Fort Wayne Philharmonic Prelude 2 - November & December 2018 | January 2019 by Fort Wayne Philharmonic

PRELUDE N O V E M B E R & D E C E M B E R 2 0 1 8 | JA N UA RY 2 0 1 9

UPCOMING CONCERTS PETROUCHKA

2018 - 2019 SEASON

January 12 | 7:30 p.m.

BEETHOVEN’S 9TH: AN ODE TO JOY

BARTÓK'S STRING QUARTET

CINDERELLA with Fort Wayne Ballet

AN EVENING WITH JAKE SHIMABUKURO

SALUTE TO AMERICA

BIZET’S CARMEN

SIBELIUS

BEETHOVEN’S 2ND SYMPHONY

THE FANTASTIC SYMPHONY

THE SOUNDS OF SIMON AND GARFUNKEL

SPORTS IN MUSIC: FASTER HIGHER STRONGER!

BARBER AND VAUGHAN WILLIAMS

BACH IN THE BARN

CARNIVAL OF THE ANIMALS

SHINING RIVER

AN EVENING WITH LESLIE ODOM, JR.

RHAPSODY & RHYTHM: THE GERSHWIN CONCERT EXPERIENCE

AND THIS IS MY BELOVED

DVOŘÁK AND JANÁČEK

January 16 | 7:30 p.m. January 20 | 2:00 p.m.

January 26 | 7:30 p.m.

February 2 | 7:30 p.m.

February 9 | 7:30 p.m.

February 16 | 7:30 p.m.

February 23 | 7:30 p.m.

February 24 | 2:00 p.m.

March 2 | 7:30 p.m.

March 6 | 7:30 p.m. March 10 | 2:00 p.m.

March 16 | 7:30 p.m.

March 22 & 23 | 7:30 p.m. March 23 & 24 | 2:30 p.m.

March 30 | 7:30 p.m.

April 6 | 7:30 p.m.

April 27 | 7:30 p.m.

April 28 | 2:00 p.m.

May 1, 2 & 3 | 7:30 p.m.

May 8 | 7:30 p.m. May 12 | 2:00 p.m.

May 11 | 7:30 p.m.

May 18 | 7:30 p.m.

CALL OR GO ONLINE TODAY! 260.481.0777 | FWPHIL.ORG 2

NOVEMBER/DECEMBER/JANUARY

PRELUDE FORT WAYNE PHILHARMONIC PROGRAM

VOLUME 75

NO.

2 TABLE OF CONTENTS

Design: Brooke Sheridan Contributing Editors: James W. Palermo, Jim Mancuso Prelude is created and produced four times per year by the Fort Wayne Philharmonic 4901 Fuller Drive, Fort Wayne, IN 260.481.0770 - FWPHIL.ORG The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors. Programs and artists are subject to change.

4 18 49 56 57 58 60 61 64 66 68 70 7 1 72 74 77

Welcome Letter, Andrew Constantine Sing-Along Lyrics 75th Anniversary Troy Webdell, Youth Orchestras Conductor Philharmonic Youth Symphony Orchestras Andrew Constantine, Music Director Caleb Young, Associate Conductor Benjamin Rivera, Chorus Director Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Chorus Fort Wayne Philharmonic Friends Philharmonic Board of Directors Philharmonic Administrative Staff Series Sponsors Sponsors Donors

20 29 30 30 3 1 40

Holiday Pops Chorale Josefien Stoppelenberg, soprano Ashlee Bickley, mezzo-soprano Hoss Brock, tenor David Govertsen, bass-baritone Andrew Wan, violin

ARTIST BIOS & LISTINGS 12 Zöe Martin-Doike, viola 16 Lisa Vroman, vocalist 1 7 Olivia Rang, choreographer 20 Jonathan Busarow, F.W.C.C. artistic director 20 Fort Wayne Children’s Choir 6 Chamber Orchestra THE GRAND VIOLA Saturday, November 17

32 Pops HOLIDAY POPS Saturday, December 15

14 Pops HOLIDAY POPS Friday, December 7

35 Masterworks PETROUCHKA Saturday, January 12

22 Pops HOLIDAY POPS Saturday, December 8

42 Freimann BARTÓK'S STRING QUARTET Wednesday, January 16 Sunday, January 20

24 Chamber Orchestra MESSIAH BY CANDLELIGHT Thursday, December 13 Friday, December 14

PRELUDE 3

WELCOME FROM THE MUSIC DIRECTOR Dear Friends: Welcome to the Fort Wayne Philharmonic. Since 1944, countless musicians, volunteers, patrons, and music lovers have taken seriously the responsibility of supporting the Philharmonic, and continue to this day uniting around the mission of the orchestra at one of the most exciting times in its 75-year history. Thanks to each and every one of you for supporting the music, our musicians, and the organization whose work we treasure. I’m grateful to introduce violist Zoë Martin-Doike from the Indiana University Jacobs School of Music to local audiences at the November 17 Chamber Orchestra Series concert. This program features works of profound beauty and originality, including English folk tunes, pastoral scenes, and reminiscences of those loved and lost. Over five performances on December 7, 8, and 15, you can experience the true spirit of the season at Holiday Pops, the entertaining and exciting concert of fun for the whole family. Revel in scenic splendor, exquisite dancing, special appearances by Santa and Mrs. Claus, the Fort Wayne Children’s Choir, and vocalist Lisa Vroman who starred for years on Broadway as Christine Daaé in The Phantom of the Opera. Don’t forget to join in on the Christmas carol sing-along and “Hallelujah” Chorus. On December 13 and 14 Chorus Director Benjamin Rivera will lead the Philharmonic, Chorus, and soloists in Handel’s most recognizable and revered masterpiece – Messiah – to the warm glow of candlelight. The Philharmonic’s Messiah is now considered Fort Wayne’s most popular, 4

NOVEMBER/DECEMBER/JANUARY

sold-out holiday tradition. Experience the “Hallelujah” Chorus in a Christmas event you’ll never forget. As we enter the New Year, I am thrilled to be leading a program on January 12 of brilliant works by Dukas, Chausson, Ravel, and Stravinsky. Colorful French works fill the first half of this concert, including The Sorcerer’s Apprentice. The concert concludes with the brilliant ballet burlesque Petrouchka, a tour de force for orchestra that tells the story of a playful and very naughty clown audiences have loved for over a century. On January 16 and 20, my colleagues from the Freimann Quartet lead a chamber music program of masterpieces by Beethoven, Schumann, and Bartók. The concert opens with Beethoven’s sparkling wind octet adaptation of great themes from his opera Fidelio and concludes with Bartók’s brilliant first quartet, a work that reflects the composer’s early interest in Hungarian folk music. We’re fortunate to live in a community that appreciates and values the impact that the Fort Wayne Philharmonic has brought to so many people. Thank you for appreciating this orchestra and promoting it as a jewel for cultural opportunities in Fort Wayne and Northeast Indiana. Sincerely,

Andrew Constantine Music Director

PRELUDE 5

Ambassador Enterprises Chamber Orchestra Series SATURDAY, NOVEMBER 17, 2018 | 7:30 p.m. | FIRST WAYNE STREET U.M.C.

THE GRAND VIOLA Andrew Constantine, conductor Zoë Martin-Doike, viola BRITTEN Suite on English Folk Tunes, Op. 90 (A time there was…) I. Cakes and ale: Fast and Rough II. The bitter withy: Allegretto III. Hankin Booby: Heavily IV. Hunt the squirrel: Fast and Gay V. Lord Melbourne: Slow and Languid BRUCH Romance in F major, for Viola & Orchestra, Op. 85 Zoë Martin-Doike, viola PAGANINI Sonata per la Grand Viola Zoë Martin-Doike, viola

-- INTERMISSION --

NOVEMBER/DECEMBER/JANUARY

STRAVINSKY Apollon Musagète Tableau 1 1. Naissance d’Apollon Tableau 2 2. Variation d’Apollon (Apollon et les Muses) 3. Pas d’action (Apollon et les trois Muses: Calliope, Polymnie et Terpsichore) 4. Variation de Calliope (l’Alexandrin) 5. Variation de Polymnie 6. Variation de Terpsichore 7. Variation d’Apollon 8. Pas de deux (Apollon et Terpsichore) 9. Coda (Apollon et les Muses) 10. Apothéose PÄRT Cantus in Memory of Benjamin Britten

Many thanks to the generous supporters of this event:

Show your support for the arts the next time you purchase or renew your license plate!

PRELUDE 7

THE GRAND VIOLA

PROGRAM NOTES | November 17, 2018

Suite on English Folk Tunes, op. 90 (A Time There Was...) BENJAMIN BRITTEN (b. 1913, Lowestoft, England; d. 1976, Aldeburgh, England) Benjamin Britten’s Suite on English Folk Tunes was the last orchestral work this great English composer ever composed. Stricken with a heart condition that could not be relieved by major surgery, he died at age 63 in 1976 after several years of declining health. His creative zeal remained, but simply writing down a musical score became an ordeal. “Writing even a bar or two is quite a sweat,” he commented. Physically I find it hard to get to the top of a large score, so the flutes and piccolos tend to get left out!” Perhaps for practical reasons, English Folk Tunes was written for chamber orchestra late in 1974. It was dedicated to the memory of Percy Grainger, a devoted collector of English folksongs. Though there are only five brief movements, Britten used ten folksongs and traditional dance tunes drawn from Playford’s The English Dancing Master — two per movement. The Suite’s subtitle, “A Time There was …” was taken from the poem “Before Life and After” by one of Britten’s favorite poets Thomas Hardy. In the poem, it reads: “A time there was — as one may guess … before the birth of consciousness, when all went well.” Each movement focuses on a different color world from within the orchestra. Announced by loud drumbeats, the first, “Cakes and Ale,” is a brash scherzo the composed asked to be played “fast and rough.” The two tunes elaborated here are “We’ll Wed” and “Stepney Cakes and Ale.” Silken strings and harp alternate in presenting the melody of “The Bitter 8

NOVEMBER/DECEMBER/JANUARY

Withy,” surrounding a central section in which “The Mermaid” makes an appearance, punctuated by a bell. Number three, “Hankin Booby,” was originally written in 1966, and Britten had long wanted to give it companions. This bouncing, very rustic-sounding melody is given to woodwinds, trumpet, and a military tamburo drum. Its smoother contrasting tune is “Mage on a Cree.” “Hunt the Squirrel,” with its companion “The Tuneful Nightingale,” shows off a virtuoso string band, whose countryfiddling style gradually becomes more polished. The last movement, “Lord Melbourne,” is the longest and loveliest of the five, its gently winding lines sung by woodwinds and a mournful English horn. It paints a nostalgic portrait of an ideal English that has vanished — or perhaps never was, in keeping with Hardy’s words.

Romance in F major, for Viola & Orchestra, Op. 85 MAX BRUCH (b. 1838, Cologne, Germany; d. 1920, Friedenau, near Berlin) Though the piano was the instrument he played himself, Max Bruch adored the string instruments above all and devoted much of his career to composing works that featured them. He said of the violin that it “can sing a melody better than the piano, and melody is the soul of music.” Over the course of his long life, he wrote nine works for violin and orchestra, including his beloved First Violin Concerto and the infectiously tuneful Scottish Fantasy. Nor did he slight the cello: his majestic Kol Nidrei based on Jewish themes is one of that instrument’s great show pieces.

Bruch also prized the viola — the larger, lower sister of the violin — and late in his career wrote three works that featured it, including a Double Concerto for Viola and Clarinet and the Romanze for Viola and Orchestra in F Major, which we’ll hear at this concert. With its dusky tone so eloquent at expressing melancholy, it seems a particularly attractive instrument for an older composer: Bruch was in fact 73 in 1911 when he composed the Romanze. In order not to compete with the viola’s somewhat veiled sound, he chose a small chamber orchestra as accompaniment. Bruch was above all a supreme melodist who could open up the human heart with his themes without descending to sentimentality. In the exquisitely crafted Romanze, a poignantly beautiful melody dominates the sonata-form music, while the middle development section imaginatively enriches its possibilities.

Sonata per la Grand Viola NICCOLÒ PAGANINI (b. 1782, Genoa, Italy; d. 1840, Nice, France) So astounding were the feats Niccolò Paganini performed on his violin that people whispered he had made a Faustian pact with the devil to obtain his skills. These rumors seemed to be confirmed by his strange appearance and the uncanny spell he cast over his listeners. Wracked by ill health all his life, Paganini was as thin as a cadaver, with a ghostly pale complexion and long stringy hair. Not only did he introduce virtuoso techniques never used before on the violin, he inspired other musicians — notably Franz Liszt — to contrive ear-popping feats on their own instruments.

when he acquired a very large and sonorous viola, known as a “Grand Viola,” made by the legendary violin maker Antonio Stradivari (Stradivarius). Having recently heard Berlioz’s Symphonie fantastique, he commissioned the French composer to create a viola concerto to show off his viola and his wizardry in playing it. However, Berlioz wrote instead Harold in Italy: an unusual work that was more a tone poem with a viola than a soloistdominated concerto, and Paganini refused to play it. (When Paganini actually heard a live performance of Harold in 1838, he fell in love with it!) Berlioz then suggested Paganini write himself the kind of piece he wanted. Thus the Sonata per la Grand Viola was born; Paganini premiered it in April 1834 in London’s Covent Garden Theatre. Unlike the Bruch Romanze, which is all about the viola’s rich singing tone, this Sonata focuses on the uninhibited display of virtuosity. Set in one continuous movement, it divides into three distinct sections. The first is a relatively slow-paced Introduction in C minor over pattering pizzicato, before the soloist launches an expressive recitative passage, sweeping, like a great opera diva, over a large range. Then we hear a Cantabile “second movement,” its meter marked intriguingly by blows from the drum. This music is full of beautiful dueting passages, achieved by Paganini’s wondrous double-stopping of strings. A charming, high-spirited theme in C Major opens the “finale” and is treated to three variations. The second of these is a lovely song over plucked strings, which ends up in improbably high violin territory. The last one is a whirlwind of scales and double-stopping ending in a magical, witty coda.

Paganini also developed a passion for the deeper-voice viola, particularly

PRELUDE 9

Apollon Musagète

IGOR STRAVINSKY (b. 1882, Oranienbaum, Russia; d. 1971, New York City) In the 1920s, Igor Stravinsky’s love for the Baroque and Classical musical styles of the late-17th and 18th centuries inspired a series of compositions that have been labelled “Neo-Classical.” Musically, they were the complete opposite of the big, descriptive, and sumptuously scored orchestra works that had first won him fame a decade earlier: The Firebird, Petrouchka, and The Rite of Spring. But since that period, Stravinsky’s life had been turned upside down by World War I and the Russian Revolution. He was now a permanent exile from his native Russia and had become a cosmopolitan citizen of Europe with no true musical home. And like many post-war composers, he was tired of the lush sounds and subjective emotions of Romanticism. Now Stravinsky devoted himself to a purer, more disciplined aesthetic, creating music following classical forms and scored often for reduced ensembles. His harmonic language also became more tonal and consonant, though it was still spiked with sounds no 18th-century composer would have dreamed of. And no work epitomizes his neo-Classical ideals more fully than does his beautiful ballet Apollo (originally called Apollo musagète or “Apollo and the Muses”), composed in 1927 and 1928 on a commission from the Library of Congress in Washington, D.C., with funding from the generous music patron Elizabeth Sprague Coolidge. Apollo is a plotless ballet about the Greek god of the sun, who was also associated with intellectual pursuits and the arts. Today we use the term “Apollonian” to refer to artistic products that are “harmonious, measured, ordered, or balanced in character” (Webster’s). Here Apollo is surrounded by three of the nine classical Muses: 10

NOVEMBER/DECEMBER/JANUARY

Calliope, chief of the Muses and representing epic poetry; Polyhymnia, representing sacred song and oratory; and Terpsichore, representing dance and choral song. The French ballets of the late Baroque period created by Lully and Couperin for the court of Louis XIV were the inspiration for some of the musical language of Apollo, which begins with a Prologue, the “Birth of Apollo,” in the style of a French Baroque overture. In it we are introduced to the basic rhythmic pattern that will dominate much of this work. Appoggiaturas, or “leaning” dissonant notes that resolve into consonance, are another prominent element throughout. Next we hear the first “Variation for Apollo”: a solo dance, which opens with an elaborate, cadenza-like part for unaccompanied solo violin. The spacious “Pas d’action” for Apollo and the three Muses features a wonderful, flowing melody that spawns subtle counterpoint among the instruments. Four Variations or solo dances for the three Muses and Apollo himself follow. The most impressive of these is the last: Apollo’s noble solo, with its grandly sonorous introductory chords and its elegant contrapuntal writing for string quartet. Apollo’s loveliest music is a classical “Pas de Deux” for Apollo and Terpsichore, scored for muted instruments. A rapid, buoyant “Coda” leads to the closing “Apotheosis,” in which the first movement’s theme makes a calmer, almost wistful reappearance. This majestic music epitomizes Stravinsky’s “Apollonian principle” of classical order, balance, and serenity.

Cantus in Memoriam Benjamin Britten ARVO PÄRT (b. 1935, Paide, Estonia; now living in Berlin, Germany) Arvo Pärt’s distinctive musical voice has been shaped by the fact that he is an Estonian who spent his first 45 years living and creating music under the Soviet system. After angering Soviet cultural authorities with avantgarde works, in the 1970s Pärt found a more personal style that was just as defiant, but in a quieter way. A deeply religious man, he turned to the study of traditional Russian orthodox chant as well as Western European vocal music of the 14th through 16th centuries. In chant and early polyphony, he discovered a cleansing simplicity and spirituality still relevant for the 21st century. He called his new style “tintinnabuli” (“little bells”). As he explains, “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements — with one voice, with two voices. I build with the most primitive materials — with the triad [three-note chord], with one specific tonality. The three notes of the

triad are like bells. And that is why I call it tintinnabulation.” Early in 1977 when Pärt first learned of the death of Benjamin Britten, he found himself deeply saddened. Pärt decided to write a memorial piece for Britten and produced the spare six-minute work for string orchestra and bell he named Cantus in Memoriam Benjamin Britten. Profoundly moving in its cumulative power, it is built around an A minor scale descending at different speeds through five string parts, which begins high in the first violins and finally reaches down to the double basses. Throughout, a single bell chimes the same pitch at regular intervals: it is the first and last sound we hear. Since the higher voices move at the faster speeds, the music gradually becomes deeper and deeper in pitch as each higher voice completes its cycle. There is also a slow crescendo throughout, so that the music, beginning on the edge of audibility, becomes quite powerful at the end. An extraordinary auditory and spiritual experience, Cantus is one of the most moving musical tributes ever paid by one composer to another. Notes by Janet E. Bedell copyright 2018

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

Benjamin Franklin

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

PRELUDE 11

ZOË MARTIN-DOIKE Hailing from Honolulu, Hawaii, Zoë Martin-Doike is an exciting and versatile artist. She recently won second prize in the William Primrose International Viola Competition, attended the Marlboro Music Festival in Vermont, and was selected to participate in the Steans Institute at Ravinia Spring Tour with director Miriam Fried. This fall, Zoë begins her tenure in the Caramoor Rising Stars Program and joins the viola section of the Metropolitan Opera Orchestra. Zoë is also an active violinist: she earned a bachelor’s degree in violin performance with renowned artist, Pamela Frank, at the Curtis Institute of Music, where she served as concertmaster during the 2011-12 school year, and was a founding violinist of the Aizuri Quartet, which won third prize in the Wigmore Hall International Quartet Competition in 2014 and held residencies at the Curtis Institute of Music and the Barnes Foundation in Philadelphia while she was a member. This past spring, Zoë earned her master’s degree at the Jacobs School of Music at Indiana University, where she double-majored in violin and viola under the tutelage of Mimi Zweig and Atar Arad, respectively. She is grateful to have been the violist in the quartet selected for the coveted Kuttner Quartet Fellowship and to have had the opportunity to perform both the Walton Viola Concerto and the Brahms Violin Concerto with university orchestras during her time at IU. Zoë has also performed as violin soloist with the Honolulu, Indianapolis, Richardson and Bloomington Symphony Orchestras, and most recently appeared with the World Youth Orchestra in Rome. Passionate about chamber music, Zoë has attended the Steans Institute at Ravinia as well as the Sarasota, Norfolk, and Taos Chamber Music Festivals, and has collaborated with renowned artists Roberto Diaz, Peter Wiley, Jonathan Biss, and Mitsuko Uchida. Zoe has been featured on the NPR shows “From the Top” and “A Prairie Home Companion,” and has had the distinct pleasure of performing for his holiness, the Dalai Lama.

NOVEMBER/DECEMBER/JANUARY

PRELUDE 13

Sweetwater Pops Series FRIDAY, DECEMBER 7, 2018 | 7:30 p.m. | EMBASSY THEATRE

HOLIDAY POPS

Sponsored by Parkview Health and Do It Best, Corp.

Caleb Young, conductor Lisa Vroman, vocalist Holiday Pops Chorale, Benjamin Rivera, director Fort Wayne Childrenâ&#x20AC;&#x2122;s Choir, Jonathan Busarow, director Olivia Rang, choreographer Dancers: Rachel Jones, Heather Closson, Desiree Lantz, Aijaye Crowder, Chandler Chastain PIERPONT (Dragon) Jingle Bell Fantasy TRADITIONAL I Saw Three Ships/Bring a Torch MARTIN AND BLANE Have Yourself a Merry Little Christmas REGNEY & SHAYNE (Dragon) Do You Hear What I Hear? TYZIK Mis zeh Hidlik (Behold the Lights) TORME The Christmas Song TRADITIONAL (Dragon) Christmas Medley ADAM O Holy Night 14

NOVEMBER/DECEMBER/JANUARY

-- INTERMISSION -WASSON Festival Fanfare for Christmas POLA AND WYLE The Most Wonderful Time of the Year COOTS Santa Claus Is Coming to Town COOTS, GILLESPIE, JAVITS & SPRINGER Santa Tap TRADITIONAL (Dragon) The Twelve Days of Christmas TRADITIONAL Go, Tell It on a Mountain HANDEL Hallelujah Chorus from Messiah TRADITIONAL (Stephenson) A Holly and Jolly Sing-Along

Many thanks to the generous supporters of this event:

Pursue Your Passion Award-winning faculty Internationally renowned guest artists State-of-the-art facilities Intense focus on entrepreneurship, teaching, and performance Undergraduate scholarships and graduate assistantships available For information about our programs, degree offerings, and 2019 audition dates, visit bsu.edu/music.

PRELUDE 15

LISA VROMAN, VOCALIST

From Broadway to classics, on stage and in concert, Lisa Vroman has established herself as one of America’s most versatile voices. She starred on Broadway, Los Angeles and San Francisco as Christine Daaé in The Phantom of the Opera. As “One of American Musical Theater’s most beautiful voices” (Cameron MacIntosh), she has garnered theatre critics’ awards for her portrayal. Lisa starred as Marian Paroo in The Music Man (Bushnell Theater with Shirley Jones, Patrick Cassidy and the Hartford Symphony), Lili Vanessi in Kiss Me Kate (Glimmerglass Opera/MUNY Theatre of St. Louis), Birdie in Regina, Josephine in HMS Pinafore, Anna 1 in The Seven Deadly Sins (Utah Symphony/Opera), Rosalinde in Die Fledermaus (New Jersey Opera), and Rosabella in The Most Happy Fella (New York City Opera). For PBS: Johanna in Sweeney Todd (2001 Emmy Award), and Hey! Mr. Producer (London Royal Gala). She played Laurey in Oklahoma (BBC PROMS festival), Anna Leonowens in The King and I (Lyric Opera of Virginia), Mary Turner in Of Thee I Sing (San Francisco Symphony w/Michael Tilson Thomas), and sang and danced opposite Dick Van Dyke as Mary Poppins at the Hollywood Bowl (Disney 75th). Lisa is a frequent guest with symphonies including San Francisco, Nashville, Philadelphia, Dallas, Utah, St. Louis, Houston, Pacific, Atlanta, Hong Kong, Cleveland, National, Florida, Cleveland, BBC Concert Orchestra, Boston Pops (Keith Lockhart), Philly Pops (Peter Nero), New York Pops (Carnegie Hall) as well as with the New York Festival of Song and An Evening in the Organist David Higgs (Disney Hall, Emerald Isle Los Angeles). Her Broadway debut was in Aspects of Love and she PRESENTED BY was the first to play both Fantine and Cosette in Les Misérables. Ms. Vroman is a graduate of the Crane School of Music, State University at Potsdam (BM, Hon. Dr. of Music, Minerva Award), Carnegie-Mellon YO U A R E I N V I T E D ! University (MFA), and is a George London Competition winner.

do re mi

Recent performances have included a multi-city tour of China, An Evening of Rodgers & Hammerstein with the Hong Kong Philharmonic, a concert series with L’Opera de Rennes in France, and playing the role of Maria Callas in Terence McNally’s awardwinning play, Master Class. 16

NOVEMBER/DECEMBER/JANUARY

SATURDAY, JANUARY 26, 2019

Purdue University Fort Wayne Walb Student Union, International Ballroom Cocktails at 6PM • Dinner Served at 7PM Complimentary Beer/Wine and Cash Bar More Information: www.fwcchoir.org doremi@fwcchoir.org or (260) 481-0481

OLIVIA RANG, CHOREOGRAPHER

Olivia received her technical training (ballet, tap, jazz, contemporary, modern, musical theatre) from the Fort Wayne Ballet beginning at the age of 6 under instructors such as Karen Gibbons Brown, Tracy Tritz, and Jeremy Blanton. With the Fort Wayne Ballet, she performed in productions including The Nutcracker, and Sleeping Beauty. She spent two summers training with the Radio City Rockettes at their intensive program. In Fort Wayne, Olivia has been in many productions in the local theatre community. She has appeared in shows at The Civic Theatre (Young Frankenstein and Dirty Rotten Scoundrels), Arena Dinner Theatre (A Little Night Music, Assassins and Bat Boy) Three Rivers Music Theatre (Cabaret), and The University of St. Francis (Catch Me If You Can). Her choreography has been seen in The Civic Theatre’s production of The Little Mermaid, Three Rivers Music Theatre’s HAIR, and Arena Dinner Theatre’s Assassins and A Little Night Music. This is Olivia’s third year performing in the Philharmonic’s Holiday POPS, and her second year as choreographer.

Your Holiday Home Improvement Headquarters

PRELUDE 17

HOLIDAY POPS

A HOLLY AND JOLLY SING-ALONG December 7, 8 & 15, 2018

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

NOVEMBER/DECEMBER/JANUARY

UP ON THE HOUSETOP Up on the housetop reindeer pause, Out jumps good old Santa Claus. Down through the chimney with lots of toys, All for little ones, Christmas joys! Ho, ho, ho! Who wouldn’t go? Ho, ho, ho! Who wouldn’t go? Up on the housetop, click, click, click, Down through the chimney with old Saint Nick. 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, Joy to the Earth! The Savior reigns; Let all their songs employ. While fields and floods, rocks, hills and plains Repeat the sounding joy, Repeat the sounding joy, Repeat, repeat the sounding joy. WE WISH YOU A MERRY CHRISTMAS We wish you a merry Christmas, We wish you a merry Christmas, We wish you a merry Christmas, And a happy New Year. Good tidings we bring to you and your kin; Good tidings for Christmas and a happy New Year. We wish you a merry Christmas, We wish you a merry Christmas, We wish you a merry Christmas, And a happy New Year.

We believe in better.

At Parkview, we believe in reaching higher. Doing the unexpected. And making each new day better than the last. It’s the kind of thinking that’s helped us become Magnet® recognized. Why is this important? Because of what it means for you — improved quality of care, better outcomes, and a better experience for you and your family. That’s healthcare we can all believe in.

We believe in better.

PRELUDE 19

JONATHAN BUSAROW, FORT WAYNE CHILDREN’S CHOIR ARTISTIC DIRECTOR

Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir. He holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and Kodály Certification from the Kodály Institute at Capital University. Mr. Busarow also serves on the faculty of Purdue University Fort Wayne where he teaches voice and choral music education. He has served as the interim director of choral studies at Purdue Fort Wayne and Valparaiso University. Mr. Busarow serves as the choir director at Emanuel Lutheran Church in New Haven, IN. Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association National and Regional Conferences, the Association of Lutheran Church Musicians, the Indiana Music Educators Association Convention, and the Bach Institute at Valparaiso University. Mr. Busarow serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference. In 2015, he received the Arts United Award as the Emerging Leader. He lives in Fort Wayne with his family, Nicole, Simon, and Matthias.

FORT WAYNE CHILDREN’S CONCERT CHOIR Jonathan Busarow, director Forest Baxter Joanna Beights Rachel Cluts Savannah Copeland Lucy Davis Lilly Dugan Nadia Frese Mariah Grim Jillian Hanson Isabella Harber Dara Hinsch Gwen Hofman Destiny Howell Cooper Inman Katie Kieser

Olivia Kuhns Paisley Lane Jacob Lantz Faith Lund Elena Matyas Stephen McGovern Thomas McGovern Claire Miller Hayden Patterson Molly Pierson Chris Reppert Kara Rose Charlee Rothgeb Olivia Ruckel Benjamin Sarrazine

Jacob Speckhard Elizabeth Stachofsky Elise Todd Natalie Todd Megan True Max Vardaman Rachel Wahl Anna Wurschmidt David Wurschmidt Isabella Yates

HOLIDAY POPS CHORALE Choral Preparation: Benjamin Rivera David Bobay Michelle Bonahoom Michael Boschert* Nicole Cocklin Elaine Cooper Caitlin Coulter Nicoline Dahlgren Sara Davis 20

Kathryn Duncan* Stuart Hepler Gerrit Janssen Sara Kruger Kavin Ley Joachim Luis* Joanne Lukas Tim Miles

NOVEMBER/DECEMBER/JANUARY

David Persley Jen Poiry Clarissa Reis Alexia Rivera* Cindy Sabo John Sabo Hope Swanson Smith Cecelia Snow

Sunny Stachera Randy Wurschmidt

*section leader

Managing money for people with more important things to manage. Managing money is more than simply trading stocks and bonds. Itâ&#x20AC;&#x2122;s planning for lifeâ&#x20AC;&#x2122;s milestones, in your life and in the lives of those you care about most. We invest the time to understand your goals and maintain the discipline to manage your assets accordingly. With over $10 billion in assets under administration, we are one of the largest wealth management firms in the midwestâ&#x20AC;&#x201D;where honest values run deep. Let us handle the details so you can focus on the more important things in life.

Investment Management, Financial Planning, Retirement Services, Trust and Estate Management Fort Wayne 116 E Berry St | 260-310-6668

Investment instruments utilized by Old National Wealth Management are not FDIC insured, are not deposits or other obligations of Old National Wealth Management, Old National Bank, its parent company or affiliates and involve investment risk including the possible loss of principal invested.

PRELUDE 21

Sweetwater Pops Series SATURDAY, DECEMBER 8, 2018 | 2:00 & 7:30 p.m. | EMBASSY THEATRE

HOLIDAY POPS

Sponsored by Parkview Health and Old National Wealth Management

Caleb Young, conductor Lisa Vroman, vocalist Holiday Pops Chorale Fort Wayne Childrenâ&#x20AC;&#x2122;s Choir, Jonathan Busarow, director Olivia Rang, choreographer Dancers: Rachel Jones, Heather Closson, Desiree Lantz, Aijaye Crowder, Chandler Chastain PIERPONT (Dragon) Jingle Bell Fantasy TRADITIONAL I Saw Three Ships/Bring a Torch MARTIN AND BLANE Have Yourself a Merry Little Christmas REGNEY & SHAYNE (Dragon) Do You Hear What I Hear? TYZIK Mis zeh Hidlik (Behold the Lights) TORME The Christmas Song TRADITIONAL (Dragon) Christmas Medley ADAM O Holy Night 22

NOVEMBER/DECEMBER/JANUARY

UPCOMING WITH THE FORT WAYNE PHILHARMONIC

Buy now for best pricing and availability!

AN EVENING WITH JAKE SHIMABUKURO January 26

260.481.0777 | FWPHIL.ORG

BIZETâ&#x20AC;&#x2122;S CARMEN February 2

PRELUDE 23

Ambassador Enterprises Chamber Orchestra Series THURSDAY, DECEMBER 13, 2018 | 7:30 p.m. | FIRST WAYNE STREET U.M.C. FRIDAY, DECEMBER 14, 2018 | 7:30 p.m. | FIRST WAYNE STREET U.M.C.

MESSIAH BY CANDLELIGHT Benjamin Rivera, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Josefien Stoppelenburg, soprano Ashlee Bickley, mezzo-soprano Hoss Brock, tenor David Govertsen, bass-baritone HANDEL Messiah, HWV 56 PART ONE Overture (Sinfony) Recitative: “Comfort ye, my people” Aria: “Every valley shall be exalted” Chorus: “And the glory of the Lord” Recitative: “Behold, a virgin shall conceive” Aria: “O thou that tellest good tidings to Zion” Recitative: “For, behold” Aria: “The people that walked in darkness” Chorus: “For unto us a Child is born” Pifa (Pastoral Symphony) Recitative: “There were shepherds” Chorus: “Glory to God” Aria: “Rejoice greatly” Recitative: “Then shall the eyes of the blind” Aria: “He shall feed His flock” Chorus: “His yoke is easy” --INTERMISSION-24

NOVEMBER/DECEMBER/JANUARY

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

Many thanks to the generous supporters of this event:

UPCOMING WITH THE FORT WAYNE PHILHARMONIC

Buy now for best pricing and availability!

THE SOUNDS OF SIMON AND GARFUNKEL February 16

260.481.0777 | FWPHIL.ORG

BARBER AND VAUGHAN WILLIAMS February 23

PRELUDE 25

MESSIAH BY CANDLELIGHT

PROGRAM NOTES | December 13 & 14, 2018

Messiah HWV 56 GEORGE FRIDERIC HANDEL (b. 1685, Halle, Saxony (now Germany); d. 1759, London) Handel’s great oratorio Messiah has become such a beloved musical icon since its birth in 1741 that it is not at all surprising that many myths and legends have grown up around it. We have been told that Handel himself compiled its mostly Biblical text or, alternatively, that it was sent to him by a stranger; that its success transformed him overnight from a bankrupt operatic has-been to England’s most revered composer; that at its London premiere the king himself rose during the “Hallelujah Chorus” to express his approbation. But Messiah’s real story is much more complicated, though no less fascinating.

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.

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, Englishlanguage The Beggar’s Opera fueled a new enthusiasm for popular-style comic operas. Unable to fill London’s opera houses anymore, Handel retreated from the field and turned his genius to sacred dramas or oratorios.

Handel himself did not compile the group of texts drawn from the Bible’s Old and New Testaments for Messiah. Instead, this was the work of Charles Jennens, a wealthy landowner and literary figure who was a longtime friend of the composer’s and had created texts for several other Handel oratorios. But Handel, devoutly religious as well as worldly, responded with a burst of almost miraculous creative energy to the words Jennens had prepared for him. Beginning his work on August 22, 1741, he completed the two-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.

He was not a novice in this genre. Even while busy writing operas, Handel had composed a number of oratorios, notably Israel in Egypt and Saul. Typically, his oratorios were not very different from his operas: they told a dramatic story — in this case drawn from the Bible or other

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

NOVEMBER/DECEMBER/JANUARY

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

BUILDING BETTER COMMUNITY Ambassador Enterprises is a philanthropic equity firm investing for the glory of God. Learn more at ambassador-enterprises.com

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

PRELUDE 27

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. Notes by Janet E. Bedell copyright 2018

AN EVENING WITH LESLIE ODOM, JR. March 2, 2019 Embassy Theatre

Special Events

NOVEMBER/DECEMBER/JANUARY

BUY NOW FOR BEST PRICES AND AVAILABILITY! FWPHIL.ORG | 260.481.0777

JOSEFIEN STOPPELENBERG, SOPRANO

Called “an astonishing singer” by the Chicago Tribune, and praised for her “crystalline soprano and keen expressive penetration of words and music,” Dutch soprano Josefien Stoppelenburg has become a favorite of Chicago audiences. She has performed as a soloist in Europe, The United States, Asia, South America, and the Arab Emirates. Her appearance on Chicago’s classical radio program “Live from WFMT” was selected as one of the 10 best performances in 2016. She has become one of the most sought-after singers among baroque groups in the United States. She won the Chicago Oratorio Award and second prize in The American Prize Opera Competition. Josefien has given vocal masterclasses on baroque performance practice at Indiana University’s Jacobs School of Music, the University of Colorado, Illinois State University and for the Boulder Bach Festival. Recent appearances have included Camerata Amsterdam, the Black Tulip Ensemble, Boulder Bach Festival, Arizona Bach Festival, Champaign Urbana Symphony Orchestra, Cincinnati Bach Ensemble, Elmhurst Symphony Orchestra, Fort Wayne Philharmonic, Peoria Symphony Orchestra, Peoria Bach Festival, and numerous orchestras and choruses in the Netherlands. From 2005 until 2007, Josefien was part of the Young Opera Ensemble of Cologne, Germany. Leading operatic roles have included Aci in the Haymarket Opera Company’s acclaimed production of Handel’s Aci, Galatea e Polifemo and Tirsi in Clori, Tirsi e Fileno, and Poulenc’s La Voix Humaine in the International Chamber Opera Festival (The Netherlands). Josefien has performed on several occasions for the Dutch Royal Family. The ensemble Brothers and Sisters (vocal duo Charlotte and Josefien Stoppelenburg and piano duo Martijn and Stefan Blaak) recently appeared live on Radio 4, the Dutch classical radio station for Classical Music and made their ensemble debut in the Concertgebouw in Amsterdam. A strong proponent of contemporary music, Josefien has performed works by Jacob TV, Esa-Pekka Salonen, Stacy Garrop, Lita Grier, Eric Whitacre, Alan Terricciano, William Neil, as well as numerous Dutch composers, including her father, Willem Stoppelenburg. Stoppelenburg’s second love is painting. She was the Artist in Residence at the Evanston Art Center, where she gave a series of lectures about Art and Music, and organized performances and exhibitions. She paints frequently on commission. Her colorful creations have been used as opera sets, cd booklets, (such as the 2017 cover for “Rainbow Toccatas, a CD by British organist and composer Paul Ayres), music festival posters, and as note cards.

www.josefienstoppelenburg.com www.inspiration-paintings.com

PRELUDE 29

ASHLEE BICKLEY, MEZZO-SOPRANO

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

HOSS BROCK, TENOR

Tenor Hoss Brock is a versatile singer who has enjoyed performing as a soloist and ensemble member with many prestigious organizations. His solo appearances with the Grant Park Music Festival include Poulenc’s Gloria, Stravinsky’s Les Noces, Gilbert and Sullivan’s Pirates of Penzance and Mikado, Weil’s Seven Deadly Sins, and the Midwest premier of MacMillan’s Quickening. His Rachmaninov’s Vespers, earned praise from critic John Von Rhein for his “plaintive, clarion singing” as well as his command of the Slavic text. He has performed Bach’s St. John Passion, Magnificat, Christmas Oratorio and several other major cantatas as a regular soloist with “Bach Week” in Evanston, IL, Haydn’s Die Schöpfung, at Moravian College in Bethlehem, PA, and made his Carnegie Hall debut in Handel’s Messiah. Appearing regularly as a guest artist with chamber ensembles, including the Chicago Chamber Musicians and the Newberry Consort, his performance of the Brahms Liebeslieder Waltzer with the former revealed a voice “full of nuance and depth” (the Chicago Sun Times). As a long time member of the internationally recognized Chicago a cappella, his voices-only arrangement of Queen’s Bohemian Rhapsody was hailed by founder Jonathan Miller as “…one 30

NOVEMBER/DECEMBER/JANUARY

of the great achievements in the ensemble’s history.” Recently, Hoss has performed Verdi’s Requiem with the Peninsula Music Festival, Bach’s B Minor Mass with Music of the Baroque, Rhichard Einhorn’s modern oratorio Voices of Light with the Grand Rapids Symphony, and Baba Yetu from Civ IV at Video Games Live national tour in Chicago. His operatic credits include performances with Merola Opera, L’Opera Piccola, Chautauqua Opera, and Tulsa Opera. His portrayal of the Majordomo of the Marschallin with Renée Fleming at the San Francisco Opera earned critical acclaim in Opera News. A member of the Lyric Opera chorus, Hoss has understudied several supporting roles at Lyric, including “A Backwoodsman,” “Boyar,” and “An Idiot.” He made his Lyric Opera solo debut as Ike Skidmore in Oklahoma!, and will portray the “Spanish Ambassador” in this season’s world premiere of Bel Canto.

DAVID GOVERTSEN, BASS-BARITONE

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

PRELUDE 31

Sweetwater Pops Series SATURDAY, DECEMBER 15, 2018 | 2:00 & 7:30 p.m. | EMBASSY THEATRE

HOLIDAY POPS Sponsored by Parkview Health and Hilliard Lyons Caleb Young, conductor Lisa Vroman, vocalist Holiday Pops Chorale Fort Wayne Childrenâ&#x20AC;&#x2122;s Choir, Jonathan Busarow, director Olivia Rang, choreographer Dancers: Rachel Jones, Heather Closson, Desiree Lantz, Aijaye Crowder, Chandler Chastain PIERPONT (Dragon) Jingle Bell Fantasy TRADITIONAL I Saw Three Ships/Bring a Torch MARTIN AND BLANE Have Yourself a Merry Little Christmas REGNEY & SHAYNE (Dragon) Do You Hear What I Hear? TYZIK Mis zeh Hidlik (Behold the Lights) TORME The Christmas Song TRADITIONAL (Dragon) Christmas Medley ADAM O Holy Night

NOVEMBER/DECEMBER/JANUARY

Quality, Experience, Understanding Hilliard Lyons 127 West Berry Street | Suite 800 Fort Wayne, IN 46802 | 260.424.4481 | hilliard.com J.J.B. Hilliard, W.L. Lyons, LLC | Member NYSE, FINRA, & SIPC

PRELUDE 33

MARK YOUR CALENDAR WITH OUR SUMMER PATRIOTIC POPS REGIONAL SERIES

June 27, 2019 | 7:30 p.m. in Steuben County Potawatomi Inn at Pokagon State Park in Angola, IN

June 30, 2019 | 7:30 p.m. in Kosciusko County Oakwood Resort at Lake Wawasee in Syracuse, IN

June 28, 2019 | 7:30 p.m. in DeKalb County DeKalb Outdoor Theatre in Auburn, IN

July 4, 2019 | 8:30 p.m. in Noble County Bixler Lake Park in Kendallville, IN

June 29, 2019 | 7:00 p.m. in Wells County Ouabache State Park in Bluffton, IN

For more information, visit FWPHIL.ORG

NOVEMBER/DECEMBER/JANUARY

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, JANUARY 12, 2019 | 7:30 p.m. | EMBASSY THEATRE

PETROUCHKA Andrew Constantine, conductor Andrew Wan, violin DUKAS L’apprenti sorcier (The Sorcerer’s Apprentice) CHAUSSON Poème for Violin & Orchestra, Op. 25 RAVEL Tzigane, rapsodie de concert, for Violin & Orchestra -- INTERMISSION -STRAVINSKY Petrouchka (1947 version) 1. The Shrove-Tide Fair 2. Petrouchka’s Cell 3. The Moor’s Cell 4. The Shrove-Tide Fair (Towards Evening) Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, January 24, at 7:00 p.m. Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation

Encore Lounge sponsored by:

PRELUDE 35

PETROUCHKA

PROGRAM NOTES | January 12, 2019

L’apprenti sorcier (The Sorcerer’s Apprentice)

PAUL DUKAS (b. 1865, Paris, France; d. 1935, Paris) Though The Sorcerer’s Apprentice is a mainstay of children’s concerts, you certainly don’t have to be under twelve to love this little masterpiece of musical storytelling and dazzling orchestration. Its composer, Paul Dukas, was a classmate of Debussy at the Paris Conservatoire and became a music critic of the highest discrimination and ideals. Unfortunately, such refined critical faculties did not assist his work as a composer; he destroyed more of his pieces than he published, leaving at his death a very slender musical legacy of beautifully crafted music. Americans are inclined to think of this story in terms of Mickey Mouse struggling against dozens of pail-toting brooms in the Disney film Fantasia, but it actually comes from a ballad by the great German poet Goethe, Der Zauberlehrling. While the sorcerer is away, his apprentice thinks he knows enough of his master’s magic to command the broom to perform his household chores for him. But the broom does its job too well and brings so much water from the river that it soon floods the house. Too late, the apprentice realizes he doesn’t remember how to undo the spell. In desperation, he chops the broom in two, but this produces two brooms working at an even faster pace. The floodwaters continue to rise. At the height of this catastrophe, the sorcerer returns and, uttering the correct incantation, restores all to order. All these events can be easily followed in Dukas’ brilliant score. The music begins in tranquility, with hazy harmonies from muted strings and woodwinds suggesting the magical 36

NOVEMBER/DECEMBER/JANUARY

aura of the sorcerer’s house. Three times during the piece we hear the magic spell intoned by muted trumpets snarling two dissonant chords: for the apprentice’s first casting of the spell, his unsuccessful attempt to stop the chaos, and the sorcerer’s successful intervention. The broom is wittily slow to come to life, but, once aroused, its quirkily hopping automaton of a theme is unstoppable.

Poème for Violin & Orchestra, Op. 25

ERNEST CHAUSSON (b. 1855, Paris, France; d. 1899, Limay, France) A pupil of César Franck, Ernest Chausson was a composer in the exotic, perfumed style of late Romanticism who might have developed into an Impressionist, like his friend Debussy, had he not died prematurely at age 44 in a freak bicycling accident. He was as fascinated by literature as by music and especially adored the great Russian novelists Tolstoy, Dostoevsky, and Turgenev. Chausson’s most famous work, Poème (1896), was inspired by a Turgenev short story, The Song of Triumphant Love. It was created for the Belgian virtuoso Eugène Ysaÿe and has been a staple of major violinists ever since. Turgenev’s short story tells of two friends in 16th-century Italy: the blond painter Fabio and the swarthy musician Muzzio, who fall in love with the same beautiful lady, Valeria. Rather than quarrel, they agree to abide by her choice of suitor. When Valeria marries Fabio, Muzzio soothes his broken heart with years of traveling in the mysterious East. Suddenly, he returns to Europe, laden with jewels and Asian

treasures and possessing, as well, strange magical powers. When he plays a haunting new melody he calls “The Song of Triumphant Love” on his violin, Valeria is seized with terror and uncontrollable passion. Jealous and fearing Muzzio has become an evil sorcerer, Fabio fatally stabs the violinist, but later Muzzio is seen riding away from the house. The spell lingers. Chausson has perfectly captured the eerie, fatalistic atmosphere of this story in music. The piece begins slowly and mysteriously with the orchestra creating a mood of oppressive darkness. The violin enters, singing in its lowest register a haunting, yearning melody in E-flat minor: Muzzio’s magical song. This theme returns three more times, most strikingly in a soulful performance by the violin at the end of the work. The soloist’s long closing sequence of trills marvelously evokes Muzzio’s uncanny powers.

Tzigane, rapsodie de concert, for Violin & Orchestra MAURICE RAVEL (b. 1875, Ciboure, France; d. 1937, Paris)

In his evocation of Hungarian Gypsy violin playing Tzigane (the French word for “gypsy”), Maurice Ravel pushed musical exoticism and virtuoso pyrotechnics to extraordinary heights. In July 1922, while Ravel was on a concert tour in England, he attended a private musicale where the brilliant Hungarian-born violinist Jelly d’Arányi played his Sonata for Violin and Cello. Later in the evening, at the composer’s request, d’Arányi began playing some Gypsy melodies. Ravel was entranced and asked for more, and the Gypsy music continued until 5 a.m. Two years later in 1924, memories of what he’d heard that night produced Tzigane, dedicated to Arányi who gave its first performances in both the original

violin-piano version and the orchestral arrangement Ravel made shortly afterward. Tzigane begins like a piece for unaccompanied violin, as the violinist rhapsodizes alone for some four minutes on melodies whose use of the Hungarian Gypsy scale and elaborate “oriental” embellishments conjure regions beyond the Danube. Eventually, the orchestra joins her in a passionate dance melody. Along the way, we hear an astounding array of exotic violin techniques; notice especially the bell-like passages of glittering high

R�� C�� D�� I��’� E��. S�� O�� E��

I��’� C��. C�� L�� C�� L�� I�� I�� P�� L�� E�� M�� A�� R�� E�� T��

F�� W��

I��

S�� B��

W��, DC

PRELUDE 37

harmonics and also the exceptionally complicated pizzicato work. Petrouchka (1947 version) IGOR STRAVINSKY (b. 1882, Oranienbaum, Russia; d. 1971, New York City) The tremendous success of The Firebird, Igor Stravinsky’s first ballet score for Serge Diaghilev’s Ballets Russes, in Paris in June 1910 suddenly made the young Russian the most talked-about composer in Europe. Naturally, Diaghilev asked for another score post-haste, and the two agreed it would be about a pagan ritual sacrifice in prehistoric Russia — what would eventually become The Rite of Spring. However, when Diaghilev visited the composer in Lausanne, Switzerland that September, he found Stravinsky caught up in a totally different work, something he thought might be a concert piece for piano and orchestra. Stravinsky called it “Petrouchka’s Cry” and said it was inspired by his vision of a carnival puppet-like Punch or Pulcinella: “the immortal and unhappy hero of every fair in all countries.” Diaghilev quickly spotted the dance potential of this story idea and music and urged Stravinsky to develop the material into a ballet, sending in Alexandre Benois to assist the composer in creating the scenario. The Rite of Spring could wait; it would not appear until 1913. Stravinsky and Benois fashioned what they called a “burlesque in four scenes.” The two outer scenes conjure the swirling crowds and colorful Russian atmosphere of a Shrovetide (Mardi Gras) fair in St. Petersburg around 1830. The more intimate scenes two and three tell a bittersweet tale of a love triangle between three puppets appearing at the fair: the hapless clown Petrouchka, the pretty Ballerina he loves, and the sinister Blackamoor who wins her affections. With the legendary Russian danseur Nijinsky playing the 38

NOVEMBER/DECEMBER/JANUARY

title role, Petrouchka matched The Firebird‘s success at its premiere in Paris on June 13, 1911. The composer concentrated his most daring music in the middle scenes, especially in scene two, which introduces us to Petrouchka’s melancholy yet feisty character and his sense of oppression under the Magician/ Charlatan. Here both orchestration and harmony are more astringent than in The Firebird. Carried over from the composer’s original conception, the piano plays a very prominent role as one of the voices of Petrouchka. As Stravinsky wrote: “I had in my mind a distinct picture of a puppet suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.” Stravinsky probably created the dissonant bi-tonal (F-sharp Major versus C Major) harmony that became famous as the “Petrouchka chord” from playing on black keys in the left hand against white keys in the right. We hear it first in two wailing clarinets, prominently in the piano, and sassily outlined in Petrouchka’s signature trumpet fanfares. The original ballet score was created for an enormous orchestra. In 1947, Stravinsky revised its concert version, slightly reducing the instrumental forces. The revised score included the following succinct guide to the ballet’s action. Four times, you will hear a loud drum tattoo: this first signals the raising of the curtain at the puppet theatre and subsequently the changes from one scene to the next. [Scene 1] “In the midst of Shrovetide rejoicings, an old Charlatan of oriental appearance produces before an amazed crowd the puppets Petrouchka, the Ballerina, and the Moor, who execute a wild [and very Russian] dance.

The magic of the Charlatan [his spell represented by a sinuous flute melody] has imbued them with all the human emotions and passions. [Scene 2] “Petrouchka is better endowed than the others. … He feels bitterly the cruelty of the Charlatan, his slavery, his exclusion from ordinary life, his ugliness and his ridiculous appearance. He seeks consolation in the love of the Ballerina and is on the point of believing himself successful. But the lovely creature only flees in terror before his extraordinary behavior. [Scene 3] “The Moor’s life is quite different. He is foolish and evil, but his rich appearance seduces the Ballerina, who seeks by every means to captivate him and finally succeeds. Just as the love scene begins, Petrouchka, mad with jealousy, arrives, and is at once thrown out by the Moor. [Scene 4] “The Shrovetide fair is at

its height. … Coachmen are dancing with nurses, a bear-tamer arrives with his animal, and finally a troupe of masqueraders leads everyone in a mad whirlwind. Suddenly, cries burst from the little theatre of the Charlatan. The rivalry between the Moor and Petrouchka has [taken] a tragic turn. The marionettes escape from the theatre, and the Moor kills Petrouchka with one blow from his sabre. The wretched Petrouchka dies in the snow surrounded by the festive crowd. The Charlatan . . . hastens to quiet everyone, and in his hands Petrouchka becomes the doll once again. He begs those about him to be reassured that the head is wooden and the body filled with sawdust. The crowd disperses. The Charlatan, now alone, sees to his great terror, on the roof of the little theatre, the ghost of Petrouchka [represented by his brash trumpet fanfares] who threatens him and leers mockingly at everyone whom the Charlatan has fooled.” Notes by Janet E. Bedell copyright 2018

PRELUDE 39

ANDREW WAN, VIOLIN

In August of 2008, Andrew Wan was named concertmaster of the Montreal Symphony Orchestra (MSO), making him one of the youngest leaders of a major ensemble. His relationship with the orchestra began with performances of Elgar’s Violin Concerto, which were hailed as one of the top two musical moments of 2007 by La Presse. As soloist, he has appeared in the United States, China, New Zealand, Cuba, Argentina, Brazil, Switzerland, and Canada under conductors such as Jean-Claude Casadesus, Maxim Vengerov, Peter Oundjian, Vasily Petrenko, James DePreist, and Michael Stern. 2015 saw the release of his recording of all three violin concerti of Saint-Saëns with the MSO and Kent Nagano on the Analekta label, garnering a Prix Opus and an ADISQ nomination. Mr. Wan serves as guest concertmaster for several North American orchestras and frequently enjoys collaborations in chamber music recitals with artists such as Juilliard Quartet, Vadim Repin, Emanuel Ax, James Ehnes, Daniil Trifonov, Marc-André Hamelin, Jörg Widmann, Menaham Pressler, and Cho-Liang Lin. Mr. Wan received his Bachelor of Music, Master of Music and Artist Diploma from The Juilliard School. Currently on violin faculty at the Schulich School of Music at McGill University as well as the Orford Music Festival, he is a founding member of the Opus and Juno award-winning New Orford Quartet, director of the Soloists of the OSM, Artistic Director of the Prince Edward County Chamber Music Festival and Artistic Partner of the Edmonton Symphony Orchestra. Andrew Wan performs on a 1744 Michel’Angelo Bergonzi violin, and gratefully acknowledges its loan from the David Sela Collection. FORT WAYNE PHILHARMONIC YOUTH ORCHESTRAS

The Fort Wayne Philharmonic welcomes Troy Webdell as the new Director of its Youth Orchestras program. Open to all student musicians in the northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestras program auditions students throughout the year for vacant positions.

For more info or to schedule an audition, please contact Troy Webdell, Director of Youth Orchestras, at twebdell@fwphil.org or 260.481.0757

NOVEMBER/DECEMBER/JANUARY

Christ the Savior is Born Brotherhood Mutual Insurance Company is grateful to have been a part of the Fort Wayne community for more than 100 years. As you enjoy the music of the Holiday Pops, we wish you and yours a very blessed Christmas and a happy new year.

Phil_Ad_2018.indd 1

| Ministry Payroll

10/17/18 3:12 PM

PRELUDE 41

Brotherhood Mutual Insurance Company Freimann Series WEDNESDAY, JANUARY 16, 2019 | 7:30 p.m. | PARKVIEW PHYSICIANS GROUP ARTSLAB SUNDAY, JANUARY 20, 2019 | 2:00 p.m. | RHINEHART MUSIC CENTER, PFW

BARTÓK’S STRING QUARTET BEETHOVEN Excerpts from Fidelio for Wind Nonet Overture Andante sostenuto Allegro moderato Terzetto Marcia Allegro con moto Adagio cantabile Terzetto Duetto Orion Rapp, oboe Pavel Morunov, oboe Campbell MacDonald, clarinet Cynthia Greider, clarinet Dennis Fick, bassoon Anne Devine, bassoon Megan Shusta, horn Alex Laskey, horn Adrian Mann, bass SCHUMANN Sonata for Violin and Piano No. 1, Op. 105 Mit Leidenschaftlichen Ausdruck Allegretto Lebhaft Johanna Bourkova-Morunov, violin Alexander Klepach, piano -- INTERMISSION --

NOVEMBER/DECEMBER/JANUARY

BARTĂ&#x201C;K String Quartet No. 1, Sz. 40 Lento Allegretto Allegro vivace Violetta Todorova, violin David Ling, violin Derek Reeves, viola Edward Stevens, cello

Many thanks to the generous supporters of this event:

PRELUDE 43

BARTÓK’S STRING QUARTET

PROGRAM NOTES | January 16 & 20, 2019

Excerpts from Fidelio for Wood Nonet LUDWIG VAN BEETHOVEN (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) Beethoven wrote just one opera, Fidelio, but it probably cost him more effort than all nine of his symphonies put together. Unsatisfied with his creation, he composed three versions over the decade 1804-14 and wrote four overtures for them, all of which remain in the symphonic repertoire. Based on a French drama, Jean Nicolas Bouilly’s Leonore or Conjugal Love, the story was drawn from real incidents during the French Revolution. It tells of the plight of Florestan, unjustly thrown into prison by a political rival Don Pizarro. Florestan’s resourceful wife, Leonore, discovers where he has been hidden and, disguising herself as a young man named Fidelio, becomes a trusty at the prison. At gunpoint, she faces down the evil Pizarro, and her heroism is rewarded by the sound of a distant trumpet, signaling the arrival of the Minister of Justice, Don Fernando. Fernando frees Florestan and all the other political prisoners. In this suite for woodwind octet and double bass, we will hear a generous selection of some of the most significant musical highlights of Fidelio, beginning with the final overture Beethoven composed for the opera’s 1814 premiere. Known as the Fidelio Overture, it does not use any themes from the opera, but instead succeeds in building excitement and anticipation for the drama to come. Beethoven was the master of composing music from small musical ideas or motives, and here he creates everything from the three notes with a vigorous dotted rhythm that we hear at the beginning. 44

NOVEMBER/DECEMBER/JANUARY

Next we hear “Mir ist so Wunderbar,” in which four of the characters — Leonore, the jailor Rocco for whom she works, his daughter Marzelline who has fallen in love with Leonore in her disguise, and her suitor Jacquino — sing a slow, musing canon, voicing their very different emotions about the situation to the same melody. It is one of the opera’s most beautiful moments. The jailor Rocco is a good-hearted, but very practical man. Hoping his Marzelline will marry “Fidelio,” he sings a hearty, humorous aria, in which he advises them that plenty of money is needed for a successful marriage (“Hat man nicht auch Gold beineben”). Also from Act I is the lively trio “Gut, Söhnchen, gut,” in which Rocco praises Fidelio/Leonore’s efforts at the prison. Leonore is agitated because she thinks the prisoner she has just heard about may be her missing husband. Marzelline provides gentle encouragement. A short March covers a scene change in Act I as Pizarro, the governor of the prison, arrives. Firm and very rapidly paced, it has a pronounced military air. Act I closes with one of the greatest musical and dramatic moments in the opera. At Leonore/Fidelio’s request, the prisoners are allowed time outside in the prison garden in order to celebrate the king’s birthday. In the magnificent “O welche Lust in freier Luft,” they sing of their joy at being able at last to breath at last the clean air of the outdoors — a longed-for taste of freedom. This chorus possesses the visionary, aspiring quality of Beethoven’s Ninth Symphony. If Act I contained plenty of humor, Act II becomes much more serious. In the aria “In des Lebens Frühlingstagen,” we meet Leonore’s husband, Florestan,

who has been enduring solitary confinement in the prison’s deepest cell for two years. This aria is in two sections. In the slow, solemn opening, Florestan heroically accepts the severe punishment his truth-telling against a corrupt authority has brought him. In the faster second section, he has a vision of his beloved Leonore appearing as an angel to lead him to Heaven. On Pizarro’s orders, Leonore/Fidelio and Rocco appear in Florestan’s cell to dig his grave. Recognizing him but mastering her emotions, Leonore gives him water and bread to sustain him. In a moving trio “Euch werde Lohn,” Florestan give her heartfelt thanks for her compassion while Rocco cautions her to be careful. At gunpoint, Leonore holds off Pizarro who has arrived to execute Florestan himself. A trumpet call from above announces the arrival of Don Fernando, and Pizarro’s brutal plot is foiled. In the ecstatic, high-flying duet “O namenlose Freude,” Leonore and Florestan proclaim their “inexpressible joy” at being finally reunited.

Sonata for Violin and Piano No. 1, Op. 105

ROBERT SCHUMANN (b. 1810, Zwickau, Saxony, Germany; d. 1856, Endenich, near Bonn, Germany) In September 1850, Robert Schumann moved with his wife and six children to Düsseldorf on the Rhine River to take up the post of municipal music director of that city. Initially, Robert and Clara were in high spirits over this prestigious position, but year by year, Robert’s mood became more clouded until in the winter of 1854, he attempted suicide by jumping into the Rhine. The composer was not a naturally gifted leader of musical forces, though his first season leading the city’s orchestra and choral ensemble went well enough.

However, by late summer 1851, Clara Schumann wrote: “The choral society is falling apart. … The people here respect neither art nor conductors!” On September 6, Schumann had a “stormy confrontation” with Wilhelm Wortmann, the city’s deputy mayor over the selection of repertoire and artists for the winter season. Six days later, the composer began writing his First Violin Sonata in what he described as a mood of “strong anger against certain persons.” That anger fueled ferocious creative activity, and the Sonata was essentially finished in just four days, to be followed immediately by the Piano Trio in G minor and the Second Violin Sonata. The famed concertmaster of the Leipzig Gewandhaus Orchestra, Ferdinand David, gave the first public performance in that city with Clara at the piano on March 21, 1852. Movement one: Musical commentators have often criticized this sonata for its relative lack of showy writing for the violin and specifically for its concentration on the violin’s somber low register at the expense of its brilliant top. But in fact, the violin’s lower range suits the mood of this rather troubled music, whose expressive marking is “with passionate expression.” Schumann was clearly not trying to write a piece of virtuoso entertainment here! This sonata-form movement in A minor is driven by an obsessively circling, anguished theme on a rocking meter; its chromatic twists are intensified by a piano part in constant restless motion. The exposition section, which lacks a sharply contrasted second theme, is repeated before the development section amplifies the passion and finally allows the violin a few higher-flying virtuoso figurations. In the recapitulation, the music seems to be attempting a more positive A-Major conclusion when, in the movement’s most striking passage, the bottom abruptly falls out, and we

PRELUDE 45

are hurled back into the chill of the minor mode with the violin moaning forlornly in its deepest register. Though an intense virtuosic ending is finally conjured up, this emotional collapse cannot be forgotten. In F Major, movement two is a much lighter intermezzo-style movement, which incorporates elements of a merrily pattering scherzo as well as a pensive slow-movement fragment in F minor. It is tied together by a recurring refrain with a little questioning ending that Schumann keeps playing with. Marked Lebhaft (“lively”), the final movement is a perpetual-motion whirlwind in which the violin chases the piano part only a measure behind. Sharp chordal accents occasionally interrupt the flow. The development section brings a little easing with the introduction of a lyrical new theme for the violin in a slightly slower tempo. The rush to the finish line is temporarily halted by an interjection of the first movement’s mournful theme in A minor, which ensures that this unsettling work will end not in the expected Major, but vehemently in the minor mode.

String Quartet No. 1, Sz. 40 BÉLA BARTÓK (b. 1881, Nagyszentmiklos, Hungary; d. 1945, New York City) “I strongly believe and profess that every true art is produced through the influence of impressions we gather within ourselves from the outer world of ‘experiences.’ … I am unable to imagine products of art otherwise than as manifestations of the creator’s boundless enthusiasm, regret, fury, revenge, distorting ridicule, or sarcasm. In the past I did not believe, until I experienced it myself, that a man’s works designate the events, the guiding passions of his life more exactly than his biography.” 46

NOVEMBER/DECEMBER/JANUARY

Béla Bartók wrote these revealing words to his new bride, Márta, in February 1909 just as he was finishing his First String Quartet. Usually extremely reticent about the source of inspiration of his works, he had a very few people to whom he would unburden himself. One of them was the teenaged violinist Stefi Geyer, with whom he fell in love in 1907 and carried on a passionate epistolary correspondence. For her, he wrote his First Violin Concerto, which he suppressed after she broke off the relationship in February 1908. Bartók was initially distraught over the breakup and even talked of suicide. But music soon came to his rescue as he poured his feelings into his First String Quartet and reached a new level of both emotional and musical maturity. Zoltán Kodály, another of the composer’s intimate friends and his collaborator in collecting Hungarian folk tunes, later described the First as an “inner drama, … the return to life of a man who had reached the shores of nothingness.” And Bartók in his last letter to Geyer wrote: “I have begun a quartet; the first theme is the theme of the [Violin Concerto’s] 2nd movement: this is my funeral dirge.” However, by 1909 he was ready to move on, marrying Márta Ziegler (another gifted adolescent musician). Of course, the First Quartet is much more than a therapeutic effort to recover from disappointment in love. It begins the great cycle of six quartets Bartók would create over a thirtyyear span and that would become the consummate works of his career. In it, Bartók gives a last lingering glance at the expressive world of late Romanticism and the influences of Richard Strauss, Liszt, and Wagner that had earlier captivated him. In the finale, we hear the mature voice of Bartók emerging: clean and bracing, unsentimental, rhythmically vibrant, and incorporating the shapes of Eastern European folk songs into his distinctive melodies.

Movement one is a highly contrapuntal slow movement in which the instruments’ individual lines are drenched in Wagnerian chromaticism, as melody notes are attacked indirectly by notes just above or below to build lush dissonances. In free canon, the two violins sing the “Stefi Geyer theme” from the Violin Concerto’s second movement: a sorrowing descent followed by an upward recovery. Soon the viola and cello also take up the theme in canon. Gradually, the densely woven contrapuntal lines reach a climax of complexity and intensity and fade out. The cello savagely reiterates open chords while the viola grumbles in protest. But in this middle section, Bartók actually eases the burden of grief with music that is airier and more light-filled. Then at a higher, more poignant pitch, the “Stefi Geyer” descending theme returns, driving to an even more stinging climax. It subsides ambiguously and bridges directly into movement two. Gradually accelerating, this movement is built around a twisting motive of

four notes, introduced by cello and viola, then echoed by the violins. The first violin then stands the motive on its head and turns it into an ostinato pattern, driving the music forward. And agitated ostinato patterns are an important element throughout this movement, particularly in the cello. The viola and second violin also throw a four-note sighing motive into the mix. All these elements are vigorously developed. The movement closes calmly with the violins again soaring radiantly aloft. The finale opens with a brief introduction, featuring expressive solos for the cello and first violin. Then this Allegro vivace movement shrugs off grief with a rhythmically vivacious Hungarian folk dance built from the second movement’s twisting motive. Two slow-tempo interludes led by the first violin seem to look backward one final time at the affair with a touch of anger, which is transfigured into radiant serenity as the violin floats on high. The firmly optimistic conclusion proclaims Bartók’s recovery — and his discovery of his unique voice. Notes by Janet E. Bedell copyright 2018

FORT WAYNE PHILHARMONIC ANNUAL FUND Like the notes of a symphony – each one important whether loud or soft, short or long – your gift at any level is appreciated and celebrated because it shows your love for music and the community. The Fort Wayne Philharmonic’s artistic, education, and community engagement programs are made possible by generous donors. Your generosity directly helps the Philharmonic maintain its place as a cultural treasure for this community.

YOU MAKE GREAT MUSIC SOUND CONTACT THE DEVELOPMENT OFFICE AT 260.481.0775 OR BY EMAIL AT INFO@ FWPHIL.ORG FOR MORE INFORMATION ABOUT SUPPORTING THE 2019 ANNUAL FUND.

PRELUDE 47

“LET THE MUSIC LIVE FOREVER!”

Are you looking to make a lasting impact that could help guarantee the vibrant future of live symphonic music in Northeast Indiana for generations to come? Orchestrate your legacy with a planned gift to the Fort Wayne Philharmonic.

Since its earliest days, the Fort Wayne Philharmonic has depended on planned and deferred gifts to help sustain extraordinary artistry, a stellar array of musical programming and invaluable music education resources to your community. A properly designed planned gift will: • Provide a meaningful and lasting investment in the arts and community • Ensure that your assets benefit the people and charities of your choice • Substantially decrease income and estate tax obligations, while maximizing the amount provided to your heirs through thoughtful tax planning If you believe that the Fort Wayne Philharmonic enriches the quality of life in Northeast Indiana, then a planned gift can become your ultimate commitment of support and enthusiastic love of great music. In appreciation of your generosity and vision, you will become a member of the Laureate Club. With your permission, you will be acknowledged in the Philharmonic’s Prelude program books. Should you wish to remain anonymous, the Philharmonic will acknowledge your gift privately. To become a member of the Laureate Club, simply inform the office that you have named the Philharmonic as the beneficiary of a bequest in your will.

The Philharmonic is happy to meet with you and your financial advisor to discuss your plans and charitable goals. Contact the Development Office at 260.481.0775 or by email at info@fwphil.org for more information.

NOVEMBER/DECEMBER/JANUARY

CELEBRATING THE 2018 - 2019 75TH ANNIVERSARY SEASON

THANK YOU, FORT WAYNE Our community has come together for 75 years to support an orchestra of exceptional caliber, artistic accomplishment, and professionalism. Through performances, educational programs, and engagement, the Fort Wayne Philharmonic has been committed to upholding the value it provides the region and for ensuring that great music is accessible to everyone. Thank you for playing your part in making the Philharmonic Fort Wayneâ&#x20AC;&#x2122;s musical home.

PHILHARMONIC 1960s

Momentous Years and a Rich Legacy After 19 momentous years as Fort Wayne Philharmonic Music Director, Igor Buketoff resigned in 1966. He left a rich legacy that included attracting international stars to Fort Wayne, new events for youth, and championing American music. James Sample followed as music director from 1967 to 1970. His resignation in 1970 opened the door for a revitalized decade ahead with Thomas Briccetti as new music director.

School Concert

FROM THE ARCHIVES:

Buketoff and Philharmonic Chamber Orchestra

From the Archives: Welcome Back When first music director Hans Schwieger returned as guest conductor in March of 1965, the audience responded with standing ovations and coaxed Schwieger to perform three encores. Worldwide Legacy Music Director Igor Buketoff left a worldwide legacy that included his orchestration of Rachmaninoffâ&#x20AC;&#x2122;s unfinished opera, Monna Vanna, and creation of the World Music Bank, now called International Contemporary Music Exchange, which promotes modern orchestral music. Memorable Opening Concertgoers were unsure what to expect at the October 2, 1962, opening night concert, due to a labor dispute. However, when the curtains parted at the Scottish Rite Auditorium, it revealed a 35-piece orchestra, which the audience greeted with a standing ovation â&#x20AC;&#x201C; before a single note was played. Based on "History of the Fort Wayne Philharmonic," by Anita Cast, with additional assistance by Journal Gazette's Tom Pellegrene, Jr.

Buketoff and Musicians

James Sample

Philharmonic String Quartet with Ernest Zala and Hugo Gottesmann

Notable Quotes: “The Fort Wayne Philharmonic is a living treasure that brings the power of beautiful music to the heart and soul of our vibrant community and beyond.” - Dorothy K. Kittaka, Musician, Educator and Founder of FAME At a Symphony League meeting someone once asked me, “How do you do it?” wanting to know how a city the size of Fort Wayne could have such a great orchestra. Answering his own question, he then replied, “You’ve had a lot of people for a long time who have cared deeply about their orchestra.” - Eleanor Marine, Board member “Playing with the Phil for my 45 year-long career was literally a dream-come-true. It’s been gratifying to see the orchestra flourish and grow to become the cultural keystone it is. Words fail to describe the thrill …” Sam Gnagey, Former Principal Tuba

PHILHARMONIC 1970s Energy, Talent, and Growth Great energy, soaring talent, and a larger orchestra were among the hallmarks of Music Director Thomas Briccetti’s tenure from 1970 to 1978. Briccetti also founded the second Indiana Chamber Orchestra, established family concerts, and brought renowned soloists to Fort Wayne. He left to become music director of the Omaha Symphony then moved to Italy where he conducted until his death in 1999.

The Joyful Sounds

Briccetti with Mime

Philharmonic Members

Philharmonic Fashion Show

From the Archives: Joyful Sounds Nancy Carlson Dodd organized a group of “30 ambitious women who could carry a tune and wished to promote the Philharmonic.” They even auctioned off their singing at a Philharmonic fundraiser. Eve Queler Eve Queler was assistant conductor for a brief time. She was noted for directing the Opera Orchestra of New York and guest conducting major symphonies. A New Home The Fort Wayne Philharmonic relocated in 1975 to the newly renovated Embassy Theater, which volunteers saved from the wrecking ball in a dramatic communitywide effort. Neither Snow Nor… When an historic snow storm paralyzed the city in February 1979, Philharmonic Board President Anita Cast and her husband Bill “rescued” auditioning conductor Ronald Ondrejka, who was staying at a downtown hotel that served no food. Ondrejka was snowed in with the Casts for four days. Based on Anita Cast’s “History of the Fort Wayne Philharmonic,” compiled for the 50th Anniversary in 1994.

Halloween Spooktacular

Philharmonic Members

Philharmonic Wind Quintet

Philharmonic Members

Notable Quotes: “I joined the Philharmonic when we were celebrating our 40th anniversary, and am thrilled to be enjoying our best and brightest moments today!” - Dan Ross, Associate Principal Trumpet; Vice President, Community Development, Arts United of Greater Fort Wayne “My husband and I were planning to move to Chicago. Then, specialists coming to Adams Memorial Hospital invited us to performances by the Fort Wayne Philharmonic, and that changed everything!” - Antoinette Lee, Philharmonic Supporter “This 75th Anniversary milestone and the Philharmonic’s ability to remain an inspiring artistic force exemplify the health and vitality of the arts community in greater Fort Wayne.” - Doug Wood, Chair, Arts United of Greater Fort Wayne “This Anniversary coincides with a renaissance being experienced in Fort Wayne. I love being a part of this fantastic orchestra, and contributing to the musical life of the city.” - Derek Reeves, Principal Viola

Each artist matters. Discover what matters to you at canterburyschool.org/matters. Early Childhood, Lower School and Middle School Campus: 5601 Covington Road | Fort Wayne, IN 46804 High School Campus: 3210 Smith Road | Fort Wayne, IN 46804

Online @WBOI.ORG Download the WBOI Mobile App

NOVEMBER/DECEMBER/JANUARY

Proud to sponsor Fort Wayne Philharmonic performances in long-term care facilities in partnership with Audiences Unlimited

Live, Here.

For the best of your life.

260-749-9655

www.goldenyearshome.org Like us on Facebook!

260.424.1064 AudiencesUnlimited.org

PRELUDE 55

TROY WEBDELL, DIRECTOR OF YOUTH ORCHESTRAS

American born and trained, Maestro Troy Webdell has enthralled audiences for years with his ability to connect people through the language of music. His innovative programming and balance between contemporary music, world music and the standard orchestral repertoire has created a welcomed niche in the world of classical music. As an advocate of new music, Webdell has conducted the American and world premieres of numerous works by composers including Anton Garcia Abril, Roxanna Panufnik, Alan Hovhaness, Michael Schelle, Miho Sasaki, Halim El Dabh, Ana Milosavljevic, David DeBoor Canfield, Rudolph Dolmetsch, and Max Lee. Webdell is the founder and conductor of South Shore Orchestra, a regional orchestra located in Valparaiso, Indiana. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus with SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renowned concert halls in over 40 cities including Beijing, Hangzhou, Shanghai, Nanjing, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, and Hong Kong where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia, which also featured the world premiere of Xiao He’s Long Song. Additionally, Webdell has earned awards for his orchestral conducting in the USA, in the genre of musical theatre, receiving outstanding musical/orchestral direction awards for productions of Sweeney Todd: The Demon Barber of Fleet Street and Man of La Mancha. Webdell’s dedication to music education and his commitment to engage students of all ages into the fabric of music has been evident for over 20 years teaching band and orchestra students in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students have consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China. Webdell has also been a collaborator in developing El Sistema based youth orchestras, interactive educational symphony concerts, scholarships for college-bound students, and “Unity Event” concerts featuring over 300 community chorus and orchestra musicians. As a clinician and guest speaker, Webdell has presented clinics at the International Music and Confucianism Symposium (USA) and at the Indiana Music Educators Association (IMEA) Festivals and State Conventions including an instrumental conducting clinic entitled “Conducting Young Musicians Expressively,” and a music composition clinic entitled “Composing Kids!” In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music.

NOVEMBER/DECEMBER/JANUARY

YOUTH SYMPHONY ORCHESTRA | TROY WEBDELL, CONDUCTOR 1st VIOLIN Mishael Paraiso, Concertmaster* Miranda Bartz, Asst. Concertmaster* Mikhayla Palicte Trinity Forish Jessica Zhou Kennon Nicholson Lucas Valcarcel Court Wagner Daniel Liu

BASS Graydon Brath, Principal* Henri Spoelhof Preston Reeves

2nd VIOLIN Lydia Bingamon, Principal* Karissa Brath, Asst. Principal* Juliette Mikautadze Alisha Babu Kyra Waymeister Yebin Jeong Isabel Carrillo Ella Hildebrand

OBOE Jackson Brummett, Principal (+Eng. Hn) Laurel Morton, Asst. Principal Andy Deng

VIOLA Olivia Creech, Principal* Lawrance McDowell, Asst. Principal* Dillon Jackson Amir Pierre-Louis CELLO Alex Moss, Principal* Shaan Patel, Asst. Principal* Destiny Seelig Maria Tan Edward Sun Daniel Gruber Eamonn Keane Niki Babu Maya Racz

FLUTE/Piccolo Alyssa Parr, Principal Chloe Morton, Asst. Principal Jessel Mehta Sara DeLong

CLARINET Isaac Bailey, Principal Ian Trout, Asst. Principal Mallory Neebes Marlena Haefner (+Bass Clarinet) Yehyun Song BASSOON Ashley Plummer, Principal Ben Morton Connor Rybka FRENCH HORN Maiah Deogracias, Principal Megan Merz, Asst. Principal Grayson Welch Hannah Offhaus Shawn Knapp Preston Brent Noah Haefner

TRUMPET Faith Allison, Principal Sam Parnin, Asst. Principal Henry Wellman Liam Row Anna Hildebrand TROMBONE Andrew Schroeder, Principal Aaron Kreie, Asst. Principal Joshua Walz Noah Jeong TUBA Joshua Vandre, Principal PERCUSSION Hailey Sandquist, Principal Caleb Walz Andrew Schweyer PIANO Kevin Wang, Principal HARP Jaedyn Haverstock, Principal *Denotes Mentor Strings Musicians

JUNIOR STRINGS ENSEMBLE 1st VIOLIN Jessica Tian, Concertmaster Alexis Deam, Asst. Concertmaster Kylie Delagrange Frankie Cai

2nd VIOLIN Kaitlyn Jones, Principal Lillian Sorg, Asst. Principal Lucy Gutman Andrew Habig Dontel Glaspy

PRELUDE 57

ANDREW CONSTANTINE, MUSIC DIRECTOR

“The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the northeast of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire. A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met.” In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art.” Earlier in 1991, Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.” 58

NOVEMBER/DECEMBER/JANUARY

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

“ELEGIAC, ROMANTIC, AND JOYOUS” MUSIC DIRECTOR ANDREW CONSTANTINE’S RECORDING

FOR SALE IN THE EMBASSY LOBBY.

PRELUDE 59

CALEB YOUNG, ASSOCIATE CONDUCTOR

Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series. Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival. In 2016, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the prestigious Salzburg Festival. Young was also selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross. Young has also served as assistant conductor for the National Music Festival. Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013, which specializes in performing large scale symphonic works in a chamber orchestra setting. Among its many accomplishments, KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9. During the 2012-13 season Young served as the Music Director of the Indiana Youth Musicians, where he conducted the youth orchestra and coached chamber music. A native of Asheville, North Carolina, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

RECORDING NOW AVAILABLE For Sale in the Embassy Lobby! The Philharmonic’s first-ever commercial recording is available for purchase by the British label Toccata Classics. This album of ultra-romantic music by Viennese composer Walter Bricht can also be ordered on Amazon.com and iTunes. Order your copy today. 60

NOVEMBER/DECEMBER/JANUARY

BENJAMIN RIVERA, CHORUS DIRECTOR

Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He serves as Chorus Director and regular conductor of the Fort Wayne Philharmonic, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago—featured at Chorus America’s national conference in 2018—Rivera also serves as Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. Last season he served as Associate Conductor of The Washington Chorus, and this season he joins the conducting staff of the Chicago Symphony Chorus. A professional singer in the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings. Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and in-school residencies, and has presented at the Iowa Choral Directors Association summer conference. Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. He has also researched choral rehearsal and performance practice in Berlin, Germany. Dr. Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

FORT WAYNE PHILHARMONIC CHORUS BOARD OF DIRECTORS OFFICERS Sarah Reynolds, President Sara Davis, Vice President Greg White, Treasurer Carrie Veit, Secretary

BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Sandy Hellwege Katy Hobbs Sarah Reynolds

Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White

PRELUDE 61

We believe in supporting the arts. Every step of the way.

lakecitybank.com

IM MEMORIAM: OLGA YURKOVA 1963-2018

Our dear friend and colleague Olga Yurkova, Principal Second Violin of the Fort Wayne Philharmonic, passed away on October 25 after an extended illness. Olga was born in Moldova and raised in a culturally rich environment, excelling in musical studies. She earned a Doctorate of Music in Violin Performance from Moscow's Tchaikovsky Conservatory and subsequently toured extensively in Italy, Spain, Belgium, Turkey, France, Romania, and Korea, winning first prize at several international competitions and festivals. Olga joined the Fort Wayne Philharmonic as Principal Second Violin in 1998 when she moved to the United States from Russia. Her professionalism, grit, and determination were most notably on display last year when she completed a Freimann Quartet appearance with a broken leg, only visiting the ER after the performance. She also performed J.S. Bach's Brandenburg Concerto No. 5 and successfully finished the winter season while suffering from a major infection and concurrently receiving extensive chemotherapy treatments. Olga leaves behind her husband Alexander Klepach, son Emil, and daughter Alisa. The Fort Wayne Philharmonic extends its condolences, thoughts, and prayers to Olga's family and friends during this period of great personal loss.

PRELUDE 63

FORT WAYNE PHILHARMONIC ORCHESTRA ANDREW CONSTANTINE, Music Director

CALEB YOUNG, Associate Conductor

IONE BREEDEN AUER FOUNDATION PODIUM

BENJAMIN RIVERA, Chorus Director LOUISE BONTER PODIUM

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

CHAMBER MUSICIANS 64

VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III Erin Kipp Erin Rafferty CELLO Edward Stevens, Acting Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Brian Klickman Linda and Joseph D. Ruffolo Family Foundation Chair Martin Meyer

NOVEMBER/DECEMBER/JANUARY

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. and Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

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

Anne Devine Joan and Ronald Venderly Family Chair

Alex Laskey John D. Shoaff Chair Michael Galbraith Walter D. Griest, MD Family Chair Katherine Loesch

Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair

BASSOON Dennis Fick, Principal

HORN Megan Shusta, Principal Mr. & Mrs. Arthur A. Swanson Chair

TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair

TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair Vacant Second Trombone BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Alison Chorn, Principal June E. Enoch Chair Kevin Kosnik North American Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair

CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Rachel Brown Nicole DeGuire Amber Dimoff Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Linda Oper Ilona Orban Sam Petrey Joachim Stepniewski Colleen Tan Lauren Tourkow VIOLA Rachel Goff Sara Knight Carl Larson Emily Mondok Anna Ross Liisa Wiljer

CELLO Martyna Bleke Iris Ji Peter Opie Jose Rocha Heather Scott Yoonhae Swanson BASS Brad Kuhns Nick Adams FLUTE Janet Galbraith Shantanique Moore Patricia Reeves OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder CLARINET Brian Bowman Elizabeth Crawford Daniel Healton Joel Schekman Kevin Schempf Rajesh Soodeen Krista Weiss Dan Won

BASSOON Michael Trentacosti CONTRA-BASSOON Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette Amy Krueger Charlotte O’Connor Lorenzo Robb Renée Vogen TRUMPET Doug Amos Matt Anklan Alex Carter Douglas Hofherr TROMBONE Jim Kraft John Grodian Loy Hetrick Alex Krawczyk Heather Miller David Parrilla

TUBA Manny Colburn Paul Mergen PERCUSSION Matt Hawkins Ben Kipp Renee Keller David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Farrell Vernon HARP Heaven Fan Lisa Kahn Katie Ventura

PRELUDE 65

FORT WAYNE PHILHARMONIC CHORUS BENJAMIN RIVERA, DIRECTOR JONATHAN EIFERT, ASSISTANT DIRECTOR Soprano Joanna Abel Ashley Adamson Alyssa Anzelmo Karen Campbell Sheila Chilcote-Collins Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Miranda Good Crystal Harter Katy Hobbs Carol Jackson Natasha Kersjes Maria Kimes Sara Kruger Kaitlin Lamison Katie Littlejohn Jane Meredith LeeAnn Miguel Meg Moss Kasey Needham Brenda Potter Clarissa Reis Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter

Alto Nancy Archer Michelle Bonahoom Cathryn Boys Nancy Brown Alison Case Jeri Charles Maeve Cook Caitlin Coulter Cassie Daniels Lenore DeFonso Heidi Folley Joan Gardner Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Susanna Lauer Camille Lively Joanne Lukas Sharon Mankey Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Cecelia Snow Sue Snyder Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum

NOVEMBER/DECEMBER/JANUARY

Tenor Matthew Bowman Thomas Cain David Courtney Benjamin Cunningham David Eisenhauer Sarah Kindinger John T. Moore David Arthur Persley Mark Richert John Sabo Father Daniel Whelan Greg White Randy Wurschmidt Bass Malachi Abel Thomas Baker John Brennan Thomas Callahan Jon Eifert Joe Foltz Jonathan Haggis Gerritt Janssen Steve Kaduk Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Ian Silver-Gorges David Tovey

SAVE THE DATE. P L AY I T FO RWA R D FRIDAY, JUNE 7, 2019 THE CLYDE THEATRE PHILharmonious is the Orchestra's Gala in support of education and community engagement programs. The theme this year is Play It Forward, celebrating the Philharmonicâ&#x20AC;&#x2122;s 75th Anniversary and insuring a future filled with glorious music on behalf of all in Northeast Indiana.

Tickets on sale April 8, 2019. Contact Clarissa Reis at 260.481.0775 or creis@fwphil.org for more information.

PRELUDE 67

A MESSAGE FROM THE FORT WAYNE PHILHARMONIC FRIENDS The Philharmonic Friends, known first as the Women’s Committee and then as the Philharmonic Volunteers, have been around since 1944. This is the 75th year of fulfilling our purpose to “support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra, Inc., in its fundraising and educational endeavors, while striving also to discover and encourage musical talent.” The Friends are in the middle of things that will be completed by the time you read this, but the outcomes are unknown as of this writing. One such item is that the Friends Young Artist Solo Concerto Competition will have been held at the Purdue Fort Wayne - Rhinehart Music Center on Saturday, November 17. The winners of each division will have received cash prizes (underwritten by the William J. & Bonnie L. Hefner Foundation) and the senior winner will have the opportunity to play at a Family concert with the Fort Wayne Philharmonic. We’re looking forward to bringing you the results of this prestigious competition in the next Prelude. Also, we are increasing our support of the Philharmonic Youth Symphony Orchestras program. In addition to covering the cost of coaching the young musicians and contributing to the purchase of additional music scores, we have established a fund to assist with the cost of tuition for the members of the YSO. Our next fundraiser on February 2, 2019, will be a bus trip to Toledo to see the Broadway musical EVITA. See our ad on the adjacent page or go to www. philharmonicfriends.com for more information and download a reservation form. And while you’re there, download a Friends Membership Form and consider signing up. We never have enough volunteers and need all the help we can get. We have openings in the Education and Hospitality areas along with other leadership opportunities for our organization. Finally, there are still a few copies left of the Friends’ acclaimed cookbook, Playing with Food. You can’t buy another cookbook of this quality anywhere else for only $10. It contains more than 600 recipes from over 200 musicians, staff, board, and members of our community. This is just the thing for last minute shoppers. If you order now, we will personally deliver free of charge within the Fort Wayne city limits. Buy one for yourself. Buy several to give as gifts. Please help our continuing support for one of the finest orchestras in the country. In conclusion, I, along with the entire Friends Board, wish you a Merry Christmas, and a prosperous, healthy New Year. John H. McFann Past President, Philharmonic Friends 68

NOVEMBER/DECEMBER/JANUARY

FORT WAYNE PHILHARMONIC FRIENDS OFFICERS President: Executive Committee Vice-President Education: Sara Davis Vice-President Hospitality: Jayne Van Winkle Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds Past President: Cynthia Fyock BOARD MEMBERS ClarAnn Bengs Barbara Boerger Ana Boman Tadd Boman Mary Campbell Emily Elko

Carol Keller Sandra Hellwege Pat Holtvoght Judy Lopshire Nellie Bee Maloley John McFann

Janet Ormiston Marcella Trentacosti Alexandra Tsilibes Julie VanLuen.

FORT WAYNE PHILHARMONIC FRIENDS BUS TRIP TO EVITA Saturday, February 2, 2019 Stranahan Theater Toledo, OH See the Broadway play, Evita. (Lyrics by Tim Rice, Music by Andrew Lloyd Webber.) Total cost of $125* per person includes: Luxury motor coach transportation and driverâ&#x20AC;&#x2122;s gratuity Apple Spice Junction box lunch en route Reserved matinee balcony seat Wine, appetizers, door prizes and raffle on return trip

For reservations call: ClarAnn Bengs (260) 744-1476 or (260) 413-7740 Mary Campbell (260) 417-5199 Or download a reservation form at www.philharmonicfriends.com

PRELUDE 69

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS BOARD OF DIRECTORS EXECUTIVE COMMITTEE Chuck Surack, Chair Sherrill Colvin, Vice Chair Kendall Dudley Billows, Vice Chair Ben Eisbart Mary Fink, Treasurer Mark Hagerman Vicki James, Secretary Sharon Peters, Vice Chair

Sherrill Colvin Sara Davis Kendall Dudley Billows Ben Eisbart Ron Elsenbaumer Mary Fink Carole Fuller Michael Galbraith Mark Hagerman Jonathon Hancock Leonard Helfrich Vicki James Suzanne Light Carol Lindquist Andrew Lott Eleanor H. Marine Scott Miller

CJ Mills Dan Nieter Tammy O’Malley Sharon Peters Judy Pursley Sarah Reynolds Dar Richardson Melissa Schenkel Jeff Sebeika Carol Shuttleworth Nancy Stewart Chuck Surack Dan Swartz Barbara Wachtman Jeanné Wickens Alfred Zacher

HONORARY BOARD Patricia Adsit Howard L. & Betsy Chapman Will & Ginny Clark Drucilla (Dru) S. Doehrman Leonard M. Goldstein* William N. & Sara Lee Hatlem Diane S. Humphrey

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

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1975 1975-1977 1977-1979 1979-1981 1981-1983 70

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

NOVEMBER/DECEMBER/JANUARY

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

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

*Indicates Deceased

FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF ADMINISTRATIVE STAFF James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Lorenzo Kleine Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/Staff Arranger Joel Dreyer Stage Manager Vacant Artistic and Development Coordinator EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Aaron Samra Club Orchestra Program Manager Troy Webdell Director of Youth Orchestras

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

Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic. Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777. Sensory Friendly Kits: Sensory friendly kits are available at the Embassy Theatre; please inquire at the Box Office to check out a kit. Sensory friendly kits contain noise reducing headphones, several small fidget items, a communications deck, identification wristband, a weighted comfort item and sanitizing wipes.

PRELUDE 71

SERIES SPONSORS The Robert, Carrie and Bobbie Steck Foundation Great Performers Series

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

Sweetwater Pops Series

CHUCK SURACK

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

STAR Family Series

JIM MARCUCCILLI

Chairman & CEO, STAR Bank

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

NOVEMBER/DECEMBER/JANUARY

SERIES SPONSORS Ambassador Enterprises Chamber Orchestra Series

ARLAN FRIESEN

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

Brotherhood Mutual Insurance Company Freimann Series

MARK ROBISON

Chairman & President, Brotherhood Mutual Insurance Company “We’re fortunate to have the Fort Wayne Philharmonic at the center of Fort Wayne’s arts community. It strengthens our community character and helps make Fort Wayne a great place to live. Brotherhood Mutual is proud to sponsor the Fort Wayne Philharmonic.”

Steel Dynamics Foundation Regional Patriotic Pops Series

MARK MILLETT

President & CEO, Steel Dynamics

At Steel Dynamics, we believe that the right people in the right place are our greatest strength. And it’s in those communities where our co-workers live and work where we provide support through our Steel Dynamics Foundation. In northeastern Indiana, we’re pleased to support the Fort Wayne Philharmonic which enriches the life of tens of thousands …“bringing music to our ears.”

Parkview Health Regional Holiday Pops Series

MIKE PACKNETT

President & CEO, Parkview Health

For so many of us, a Fort Wayne Philharmonic Holiday Pops Concert is a treasured part of our end-of-year festivities. The familiar carols bring us together in the spirit of community, evoking happy memories with friends and family. We at Parkview Health are very pleased to sponsor the Regional Holiday Pops Concert series. From All of us at Parkview, and from my wife, Donna, and me, heartfelt wishes to you for a blessed holiday season.

PRELUDE 73

FORT WAYNE PHILHARMONIC SPONSORS The Fort Wayne Philharmonic thanks these sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor. SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation

Chuck & Lisa Surack

The Robert, Carrie, and Bobbie Steck Family Foundation

MAESTOSO | $250,000+

Chuck & Lisa Surack

APPASSIONATO | $150,000 to $249,000 The Paul Yergens and Virginia Yergens Rogers Foundation

ALLEGRETTO | $50,000 to $149,000 Anonymous (1) The Robert, Carrie, and Bobbie Steck Family Foundation

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

VIRTUOSO SOCIETY | $10,000 to $24,999 June E. Enoch Foundation Janice H. Eplett, in memory of Winifred Howe and F. Russell Eplett 74

NOVEMBER/DECEMBER/JANUARY

Fort Wayne Philharmonic Friends

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

Rick & Vicki James Miller Family Fund O’Malley Charitable Fund

The Donald F. Wood and Darlene M. Richardson Foundation

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

George & Linn Bartling

Suzanne Light

James W. Palermo

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Bay Advisors, LLC First Merchants Bank

Fort Wayne TinCaps Tracy & Gretchen Shellabarger

PRINCIPAL’S CIRCLE | $1,000 to $2,499 Anonymous (1) Bill & Anita Cast Mr. Andrew Constantine Ben & Sharon Eisbart David & Mary Fink Mark & Mary Kay Hagerman Carol Shuttleworth & Michael Gavin

Eleanor H. Marine Dr. Scott Miller Parrish Leasing, Inc. Purple Blaze Enterprise, LLC Rothberg Logan & Warsco, LLP Alfred Zacher

PRELUDE 75

FORT WAYNE PHILHARMONIC SPONSORS CONCERTMASTER | $500 to $999 Edward & Kristen Brower

Nancy & David Stewart

FIRST CHAIR | $100 to $499 Mrs. Jill Gutreuter

Alice & Jonathan Hancock

CONTRIBUTOR | $1 to $99 Barbara Wachtman & Thomas Skillman

IN KIND DONATIONS A Party Apart Arby’s BluSpoon Catering Bravas The Clyde Don Hall’s Catering

Keefer Printing Markey’s Rental & Staging McCulloch Auctions — Tim McCulloch

New Haven Print Pizza Hut Subway Taco Bell Wendy’s

AUCTION CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges these sponsors for their generous contributions to our 2018 PHILharmonious Gala Auction. Please call 260.481.0774 for more information on becoming an auction sponsor. “I” Wood Artist Al Zacher AMC Theatre Anonymous Anita Cast Antionette Lee Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Bradley Gough Camp Timberlake Cap n’ Cork Carole Fuller Casa Ristoranti Italiano Catablu – BluSpoon Charles & Amanda Shephard Chop’s Steaks & Seafood Chuck & Lisa Surack and Sweetwater Christopher James Club Soda Della Terra Photography Diane Humphrey 76

Eleanor Marine Embassy Theatre Free Wind Farm Fort Wayne Ballet Fort Wayne Children’s Zoo Fort Wayne Parks & Recreation Fort Wayne Philharmonic Fort Wayne Philharmonic Board of Directors Fort Wayne Tin Caps Ginny Clark Habegger Furniture Hall’s Restaurants Hoppy Gnome Indianapolis Colts Indianapolis Symphony Orchestra Jophiel Junk Ditch Brewing Company Kay Kohler Loggins Fireplace & Patio Lopshire Flowers Mad Anthony/Shigs in Pit

NOVEMBER/DECEMBER/JANUARY

Mitch-Stuart Inc. Pam Kelly Papier’s Creative Framing Park Place on Main Parkview Field Parkview Health Paula’s on Main Peg Perego Pyle Style Events Roddy Dammeyer Ruth’s Chris Steak House Sandy Shumaker Schoolhouse Stoneware Sharon Eisbart Corporate Art Six Flags Great America Summit City Bicycles & Fitness Suzie Emley

Tammy O’Malley T&D Printing The Urban Hippie Vera Bradley Vision Scapes Wine Down

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS The Fort Wayne Philharmonic gratefully acknowledges the following individuals for their generous gifts received within the past twelve months. Every attempt is made to include donors who supported the Philharmonic during that time. Please contact the office if errors have been made. For information about supporting the Philharmonic’s 2017-2018 Annual Fund, contact the Development Office at 260.481.0775.

ALLEGRETO (GIFTS OF $50,000+) Rick & Vicki James

FOUNDER’S SOCIETY (GIFTS OF $25,000 TO $49,999) Chuck & Lisa Surack, Sweetwater Sound

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

Tod Kovara Eleanor H. Marine Dr. Evelyn M. Pauly Virginia Lee Zimmerman

STRADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark & Mary Kay Hagerman Drs. Kevin & Pamela Kelly Doris Klug Mr.* & Mrs.* John Krueckeberg

Kevin & Tamzon O’Malley Michael & Carla Overdahl Judy Pursley Russ & Jeanette Quilhot Jeff Sebeika, Subway Carolyn & Larry Vanice Charlie & Jeanné Wickens

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs.* Alfred Allina Kendall & David Billows Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin Andrew & Jane Constantine David & Mary Fink David S. Goodman Patricia S. Griest Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Antoinette K. Lee

Dr. Scott Miller James W. Palermo David & Sharon Peters John H. Shoaff & Julie Donnell Carol Shuttleworth & Michael Gavin W. E. Spindler Robert & Donna Streeter Barbara Wachtman & Tom Skillman Joseph L. Weaver Al Zacher Brian Zehr, PPG Pulmonary and Critical Care

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) Anonymous (4) Tim & Libby Ash Family Foundation Norma & Tom Beadie

Holly & Gil Bierman Katherine Bishop Janellyn & Glenn Borden PRELUDE 77

PRINCIPALâ&#x20AC;&#x2122;S CIRCLE (GIFTS FROM $1,000 TO $2,499) continued Roberta Brokaw Barbara Bulmahn Mrs. Virginia Coats Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner Sandra K. Dolson Bill & Peggy Dotterweich John & Tamara Dyer Mrs. J. Robert Edwards Emily & Michael Elko Clayton J. Ellenwood Robert & Carol Fawley Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth Frederick Scott & Melissa Glaze Dave & Sandy Haist Jonathan & Alice Hancock Bob & Liz Hathaway

James & Anne Heger Leonard Helfrich Sattar & Marlene Jaboori Ginny & Bill Johnson Dorothy K. Kittaka Floyd A. & Betty Lou Lancia Jim & Barbie Lancia Drs. David & Carol Lindquist Suzanne Light Anne & Ed Martin Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Jim & Gloria Nash Josh & Cristina Parrish Norma J. Pinney Joseph & Lindsay Platt

The Rev. C. Corydon Randall & Mrs. Marian Randall Caroll & Bill Reitz Benjamin & Alexia Rivera Dr. Peter M. Rothman Eric & Kimberly Sank Dr. Janet Schafer Melissa & Peter Schenkel Dr. Darryl & Sharon Smith Nancy & David Stewart Kathleen M. Summers Carol Terwilliger Rachel A. Tobin-Smith Nancy Vendrely Wayne & Helen Waters Herbert & Lorraine Weier Lewie Wiese Matthew Wilcox Leslie & John Williams Dr. & Mrs. Richard E. Zollinger

CONCERTMASTER (GIFTS FROM $500 TO $999) Anonymous (1) Jeane K. Almdale Dr.* & Mrs. Justin Arata Nancy F. Archer Dr. & Mrs. Thomas Armbuster Mr. & Mrs. William Arnold Richard & Matoula Avdul Mr. & Mrs. Craig Balliet Michael & Deborah Bendall Larry & Martha Berndt Barbara L. Boerger Mr. & Mrs. Craig D. Brown Curt & Amy Crouch Dr. & Mrs. Fred W. Dahling Sara Davis Tim & Ann Dempsey Susan Devito Anita G. Dunlavy Bruce & Ellen England Mr. & Mrs. Herb Fuller G. Irving Latz II Fund Steven & Nancy Gardner Leonard Garrett Jane Gerardot & Jeff Leffers

Tim & Ann Gibson Thomas E. Green Mrs. Lois Guess Sharon Gustin Eloise Guy Ms. Susan Hanzel William & Sarah Hathaway Mark & Debbie Hesterman Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Mr. & Mrs. Kenneth R. Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke Bruce & Mary Koeneman Ed & Linda Kos David Krabach & Susan Steffy Stephen* & Jeanne Lewis Anne C. Longtine & Marco J. Spallone Anne A. Lovett Mr. & Mrs. Duane Lupke Mark & Sarah Masloob Thomas & Dianne May Dr. & Mrs. Michael L. McArdle

Lusina McNall Mr. & Mrs. Donald T. Mefford Nick & Amber Mehdikhan Paul & Bonnie Moore Kenneth & Linda Moudy J. M. Noonan Paul Oberley Old Crown Brass Band Joan K. Olinghouse Brian & Sue Payne Raymond & Betty Pippert Bill & Sue Ransom Dr. & Mrs. Fred L. Rasp Dr. Stephen & Carmen Reed Maryellen M. Rice Kay Safirstein Scot C. Schouweiler & Julie Keller Stephen R. & Anne S. Smith Arthur & Karen Surguine Carl & Cynthia Thies Mark Troutman & Ann Wallace Ronald H. VanDiver Ted & Robin Wagner

FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (14) Max M. Achleman Fran & Irv Adler Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter 78

Mr. & Mrs. Brad Altevogt Ambulatory Medical Management Ms. Mary Jo Ardington Scott & Barbara Armstrong Mel & Ruth Arnold

NOVEMBER/DECEMBER/JANUARY

Milton & Barbara Ashby Mr. & Mrs. Lonnie Au Yvonne August Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu

Mr. & Mrs. A. Gerald Backstrom Linda Balthaser Mr. & Mrs. Craig Balliet Christine Baron Jim & Ellen Barr Mr. & Mrs. John Batuello Marjorie Baumgartel Michael & Kay Bauserman Tony & Pat Becker Donna & Charlie Belch Mr. & Mrs. Don Bendel Bix & Anita Benson Diana Berich Jim & Gay Berlien Kevin Paul Beuret Mr. H. Stephen Beyer Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Joyce Bir David W. Bischoff David Blackwell Sherry L. Blake Bev & Jean Blessing Steve Bloomfield & Linda Tannas Barbara Boggs Virginia R. Bokern* Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Bill Borgmann John Bottglia Rebecca Bouse Richard & Cathryn Boys Jim & Sue Bradley Ruth A. Braun Dr. Helene Breazeale Mr. & Mrs. David C. Brennan Evelyn M. Brosch-Goodwin David Brumm & Kim McDonald Geneva Brummett Mr. & Mrs. William & Joan Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Family of Scott & Barbara Bushnell Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Shane Cary Jill Case Janice Cave Steve Christman Bruce Cleveland David Coats

Nelson & Mary Coats Barbara Collins Dr. & Mrs. Nathan Comsia Matt Converse Mike Conyers John & Marcia Crawford Wendell & Mary Cree Bob & Margita Criswell Dan & Marjorie* Culbertson Miles J. & Lorraine Hook Davis Fund Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Martha Derbyshire Vera & Dominick DeTommaso George & Nancy Dodd Steven Doepker Gene & Carol Dominique Fred & Joan Domrow Kirk Dunkelberger Ann H. Eckrich Ned & Sally Edington Don & Mary Kay Ehlerding Jon Eifert Susan Eikenberry Cynthia Elick Lillian C. Embick Albert & Jeanne Emilian Pam & Steve Etheridge Pam Evans-Mitoraj Pauline Eversole Larry & Judy Farver Dick Florea & Sandy Shearer John & Jane Foell Jeff Frappier Nathan & Angela Freier Sheryl A. Friedley Melinda Fuchs Cynthia & Douglas Fyock Linda Gaff Michael & Janet Galbraith Elizabeth Garr Robert & Barbara Gasser Betsy & Geoff Gephart Joy A. Gilbert Michele Gillespie Roy & Mary Gilliom Mr. & Mrs. Tertuliano Giraldo Robert & Constance Godley Thomas & Beverly Goff Janelle & Steven Graber Janet Graham Norm & Ronnie Greenberg Kristy Greutman David Griebel & Cathy Niemeyer James B. Griffith David & Myra Guilford Leonard Guthier

Mary K. Gynn Melanie & Robert Hall Vince & Dianne Hansen Brian & Barbara Harris Joseph Hayes & Gregory Bowman Dennis & Joan Headlee John Heath Jacqueline Heckler Sandy Hellwege Matt Hendryx Warren & Ardis Hendryx Ms. Jullie Henricks and Mrs. Jean Henricks Anthony & Susan Henry Mayor Tom C. & Cindy Henry Lucille Hess Scott & Catherine Hill Andrew & Katy Hobbs Tom & Jane Hoffman Steven & Becky Hollingsworth Philip Hudson Marlene Huffman Tom & Mary Hufford Mr. & Mrs. Arnold Huge Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Mike Johnson Alex & Sharon Jokay Don & Joyce Jordan Larry & Annette Kapp Lois Kaufman-Hunsberger LuAnn R. Keller Bridget Kelly Kendall & Davis, Inc. Chris & Angie Kidd Sheila D. Kiefer Michael & Sarah Kindinger Ross & Betty King John Kirchhofer Audrey M. Kirk Karen Knepper James & Janice Koday Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Kevin Kurtz Shelby Lamm Carolyn N. Lane JJ Carroll & Jeff Lane

PRELUDE 79

George & Lois Lange Miriam Larmore Drs. Chung & Sage Lee Brad & Donna Lehman Douglas & Minda Lehman Steve & Rhonda Lehman Mrs. Frances LeMay Al & Janey Lindsten Arthur & Marcia Litton Marlene Lobsiger Chuck Logar Dr. Joshua Long Paul & Pauline Lyons Mr. & Mrs. Jim Machock Jerry L. Mackel M.D. Janet & Larry Macklin Peg Maginn Michael & Diane Makarewich Peter & Christine Mallers Harry & Barbara Manges Linda Marshall Jane Martin Dr. & Mrs. Naomichi Masaki Cheryl Mathews Elmer & Patsy Matthews David & Kathleen Matz Judith Maxwell Linda McArdle Diane McCammon Susan J. McCarrol Mick & Sue McCollum Mary McDonald Linda Hansen & Tim McElwee John H. & Shelby McFann Debra McKinney Mr. Scott McMeen Alice McRae Leanne Mensing Elizabeth Meyer Jane A. Meyer David & Ann Miller Ed & Martha Miller Kerry A. Miller CJ & Andrea Mills Mr. & Mrs. Carl Moellering David & Linda Molfenter LTC & Mrs. John T. Moore Noel & Diane Moore Ray & Nancy Moore Deborah Morgan Chuck & Becky Morris April & Charles Morrison Marylee Morton Suzon Motz John & Barbara Mueller Kevin & Pat Murphy 80

Ryan C. Murray Steve Naragon & Pam Higgins Sean & Melanie Natarajan Ed Neufer Beverly Norton Don & Jenny Oberbillig John O’Connell & James Williams Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O’Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Pat & Mac Parker Penny Pequignot Ms. Nigel Perry Mr. & Mrs. John M. Peters David & Billie Pierce Edwin & Cynthia Powers Marlene Purdy Helen F. Pyles Keith Raftree RAM Production Backline John & Diana Reed Paul J. & Lula Belle Reiff Ruth Reighter Jeremy & Clarissa Reis Ann Rettenmaier Carl & Jaci Reuter Sarah & Richard Reynolds Ruth & Phillip Rivard Ms. Rita Robbins Karen Roberts Richard & Ann Robinson Janet Roe John W. Rogers Ron & Rhonda Root Stanley & Enid Rosenblatt Stan & Gretchen Roth Patricia C. Rumon Martin & Rita Runge Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Robert Sausaman Robert & Sarah Savage Dr. & Mrs. Ron Scheeringa Bob & Ramona Scheimann Ms. Mary Francis Schneider Tom & Mary Ellen Schon Chuck & Patty Schrimper Ed & Julia* Schulz Richard & Ruth Schwartz Ken & Mary Scrogham Richard & Suzanne Shankle Ms. Cornelia L. Shideler Wayne & Ann Shive Eunice Shoaff

NOVEMBER/DECEMBER/JANUARY

David & Ann Silletto David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Keston Smith & Sandra Guffey Lynda D. Smith Mary & Rob Snow Sharon Snow Drs. David A. & Judith J. Sorg Michael E. Sorg Jeff & Sunny Stachera Mr. & Mrs. Donald D. Stedge Mrs. Lois A. Steere David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Angela Boerger & Jeffrey Strayer Brenda Sullivan Jack Swain Daniel Swartz Lynn & David Syler Steven & Ruth Anne Teeple Joe & Larysa Thorsteinson Larry & Ellen Till Larry & Robin Tinsley Jarod Todd Scott & Jenny Tsuleff Don & Amy Urban Jayne Van Winkle Walter & Martini Vandagriff Karen & David von Loesecke Carol Ward Mr. & Mrs. George E. Weatherford John & Pat Weicker Deborah Weinswig Keitha & Steve Wesner Thomas & Tamara Wheeler Dr. & Mrs. Alfred A. Wick Ruth Wiegmann John & Nancy Wilhelm Ellen Wilson Hope Wilson Lea B. Woodrum Bette Worley Franklin & Judith Wright Phil & Marcia Wright Stephen & Marsha Wright Dalen & Stephanie Wuest Mr. Galen Yordy Bob & Jan Younger Dodie Zonakis

FOUNDATION AND PUBLIC SUPPORT PHILHARMONIC SOCIETY ($1,000,000+) Edward D. & Ione Auer Foundation APPASSIONATO ($150,000 TO $249,999) Anonymous (1)

English, Bonter, Mitchell Foundation

ALLEGRETTO ($50,000 TO $149,999) Anonymous (2) Arts United of Greater Fort Wayne The Dekko Foundation Foellinger Foundation Steel Dynamics Foundation

The Robert, Carrie, and Bobbie Steck Family Foundation The Paul Yergens and Virginia Yergens Rogers Foundation

FOUNDER’S SOCIETY ($25,000 TO $49,999) Lincoln Financial Foundation W. Gene Marcus Trust National Endowment for the Arts The Rifkin Family Foundation

Community Foundation of Greater Fort Wayne The Huisking Foundation Indiana Arts Commission Flora Dale Krouse Foundation and PNC Charitable Trusts VIRTUOSO SOCIETY ($10,000 TO $24,999)

The Rea Charitable Trust Edward M. and Mary McCrea Wilson Foundation The Donald F. Wood and Darlene M. Richardson Foundation Edward and Hildegarde Schaefer Foundation O’Rourke Schof Family Foundation

Eric A. & Mary C. Baade Charitable Purposes Trust Olive B. Cole Foundation June E. Enoch Foundation K. Robert Ehrman Endowment Fund Charles W. Kuhne Charitable Trust Miller Family Fund STRADIVARIUS SOCIETY ($5,000 TO $9,999) Journal-Gazette Foundation The LaFontaine Arts Council

Wells County Foundation

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) 3Rivers Credit Union Foundation Community Foundation DeKalb County

BAE Systems Community Investment

PRELUDE 81

PRINCIPALâ&#x20AC;&#x2122;S CIRCLE ($1,000 TO $2,499) Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Fulton County REMC Fulton County Community Foundation Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation

Gerald M. and Carole A. Miller Family Foundation Porter Family Foundation Steuben County Community Foundation Jennie Thompson Foundation Mary E. Van Drew Charitable Foundation Community Foundation of Whitley County

CONCERTMASTER ($500 TO $999) Kosciusko County REMC Operation RoundUp Fund

FIRST CHAIR ($100 TO $499) Psi Iota Xi - Pi Chapter

NOVEMBER/DECEMBER/JANUARY

Quentin K. & Gladys F. Mavis Music Fund Randall L. & Deborah F. Tobias Foundation

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

Steel Dynamics Foundation, Inc. The Dekko Foundation

ADAMS COUNTY Adams County Community Foundation Eichhorn Jewelry

Antoinette K. Lee Porter Family Foundation

DEKALB COUNTY Auburn Moose Family Center Community Foundation of DeKalb County David & Pat Kruse

Quentin K. & Gladys F. Mavis Music Fund Scheumann Dental Associates

FULTON COUNTY Akron Area Arts League Beacon Credit Union Wendell Bearss First Federal Savings Bank Fulton County Community Foundation Fulton County REMC Joyce Good Indiana Arts Commission

Psi Iota Xi - Eta Mu Peterson, Waggoner & Perkinks, LLP RapidView Thomas & Janet Ravencroft Rochester Metal Products Rochester Telephone Company Violet Seiwert

KOSCIUSKO COUNTY Aunt Millie’s Bakeries Gale & Joyce Baumgartner Irwin & Jane Deister Lew & LuAnn Derrickson Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation Kosciusko REMC Operation Round-up Fund Fritz Kreutzinger Omer & Susan Kropf The Papers Inc.

Salin Bank & Trust Smoker Craft, Inc. STAR Financial Bank Jim & Patrice Marcuccilli and Tom & Joan Marcuccilli Randall & Deborah Tobias Foundation Wawasee Property Owners Association Monica & Larry Weigand Al Zacher

NOBLE COUNTY AccuTemp Products, Inc. Airframe Components by Williams, Inc. Alum-Elec Structures, Inc. Black & Ramer Insurance

Baker’s Flowers & Gifts LLC Campbell & Fetter Bank City of Kendallville Councilman James & Rhea Dazey

PRELUDE 83

Diehm Construction Mr. Larry & Jane Doyle Dr. Chris & Sasha Frazier Freedom Academy Mr. & Mrs. William Freeman Scott R. Frick, CPA, P.C. Dr. Terry & Susan Gaff Tim & Michele Gerst Mr. Randy & Mayor W. SuzAnne Handshoe Tim & Anita Hess – RE/MAX Results Indiana Michigan Power Jansen Chiropractic – Dr. Tom & Linda Jansen and Dr. Gerard & Lori Jansen Jansen Family Dentistry Jansen Law – Christopher T. & Angela Jansen Dr. Jim & Pam Jansen J.O. Mory, Inc.

Dekko Investment Services 95.5 FM The Hawk Tim & Anita Hess – RE / MAX Results Quicktanks, Inc. Shepherd’s Family Auto Group Jennie Thompson Foundation Tri-State Veterinary Clinic & Equine Center Drs. Roush & Will Optometrists – Dr. Alan & Jane Roush and Dr. Craig & Dr. Elizabeth Lichlyter Dr. Gerald & Kara Warrener Wick Fab, Inc. Work Prep, Inc. - Allyson Witt X-Y Tool & Die, Inc. Yoder Kraus & Jessup, P.C.

STEUBEN COUNTY Angola American Legion Post 31 City of Angola Coldwell Banker Roth Wehrly Graber Sandra Agness Bill & Pat Culp First Federal Savings Bank of Angola Joseph F. & Carol Frymier Jim & Karen Huber Indiana Arts Commission Indiana Department of Natural Resources Javets Inc.

Kappa Kappa Kappa – Zeta Upsilon Chapter Lake James Association Gerald M. and Carole A. Miller Family Foundation Psi Iota Xi, Rho Chapter Max & Sandy Robison Charles & Ruth Ann Sheets Steuben County Community Foundation Trine University Jim & Kathy Zimmerman

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

WELLS COUNTY Anonymous (1) AdamsWells Internet Telecom TV K. Robert Ehrman Endowment Fund

Carol & Larry Ewing Wells County Foundation Troxel Equipment

WHITLEY COUNTY ChromaSource, Inc. Churubusco Family Dentistry — Dr. & Mrs. Richard Zollinger

NOVEMBER/DECEMBER/JANUARY

Community Foundation of Whitley County STAR Financial Bank

TRIBUTES The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. In Memory of Karen Allina (Gifts in memory of Karen Allina will be added to the Philharmonic Chorus fund, where they will provide support to the work and the future of the Chorus.) Anonymous (2) Dr. Alfred Allina Rose Atz Marsha Baltes Bryan & LeaAnne Bernstein Sunitha Bhat William & Judith Carrigan Marcia Clupper Dean Cutshall Connie Gibstine Graly & Guido Law Office, LLC Nancy Hamiln Andrew & Katy Hobbs Carol Jackson Ginny & Bill Johnson Michael Mastrangelo Richard & Merle-Lee Miers Noel & Gloria Phegley Benjamin & Alexia Rivera David & Vivian Slosson John & Judith Stenger Robert & Margaret Vegeler Lewie Wiese Lea B. Woodrum In Memory of Virginia Bokern Margaret Ankenbruck Steven & Jana Ankenbruck Mary Campbell Anita & Bill Cast Lillian C. Embick Eleanor H. Marine Elizabeth & Terrence Neu Russ & Jeanette Quilhot Thomas Remenschneider Paul Spoelhof

In Memory of June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Eleanor H. Marine Michael Mastrangelo In Memory of Leonard Goldstein Anita & Bill Cast Eleanor H. Marine In Memory of Winifred F. Howe and F. Russel Eplett Janice Eplett In Memory of Greg Marcus Anita & Bill Cast Eleanor H. Marine In Memory of Donna Snyder Anita & Bill Cast Eleanor H. Marine In Honor of James W. Palermo Howard and Carol Abrams In Memory of Lynne Salomon Eleanor H. Marine Michael Mastrangelo In Memory of Herbert Snyder Dave & Sandy Haist Eleanor H. Marine Thomas & Nancy White In Memory of Olga Yurkova Carl & Jaci Reuter Paula Neale Rice Benjamin & Alexia Rivera

In Memory of Marjorie R. Cavell Eleanor H. Marine

PRELUDE 85

TRIBUTES continued In Honor of Al Zacher’s 90th Birthday The Aichele’s Anonymous (2) Alex and George Azar Norma & Tom Beadie Barbara L. Boerger Julie & Dave Buckner Vernell Fettig Laura, Bill, and Ellen Frankenstein and their families Geoff & Betsy Gephart Lois Harris George Huber Herbert Krumsick Doulas & Ilene Klegon Peter & Christine Mallers Judy Pursley Alfred & Norma Slatin

Norman Thal Andrew Warshauer Marie, Michael, Andrew, Mia, and Daniel Warshauer Bill & Louise Warshauer Employees of the Zacher Co. Steven & Judy Zacher In Memory of Hannah Zacher Alfred & Norma Slatin

ENDOWMENT FUND SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 64-65 for musician chair endowments. Chorus Director Podium Louise Bonter

Freimann Chamber Series In Memory of Frank Freimann

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

Youth Symphony Walter W. Walb Foundation

Music Library Josephine Dodez Burns and Mildred Cross Lawson Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke

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

BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Oscar H. & Elda A. Albers* Marjorie R. Cavell* Frederick Beckman* Charlotte A. Koomjohn* 86

NOVEMBER/DECEMBER/JANUARY

Doris Latz* Sanford Rosenberg* Alice C. Thompson *Indicates Deceased

ENDOWMENT CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonicâ&#x20AC;&#x2122;s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information.

Comprehensive Campaign: Music for Everyone Anonymous (3) Edward D. & Ione B. Auer Foundation Anita Cast Will & Ginny Clark Sherrill & Sarah Colvin Mr. & Mrs.* Irwin F. Deister Jr. Ben & Sharon Eisbart David & Mary Fink Mark & Mark Kay Hagerman Family Rick & Vicki James Suzanne Light Eleanor H. Maine Dr. Scott Miller Daniel & Beth Nieter

Kevin and Tamzon Oâ&#x20AC;&#x2122;Malley Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation Owen & Jean Pritchard Foundation The Robert, Carrie and Bobbie Steck Family Foundation Chuck & Lisa Surack, Sweetwater Barbara Wachtman & Tom Skillman Donald F. Wood & Darlene M. Richardson Paul Yergens and Virginia Yergens Rogers Foundation, Inc. Daryl Yost

LAUREATE CLUB The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (23) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman Fred & Mary Anna Feitler Richard & Susan Ferguson Mrs. Edward Golden Leonard* & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Mr. & Mrs. Donald Hicks

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

Please contact the Development Office at 260.481.0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

PRELUDE 87

NOVEMBER/DECEMBER/JANUARY

Moving doesn’t have to mean letting go of your cherished possessions.

If you’re thinking about your next move but dread the thought of downsizing, at The Towne House you may not have to. With apartments of up to 1,570 sq. ft. and options for every lifestyle, we offer plenty of space for the things you hold near and dear.

The Harrison 1570 sq. ft.

You have the freedom to live as independently as you like – all the while knowing that if your lifestyle changes, our on-site services can change with you. Call 260.483.3116 to schedule your personal tour.

Lexington 1090 sq. ft.

With over 23 floorplans to choose from, visit www.townehouse.org/apartments for your perfect floorplan.

2209 St. Joe Center Road, Fort Wayne, IN 46825 CherishedPosessions_PhilHarmonic_FullPage.indd 1

●

www.townehouse.org

3/2/18 10:21 AM PRELUDE 89

your passion inspires us all. The arts serve as a source of inspiration for us all. That’s why PNC is proud to sponsor the Fort Wayne Philharmonic.

NOVEMBER/DECEMBER/JANUARY

Four vintage restored Steinway & Sons Grand Pianos in the Chupp’s Pianos Rebuilding Facility

the of the PIANO the power power of is easy to forget that the piano haspiano been around Like the piano itself, the restoration ItIt is easy to forget that the has for well over 300for years. Much has300 changed since of a vintage instrument is the result been around well over years. Bartolomeo invented his small of multiple components working in Much has Cristofori changed first since Bartolomeo and beloved Piano-Forte. What has not changed harmony to create a beautiful end result. Cristofori first invented his small and is a craftsperson’s dedication to providing the beloved Piano-Forte. What has not very finest in musical instruments. Here at For over forty years, Chupp's Piano changed is a craftsperson's dedication Chupp’s Piano Service, Inc., we have done our Service, Inc. has specialized in the fine to providing the very finest in musical part pa to ensure that the ideals of workmanship art of piano rebuilding and restoration. instruments. Here at and piano artistry are Chupp's alive andPiano well. Our facilities hold an uncommonly large selection of restored STEINWAY and Service, Inc., we have done our part to other fine quality pianos ready for you ensure that the ideals of workmanship to select from!State Road 15, New Paris, IN. and piano artistry are alive and well. Visit us online at ChuppsPianos.com - Visit us in person at 67267 Visit us online at ChuppsPianos.com - Visit us in person at 67267 State Road 15, New Paris, IN

PRELUDE 91