity, cramming in his composing on Sundays and August holidays while earning his living as a highly creative music teacher at St. Paul’s School for Girls, Morley College, and various churches. His many smallerscale works for instruments and voices — often inspired by his mystical leanings and fascination with Sanskrit literature (the lovely opera Savitri,

Not a symphony, this work is a series of seven subtly interrelated tone poems or, as Holst preferred, “mood pictures.” When Holst wrote them from 1914 to 1916, he had become very interested in astrology. Thus, he was actually thinking more about the astrological influence of the planets on man’s character than their actual physical qualities. Each planet bears a subtitle that reveals the movement’s overall mood. Influenced by the work’s wartime period to begin with a brute-force portrayal of Mars, Holst arranged his planets out of solar-system order to create a compelling dramatic progression. And he omitted the Earth and the recently demoted Pluto (not discovered until a decade later in 1930). The Planets’ dazzling orchestration is the key to its audience impact. Holst had earned his living for many years as an orchestral trombonist and thus knew the orchestra from the inside. His giant orchestra — including organ and a generous percussion section — provides not only power for “Mars,” “Jupiter,” and “Saturn,” but an extensive palette of soft colors for the subtler “Venus,” “Mercury,” and “Neptune.” Exotic additions include bass flute, bass oboe, tenor tuba, and an off-stage women’s chorus. Mars, the Bringer of War: So powerful is “Mars” as an evocation of modern warfare’s savagery that listeners assumed Holst must have been reacting to the news from World War I’s trenches. However, “Mars” was actually composed in 1914 before that fatal August. Nevertheless, war was in the air as the European countries postured and displayed their armaments, and the sensitive Holst would have readily picked up that mood. In the unusual meter of 5/4, “Mars” opens with a relentless rhythmic ostinato — first tapped out by timpani and violins striking their strings with the wood of their bows — that gradually mounts to an ear-splitting din. Horns and bassoons introduce the ominous three-note principal motive that ends with a dissonant half-step fall. 9

Holst instructed that “Mars” be played as fast and brutally as possible. Venus, the Bringer of Peace: The antithesis of “Mars,” “Venus” is a very soft and lyrical slow movement featuring peaceful descending lines for flutes, a sweetly pastoral melody for solo violin, and the bell-like sounds of celesta and harps. Mercury, the Winged Messenger: Inspired by the Greek messenger of the gods, this is a lightfooted and extremely fleet scherzo. Celesta and glockenspiel add sparkle to an impressionistic tonal palette. Jupiter, the Bringer of Jollity: The Planets’ most popular movement, “Jupiter” represents celebration in both its rollicking and ceremonial aspects. Holst concocted a bevy of tunes inspired by Edwardian vaudeville and dance halls for the opening and closing sections; it was reported that Queen’s Hall’s cleaning women were dancing in the corridors during the rehearsals for the premiere. A proudly British melody (that probably made Holst’s contemporary Edward Elgar green with envy!) crowns the center section; later given words, it became the English patriotic hymn “I Vow to Thee, My Country.” Saturn, the Bringer of Old Age: This was Holst’s own favorite movement. Tolling flutes

and harps suggest the inexorable march of time. Then trombones and tuba begin a weary but noble march. Flutes propose another march, even more bowed with age, which grows to a mighty climax above the heavy thud of timpani and low strings. The movement ends in a vision of serenity and peace, reminiscent of the “Dawn Scene” in Ravel’s Daphnis and Chloé: old age’s consolation. Uranus, the Magician: Another scherzo, “Uranus” opens with the magician’s incantation played three times by different instruments. This is a movement of magic, menace, and mischief with troll-like bassoons and mocking, heavy-footed marches. A serene vision of Neptune interrupts, then with a sardonic laugh the magician disappears in a puff of smoke. Neptune, the Mystic: Once again in 5/4 meter, “Neptune” completes the circle begun by “Mars” with an otherworldly alternative to humankind’s violence. Weaving flutes, high violins, celesta, and harps conjure a cool, distant world and state of mind, beyond human understanding. A women’s chorus sings wordlessly offstage in mysterious, overlapping lines. In an early use of the fade-out technique, now a recording cliché, the women’s voices disappear into the emptiness of space.

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9/19/16 11:10 AM

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Holiday Pops

Thank You to the Following Sponsors:

Sponsored by Old National Wealth Management

PROUD SPONSOR OF

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Sweetwater is honored to support the Fort Wayne Philharmonic for its continuing tradition of amazing performances and musical excellence. We are proud to partner with these talented musicians and to celebrate music and the arts in Fort Wayne.

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Friday, December 9, 2016 • 7:30 P.M. Saturday, December 10, 2016 • 2:00 & 7:30 P.M. Saturday, December 17, 2016 • 2:00 & 7:30 P.M. Embassy Theatre Chia-Hsuan Lin, conductor Anne Runolfsson, vocals Nathaniel Irvin, vocals Philharmonic Chorus, Benjamin Rivera, director Fort Wayne Children’s Choir, Jonathan Busarow, director

Wayne & Linda Boyd

Greg Stieber, Producer/Director Daisy Paroczy Hickey, Co-Director Olivia Ross, Choreographer, dancer Desiree Lantz, dancer TBD, dancer Reuben Albaugh, Santa Melissa Shaw, Mrs. Santa

FRY We Wish You a Merry Christmas TRADITIONAL (Dragon) Hark, the Herald Angels Sing BIZET Farandole GREENE AND LOWRY Mary, Did You Know? ELLIOTT Jingle Bell Swing FOSTER & THOMPSON-JENNER My Grown-up Christmas List LEONTOVYCH (Hayman) Carol of the Bells BERLIN White Christmas GRUBER (Davis) Silent Night NORRIS Little Drummer Boy ADAM (Clydesdale) O Holy Night

-- Intermission --

PROGRAM CONTINUED ON PAGE 14.

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ops

Conductor Biography

OPS

Holiday Pops

Sponsored by Old National Wealth Management Chia-Hsuan Lin, conductor

PROGRAM CONTINUED FROM PAGE 13.

POLA AND WYLE (Kessler) The Most Wonderful Time of the Year CLARKSON & KURSTIN Underneath the Tree KENT I’ll Be Home For Christmas WOOD I Wish It Could Be Christmas Every Day ANDERSON-LOPEZ & LOPEZ “Let It Go” from Frozen TRADITIONAL (Mager) Ding Dong! Merrily on High AUTRY Here Comes Santa Claus COOTS, GILLESPIE, JAVITS & SPRINGER Santa Tap ANDERSON Sleigh Ride TRADITIONAL (Stephenson) A Holly and Jolly Sing-Along HANDEL “Hallelujah” Chorus from Messiah Please see page 43 for Benjamin Rivera’s biography, page 48 for the Fort Wayne Philharmonic Chorus Roster and tonight’s insert for more information on the Holiday Pop’s cast and crew.

Merry Christmas

Lin began her first season as Associate Conductor of the Richmond Symphony and the Music Director of the Richmond Symphony Youth Orchestra in 2016. Previously the Assistant Conductor with the Fort Wayne Philharmonic, Lin has returned as Guest Conductor this year for the Philharmonic’s highest attended Masterworks subscription concert in the last decade, as well as Patriotic Pops in July 2016 to a record audience of over 7,000 in Parkview Field.

International Conducting Competition in Bucharest, Romania. In 2013, she led a performance of Mark Adamo’s Little Women at Northwestern University. Lin formed Taipei Chamber Players in 2008 and returned to Taipei in 2011 to conduct in a lecture series of Bach’s Matthäus-Passion.

Lin was an Emerging Conductor of Peninsula Music Festival Orchestra in 2014, assistant conductor of opera at the College-Conservatory of Music Spoleto Music Festival in Italy 2011, and a semi-finalist in the 2013 Jeunesses Musicales

A native of Taiwan, Lin holds degrees in conducting from National Taiwan Normal University and the University of Cincinnati. Lin is currently a doctoral candidate at Northwestern University.

“Chia-Hsuan Lin moves with the command and energy of a soccer star,” said former editorial writer of Journal Gazette, Larry Hayes. Lin has shared her talents in many diverse musical settings throughout the world.

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DECK the HALL 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. See the blazing yule before us, Fa la la la la, la la la la, Strike the harp and join the chorus, Fa la la la la, la la la la, Follow me in merry measure, Fa la la la la la, la la la, While I tell of Yuletide treasure Fa la la la la, la la la la.

Sweetwater

A Holly and Jolly Sing-A-Long

Jonathan Busarow, Executive Artistic Director, Fort Wayne Children’s Choir

Then one foggy Christmas Eve, Santa came to say: “Rudolph, with your nose so bright, Won’t you guide my sleigh tonight?” Then all the reindeer loved him As they shouted out with glee, “Rudolph, the Red-Nosed Reindeer, You’ll go down in history!”

Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir. Mr. Busarow holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and 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 serves as the choir director at Emanuel Lutheran Church in New Haven, IN.

JOY to the WORLD 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!

There must have been some magic In that old silk hat they found, For when they placed it on his head, He began to dance around.

RUDOLPH, the RED-NOSED REINDEER Rudolph, the Red-Nosed Reindeer Had a very shiny nose… And if you ever saw it, You would even say it glows. All of the other reindeer Used to laugh and call him names,

Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association Fort Wayne Children’s Chorus Roster Jonathan Busarow, Executive Artistic Director Irene Ator, Accompanist

Frosty the Snowman is a fairy tale they say. He was made of snow but the children know How he came to life one day.

Thumpety thump thump, Thumpety thump thump, Look at Frosty go. Thumpety thump thump, Thumpety thump thump, Over the hills of snow.

Artist Biography

OPS

They never let poor Rudolph Join in any reindeer games.

FROSTY the SNOWMAN Frosty the Snowman was a jolly happy soul, With a corncob pipe and a button nose And two eyes made out of coal.

Oh, Frosty the Snowman had to hurry on his way, But he waved good-bye saying “Don’t you cry, I’ll be back again some day.”

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Daniel Beights Josiah Beights Zoe Berkes Anna Corley Lacey Darnell Zoey Dennis Riley Dickinson Hannah Dinius Anna Duly Madison Duvall Hope Fehlinger Isabel Follrod Nora Foltz Delaney Fosnaugh Emma Hallman Rebekah Hammond Nora Lemish Elena Matyas Simone McCowan Alli McQueen Jenna Miller Rena Mwangi Ella Nix Katie North Molly Pierson

Samuel Poor Alexis Rios Alyssa Rivas Emily Robinson Sarah Rodenbeck Benjamin Sarrazine Shelby Schlicker Jensen Snyder Sydney Spilker Rebekah Staples Kathleen Suelzer J.J. Swanson Ava Thuringer Natalie Todd Elizabeth Wagner Ashley Ward Bre Ward Abby Westropp Delaney Wilson Lillian Wilson John Woods Lucia Workman Anna Wurschmidt David Wurschmidt

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.

Ambassador Enterprises

Messiah by Candlelight

Thank You to the Following Sponsors:

Thursday, December 15, 2016 • 7:30 P.M. Friday, December 16, 2016 • 7:30 P.M. First Wayne Street United Methodist Church Chia-Hsuan Lin, Conductor Philharmonic Chorus, Benjamin Rivera, Director Josefien Stoppelenburg, soprano Lindsey Adams, mezzo-soprano Cameo Humes, tenor David Govertsen, bass 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”

---Intermission--PART TWO Chorus: “Behold the Lamb of God” Aria: “He was despised” 20

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” Aria: “But Thou didst not leave” Chorus: “Lift up your heads” Chorus: “The Lord gave the word” Aria: “How beautiful are the feet” Chorus: “Their sound is gone out” Aria: “Why do all the nations rage” Chorus: “Let us break their bonds” 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” Chorus: “Worthy is the Lamb” 21

Ambassador Enterprises

Program Notes

hamber Orchestra Series

Messiah By Candlelight

thursday, december 15 & friday, december 16, 2016 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 in the nearly 275 years 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 popularstyle 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 so very different from his operas: they told a dramatic story — in this case drawn from the Bible or other sacred literature — and their soloists 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. 22

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 Jennen’s had prepared for him. Beginning his work on August 22, 1741, he completed the two-anda-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. Now 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, everyone in the audience was following King George III’s lead in rising for Handel’s mighty hymn of praise. 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. Note by Janet E. Bedell copyright 2016

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Artist Biography

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Josefien Stoppelenburg, soprano Called “an astonishing singer’” by the Chicago Tribune, Dutch soprano Josefien Stoppelenburg has performed as a soloist in Europe, The United States, Asia, South America, and the Arab Emirates. From 2005 until 2007, Josefien was part of the Young Opera Ensemble of Cologne, Germany. Leading 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 Poulencs’s La Voix Humaine in the International Chamber Opera Festival (The Netherlands). Equally at home in the field of historical performance, she has appeared with Camerata Amsterdam, Dutch Radio Philharmonic Orkest, Noord Nederlands Orkest, Haymarket Opera Company, Apollo Chorus of Chicago, Baroque Artists of Champaign Urbana, Newberry Consort, Handel Week Festival, Fulcrum Point and Music of the Baroque, Bloomington Bach Cantata Project and the Fort Wayne Philharmonic Orchestra. Concerts this season include performances with the Rembrandt Chamber Players, Boulder Bach Festival, Cincinnati Bach Ensemble, Arizona Bach Festival, and Camerata Amsterdam. The ensemble Brothers and Sisters (vocal duo Charlotte and Josefien Stoppelenburg and piano duo Martijn and Stefan Blaak) recently Lindsey Adams, mezzo-soprano Lindsey Adams, has been praised for her “remarkably clear singing and perfect phrasing” (Stage and Cinema) and expressive interpretation of both early and contemporary repertoire. Ms. Adams recently appeared with Haymarket Opera Company as “Endimione” in Cavalli’s La Calisto and was hailed as “a captivating presence” by the Chicago Tribune. She made her debut with Bourbon Baroque in 2015 as the “Sorceress” in Purcell’s Dido and Aeneas. Ms. Adams is the principal vocalist for Musik Ekklesia and can be heard on the ensemble’s Grammy® nominated recording, The Vanishing Nordic Chorale. Ms. Adams performs with the Grant Park Music Festival, Chicago Bach Project, Ars Antigua, William Ferris Chorale, Aestas Consort, Oriana Singers and 26

appeared live on Radio 4, the Dutch classical radio station for Classical Music and just made their ensemble debut in the Concertgebouw in Amsterdam. Many composers wrote especially for Josefien. She performed works by Jacob TV, Esa-Pekka Salonen, Stacy Garrop, Lita Grier, Eric Whitacre and William Neil, as well as works by Dutch composers, including her father, composer Willem Stoppelenburg. Josefien recently gave master classes to voice students of Indiana University (Jacobs School of Music) for the Historical Performance Department, at Illinois State University and at Colorado University (College of Music) In 2013, Stoppelenburg won the Chicago Oratorio Award as well as a second place in the American Prize Opera Competition. She performed several times for Dutch Royal Family. Schola Antiqua of Chicago. Ms. Adams holds a degree in Vocal Performance from DePauw University. She is the Musical Director for the Chicago Montessori School and is a member of the Piano Faculty at Access Contemporary Music.

Cameo Humes, tenor Cameo Humes is quickly becoming one of the most sought-after tenors in the operatic and concert repertoire. His opera credits include the title role in Mozart’s La clemenza di Tito, Ottavio (Don Giovanni) with Operafestival di Roma, Almaviva (Il Barbiere di Siviglia), Gastone (La Traviata), Prunier (La Rondine), Peter (Porgy and Bess) with Lyric Opera of Chicago (cover), and Crab man (Porgy and Bess) with The Princeton Festival. Recent concert engagements include Handel’s Judas Maccabeus, Mozart’s Grand Mass in C minor, Haydn’s Lord Nelson Mass with the Bach Society of Dayton, Bach St. John Passion and Mass in B minor, and The Seven Last Words of Christ by Théodore Dubois. In May, Mr. Humes was invited to Los Angeles to record the role of “Paul Laurence Dunbar” in Richard Thompson’s The Mask in the Mirror, a role he had previously David Govertsen, bass Chicago native David Govertsen recently stepped in on short notice at Lyric Opera of Chicago where he “handsomely replaced the ill Peter Rose as the producer La Roche” opposite Renée Fleming and Anne Sophie von Otter in Capriccio. Mr. Govertsen also appeared on short notice as “Arkel” in Pelléas et Mélisande with the Chicago Symphony under Esa-Pekka Salonen and as a soloist in James MacMillan’s Quickening with the Grant Park Orchestra. A former member of the Ryan Center at Lyric, his other mainstage assignments have included roles in Die Zauberflöte, Boris Godunov, Werther, Die Meistersinger von Nürnberg, Madama Butterfly, and Roméo et Juliette. He returns to Lyric this season as the “Sprecher” in Die Zauberflöte and “Priam” in Les Troyens. Mr. Govertsen recently created the roles of David/Bonobo in Matthew Aucoin’s new opera Second Nature for Lyric Opera Unlimited. Other operatic highlights of the past season include a reprise of La Roche at Santa Fe Opera, 2nd Soldier and 5th Jew in Salome with the Detroit Symphony Orchestra, and the title character in Cimarosa’s Il Maestro di Capella with the Rochester Philharmonic Orchestra. On the concert stage this season he appeared with the Madison Symphony, Fort Wayne Philharmonic, Bach Week Festival, Battle Creek Symphony, and the Champaign-Urbana Symphony

performed on the operatic stage with Trilogy Opera of New Jersey. This recording was under the baton of renown conductor Stephen Tucker and featured members of the LA Opera orchestra. Upcoming engagements include a debut in October 2016 with Teatroalla Scala (Milan) singing the roles of Robbins, Peter, Mingo and Crab man in their semi-staged production of Porgy and Bess.

Orchestra, among others. Mr. Govertsen 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. Locally in Chicago he has performed dozens of roles, among them the title roles in Don Giovanni, Le Nozze di Figaro, Don Pasquale, and Gianni Schicchi, the Four Villains/Les Contes d’Hoffmann, Sarastro/Die Zauberflöte, Colline/La Bohème, Basilio and Bartolo/ Il Barbiere di Siviglia, Don Magnifico/La Cenerentola, Zaccaria/Nabucco, Sparafucile/ Rigoletto, Padre Guardiano/La Forza del Destino, Nick Shadow/The Rake’s Progress, and Friedrich Bhaer/Little Women.

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Mozart and Tchaikovsky Saturday, January 14, 2017 • 7:30 P.M. Rhinehart Music Center, IPFW

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James Judd, Conductor Terrence Wilson, piano MOZART

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The Abduction from the Seraglio: Overture, K. 384

MOZART Concerto No. 24 in C minor for Piano & Orchestra, K. 491 I. Allegro II. Larghetto III. Allegretto Terrence Wilson, piano

-- Intermission --

MOZART Symphony No. 35 in D major, K. 385 (“Haffner”) I. Allegro con spirito II. Andante III. Menuetto IV. Presto TCHAIKOVSKY Suite No. 4 in G major, Op. 61 (“Mozartiana”) (Arrangements of 1. Gigue [K. 574] pieces by Mozart) 2. Minuet [K. 355] 3. Prayer, after a transcription by Liszt [Ave verum corpus, K. 618] 4. Theme and Variations [Mozart’s variations on a theme of Gluck, K. 455] Blüthner concert grand piano is courtesy of Reeder Pianos, Inc., Lansing, Michigan

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Program Notes

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Mozart and Tchaikovsky

Saturday, JANUARY 14, 2017 The Abduction from the Seraglio: Overture, K. 384 Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna. Austria) In the summer of 1781, Wolfgang Amadeus Mozart was literally kicked out of the court of Archbishop Hieronymous Colloredo of Salzburg, the tyrannical and small-minded prince whom he and his father served. The kick was administered by Count Arco, the head of the court household, in payment for Mozart’s insubordinate refusal to leave Vienna and return to Salzburg as the archbishop had ordered. Now Mozart was free to stay in Vienna for as long as he liked — but without the support of a court position. He would live — and thrive — in Vienna as a freelance musician for the rest of his life. Soon he began working on his first opera for Vienna: a German-language singspiel (opera with spoken dialogue) called Die Entführung aus dem Serail (“The Abduction from the Seraglio”). Though operas in Italian were far more popular in Austria at this time, the reformist Emperor Joseph II was trying to promote operas in the native tongue, even opening a new National Theatre in 1778 to produce them. Abduction’s libretto, by C. F. Bretzner, had already been used for another recent opera. Premiered at the Burgtheater in Vienna on July 16, 1782, it was an enormous success and remained the most successful Mozart opera internationally during the composer’s lifetime. Abduction follows the contemporary Viennese fashion for stories set in exotic Turkey and especially the titillating possibility that some innocent European lady might end up in an evil pasha’s harem. In this case, the Spanish noblewoman Constanze has been kidnapped by pirates, along with her feisty English maid Blondchen, and is languishing in the harem of Pasha Selim. Her fiancé Belmonte takes ship to rescue her. At the pasha’s court, he encounters all kinds of problems with the comic harem overseer Osmin, while Constanze continues to firmly resist the pasha’s advances. Ultimately, the pasha magnanimously agrees to give her back to Belmonte, thereby proving himself to be more noble than his Christian captives. The Overture is a charmer that exploits the 18 century fashion for “Turkish” music: actually a vivacious musical style from Hungary that uses a colorful ensemble of piccolo, triangle, cymbals, th

and drums. We hear this Turkish music ringing merrily in the Overture’s loud passages. A quietly romantic middle section offers the melody of Belmonte’s first aria as he arrives at the harem in search of his beloved. Concerto No. 24 in C minor for Piano & Orchestra, K. 491 Wolfgang Amadeus Mozart Even in the midst of its glorious partners, Mozart’s Piano Concerto in C minor reduces sober analysts to awe — and superlatives. Beethoven loved this concerto and took inspiration from it for his own Third Piano Concerto, also in C minor. At a performance of the work, he exclaimed to a colleague, “Oh, my friend, we shall never get any idea like this!” The British scholar Sir Donald Francis Tovey called this concerto “perhaps the most sublime of all Mozart’s instrumental works.” Cuthbert Girdlestone, who wrote a classic book on the Mozart concertos, extolled the first movement as “the high-water mark of Mozart’s concerto art.” Mozart seldom wrote in the minor mode; only one other piano concerto, the fiery No. 20, is in the minor. Minor keys seemed to have held a powerful personal meaning for him, and he used them to explore his inner demons: grief, anger, frustration, the specter of death. Yet despite its frequently disturbing tone, K. 491 was written at a time of great artistic and professional success. It was completed on March 24, 1786, just three weeks after the composer composed his sunny Concerto No. 23, and while he was finishing his ebullient operatic comedy The Marriage of Figaro. Yet with Mozart’s art there always seemed to be a delicate balancing act between laughter and tears, and after so much joyous music, perhaps he felt a need to explore life’s darker side. What could be more disturbing than the stark unison theme opening the first movement? In just eleven bars, Mozart traverses all twelve tones of the chromatic scale: an act of harmonic daring extraordinary indeed for 1786. Against the intensity of the orchestra’s exposition, the piano enters with a gentler, more diatonic theme: an octave leap and turn figure plus three repeated notes. But soon the soloist is caught up in the chromatic turbulence. After the customary solo cadenza comes a haunting closing coda, in which, unusually, the pianist continues to play with the orchestra; thus, soloist and orchestra are fully integrated throughout this concerto. The richness of the orchestral writing marks the work’s greatness in the Mozart pantheon.

The second movement, in E-flat Major, provides an island of peace in this sea of turbulence. In a straightforward rondo form, it features a refrain theme of naive simplicity. Woodwinds dominate the two episodes between the returns of the refrain; blessed with a full wind complement of flute, and pairs of oboes, clarinets, bassoons, and horns, Mozart gives us his most colorful, intricate woodwind writing. A lightweight rondo finale would not have served Mozart’s big vision for this concerto; instead, he chose an imposing theme-and-variations form, with eight variations of superb inventiveness and contrast. The theme, presented in two parts, each repeated, is oddly ambiguous; Girdlestone suggests that it is both “a march and a hymn.” Mozart used both aspects as inspiration. Variation 3 exploits the march in an assertively martial treatment, worthy of Beethoven. Variation 4, on the other hand, suggests Bach in the soloist’s elegant four-part counterpoint. A marvelous dialogue of oboes, bassoons, and flute distinguishes Variation 5. After another solo cadenza, Mozart switches to a bouncing meter for his final variation, but refuses to give us the expected “happy ending” in C Major. The tragic vision persists to the end, with stinging chromatic writing for the soloist and a heroic close that awards victory to C minor. Symphony No. 35 in D major, K. 385 (“Haffner”) Wolfgang Amadeus Mozart In July 1782, Mozart was experiencing one of the most frenzied periods of his typically frenetic life. On July 16 he had just premiered The Abduction from the Seraglio. Preparations were also underway for his early August wedding to Constanze Weber, a marriage for which he had unsuccessfully sought his father’s approval for many months; Leopold Mozart had responded to this news by refusing to answer Wolfgang’s letters. When he finally did write his son, it was only to further complicate his life. Back in Salzburg, the Mozart family had been assisted by the wealthy merchant family, the Haffners. In 1776, Mozart had written the “Haffner” Serenade with violin solo for a Haffner daughter’s wedding. Now in August 1782, the son, Sigmund, was to be raised to the nobility, and the Haffners again wanted a serenade from their favorite composer. Although he was already “up to my eyeballs” with work and personal pressures, Mozart could hardly refuse this family that had done so much for him. But he protested futilely: “By Sunday week I have to arrange my opera for wind instruments, otherwise someone will beat me to it and secure the profits instead of me. And now you ask me to write a new symphony too! How on earth am I to

do so? … Well, I must just spend the night over it, for that is the only way; and to you, dearest father, I sacrifice it. … I shall work as fast as possible, and, as far as haste permits, I shall write something good.” Mozart indeed managed to “write something good” — and get married, too. However, it is not surprising that, when in December he asked his father to return the score so he could refashion it for his Viennese Lenten concert, his memory of the work was a blur. “Most heartfelt thanks for the music you have sent me. … My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.” The “Haffner” Symphony produced a splendid effect on the audience and the Emperor Joseph himself when Mozart premiered it in Vienna on March 23, 1783. The composer made a few changes: removing an opening march and an additional minuet to bring his serenade to fourmovement symphonic form. Briefer than most of his later symphonies, it is a model of concision and high energy. The first movement (which Mozart instructed should be played “with great fire”) is built out of one skyrocketing theme heard at the beginning. The power of this theme, the rushing scale passages and aggressive trills in the violins, and the brilliance of trumpets and timpani all contribute to the sense of unstoppable momentum. The lightly scored second movement is all grace and elegance — music written to please 18thcentury partygoers. It is succeeded by a minuet created from bold masculine proposals and languishing feminine responses — perhaps a musical dialogue representing Mozart the groom and his bride-to-be. A rustic woodwind-colored trio section adds charm. Mozart asked that the finale be played “as fast as possible.” Breathing the comic-opera atmosphere of The Abduction, the mischievous principal theme, which returns over and over as a refrain, is related to an aria sung in that opera by Osmin, the harem overseer. Macho drum rolls suggest a composer feeling his virility on the wedding eve. Suite No. 4 in G major, Op. 61 (“Mozartiana”) Piotr Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) Tchaikovsky adored Mozart and his music. “No, I don’t just like Mozart, I idolize him,” he wrote to his patroness Nadezda von Meck. “You say that my worship of him is quite contrary to my musical nature. But perhaps it is just because — being a child of my time — I feel broken and spiritually 31

out of joint, that I find consolation and rest in the music of Mozart.” Of all Mozart’s music, the Russian loved his opera Don Giovanni most passionately. When celebrations of the centennial of that opera’s premiere were approaching in 1887, Tchaikovsky determined he must do something to honor the occasion. He decided to create orchestrations of four of Mozart’s pieces — three of them originally for piano, one for chorus. As he explained in the beginning of his score: “A great many of Mozart’s outstanding short pieces are, for some incomprehensible reason, little known not only to the public but to many musicians as well. The author who has arranged this suite entitled Mozartiana had in mind to provide a new occasion for the more frequent performance of these pearls of musical art, unpretentious in form but filled with unrivaled beauties.” The first two movements are based on piano pieces Mozart composed probably in 1789; for both, Tchaikovsky keeps the orchestrations respectfully classical to imitate Mozart’s own sound world. He emphasizes the strings for the energetic and elaborately contrapuntal Gigue, K. 574. Mozart’s Menuet, K. 355, is full of chromatic sighs and dissonances that surely appealed to such an emotionally sensitive Romantic as Tchaikovsky.

However, the Russian was not so scrupulous in his treatment of “Preghiera” (“Prayer”), an arrangement of Mozart’s sublime chorus “Ave verum corpus,” written in 1791 for the Feast of Corpus Christi. This is undoubtedly because he didn’t work directly from Mozart’s original, but rather from his fellow Romantic Franz Liszt’s organ transcription in his 1862 Evocations à la Chapelle Sixtine. Tchaikovsky kept the swooning prelude and postlude Liszt added and juiced it up with seraphic harp arpeggios and Wagnerian divided strings.

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Mozart was renowned for his feats of improvisation on popular themes of his day. In 1783 when the great composer Christoph Willibald von Gluck visited Vienna, he honored him with ten variations on Gluck’s song “Unser dummer Pobel meint” (“Our Stupid Mob Supposes”) from his comic opera La Rencontre imprévue. Mozart’s ten variations on this sturdy clodhopper of a tune gave Tchaikovsky plentiful opportunities to exercise his orchestral inventiveness, including the witty variation 6 for woodwind choir Mozart would have surely loved. The next to last variation is a beautiful solo for violin that has the quality of a concerto slow movement. Notes by Janet E. Bedell copyright 2016

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Conductor Biography

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JAMES JUDD, conductor Music Director of the Daejeon Philharmonic Orchestra, the Israel Symphony Orchestra, Little Orchestra Society New York, Music Director Emeritus of the New Zealand Symphony Orchestra and from 2017/18 season Music Director of the Slovak Philharmonic Orchestra, British conductor James Judd is sought after for both his passionate musicianship and his charismatic presence on and off the podium. Known for his extraordinarily communicative style and bold, imaginative programming, repeat engagements in concert halls from Vienna to Tokyo, from Istanbul to Wellington, attest to his rapport with audiences and musicians alike. During his eight years as Music Director of the New Zealand Symphony Orchestra, Judd brought the ensemble to a new level of visibility and international renown with acclaimed recordings for the Naxos label, tours of Europe and Australia and the orchestra’s first appearance at the BBC Proms. Past positions have included Principal Guest Conductor of the Orchestre National de Lille in France, Adelaide Symphony Orchestra and

a groundbreaking 14 years as Music Director of the Florida Philharmonic Orchestra. In addition to his international conducting career, James Judd has led the orchestras of the Juilliard School, Curtis Institute of Music, Manhattan School of Music, Guildhall School, Trinity College of London, Aspen Music Festival and the National Youth Orchestras of Australia and New Zealand. Since 2007 he has been Principal Guest Conductor of the Asian Youth Orchestra, an ensemble of the most gifted musicians from mainland China, Hong Kong, Japan, Thailand, Vietnam, Taiwan, Philippines, Malaysia, Singapore and Korea. An outstanding exponent of the works of Gustav Mahler, Judd’s performances of this monumental composer have been praised the world over. His recording of Mahler’s Symphony No. 1 was awarded the Gold Medal by France’s Diapason as well as the Toblacher Komponierhäuschen for the best Mahler recording of the year. Judd’s many orchestral recordings are also featured on the Decca, EMI and Philips labels.

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Recent concert highlights have included performances of Britten’s ‘War Requiem’ in Bucharest and Bernstein’s ‘Mass’ at the Radio France Festival, staged performances of ‘Carmina Burana’ at the spectacular desert ruins of Masada, a concert with the Monte Carlo Philharmonic Orchestra at the Royal Palace in Monaco, a month long tour with the New Zealand Symphony, a tour of Asia celebrating the 25th anniversary of the Asian Youth Orchestra, concerts with the Vienna Concertverien in the new opera house Dubai, and in China with the Slovenian Philharmonic Orchestra and concerts in the Berlin Konzerthaus as part of the celebrations of Sir Yehudi Menuhin’s centenary.

Madge Rothschild Foundation

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TERRENCE WILSON, piano Pianist Terrence Wilson has established a reputation as one of today’s most gifted instrumentalists. He has appeared with many prestigious ensembles, including the symphony orchestras of Atlanta, Baltimore, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Washington, DC (National Symphony), San Francisco, St. Louis and the St. Paul Chamber Orchestra, as well as with the orchestras of Cleveland, Minnesota, and Philadelphia. Among the conductors with whom he has worked are Christoph Eschenbach, Alan Gilbert, Hans Graf, Gunther Herbig, Neeme Järvi, Jesus Lopez-Cobos, Stanislaw Skrowaczewski, Robert Spano, Yuri Temirkanov, and Bramwell Tovey. Abroad, Terrence Wilson has played concerti with such ensembles as the Lausanne Chamber Orchestra in Switzerland, the Malaysian Philharmonic, and the Orquestra Sinfonica do Estado de Minas Gerais in Belo Horizonte, Brazil. In 2005, he toured Spain with the Baltimore Symphony with Yuri Temirkanov conducting. In 2009, Wilson performed Rachmaninoff’s 3rd Piano Concerto with the Sofia Philharmonic and Music Director Martin Panteleev. In 2010, he made his debut with the Royal Scottish National Orchestra, with performances in Glasgow and Aberdeen. Terrence Wilson is also active as a recitalist, having made his New York City recital debut at the 92nd Street Y, and his Washington, DC recital debut at the Kennedy Center. In Europe he has given recitals at the Verbier Festival in Switzerland, and at the Louvre in Paris. In the United States, he has given recitals at the Ravinia Festival in Chicago, the Caramoor Festival in Katonah, NY, San Francisco’s Herbst Theatre, the La Jolla Chamber Music Society, and on the University of Washington’s WORLD SERIES in Seattle. An active chamber musician, Mr. Wilson performs regularly as a member of the Ritz Chamber Players since 2004. Terrence Wilson has also appeared at the Mann Music Center and at the Blossom Festival, Tanglewood, and Wolf Trap in recitals and performances of concerti and chamber music. Terrence Wilson has received numerous awards and prizes, including the SONY ES Award for Musical Excellence, an Avery Fisher Career Grant, and the Juilliard Petschek Award. He has also

Artist Biography

been featured on several radio and television broadcasts, including NPR’s “Performance Today,” WQXR radio in New York, and programs on the BRAVO Network, and public television. In December, 2010, Wilson was nominated for a Grammy Award for his recording of Michael Daugherty’s “Deus ex Machina” for Piano and Orchestra with the Nashville Symphony conducted by Giancarlo Guerrero. Terrence Wilson is a graduate of The Juilliard School, where he studied with Yoheved Kaplinsky. A native of the Bronx, he currently resides in Montclair, NJ.

"Where words fail, Music Speaks" Hans Christian Andersen

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Music Director andrew constantine “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 40

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.”

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 keep the flame of belief alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED.

Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including, The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Degree of Doctor of Music by the University of Leicester for his “contribution to music.”

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.

Constantine’s repertoire is incredibly broad and, whilst embracing the standard classics, spans symphonic works from Antheil and

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 include concerts with the Orchestra Sinfonica Siciliana in Italy, the NWD Philharmonie in Germany and the St. Petersburg Philharmonic in Russia. Forthcoming engagements include 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.

Assistant Conductor Caleb Young Caleb Young was most recently named Assistant Conductor with the Fort Wayne Philharmonic. Young will serve as cover conductor to all Masterworks and other selected programs, and will conduct 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. This summer, 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

Chorus Director

worked with Marin Alsop and James Ross, and as Assistant Conductor for the National Music Festival. Other ensembles Young has conducted include the Fort Worth Symphony, the Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations such as the St. Louis Symphony, Atlanta Opera, Portland Symphony, National Music Festival and the Jacobs School of Music at Indiana University. A native of Asheville, North Carolina, Caleb started his musical training on piano at the age of three. Young received his Master’s Degree in orchestral conducting from Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

benjamin rivera Benjamin Rivera has been Artistic Director and conductor of Cantate Chicago since December of 2000. He has prepared and conducted choruses at all levels, from elementary school through adult, in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. He prepared the Fort Wayne Philharmonic Chorus and members of Cantate for a performance of William Walton’s Belshazzar’s Feast in March of 2013. He was appointed director of the Fort Wayne Philharmonic Chorus in the fall of the same year. He has also served as Guest Chorus Director of the Grant Park Music Festival in Chicago. In his nineteenth season as a member of the Chicago Symphony Chorus, including twelve seasons as bass section leader, Rivera also sings professionally with Chicago a cappella, the Grant Park Chorus, and many other ensembles. He is a frequent soloist, appearing with these ensembles and others, most often in sacred and concert works. He has sung across the U.S., and can be heard on numerous recordings. He has been on the faculty of several colleges and universities, directing choirs and teaching voice, diction, music theory, and history. In addition, he has adjudicated many competitions (solo and ensemble), led numerous master classes and in-school residencies, and he has presented at the Iowa Choral Directors

Association summer conference. Especially adept with languages, Benjamin Rivera frequently coaches German and Spanish, among several others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies also have included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. In 2011, he researched choral rehearsal and performance practice in Berlin, Germany. Benjamin Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

The Phil Chorus Board of Directors OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Carrie Viet, Secretary

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

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Viet Greg White

Celebrating The Philharmonic

Offices in Fort Wayne, LaGrange, Syracuse and Warsaw

260.426.9706 • www.beersmallers.com Philharmonic_Ad_1/4pg.indd 1

10/19/16 12:47 PM

Fort Wayne Philharmonic Orchestra Roster

andrew constantine music director Ione Breeden Auer FOUNDATION Podium

CHAMBER MUSICIANS

CALEB YOUNG assistant CONDUCTOR benjamin rivera chorus director LOuIS BONTER PODIUM

Violin Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair David Ling Alexandra Tsilibes Pablo Vasquez Kristin Westover Dessie Arnold Zofia Glashauser Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan Viola Derek Reeves, Principal Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair 44

Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III Erin Maughan Erin Rafferty Cello Andre Gaskins, Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens Joseph Kalisman Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair Bass Adrian Mann, Principal Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun

Flute Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. and Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair Oboe Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair English Horn Leonid Sirotkin Marilyn M. Newman Chair Clarinet Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair Bassoon Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair

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

Trombone David Cooke, Principal W. Paul and Carolyn Wolf Chair

J. Richard Remissong John D. Shoaff Chair

Jim Kraft Acting Second Trombone

Kirk Etheridge North American Van Lines funded by Norfolk Southern Foundation Chair

Michael Galbraith Walter D. Greist, MD Family Chair

Bass Trombone Andrew Hicks

Ben Kipp Patricia Adsit Chair

Tuba Vacant, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

Harp Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Katherine Loesch Trumpet Andrew Lott, Principal Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair

Timpani Eric Schweikert, Principal William H. Lawson Chair Percussion Scott Verduin,* Principal June E. Enoch Chair

Alison Chorn Acting Principal

Organ Irene Ator Robert Goldstine Chair Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair *Leave of Absence for the 2016/17 season

Contributing Musicians VIOLIN Rachel Brown Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Dmitriy Melkumov Caleb Mossburg Emily Nash Michael O'Gieblyn Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Lauren Tourkow Jessica Wiersma VIOLA Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

CELLO Martin Meyer Heather Scott Gena Taylor BASS Brad Kuhns FLUTE Patricia Reeves OBOE Jennet Ingle Stephanie Patterson Aryn Sweeney Sarah Thelen CLARINET Elizabeth Crawford Dan Healton Dan Won BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won

BASSOON Michael Trentacosti CONTRA-BASSOON Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette Charlotte O’Connor James Rester Kenji Ulmer TRUMPET Brittany Hendricks Douglas Hofherr Greg Jones TROMBONE Jamie Foster Loy Hetrick

TUBA Manny Colburn Matt Lyon Chance Trottman-Huiet PERCUSSION Renee Keller Kevin Kosnik Jerry Noble KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

Fort Wayne Philharmonic Board

Fort Wayne Philharmonic Staff

BOARD OF DIRECTORS officers Ben Eisbart, Chair Chuck Surack, Chair-Elect Carol Lindquist, Vice-Chair Sharon Peters, Vice-Chair Philip Smith, Vice-Chair Daryl Yost, Vice-Chair Greg Marcus, Secretary George Bartling, Treasurer

ADMINISTRATIVE STAFF George Bartling Thomas Cain Vicky Carwein Anita Cast Sherrill Colvin Kevin Dwire Ben Eisbart Dennis Fick Carole Fuller Cynthia Fyock Michael Galbraith Mark Hagerman Leonard Helfrich Vicki James Pamela Kelly

Carol Lindquist Kevin Lowe Greg Marcus Eleanor Marine Nick Mehdikhan Sharon Peters Melissa Schenkel Jeff Sebeika Philip Smith Nancy Stewart Chuck Surack Barb Wachtman Daryl Yost Alfred Zacher

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

Diane S. Humphrey Jane L. Keltsch William Lee Carolyn 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

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*

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

Roxanne Kelker Executive Assistant to the Managing Director and Music Director artistic operations Jim Mancuso General Manager

James K. Poster* 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

development Clarissa Reis Assistant Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Development Coordinator

Scott Stolarz Director of Operations

finance & technology

Timothy Tan Orchestra Personnel Manager

Beth Conrad Director of Finance

Adrian Mann Orchestra Librarian/ Staff Arranger Ryan Pequignot Stage Manager

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

James W. Palermo Managing Director

education Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Joseph Kalisman Youth Orchestra Manager Derek Reeves Lead Instructor, Club Orchestra program

Kathleen Farrier Accounting Clerk marketing & communications Melysa Rogen Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager Mickey McCargish Patron Services Associate

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Fort Wayne Philharmonic Chorus Roster

How To Enjoy The Concert Experience

Fort Wayne Philharmonic Chorus Benjamin Rivera, Director • Jonathan Eifert, Assistant Chorus Director

Enjoy Listening to a concert is an extremely communal experience. People coming together to enjoy great music in an elegant atmosphere is what makes the Fort Wayne Philharmonic experience so special. Live music – there is nothing like it.

Soprano Ashley Adamson Karen Campbell Sheila Chilcote-Collins Kaitlin Clancey Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Katy Hobbs Carole Jackson Jill Jeffery Natasha Kersjes Maria Kimes Sarah Kruger Jane Meredith LeeAnn Miguel Meg Moss Rachel Parker Brenda Potter Clarissa Reis Rita Robbins

Mary Snow Sherrie Steiner Sue Stump Carrie Veit Sarah Vetter Stephanie Wuest Alto Nancy Archer Caitlin Banton Alyssa Bolinger Cathryn Boys Ronnie Brooks Nancy Brown Jeri Charles Caitlin Coulter Lenore DeFonso Joan Gardner Mary Gerken Ronnie Greenberg Sandra Hellwege Joy Jolley Darah Jones

Jody Jones Susan Maloney Sharon Mankey Tara Olivero Cheryle Phelps-Griswold Sarah Reynolds Paula Neale Rice Cindy Sabo Hope Swanson Smith Sue Snyder Sunny Stachera Ruth Trzynka Frédérique Ward Gretchen Weerts Mary Winters Lea Woodrum Tenor Michael Bienz Matthew Bowman Garrett Butler Thomas Cain David Courtney

Sarah Kindinger John T. Moore Nathan Pose Mark Richert John Sabo Greg White Bass Thomas Baker John Brennan Thomas Callahan Jon Eifert Gerrit Janssen Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Kent Sprunger David Tovey

Relax The Fort Wayne Philharmonic doesn’t want to legislate anyone’s concert experience. Browse the Internet to see hundreds of “Concert Etiquette” entries if you are interested, but we like to use good old common sense. Be comfortable, be courteous of those around you, and have a good time. Dress Those who don’t often go to classical music concerts might completely stress out about what to wear. Don’t worry, because there is no set dress for concerts. You can dress formally if you wish, or opt for something more casual. Wear what makes you feel comfortable. But, come prepared with a jacket or sweater, just in case. Applause In 19th century Italy, audiences would spontaneously erupt in applause at a great rendition of an operatic aria, or when the spirit moved them. Today, we’ve manufactured lots of rules around applause. If you’re a free spirit, applaud when you feel like it, although someone may give you a stern look. If not, watch for when the conductor drops his or her arms and turns around – or just take a cue from those around you. Punctual Try to arrive in plenty of time to park, visit the concessions, find your seat, and read about the concert in the program book. A lot of people time it so closely that they either don’t make it to their seat in time or are so rushed they cannot enjoy the beginning of the concert. Remember, parking can be challenging and time consuming. Manners Cell phones, watch alarms, and other electronic devices are designed to make noise, but the only noise people around you want to hear is that of Beethoven, Mozart, and Tchaikovsky. Please turn off all these devices prior to performances, as they’ll disrupt the concentration of musicians and other patrons. If you forget, your neighbor will certainly be tempted to remind you. Talking Your quiet whisper is as loud as a freight train to someone intently trying to listen to the glorious sounds of the Fort Wayne Philharmonic. Be kind to your neighbors by keeping any unnecessary conversation to a minimum until the intermission or after the concert. Miscellaneous If you have a pesky cough, make sure to take unwrapped cough drops with you. The Philharmonic supplies them in the lobby. Hearing aids should be adjusted so as not to “whistle” which creates noise disturbing to the audience and musicians. Wearing excessive amounts of perfume can affect other audience members and musicians, some who are allergic to scents. And, if by chance you have to get up or move for any reason, please consider those around you and wait until a selection is finished when the audience is applauding.

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Series Sponsors

Madge Rothschild Foundation Masterworks

asterworks

robert wagner & Marlene buesching The Madge Rothschild Foundation During her lifetime, Madge Rothschild’s philanthropy in support of many local charities was frequent and generous, but, far more often than not, was done anonymously. Aware of her mortality, Madge established The Madge Rothschild Foundation and at death willed her remaining estate to it in order that her support for various local charitable organizations would be continued. The Fort Wayne Philharmonic was one of the charities she supported, remarking, “Without The Phil, there would be so much less culture in this city for us to be proud of and for me to enjoy with others.”

STAR Family Series

amily

Jim Marcuccilli - President and CEO, STAR Bank

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

Sweetwater Pops

ops

chuck surack Founder and President, Sweetwater Sound, Inc.

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

Brotherhood Mutual Insurance Freimann

reimann

mark robison - Chairman & President, Brotherhood mutual insurance Co.

“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.”

Ambassador Enterprises Chamber Series

Steel Dynamics Regional Patriotic Pops

hamber

atriotic Pops

Orchestra Series

ARLEN FREISEN - President & CEO, Ambassador Enterprises

Ambassador Enterprises is proud to support The Fort Wayne Philharmonic and the Chamber Orchestra Series. We tremendously value the shared experiences that The Phil creates in our community. Thank you to the talented people on and off stage that make each performance possible.

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 RMC Regional Holiday Pops

oliday Pops

Mike Packnett - President & CEO, Parkview Med Center

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 and yours for a blessed and joyous holiday season.

Sponsors

Concertmaster $500 to $999

Annual Fund Individuals

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

ChromaSource Inc. Monarch Capital Management, Inc. Paul Davis Restoration & Remodeling

Unified Wealth & Retirement Planning UniFirst

For information about supporting The Phil’s 2016/17 Annual Fund, contact the Development Office at 260•481•0775. FOUNDERS SOCIETY (GIFTS OF $25,000+)

First Chair $300 to $499 Hyndman Industrial Products, Inc. Sigma Alpha Iota

Vicki & Rick James Web Industries Inc.

Section Player $100 to $299 Downtown Improvement District EPCO Products Hagerman Construction Corp. Hakes & Robrock Design-Build Inc.

Metro Real Estate Moose Lake Products Co., Inc. John Shoemaker

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Drs. David Paul J. & Jeneen Almdale Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs. Irwin F. Deister Jr. Dr. June E. Enoch Mark O. Flanagan William N. & Sara Lee Hatlem

Diane S. Humphrey Drs. Kevin & Pamela Kelly Eleanor H. Marine Mr. & Mrs. Russell Quilhot Ian & Mimi Rolland Herb & Donna Snyder Jeff Sebeika, Subway

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

auction sponsors Adler J. SalonSpa Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Biggby Coffee Black Canyon Restaurant Breakthrough Resumes Camp Timber Lake Bill & Anita Cast Ginny Clark Club Soda Country Heritage Winery & Vineyard Country Kitchen SweetArt Crazy Pinz DeBrand Fine Chocolates Della Terra Photo Eichorn Jewelry Ben Eisbart Erika’s Day Spa & Wellness Center Firefly Coffee House

Chuck & Lisa Surack, Sweetwater Sound

Fortezza Coffee Fort Wayne Children’s Zoo Fort Wayne Dental Group Fort Wayne Museum of Art Fort Wayne Parks & Recreation David S. Goodman Granite City Food & Brewery Grant Park Orchestra Headwaters Park Ice Rink Hilton Fort Wayne Diane Humphrey Jophiel Legacy Portraits by Kayte Lutheran Air James Palermo Papillon Inspirations Parkview Field Paula’s on Main Paw’s n Claw’s Putt-Putt Golf & Games Clarissa Reis

Science Central Sheridan Stables Smoothie King Sweet Aviation Sweetwater Sound The Friendly Fox The Hoppy Gnome Tin Caps Tomkinson BMW Tucanos Brazillian Grill Two EE’s Winery Unifirst Vera Bradley Vicky Carwein & Bill Andrews Vision Scapes Lawn & Landscape Warehouse Salon Wine & Canvas

George & Linn Bartling David & Janet Bell Will & Ginny Clark Mrs. Virginia Coats Andrew & Jane Constantine

Ben & Sharon Eisbart Leonard & Rikki Goldstein Patricia S. Griest Tod Kovara The Rifkin Family Foundation

CONDUCTOR’S CIRLCE (GIFTS OF $2,500 TO $4,999) Nancy Archer Norma & Tom Beadie Anita & Bill Cast John H. Shoaff & Julie Donnell Dr. Rudy & Rhonda Kachmann Antoinette K. Lee Drs. Carol & David Lindquist Greg Marcus Michael Mastrangelo Kevin & Tamzon O’Malley

James Palermo The Rev. C. Corydon Randall & Mrs. Marian Randall Carolyn & Dick Sage Robert Simon Carolyn & Larry Vanice Barbara Wachtman & Tom Skillman Daryl Yost Al & Hannah Zacher

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Anonymous (3) Bill Andrews & Vicky Carwein

Tim & Libby Ash Family Foundation Katherine Bishop

Annual Fund Individuals

Earl & Melanie Brooks Mr. & Mrs. Craig D. Brown Sarah & Sherrill Colvin Tom & Margaret Dannenfelser Sara Davis George & Ann Donner Anita G. Dunlavy Emily & Michael Elko The Dyer Family Foundation Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth A. Frederick Steven & Nancy Gardner Scott & Melissa Glaze David S. Goodman William & Sarah Hathaway Leonard Helfrich Sattar & Marlene Jaboori Ginny & Bill Johnson

Annual Fund Individuals

Dorothy K. Kittaka Mr. & Mrs. John Krueckeberg Kevin & Nicole Lowe Mr. & Mrs. Donald T. Mefford Susan & David Meyer Timothy & Jennifer Miller Greg & Barbara Myers Kathryn & Michael Parrott David & Sharon Peters Linda Pulver The Rothman Family Foundation Melissa & Peter Schenkel Philip & Rebecca Smith Nancy Vendrely Wayne & Helen Waters Joseph L. Weaver Lewie Wiese Virginia Lee Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (1) Dr. & Mrs. Richard N. Avdul Holly & Gil Bierman Joan Baumgartner Brown Dr. & Mrs. James G. Buchholz Barbara Bulmahn Keith & Kyle Davis Sandra K. Dolson Ann H. Eckrich Clayton Ellenwood Mr. & Mrs. Daniel C. Ewing Mr. & Mrs. Michael Gavin Roy & Mary Gilliom

Floyd & Betty Lou Lancia Kathryn A. Miller Norma J. Pinney Joseph & Lindsay Platt Carol & Bill Reitz Kay Safirstein Stephen R. & Anne S. Smith Nancy & David Stewart Kathleen M. Summers Rachel A. Tobin-Smith Herbert & Lorraine Weier Mary Ann & Mike Ziembo

ENCORE CIRCLE (GIFTS OF $750 TO $999) Larry & Martha Berndt Janellyn & Glenn Borden Tim & Ann Dempsey Lois Guess Warren & Ardis Hendryx Mark & Debbie Hesterman Bruce & Mary Koeneman

David B. Lupke Anne & Ed Martin Paul & Bonnie Moore Alan & Pat Riebe Benjamin & Alexia Rivera Mark Troutman & Ann Wallace Kari & Jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (1) Jeane K. Almdale Scott & Barbara Armstrong 56

Tony & Pat Becker Elizabeth Bueker Dr. David & Gayle Burns

CONCERTMASTER CONTINUED (GIFTS FROM $500 TO $749) Andy & Peg Candor Dr. & Mrs. Jerald Cooper John & Janice Cox Dr. & Mrs. Fred W. Dahling Erica Dekko Bruce & Ellen England Pauline Eversole Mr. & Mrs. G.L. Guernsey Mrs. Eloise Guy Bob & Liz Hathaway Anne & James Heger Steve & Becky Hollingsworth Mr. & Mrs. Kenneth Johnson Marcia & Andy Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke Ed & Linda Kos G. Irving Latz II Fund Dr. & Mrs. John W. Lee Stephen & Jeanne Lewis Senator David & Melissa Long

Anne C. Longtine & Marco J. Spallone Paul & Pauline Lyons Peter & Christine Mallers Lusina McNall Nick & Amber Mehdikhan Jim & Alice Merz Paul A. Oberley Joan K. Olinghouse Brian & Sue Payne Mr. & Mrs. William Peiserich William & Sue Ransom Dr. & Mrs. Stephen Reed Paul J. & Lula Belle Reiff Lance & Carol Richey Dr. Janet Schafer Robert & Ramona Scheimann Scot C. Schouweiler & Julie Keller Carl & Cynthia Thies Scott & Jenny Tsuleff Virginia & Don Wolf Lea B. Woodrum

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (2) Mary Jo & Michael Amorini Dr. & Mrs. Thomas Armbuster Mr. & Mrs. Craig Balliet Frederick Beckman Michael & Deborah Bendall Annie & David Bobilya Barbara L. Boerger Jon Bomberger & Kathryn Roudebush Dr. & Mrs. Todd Briscoe Arlene Christ Dan & Marjorie Culbertson Mark A. Crouch George & Nancy Dodd Bill & Dot Easterly Albert & Jeanne Emilian Dr. Joseph P. Fiacable John & Jane Foell Dan & Nancy Fulkerson Linda Gaff Robert & Barbara Gasser Geoff & Betsy Gephart Robert & Constance Godley Mr. & Mrs. Thomas E. Green James B. Griffith Mary K. Gynn Ellen & Bishop Holliman Tom & Mary Hufford

Mr. & Mrs. Arnold Huge George & Jane Irmscher Larry & Annette Kapp Jane L. Keltsch John Kirchhofer Steve & Rhonda Lehman Anne A. Lovett Janet & Larry Macklin Peg Maginn Scott McMeen Ray & Nancy Moore April & Charles Morrison Sean & Melanie Natarajan Martha L. Noel Mr. & Mrs. Maurice O’Daniel Mac & Pat Parker Mr. & Mrs. John M. Peters Cindy & Fred Rasp Jeremy & Clarissa Reis Sarah & Richard Reynolds Maryellen Rice Martin & Rita Runge Ms. Mary Francis Schneider Chuck & Patty Schrimper Wayne & Ann Shive Fort Wayne Alumnae Chapter of Sigma Alpha Iota David T. & Nancy Sites 57

Annual Fund Individuals

Curt & Dee Smith Lynda D. Smith Lois A. Steere Carol Ann Terwilliger

Annual Fund Individuals

Norma Thiele Don & Amy Urban Marcia & Phil Wright

SECTION PLAYER (GIFTS OF $100 TO $299) Ambulatory Medical Management Anonymous (8) Max M. Achleman Fritz & Sally Aichele Dr. Michael & Alysia Alter Thomas Andrews Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Mel & Ruth Arnold Mr. & Mrs. William Arnold Dick & Adie Baach David & Beverly Baals Mr. & Mrs. John Batuello Carla Bauman & Owen Franks Mike & Kay Bauserman Amy & John Beatty Carol M. Bennett Bix & Anita Benson Kevin Beuret Mr. & Mrs. Don Bieberich Robert & Mary Binns David W. Bischoff Sherry L. Blake Virginia Bokern Barbara Boston Rebecca Bouse Dennis Bowman Jim & Sue Bradley Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan & SuzAnne Runge Roberta Brokaw Evelyn M. Brosch-Goodwin David N. Brumm & Kim S. MacDonald William & Joan D. Bryant William & Dorothy Burford Mr. & Mrs. Gerald Burns Marguerite & Thom Burrell Scott & Barbara Bushnell Nancy Butler Joyce & Paul Buzzard Mary Campbell John & Jill Case Mr. & Mrs. J. Nelson Coats Lenore DeFonso Tom & Holly DeLong Gene & Carol Dominique 58

Fred & Joan Domrow Phyllis Dunham Dr. & Mrs. John Dyer G. Edwards Don & Mary Kay Ehlerding Cynthia Elick Lillian C. Embick Mr. & Mrs. George Emmert Pam Evans-Mitoraj David & Mary Fink The Fitzharris/Kelly Family Michael & Marcia Flood Richard Florea Nathan & Angela Freier Sheryl A. Friedley Leonard Garrett Jeff Leffers & Jane Geradot Edward J. Goetz Jr. William & Mary Goudy Marcia Grant Norm & Ronnie Greenberg Don & Kate Griffith David & Myra Guilford Mark Hagerman Jonathan & Alice Hancock Brian & Barbara Harris Paul J. Haughan Dennis & Joan Headlee Jacqueline Heckler Cynthia Heffelfinger Ms. Sandra Hellwege Ms. Julie Henricks & Mrs. Jean Henricks Mayor Tom C. & Cindy Henry Andrew & Katy Hobbs Tom & Jane Hoffman Douglas E. & Karla K. Hofherr Michael & Suzanne Horton Phil & Sharon Howard Winifred Howe Marlene Huffman Ed & Mary Lou Hutter Jocelyn Ivancic Mr. & Mrs. Arlin Jansen Mark & Dianne Jarmus Jill Jeffery Alex & Sharon Jokay Gwen Kaag

Luann Keller Dale Kelly* Sheila D. Kiefer Sarah Kindinger Linda J. Kirby Richard & Audrey Kirk William G. Knorr James & Janice Koday Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Georgia Kuhns Paula Kuiper-Moore James Larowe Sarah LaSalle Drs. Chung & Sage Lee Donna Lehman Frances LeMay & Peter D. Smith Michael & Mary Lewis Raymond & Mary Lou Loase Judith Ann Lopshire Frank T. Luarde Cameron & Meg MacKenzie Mr. & Mrs. Michael Makarewich Nellie Bee Maloley Harry & Barbara Manges Ellen & Eric Mann Cheryl Mathews Elmer & Patsy Matthews David L. & Kathleen A. Matz Dr. & Mrs. Michael L. McArdle Diane McCammon Susan J. McCarrol Mary McDonald Mr. & Mrs. Ralph McDowell John & Shelby McFann Alice McRae Leanne Mensing Elizabeth Meyer Jane A. Meyer Laura Migliore David & Ann Miller Dr. Ken & Jan Modesitt David & Linda Molfenter Chuck & Becky Morris Kenneth & Linda Moudy John & Barbara Mueller

SECTION PLAYER continued (GIFTS OF $100 TO $299) Kevin & Pat Murphy Ed Neufer Ron & Ruth Nofzinger Margaret Nolan Ron & Nancy Orman Mrs. Mary Jane Ormerod Dr. C. James & Susan J. Owen Betty Oâ&#x20AC;&#x2122;Shaughnessey Emmanuel & Noemi Paraiso Penny Pequignot Gary & Alice Peterson Raymond & Betty Pippert Edwin & Cynthia Powers Marvin & Vivian Priddy Helen F. Pyles Roger Rang JoEllen & Donald* Reed John & Diana Reed Bev Renbarger Mr. & Mrs. David Ridderheim Ruth & Phillip Rivard Janet Roe

Mr. & Mrs. John W. Rogers Rhonda & Ron Root Stanley & Enid Rosenblatt Douglas & Laura Runyan Marilyn Salon Nancy & Tom Sarosi Sylvia Schmidt Mary Ellen Schon Ed & Julia Schulz Mr. & Mrs. Richard Schweizer Ken & Mary Scrogham David Seligman Richard & Suzanne Shankle Ms. Cornelia L. Shideler Dick Sive & Ramona Naragon-Sive Mary Jane Slaton Stan & Linda Sneeringer Sharon M. Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Mr. Kenneth Stahl

Keefer

Don & Linda Stebing Mr. & Mrs. Donald D. Stedge David & Beth Steiner Thomas & Mary Jane Steinhauser Annetta Stork Matt & Cammy Sutter Judge Philip R. Thieme Tom & Maureen Thompson James & Beverly Troyer Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Daniel & June Walcott Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick Ellen Wilson Hope Wilson Mr. Galen Yordy Bob & Jan Younger Brian & Kyla Zehr

Foundation and Public Support

Philharmonic Society $1,000,000+

Composer’s Circle $1,000 to $2,499

Edward D. & Ione Auer Foundation

Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Judith Clark-Morrill Foundation DeKalb County Community Foundation Kenneth & Lela Harkless Foundation

Maestoso $250,000+ Madge Rothschild Foundation

Concertmaster $500 to $999

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

Noble County Community Foundation English, Bonter, Mitchell Foundation O’Rourke-Schof Family Foundation

Allegretto $50,000 to $149,999 Anonymous (1) Foellinger Foundation McMillen Foundation, Inc.

Steel Dynamics Foundation Yergens Rogers Foundation

Founder’s Society $25,000 to $49,999 Community Foundation of Greater Fort Wayne Indiana Arts Commission Lincoln Financial Foundation

W. Gene Marcus Trust PNC Charitable Trusts Rifkin Family Foundation

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

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

Robert, Carrie, and Bobbie Steck Foundation Wells County Foundation Wells Fargo Charitable Trusts

Ann and Gordon Getty Foundation

Arts Consulting Group, Inc. Linda Branan Barnes & Thornburg LLP IPFW Keefer Printing NIPR

Benjamin Rivera WANE-TV WOWO-FM WLDE-FM Patricia Weddle Reusser Design

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Stradivarius Society $5,000 to $9,999 3Rivers Credit Union Foundation Ecolab Foundation Charles W. Kuhne Charitable Trust Journal Gazette Foundation

Kosciusko County Community Foundation Gerald & Carole Miller Family Foundation Steuben County Community Foundation Mary E. VanDrew Charitable Foundation Whitley County Community Foundation

Jennie Thompson Foundation

Endowment Fund

Tributes

Special Endowments

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

The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 44-45 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

Young People’s Concerts The Helen P. Van Arnam Foundation Philharmonic Preschool Music Program Ann D. Ballinger

Music Director Podium Ione Breeden Auer Foundation

Radio Broadcasts Susan L. Hanzel

Guest Violinist Chair Nan O’ Rourke Bequests

The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Gloria Fink* Henrietta Goetz* Joyce Gouwens* John Heiney*

Charlotte A. Koomjohn* Sanford Rosenberg Alice C. Thompson

CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information.

In Memory of Ronald Ondrejka (Gifts honoring Ronald Ondrejka’s fifteen years as The Phil’s music director will provide meritbased scholarships for Youth Orchestra players. To contribute, please contact the Development Office at 481-0775.) Irene & James Ator Virginia Bokern Laurie Bryant Karl & Patricia Buchmiller Stuart & Cathy Cleek Philip & Ann D’Amico David & Patricia Durflinger Barbara & Ildefonso Fantone Fred and Mary Anna Feitler Ken & Marty Johnson Mary Kay Loney Eleanor H. Marine Ervin & Cynthia Orban Lenette & Ron Pike Marcus & Stephanie Priest Jeff & Daisy Saito Howard & Marilyn Steele Terry & Julie Taira Rudy Wuttke In Memory of Marilyn Newman Kenneth & Mary Scrogham In Memory of David Platt for the Youth Symphony Jane & Frank Walker In Memory of Lorraine Weinswig Donald & Sally Caudill Nancy Getzin Eloise Guy Cheryl Mathews Planalytics Team Dr. LeeAnn Sinclair

In tune with Fort Wayne.

In Memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Phil musician will fund the Ernest Zala Youth Orchestra’s Concertmaster Chair and will provide merit-based scholarships for Youth Orchestra string players. To contribute, please contact the Development Office at 481-0775.) Dessie Arnold & Richard Dunbar Irene & Jim Ator Virginia Bokern Bob & Margaret Brunsman Dr. Carol Buttell Andy & Peg Candor Nena & Willard Clark Andrew & Jane Constantine Brenda & David Crum George & Ann Donner Delores Dunham Betsy & Geoff Gephart Ronald Heilman Deborah & Andrew Hicks Colleen J. Hohn Bridget Kelly Eleanor H. Marine Christina & Stephen Martin Don & Eleanor Martin Wayne Martin & Nancy Olson-Martin Lee McLaird Akira Murotani & Alexandra Tsilibes Ervin & Cynthia Orban Barbara Mann Ramm Robert & Nancy Rhee Cathy Tunge & Steve Kiefer Carolyn & Larry Vanice Kristin Westover Cathleen Westrick Mr. & Mrs. Ray Wiley Tim & Sandy Zadzora

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Laureate Club

The following people have provided for a deferred gift to the Philharmonic, through an estate plan or other financial planning instrument. The Phil gratefully acknowledges their kindness, forethought and lifelong commitment. All gifts are allocated to the Philharmonic Endowment Fund unless otherwise specified by the donor. Anonymous (23) 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

Golden Years Homestead is proud to sponsor the Fort Wayne Philharmonic small ensemble performances in area long-term and residential-care facilities in partnership with Audiences Unlimited and the Philharmonic.

* Indicates Deceased

The Phil is proud to honor its planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level and can benefit both you and your family. The Phil welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Please contact the Development Office at 260â&#x20AC;˘481â&#x20AC;˘0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

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FULTON COUNTY Psi Iota Xi (Eta Mu)

Regional Partners

The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. The Phil takes great pleasure in performing 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 Indiana Michigan Power Parkview Regional Medical Center/Parkview Health

Steel Dynamics Foundation, Inc. 3Rivers Federal Credit Union

ADAMS COUNTY Adams County Community Foundation Bunge North America Decatur Rotary Club

Eichhorn Jewelers Gilpin, Inc. Antoinette K. Lee Ellen Mann Porter Family Foundation

Psi Iota Xi (Alpha Delta) Jim & Bertie Shrader Sandra Striker

ALLEN COUNTY Alana, Martha, Bonnie, Lynne, Doris, Carol, Melodie, and Diane Beth Anderson Anonymous (18) Jennifer Bates Marjorie Baumgartel Donna & Charlie Belch Leslie Blakley Barbara L. Boerger Dr. Charles & Nonda Bolyard Terry Bowers Beth Champion Howard & Betsy Chapman Rosemary Davis Ben & Sharon Eisbart Michael & Emily Elko Mark O. Flanagan Mike & Marcia Flood Fort Wayne Downtown Improvement Elizabeth Garr

Leonard Helfrich Marcus & Carol Holmes Diane Humphrey Drs. Kevin & Pamela Kelly Roxanne Kelker Bob & Carol Kiefer Ron & Pat Kohart Alice Kopfer Michael & Brenda Koza Bonnie Krueckeberg Drs. Carol & David Lindquist Arthur & Marcia Litton Marlene Lobsiger Sara & Marvin Loutsenhizer Janet & Larry Macklin Majic 95.1 Elmer & Patsy Matthews Diane McCammon John & Shelby McFann The Miller Family Foundation Diane Moore Myrna M. Nelson Ted & Deb Neuenschwander

Don & Patti Neuhaus Angela & Dan O’Neill James Palermo PNC Clarissa Reis Patricia J. Reuille Carl & Jaci Reuter Ron & Sylvia Scheeringa Jeff Sebeika Shauna Shaffer Norma Shondell John Smith Max & Gayle Smith Rex & Jo Stinson Gary & Joyce Stoops Ken & Carol Suesz Chuck & Lisa Surack Tin Caps Unfirst, Inc. Ronald E. Waters John & Patty Weicker Brock & Becky Zehr Dr. & Mrs. Richard E. Zollinger

DEKALB COUNTY Anonymous (1) Auburn Moose Family Center Auburn Dental Associates Von & Nancy Baum Gary & Lisa Bowser John & Cheryl Chalmers DeKalb County Community Foundation DeKalb County Council on Aging

Fred & Mary Anna Feitler John & Jane Foell William & Mary Goudy Janelle & Steven Graber C. Bishop Hathaway William & Sarah Hathaway Greg & Emma Henderson Don & Judy Kaufman David & Pat Kruse Steve & Linda Kummernuss Michael & Diane Makarewich

Metal Technologies Inc. Foundation Margery Norris Dr. & Mrs. Keith Perry Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Rosemary Sprunger Jim Turcovsky & Sandy McAfee

KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Joyce Baumgartner James H. Benninghoff Dan & Marilyn Berkey Timothy & Ann Borne Al Campbell Bill & Anita Cast Dr. & Mrs. William Couch CTB Gretchen & Greg Dahm Kathy Denig Tom & Sandi Druley Richard & Susan Ferguson Mr. & Mrs. Vaughn Hankins Kenneth & Lela Harkless Foundation Charles & Charlotte Hetrick Jerry Hipskind

Bud & Mary Hursh Rosalie Hurst Harriet Inskeep George & Jane Irmscher Phillip & Janet Keim Dan & Sarah Kitch Carolyn Kleopfer Kosciusko County Community Foundation Omer & Susan Kropf Lakeland Community Concert Association Floyd A. & Betty Lou Lancia Sam & Fran Leman Main Channel Marina Jim & Pat Marcuccilli Tom & Joan Marcuccilli Mr. & Mrs. Paul Mast Garth & Susie McClain Thomas & Betsy McSoley

Thomas & Martha Moore Barbara Naab Walter & Ann Palmer Dr. & Mrs. Ronald Pancner Mr. & Mrs. Paul Phillabaum Richard & Susan Pletcher Maryellen Rice Ian & Mimi Rolland Salin Foundation Kip & Pamela Schumm Ann Strong Star Bank Dick & Linda Tillman Wawasee Property Owners Association Tod & Sandy Wolfrum James & Kay Young Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Dekko Investment Services Greg & Sheila Beckman Kappa, Kappa, Kappa, Inc. – Alpha Iota Chapter

Cripe Chiropractic Clinic Dr. & Mrs. Kenneth Cripe Bishop & Ellen Holliman

Kendallville Party Store Jennie Thompson Foundation

STEUBEN COUNTY Sandra Agness Don & Janet Ahlersmeyer American Legion Angola Post 31 Mr. Ron Ball Glen & Chris Bickel Mr. & Mrs. Robert Bigelow Ray & Marianne Bodie Chuck & Maureen Buschek Cameron Memorial Community Hospital City of Angola, Richard Hickman, Mayor Judith Clark-Morrill Foundation Coldwell Banker – Roth, Wehrly, Graber

Mrs. Margie Deal First Federal Savings Bank of Angola Joseph & Carol Frymier Jim & Karen Huber Indiana Arts Commission Javets, Inc. Kappa Kappa Kappa Inc. – Zeta Upsilon Chapter Leo & Marlene Kuhn Lake James Association Mr. & Mrs. Wally Leuenberger Gerald & Carole Miller Family Foundation Steve & Jackie Mitchell Marilyn Molyneux

Stan & Jean Parrish Psi Iota Xi (Rho Chapter) Max & Sandy Robison Fred & Bonnie Schlegel Mr. & Mrs. Charles Sheets Steuben County Community Foundation Steuben County REMC Round Up Foundation Elizabeth Wilson Jim & Kathryn Zimmerman Dale & Judy Zinn

WELLS COUNTY AdamsWells Internet Telecom TV Barbara Barbieri

Mrs. Diane Humphrey Paul J. & Lula Belle Reiff Sharon Snow

Wells County Foundation Holly Wittbrodt

WHITLEY COUNTY Copp Farm Supply Mr. & Mrs. Harold Copp Daniel Menu & Party Consulting

Fred Geyer J & J Insurance Solutions Bill & Lori Leeuw Rex & Holly Schrader Mr. & Mrs. Nicholas Steill

Pamela Thompson Whitley County Community Foundation Dr. & Mrs. Richard Zollinger

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