FORT WAYNE PHILHARMONIC PROGRAM JANUARY/FEBRUARY/MARCH 2015
PRELUDE
VOLUME 71, NO. 3 2014/15 SEASON JANUARY/FEBRUARY/MARCH
FORT WAYNE PHILHARMONIC PROGRAM Editor: Brooke Sheridan
Contributing Editors: Melysa Rogen, Jim Mancuso, Adrian Mann
Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department. Printed by Keefer Printing Company 3824 Transportation Drive 260 424-4543 We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue.
table of contents 5 14 44 46 48 49 50
Welcome Letter, Andrew Constantine Marcella Trentacosti, YCO Conductor The Phil Friends Andrew Constantine, Music Director Chia-Hsuan Lin, Assistant Conductor Benjamin Rivera, Choral Director Orchestra Roster
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David Cooke, YSO Conductor Board of Directors Staff Listing Business Partners Donors
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Julie Reiber Emily Rozek Karen Gibbons-Brown Jennifer Montone Rich Ridenour
Index of Advertisers
artist bios 11 15 16 16 17
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David Shifrin Zachary Brandon Kristine Papillon Christopher J. Murphy Adrian Mann
MASTERWORKS all mozart SATURDAY, january 10
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FAMILY MUSICAL STORYTELLING SUNDAY, JANUARY 18
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FREIMANN WEDNESDAY, JANUARY 21 SUNDAY, JANUARY 25
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POPS WICKED DIVAS SATURDAY, JANUARY 24
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MASTERWORKS TCHAIKOVSKY: REVEALED SATURDAY, FEBRUARY 7
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MASTERWORKS BEETHOVEN'S THIRD SYMPHONY SATURDAY, FEBRUARY 28
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POPS GREAT MOVIES, GRAND PIANO WITH RICH RIDENOUR SATURDAY, MARCH 7 4901 Fuller Drive, Fort Wayne, IN 46835 office: 260 481-0770 Box Office: 260 481-0777 fwphil.org
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WELCOME FROM THE MUSIC DIRECTOR There’s something about January and Mozart. I don’t just mean because it’s his birthday month, though that’s usually why he features so strongly in concert programmes, but something that is so much more cleansing, so much better for the soul. After at least a month of gorging ourselves in all manner of ways, the pure beauty, the crystalline logic and the stunning genius all serve to remind us of our debt to the great man. And when you join us on January 10th, at the Embassy Theatre, you’ll also be treating yourselves to the company of one of today’s foremost clarinetists, David Shifrin, as he beguiles us with the sublime Clarinet Concerto. Framing this are two of Mozart’s most celebrated symphonies, No. 31 Paris, and his final symphony, No. 41 Jupiter, a work which we shall never know whether the composer heard performed or not. Family concerts are an absolute must for any self-respecting, music appreciating parent or grandparent to treat their favourite young ones to. So, if musical storytelling appeals, there’s no better place to be than with The Phil at IPFW on the afternoon of Sunday, January 18th at 2:00 particularly as there’s so much to inspire on this show. The orchestra will be joined by members of the Youth Concert Orchestra and also by Young Artists Competition Winner, violinist Zachary Brandon. And, if that weren’t enough, this will be the first performance of Crumpet the Trumpet written by our very own Kristine Papillon! Chamber music aficionados get their fix around this time too with performances from our dedicated musicians on Wednesday the 21st of January at the History Center, and Sunday the 25th of January in the Recital Hall of the Rhinehart Music Center at IPFW with music by Debussy, Prokofiev and others. And between these two captivating concerts…Wicked Divas! Yes, Sweetwater Pops is back with showstoppers from Broadway, opera and popular music on the Embassy Theatre stage with favourites from the Tony Award-winning musical Wicked, selections from Gypsy, Ragtime, Titanic, Carmen and more in a night of vocal fireworks on Saturday, January 24th. Over recent years one of our most original concert presentations has been “The Composer: REVEALED”, an evening when we take you into the life of the composer through selections of music and dramatic tableaux, explore key moments of their creative and social lives, and then lead you to a performance of one of their greatest works. This season’s offering promises to be the most ‘revealing’ yet when the great Peter Tchaikovsky is put under the microscope on February 7th at the Embassy. Actor friends from around the region and members of our own Fort Wayne Ballet will help tell the dramatic and, ultimately, tragic story of one of the most beloved of classical composers. The performance culminates with his great Pathétique Symphony, a work conducted in its premiere by the composer just nine days before his death in 1893. That’s Tchaikovsky: REVEALED at the Embassy Theater on Saturday, February 7th at 7:30pm. Our next Madge Rothschild Foundation Masterworks concert for this period is on Saturday, February 28th returning once more to the lovely space at the Rhinehart Performing Arts Center at IPFW. Joining us will be the amazing Jennifer Montone as soloist in Richard Strauss’ Horn Concerto No. 1 and we conlude with Beethoven’s epoch changing Eroica Symphony. March 7th sees dazzling showman Rich Ridenour at the helm in Great Movies, Grand Piano, on a trip to Hollywood for a celebration of award-winning music from the movies. Together with The Phil he’s bringing his Hollywood favorites to you, from great film scores of Nelson Riddle and John Williams, to grand piano movie moments such as the Theme from Exodus and the Warsaw Concerto from Dangerous Moonlight. Where else would you be this season but with us at The Fort Wayne Philharmonic!
Music Director, Andrew Constantine
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MASTERWORKS All Mozart Saturday, january 10, 2015 | 7:30 PM embassy theatre Andrew Constantine, conductor David Shifrin, clarinet Paul Hauer, guest concertmaster
MOZART Symphony No. 31 in D major, K. 297 (Paris) Allegro assai Andantino Allegro MOZART Concerto in A major for Clarinet & Orchestra, K. 622 Allegro Adagio Rondo: Allegro David Shifrin, clarinet
-- Intermission --
MOZART Symphony No. 41 in C major, K. 551 (Jupiter) Allegro vivace Andante cantabile Allegretto Molto allegro
Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, January 22, at 7:00 PM.
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MASTERWORKS PROGRAM NOTES ALL MOZART Saturday, JANUARY 10, 2015
Symphony No. 31 in D Major, K. 297, “Paris” Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) On March 23, 1778, the 22-year-old Mozart, chaperoned by his mother, arrived in Paris to try to win the kind of lucrative appointment his genius deserved. But just as his similar efforts in the German city of Mannheim had failed, this stay in the French capital ultimately came to naught. Worse yet, his mother fell ill with a fever and on July 3rd she died, hundreds of miles from the family home in Salzburg. In September, young Wolfgang finally slunk home again to the boring routine of the Archbishop of Salzburg’s court. The timing of Mozart’s arrival in Paris had been disastrously bad. The city was at that moment embroiled in an operatic controversy between the followers of Christoph von Gluck and those of Niccolò Piccinni and hardly had time to notice the young genius in its midst. Moreover, Mozart once again showed little ability to play the courtly games of modesty and flattery. As his supporter Baron Friedrich Melchior von Grimm wrote to Mozart’s father, Leopold, the young man would have achieved more “with half the talent and double the shrewdness.” Mozart did, however, impress Joseph Legros, the leader of the city’s celebrated orchestral series known as the “Concert Spirituel.” Paris was perhaps the symphonic center of Europe at that time and boasted a number of fine orchestras, larger and better staffed than the ones Mozart was used to in Austria. Legros commissioned the young Salzburger to write a new symphony for the Concert Spirituel, and Mozart responded with his Symphony No. 31, which ever after has borne the name “Paris.” A work deliberately calculated to appeal to French tastes and to exploit the power, drama, and timbral possibilities of a big orchestra, it seems to have been quite a hit at its premiere on June 18, 1778. In three movements rather than the usual four, this is a symphony full of loud full-orchestra passages, grand gestures, and brilliant scales, set off against gracious, softer passages for violins and woodwinds. In the first movement, we hear this contrast immediately: four big
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D-major chords followed by a “Mannheim skyrocket” scale (a trick Mozart had picked up from his previous stay in that city) and then a soft, rather feminine response from the violins. Opening with a kitten’s-paw phrase for the violins, the second thematic group seduces us with a family of charming melodies, the last one being the one the Paris audience loved the most, tiptoeing upward on staccato little feet. After a brief, quiet development, the recapitulation brings back the opening chords and skyrocket scale, making them grander and more dramatic than before. Mozart actually wrote two different Andante movements for this Symphony’s second movement, but we’ll hear the one more commonly used today, which is in G major and a simplified rondo form. With the trumpets and timpani temporarily silenced, this music continues the style of the first movement’s softer passages. Its opening refrain theme is all languishing sighs and feminine grace. This refrain alternates with an episode that contrasts lovely, airy music emphasizing violins and flutes with a darkly assertive idea for all the strings in unison. Back in D major, the finale opens with a surprising passage: the first violins sighing off the beat over the scampering of the second violins. The movement’s second theme, rising slowly before whirling away, is introduced in canon between the first and second violins. But Mozart gives it up quickly for a wild excursion into the minor mode. In the development section, though, he expands this theme into a wondrous fugato, with the theme ignited over and over throughout the orchestra. The Symphony closes with the full orchestra blazing away in a way guaranteed to thrill the Parisians.
Clarinet Concerto in A Major, K. 622 Wolfgang Amadeus Mozart Mozart’s last year was one of his most prolific composing periods — almost as if he knew he was racing against the clock. By that time, the clarinet, with its fascinating chameleon character, had become probably his favorite instrument — certainly his favorite wind instrument. It was quite a newcomer in 1791, having only been introduced into orchestras around 1770.
One of its finest players was Anton Stadler, whom Mozart had met in 1784 and subsequently befriended. Stadler seems to have been a rather shady character, and Mozart’s wife and family disapproved of him, especially when he borrowed a considerable sum of money from the composer who was himself deep in debt. But Mozart liked Stadler’s lighthearted nature and greatly admired his artistry. For Stadler he composed his best-loved chamber work, the Clarinet Quintet, as well as the Clarinet Concerto. Stadler loved the clarinet’s low register and designed a slightly longer version, known as the basset clarinet, which added two more pitches on the bottom. And so Mozart wrote his concerto for this modified clarinet, giving much emphasis to its lower range. Throughout, he showed his great love and thorough understanding of the instrument’s special qualities: its singing ability and sparkling agility, its capacity to move easily between comedy and tragedy. However, sometime after his death, his original score was lost. The concerto we hear today is a version Mozart’s publisher edited so it could be played by clarinets without Stadler’s low extension. A mood of gracious lyricism prevails in the first movement. Mozart chose a softer-toned orchestral ensemble — gentle flutes instead of the more penetrating oboes, no brass except for two horns — to set his soloist in high relief. Graceful, flowing melodies abound, exploiting the clarinet’s rich singing tone. But soon after its entrance, the clarinet flies free of the orchestra’s theme to show off its coloratura abilities and the exciting contrasts between its lowest and highest notes. There is also melancholy in this outwardly serene music, and after its initial gymnastics, the clarinet expresses this in a slightly mournful melody in the minor mode. The clarinet’s most haunting tones are displayed in the Adagio second movement, one of Mozart’s most sublime slow movements. Here the clarinet becomes a great operatic diva, its drooping phrases singing of loneliness and loss. Mozart experienced considerable depression in his last year and had often remarked that he did not expect a long life. His music frequently expresses a profound sense of life’s transitory nature and the sadness that hides behind beauty — and never more poignantly than here. Such thoughts of mortality are mostly pushed aside in the merry rondo finale. The clarinet leads off with a chirpy rondo refrain exploiting the instrument’s comic side. But high comedy also includes room for more serious emotions, as Mozart had demonstrated over and over in his great comic operas. And thus, between returns of this refrain, he develops other melodies in surprisingly moving ways, and his adventurous harmonies wander into darker minor-key
territory. However, Mozart never forgets who is the star and gives the clarinetist plentiful opportunities to show off his fleet virtuosity.
Symphony No. 41 in C Major, K. 551, “Jupiter” Wolfgang Amadeus Mozart Mozart did not actually call his last and most famous symphony, completed on August 10, 1788, the “Jupiter.” According to his son Franz Xaver Mozart, it was the London impresario Johann Peter Salomon (the same man who engineered Haydn’s spectacular London career in the 1790s) who devised this nickname as a catchy advertising device for the symphony’s London performances in 1819. Why might Salomon have chosen the name of the thunderbolt-hurling chief of the Roman gods for this work? Certainly it is the loftiest and most magisterial of Mozart’s symphonies, with a formal and ceremonial quality in keeping with its key of C major. Although today we think of C major as the plainest and most basic of keys — all white notes on the piano — in the late 18th century it was usually associated with court and high-church pomp since it was well suited to the valveless trumpets of the period. And we find two of them adding brilliance to this work, along with the timpani that invariably accompanied them. The ceremonial quality, however, extends far beyond key and scoring. Throughout this work, there is a majesty of conception we find in no other Mozart symphony. Its melodic themes are more formal and less personal than those he created for its two companions, Symphonies 39 and 40; Donald Francis Tovey called them not only formal but formulas: stock musical gestures used over and over by composers in the late 18th century. The originality and greatness of “Jupiter” are not to be found in the materials Mozart used but in how he used them. The dramatic intensity of the sonata-form first movement reflects Mozart’s opera Don Giovanni, which had received its Viennese premiere just three months earlier. And in the three major theme groups of this movement, we experience the emotional versatility that made Mozart a peerless operatic composer. First, the bold, masculine opening music: imperial and full of courtly flourishes, with overtones of bombast and militarism ironically recalling the ongoing Austrian-Turkish hostilities that were then curtailing Mozart’s concert activities. Next, music of feminine lyricism and tenderness for the violins and woodwinds. Finally, a sassy little melody, also launched by the violins; this is taken from a comic aria “Il bacio di mano”
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(“A Kiss of the Hand”) Mozart had recently written. Interestingly, it is this impudent tune that generates one of Mozart’s most exciting development sections, in which we hear the first stirrings of the contrapuntal splendor he will unleash in the finale. In the slow movements of his last three symphonies Mozart sent initially innocentsounding melodies on dangerous journeys. Here, a gently melancholy theme in F major soon enters a dark and agitated world in C minor. The movement’s development section travels farther into this thicket, full of painfully dissonant thorns. When the opening music finally returns, the innocent melody has taken on new dimensions of maturity and wisdom. The third-movement minuet provides the most conventional music: a formal dance for an imperial ballroom. In the middle trio section, Mozart slyly puts the cart before the horse by beginning most phrases with a closing cadence in the woodwinds to which the violins must provide a suitable opening. And here, too, listen for a loud preview of the famous four-note theme that will spark the finale. Mozart leaves the best to last. Throughout the 1780s, he had studied counterpoint — the art of weaving together many independent musical lines — with passionate interest and had poured over the scores of J. S. Bach. But rather than a ponderous display of contrapuntal erudition, he uses the intricate interplay of his instrumental lines here to create an overwhelming sense of richness and excitement. Mozart weaves his magic with a half-dozen pithy themes, beginning with the sturdy opening four-note motive. Derived from Gregorian chant, this theme was a musical cliché of the period, used frequently by other composers as well as Mozart himself in earlier works. But again the artistry is not in the “what” but in the “how.” The apotheosis comes in the closing moments of the symphony when Mozart sets five of his themes spinning together in a double fugue, revealing, in Elaine Sisman’s words, “vistas of contrapuntal infinity.” Notes by Janet E. Bedell copyright 2014
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artist biography DAVID SHIFRIN, cLARINET One of only two wind players to have been awarded the Avery Fisher Prize since the award’s inception in 1974, Mr. Shifrin is in constant demand as an orchestral soloist, recitalist and chamber music collaborator. Mr. Shifrin has appeared with the Philadelphia and Minnesota Orchestras and the Dallas, Seattle, Houston, Milwaukee, Detroit and Phoenix symphonies among many others in the US, and internationally with orchestras in Italy, Switzerland, Germany, Japan, Korea and Taiwan. In addition, he has served as principal clarinetist with the Cleveland Orchestra, American Symphony Orchestra (under Stokowski), the Honolulu and Dallas symphonies, the Los Angeles Chamber Orchestra and New York Chamber Symphony. Mr. Shifrin has also received critical acclaim as a recitalist, appearing at such venues as Alice Tully Hall, Weill Recital Hall and Zankel Hall at Carnegie Hall and the 92nd Street Y in New York City as well as at the Library of Congress in Washington D.C. A sought after chamber musician, he has collaborated frequently with such distinguished ensembles and artists as the Tokyo and Emerson String Quartets, Wynton Marsalis, and pianists Emanuel Ax and André Watts. An artist member of the Chamber Music Society of Lincoln Center since 1989, David Shifrin served as its artistic director from 1992 to 2004. He has toured extensively throughout the US with CMSLC and hosted and performed in several national television broadcasts on PBS’s Live From Lincoln Center. He has been the Artistic Director of Chamber Music Northwest in Portland, Oregon since 1981 and is also the Artistic Director of the Phoenix Chamber Music Festival. David Shifrin joined the faculty at the Yale School of Music in 1987 and was appointed Artistic Director of the Chamber Music Society of Yale and Yale’s annual concert series at Carnegie Hall in September 2008. He has also served on the faculties of The Juilliard School, University of Southern California, University of Michigan, Cleveland Institute of Music and the University of Hawaii. In 2007, he was awarded an honorary professorship at China’s Central Conservatory in Beijing.
in its original version on a specially built basset clarinet, was named Record of the Year by Stereo Review. Both the recording of the Copland Clarinet Concerto and a 2008 recording of Leonard Bernstein’s Clarinet Sonata with pianist Anne-Marie McDermott have been released on iTunes via Angel/EMI and Deutsche Grammophon. His latest recordings are Shifrin Plays Schifrin (Aleph Records), a collection of clarinet works by composer/conductor Lalo Schifrin, and the Beethoven, Bruch and Brahms Clarinet Trios with cellist David Finckel and pianist Wu Han on the ArtistLed label. Mr. Shifrin continues to broaden the repertoire for clarinet and orchestra by commissioning and championing the works of 20th and 21st century American composers including, among others, John Adams, Joan Tower, Stephen Albert, Bruce Adolphe, Ezra Laderman, Lalo Schifrin, David Schiff, John Corigliano, Bright Sheng and Ellen Zwilich. In addition to the Avery Fisher Prize, David Shifrin is the recipient of a Solo Recitalists’ Fellowship from the National Endowment for the Arts and the 1998 Distinguished Alumnus Award from the Music Academy of the West. At the outset of his career, he won the top prize at both the Munich and the Geneva International Competitions. Mr. Shifrin is a Yamaha Performing Artist and makes his home in Connecticut.
Mr. Shifrin’s recordings on Delos, DGG, Angel/ EMI, Arabesque, BMG, SONY and CRI have consistently garnered praise and awards. He has received three Grammy nominations and his recording of the Mozart Clarinet Concerto with the Mostly Mozart Festival Orchestra, performed
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FA M I LY MUSICAL STORYTELLING concert Sponsored by Jeff Sebeika in memory of Fran & Bob Sebeika SUNDAY, JANUARY 18, 2015 | 2:00 PM RHINEHART MUSIC CENTER, IPFW Chia-Hsuan Lin, conductor Christopher j. Murphy, narrator Zachary brandon, violin, Young Artist competition winner Youth Concert Orchestra, Marcy Trentacosti, director
PROKOFIEV March from The Love of the Three Oranges Youth Concert Orchestra Story by Kristine Papillon Music by Vivaldi et al.
Crumpet the Trumpet
PROKOFIEV Allegro, ben marcato from Concerto No. 2 in G minor for Violin & Orchestra, op. 63 Zachary Brandon, violin Story by Chris Murphy Music by Adrian Mann
The Journey of Johnny TinCap
ANDERSON-LOPEZ & LOPEZ
Music from FROZEN
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yco conductor marcella trentacosti Born and raised in Allentown, Pennsylvania Marcy has been a full-time section violinist in The Fort Wayne Philharmonic since 1976. She graduated from Indiana University in 1981 with a Bachelor of Music Education and in August of 2008 received her Master of Music from Bowling Green State University, Bowling Green, Ohio. Marcy participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago; Bach, Beethoven, Breckenridge Music Festival and was Concertmaster of the Marion Philharmonic for 8 years. She taught Orchestra at Snider High School, Woodside Middle School, Canterbury School, and Blue Lake Fine Arts Camp. Marcy maintains a private teaching studio and teaches for the IPFW Community Arts Academy in addition to serving as an IPFW Limited Term Lecturer and the director of the IPFW Summer String Camp. She served as the manager and a string coach for the Fort Wayne Youth Symphony. As an active member of the Fort Wayne Alumnae Chapter of Sigma Alpha Iota, presently Co-Chair VP Program , she has held the office of Recording Secretary and President.
Recently , in 2012 she received an Arts United Artie Award for “Outstanding Music Educator.” Presently , as a full time section violinist with the Fort Wayne Philharmonic she is also the conductor of the newly formed Youth Concert Orchestra since 2010. Her teachers include Anne Rylands, Henryk Kowalski(IU), Victor Aitay (former coconcertmaster of the Chicago Symphony), Lawerence Shapiro, and Dr. Penny Thompson-Kruse. Marcy is married to bassoonist, Mike Trentacosti who has since retired from FOX Products. They have 4 children - Mike Jr., Tony, Nick and Lauren plus 4 grandchildren and of course their 2 sweet dogs…Ross & Lanie (a sheltie).
youth concert orchestra roster Violin 1 Mishael Paraiso Lydia Bingamon Mikhayla Palicte Grace Jiang Hannah Hobson Natalie Lindquist Julia Eifert Alexis Clarke Grace Lee Violin 2 Wendy Kleintank Allison Deshaies Sydnee Fritz Clara Bingamon Cami Crawford Leeza Gallagher Krissy Brumbaugh Addison Agen Daniel Liu Sophie St. John Tyler Li Owen Dankert
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viola Grace Henschen Cello Maria Teel Caleb Remocaldo Jeremiah Tsai Sam Scheele Shaan Patel Kyra Warren Edward Sun Flute Sarah Hobson Megan Tarlton Colleen Williamson Oboe Rachel Gripp Clarinet Johanna Ashley Connor Meeks
2015
Bassoon Kyle Peters Gillian Anders
Percussion Evelyn Rowdabaugh Teddy Tsai
French Horn Jenny Horne Claire Braun Megan Merz
Piano Lucas Drake
Trumpet Sam Parnin Alexander Angel Audrey Germain Kirsten Horne Drew O’Neal Trombone Isaac Lambert Paul Ward Tuba Josh Vandre
Harp Micaela Yaste Cora Snyder
artist biography zachary brandon, violin Zachary Brandon, 15, is a scholarship recipient and member of the Music Institute of Chicago’s Academy (MIC) program where he has studied violin with MIC artist faculty member HyeSun Lee and Almita Vamos. Zachary has won numerous Young Soloist Competitions including Kalamazoo Junior Symphony, Kalamazoo Symphony Orchestra, Lansing Symphony, Fort Wayne Symphony, and Toledo Symphony. He also won first place winner at the Society of American Musicians (SAM), Sejong, Musicchorale, Grandquest and Confucius Music Competitions and was a semi-finalist at the International Stradivarius String Competition. He has been invited to solo with the Battle Creek Symphony, Kalamazoo Junior Symphony, Kalamazoo Symphony, Lansing Symphony and Toledo Symphony. He has performed as one of
the soloists with New World Symphony under Michael Tilson Thomas. Zachary has been named the Merit Winner of National Young Arts in 2013. He is also an active chamber musician. His chamber group has advanced to the quarter-final for the National Fischoff Chamber competition. He has had master classes with Bella Keys, Miriam Fried, Rachel Barton Pine, William VanderSloot, Midori, James Ehnes and Joel Smirnoff.
artist biography kristine papillon Born in North Tarrytown, New York, Kristine has been painting and playing the violin since she was a young girl. She holds a B.A. in Violin Performance from the New England Conservatory of Music, studying under James Buswell. Kristine became a Tanglewood Music Center Fellow and has performed in the New World Symphony, the Hartford Symphony, the Nashville Symphony, and now the Fort Wayne Philharmonic. She also served as Concertmaster for several Broadway touring
productions and for the Tennessee Opera. Kristine lives with her husband André and three children in Fort Wayne, Indiana.
christopher j. murphy Christopher J. Murphy (Producer/Director) is an award-winning actor and director whose works have been seen on stages as far away as the Virginia State Symphony and as near to home as Arena Dinner Theatre, First Presbyterian Theatre, the Fort Wayne Civic Theatre and the Fort Wayne Youtheatre. Most recently, he directed FPT’s The Foreigner and Arena Dinner Theatre’s Company. Additional credits include the Summit City premieres of The Fox on the Fairway, The 39 Steps and Boeing Boeing (Director), as well as Dirty Rotten Scoundrels (Lawrence Jameson) and Moonlight & Magnolias (Director). He has collaborated with Grammy and Tony-winning composer Rupert Holmes on a revised version of The Mystery of Edwin Drood for Arena Dinner Theatre and with Emmy Award-winner Mark Kistler on a new performing arts camp in Houston, Texas. Murphy is the Director
of Theatre at Blackhawk Middle School and has served as a Master Teacher with F.A.M.E. (Foundation for Art and Music Education) for the past ten years. He is pleased to return to the Phil for his fourth season as a producer, director, writer and performer.
beethoven lives upstairs
Sunday, April 12, 2015 | 2:00pm RHINEHART MUSIC CENTER, IPFW S TA R
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artist biography adrian mann Adrian joined the Fort Wayne Philharmonic in 1973 as Principal Bass. Additional positions he has held over the years with the Phil include Personnel Manager, Director of In-School Presentations, Director of Gallery Concerts, Arranger, Stage Manager and Librarian. He holds an Artist Diploma from the New School of Music and a Master of Music and D.M.A. from Catholic University of America. Before coming to Fort Wayne, Adrian performed with the U.S. Marine Band and White House Orchestra, the Richmond Symphony, and the Orchestra International Iuventus of Salerno Italy. He has served on the faculties of IPFW, the Eastern Music Festival and Oberlin Conservatory; and was Director of Music and Liturgy at St. Joseph Hessen Cassel Church for 20 years. He studied theory with Matthew Colucci and composition with Seymour Barab. As a composer, he has received commissions from Trinity English Lutheran Church, Heartland Chamber Chorale,
Northeast Indiana Suzuki Talent Education, Concordia Lutheran High School, and FAME. His arrangements have been performed by many orchestras including those of Pittsburgh, Toronto, Milwaukee, San Diego and Cincinnati. Since 1990 the Phil has performed over 75 of his arrangements and more than a dozen original compositions. Today’s premiere of “The Journey of Johnny TinCap” marks his first collaboration with Christopher Murphy.
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F R E I M A N N
Wednesday, January 21, 2015 | 7:30 PM Fort Wayne History Center Sunday, January 25, 2015 | 2:30 PM Rhinehart music center, ipfw DEBUSSY Sonata for Flute, Viola and Harp Pastorale Interlude Final Vivianne BĂŠlanger, flute Debra Welter, viola Anne Preucil Lewellen, harp PROKOFIEV Sonata for Flute and Piano in D major, op. 94 Vivianne BĂŠlanger, flute Alexander Klepach, piano
-- Intermission --
EWALD Brass Quintet No. 2 Alan Severs, trumpet Dan Ross, trumpet Jay Remissong, horn David Cooke, trombone Sam Gnagey, tuba MARTINU Nonet Poco allegro Andante Allegretto Jessica Warren, flute Orion Rapp, oboe Campbell MacDonald, clarinet Dennis Fick, bassoon Michael Lewellen, horn David Ling, violin Debra Graham, viola Andre Gaskins, cello Adrian Mann, contrabass
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FREIMANN PROGRAM NOTES FREIMANN WEDNESDAY, january 21 & SUNDAY, january 25, 2015 Sonata for Flute, Viola and Harp
Sonata for Flute and Piano, Op. 94
Claude Debussy (1862 - 1918)
Sergei Prokofiev (1891 - 1953)
Fans of Debussy, the French impressionistic composer, should enjoy this selection for it features so much of what made the composer famous. Debussy’s use of ambiguous harmonies make for a serene landscape, and his rather light orchestration with a lack of a true bass instrument keeps the mood playful and pleasant. Also interesting is the way Debussy treats all three instruments as equals having each player provide both accompanimental and longer melodic lines.
Prokofiev’s Sonata for Flute and Piano is probably more often heard on violin but was originally premiered in 1943 by the flutist Kharkovsky with Sviatoslov Richter on piano. The famous violinist David Oistrakh was in attendance and after hearing the work convinced Prokofiev to transcribe the piece for violin. However, when comparing the two approaches the original version for flute offers a considerable charm and character that is likely lost on the violin.
Debussy wrote this piece in 1915, quite late in the composer’s life. His later sonatas are considered quite different than his earlier, perhaps more avant-garde works such as his string quartet in g minor. Debussy intended to complete six sonatas in this cycle but his death in 1918 allowed for only three of them to be finished. This selection, along with his cello and his violin sonata, represent a much simpler style while still forward thinking in terms of harmony and structure. Also apparent is Debussy’s inspiration from his world travels with hints of jazz-like improvisation on top of Spanish and even Asian undertones. One typically views Russian and French music as polar opposites, yet Debussy was also heavily influenced by the great Russian composers of the time such as Tchaikovsky and Rimsky-Korsakov. The best way to describe these world influences are as if one was sipping a glass of wine and they were to notice the subtle aftertaste of some herb or spice also grown in the region. The work is in three movements, with the first two setting up a calmer and open sound often associated with Debussy. The third movement is quite a bit more energetic and opens with a guitar-like passage in the harp. The three instruments later trade schizophrenic flourishes and agitated motion for a stark and exciting contrast to the earlier movements. The entire piece clocks in at about 16 minutes, but feels much shorter due to its clever and engaging composition.
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It often makes for engaging dinner conversation, at least in musicians' circles, to compare a composer’s chamber compositions with the other large-scale works composed around the same time. For instance, in the early 1940’s Prokofiev also penned his popular ballet of Cinderella and his monumental Fifth Symphony. Much of the lighthearted nature from the ballet can be heard in this sonata, and despite the darker tone of the Fifth Symphony, many of its more lively melodies remind the listener of the flute and piano work. Structurally, the piece is similar to the Fifth Symphony for it features a moderate tempo in the first movement, followed by a playful and humorous scherzo, a sombre and beautiful slow movement, then ending with a thrilling and heart-pounding finale. When it comes to 20th century Russian music, no other composer blends humor, drama, vivid colors, clever harmony, and charm like Prokofiev. Yet despite the lighter moods often present in this particular piece, it is without a doubt extremely difficult to execute.
Victor Ewald (1860 - 1935) Brass Quintet No. 2 in E Flat Major Ewald shares a place amongst a select group of composers such as Charles Ives, and Alexander Borodin, who achieved a certain amount of longevity despite also having day jobs. Ewald was a Russian civil engineer by day and joined a group of elite and well-trained amateur music enthusiasts at night to pen and perform many substantial works. He was a cellist and performed with the Beliaeff Quartet, a group responsible for premiering many well-known Russian compositions. His teacher at St. Petersburg conservatory was Karl Davidov, a
cello virtuoso who wrote fiendishly difficult concert pieces for the instrument. Yet despite Ewald’s aptitude at string instruments he is most remembered today for his contributions to the brass quintet canon. Seemingly, composers of the late 1800s and early 1900s were missing out on the niche market of compositions for two trumpets, trombone, french horn, and tuba because there is relatively little competition in this medium. Luckily, more composers caught on by the middle of the next century with the rise of popularity in wind bands but Ewald remains to be one of the few names heard when referencing brass music heard from this time period. Written in 1905, the composition shows influences by the other composers Ewald’s group of elite amateurs often rubbed shoulders with including Tchaikovsky, Scriabin, and Cuy. The work is in three movements with a fanfare like opening movement, a slow theme and variations middle movement featuring a “marche funebre” opening theme, and then a much more cheerful finale with several fast “double-tonguing” passages from the trumpets. Yet despite the trumpets stealing the show with their quick passage-work, the piece requires a substantial flexibility from the lower brass to keep up with the fast paced finale. Ewald decides to end the work on a somber note with the energy slowing down to a quiet chorale-like finish.
influences of Bohemia. In fact, the music pairs quite well with the charm and humor of Prokofiev’s works. The opening movement is reminiscent of a classical symphony with a distinctive folksy twist. The second movement is a slower andante which features the string section in the beginning accompanying a soaring cello solo. The winds join in later with gentle and flowing passages to make for some beautiful and poetic music. The third returns to the more Bohemian character of the first movement with a primarily dance-like feel but several disjunct interjections add variety and playfulness to the finale. In an evening featuring lots of late 19th to mid 20th-century chamber music this piece serves as the perfect culmination of the numerous styles and influences heard on tonight's program. Program Notes by Ed Stevens 2014
Nonet Bohuslav Martinu (1890-1959) It is pretty seldom one hears the word “Nonet” in classical music since when an ensemble gets up to nine players it is starting to approach something that looks a bit closer to a chamber orchestra. However, the size and makeup of this ensemble has been used on numerous occasions and was popularized by the mid-19th century transitional German composer Louis Spohr. The traditional “nonet” includes flute, oboe, clarinet, bassoon, horn, violin, viola, cello and contrabass and is featured in Martinu’s take on the medium. Bohuslav Martinu was a Czech composer who wrote this piece to commemorate the 35th anniversary of the Czech Nonet ensemble, which had the distinction of being the only official and permanent group of its kind. It was one of the last compositions Martinu wrote and was finished in 1959, shortly before cancer claimed his life. Bohuslav Martinu composed two nonets in his lifetime, but it is only the second that is ever performed and celebrated. The work is in three movements and combines a cheerful classical character with the folk
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wicked divas Concert sponsored by do it best corp.
Saturday, January 24, 2015 | 7:30 PM Embassy Theatre Chia-Hsuan Lin, conductor Julie Reiber, vocalist Emily Rozek, vocalist STYNE / Arr. Bennett Overture to Gypsy BIZET Selections from Carmen Seguidilla, from Suite No. 1 Habanera, from Suite No. 2 Les Toreadors, from Suite No. 1 KANDER / Arr. McKibbins
Introduction and All That Jazz from Chicago
LERNER & LOEWE
I Could Have Danced All Night from My Fair Lady
FLAHERTY
Back To Before from Ragtime
FLAHERTY / Arr. Reineke Ragtime from Ragtime WEBBER / Arr. Cullen Think Of Me from Phantom of the Opera KANDER & EBB / Arr. McKibbins Ring Them Bells GARCIA / Arr. Reineke Conga
-- Intermission –
VARIOUS / Arr. Reineke
I Hear a Symphony: Symphonic Sounds of Diana Ross
programming continued on page 24.
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wicked divas programming continued from page 23.
JABARA & ROBERTS / Arr. Barton
No More Tears (Enough is Enough)
TESORI & SCANLAN
Gimme Gimme from Thoroughly Modern Millie
PRUZ & IDLE / Arr. Firth
Diva’s Lament from Spamalot
ARLEN & HARBURG / Over the Rainbow from The Wizard Arr. Henderson of Oz SCHWARTZ / Arr. Brohn Popular from Wicked SCHWARTZ / Arr. Fleischer Defying Gravity from Wicked SCHWARTZ / Arr. Ziyo For Good from Wicked
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artist biography julie reiber, vocalist Julie Reiber thrilled theatre audiences as Elphaba, Broadway’s most iconic leading lady of the new millennium. She first performed the role with the original Los Angeles cast of Wicked and later played the famous green girl on the stage of the Gershwin Theatre on Broadway. Most recently, Ms. Reiber starred as Marion in Priscilla Queen of the Desert at the iconic Palace Theatre. She has also been seen on Broadway as Brooklyn in Bklyn, Natalie/Ed in All Shook Up and working along side Harry Connick Jr. in Michael Mayer’s revival of On a Clear Day You Can See Forever. Her offBroadway credits include Vanities at Second Stage Theatre and Ministry of Progress at the Jane Street Theatre. Ms. Reiber’s versatility allows her to play a wide range of roles and sing in many styles. Classically trained with a BFA in Vocal Performance and a minor in Acting from Western Washington University, Ms. Reiber has the ability to belt out such roles as Maureen in the National Tour of RENT, perform more legit roles such as Rose Stopnick in Tony Kushner’s Caroline or Change at the Guthrie Theater in Minneapolis, MN and sooth audiences with her sultry jazz voice as Betty Haynes in the classic White Christmas at the Walnut Street Theatre in Philadelphia, PA. Ms. Reiber starred as the quirky, outlandish Connie Bradshaw in the World Premiere performance of Tales of the City at A.C.T. in San Francisco singing the music of the Scissor Sisters. Other favorite regional performances include Cathy in Jason Robert Brown’s The Last Five Years at the Berkshire Theatre Festival, Turn Back O Man in Godspell at the Paper Mill Playhouse and Amneris in AIDA (Henry Award Best Supporting Actress) at The Arvada Center. Ms. Reiber has performed with symphonies across the world. She was seen as Emma in the concert version of Jekyll and Hyde with the Korean Symphony in the Olympic Hall in Seoul, Korea. Also starring in The Beat Goes On- The Music of the 60’s, conducted by Jack Everly, she performed with numerous American symphonies across the country. Ms. Reiber also wowed audiences with her stunning rendition of the Star Spangled Banner at Dodgers Stadium as well as The Tacoma Dome in Washington State.
As a singer/songwriter Ms. Reiber has conceived and performed numerous solo shows in New York, but most recently her greatest solo achievement to date is releasing her Debut Solo Album, Love Travels, which was released in April of 2012. Recorded at the legendary Avatar Studios, the album is a fusion of Broadway, pop, folk and R&B/soul. Please visit www.juliereiber.com for more info and to purchase the album.
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artist biography emily rozek, vocalist Emily Rozek was most recently seen starring as Glinda in the Broadway hit Wicked. Upon her graduation from the Boston Conservatory she made her professional debut as the principal role of Winnie Tate in Annie Get Your Gun starring Bernadette Peters. She went on to understudy and perform the lead roles of Millie Dillmount and Miss Dorothy in Broadway’s Thoroughly Modern Millie. She has also been on National Broadway tours such as Sunset Boulevard as Mary and South Pacific as Nellie Forbush. Regional Credits include Marta in Company, staring with acclaimed and award winning actress Donna McKechnie, Maggie in A Chorus Line, Lizzie in Baby and, most recently, Polly in Crazy for You. She spent 4 years in Los Angeles making appearances in various concerts such as Two’s Company, a tribute to the great composers, Alan Menkin
and Stephen Schwartz. She was also featured in the Ford Theatre’s Broadway Unplugged Concert. She has also appeared as a guest soloist in Wicked Divas with the St. Louis Symphony, Fresno Philharmonic, Vancouver Symphony, Arkansas Symphony, Hamilton Philharmonic and the Reno Philharmonic. Upcoming performances include Santa Rosa Symphony, Elgin Symphony, Anchorage Symphony and Springfield, MO.
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MASTERWORKS tchaikovsky: revealed Concert sponsored by lincoln financial foundation
Saturday, FEBRUARY 7, 2015 | 7:30 PM embassy theatre Andrew Constantine, conductor Eliot Heaton, guest concertmaster Christopher J. Murphy, director Fort Wayne Ballet, Karen Gibbons-Brown, Artistic Director
TCHAIKOVSKY Selections
-- Intermission --
TCHAIKOVSKY Symphony No. 6 in B minor, op. 74 (PathĂŠtique) Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso
Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, February 19, at 7:00 PM.
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artist biography karen gibbons-brown Karen Gibbons-Brown’s resume contains an impressive list of credentials. She began her early training in Columbia, South Carolina under Ann Brodie, Naomi Calvert and Aldolphina Suarez-More. Her early training and performing included ballet as well as modern, jazz, tap, and theater dance. She continued her studies at American Ballet Theatre with Maria Swoboda, Michael Lland, Patricia Wilde and Leon Danelian and studied on scholarship at David Howard School of Ballet. Her professional experiences also include South Carolina Chamber Dance Ensemble, Ballet Celeste, Bristol Ballet and the Theatre Ballet of San Francisco where she recreated Anna Pavlova’s roles The California Poppy and The Dragonfly. Other performing highlights include performances at the Spoleto Festival in Charleston, South Carolina, the title role in Cinderella, The Sugar Plum Fairy in The Nutcracker, Swanilda in Coppélia, Aurora in The Sleeping Beauty and “Spring Waters” pas de deux an exciting display of partnering created by the great Russian Asaf Messerer. Ms. Gibbons-Brown considers herself fortunate to have had a few works created especially for her including solos, Pentimento by Jill Eathorne Barr and the role of Anna in Richard Monroe’s work, The Hussar. Throughout her career, she has made numerous guest appearances throughout the United States. Ms. Gibbons-Brown is known for her work in the classroom and enjoys teaching a variety of dance related subjects including ballet, pointe, repertoire, terminology, dance history, pedagogue and makeup and hair for stage as well as restaging major classical works. She has often been invited to teach guest classes and workshops including Sicily, Italy, Fontenay le Fleury, France and the prestigious Joffrey San Antonio Workshop under the directorship of her mentor Jeremy Blanton. She received her certification in Labanotation while serving on the faculty of Virginia Intermont
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College under the direction of Constance Hardinge and served as Ballet Mistress for John McFall as he created his production of The Nutcracker for Atlanta Ballet, In 1985, Ms. Gibbons-Brown founded the Kingsport Guild of Ballet and became Artistic Director of the State of Franklin Dance Alliance at its inception in 1988. Other dance administrative duties include serving on the Tennessee Association Board of Directors in many capacities including president and serving on the Performing Arts Panel for the Tennessee Arts Commission. She assumed directorship of Fort Wayne Ballet in August 1998. Other career highlights include Outstanding Dance Artist Award in 1997, serving as a juror for Concours International de Danse Classique in Paris, France in 2000, a 2002 graduate of Leadership Fort Wayne and being listed in Who’s Who in the 21st Century. In 2010, a new book authored by renowned choreographer Dean Speer, entitled On Technique, identifies Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. Her other full time job is spending time with her husband, Jim, and children Watson, Madison, Hannah, Zachary, Raleigh, and a sundry of dogs.
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Saturday, May 2, 2015 | 2:00pm & 7:30PM | EMBASSY THEATRE
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MASTERWORKS PROGRAM NOTES tchaikovsky : r e v e a l e d Saturday, february 7, 2015 My whole idea behind “The Composer: REVEALED” series was to bring to us all, listeners and performers, a greater degree of both context and acquaintance with the lives of great composers. To be revealing was more important to me than trying to be revelatory because only then can we begin to share the composer’s ideas and inspirations. Whilst now they have, in many instances, become distant historical figures, by hinting at (and that’s all we can ever do) some of the key and formative moments of their lives we can feel more immediately at ease with both their message and their music. Tonight we explore the world of one of the most beloved of all classical composers, Peter Ilyich Tchaikovsky. Seen by so many as neurotic and hyper-sensitive, his path in music was far from smooth yet while his studies came later in life, not untypical for nineteenth century Russian musicians, by the time of his death at 53 he was an international figure of enormous reputation and the leading cultural figure of both the Russian people and the Russian establishment. When we ask questions about his death, and the ‘mystery’ surrounding it, this latter fact is an important one to bear in mind. An organized conspiracy either from the family, State or the School of Jurisprudence? Neither seems likely if we are to believe some of the latest studies and assumptions. At this distance that’s all they can be, informed assumptions, and we’ll have to settle ourselves with that. The laws regarding homosexuality in the late nineteenth century were less than draconian and were hardly ever acted upon anyway. Someone with Tchaikovsky’s stature not only had the most prominent and influential of friends to help him, he was a national icon whose reputation would have been protected if there were any attempts to sully it. Even today, the questionable policies of the current Russian regime are in a state of denial in an attempt to maintain a persona of Tchaikovsky which is beyond ‘reproach’. And as for suicide, why? He was happier than he had ever been with great adventures before him. It seems illogical given his disposition, that he would spend the early hours of his final illness setting in motion plans for future concerts and appearances abroad that 32
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would not only have required an incredible degree of equanimity at this most traumatic of junctures, but would have been totally contrary to his life’s interactions with others. There are still other theories worthy of an Agatha Christie novel that require an amazing amount of not only collusion, but also the suspense of disbelief if they are to be considered. That they could have held strong and un-exposed over a hundred years later is highly unlikely given the degree of probing and questioning of survivors well into the twentieth century. Tchaikovsky died a horrible and excruciating death at an age far sooner than he should have done. That the world was denied more musical gems is undeniable but, at the end of the day, we have the comfort of the many masterpieces that bring real and intense joy to people over 120 years after the composer’s death. We can, all of us, help to reveal their beauty to many more generations that follow. Notes by Andrew Constantine copyright 2014 Symphony No. 6 in B Minor, “Pathétique” Peter Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) Tchaikovsky’s last and greatest symphony, the “Pathétique,” with its dark and death-haunted first and last movements and its extraordinary highs and lows, epitomizes its creator. And Tchaikovsky seemed to know this as he completed it in August 1893. “I definitely think it is by far the best and in particular … the most sincere of all my pieces. I love it as I have never loved any other of my musical children,” he wrote to his nephew and the piece’s dedicatee, Vladimir “Bob” Davydov. With its dying finale — unprecedented for a symphony at this time, though it would be much copied afterward — the Symphony mostly bewildered the St. Petersburg audience at its premiere under the composer’s baton on October 28, 1893. But eight days later, Tchaikovsky suddenly died of cholera (though rumors of suicide persist to this day), and this eerie coincidence with a work that seemed to foretell his own death vaulted the “Pathétique” into a fame it has never lost.
However, as the composer began this work in February 1893 he was probably thinking of death — always a morbid obsession with him — only as a fearful abstraction. The last year of his life was a good one. He was enjoying his international fame — earning an honorary doctorate from Cambridge University. And his Sixth Symphony came to him in an uncharacteristic flood of inspiration (Tchaikovsky usually struggled with his symphonies). The first movement was sketched in just four days.
waltz in 5/4 time instead of the usual 3/4. And its middle trio section features a rather intense violin theme that unsettles the waltz’s gaiety.
Tchaikovsky admitted there was a nonmusical program inspiring this work, but he would never reveal its identity. “Let them try and guess it! … The theme of it is full of subjective feeling, so much so that as I was mentally composing it … I frequently shed tears.” As the work was about to be published, Tchaikovsky told his brother Modest it needed a subtitle. Modest suggested “Tragic,” but his brother shook his head. Then Modest came up with the French word “Pathétique.” It is a misleading title to English-speakers because the English “pathetic” suggests “inadequate, feeble,” which this work most certainly is not. However, the corresponding French and Russian words relate more closely to its Greek origin “pathos,” carrying the more appropriate meaning of “suffering.”
Exposing the falsity of the march’s triumph, the opening of the finale provides one of the most jarring emotional contrasts in all symphonic music. In a slow tempo, the strings cry out a theme of utter despair. They are joined by the deathly partner from the first movement, the bassoon. A second theme for the violins seems initially gentler and more consoling, but it too rises to a shout of anguish. The first theme returns, its bitter cry now underscored by the harsh, ugly sound of stopped horns: a musical representation of what Tchaikovsky called “the snub-nose reptile” of death. The last moments of the symphony graphically portray the process of dying, as a heartbeat pedal gradually weakens and the orchestra drops to cellos and basses, then fades into silence.
First movement: Out of the sepulchral tones of low strings emerges a lone bassoon, like the voice of death, which tries languidly to launch the first theme, but cannot. As the tempo finally increases to Allegro, the divided violas deliver the full theme in the home key of B minor; it is aggressive yet nervous and rich in developmental possibilities. More memorable is the second theme, introduced by muted violins and cellos; it is one of Tchaikovsky’s most famous melodies, full of Romantic yearning. Suddenly, the dramatic development bursts on us fortissimo. The frenzy subsides briefly for a brass chorale, intoning the Russian Orthodox funeral chant “With the Saints,” and closes with a passionately tragic passage for the brass. This emotional roller coaster of a movement concludes with a simple but powerful brass coda over descending pizzicato strings.
Third movement: If death can’t be beaten back with a waltz, Tchaikovsky next tries a boisterous march. However, first we hear nervously flickering scherzo music, with the oboe and brass peeping through with the march theme. This edgy scherzo continues to undercut the confident sound of the march.
Notes by Janet E. Bedell copyright 2014
CABARET February 14 - March 1
33 variations March 20 - April 4
Tchaikovsky adored the ballet; it was his ideal escape from dark thoughts. And that’s exactly how the second movement’s waltz intermezzo acts here: it is an oasis of peace and beauty in the midst of suffering. But it is a strange limping
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Saturday, FEBRUARY 28, 2015 | 7:30 PM rhinehart music center, ipfw Andrew Constantine, conductor Jennifer Montone, horn
WEBER Overture to Der Freisch端tz STRAUSS Concerto No. 1 in E-flat major for Horn & Orchestra, Op. 11 Allegro Andante Allegro Jennifer Montone, horn
-- Intermission --
BEETHOVEN Symphony No. 3 in E-flat major, Op. 55 (Eroica) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto
Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, March 12, at 7:00 PM.
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artist biography jennifer montone, horn Jennifer Montone joined The Philadelphia Orchestra as principal horn in 2006. She is on the faculty at the Curtis Institute of Music, the Juilliard School, and Temple University. Previously the principal horn of the Saint Louis Symphony and associate principal horn of the Dallas Symphony, Ms. Montone was an adjunct professor at Southern Methodist University and performer/faculty at the Aspen Music Festival and School. Prior to her tenure in Dallas she was third horn of the New Jersey Symphony and performed regularly with the Metropolitan Opera Orchestra, the Orpheus Chamber Orchestra, and the New York Philharmonic. Ms. Montone has performed as a soloist with The Philadelphia Orchestra, the Saint Louis Symphony, the Dallas Symphony, the National Symphony, the Polish National Radio Symphony, the Warsaw National Philharmonic, and the Curtis Orchestra, among others. Her recording of the Penderecki Horn Concerto (“Winterreise”) with the Warsaw National Philharmonic won a 2013 Grammy Award in the category of “Best Classical Compendium.” Other recordings include Still Falls the Rain—works of Benjamin Britten—and a soon to be released solo CD. She regularly appears as a featured artist at International Horn Society workshops and International Women’s Brass conferences.
Chamber Music Society of Lincoln Center, the La Jolla Chamber Music Festival, the Santa Fe Chamber Music festival, the Bellingham Music Festival, the Spoleto (Italy) Chamber Music Festival, and the Marlboro Music Festival. In May 2006 Ms. Montone was awarded the prestigious Avery Fisher Career Grant. She is also the winner of the 1996 Paxman Young Horn Player of the Year Award in London and the 1998 Philadelphia Concerto Soloists Competition. She was a fellow in the Tanglewood Music Festival Orchestra in 1996 and 1997. She is a graduate of the Juilliard School, where she studied with Julie Landsman, principal horn of the Metropolitan Opera. A native of northern Virginia, Ms. Montone studied with Edwin Thayer, principal horn of the National Symphony, as a fellow in the Symphony’s Youth Fellowship Program.
As a chamber musician Ms. Montone has performed with the Bay Chamber Concerts, the
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MASTERWORKS PROGRAM NOTES beethoven ' s third symphony saturday, february 28, 2015 Overture to Der Freischütz Carl Maria von Weber (b. 1786, Eutin, Germany; d. 1826, London, England) No one admired Carl Maria von Weber’s music more than Richard Wagner, who rightly considered him to be the father of German Romantic opera. Weber, who was incidentally Mozart’s cousin by marriage, wrote ten operas, the greatest of which is Der Freischütz, premiered in Berlin on June 18, 1821. Though it is rarely performed today in America, it remains in the standard repertoire of opera houses in Europe. Its title translates literally as “The FreeShooter” or someone who shoots outside the rules, in this case with magic bullets made with the aid of the Devil. In this intensely Romantic plot inspired by the forests of Germany, the hunter Max must win a shooting contest in order to win the hand of his beloved, Agathe. However, Max, usually an expert marksman, seems to have lost his touch lately. Worried that he will lose, he succumbs to the temptations of the sinister hunter Caspar, who in fact is in league with Samiel, the devil. Caspar urges him to go deep into the forest with him and cast magic bullets that will be sure to win the contest. Fortunately, matters turn out so that Max does not lose his soul to the devil and does in the end win Agathe. But much spooky business transpires before the happy ending. Der Freischütz’s Overture was one of the first in which actual themes from the opera are used, although this is a far more complex piece than a simple potpourri of greatest hits. In fact, it is a true sonata form with an exposition of themes, a dramatic development of them, and an exhilarating recapitulation. Full of splendid melodies, it also uses a mixture of dark and unusual instrumental colors to represent the eerie world of the demonic Samiel. Its slow introductory theme features the horns, which were a favorite early-Romantic orchestral sound and also closely associated with the forest (from their hunting-horn origins). The great sweeping theme, first heard in the violins and returning in triumph at the conclusion, is sung by Agathe as she greets her lover, Max.
Concerto No. 1 in E-flat Major for Horn and Orchestra, op. 11 Richard Strauss (b. 1864, Munich, Bavaria, Germany; d. 1949, Garmisch-Partenkirchen, West Germany) Richard Strauss’ father, Franz, was the principal horn player of the Munich Court Orchestra and perhaps the finest horn virtuoso of the second half of the 19th century. In infancy, Richard learned to love this noble instrument heard constantly around his home; reportedly, he cooed happily everytime he heard it but cried when a violin was played. The budding composer soon got over this aversion, became a solid fiddler, and later was renowned for his sensuous string writing as well as the virtuoso horn solos that filled his tone poems. A precocious musician, Strauss began composing at six and wrote his first full orchestral score at 12. Until he was 20, he was strongly influenced by his father’s conservative musical tastes. Although he played the horn solos in Wagner’s radical operas brilliantly, Franz Strauss was outspoken in his contempt for Wagner’s music and created a minor scandal when he refused to rise in tribute when the Bayreuth master’s death was announced to the Orchestra. Thus young Richard’s Horn Concerto No. 1 — written in 1882-83 when he was 18 — has little of his own distinctive voice, sounding instead like the music Mendelssohn and Schumann composed 40 years earlier. Nevertheless, it is so expertly crafted as a marvelous showpiece for the horn, packed with engaging melodies and subtle orchestral effects, that it became his first composition to win a secure place in the orchestral repertoire. Sixty years later in 1942, he would compose a second and more sophisticated horn concerto; the two works stand like bookends enclosing one of the longest creative careers in musical history. Like most of Mozart’s horn concertos, Strauss’ is in the key of E-flat Major, a traditionally flattering key for the valveless horn used in the 18th century. Its three movements are linked together without pause and exhibit strong thematic interconnections. The bold melody the horn first sings—modeled on traditional horn calls for the natural or valveless instrument — becomes a recurring idea; spruced up in a new meter, it is later used as the rondo refrain theme in the final movement. Another unifying
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idea is a little upward flourish we soon hear in the woodwinds; this becomes an omnipresent orchestral figure used to link the movements together and provide a delicate underscoring for the middle movement. That middle slow movement in E-flat minor shows the adolescent Strauss to be already a master. It is basically a series of variants on an eloquent, melancholy melody sung by the horn to different, exquisitely colored accompaniments. Late in the movement, the cellos steal the second part of the melody in a beautiful passage that presages the romantic ardor of the mature Strauss. The finale is an exuberant salute to Mozart’s “hunting rondo” finales, sporting a galloping 6/8 rhythm that mimics the pace of riders on horseback. In the 18th century, the horn was still associated with the hunting horns used as signals in the chase, and thus concert pieces for the instrument typically conjured up such scenes, especially to create an upbeat finish.
Symphony No. 3 in E-flat Major, “Eroica” Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) Although the responses to Beethoven’s music are as varied as the individuals who listen to it, virtually everyone seems to agree that it often embodies an ethical or spiritual quest: the drama, in Scott Burnam’s words, “of a self struggling to create and fulfill its own destiny.” And this epic quest is most forcefully expressed in the works Beethoven wrote during the first decade of the 19th century: what we now call his "Heroic" period. Historically, this was also an era of heroism and aspiration. The American and French revolutions had recently acted out humankind’s desire for freedom and self-determination and thrust forward leaders such as Washington and Bonaparte. The contemporary German dramas of Goethe and Schiller celebrated historical freedom fighters like Egmont and Wallenstein and mythical ones like William Tell. Beethoven translated this aspiring spirit into music. Living in Vienna under the autocratic Hapsburg regime, he acted out his dream of individual liberty in his daily life. His career revolved around two heroic quests: his struggle against encroaching deafness and his creative battle to forge a new musical language within a conservative and often hostile environment. And this musical language was itself heroic:
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with its audacious harmonic procedures, epic expanded forms, virile themes, assaulting rhythms, and pronounced military character. Beethoven launched his "Heroic" period with his Third Symphony, a work he subtitled “Sinfonia eroica, composed to celebrate the memory of a great man.” The question of exactly who that “great man” was has provided fertile grounds for commentators ever since. The chief candidate, of course, is Napoleon. Beethoven himself told his publisher that “the subject is Bonaparte,” but he also reportedly tore off the work’s title page to expunge Napoleon’s name upon hearing in 1804 that the Frenchman had crowned himself emperor. Others have suggested the noble Trojan prince Hector, Homer’s hero in the Iliad, or because of Beethoven’s use of a theme from his Creatures of Prometheus ballet score in the finale, the mythical Prometheus. Many believe the hero to be Beethoven himself. In any case, the “Eroica” was itself a heroic act: shocking its first audiences and setting a new symphonic template for future composers to emulate. A contemporary critic spoke for many when he described it as “a very long drawn-out, daring and wild fantasy … very often it seems to loose itself in anarchy.” In a work twice the length of previous symphonies, Beethoven had expanded 18th-century symphonic structures beyond his contemporaries’ powers of comprehension. Even more challenging was the harmonic daring and overall tone of aggression. It did not seek to please and amuse its listeners but to challenge and provoke them. We hear the challenge in the two loud E-flat chords that open the first movement. More than introductory gestures, they are the germinal motive of the symphony. From them Beethoven builds the repeated sforzando chords, with their arresting dislocation of the beat, that we hear a few moments later. Just before the end of the exposition section, he adds teethgrinding dissonance to this mix, and in the development section, this concoction explodes in a shattering crisis. The movement’s principal theme is a simple swinging between the notes of an E-flat-major chord that quickly stumbles on a dissonant C-sharp. It will take the rest of this giant movement, with its expanded development and coda sections, to resolve this stumble. So intense is Beethoven’s forward propulsion that his themes never have time to blossom into melody. In fact, the most compelling theme waits until the development, when oboes and cellos introduce it as part of the recovery from the hammering dissonant chords. As the development trails off into an eerie passage of trembling violins, the horns anticipate the principal theme (early listeners interpreted this as a mistake by the players!) and push the orchestra into the recapitulation. After an
outsized coda, Beethoven wraps up his heroic journey with the opening hammer blows. The second-movement funeral march in C minor is in rondo form; Beethoven here converts a form often used for light-hearted Classical finales to a tragic purpose. Over imitation drum rolls in the strings, the famous threnody unfolds its majestic course. It is succeeded by an episode in C major that injects rays of sunshine and hope, with fanfares proclaiming the greatness of the fallen hero. Then the dirge melody returns and swiftly becomes an imposing fugue: counterpoint intensifying emotion. In the movement’s remarkable closing measures, the march theme disintegrates into sobbing fragments. The third-movement scherzo provides relief after the weight and drama of the opening movements. Yet it too retains intensity in the midst of light-heartedness. Beethoven re-introduces a gentler variant of the offthe-downbeat hammer blows from the first movement; eventually they briefly throw the
three-beat meter into two beats. The middle trio section features virtuoso writing for the three horns. After struggle, the finale brings us joy in the form of sublime musical play. It is an imposing set of variations on a theme Beethoven had used three times before: in an early set of Contredances, in the Creatures of Prometheus, and for the piano variations now known as the “Eroica” Variations. Actually, these are double variations because Beethoven first isolates the bass line of his theme as a witty little tune in its own right, only later giving us the theme itself in the woodwinds. Elaborate fugal passages and a grandly martial episode culminate in a sublime apotheosis: a group of variations in a slower tempo that proclaims the hero’s immortality. The Presto climax is capped by the symphony’s opening E-flat hammer blows, now triumphant rather than tragic. Notes by Janet E. Bedell copyright 2014
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great movies, grand piano Saturday, march 7, 2015 | 7:30 PM Embassy Theatre Chia-Hsuan Lin, conductor rich ridenour, piano VARIOUS / Arr. Custer Themes from 007 BADELT / Arr. Ricketts
Pirates of the Caribbean
COURAGE / Arr. Custer Theme from Star Trek WILLIAMS
E. T. Adventures on Earth
ADDINSELL
Warsaw Concerto
BARROSO Brazil -- Intermission – Great Movies, Grand Piano Featuring Rich Ridenour Selections to be announced from the stage
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artist biography rich ridenour, piano Pianist Rich Ridenour has built a formidable career arranging and performing music of great piano favorites ranging from classical masterworks to American ragtime, jazz and rock & roll. Recent orchestral engagements include Indianapolis, Kansas City, Topeka, Harrisburg, Grand Rapids, Detroit (covering for Peter Nero), Tucson, Evansville, Charleston, WV, Elgin, Owensboro, Mazatlan, Mexico as well as the Bravissimo Festival of Guatemala City. Each season Mr. Ridenour serves as pops director for the Dearborn Symphony Orchestra. Mr. Ridenour developed educational programs as Education Director for the Gilmore Keyboard Festival in Kalamazoo, Michigan. He developed Camp Gilmore, Keys Fest and educational piano programs in the public schools and juvenile center. Mr. Ridenour has also instructed piano at Aquinas College, Grand Valley State University, Calvin College and Western Michigan University. In 2011, Mr. Ridenour co-introduced City Keys to the city of Jacksonville, Florida. Six upright
pianos painted by area professional artists bring energy to the downtown sidewalks for everyone to play and explore. Since 2013 Sarasota has been home for Rich and his wife Stacy, who serves as development director for the Sarasota Opera. A native of Grand Rapids, Michigan, Mr. Ridenour received a Bachelor’s degree in music from the University of Michigan and a Master’s degree from the Juilliard School of Music. Mr. Ridenour is an international Steinway Artist.
Listen online at wbni.org
Photos (Broadway cast): Joan Marcus and Chris Callis
The sTory of frankie Va l l i & The foUr seasons
April 14-19 • Embassy Theatre 800-745-3000 • ticketmaster.com
Discounts available for groups of 10+ on select performances Your town. Your voice.
message from the phil friends Winter is upon us but the days are getting longer as the Friends plow ahead with our programs. As we have done since 1944, our mission is to be an advocate for the Phil and support its fundraising and education activities while discovering and encouraging musical talent. To this end, we have reserved funds to sponsor next October’s Masterworks concert, are paying out 38 scholarships that we awarded last Fall, and the Young Artists Competition is set for March 14 at the IPFW-Rhinehart Music Center. More information about the competition is available at our web site www.fwphilfriends.com. Deadline for applications is March 1. The big news is that the Friends fashion show, Symphony of Style is scheduled March 12 at the fabulous new Empyrean on the top floor of the PNC Center. Join the Friends and Music Director Andrew Constantine at 6 pm for an upscale evening of style. This year we will be embracing our community by featuring local entrepreneurs for the silent auction with Philharmonic Musicians and Board members as models. See the ad in this Prelude or go to the Friends web site for more information. Stay warm, stay dry and enjoy music played by the finest orchestra in the Midwest, your own hometown Fort Wayne Philharmonic! Sincerely,
John H. McFann President, Philharmonic Friends P.S. Oh yes, buy a Cookbook. They make a great gift!
the phil friends board of directors
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OFFICERS:
BOARD MEMBERS:
President: John McFann Vice-President Education: Sara Davis Vice-President Fundraising: Elizabeth Lehmann Vice-President Hospitality: Jayne Van Winkle Vice-President Marketing: Louise Jackson Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Marylou Hipskind
Amy Beatty Annie Eckrich Cynthia Fyock Fred Haigh Suzi Hanzel Pat Holtvoigt Susan Lehmann Naida MacDermid Nellie Bee Maloley
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Christine Mallers Shelby McFann Nan Nesbitt Tamzon O'Malley Janet Ormiston Rebecca Ravine Ruth Springer Marcella Trentacosti Alexandra Tsilibes
music director andrew constantine “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the north-east 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 46
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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 Degree of Doctor of Music by the University of Leicester for his “contribution to music” Constantine’s repertoire is incredibly broad and, whilst 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 keep the flame of belief alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 will see the debut of Tchaikovsky: REVEALED.
Also 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 new 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 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.” Engagements in 2014 include concerts with the Orchestra Sinfonica Siciliana in Italy and, the NWD Philharmonie in Germany.
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ASSistant conductor chia-hsuan lin Chia-Hsuan Lin is pleased to begin her first season as Assistant Conductor with the Fort Wayne Philharmonic. Lauded for her clarity and elegance on the podium, Chia-Hsuan has shared her talents in many diverse musical settings throughout the world. She recently conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and she was a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania. Earlier this year, Chia-Hsuan conducted a performance of Mark Adamo’s Little Women at Northwestern University. She led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the University of Cincinnati, where she also served as music director of the University of Cincinnati Symphony Orchestra, and later participated in the 2012 Cabrillo Festival of Contemporary Music in California. In celebration of the Taiwanese premiere of Bach’s St. Matthew Passion, Chia-Hsuan returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus for a lecture series by conductor and Bach scholar Helmuth Rilling. In the summer of 2011, she traveled to Italy to serve as Assistant Conductor of Opera at the CCM Spoleto Music Festival. Chia-Hsuan first received musical training as a pianist in Taiwan at age three. At age nine, she began studies as a percussionist and later performed with the renowned Taipei Percussion
Group from 2003 to 2010. Chia-Hsuan received her undergraduate degree in percussion and graduate degree in conducting from National Taiwan Normal University, where she studied with Apo Hsu. Her musical training continued in the United States after being selected to study with Harold Farberman as a Fellow of the Conductor Institute at Bard College. Under the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati, and in 2012, Chia-Hsuan received the Foreign Study Award for Music from the Taiwan Education Bureau to begin her doctoral degree with Victor Yampolsky at Northwestern University. Chia-Hsuan has furthered her education through masterclasses and workshops, including sessions with the Richmond Symphony Orchestra, Baltimore Chamber Orchestra, and the Romanian Royal Camerata, as well as with conductors Günther Herbig, Jorma Panula, Imre Palló, Steven Smith, Helmuth Rilling, Gábor Hollerung, Mei-Ann Chen, Markand Thakar, Israel Yinon, and Douglas Bostock.
pixar in concert Saturday, May 2, 2015 2:00pm & 7:30 PM EMBASSY THEATRE sweetwater
pops upcoming concerts 260 481-0777 fwphil .org
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choral director benjamin rivera BENJAMIN RIVERA is the chorus director of the Fort Wayne Philharmonic, where he prepares the Chorus for several performances per season and conducts the Orchestra and Chorus in concert. Based in Chicago, Rivera is also artistic director and conductor of the chamber choir Cantate, cantor and choir director of Immanuel Lutheran Church, Evanston during the church year, and choir director of north suburban Shir Hadash Synagogue for the High Holy Days. He recently appeared as Guest Chorus Director of the Grant Park Music Festival, with summer performances in Millennium Park. He is in his 18th season as a professional member of the Chicago Symphony Chorus, many of those as bass section leader, and he also sings with the Grant Park Chorus, Chicago a cappella, and many other ensembles. He is a frequent soloist and recording artist, focusing on sacred and concert works. In addition to performing, Rivera has been on the faculty of several colleges and universities, directing choirs and teaching voice, diction, music theory, and history, given numerous master classes, and presented at the Iowa Choral Directors Association summer conference. Especially adept with languages,
Benjamin Rivera frequently coaches German and Spanish, among several others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and he has completed the coursework for a doctorate in choral conducting from Northwestern University, where he is in the process of writing his dissertation on the works of John Tavener. 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.
the phil chorus roster Doug Ahlfeld Karen Allina Nancy Archer Thomas Baker Cathryn Boys Sarah Boys John Brennan Nancy Brown Garrett Butler Thomas Cain Thomas Callahan Karen Campbell Jeri Charles Sheila Chilcote-Collins Kaitlin Clancey Elaine Cooper Carol Courtney David Courtney Nicoline Dahlgren Sara Davis Lenore DeFonso Kathy Dew Jon Eifert Joan Gardner Kris Gray
Ronnie Greenberg Cheryle Griswold Rachael Hartmann Sandra Hellwege Katy Hobbs Carol Jackson Gerrit Janssen Joanna Jessup Darah Jones Jody Jones Gayle Keane Natasha Kersjes Sarah Kindinger John McKelvey Jane Meredith Fred Miguel LeeAnn Miguel Maury Mishler John T. Moore Meg Moss Michael F. Popp Nathan Pose Ewing Potts Keith Raftree
Karma Remster Sarah Reynolds Paula Neale Rice Alaina Richert Mark Richert Sabrina Richert Rita Robbins Cindy Sabo John Sabo Marshelle Schutte Lynn Shipe Lynn Shire Donald Snyder Sue Snyder Kent Sprunger Sherrie Steiner Sue Stump Ruth Trzynka Carrie Veit Michelle Urban FrĂŠdĂŠrique Ward Gretchen Weerts Greg White Mary Winters Lea Woodrum
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the phil orchestra roster andrew constantine music director Ione Breeden Auer Podium
Violin
Bruce Graham
David Ling, Acting Concertmaster Frank Freimann Chair
Debra Graham S. Marie Heiney and Janet Myers Heiney Chair
Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair Timothy Tan Alexandra Tsilibes
Theodore E. Chemey III Sekyeong Cheon Logan Strawn^
Cello
Janet Guy-Klickman
Orion Rapp, Principal Margaret Johnson Anderson Chair
Jane Heald
Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair
David Rezits Edward Stevens Joseph Kalisman Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair
Kevin Piekarski, Assistant Principal Giuseppe Perego Chair
Linda Kanzawa Ervin Orban
Brian Kuhns
Viola
Andres Gil
Derek Reeves, Principal
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Oboe
English Horn Leonid Sirotkin Marilyn M. Newman Chair
Clarinet Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider℗ Georgia Haecker Halaby Chair
Joel Braun
Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair 50
Vivianne Bélanger Virginia R. and Richard E. Bokern Chair
Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair
Adrian Mann, Principal
Zofia Glashauser
Jenny Robinson, Acting Principal
Hillary Feibel Mary-Beth Gnagey Chair
Bass
Dessie Arnold
Jennifer Regan Volk,^ Principal Rejean O’Rourke Chair
Andre Gaskins, Principal Morrill Charitable Foundation Chair
Pablo Vasquez Kristin Westover
Flute
2015
Bassoon Dennis Fick, Principal
Anne Devine Joan and Ronald Venderly Family Chair
Horn Michael Lewellen, Principal ℗ Mr. & Mrs. Arthur A. Swanson Chair J. Richard Remissong John D. Shoaff Chair
Trombone
Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair
David Cooke, Principal ℗ W. Paul and Carolyn Wolf Chair
Renee Keller Patricia Adsit Chair
Adam Johnson
Bass Trombone
Harp
Andrew Hicks
Tuba
Michael Galbraith Walter D. Greist, MD Family Chair
Samuel Gnagey, Principal Sweetwater Sound and Chuck and Lisa Surack Chair
Katherine Loesch
Trumpet Alan Severs, Principal ℗ Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair
Timpani Eric Schweikert, Principal℗ William H. Lawson Chair
Percussion Jason Markzon,^ Principal June E. Enoch Chair
Akira Murotani Charles Walter Hursh Chair
Scott Verduin, Principal
Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair
Organ Irene Ator Robert Goldstine Chair
Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair ℗ Philharmonic Mentor, jointly appointed by the Fort Wayne Philharmonic and IPFW Department of Music ^ Leave of absence for the 2014/15 season
Contributing Musicians VIOLIN
VIOLA
FLUTE
Nathan Banks Hannah Barton Nicole DeGuire Regan Eckstein Janice Eplett Michael Houff Mary Kothman Victoria Moore Caleb Mossburg Irina Mueller Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Daniel Winnick Jenna Anderson
Emily Mondok Anna Ross Liisa Wiljer
Patricia Reeves Jessica Warren Alistair Howlett
CELLO Lori Morgan Gena Taylor
BASS Brad Kuhns John Tonne
OBOE Jennet Ingle Aryn Sweeney
CLARINET Elizabeth Crawford Dan Healton Kevin Schempf
BASS CLARINET Daniel Healton
BASSOON Michael Trentacosti
CONTRABASSOON Keith Sweger Alan Palider
JAN FEB
HORN Gene Berger Kurt Civilette Kenji Ulmer Jonas Thoms
TRUMPET Douglas Hofherr
PERCUSSION Jerry Noble Kirk Etheridge Nathan Shew
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ySo conductor david cooke David B. Cooke, principal trombonist with the Fort Wayne Philharmonic, began his musical studies at age nine in his hometown of Canton, Ohio. He received a Bachelor of Music in trombone performance from The Ohio State University and a Master of Music in trombone performance with an emphasis on orchestral conducting from the Cleveland Institute of Music. He has performed with the Cleveland Orchestra, Columbus (Ohio) Symphony and the Indianapolis Symphony Orchestra and has been with The Phil for 21 years. He also has performed as a soloist with The Phil and has conducted several pops performances. As a chamber musician, Cooke was the founding member of the Cleveland Chamber
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Brass and has played with the Philharmonic Brass Quintet and the Fort Wayne Chamber Brass. He is director of orchestral studies and a trombone instructor at IPFW. Cooke lives in Fort Wayne with his partner, Kyle Malott. They have two dogs, Olly and Gizmo, and two cats, Tina and Milly. Cooke says he loves the music of Prince and calls himself “the biggest Ohio State fan you’ll ever know.”
Stefanie Malott
Larry Melton
Tom Pehlke
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B O A R D O F D I R E C T O R S officers Carol Lindquist, Chair Eleanor Marine, Vice-Chair Ben Eisbart, Vice-Chair Philip Smith, Vice-Chair Greg Marcus, Secretary Jeff Sebeika, Treasurer
Karen Allina George Bartling Sarah Bodner Anita Cast Keith Davis Ben Eisbart Dennis Fick Deb Graham Leonard Helfrich Pam Kelly
Lyman Lewis Carol Lindquist Greg Marcus Eleanor Marine John McFann Timothy Miller Greg Myers Sharon Peters Melissa Schenkel Jeff Sebeika
Philip Smith Chuck Surack Daryl Yost Alfred Zacher Mary Ann Ziembo
HONORARY BOARD Patricia Adsit Mrs. James M. Barrett III Howard and Betsy Chapman Will and Ginny Clark Dru Doehrman June E. Enoch Leonard M. Goldstein William N. and Sara Lee Hatlem Diane Humphrey
Jane L. Keltsch William Lee Carol Lehman Elise D. Macomber Alfred Maloley Michael J. Mastrangelo, MD Dr. Evelyn M. Pauly Jeanette Quilhot Carolyn and Dick Sage
Lynne Salomon Herbert Snyder Howard and Marilyn Steele Zohrab Tazian Ronald Venderly W. Paul Wolf Don Wood
A D M I N I ST RAT I V E STA F F Roxanne Kelker Executive Assistant to the President and Music Director artistic operations Jim Mancuso General Manager Christina Brinker Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Ian Lemberg Stage Manager
education
development
Jason Pearman Director of Education and Community Engagement
Angela Freier Development Manager
Anne Preucil Lewellen Education and Ensemble Coordinator, Interim Youth Orchestra Manager Derek Reeves Instructor, Club Orchestra program finance & technology Beth Conrad Director of Finance Angelyn Begley Technology Coordinator
Lynn Mabie Grants and Research Manager Lori Morgan Data Resources Coordinator marketing & communications Melysa Rogen Assistant Director of Marketing & PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Services Manager JAN FEB
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series sponsors
robert wagner
M A D G E R O T H S C H I L D F O U N DAT I O N
the madge rothschild foundation
MASTERWORKS During her lifetime, Madge Rothschild’s philanthropy in support of many local charities was frequent and generous, but, far more often than not, was done anonymously. Aware of her mortality, Madge established The Madge Rothschild Foundation and at death willed her remaining estate to it in order that her support for various local charitable organizations would be continued. The Fort Wayne Philharmonic was one of the charities she supported, remarking, “Without The Phil, there would be so much less culture in this city for us to be proud of and for me to enjoy with others.”
chuck surack founder and president, sweetwater sound, inc.
sweetwater
pops The Phil is truly one of our most important assets, enhancing northeastern Indiana in the areas of culture, education, and economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.
jim marcuccilli PRESIDENT & CEO, STAR BANk
S T A R
FA M I LY STAR is proud to call Fort Wayne home. As a local company, we’re dedicated to making our city an ideal place to raise a family. That is why we created Family of STARs, our community involvement initiative that supports family-oriented programming. The Phil Family Music Series is one of those underwriting commitments. (The three-part Family Series is held in IPFW’s Auer Performance Hall). The programs showcase classical music to families in a fun, relaxed setting. The perfect fit for a culturally rich family experience.
series sponsors
mark millett president & CEO, steel dynamics, inc steel dynamics
patriotic pops 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.”
mike packnett PRESIDENT & CEO, parkview medical center
parkv iew regional medical center
holiday pops
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 the physicians and the clinical, administrative and support staff members, and from my wife, Donna, and me, heartfelt wishes to you and yours for a blessed and joyous holiday season.
TAKE THEIR BREATH AWAY — PLAN YOUR NEXT EVENT WITH THE PHIL! Whether you want to impress your clients with amazing seats at the beautiful and historic Embassy Theatre, or treat your employees to a concert at the state of the art Auer Performance Hall - a group outing at a Fort Wayne Philharmonic performance is sure to strike all the right chords with your friends and colleagues.
business partners The Phil gratefully acknowledges the following Business Partners for their contributions received within the past twelve months. The Business Partner program recognizes local businesses that have shown their support of the local arts community through a charitable gift to the orchestra. For more information about becoming a Business Partner, contact the Development Office at 260 481-0774.
Platinum Partner gifts of $2,500 or more Franklin Electric
Pain Management & Anti- Aging Center, Dr. Alfred Allina
Gold Partner gifts of $1,500 to $2,499
Shambaugh, Kast, Beck & Williams, LLP
Silver Partner gifts of $1,000 to $1,499
Bronze Partner
gifts of
$600 to $999
Ram Production Backline
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Partner
At Old National Bank, we’re committed
gifts of $300 to $599
to community partnership. That’s why, last year alone, we funded nearly $3 million in grants and sponsorships and our associates donated almost 77,000 volunteer hours. It’s also the reason we’re a proud supporter of the Fort Wayne Philharmonic 1111 Chestnut Hills Parkway
oldnationalins.com 0112-067
ChromaSource Inc. Dekko Investment Group
Ottenweller Co., Inc.
Associate Partner gifts of $100 to $299
Payroll & Employer Services (574) 262-2800
Ambulatory Medical Management Bone Asset Management
Brown Equipment Co. Design Collaborative
Hakes & Robrock Design-Build Inc. Lupke Rice Insurance Masolite Moose Lake Products Co. Inc. Northeast Indiana Building Trades John Shoemaker Strebig Construction Inc.
When our corporate partners invest in The Phil, they are enriching the lives of employees who work and live in northeast Indiana, as well as their families, and customers of all industries. Becoming a Business Partner means a closer connection with the orchestra, program advertising opportunities, ticket discounts for your clients and staff, and invitation to exclusive events. To join this esteemed list of partners, please contact the Development office at 260 481-0774.
annual fund individuals The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. We make every attempt to include everyone who has supported The Phil during that time. Please let us know if we've made an error. For information about supporting The Phil’s 2014/15 Annual Fund, contact the Development Office at 260 481-0774.
Virtuoso Society gifts of $10,000 or more Anonymous Howard and Betsy Chapman June E. Enoch William N. and Sara Lee Hatlem
The Huisking Foundation, Inc. Diane S. Humphrey Elise D. Macomber Eleanor Marine
Russ and Jeanette Quilhot Ian and Mimi Rolland
Stradivarius Society gifts of $5,000 to $9,999 Charlie Huisking Drs. Kevin and Pamela Kelly Tod Kovara Rifkin Family Foundation Jeff Sebeika
Drs. David Paul J. & Jeneen Almdale George and Linn Bartling Gloria Fink Leonard and Rikki Goldstein
Herb and Donna Snyder Chuck and Lisa Surack, Sweetwater Sound
Conductor’s Circle gifts of $2,500 to $4,999 Nancy Archer Joan Baumgartner Brown Anita and Bill Cast Will and Ginny Clark Jane and Andrew Constantine John H. Shoaff and Julie Donnell Mr. & Mrs. Irwin F. Deister Jr.
Ann H. Eckrich Mark O. Flanagan Patricia S. Griest Susan Hanzel Greg Marcus Michael Mastrangelo Kevin and Tamzon O'Malley
Dr. Evelyn M. Pauly Mr. & Mrs. Victor Porter Carolyn and Dick Sage James Still Daryl Yost Al and Hannah Zacher
Composer’s Circle gifts of $1,250 to $2,499 Dr. & Mrs. Alfred Allina Katherine Bishop Glenn and Janellyn Borden Dr. & Mrs. James G. Buchholz Kathy Callen Sarah and Sherrill Colvin Tom and Margaret Dannenfelser George and Ann Donner Susan and Richard Ferguson
Mr. & Mrs. Ronald B. Foster David S. Goodman Leonard Helfrich Sattar and Marlene Jaboori Ginny and Bill Johnson Dorothy K. Kittaka Floyd A. and Betty Lou Lancia Carol and David Lindquist Greg and Barbara Myers
J.L. Nave III and Paul Cook Rosemary Noecker Kathryn and Michael Parrott Linda Pulver The Rothman Family Foundation Linda Ruffolo Jeff Schneider, MD Wayne and Helen Waters Lewie Wiese
Encore Circle gifts of $750 to $1,249 Elizabeth A. Frederick Kenneth & Lela Harkless Foundation Dr. Rudy and Rhonda Kachmann Diane Keoun Ed and Linda Kos Lyman and Joan Lewis Bonnie and Paul Moore Mr. & Mrs. Joseph L. Nave, Jr. Norma J. Pinney The Rev. C. Corydon Randall & Mrs. Marian Randall Caroll and Bill Reitz
Tim & Libby Ash Norma and Tom Beadie Mr. & Mrs. Craig D. Brown Virginia Coats Beth Conrad Dr. & Mrs. Jerald Cooper John and Janice Cox Keith and Kyle Davis Anita G. Dunlavy Jack and Tammy Dyer Mr. & Mrs. Daniel C. Ewing Fred and Mary Anna Feitler Fredrica Frank
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Linda and Alan Richards Alan and Pat Riebe Melissa and Peter Schenkel Robert Simon Philip Smith John and Barb Snider Nancy and David Stewart Kathleen M. Summers Rachel A. Tobin-Smith Norma Thiele Carolyn and Larry Vanice Nancy Vendrely Kari and Jeannine Vilamaa Herbert and Lorraine Weier
Concertmaster gifts of $500 to $749 Anonymous (2) Richard and Matoula Avdul John Bales Amy and John Beatty Frederick A. Beckman Larry and Martha Berndt Holly and Gil Bierman Elizabeth Bueker Margaret L. and Richard F. Bugher Barbara Bulmahn Mary Campbell Dr. & Mrs. Fred W. Dahling Sara Davis Dr. & Mrs. J. Robert Edwards Clayton Ellenwood Steven and Nancy Gardner
First Chair
Roy and Mary Gilliom Scott and Melissa Glaze Shirley H. Graham Bob and Liz Hathaway William and Sarah Hathaway Anne and James Heger Karen and Bob Hoffman Mark and Karen Huntington Huser Charitable Foundation Kenneth and Marty Johnson Marcia and Andy Johnson Richard and Mary Koehneke G. Irving Latz II Fund Stephen and Jeanne Lewis Ellen Mann Thomas A. May
Susan and David Meyer Leone Neidhardt Brian and Susan Payne William and Sue Ransom Dr. & Mrs. Stephen Reed LTC Ret. and Mrs. Richard Reeves Ann and David Silletto Matt and Cammy Sutter Jane C. Thomas Angela and Dick Weber Jan Wilhelm Virginia and Don Wolf Virginia Zimmerman Dr. & Mrs. Richard E. Zollinger
gifts of $300 to $499
Anonymous (3) Scott and Barbara Armstrong David and Janet Bell Michael and Deborah Bendall Mary and Todd Briscoe, DDS, PC Dr. and Mrs. Robert Burkhardt Ann and Tim Dempsey George and Nancy Dodd Dot and Bill Easterly Ben and Sharon Eisbart Emily and Michael Elko Al and Jeanne Emilian Bruce and Ellen England Pauline Eversole Dan and Nancy Fulkerson Linda Gaff Mr. & Mrs. Thomas E. Green Mr. & Mrs. G.L. Guernsey Lois Guess Warren and Ardis Hendryx
Mark and Debbie Hesterman Tom and Mary Hufford Mr. & Mrs. Arnold Huge Ed and Mary Lou Hutter Larry and Annette Kapp Jane L. Keltsch Mr. John A. Kirchhofer Bruce and Mary Koeneman Dr. & Mrs. Richard D. Lieb Anne A. Lovett Mr. & Mrs. Duane Lupke Paul and Pauline Lyons Peg Maginn Peter and Christine Mallers Stewart and Patricia Marsh Anne and Ed Martin John H. and Shelby McFann Lusina McNall Carol Moellering Suzon Motz
Sean and Melanie Natarajan Marvin and Vivian Priddy Paul J. and Lula Belle Reiff Maryellen Rice Robert and Ramona Scheimann Scot C. Schouweiler and Julie Keller Fort Wayne Alumnae Chapter of Sigma Alpha Iota Stephen R. and Anne S. Smith Lois A. Steere Carl and Cynthia Thies Ann and Mark Troutman Michael J. Vorndran and Joshua Long Daniel and June Walcott Steve and Keitha Wesner Elizabeth Wilson Marcia and Phil Wright Brian and Kyla Zehr
Section Player gifts of $100 to $299 Anonymous (7) Irving Adler Max and Carol Achleman Jeane K. Almdale Mike and Mary Jo Amorini Terry and Phil Andorfer Keith and Lynne Apple Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mel and Ruth Arnold Mr. & Mrs. William Arnold John and Dianna Thornhill Auld Tony and Pat Becker Dick and Adie Baach Dave and Bev Baals The Baggett Family Linda Balthaser Patricia Barrett Mike and Kay Bauserman Kevin Beuret H. Stephen Beyer
Beth and Don Bieberich Holly and Gil Bierman Robert Binns David W. Bischoff Sherry L. Blake Virginia R. Bokern Jon Bomberger and Kathryn Roudebush Dennis Bowman David and Joan Boyer Sue and James C. Bradley Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan and SuzAnne Runge Dr. and Mrs. Todd Briscoe David N. Brumm and Kimberly S. McDonald William and Joan D. Bryant William and Dorothy Burford Dr. David and Gayle Burns Marguerite A. Burrell
Joyce and Paul Buzzard Andy and Peg Candor Anne and Michael Cayot Arlene Christ Willard and Nena Clark Nelson and Mary Coats Robert and Annelie Collie John Crawford Wendell and Mary Cree Bob and Margita Criswell Tom and Holly DeLong Vera and Dominick DeTommaso Carol Diskey Gene and Carol Dominique Fred and Joan Domrow George Drew and Janet Arnold Mr. & Mrs. Rodney Dunham Cynthia Elick Lillian C. Embick Pam and Steve Etheridge Mr. and Mrs. Larry Farver Dr. & Mrs. Joseph P. Fiacable
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John and Jane Foell Elizabeth Garr Robert and Barbara Gasser Dnaiel and Sara Gebhart Geoff and Betsy Gephart Doug and Ruby Gerber Robert and Constance Godley Edward and Henrietta Goetz Norm and Ronnie Greenberg James B. Griffith Don and Kate Griffith Mary K. Gynn Dr. & Mrs. Charles Frederick Haigh Melanie and Robert Hall Jonathan and Alice Hancock Paul J. Haughan Dennis and Joan Headlee Jacqueline Heckler Marsha Heller Sandra Hellwege Julie Henricks and Jean Henricks Mayor Tom C. and Cindy Henry Tom and Jane Hoffman Lois Teders Horn Phil and Sharon Howard Winifred Howe Dr. & Mrs. Joseph Huguenard George W. Irmscher Jocelyn Ivancic Gordon and Judie Johnson Sharon and Alex Jokay Gwen Kaag Jim Karlin LuAnn R. Keller Dale Kelly Jane L. Keltsch Carol and Norman Kempler William G. Knorr James and Janice Koday Kay and Fred Kohler Arlene and George Konley Dr. & Mrs. Daniel Krach Hedi Krueger Mr. & Mrs. John Kruk Paula Kuiper-Moore JJ Lane Carroll and Jeff Lane
Dr. & Mrs. John W. Lee Jeff Leffers and Jane Gerardot Galen Lehman Ms. Frances Lemay Raymond and Mary Lou Loase David B. Lupke Dale and Virginia Lutz Janet and Larry Macklin Nellie Bee Maloley David Matz Sheila and David Mayne Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Scott McMeen Alice McRae Mr. & Mrs. Donald T. Mefford Leanne Mensing Mr. & Mrs. Jerry R. Meyer Laura Migliore Carolyn Miller Al and Cathy Moll Ray and Nancy Moore Kenneth and Linda Moudy John and Barbara Mueller Ed Neufer Martha L. Noel Ron and Ruth Nofzinger David and Sally Norton Paul Oberley Mr. & Mrs. Maurice O'Daniel C. James and Susan J. Owen Mr. and Mrs. Paraiso Mac and Pat Parker Edwin and Maxine Peck Mr. & Mrs. John M. Peters Raymond and Betty Pippert Helen F. Pyles Dr. & Mrs. George F. Rapp Dr. Donald and JoEllen Reed Diana and John Reed Mr. & Mrs. Robert Relitz Thomas Remenschneider Anne Remington Dennis L. Reynolds Janet Roe Jim and Phyllis Ronner
Stanley and Enid Rosenblatt Martin and Rita Runge James M. Sack Marilyn Salon Nancy and Tom Sarosi Harold Schick Mary Schneider Mary Ellen Schon Chuck and Patty Schrimper David S. Seligman Phyllis Shoaff Lt. Col. and Mrs. Tom Sites Ramona and Dick Sive Curt and Dee Smith Lynda D. Smith Sharon Snow Michael Sorg Don and Linda Stebing Beth and David Steiner Thomas and Mary Jane Steinhauser Krista and Dan Stockman Annetta Stork Tim and Colleen Tan Carol Terwilliger Judge Philip Thieme Scott and Jenny Tsuleff Donald and Amy Urban Mr. & Mrs. David Van Gilder Donald and Karen Ward Dr. & Mrs. MIchael Wartell Jayne Van Winkle Barbara Wachtman and Tom Skillman Pat and John Weicker Lorraine and Shepard Weinswig Thomas and Tamara Wheeler Dr. & Mrs. Alfred A. Wick Ellen Wilson Lea B. Woodrum Glen and Janice Young Bob and Jan Younger
annual fund match Thank you to the following companies for generously matching individual gifts made to the Annual Fund: BAE, Dekko Foundation, Energizer, General Electric, Lincoln Financial Foundation, Norfolk Southern, PNC Foundation, Swiss Re, Vera Bradley
sponsors The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260 481-0774 to join our family of sponsors.
Series Sponsors Madge Rothschild Masterworks Series Sweetwater Pops Series STAR Family Series
Steel Dynamics Foundation Patriotic Pops Series Parkview Regional Holiday Pops Series
Allegretto gifts of $50,000 to $99,999 W. Gene Marcus Trust Madge Rothschild Foundation
Steel Dynamics Foundation
Applause gifts of $25,000 to $49,999 Sweetwater Lincoln Financial Foundation Group
Carson D. and Rosemary Noecker Family Foundation
Virtuoso gifts of $10,000 to $24,999 80/20 Foundation Anonymous (2) Audiences Unlimited Diane S. Humphrey Do it Best Corp. Fort Wayne Newspapers Franklin Electric
Parkview Regional Medical Center Phil Friends The Huisking Foundation, Inc. Indiana Michigan Power The Miller Family Foundation One Lucky Guitar Old National Wealth Management
PNC Ian and Mimi Rolland STAR Financial Bank WANE-TV
Stradivarius gifts of $5,000 to $9,999 Ambassador Enterprises Nancy F. Archer Barnes & Thornburg Fort Wayne Metals Indiana University - Purdue University Fort Wayne Lake City Bank
Mildred Roese and Gloria Nash Charitable Fund Monarch Capital Management Northeast Indiana Public Radio Jeff Sebeika Tower Bank
Vera Bradley Wells Fargo Advisors Wells Fargo Bank Wirco, Inc.
Conductor gifts of $2,500 to $4,999 1st Source Bank Brotherhood Mutual Insurance Co. BKD Keefer Printing
Med Partners Parkview Physicians Group Subway Summit City Radio Group
Travel Leaders Wayne Metals WAJI-FM WLDE-FM
Composer gifts of $1,000 to $2,499 Downtown Improvement District Hagerman Group
Jehl & Kreilach Financial Management WFWI-FM
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regional partners The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. We take great pleasure in performing for enthusiastic audiences throughout the northeast Indiana region and welcome and value each contribution that makes those concerts and education performances possible. Thank you! Multiple County Support Indiana Michigan Power Olive B. Cole Foundation Parkview Regional Medical Center/Parkview Health Steel Dynamics Foundation, Inc. Adams County Adams County Community Foundation Bunge North America Decatur Rotary Club Eichhorn Jewelers Gilpin, Inc. Larry & Janet Macklin Ellen Mann DeKalb County Auburn Arts Commission, Inc. Auburn Moose Family Center Gerald Chapp Rita Collins DeKalb County Community Foundation DeKalb Outdoor Theater Dekko Investments/Erika Dekko Gloria Fink William & Mary Goudy William & Sarah Hathaway Greg & Emma Henderson David & Pat Kruse Metal Technologies Inc. Foundation Margery Norris Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Mayor Norman & Peggy Yoder Fulton County Fulton County REMC Indiana Arts Commission Psi Iota Xi (Eta Mu) Kosciusko County James H. Benninghoff Al Campbell Bill & Anita Cast Tom & Sandi Druley David & Judith Eckrich Richard & Susan Ferguson Kenneth & Lela Harkless Foundation William C. & Rosalie S. Hurst Harriet Inskeep Dr. Rudy & Rhonda Kachmann Phillip & Janet Keim Kosciusko County Community Foundation
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Lakeland Community Concert Association Tom & Joan Marcuccilli Mr. & Mrs. Paul Mast Garth & Susie McClain Dr. Dane & Mary Louise Family Foundation Dave & Dorothy Murphy Walter & Ann Palmer Prickett’s Properties, Inc. Ian & Mimi Rolland Linda Ruffolo Wawasee Property Owners Association Alfred & Hannah Zacher Robert & Karen Zarich Noble County Dr. and Mrs. Craig Atz Greg & Sheila Beckman Arthur E. & Josephine Campbell Dr. and Mrs. Kenneth Cripe Beyer Foundation Dekko Investment Services Ms. Ellen Holliman KPC Media Group Noble County Community Foundation Noble County REMC Round Up Trust Jennie Thompson Foundation Parkview Noble Hospital Steuben County Donald & Janet Ahlersmeyer Glen & Chris Bickel Ray & Marianne Bodie James & Lynn Broyles Chuck & Maureen Buschek City of Angola, Richard Hickman, Mayor Judith Clark-Morrill Foundation First Federal Savings Bank of Angola Susan Hanzel Jim & Karen Huber Patricia Huffman Kappa Kappa Kappa – Zeta Upsilon Gerald & Carole Miller Family Foundation Steve & Jackie Mitchell Stan & Jean Parrish Psi Iota Xi-Rho Chapter Max & Sandy Robison Satek Winery Fred & Bonnie Schlegel Steuben County Community Foundation
Steuben County REMC Round UP Foundation Trine University Jim & Kathryn Zimmerman Dale & Judy Zinn Wells County AdamsWells Internet Telecom TV Bluffton Rotary Club L. A. Brown Co. Creative Arts Council of Wells County Pretzels, Inc. Troxel Equipment United REMC Wells County Community Foundation Whitley County 80/20 Inc. Copp Farm Supply DeMoney Grimes Funeral Home Fred Geyer J & J Insurance Kappa, Kappa, Kappa Inc. Alpha Iota Chapter Parkview Whitley Hospital Performance PC, LLC STAR Bank Laurel L. Steill Pamela Thompson Whitley County Community Foundation Dr. & Mrs. Richard Zollinger
foundation & public support Philharmonic Society gifts of $1,000,000 and above Edward D. & Ione Auer Foundation
Philharmonic Circle gifts of $250,000 and above Dekko Foundation
Appassionato gifts of $150,000 to $249,999 Arts United of Greater Fort Wayne English, Bonter, Mitchell Foundation Madge Rothschild Foundation
O’Rourke-Schof Family Foundation Steel Dynamics Foundation
Allegretto gifts of $50,000 to $149,999 Foellinger Foundation W. Gene Marcus Trust
McMillen Foundation
Applause gifts of $25,000 to $49,999 Carlie Cunningham Foundation Community Foundation of Greater Fort Wayne Robert Goldstine Foundation
Indiana Arts Commission Lincoln Financial Foundation The Carson D. and Rosemary Noecker Family Foundation
PNC Charitable Trusts Dr. Louis & Anne B. Schneider Foundation
Virtuoso gifts of $10,000 to $24,999 Olive B. Cole Foundation Eric and Mary Baade Charitable Trust The Huisking Foundation
The Miller Family Foundation Wells Fargo Discretionary Trusts Edward M. & Mary McCrea Wilson Foundation
Stradivarius gifts of $5,000 to $9,999 Ann & Gordon Getty Foundation Journal Gazette Foundation Keiser Foundation Magee-O’Connor Foundation, Inc. Porter Family Foundation
Ed & Hildegarde Schaefer Foundation Robert, Carrie and Bobbie Steck Foundation Jennie Thompson Foundation Wells County Foundation, Inc.
Conductor gifts of $2,500 to $4,999 Kosciusko County Community Foundation Dr. Dane & Mary Louise Miller Foundation
Northern Indiana Fuel & Light
Composer gifts of $1,250 to $2,499 Adams County Community Foundation Howard P. Arnold Foundation Greater Fort Wayne Chamber of Commerce Foundation
MAXIMUS Foundation Mary E. VanDrew Charitable Foundation Vann Family Foundation
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endowment fund Special Endowments The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 50-51 for musician chair endowments. Chorus Director Louis Bonter
Youth Symphony Walter W. Walb Foundation
Philharmonic Center Rehearsal Hall - In honor of Robert and Martina Berry, by Liz and Mike Schatzlein
Family Concerts Howard and Betsy Chapman
Music Library Josephine Dodez Burns and Mildred Cross Lawson
Young People’s Concerts The Helen P. Van Arnam Foundation
Music Director Podium Ione Breeden Auer Foundation
Philharmonic Preschool Music Program Ann D. Ballinger
Guest Violinist Chair Nan O’ Rourke
Radio Broadcasts Susan L. Hanzel
Bequests The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Beverly Dildine Gloria Fink
Joyce Gouwens Sanford Rosenberg
Alice C. Thompson
Contributors Due to space limitation we will share the full list of endowment contributors in our first program book of each season. We're grateful for each gift that has helped build our endowment and appreciate your ongoing contributions.
tributes We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated. In memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Phil musician will fund the Ernest Zala Youth Orchestras Concertmaster Chair and will provide merit-based scholarships for Youth Orchestra string players. To contribute, please contact the Development Office at 481-0776.) Irene & Jim Ator Virginia Bokern Bob & Margaret Brunsman Brenda & David Crum George and Ann Donner Delores Dunham Betsy & Geoff Gephart Ronald Heilman Deborah & Andrew Hicks Colleen J. Hohn Dr. Carol Buttell Eleanor Marine Christina & Stephen Martin Don & Eleanor Martin Wayne Martin & Nancy Olson-Martin Lee McLaird Barbara Mann Ramm Cathy Tunge & Steve Kiefer Kristin Westover Cathleen Westrick Mr. & Mrs. Ray Wiley Tim & Sandy Zadzora In memory of Larkin Craig Keoun Irene & Jim Ator Adie & Dick Baach Holly & Gil Bierman Jocelyn & Jim Blum Ann & David Bobilya Virginia Bokern Janellyn & Glenn Borden Mr. & Mrs. Wayne Burnside Princess Cameron Alan Candioto Peg & Andy Candor Anita & Bill Cast Sarah & Sherrill Colvin Michael Crump Judy & Wayne Dawes Cindy & Mark Deister Mr. & Mrs. John Dillard Nancy Donnell Ben and Sharon Eisbart Susan & Richard Ferguson Vernell & Peter Fettig William Gharis Suzanne Gilson Nancy Graham-Sites Judy & Tom Hayhurst Jerome Henry Ann Hoard Jenny & Andrew Hobbs Nancy & Tuck Hopkins
Suzanne & Michael Horton Barbara & Phillip Hoth Amanda Hullinger & Family Ginny & Bill Johnson Pat Leahy Judy & Gerald Lopshire Carol & Duane Lupke Margaret & Doug Lyng Eleanor Marine Dr. Michael Mastrangelo Monarch Capital Management Bill Morgan Gloria & Jim Nash Catherine Norton Sally & David Norton Jan Paflas Kathy & Michael Parrott Pat & John Pfister David Quilhot Jeanette & Russ Quilhot Ann & Dick Robinson Emily & Matt Roussel Bette Sue Rowe Carol Lynn Rulka Deb & Bob Rupp Morrie Sanderson Nancy & David Stewart Kathleen Summers Amy Throw & Family Nancy Vacanti & Abigail Kesner Helen & Wayne Waters Bob and Martha Wasson Dana Wichern Mack Wootton In memory of Evelyn Phillips Barbara & Milton Ashby Dennis Becker Pat & Tony Becker Bonita & William Bernard George Bewley Sherry Blake Karen Butler Ted Davis Martha & William Derbyshire L. Ann & James Golm Ron and Nicole Greek Mary & Tom Hufford Keith Kuehnert Ruth Lebrecht Nancy & Victor Martin Julie & Bob Mehl Richard Phillips Vivian Purvis John Reche Carroll & Bill Reitz William Schreck Mary & Robert Short Jane C. Thomas Martha & Bob Wasson
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tributes
continued
We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated. David and Nancy Stewart Leonard Helfrich Daryl Yost Carol Linquist Virgina Brokern David and Nancy Hunter Mr. and Mrs. John Beatty Greg Marcus In memory of Lockwood Marine Bethel United Methodist Church - Cancel Choir Michael and Janet Tucker In memory of Dorothy Goon Lois A. Steere In Memory of Allen C. Steere Bob and Martha Wasson In Memory of Barry Ellis Mariam Louise Brokaw In memory of Roberta Brokaw
laureate club The following people have provided for a deferred gift to the Philharmonic, through an estate plan or other financial planning instrument. We gratefully acknowledge their kindness, forethought and lifelong commitment. All gifts are allocated to the Philharmonic Endowment Fund unless otherwise specified by the donor. Anonymous (25) Patricia Adsit Richard and Sharon Arnold Dick and Adie Baach George and Linn Bartling Fred Beckman Kevin Paul Beuret Janellyn and Glenn Borden Carolyn and Steve Brody Anita Hursh Cast Betsy and Howard Chapman June E. Enoch Fred and Mary Anna Feitler
Richard and Susan Ferguson Mrs. Edward Golden Leonard and Rikki Goldstein Jay and Sandra Habig Susan Hanzel Jeff Haydon John Heiney Mr. & Mrs. Donald Hicks Tom and Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara Doris Latz
Antoinette Lee Jeff Leffers and Jane Gerardot Naida MacDermid Eleanor Marine Mick and Susan McCollum John and Shelby McFann Donald Mefford John Shoaff and Julie Donnell Chuck and Lisa Surack Ron Venderly Foundation Herbert and Lorraine Weier Mr. & Mrs. W. Paul Wolf
Donors have found that a planned gift can provide an ideal opportunity to support the orchestra they love at a higher level then they had thought possible. Your planned gift to the Fort Wayne Philharmonic can also benefit you and your family. We are proud to honor our planned giving donors with membership in the Laureate Club. There are multiple ways to give and many different assets you can use. From a simple bequest to more complex arrangements, we welcome the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Please contact the Development Office at 260 481-0774 or by email at info@fwphil.org to find out more about specific planned giving strategies.
index of advertisers 34 80/20 Foundation 4 Ambassador Enterprises 15 Arts United 10 Audiences Unlimited 18 Brotherhood Mutual Insurance Co. 17 Bruce Ewing Landscaping 24 Canterbury School 33 Civic Theatre 52 Dignity Memorial 22 Do It Best Corp. 43 Embassy Theatre 39 Great Kids Make Great Communities 66 Indiana Arts Commission 6 IPFW School of Music 26 Keefer Printing
28 Lincoln Financial Foundation 27 Lutheran Medical Group 25 Old National Insurance 36 Restore It With Elements of Design 12 STAR Bank 47 Summit Plastic Surgery 2 Sweetwater 68 SYM Financial Advisors 45 The Phil Friends 10 Troyer & Good 40 WANE TV 42 WBNI 21 Wirco
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