Fort Wayne Philharmonic Prelude January/February/March 2018

PRELUDE 2 01 8 J a n u a r y - Fe b r u a r y - M a rc h

We believe in supporting the arts.

Every step of the way.

lakecitybank.com

PRELUDE FORT WAYNE PHILHARMONIC PROGRAM Design: Brooke Sheridan

Contributing Editors: James W. Palermo, Jim Mancuso

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

TABLE OF CONTENTS 4 Welcome Letter, Andrew Constantine 10

11 51 52 52 66 68

Fort Wayne Philharmonic Youth Concert Orchestra Marcella Trentacosti, YCO conductor Fort Wayne Philharmonic Chorus IPFW University Singers Vaughn Roste, Choral Director, IPFW Philharmonic Friends Andrew Constantine, Music Director

VOLUME 74 NO. 3

70 71 72 76 77 78 80 83 89

Caleb Young, Assistant Conductor Benjamin Rivera, Chorus Director Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Administrative Staff Series Sponsors Sponsors Donors Advertisers Index

41 41 41 49 50 63 64

Vitaliy Prikhodko Pavel Korshunov Ekaterina Borzikova Karina Gauvin Michael Dean Emmanuel Fratianni Tommy Tallarico

ARTIST BIOS 9 Sage Hamm 22 David Hamilton 23 Amy Grant 31 William Wolfram 40 Elena Tsarkova 40 Vladimir Tsarkov 41 Vitalii Buza

7 Family FROZEN FAIRY TALES

Sunday, January 21

39 Pops CIRQUE GOES TO THE CINEMA

Saturday, February 17

13 Freimann BLISS Wednesday, January 24 Sunday, January 28

43 Masterworks BRAHMS: A GERMAN REQUIEM Saturday, February 24

21 Pops AMY GRANT IN CONCERT

Saturday, January 27

55 Freimann MUSIC FROM DON GIOVANNI Wednesday, February 28 Sunday, March 4

25 Masterworks SCHEHERAZADE Saturday, February 3 33 Chamber SONGS WITHOUT WORDS

Saturday, February 10

61 Special Events VIDEO GAMES LIVE Saturday, March 3

3

WELCOME FROM THE MUSIC DIRECTOR Dear Friends: On behalf of all my colleagues at the Fort Wayne Philharmonic, I wish each and every one of you a happy, healthy, and prosperous New Year.

In keeping with the season, we begin 2018 with Frozen Fairy Tales on the Star Family Series. It is always gratifying to see so many young people exposed to the great classics at these fun and family friendly performances.

The Brotherhood Mutual Freimann Series continues with a sumptuous program of ethereal sounds, including Debussy’s Violin Sonata. Nowhere else in the city can one consistently hear these varied masterpieces performed so expertly. At the end of the month, the incomparable Amy Grant joins the Philharmonic in a Sweetwater Pops concert, performing her greatest hits. Grant’s musical gifts transcend genre boundaries, making her a household name.

In mid February Cirque Goes to the Cinema in an all-new show that features awe-inspiring physical feats of power and beauty, paired with musical classics from Star Wars, Harry Potter, Titanic, and James Bond.

I am personally looking forward to the late February concert comprised of works by DvorĚŒaĚ k and Brahms, including his German Requiem. Brahms wrote this dramatic and unconventional masterpiece for the living, and its uplifting, universal message continues to resonate today.

We begin March with Video Games Live, a recently added special concert. The Philharmonic will perform live, along with synchronized video footage and lighting, with well-known Internet solo performers, electronic percussion, live action, and interactive segments to create a dazzling one-of-a-kind entertainment experience.

The Fort Wayne Philharmonic is broadening programs and partnerships to reach new audiences, while growing opportunities for children, young professionals, business leaders, and citizens as a leader in a vibrant and engaged Fort Wayne.

Thank you for your belief in great music and your support of our wonderful Philharmonic. Please enjoy all we have to offer.

Sincerely,

Andrew Constantine

ANDREW CONSTANTINE

5

From community arts to economic development, we believe great performances and ideas create vibrant communities. That’s why we proudly support the Fort Wayne Philharmonic. Their dedication to excellence brings joy to our hearts and business to our city.

And that is sweet music to our ears.

Come home to

Š 2017 STAR Financial Group

F STAR Family Series

FROZEN FAIRY TALES Sponsored by Wirco, Inc.

Sunday, January 21, 2018 | 2:00 p.m.

Rhinehart Music Center, IPFW Caleb Young, conductor Sage Hamm, piano Fort Wayne Philharmonic Youth Concert Orchestra, Marcella Trentacosti, director TCHAIKOVSKY

Waltz from Sleeping Beauty Suite, Op. 66a

ANDERSON-LOPEZ & LOPEZ Music from Frozen

Side-by-side with Youth Concert Orchestra SAINT-SAËNS Andante Sostenuto movement from Piano Concerto

No. 2 in G minor, Op. 22 Sage Hamm, piano PROKOFIEV

Troika from Lt. Kijé Suite, Op. 60

HUMPERDINCK Two Excerpts from Hänsel und Gretel Knusperwalzer Hexentritt WALDTEUFEL

Les Patineurs, Op. 183

WILLIAMS

The Flight to Neverland from Hook

The Fort Wayne Philharmonic Friends proudly presents Sage Hamm, the winner of the 2017-2018 Young Artist Solo Concerto Competition, Senior Division.

Many thanks to the generous supporters of this event:

7

PHILharmonious A Night at the Movies

GALA & AUCTION FRIDAY , JUNE 1 , 2018

SAVE THE DATE. FORT WAYNE PHILHARMONIC

Sage Hamm, piano Sage Hamm (b. 2000) started studying the piano at the age of five, performed his first public recital at age six, and has been actively performing in competitions and recitals since then. Last year, Sage won top prize at the 2017 State Fair Piano competition and 2nd place at the IMTA competition. Masterclass teachers include Joseph Kalichstein of Juilliard and Dr. Karen Shaw of Indiana University. Sage currently studies with Dr. Robert Palmer of Ball State University. His past teachers include Mrs. Iris Pederson and Dr. Galit Gertsenzon.

Sage is a junior at the Indiana Academy for Science, Mathematics, and Humanities.

COPPÉLIA

Ambassador Enterprises Chamber Orchestra Series Friday, March 23 | 7:30 p.m.

Saturday, March 24 | 2:30 p.m. & 7:30 p.m.

Sunday, March 25 | 2:30 p.m.

Sparks fly in support of the Fort Wayne Philharmonic!

Arts United Center | Caleb Young, conductor Fort Wayne Ballet, Karen Gibbons-Brown, Executive Director CoppĂŠlia tells the delightful tale of a doctor who has made a life-size dancing doll. An infatuated village youth is saved from an untimely end at the hands of the inventor.

FWPHIL.ORG 260.481.0777

HEAT RESISTANT FABRICATIONS & CASTINGS www.wirco.com

F

STAR Famly Series

FORT WAYNE PHILHARMONIC YOUTH CONCERT ORCHESTRA Marcella Trentacosti, Conductor VIOLIN 1 Clara Bingamon, Concertmaster Yebin Jeong, Co-Concertmaster Court Wagner Daniel Liu Juliette Mikautadaze Ella Hildebrand Trinity Forish Lydia Bingamon VIOLIN 2 Isabel Carillo, Principal Elisabeth Rowdabaugh, Asst. Principal Kieran Niska Andrew Habig Kaitlyn Jones Jessica Tian Frankie Cai Timothy Chan Alexis Deam CELLO Edward Sun, Principal Shaan Patel, Asst. Principal Maria Tan Nikitha Babu Bethany Perkins Joel Hembree Maya Racz Martina Beam Madison Greenfield

10

VIOLA Dillon Jackson, Principal Amir Pierre-Louis, Asst. Principal Kylie Johnson Owen Dankert STRING BASS Preston Reeves OBOE Andy Deng Kevin Wang BASSOON Ben Morton Benjamin Kammerer, Alumni Member FLUTE Madilyn Mory Madelyn Myers Sara DeLong CLARINET Marlena Haefner Abigail Johnson Melody Sutter Kristen Foti

FRENCH HORN Hannah Offhaus Lydia Bingamon TRUMPET Faith Allison Rylee Eagleson Ethan Wilson TROMBONE Noah Jeong TUBA Alex Robles PERCUSSION Evelyn Rowdabaugh Hailey Sandquist Andy Deng

Marcella Trentacosti, Youth Concert Orchestra Conductor Born and raised in Allentown, Pennsylvania, Marcella Trentacosti has been a full-time section violinist in the Fort Wayne Philharmonic since 1976. She graduated from Indiana University with a Bachelor of Music in Education degree and in 2008 completed a Master of Music degree at Bowling Green State University in Ohio.

Marcy has participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago; Bach, Beethoven, Breckenridge Music Festival in Breckenridge, Colorado; and has served as Concertmaster of the Marion Philharmonic.

As an educator she has taught at Snider High School, Woodside Middle School, Canterbury School and Blue Lake Fine Arts Camp. In 2012, Marcy received an Arts United Artie Award for “Outstanding Music Educator�. In addition to performing and conducting the Fort Wayne Philharmonic Youth Concert Orchestra since 2010, she maintains a private teaching studio for the IPFW Community Arts Academy, teaches Violin and String Techniques for the IPFW Department of Music, and is the Director & Founder of the IPFW Community Arts Academy Summer String Camp.

Marcy is an active member of Sigma Alpha Iota, in which she has held several offices; American String Teachers Association; and Indiana Music Education Association. Marcy serves on the board of the Philharmonic Friends and is currently faculty adviser for the SAI Zeta Psi Collegiate Chapter.

We believe in better.

At Parkview, we believe in reaching higher. Doing the unexpected. And making each new day better than the last. It’s the kind of thinking that’s helped us become Magnet® recognized and one of the 15 Top Health Systems* in the country. Why is this important? Because of what it means for you — improved quality of care, better outcomes, and a better experience for you and your family.

That’s healthcare we can all believe in.

We believe in better.

F Brotherhood Mutual Insurance Company Freimann Series

BLISS Wednesday, January 24, 2018 | 7:30 p.m.

Parkview Physicians Group ArtsLab Sunday, January 28, 2018 | 2:00 p.m.

Rhinehart Music Center, Recital Hall, IPFW LAFOSSE Suite Impromptu

Épithalame Marche Élégie Mouvement

Andrew Lott, trumpet

Dan Ross, trumpet

Andrew Hicks, trombone

Alex Laskey, horn

Chance Trottman-Huiet, tuba DEBUSSY Sonata for Violin and Piano in G minor

Allegro vivo

Intermède: fantasque et léger

Finale: très animé Johanna Bourkova-Morunov, violin

Alexander Klepach, piano

-- Intermission --

TAKEMITSU And Then I Knew ‘twas Wind

Anne Preucil Lewellen, harp

Derek Reeves, viola

Luke Fitzpatrick, flute BLISS Quintet for Oboe and Strings, Op. 44

Assai sostenuto - Allegro assai agitato

Andante con moto Vivace

Orion Rapp, oboe

Violetta Todorova, violin

Olga Yurkova, violin

Derek Reeves, viola

Andre Gaskins, cello

Many thanks to the generous supporters of this event:

13

BLISS SUITE IMPROMPTU André Lafosse (b. 1890, Marly-le-Roi, France: d. 1975, Paris, France) Born into a musical family (his brother Marcel was a trumpeter for many decades with the Boston Symphony), André Lafosse was one of France’s finest trombone soloists during the first half of the 20th century as well as a renowned teacher of the instrument at the Paris Conservatory. He wrote the three-volume Méthode complète pour le trombone, which remains one of the standard texts for mastering this instrument. Lafosse’s skills were so superior that Stravinsky chose him to be the trombone soloist for his first recording of Pulcinella as well as

PROGRAM NOTES January 24 & 28, 2018 one of two trombones on the premiere recording of his Octet. Lafosse was also featured in the first recording of Ravel’s Boléro, made in 1930.

Although Lafosse was only modestly active as a composer, his Suite impromptu for brass quintet remains a popular work for this ensemble. In four brief movements, it opens with “Épithalame”, a suave, slow waltz. This is followed by a brisk, quickstep “Marche”, with a sassily witty middle section. The poignantly lovely “Élégie” has a striking passage sounding like tolling bells just before its close. The rapid, rhythmic final “Mouvement” also finds time for an attractive melody that shows off the horn and trombone splendidly.

Celebrating The Philharmonic

Offices in Fort Wayne, LaGrange, Syracuse and Warsaw

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

10/19/16 12:47 PM

SONATA FOR VIOLIN AND PIANO IN G MINOR Claude Debussy (b. 1862, St. Germain-en-Laye, France; d. 1918, Paris) The elegant, luminous Sonata for Violin and Piano was the last work Claude Debussy wrote, and its premiere in Paris on May 5, 1917, was the final time he was able to appear in public as a pianist. Diagnosed with cancer, he had been operated on in December 1915, but that only prolonged his life for a little more than two agonizingly painful years.

Throughout 1916, he was unable to write anything, but in the winter of 1917, he made a heroic effort to compose this work: the third of what he had planned to be a set of six sonatas for various instruments, conceived as a memorial to the youth of France who had died in World War I. Summoning his customary caustic wit, he wrote at this time to the French composer Gabriel Fauré: “I am still, to my great regret, in the hands of some surgeons, physicians, and other assassins.”

In these last sonatas — he had previously completed one for cello and piano and a second for the unusual combination of flute, viola, and harp — Debussy strove to write in a very pure, almost classicalera style and to mimic the flow and stresses of the French language even in instrumental music. The implicit sadness in the Violin Sonata is very understated, yet nevertheless palpable.

In G minor, the first movement is tender, wistful, and subtly beautiful. It has two undulating major themes: the first descending but gradually growing more active, the second (which appears after a fervent climax in the music), more languid despite its ascending shape. It closes with a yearning, heartbreaking passage in the violin, which is abruptly choked off.

Movement two is a more cheerful intermezzo; Debussy marked it “fantastic and light”. It is filled with ironic humor and fleet, playful figures for both instruments.

Although the piano opens the finale with shimmering, animated high figures, the violin on entering returns to the more wistful theme of the first movement.

The music soon regains energy, but then comes a surprise: a haunting slow interlude with the violin almost pleading in words to the piano’s solemn chords. In the last section, Debussy described the theme as being “subjected to the most curious deformations and ultimately leaving the impression of an idea turning back upon itself, like a snake biting its own tail.”

AND THEN I KNEW ‘TWAS WIND Toru Takemitsu (b. 1930, Tokyo, Japan; d. 1996, Tokyo) There is a strong relationship between Debussy’s late sonatas and Toru Takemitsu’s And then I knew ’twas Wind.

The most famous of Japan’s 20th-century composers, Takemitsu fell in love with French music when he was a teenager in wartime Japan. Though Western music was banned in Japan at that time, a military officer played a French song for the 15-year-old recruit. That revelation set his creative path for life. Largely selftaught, Takemitsu adopted Debussy as his model, though in time he also drew on another Frenchman Olivier Messiaen and other contemporary composers to develop his own trance-like, subtly colored music.

His 1992 chamber piece And then I knew ’twas wind was inspired by a specific Debussy piece: the Sonata for Flute, Viola and Harp, which Debussy wrote just before the Violin Sonata we just heard.

15

This unusual mixture of instruments appealed to Takemitsu’s inventive ear for instrumental colors, and he took Debussy’s sonic palette even further by asking his trio to use many unorthodox techniques to convey something of the sounds of traditional Japanese instruments.

It was inspired, as well, by a poem

by Emily Dickinson, which includes these words: “Like Rain it sounded till it curved And then I knew ’twas Wind It walked as wet as any Wave But swept as dry as sand.”

Always drawn to Nature and especially the imagery of water and wind, Takemitsu was here also trying to express something even less tangible, more spiritual. In his words, this piece “has as its subject the signs of the wind in the natural world and of the soul, or unconscious mind (or we could even call it a ‘dream’), which continues to blow like the wind, invisibly, through human consciousness.”

This is a beautiful work that mingles sound and silence in a continuous spellbound flow. When the viola finally enters, after an extended opening by the harp alone, it quotes an ascending phrase from Debussy’s sonata. This eventually spawns a longer ascending melody, which comes to dominate this almost pulse-less music and especially its closing moments.

QUINTET FOR OBOE AND STRINGS, OPUS 44 Sir Arthur Bliss (b. 1891, London, England; d. 1975, London) The son of a Massachusetts businessman who moved to London, Arthur Bliss grew up in the English establishment, but also maintained his connections to the United States. Having gone to top British schools — Rugby and Cambridge University — he moved on to London’s Royal College of Music for a year before World War I swept him into the British Army. For the full duration of the war, he managed to survive trench warfare and being wounded in France; one of his brothers was killed.

Returning to civilian life, Bliss threw himself into composing and in his early career was known as a bit of a radical, who admired and imitated the techniques of Stravinsky and the French “Les Six”. In 1923, he moved back to America, stayed for two years, married an American, but then returned to England. There his compositional style moderated considerably, and he became associated with Sir Edward Elgar, the dean of establishment composers. By 1950, he had been knighted himself and two years later was appointed Master of the Queen’s Music. His music had by then taken on some of Elgar’s grandeur.

Written in 1927, his Quintet for Oboe and Strings combines elements of Bliss’ early modern style with the very British traditional style he was in the process of adopting. Commissioned through his friendship with the American musical patroness Elizabeth Sprague Coolidge, who was extraordinarily generous in supporting contemporary composers, it was designed to show off the skills of

16

the English oboe virtuoso Léon Goosens, a boyhood friend of Bliss’. English composers have frequently demonstrated a great fondness for this instrument with a very characteristic sound of pungency mixed with attractive plaintiveness.

The mostly lyrical first movement (Assai sostenuto) is opened by the two violins playing gentle but tonally unstable music.

They are eventually joined by the oboe, which introduces a poignant theme that ranges widely over the instrument’s compass. Accelerating the tempo to Allegro assai agitato, the oboe then launches a lively country-dance theme, to which the strings add an aggressively dissonant accompaniment. This builds to an intense climax and an equally intense return of the oboe’s first theme. The music then subsides to its opening calm.

The Andante con moto second movement follows a similar trajectory with music that exploits the melancholy sonic qualities and expressivity of the oboe. Recalling some of Ralph Vaughan Williams’ contemporary works, this music seems to capture the rural peace and beauty of England’s countryside.

Pizzicato strings accompany a faster, dance-like middle section.

The Vivace finale opens as a frantic and sometimes very dissonant leaping dance.

Before long, a familiar melody emerges: an Irish tune known as “Father Connelly’s Jig,” which is still a staple of Scottish country dances. Bliss varies and develops this tune into a virtuoso display for all five players. A high-energy close spotlights the oboe in a last virtuoso riff.

“ELEGIAC, ROMANTIC, AND JOYOUS”

MUSIC DIRECTOR ANDREW CONSTANTINE’S NEW RECORDING

Notes by Janet E. Bedell copyright 2018

FOR SALE IN THE EMBASSY LOBBY.

BOWIE AND PRINCE Sweetwater Pops Series

Saturday, March 17, 7:30 p.m.

Embassy Theatre

This concert features favorites by David Bowie and Prince, starring Jean Meilleur and Gavin Hope, along with the Philharmonic, a 5-piece band, and backup singers.

260.481.0777

FWPHIL.ORG

Sweetwater Pops Series

AMY GRANT Saturday, January 27, 2018 | 7:30 p.m.

Embassy Theatre Amy Grant, Vocalist David Hamilton, conductor Greg Morrow, Drums Mike Brignardello, Bass Gene Miller, Guitar Pat Buchanan, Guitar Jason Webb, Keys Kim Keyes, Backing Vocals Selections to be announced from the stage.

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack

21

David Hamilton, conductor David Hamilton is an accomplished musician known for his versatility, technique and artistic passion.

He has earned a reputation as a premiere orchestral arranger and as a respected conductor, producer, pianist, and composer. He has collaborated with Amy Grant as arranger and conductor for many years and his music spans a wide range of genres on recordings by Lang Lang, Renée Fleming, Shania Twain, Ricky Skaggs, The Canadian Tenors, Aaron Shust, Heather Headley, Sandi Patty, Natalie Grant and many others. David has also worked extensively with Michael W. Smith co-producing and arranging Michael’s instrumental recordings “Freedom” and “Glory” and the Christmas recordings “It’s a Wonderful Christmas” and “The Spirit of Christmas” with a cast of top country and pop artists including Carrie Underwood, Lady Antebellum, Little Big Town, Vince Gill and Bono. David’s arrangements can be heard at Walt Disney theme parks worldwide. He has created music for films, Macy’s, the Boston Pops, the New York Pops, the Dove Awards and the GRAMMY®s and he has written and arranged an extensive body of choral music sung by churches across America.

Mr. Hamilton is also a gifted conductor. He conducts orchestral and choral concerts and recording sessions and has collaborated with many artists as musical director for pops and holiday concerts with distinguished orchestras such as the Nashville, Dallas, Atlanta, St. Louis, Cincinnati, Indianapolis, Virginia and Edmonton symphonies. For many years he has led national Christmas tours and pops concerts with Amy Grant and Michael W. Smith and has enjoyed the privilege of conducting at Carnegie Hall, the Kennedy Center and in major recording studios and sound stages around the world.

David’s passion and love for music grew through his childhood and teenage years studying piano, writing and playing in church. His undergraduate degree in piano performance from the Wheaton College Conservatory of Music and a Master’s degree in arranging and production from the University of Miami School of Music provided diverse training and a potent blend of classical, popular, jazz and sacred music styles which have served him well in the vibrant creative community of his hometown, Nashville.

The famous quote by Saint Iraneus “The Glory of God is man fully alive” holds deep meaning for David. If you ask him about it he’ll tell you, “I want to be an authentic man who loves his family and lives his faith. I don’t always get it right, but I’m grateful to be reminded time and again that my family and my music are gifts and God’s redemption shines in my deep need for grace. I’m grateful to feel more fully alive in the joy of making music not simply for the joy alone, but for the reason why -- which for me, makes all the difference.”

22

Amy Grant, vocalist Amy Grant’s career spans over 30 years and stretches from her roots in gospel to her experience as an iconic pop star, songwriter, television personality and philanthropist. Grant is beloved for both her Contemporary Christian music and mainstream hits such as “Baby Baby”, “Every Heartbeat”, “That’s What Love is For”, “I Will Remember You”, “Lead Me On”, “El Shaddai”, and more.

She has sold more than 30 million albums, including one five-time Platinum album, one triple Platinum and one double Platinum album, as well as six platinum and four Gold albums. She has won six GRAMMY® Awards and 26 GMA Dove Awards, including four Artist of the Year honors. Out of her 10 Top 40 pop singles, six have become No. 1 hits, including “Baby, Baby” and “Every Heartbeat.”

Grant was inducted into the Gospel Music Hall of Fame in 2003 and is one of only two Christian artists to be awarded a star on the legendary Hollywood Walk of Fame.

Conventional wisdom has it that Grant put Contemporary Christian Music on the map, becoming the first Contemporary Christian artist to have a platinum record, the first to hit No. 1 on the Pop charts, and the first to perform at the GRAMMY® Awards. With that, her legacy as one of the most influential artists of the past couple of decades is assured.

Her most recent projects have indulged Grant’s love of community. In 2013, she released How Mercy Looks From Here, a landmark album that featured collaborations with heroes such as James Taylor and Carole King as well as Sheryl Crow, Eric Paslay, Will Hoge and stepdaughter Jenny Gill. The project became her 16th No. 1 album in the Christian genre.

The following year, Grant’s classic hits were in the spotlight again with In Motion: The Remixes, a collection of her hits remixed by well known remix engineers and DJs who skillfully reinvented her classic catalog for a new generation of music lovers. The album hit the top five on Billboard’s Electronic Albums chart.

Grant’s newest album, Be Still And Know…Hymns & Faith, is a collection of classic songs that have buoyed her faith since childhood and helped lay the foundation for her creative journey. This latest group of songs occupies a special place in a career filled with great memories and incredible music. Grant has always found a way to share her life through her music, and in the process has become not only the best-selling Christian music artist of all time but also one of the most celebrated artists in the pop music industry. Her music continues to be part of the fabric of life for long-time listeners and brand new fans. For more information, visit www.AmyGrant.com.

Financial guidance that puts you on the podium.

Graig P. Stettner, CFA, CMT

Strategence Capital was founded with the goal of assisting our clients in every aspect of their financial lives. As an independent investment firm, we focus on you and your dreams. Call or visit us online to learn more.

Securities offered through LPL Financial, Member FINRA/SIPC. Investment advice offered through Strategence Capital, a registered investment advisor and separate entity from LPL Financial.

260.236.0385 Tim Stoller, AAMS, AIF, CRPS

strategencecapital.com

Strategence Capital

Celebrating 90 Years!

May 19, 2018 7 p.m.

Tickets on sale at the STAR Bank box office, Ticketmaster.com and 800.745.3000

90th Anniversary Community CELEBRATION Organist Mark Herman • Vaudeville Stage Acts • Black-and-White Movie Screening • Red Carpet Arrival

A nostalgic series celebrating the Embassy’s historic past

Back to the Future

Wizard of Oz

Grease

Casablanca

Frozen

Jan. 19, 7:30 p.m.

Jan. 20, 2:30 p.m.

Jan. 20, 7:30 p.m.

Feb. 10, 7:30 p.m.

May 13, 2:30 p.m.

Wings

Independence Day

Pirates of the Caribbean

The Sound of Music

White Christmas

BONUS! June 17, 2:30 p.m.

July 13, 7:30 p.m.

Aug. 24, 7:30 p.m.

Sept. 21, 7:30 p.m.

90 Years of Film

Festival of Trees screenings Nov. 23, 2017 Nov. 22, 2018

We picked movies from the past 90 years— one from every decade in the Embassy’s lifetime. Presented

by Embassy Theatre and Fort Wayne Cinema Center.

Presented by Sweetwater and Chuck and Lisa Surack

M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

SCHEHERAZADE Saturday, February 3, 2018 | 7:30 p.m.

Embassy Theatre Andrew Constantine, conductor William Wolfram, piano WAGNER

Arrival of the Guests at Wartburg, from Tannhäuser

CORIGLIANO Concerto for Piano and Orchestra

Molto allegro Scherzo

Andante appassionata Allegro William Wolfram, piano

-- Intermission --

RIMSKY-KORSAKOV Scheherazade, Op. 35

The Sea and Sindbad’s Ship

The Tale of Prince Kalander

The Young Prince and the Princess

The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock

Violetta Todorova, solo violin Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, February 15 at 7:00 p.m.

Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

25

SCHEHERAZADE ARRIVAL OF THE GUESTS AT WARTBURG, FROM TANNHÄUSER Richard Wagner (b. 1813, Leipzig, Germany; d. 1883, Venice, Italy) When Richard Wagner wrote the opera Tannhäuser, he was only in his early thirties and not yet the revered master of Bayreuth. In fact, he had just returned to Germany after two and a half years of poverty and frustration in Paris, where he’d been forced to arrange other people’s music in order to keep the wolf from the door. In these circumstances, the offer of the music directorship at the Dresden Court Opera House in 1842 was a gift from heaven.

As he traveled to his new post, Wagner glimpsed from his carriage window the imposing mountain-top Wartburg Castle; here, according to legend, were held the song contests of the medieval German minnesingers. His imagination stirred, Wagner began reading about them and also about the legend of the knight Tannhäuser, who dallied with Venus, the goddess of love, in her sacred mountain the Venusberg. When Tannhäuser finally tore himself from Venus’ arms and traveled to Rome to seek absolution, the Pope told him he would never be forgiven unless the Pope’s ceremonial staff should sprout living branches.

Since this seemed impossible, the knight returned in despair to Venus. But three days later, the Pope’s staff miraculously burst into bloom. In his opera completed in 1845, Wagner conflated these two stories into an epic struggle between the powers of sacred and profane love.

To counterbalance Venus, he created the character of the saintly Princess Elizabeth, whose pure love wins Tannhäuser away from the goddess and ultimately secures his redemption.

In Act II, this majestic music filled 26

PROGRAM NOTES February 3, 2018 with brass fanfares accompanies the procession of the nobles into the Wartburg’s great hall to watch the song contest, in which an ugly confrontation between Tannhäuser and the other contestants will ensue. Music for the chorus is also included in this scene, but is not heard in this concert arrangement.

CONCERTO FOR PIANO AND ORCHESTRA John Corigliano (b. 1938, New York City) Over a nearly fifty-year career, John Corigiano has devoted himself to revivifying the great classical genres: symphonies and concertos, operas and string quartets. Few contemporary American composers have captured the public’s imagination as successfully as he has. Corigliano has a gift for creating musical drama and emotional communication that mesmerizes.

Owing allegiance to no compositional school, he mixes together whatever he needs to serve his usually powerful expressive purposes.

Born into a musical family — his father was for two decades the concertmaster of the New York Philharmonic and his mother a pianist — Corigliano studied music and composition at Columbia University and the Manhattan School of Music. He then worked at a variety of musical trades — classical radio programming, record production, filmscore arranging, and commercials — before making his mark as a serious composer by winning the chamber music prize at the 1964 Spoleto Festival. His opera The Ghosts of Versailles was the surprise hit of the Metropolitan Opera’s

1991–92 season and has received many major productions around the world.

Among his three symphonies, Symphony No. 2 received the 2001 Pulitzer Prize for Music, while Symphony No. 1, “Of Rage and Remembrance”, was awarded the equally prestigious Grawemeyer Prize.

Alongside the very popular Pied Piper Fantasy for flute, Corigliano has written a number of accomplished concertos.

Tonight we will hear his earliest concerto, the Concerto for Piano and Orchestra composed in 1968.

This is a dazzling and expansive virtuoso showpiece — for the orchestra as much as the soloist — in the grand concerto tradition, but with a thoroughly modern approach to rhythm, harmony, and melodic material. “The writing for both solo piano and orchestra is extremely virtuosic and theatrical,” comments the composer. “While the work is basically tonal, there are many atonal sections and a section of strict twelve-tone writing [in the second movement]. Rhythms throughout the work are highly irregular, and meters change often.”

However, audience members should not start gritting their teeth in preparation for that twelve-tone section, which is actually very brief and emotionally appealing. For this work provides exactly the sort of visceral thrills we look for in our favorite concertos of the past, but in a very up-to-date guise.

Its four movements are wonderfully contrasted, and all are animated by an exhilarating sense of rhythm and arrayed in superbly imaginative instrumental colors. Corigliano not only mixes his orchestral instruments skillfully, but also is extremely adept at stretching the range of the piano’s sonorities.

Here, with a few interpolations, is Corigliano’s guide: “The opening movement uses sonata-allegro form in an original way. After a few bars of introduction by the brass section, the piano enters with a large cadenza accompanied by percussion and

harp. This highly energetic section introduces the first theme, a savage three-note motto (B-flat, B-natural, and C).” This chromatically rising motto is particularly malleable in its expressive potential and underpins the entire movement. Shifting down to a slower tempo, “the second theme, first played by solo horn, is more lyrical.

“After the piano re-enters with the three-note motive, the development section begins. Each theme is developed separately; this separate development transforms the aggressive three-note motto into a lyrical theme, and the lyrical theme into a savage motto. In other words, one becomes the other. At the end of the development, the first theme is heard in canon while the piano and brass toss about the second theme. The climax leads directly to a second cadenza, [again accompanied by percussion], which marks the beginning of the recapitulation, followed this time by a diabolic coda.

“The second movement is a short and fleet Scherzo that breaks the emotional tension generated in the first movement.

Three short [and very dissonant and eerie-sounding] repeated chords form the Scherzo’s motto, which is based on the superimposition of major and minor thirds. This interval of a third forms the building block of the movement. The trio [section] is based on a twelve-tone row derived from the piano figures in the beginning of the movement.” This music is maniacally playful; continual repetitions of those three dissonant chords add a sense of destructive menace.

“All the themes of the third movement are based on six notes. The form is arch-shaped, building to a peak and diminishing to a hushed single-note piano melody that leads directly onto the final movement.” Despite its big central climax, this movement possesses an austere beauty, with the piano part often reduced to just one or two notes at a time, providing a cool oasis amid the heat and extravagance of the other movements.

27

Led off by the bassoon, “the last movement is a rondo whose main theme is fugue-like, using tone clusters in the orchestra and piano parts,” for coloristic rather than harmonic effects. “Themes from the earlier movements appear in the three subsections of the movement, concluding with the original three-note motto of the first movement joining in to end the concerto in a burst of virtuosic energy and color.”

SCHEHERAZADE, OP. 35 Nikolai Rimsky-Korsakov (b. 1844, Tikhvin, Russia; d. 1908, Lyubensk, near St. Petersburg, Russia) Nikolai Rimsky-Korsakov’s Scheherazade is as intoxicating and seductive as the alluring storyteller for whom it is named.

A joy for both audiences and musicians, it is music to make one fall in love with the symphony orchestra itself: its power, its delicacy, and its limitless palette of instrumental colors. What Rimsky wrote about its companion piece Capriccio espagnol applies equally well here: “The opinion formed by both critics and public that … [it] is a magnificently orchestrated piece — is wrong. [It] is a brilliant composition for the orchestra.

The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments … constitute here the very essence of the composition and not its garb or instrumentation.”

In fact, Scheherazade could well be called a “concerto for orchestra,” with the solo violin, representing the Persian enchantress, simply the leader of a company of individual soloists and sections playing as ensemble soloists.

Despite his disclaimer, Rimsky — a leader among the St. Petersburg-based “Mighty Handful” of Russian nationalist 28

composers — was indeed one of the greatest orchestrators in history and a major influence on orchestration in the 20th century. Not only did he inspire his pupils Glazunov, Prokofiev and, above all, Stravinsky (without Rimsky we would never have had the instrumental brilliance of Firebird, Petrouchka, or Rite of Spring!), but also Ravel, Debussy, and Respighi.

Rimsky’s three most popular works — the Capriccio, Scheherazade, and the Russian Easter Overture — were all composed within a year of each other. Created during the summer of 1888, Scheherazade was inspired by the Persian legend of the cruel Sultan who ordered all his wives put to death after their wedding night, and of Scheherazade who so beguiled him with her 1,001 tales that he kept postponing her execution until finally she won his love. But Rimsky does not tell any of her stories in detail.

And he urged audiences not to take his movement titles too literally: “I meant these hints to direct slightly the hearer’s imagination on the path which my own fancy had traveled, and to leave more … particular conceptions to the … mood of each [listener].”

Rimsky used only a few exotic melodies to build this lengthy work, and, depending on their context, tempo, and orchestral guise, they play different roles in different movements. He did, however, set a framework around the work. At the beginning, we hear the Sultan gruffly ordering Scheherazade to begin her first story in a loud, harsh orchestral unison.

After “once-upon-a-time” chords in the woodwinds, the solo violin enters as the voice of Scheherazade. Rimsky again returns to the violinist/heroine to open the second movement, and, as he begins the final one, we hear the Sultan’s voice, now rapid and impatient, begging for another story. At work’s end, the Sultan’s theme has been transformed: he is putty in Scheherazade’s hands as she floats a harmonic high E at the top of the violin’s range (a glorious but perilous moment for all fiddlers).

The four movements are essentially self-explanatory. In the first, after Scheherazade’s introduction come surging arpeggios in the cellos and violas: we are on the high seas with Sinbad the Sailor. The second movement, “The Story of the Kalander Prince”, is built around an exotic Middle Eastern-style melody introduced by the solo bassoon; kalanders were magicians in Middle Eastern courts. The fourth movement is the most complex: it begins with the riotous color and swirling activity of “The Festival of Baghdad”, and then, at the festival’s height, sends us suddenly back to Sinbad’s seas, as the low strings billow and a fierce storm screams overhead in the woodwinds. With a huge timpani crash, the ship is wrecked, and we return to the Sultan ready to live happily ever after with Scheherazade and her marvelous stories.

Rediscover Life’s Pleasures Just because you’re ready to take life a little easier doesn’t mean you’re ready to stop enjoying life. The Towne House may be the perfect place for you. Call to arrange a tour at 260-483-3116.

Notes by Janet E. Bedell copyright 2018 www.TowneHouse.org

Philharmonic-1-Generic1/4vert.indd 1

2/15/17 9:59 AM

R����������� C�������� D������ I������’� E������.

S��������� O������������ E�������� I������’� C������.

B������� ��� C�������� L�� C��������� L��������� I���������� I����������� P�������

F��� W����

I�����������

L���� ��� E��������� M������ ��� A����������� R��� E����� T��

W���������, DC

Golden Years Homestead is proud to sponsor Fort Wayne Philharmonic performances in long-term care facilities in partnership with Audiences Unlimited.

260-424-1064 www.AudiencesUnlimited.org

William Wolfram, piano American pianist William Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions and a bronze medalist at the prestigious Tchaikovsky Piano Competition in Moscow.

Wolfram has appeared with many of the greatest orchestras of the world and has developed a special reputation as the rare concerto soloist who is also equally versatile and adept as a recitalist, accompanist and chamber musician. In all of these genres, he is highly sought after for his special focus on the music of Franz Liszt and Beethoven and is a special champion for the music of modernist 20th century American composers.

His concerto debut with the Pittsburgh Symphony under the baton of Leonard Slatkin was the first in a long succession of appearances and career relationships with conductors and orchestras in America and throughout the world. An enthusiastic supporter of new music, he has collaborated with and performed music by composers such as Aaron Jay Kernis, Kenneth Frazelle, Marc Andre Dalbavie, Kenji Bunch, and Paul Chihara. His world premiere performance of the Chihara re-orchestration of Chopin’s Piano Concerto No. 1, with the Milwaukee Symphony under the baton of Andreas Delfs, was met with great critical attention and acclaim. Other highlights include several chamber music collaborations, including recitals and recordings with Oscar Shumsky, recitals with Harvey Shapiro and numerous collaborations with Leonard Rose.

Wolfram has extensive experience in the recording studio. He has recorded four titles on the Naxos label in his series of Franz Liszt Opera Transcriptions and two other chamber music titles for Naxos with violinist Philippe Quint (music of Miklos Rosza and John Corigliano). Also for Naxos he has recorded the music of Earl Kim with piano and orchestra, the RTE National Symphony Orchestra of Ireland behind him. For the Albany label, he recorded the piano concertos of Edward Collins with Marin Alsop and the Royal Scottish National Orchestra.

As educator and teacher, Mr Wolfram is a long-standing member of the piano faculty of the Eastern Music Festival in North Carolina, and a regular featured guest at the Colorado College Music Festival in Colorado Springs, Colorado. He also teaches a performance class at the acclaimed Manhattan School of Music.

In print and other media Wolfram was the focus of a full chapter in Joseph Horowitz’s book, The Ivory Trade: Music and the Business of Music at the Van Cliburn International Piano Competition. On television, he was a featured pianist in the documentary of the 1986 Tchaikovsky International Piano Competition.

A graduate of The Juilliard School, William Wolfram resides in New York City with his wife and two daughters and is a Yamaha artist.

31

Managing money for people with…

more important things to manage.

Managing money is more than simply trading stocks and bonds. It’s planning for life’s milestones, in your life and in the lives of those you care about most. We invest the time to understand your goals and maintain the discipline to manage your assets accordingly.

With over $9 billion in assets under administration, we are one of the largest wealth management firms in the midwest—where honest values run deep.

Let us handle the details so you can focus on the more important things in life.

Fort Wayne 116 E Berry St | 260-310-6663

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

Ambassador Enterprises Chamber Orchestra Series

SONGS WITHOUT WORDS Saturday, February 10, 2018 | 7:30 p.m.

First Wayne Street UMC Caleb Young, conductor DVOŘÁK Serenade in D minor, Op. 44

Moderato quasi marcia

Menuetto - Trio: Presto

Andante con moto

Finale: Allegro molto TCHAIKOVSKY Serenade for Strings in C major, Op. 48

Pezzo in forma di Sonatina Walzer Élégie

Finale (Tema Russo)

-- Intermission --

MENDELSSOHN Five Songs Without Words

Allegro di molto (Le Départ)

Allegretto tranquillo (Le Gondolier)

Presto (Scherzetto)

Andante maestoso (Marche Funèbre)

Molto Allegro (La Chasse)

Many thanks to the generous supporters of this event:

33

SONGS WITHOUT WORDS SERENADE IN D MINOR, OP. 44 Antonín Dvořák (b. 1841, Nelahozeves, Bohemia, now Czech Republic; d. 1904, Prague) Born the son of a butcher in rural Bohemia, Antonín Dvořák faced considerable difficulties establishing himself as a composer, despite his immense talent. He was in his mid-thirties when his fortunes suddenly changed.

In 1874 his music came to the attention of Johannes Brahms — already one of Europe’s most famous composers — who was serving on a committee in Vienna to award stipends to deserving composers living in the provinces of the Austrian Empire. Brahms not only voted to award Dvořák a stipend, but also took a personal interest in the Czech’s career, using his considerable clout to promote his music.

By the beginning of 1878, Dvořák was rushing to keep up with the demand.

That April, he wrote the first set of his beloved Slavonic Dances, and in just two weeks time in January, he composed the Serenade in D minor for wind band, which also had a pronounced Czech folk character. Brahms was delighted with the work: “A more lovely, refreshing impression of real, rich and charming creative talent you can’t easily have,” he wrote to the famous violinist Joseph Joachim. “I think it must be a pleasure for the wind players!” And soon after its premiere in Prague on November 17, 1878, the Serenade was delighting audiences as well as wind players in Brahms’ hometown of Hamburg and many other German cities.

In this appealing Serenade, Dvořák faithfully followed the 18th-century pattern of music to be played outdoors in the evening. (In fact, his Serenade matches this style of light music even 34

PROGRAM NOTES February 10, 2018 better than Mozart’s.) He chose an ensemble of 12 instruments that recreated the sound of a traditional Czech street band: pairs of oboes, clarinets and bassoons plus contrabassoon, three horns, and a cello and double bass from the string family.

In traditional serenade style, this work begins and ends with a march, for in the 18th century the musicians would have actually played such music to process in and out. And the first movement’s march, with its many ornamental trills, has a rather old-fashioned quality that harkens back to an earlier time. A more lyrical middle section introduces a charming wistfulness, which is recaptured in the quiet coda.

Czech folk dances inspire the delightful second movement, which opens with a mellow, swaying Sousedská or “Neighbors’ Dance” in 3/4 time. Its middle section shifts to a new key and a faster tempo for a whirling Furiant: a Czech dance that emphasizes lively cross rhythms.

Movement three is a lovely, dreaming nocturne — a romantic song for a summer night reminiscent of some of Mozart’s slow movements. It opens with a yearning duet for oboe and clarinet over the throbbing syncopation of the horns.

At midpoint, the yearning grows more intense and passionate. Each member of the colorful ensemble makes its own beautiful contribution to this subtle and superbly scored music.

The frisky finale starts out as a melodyrich sonata form. But just when we might expect the recapitulation of its opening music, Dvořák instead brings back the work’s quaint opening march.

The Serenade ultimately closes in a joyful return of the finale music, now in D major rather than minor and boasting exuberant horn fanfares.

SERENADE FOR STRINGS IN C MAJOR, OP. 48 Piotr Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) In 1877, Tchaikovsky made the disastrous decision of trying to mask his homosexuality by marrying an infatuated young music student, Antonina Milyukova. Within a week of the wedding, he fled from his bride and suffered a nervous breakdown; the aftermath darkened both his personal life and his creative work for years to follow. Fearing public scandal, he shunned Moscow and St. Petersburg and retreated to country estates belonging to his family or close friends.

Kamenka, the estate outside Kiev belonging to his elder sister and her husband, became one of Tchaikovsky’s safe havens. There, in the fall of 1880, he composed simultaneously two of his most popular works: the 1812 Overture and the Serenade for Strings. While he despised the Overture, written on commission, he poured all his love and craft into the Serenade.

The love stemmed from Tchaikovsky’s passion for Mozart, his favorite composer.

“I don’t just like Mozart, I idolize him,” he wrote his devoted patroness Nadezhda von Meck. The Serenade pays homage to the enchanting world of Mozart’s serenades and divertimentos, such as Eine kleine Nachtmusik. But while Tchaikovsky borrowed certain Mozartean stylistic conventions, his all-string orchestra is much larger than the dozen or so players used for Mozart’s serenades, and the heart of the work is purely his own. In fact, this piece belongs to the world of Tchaikovsky’s great ballets Swan Lake, Sleeping Beauty, and The Nutcracker; exquisitely choreographed

by George Balanchine and still frequently performed today, it has effectively become his fourth ballet.

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

In the key of C major and in four movements, it opens with a stately slow introduction emphasizing the lushness of string sonority in rich chords. This leads to two themes: the first smooth and yearning, the second suggesting fleet footwork with staccato violins and violas over a plucked accompaniment.

Both sections are repeated before the opening music returns to provide a grand, symmetrical close.

The two middle movements are among Tchaikovsky’s jewels. First comes a glorious, sweeping waltz. It is followed by the third-movement “Elegy”, with its mood of tender nostalgia. Its introductory rising scales echo the melodic shape of the waltz. The first violins then sing the principal theme to pizzicato (plucked) accompaniment; this soon grows into a passionate pas de deux between the violins and cellos.

The finale opens with the high, floating violin notes that closed “Elegy”.

35

Tchaikovsky then spins them into a Russian folk tune: a Volga bargehauling song previously used in his folksong collection of 1869. This neatly accelerates into another folk tune from that collection, which constitutes the main theme of the vivacious Allegro con spirito section. To close, Tchaikovsky returns to the stately introduction from the Serenade’s first movement and reveals a delicious surprise. As the tempo accelerates again, we discover that this noble music is none other than the finale’s vivacious Russian folksong decked out in sumptuous court costume.

FIVE SONGS WITHOUT WORDS Felix Mendelssohn (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Saxony, Germany) Orchestrated by Paul and Lucien Hillemacher As pianos filled the homes of more and more middle-class families in the 19th century, the demand for short “character” pieces that could be played by accomplished amateurs became intense. Felix Mendelssohn contributed superbly to this genre with what he called Lieder ohne Worte (“Songs without Words”): lyrical pieces that resembled songs in style and seemed to express extra-musical ideas, though they were not equipped with any texts. They paralleled the actual songs he was also writing throughout his life. Nevertheless, Mendelssohn dismissed the efforts of friends to attach words to them. “What the music I love expresses to me is not … too indefinite to put into words, but on the contrary, too definite,” he wrote.

Mendelssohn composed these wordless songs throughout his career and published six sets of them during his lifetime. Two other sets of these songs were published immediately after his death, drawing on similar pieces found in his effects. Besides their popularity 36

with pianists, they were also frequently arranged by other composers for other instruments or for orchestra. In 1834, Franz Liszt created the Grand Concert Piece on Mendelssohn’s Songs without Words for two pianos. We will hear five of the Songs without Words, arranged for chamber orchestra by Paul and Lucien Hillemacher.

The first one is often called “Le Départ” (“The Departure”) for its galloping motion. However, this piece in B-flat minor and a frantic beat of 6/16 was actually written to commemorate the birth of a son to his beloved sister, Fanny, in 1830, and thus may be more about the effort of producing the baby (it does indeed end in a triumphantly successful B-flat major!). Nearly as gifted a musician as her brother, Fanny wrote many Lieder ohne Worte herself.

Also from the Opus 30 set published in 1834 comes the “Gondellied” or “Gondolier’s Song”, one of several pieces inspired by Mendelssohn’s memories of Italy. A rocking, languid barcarolle or boat song in F-sharp minor, it is graced by beautifully sustained high trills. Another Italian memento is the “Tarantelle” in C major written in December 1846 as one of two Kinderstücke or “Children’s Pieces” and included in the posthumous collection Opus 102. The tarantella is a Neapolitan dance in a whirlwind tempo that was supposedly inspired by a tarantula’s bite.

The Mendelssohn family was cursed by a tendency to strokes, which killed many members prematurely, including Felix himself. In December 1842, his adored mother, Leah, died suddenly of this cause.

In memory of her, the composer wrote his magnificently somber “Marche funèbre” in E minor; less than five years later, it was played at his own funeral. Dark fanfares frame its beautiful processional melody. Finally, from Opus 19b, his first set of Lieder ohne Worte, published in 1832, we hear his dashing “Jägerlied” or “Hunting Song” in A major and a galloping 6/8 beat.

Notes by Janet E. Bedell copyright 2018

SEE INSIDE THE PROCESS OF MUSIC-MAKING At two fascinating free events in February

Earshot New Music Readings Wednesday, February 7, 7:30 p.m.

First Wayne Street United Methodist Church Conducted by Andrew Constantine Join the Philharmonic as it teams up with three living composers at a free generaladmission performance. Hear exciting new pieces being workshopped at the Philharmonic by the nation’s brightest and most talented emerging composers in the early stages of promising careers. EarShot is a nationwide network of new music readings and composer-development programs.

Fort Wayne Philharmonic/ Conductors Guild International Conductor Workshop Thursday, February 15, 7:30 p.m.

Auer Performance Hall, Rhinehart Music Center, IPFW The Philharmonic and the Conductors Guild present a free general-admission concert performance of classical favorites featuring some of the best young conductors in the nation. This performance is the culmination of a week-long workshop and will be curated by internationally renowned conducting teacher Ennio Nicotra and Fort Wayne Philharmonic music director Andrew Constantine.

FORT WAYNE PHILHARMONIC

FWPHIL.ORG 260.481.0777

A proud supporter of the Fort Wayne Philharmonic, Franklin Electric is a leading global manufacturer of pumping systems for the movement of water and fuel. Thank you for joining us, and please enjoy the music!

2018_FW_Philharmonic_Ad.indd 1

12/7/17 8:58 AM

Sweetwater Pops Series

CIRQUE GOES TO THE CINEMA Sponsored by Franklin Electric

Saturday, February 17, 2018 | 7:30 p.m., Embassy Theatre Caleb Young, conductor Cirque de la Symphonie

Elena Tsarkova, Vladimir Tsarkov, Vitalii Buza

Vitaliy Prikhodko, Pavel Korshunov, Ekaterina Borzikova WILLIAMS

Hooray For Hollywood

WILLIAMS

Harry’s Wondrous World from Harry Potter and the Sorcerer’s Stone

WILLIAMS

Devil’s Dance from The Witches of Eastwick

SCHIFRIN

Mission Impossible Theme

LEGRAND

I Will Wait for You from The Umbrellas of Cherbourg

HORNER

My Heart Will Go On from Titanic

WILLIAMS

Superman March

-- Intermission --

KANDER

All That Jazz from Chicago

HORNER & MOSS

Selections from Apollo 13

BERNSTEIN

Times Square: 1944 from On the Town

KABALEVSKY

Comedian’s Galop

WILLIAMS

The Cowboys Overture

WILLIAMS

Across the Stars from Star Wars: Episode II, Attack of the Clones

OFFENBACH

Can-Can from Orpheus in the Underworld

RAVEL (Arr. Leonard)

Theme from 10

Many thanks to the generous supporters of this event: Chuck & Lisa Surack

39

Cirque de la Symphonie Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque performances witnessed anywhere, and it showcases many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These are some of the most accomplished veterans of exceptional cirque programs from across the globe. They include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Their performances are uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the music arranged in collaboration with the conductor. When the artists of Cirque de la Symphonie perform in front of the full orchestra, an incredible fusion of these two great art forms takes place. The aerialists and acrobats turn the concert into a three-dimensional entertainment extravaganza, and the orchestra seems to play with enhanced enthusiasm. Veteran concert-goers and new patrons alike are thrilled by the exhilarating cirque performances combined with the majesty of a live symphony orchestra.

Elena Tsarkova, the “Lady in White,” is a graduate of the famed Moscow Circus School and first-place winner of the prestigious National Russian Circus Festival. From her “Master of Sports” in gymnastics, Elena developed into a unique and graceful performer with the Big Apple Circus, Switzerland’s Circus Knie, and Germany’s Circus Roncalli.

Her combination of contortion, balance, and graceful dance moves has made her a major star with Cirque de la Mur in Florida and Circus Circus in Las Vegas. The “Lady in White” provides an elegant touch to Cirque de la Symphonie.

Vladimir Tsarkov provides a spell-binding performance with combinations of mime and juggling feats. A favorite of the younger members of the audiences, Vladimir’s Red Harlequin act features rings, balls, and batons, and he’s even been known to teach the conductor a trick or two!

He is a veteran of Circus Circus, Cirque Ingenieux, and various Cirque de la Symphonie performances. Vladimir graduated from Russia’s prestigious State College of Circus and Theater Arts and won the gold medal at the Cirque de Demain International Festival in France. His performance with the symphony is pure entertainment and guaranteed to please audiences of all ages.

40

Vitalii Buza began his gymnastic training in the Republic of Moldova and soon competed as an elite gymnast with the Russian national team. At the age of 16, Vitalii joined the Moscow State Circus as a professional acrobat and toured throughout Europe. After a move to the US, he starred in productions at Sea World, Universal Studios and Walt Disney World. He has been featured in numerous TV ads and won a role in the Walt Disney movie “Enchanted”.

Vitalii also performed at the 2006 Latin Grammy Awards, the 2007 NFL Pro Bowl, 2010 Academy Awards and the 2011 Latin Billboard Awards. He has performed for celebrities such as Donald Trump, Russell Simmons, P-Diddy and Shaquille O’Neal and corporate events for major companies such as Microsoft, Formula1, Mercedes Benz, and Cirque du Soleil. Vitalii excels in multiple cirque acts, such as duo hand-balancing, straps, Cyr wheel, spinning cube, Chinese pole and the Russian bar.

The amazing strength and balancing act of Acro Duo consists of Vitaliy Prikhodko and Pavel Korshunov. Vitaliy is a native of Ukraine, where he graduated from Kiev State Circus College.

He began his career with the National Circus of Ukraine, winning first place at the New Ukrainian Circus Festival. His acrobatic experience includes worldwide tours with Nikulin’s Moscow Circus. Pavel, a native of Voronezh, Russia, is a 3-time national champion of Russia, 2-time World Champion and 2-time Champion of the World Cup in acrobatic sport. A former veteran with Cirque du Soleil’s “Varekai,” Pavel is a multi-talented performer on straps, Russian swing, trampoline, and acrobatics.

The duo’s performances with Cirque de la Symphonie create spontaneous eruptions of applause and emotion, as they display a stunning display of strength and balance.

Ekaterina Borzikova is a graduate of the prestigious School of Olympic Reserve in St. Petersburg, Russia, and completed ten years of training in gymnastics and another four years of training in acrobatics. Her circus training included everything from elephant riding to aerial bungees. A dynamic professional circus performer, Ekaterina has been involved with all aspects of the art form as a performer and creator of unique acts. She is a 10-year veteran of Ringling Brothers Barnum & Bailey Circus, and is an accomplished performer on the aerial platform (with the Kabanov Troupe), aerial straps, and lyra. She was the recipient of the Jean-Louis Marsan Award as an outstanding performer. Ekaterina is also an amazing hand-balancer and contortionist, and she performs an aerial duo on silk fabrics with Cirque de la Symphonie.

41

M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

BRAHMS: A GERMAN REQUIEM

Sponsored by Janice Eplett, in memory of Winifred F. Howe and F. Russell Eplett Saturday, February 24, 2018 | 7:30 p.m.

Embassy Theatre Andrew Constantine, conductor Karina Gauvin, soprano Michael Dean, baritone Fort Wayne Philharmonic Chorus, Benjamin Rivera, director IPFW University Singers, Vaughn Roste, Director of Choral Studies DVOŘÁK

A Hero’s Song, Op. 111

-- Intermission --

BRAHMS A German Requiem, Op. 45

Chorus: “Selig sind die da Leid tragen”

Chorus: “Denn alles Fleisch es ist wie Gras”

Solo & Chorus: “Herr, lehre doch mich”

Chorus: “Wie lieblich sind deine Wohnungen”

Solo & Chorus: “Ihr habt nun Traurigkeit”

Solo & Chorus: “Denn wir haben hie”

Chorus: “Selig sind die Toten” Karina Gauvin, soprano Michael Dean, baritone Fort Wayne Philharmonic Chorus IPFW University Singers Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, March 8 at 7:00 p.m.

Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

43

BRAHMS: A GERMAN REQUIEM Ein deutsches Requiem German text

A German Requiem English translation

1. Matthäus 5:4 Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Psalm 126:5–6 Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

1. Matthew 5:4 Blessed are they that mourn: for they shall be comforted.

Psalm 126:5–6 They that sow in tears shall reap in joy. They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing their sheaves with them.

2. 1. Petrus 1:24 Denn alles Fleisch, es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen.

Das Gras ist verdorret und die Blume abgefallen.

Jakobus 5:7 So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

1. Petrus 1:25a Aber des Herrn Wort bleibet in Ewigkeit.

Jesaja 35:10 Die Erlöseten des Herrn werden wiederkommen und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

2. 1 Peter 1:24 For all flesh is as grass, and all the glory of man as the flower of grass.

The grass withers, and the flower thereof falleth away.

James 5:7 Be patient therefore, brethren, unto the coming of the Lord. Behold, the farmer waiteth for the precious fruit of the earth, and has long patience for it, until he receive the morning and evening rain.

1 Peter 1:25 But the word of the Lord endureth for ever.

Isaiah 35:10 And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

3. Psalm 39:5–8 Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß.

Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir.

Ach wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird. Nun Herr, wes soll ich mich trösten? Ich hoffe auf dich.

Weisheit 3:1 Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

4. Psalm 84:2.3.5 Wie lieblich sind deine Wohnungen, Herr Zebaoth!

44

TEXTS February 24, 2018

3. Psalm 39:4–7 Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am.

Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee.

Surely every man walks in a vain show: surely they are disquieted in vain: he heaps up riches, and knows not who shall gather them.

And now, Lord, what wait I for? My hope is in thee.

Wisdom of Solomon 3:1 The souls of the righteous are in the hand of God and there shall no torment touch them.

4. Psalm 84:1.2.4 How lovely are thy tabernacles, O Lord of hosts!

My soul longs, yea, even faints for the courts of the Lord: my heart and my flesh cries out for the living God.

Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.

Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

5. Johannes 16:22 Ihr habt nun Traurigkeit; aber ich will euch wiedersehen und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.

Jesus Sirach 51:35 Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Jesaja 66:13a Ich will euch trösten, wie einen seine Mutter tröstet.

6. Hebräer 13:14 Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

1. Korinther 15:51–52.54b–55 Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzen Posaune.

Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.

Offenbarung 4:11 Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

Blessed are they that dwell in thy house: they will always be praising thee.

5. John 16:22 And ye now therefore have sorrow: but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.

Ecclesiasticus 51:27 Behold with your eyes, how that I have but little labour, and have gotten unto me much rest.

Isaiah 66:13 As one whom his mother comforts, so will I comfort you.

6. Hebrews 13:14 For here have we no continuing city, but we seek one to come.

1 Corinthians 15:51–52.54–55 Behold, I tell you a mystery: we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Revelation 4:11 Thou art worthy, o Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.

7. Revelation 14:13 Blessed are the dead, which die in the Lord, from henceforth.

Yea, says the Spirit, that they may rest from their labours; and their works do follow them.

7. Offenbarung 14:13b Selig sind die Toten, die in dem Herren sterben von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

45

BRAHMS: A GERMAN REQUIEM A HERO’S SONG, OP. 111 Antonín Dvořák (b. 1841, Nelahozeves, Bohemia, now Czech Republic; d. 1904, Prague) It seems especially appropriate that music by Antonín Dvořák and Johannes Brahms should share the same program, for in life they were indeed close friends.

In the mid-1870s, Brahms was serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Since the present-day Czech Republic was then a dependency of Austria, Dvořák was one of the candidates. Deeply impressed by his music, Brahms went to his own publisher, the prestigious Simrock of Berlin, and urged the firm to take the young Czech on. And he used his considerable clout to secure performances of Dvořák’s music.

Their devoted friendship flourished until Brahms’ death.

Composed in 1897 and premiered the following year by the Vienna Philharmonic conducted by Gustav Mahler, the tone poem A Hero’s Song is one of Dvořák’s most personal scores — and, unfortunately, one of the most rarely heard. Although Mahler and its early audiences adored it, it has unaccountably never become a repertoire staple. It was the last of five descriptive tone poems Dvořák wrote, and although the previous four all set spooky Czech folktales by Karel Erben, A Hero’s Song was not inspired by any specific story. In a letter to the music critic Robert Hirschfeld, Dvořák did, however, give some strong suggestions about its storyline, explaining that he was not thinking here of a military hero, but instead an artistic hero: a Bohemian bard. “What naturally came to mind was … a spiritual hero, an artist, and so I think the hero would be represented 46

PROGRAM NOTES February 24, 2018

by the very first theme. It expresses energy, resolve, and strength.”

In other words, this is something of an autobiographical work, reflecting Dvořák’s own career and struggles. In B-flat minor, it follows the outline of a traditional four-movement symphony — opening Allegro, slow movement, dancelike scherzo, and triumphant finale — but with everything flowing together without pauses.

As Franz Liszt had done with his tone poems, A Hero’s Song opens with a motto theme — a very rhythmic and resolute idea stated by the low strings; this theme will return in many different guises throughout. This flows into a melancholy, woodwind-led Poco adagio lachrimoso that resembles at times a funeral march and represents the hero/ artist’s losses and suffering. A lilting scherzo section, featuring woodwind solos over plucked strings, captures the pastoral beauty of the Czech countryside, which was always the source of Dvořák’s happiness. The tempo accelerates, and the hero’s struggles close in an exhilarating triumph in B-flat major with his motto theme pealing joyously throughout the orchestra.

A GERMAN REQUIEM, OP. 45 Johannes Brahms (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) In early February 1865, Johannes Brahms received a telegram from his brother, Fritz, in Hamburg: “If you want to see our mother again, come at once.” The composer traveled as fast as he could from Vienna, but arrived too late: Christiane Brahms had already died of a stroke at age 76. Though he maintained a stoical face before his family, Brahms was devastated by the loss of the mother who had stood lovingly by him through all his trials and triumphs. After he returned to Vienna, a friend Josef Gänsbacher dropped in at his apartment and found him playing Bach’s Goldberg Variations with tears streaming down his face.

Brahms briefly told Gänsbacher of his loss, but never stopped playing. Music was his ideal solace from grief.

That grief would generate the composer’s longest and most profound work: A German Requiem (Ein Deutsches Requiem), mostly composed over a one-year period from 1865 to 1866.

But actually the music for this choralorchestral masterpiece had been gestating for at least a decade, and it was originally intended as a memorial to Robert Schumann, Brahms’ discoverer and mentor.

Thus A German Requiem is actually a memorial to two important people in Brahms’ life: his biological mother and his artistic father. And it was an intensely personal and original work. Unlike most musical requiems, it is not based on the liturgical Catholic rite for the dead: a service emphasizing prayers for the souls of the departed. Rather, it is an idiosyncratic Protestant setting, with its text drawn by Brahms himself from the Old and New Testaments and the Apocrypha of Martin Luther’s German Bible. The emphasis is not on the dead but on finding consolation for the living,

as stated in the Requiem’s very first line from St. Matthew’s gospel: “Blessed are they that mourn.”

A word about Brahms’ own religious stance: the composer was raised in the Protestant tradition and remained a faithful reader of the Bible throughout his life. But in adulthood, he became a religious skeptic bordering on agnosticism and was never a churchgoer. The text he assembled for his Requiem expresses more or less his own convictions: a universal, nondenominational message, but not a specifically Christian one.

Premiered in Leipzig on February 18, 1869, A German Requiem is a strikingly original work with few parallels before or since.

Constructing solid musical architecture was always an important concern for Brahms, and so the Requiem is shaped as a mighty arch. The quieter, more restrained first and last movements mirror each other, as do the more dramatic and forceful second and sixth movements, and the more personal third and fifth movements dominated by solo voices.

The well-loved fourth movement, “How Lovely Are Thy Dwelling Places”, stands alone as an intimate and untroubled central interlude.

Even though it is in the major mode — F major, the Requiem’s home key — movement one, “Blessed are they who mourn,” is weighed down with grief. Brahms chose a very dark-toned ensemble: violas, cellos, double basses, and the more somber wind colors and omitted the brighter sounds of clarinets, trumpets, and even violins. The first melody we hear, in the cellos, is a variation of J.S. Bach’s chorale tune “Wer nur den lieben Gott lässt walten”; this rising-and-falling theme will reappear many times in this movement. Equally important is a three-note rising motive in the soprano part topping the chorus’s first entrance; this is the seed motive from which the entire work grows.

Despite the heavy sorrow, there is a 47

mood of calm underlying this music, and the lighter middle section, “They that sow with tears shall reap in joy,” explains why.

The second movement, “For all flesh is as grass”, is a strange yet powerful mixture of a funeral march and slow sarabande dance. The violins finally appear, but, since they are played with mutes, they sound veiled and husky. The chorus’s grim unison melody follows the shape of the Bach chorale. Eventually, the music accelerates a bit and actually begins to dance for the interlude “So be patient, beloved brethren”: a promise of deliverance. After a reprise of the funeral dirge comes a magical moment as the music brightens into the major and the chorus proclaims that, unlike mortal man, “the Word of the Lord endures forever.”

Movement three, “Lord, teach me to know my end”, personalizes the previous movement’s message as the baritone soloist pleads for help in accepting his mortality. “How shall I find consolation?” he cries and the chorus repeats the question with growing frenzy. Moving from D minor to D major, the answer comes in a radiant choral cadenza: “My hope is in the Lord.” Then begins one of the Requiem’s most extraordinary passages: a double fugue for chorus and orchestra with each pursuing its own separate fugue subject. All this contrapuntal activity is anchored in a mighty sustained pedal on the pitch D, representing the secure grip of the hand of God.

The Requiem’s peaceful, lyrical oasis, “How lovely are Thy dwelling places”, is a vision of untroubled faith. The key is a warm E-flat major, the meter a gently swaying 3/4, and the orchestra a chamber ensemble of great beauty and delicacy.

Number five, “You Now Have Sorrow”, is a radiant expression of mother love enduring beyond the grave.

It was the last movement Brahms composed, added only in 1868 at the

48

suggestion of the composer’s old teacher Eduard Marxsen. But perhaps this was the soonest after his mother’s death he could bear to write music expressing his own loss so openly.

Muted strings and woodwinds, with occasional soft interjections from the chorus, accompany the soprano soloist’s beautiful, arching lines: an idealized representation of the voice of Christiane Brahms.

In the sixth movement, “For we have here no continuing city”, the chorus wanders like homeless refugees through a forest of harmonically unstable lines; this bewildered search is intensified by the entrance of the baritone soloist intoning the famous words from First Corinthians. Here we have the Requiem’s only reference to the Day of Judgment, but the chorus and orchestra greet this prospect with confidence and jubilation: “Death is swallowed up in victory!”

Having found hope for the living, the Requiem now turns its attention, in movement seven, “Blessed are the Dead,” for the first time to the dead. This music — which begins with the sopranos singing a reversal of the Bach chorale tune — relates back to movement one, but is now bigger and more confident.

And how much the mood has changed is brought home clearly when the altos lead a reprise of the Requiem’s opening music. Instead of murky low strings, they are now accompanied by shining high woodwinds and violins. At the work’s close, the harp — an instrument Brahms rarely used — wafts sweetly upward.

Notes by Janet E. Bedell copyright 2018

Karina Gauvin, soprano Recognized for her work in the baroque repertoire, Canadian soprano Karina Gauvin also sings Mahler, Britten and the music of the late-20th and 21st centuries with equal success. The prestigious distinctions she has received include the title of “Soloist of the Year” awarded by the Communauté internationale des radios publiques de langue française, first prize in the CBC Radio competition for young performers, and the Virginia Parker Prize and Maggie Teyte Memorial Prize in London. In the 2016-17 Season Ms. Gauvin made appearances with the Teatro Real Madrid in Mozart’s La Clemenza di Tito and the Théâtre du Champs-Élysées in Handel’s Rodelinda, as well as with the Los Angeles Philharmonic, Toronto Symphony Orchestra, National Arts Centre Orchestra and Tafelmusik Baroque Orchestra. She also toured with the Boston Early Music Festival, with whom she has frequently collaborated, including on recordings that earned her GRAMMY® nominations in 2007 and 2009.

Karina has sung with the world’s greatest symphony orchestras, including the Orchestre Symphonique de Montréal, San Francisco Symphony, Chicago Symphony, New York Philharmonic, and Rotterdam Philharmonic, as well as baroque orchestras such as Les Talens Lyriques, the Venice Baroque Orchestra, Accademia Bizantina, Il Complesso Barocco, the Akademie Für Alte Musik Berlin, the Tafelmusik Baroque Orchestra, and Les Violons du Roy. She has performed under the direction of Semyon Bychkov, Alan Curtis, Charles Dutoit, Bernard Labadie, Kent Nagano, Yannick Nézet-Séguin, Sir Roger Norrington, Helmuth Rilling, Christophe Rousset, and Michael Tilson Thomas.

In addition, she has given recitals with pianists Marc-André Hamelin, Angela Hewitt, Michael McMahon, and Roger Vignoles.

On the concert stage her recent performances include the Princess in Ravel’s L’enfant et les sortilèges with the Rotterdam Philharmonic and Yannick Nézet-Séguin; Bach’s St. John Passion and Handel’s Solomon with Les Violons du Roy; Pergolesi’s Stabat Mater with the Los Angeles Philharmonic and Debussy’s The Martyrdom of Saint Sebastian and Mahler’s Symphony No. 2 with the San Francisco Symphony Orchestra.

Karina Gauvin’s extensive discography – over 30 titles – has won numerous awards, including a “Chamber Music America Award” for her Fête Galante album with pianist Marc-André Hamelin, and several Opus Prizes. Other recent recording projects include a European tour and a recording of Handel’s Ariodante for EMI Virgin Classics; a European tour and a recording of Giulio Cesare for the Naïve House, both with Alan Curtis, and Il Complesso Barocco and Britten’s Les Illuminations with Les Violons du Roy under the direction of Jean-Marie Zeitouni. She also recently completed an album in honor of Anna Maria Strada del Po, with Alexander Weimann and the Arion Ensemble.

49

Michael Dean, baritone American bass-baritone Michael Dean has appeared with leading opera houses and orchestras of the U.S. and Europe. The New York Times lauded his “strong appealing bass-baritone,” while the San Jose Mercury News considered him “the standout, his voice a penetrating wake-up call.” During the 2016-17 Season Michael’s engagements included Handel’s Messiah with the Richmond Symphony and Faure’s Requiem with the Bach Festival Society of Winter Park.

Michael Dean made his New York Philharmonic debut in the world premiere of Aaron Jay Kernis’ Garden of Light, and returned the following season for a concert performance of Street Scene. His other recent appearances on the concert stage include Handel’s Messiah with the Pacific Symphony, Alabama Symphony, Baltimore Symphony, Calgary Philharmonic, Houston Symphony, Louisiana Philharmonic, Nashville Symphony, Pittsburgh Symphony, and I Musici de Montréal; Mozart’s Requiem with the Louisiana Philharmonic, Modesto Symphony, and Quad City Symphony; Michael Tippett’s A Child of Our Time with the Bach Festival Society of Winter Park; Beethoven’s Missa Solemnis with the Richmond Symphony; and Haydn’s Creation and Brahms’ Ein deutsches Requiem with the Louisiana Philharmonic.

Mr. Dean has made frequent appearances at New York City Opera, where he has performed the title role in Le nozze di Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Papageno in Die Zauberflöte, and appeared as Jason McFarlane in the “Live From Lincoln Center” broadcast of Lizzie Borden. Other recent operatic performances include Gregorio in Roméo et Juliette with Los Angeles Opera; the title role in Don Giovanni and Silva in Ernani at the Landestheater in Linz, Austria; Le nozze di Figaro in Antwerp, Belgium; Of Mice and Men at Arizona Opera; and Colline in La Bohème in Strasbourg and Berlin. Dean has also received critical praise for his numerous recordings of baroque opera, including Agrippina, Ottone, Dido and Aeneas, Radamisto, Giustino, and Serse.

Michael Dean is currently the Music Department Chair and Associate Professor of Voice at The University of California-Los Angeles and a member of the voice faculty at the Chautauqua Music Festival.

50

M

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

FORT WAYNE PHILHARMONIC CHORUS Benjamin Rivera, director Jonathan Eifert, assistant director

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

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

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

51

M

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

IPFW UNIVERSITY SINGERS Vaughn Roste, Director of Choral Sudies Soprano

Caitlyn Kahn Ashlee Miller Carol Morris Cassandra Stith Sydne Zuber Julia Bokern Karlea Boleyn Zoe Lippi Molly Rea

Alto

Madison Boyden Alisabeth Grossman Hannah Hobson Nicole Sewell Katie Steckbeck Jenna Coleman Taylor Duncan Kathryn Justice Mary Landrigan Anjelica Mojica

Tenor Josiah Hawkins Dorian Jones Jonathan Warner Kenneth Woody James DeFoe Ryan Lengacher Jimmy Mitchell

Bass

Duffy Coyle Braxton Matthews Jacob McDonald Tylar Brockhouse John Neidich Stephen Stachofsky Jared Stephens

Vaughn Roste, Director of Choral Studies at IPFW Vaughn Roste has more than a decade of teaching experience at colleges and universities in Illinois, Ohio, Oklahoma, and Georgia. He serves as the Membership Co-ordinator on the Executive Board of the Indiana Choral Directors Association and continues to be a member of the editorial board for Anacrusis, the official publication of the Association of Canadian Choral Communities.

Canadian by birth, he holds four degrees: A Bachelor of Arts in Music from Augustana University College, a Bachelor of Theological Studies from the Canadian Lutheran Bible Institute, a Master of Music in Choral Conducting from the University of Alberta, and a Doctor of Musical Arts in Choral Conducting from Louisiana State University. The author of over two dozen articles, he also wrote The Xenophobe’s Guide to the Canadians, which recently went into its sixth printing (not including the translation into Estonian).

52

Online @WBOI.ORG Download t he WBOI Mobile App

Department of Music presents

Tuesday, Feb. 13 7:30 p.m.

Auer Performance Hall Join us for a festival of music on the theme of Mardi Gras! Faculty, studio, and choral and instruemntal ensembles are all participating.

Department of Theatre presents Feb. 23–Mar. 3 Williams Theatre A musical about everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were afraid to admit.

Book and Lyrics by Joe DiPietro Music by Jimmy Roberts Directed by Craig A. Humphrey Musical Direction by Holly Knott

F Brotherhood Mutual Insurance Company Freimann Series

MUSIC FROM DON GIOVANNI Wednesday, February 28, 2018 | 7:30 p.m., Parkview Physicians Group ArtsLab Sunday, March 4, 2018 | 2:00 p.m., Rhinehart Music Center, Recital Hall, IPFW MOZART Scenes from Don Giovanni, Arr. Triebensee Orion Rapp, oboe Pavel Morunov, oboe Campbell MacDonald, clarinet Cynthia Greider, clarinet Dennis Fick, bassoon Anne Devine, bassoon Michael Galbraith, horn Alex Laskey, horn

-- Intermission --

SAINT-SAËNS Septet for Piano, Trumpet and Strings, Op. 65

Préambule: Allegro moderato

Menuet: Tempo di minuetto moderato

Intermède: Andante

Gavotte et Finale: Allegro non troppo Andrew Lott, trumpet Alexander Klepach, piano Johanna Bourkova-Morunov, violin Alexandra Tsilibes, violin Debra Welter, viola Ed Stevens, cello Adrian Mann, bass

HAYDN String Quartet in D major, Op. 64, No. 5 (“Lark”)

Allegro moderato

Adagio cantabile

Menuetto: Allegretto

Finale: Vivace Violetta Todorova, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello Many thanks to the generous supporters of this event:

55

MUSIC FROM DON GIOVANNI SCENES FROM DON GIOVANNI, ARR. TRIEBENSEE Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) Arranged for Wind Octet by Johann Georg Triebensee In January 1787, just as Mozart’s popularity in Vienna went into a slump, the city of Prague, capital of the thenAustrian province of Bohemia, came to the rescue. His latest opera, The Marriage of Figaro, was such a tremendous success at the Prague National Theater that the entire city was gripped by Figaro-mania.

Not surprisingly, the National Theater soon offered a commission for a new opera, and it turned out to be one of his greatest masterpieces: Don Giovanni, premiered on October 29, 1787.

Nevertheless, the new opera wasn’t exactly a light-weight comedy. Mozart called it a “dramma giocoso” because, to an unprecedented degree, it combined comic elements with a very serious drama of crime and punishment. It was based on an already familiar story about a dissolute nobleman who relentlessly seduces women and is finally brought to justice by the ghost of a man he killed during one of his amorous escapades.

Don Giovanni’s colorful librettist was Lorenzo Da Ponte, who had also written Figaro’s libretto. Perhaps because he was a friend of a real-life lover of prodigious appetites, Giacomo Casanova, and had enjoyed plenty of amorous adventures himself, Da Ponte made the seducer Don Giovanni into a more sympathetic character — someone audiences would find as irresistible as did his legions of feminine conquests.

Nevertheless, it is the splendor of Mozart’s score and his unique ability to 56

PROGRAM NOTES February 28 & March 4, 2018

devise music that revealed the individual personality of each character that lofted a shop-worn tale into a masterpiece.

We will hear many of Don Giovanni’s most entrancing numbers in a suite arranged for woodwind octet by Mozart’s Bohemian contemporary Johann Georg Triebensee (1746–1813). Music for wind ensemble — known as the harmonie — was very popular in Mozart’s day, and he wrote several examples himself. He would have likely been delighted with Triebensee’s arrangement.

In two parts, the opera’s riveting Overture encapsulates both the tragic and the comic aspects of this dramma giocoso. First, we hear a slow introduction in D minor, full of darkness and foreboding; its whirling scales terrifyingly portray the supernatural forces that will ultimately destroy the Don. Then the tempo accelerates, and the key brightens to D major for music of comic verve, its dashing fanfares a portrait of the virile Don himself.

Next we hear “Notte e giorno faticar”, sung by Giovanni’s servant Leporello as he loiters complaining outside the house where his master is attempting to seduce Donna Anna. “Madamina, il catalogo è questo”, is sung by Leporello to the distraught Donna Elvira, another of the Don’s conquests. Unfurling a seemingly endless list of names — Giovanni’s thousands of conquests throughout the lands of Europe — he assures her she was not the first of his victims, nor will she be the last.

Rivaling this aria in fame is the sweetly reassuring duet “Là ci darem la mano”, which Giovanni uses to try to seduce the pretty peasant bride Zerlina. Only the sudden appearance of Donna Elvira prevents this ploy from succeeding.

Zerlina’s bridgroom, Masetto, then angrily reclaims Zerlina, and she pacifies

him with “Batti, batti, o bel Masetto”, telling him he can beat her, but she’ll still love him.

The beautiful slow aria “Dalla sua pace” is sung by Donna Anna’s fiancé, Don Ottavio; in it, he pledges to do anything to serve and comfort her, now that the Don has killed her father.

Later in Act I, the Don is planning a party at his estate where he expects to make quite a few more conquests. In the testosterone-driven aria “Finch’ han dal vino” he details the arrangements to Leporello at a whirlwind pace. As his guests arrive, he grandly invites them to enjoy themselves (“Presto, presto”); his proud, fanfare-filled theme proclaims his status as a wealthy noble.

We now jump to the opera’s Second Act. It is nighttime, and to lovely sighing music, Donna Elvira is on her balcony bewailing the Don’s treachery (“Ah taci, ingiusto cor”). The Don spies her and hatches a plot with Leoporello to switch identities with him. After Elvira goes off with the disguised Leporello, the Don sings the seductive serenade “Deh vieni alla finestra” to woo her pretty maid.

In the final scene, “Già la mensa è preparata”, Giovanni is gorging himself on fine food and wine in his dining room while he awaits the ghost of the Commendatore he killed at the opera’s beginning. An onstage band plays excerpts from three contemporary operas the first audiences would have known well: a tune from Martin y Soler’s Una cosa rara, then from Sarti’s Fra i due litiganti, and finally, as an in-joke for the Praguers, the famous aria “Non più andrai” from Figaro itself.

SEPTET FOR PIANO, TRUMPET AND STRINGS, OP. 65 Camille Saint-Saëns (b. 1835, Paris, France; d. 1921, Algiers, Algeria) The French composer Camille Saint-Saëns was a master of all classical genres from the most mammoth, such as his oratorios and his cast-of-hundreds Samson et Dalilah, to the most intimate, such as his many chamber works. With his Septet for Piano, Trumpet and Strings of 1880, he showed he could succeed brilliantly in writing for an ensemble nobody else had ever dared tackle.

An extraordinary virtuoso pianist, Saint-Saëns had become friends with mathematician Émile Lemoine, who had founded an amateur/professional chamber group named for his favorite instrument, “La Trompette”. The composer often lent his keyboard skills to La Trompette’s performances, and Lemoine kept begging him to write a work especially for them. In 1879, SaintSaëns finally responded with a brief but impressive work, Préambule, for a string ensemble with trumpet and piano; it was so well received that he expanded it into this four-movement work. The Septet’s premiere in Paris on December 28, 1880 featured Xavier-Napoléon Teste, principal trumpet of the Paris Opéra, and the composer at the piano.

The scoring of this work is somewhat reminiscent of Bach’s Second Brandenburg Concerto of the early 18th century. And indeed, Saint-Saëns filled it with counterpoint and even fugal passages in imitation of Bach and the French Baroque composer Rameau.

However, this exact ensemble hadn’t been tried before for a particular reason: it is very difficult to balance the large and penetrating sound of the trumpet — and the piano for that matter — with the delicacy of strings. Nevertheless, Saint-Saëns succeeded in conquering this 57

problem — and creating a very infectious piece in the process.

In the “Préambule”, a rush of piano scales summons the trumpet, which crescendos on a long-held note. This brilliant processional eventually leads to a fugal passage for all the instruments.

A romantic second theme over a syncopated accompaniment capitalizes on strings blending with the trumpet’s softer tones.

Movement two is a very stately and rhythmic “Minuet”, launched by a vivid, plunging two-note motive. The middle or trio section is a swaying 19th-century waltz with the muted trumpet adding a suave sonority.

The “Intermède” or Intermezzo features the cello singing a beautiful, mournful melody over an insistent, slightly conspiratorial rhythmic ostinato in the piano. This music features a particularly sensuous blending of the trumpet and strings throughout. It gradually develops considerable dramatic feeling before subsiding again into mystery.

The plunging theme of the highspirited “Gavotte-Finale” recalls the second movement’s opening motive.

The pianist is the star of its opening section. Belatedly, the trumpet makes its entrance with military bugle calls, which the strings imitate. Ultimately, the tempo accelerates for an exciting fugal section on a theme drawn from the first movement. At the end, Saint-Saëns uses his trumpet and piano to generate orchestral grandeur in miniature.

STRING QUARTET IN D MAJOR, OP. 64, NO. 5 (“LARK”) Franz Joseph Haydn (b. 1732, Rohrau, Austria; d 1809, Vienna, Austria) Joseph Haydn is often referred to as the father of the symphony. However, he might even more justly be called the father of the string quartet, for it was he who took this ensemble out of the informal, entertainment-oriented divertimento tradition and transformed it into a genre of the highest musical weight and importance. During his three decades at the Esterházy courts in Hungary and eastern Austria, he was blessed with the finest musicians the wealthy, music-loving Prince Nicholas Esterházy could buy. With superb string players at his disposal, he could experiment over and over with a smaller ensemble capable of music-making of the most refined and virtuosic qualities.

In 1790, Prince Nicholas died, freeing Haydn of his permanent ties to this geographically remote court. Now famous throughout Europe, he could go wherever he wanted to display his musical genius.

And half a year later, he embarked on the first of his two triumphant sojourns in London, where he created his magnificent 12 final symphonies, now known as the “London Symphonies”. He was also thinking of new international audiences when he wrote his six opus 64 quartets that year, and they embodied yet another increase in his quartet artistry. They were dedicated to Johann Tost, a wealthy cloth merchant and former violinist in the Esterházy orchestra.

In the sonata-form first movement, the three lower instruments introduce the winsome, crisply rhythmic principal theme, over which the first violin soars on high with its beautiful song of the lark. Syncopated rhythms and spicy dissonances add energy and a bit of drama to this lovely music filled with the freshness of a spring morning. The development section initially makes this

58

music gentler and more lyrical, but it eventually becomes very intense. Haydn then plays one of his tricks on us — giving the recapitulation of his lark theme not once but twice, as he halts the first recapitulation in its tracks and then starts it all over again.

The A-major second movement is marked Adagio cantabile (“songlike”), and it is indeed a glorious song led by the first violin. Its middle section slips into the minor mode for a more poignant adaptation of the song theme. When Haydn returns to the opening section, he ornaments and varies his song, making it even more beautiful and fascinating.

The third movement Minuet is very bold, strongly accented, and witty. Its contrasting trio section again moves to the minor and is made smoother and more flowing.

The virtuoso finale is a perpetualmotion whirlwind of rapid notes. Its middle section is a fiery fugato, with much contrapuntal imitation between all four players. Haydn loved to create maximum brilliance and energy in his last movements, and this is one of the most exciting — and, for the players, strenuous — of them all.

Notes by Janet E. Bedell copyright 2018

Visit Science Central and spark your imagination!

Use this coupon for $2 off admission Exp. 3/31/18

Good for up to 8 people

www.sciencecentral.org 2078

ROCKING CONCERT FOR SPRING 2018 Buy now for best seat selection!

Special Events

THE MUSIC OF LED ZEPPELIN

Presented by

Friday, April 13, 7:30 p.m.

Embassy Theatre Conductor/arranger Brent Havens, the Philharmonic, a rock band, and vocalist Randy Jackson in a musically pulsing, visually exciting concert.

FORT WAYNE PHILHARMONIC 260.481.0777

FWPHIL.ORG

Special Events Series

VIDEO GAMES LIVE Saturday, March 3, 2018 | 7:30 pm Rhinehart Music Center, IPFW Emmanuel Fratianni, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Credits: Tommy Tallarico - Creator, Executive Producer, Host, Guitar Chad Gorr – Lighting Director/Production Manager Derek Almstead – Audio Engineer Steve Miller – Video Operator Selections to be announced from the stage.

Many thanks to the generous supporters of this event:

61

Video Games Live Incorporated in 2002, Video Games Live is the first and most successful video game touring concert in the world, having performed over 450 shows in 42 countries on 5 continents. Over 11,000 people were present for the debut performance at the Hollywood Bowl with the L.A. Philharmonic and since then over 2 million people have experienced the show live. Video Games Live has released 7 albums worldwide (all of which debuted in the Billboard Top 10) as well as an award-winning full length feature DVD/Blu-Ray. In 2010 the show aired nationally on PBS and quickly became one of the top rated PBS Specials of all time. Inducted into the Guinness Book of World Records for the biggest and longest running symphonic concert in the world, Video Games Live continues to break new ground and thrill audiences worldwide with brand new content each year.

According to VGL Creator and Executive Producer Tommy Tallarico, “My dream when I started working on Video Games Live in 2002 was to demonstrate how artistic and culturally significant video games have become. Aside from opening the eyes of non-gamers to the industry, my goal is to help usher in a whole new generation of people to appreciate symphonic music. Video Games Live has become the most successful video game tour in the world. As we continue to travel around the globe, we carry on the commitment to reaffirm that video games have evolved into a true art form that has become the entertainment of choice for millions in the 21st century.�

For more information please visit www.videogameslive.com

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

Emmanuel Fratianni, conductor Billboard Top-Ten artist Emmanuel Fratianni is an awardwinning music director, conductor and composer based in Los Angeles. He is highly regarded as an invaluable team member in music direction for multimedia productions and is known for his ability to manage the demands of film sync, musicians, choir, guest artists and audience rapport while never compromising the musical and artistic integrity of the orchestra or production.

Mr. Fratianni has led prestigious American ensembles such as the San Francisco Symphony at Davies Hall, the National Symphony Orchestra at the Kennedy Center, Baltimore Symphony Orchestra, Dallas Symphony, Indianapolis Symphony and Utah Symphony Orchestra among others, including multi-platinum producer ‘David Foster and Friends’.

An award-winning composer, his scores for video games have been performed by some of the finest and most recorded orchestras in the world, including the Los Angeles Philharmonic, London Philharmonic Orchestra and the Hollywood Bowl Orchestra.

A member of the multiple Emmy-nominated music team for the CBS drama JAG for 5 seasons, Emmanuel made a home for himself beginning in 2002 on the major scoring stages in Los Angeles with the Hollywood Scoring Orchestra and the finest scoring musicians in the world. This invaluable experience in television and film scoring sessions is what Emmanuel credits as formidable preparation for meeting the demands of touring production timelines and the essential needs of economy of preparation, management of the diversity of guest artist specialties, and expertise in the sheer variety of musical genres.

Playing piano at the age of six, Emmanuel began his classical music studies upon acceptance to the Montreux Conservatory, in his hometown Montreux, Switzerland.

As a teen, he discovered the jazz of Oscar Peterson, Bill Evans, Herbie Hancock and began performing publicly at age 14 and a few years later Emmanuel’s jazz quartet was to debut on the outer stages of the famed Montreux Jazz Festival.

Emmanuel Fratianni is an active guest lecturer in both American and European music institutions in the subjects of music direction and conducting symphonic film music, video games and jazz. He resides in Santa Barbara, California with his wife, composer Laurie Robinson, and their young son Luciano.

63

Tommy Tallarico, creator and executive producer Tommy Tallarico is a veritable video game industry icon. As one of the most successful video game composers in history, he has helped revolutionize the gaming world, creating unique audio landscapes that enhance the video gaming experience. He is considered the person most instrumental in changing the game industry from bleeps & bloops to real music now appreciated worldwide by billions of fans.

An accomplished musician, Tallarico has been writing music for video games for more than 28 years. He has won more than 50 industry awards and has worked on more than 300 game titles. His top titles include Earthworm Jim, Tony Hawk’s Pro Skater, Disney’s Aladdin, Spider-Man and Metroid Prime as well as top selling popular game franchises such as Sonic the Hedgehog, Pac-Man, Guitar Hero, Madden Football, Mortal Kombat, Time Crisis, Unreal, Lineage, James Bond, Blitz Football, The 7th Guest, Knockout Kings, Test Drive, Scooby Doo, WWE and Twisted Metal. His score for Advent Rising has been noted as “one of the greatest musical scores of all time” by websites such as Yahoo, Gamespot and others.

In 2002, Tallarico created the critically acclaimed Video Games Live, an immersive, audio and video concert experience celebrating video games. Video Games Live features music from the greatest video games performed by top orchestras and choirs around the world combined with synchronized video footage, lasers, lights, special effects, interactivity and live action to create an explosive and unique one-of-a-kind entertainment experience. Video Games Live is the first and most successful video game touring concert in the world, having performed more than 450 shows in 42 countries on 5 continents.

Born and raised in Springfield, Massachusetts, he moved to Southern California on his own at age 21 to pursue a career in entertainment. Homeless with no means of financial support, Tommy was discovered in a music store and started working in the video game industry within 3 days of arriving in California. All four of his grandparents came to America from Italy in the early 1900s and instilled a deep sense of hard work, compassion, appreciation, passion, and love for others that he has carried with him his entire life. Tommy is a cousin of rock star legend Steven Tyler (née Tallarico) and in 2002 Tallarico’s music was used as the opening song for Aerosmiths’ “Girls of Summer” world tour.

For more information, visit www.tallarico.com.

64

A TRIBUTE TO THE MUSIC OF RODGERS & HAMMERSTEIN AND ANDREW LLOYD WEBBER A Collaboration in Celebration of Fort Wayne Civic Theatre’s 90th Anniversary

Friday, April 20 & Saturday, April 21, 2018 FORT WAYNE PHILHARMONIC Sweetwater Pops Series

7:30 p.m. | Embassy Theatre | Tickets start at $29 Andrew Constantine, conductor Christopher Sloan, vocalist; Manna Nichols, vocalist Popular songs from South Pacific, Oklahoma!, Carousel, Cats, Evita, Phantom of the Opera, and many more, in a heartfelt tribute to these giants of musical theatre.

Sweetwater Pops Series

260.481.0777

FWPHIL.ORG

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

Our mission and purpose at the Philharmonic Friends is to support the orchestra, to discover and encourage musical talent, This past year, we hosted the Young Artists’ Competition on March 26. and to promote musical education for all ages.

The winner of the senior division and a $1000.00 scholarship was Lydia Rhea (16), a cellist from Fishers. Indiana. She played her competition The Friends have several education programs for children in the piece, the first movement of the Cello Concerto in B minor by Dvorak, Northeast Indiana community. These programs are supported by with the Fort Wayne Philharmonic Orchestra on April 30 at the Family the generosity of the William & Bonnie Hefner Foundation. We Concert in the Auer Performance Hall on the IPFW campus. The next are grateful for the Foundation’s continued support. competition will be held November 18. Check our website for details.

Our mission and purpose at the Philharmonic Friends is to support the The Friends’ discover Young Artists’ Competition this talent, year was held on November 18, at IPFW andchairpersons encourage musical and to programs. promote Weorchestra, are currently seeking for the following three This is an excellent campus.

The competition is open to students living within 100 miles of Fort Wayne. musical education for all ages. opportunity to use your talents to serve not only the Philharmonic Friends, but the entire Fort

To compete, artists must have studied with their current teachers for at least six months.

Wayne community: The winner of the andArtists’ a $500 scholarship Lydia Competition on was March 26. Bingamon, age 13, This past year, weJunior hostedDivision the Young Our national award winning Instrument Loan Program ensures that who wants to a violinist from Huntertown, Indiana. studies with Janet Guy-Klickman Fort The winner of the senior division and aShe $1000.00 scholarship was Lydiaany childof learn(16), to play a musical will have oneaplayed available.

Wayne.

The winner offrom theinstrument Senior Division and $1,000 Rhea a cellist Fishers.

Indiana.

She herscholarship competitionwas Sage Hamm, age 16, athe pianist from Indiana.

He with Dr.Dvorak, Robert Palmer of Ballhour Speaking, a half  piece, Before each the Middletown, Masterworks concerts, the studies Friends hostbyMusically first of movement of the Cello Concerto in B minor State University inbyMuncie, Indiana.

Sage will play with Philharmonic at Frozen discussion Caleb Young, Assistant Director of the orchestra.

These sessions areFairy sure with the Fort led Wayne Philharmonic Orchestra on April 30 the at the Family to on enhance appreciation of the concerts.

Tales, January 21st.

Concert in theyour Auer Performance HallMasterworks on the IPFW campus. The next be held November 18. way Check website details.

Playgrounds are another to our enjoy servingforwith the Friends. I have heard the  competition Instrumentwill

We also have an ongoing Instrument Program ensures any child who playground called a “petting zoo” asLoan children (of all which ages) have the that opportunity to handle wants toplay learn to play a musical instrument will have onethree available. this weexcellent have We are currently seeking chairpersons for the following programs.

Thistime is an and a musical instrument with guidance from a musician.

Lots ofAt fun!

58opportunity instruments to loaned. use your talents to serve not only the Philharmonic Friends, but the entire Fort Wayne community: Also, a word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support

Before each of theaward Masterworks the Friends host Musically Speaking, a halfover last several years, many of concerts, our education programs not have beenchild possible.  the Our national winning Instrument Loan Programwould ensures that any who wants to hour discussion led by assistant conductor Caleb Young.

These free pre-concert talks learn to play a musical instrument will have one available. are enhance your appreciation of the Masterworks Thissure past to season, the Friends held two fundraisers; the first wasconcerts. a bus trip to Toledo, Ohio to see  Before each of the Masterworks concerts, the Friends host Musically Speaking, a half hour the Broadway musical, Kinky Boots. The trip was to the Stranahan Theatre, just a short drive

discussion led by Caleb Young, Assistant Director of the orchestra. These sessions are sure Instrument playgrounds, atwere Family Series concerts, areBagel another wayon tothe enjoy and a spectacular show! We served a box lunch from Station trip serving to Toledo, to enhance your appreciation of the Masterworks concerts. with the Friends. all ages) thegenerous opportunity handle and play a and wine and hors Children d’oeuvres(of on the return have trip with door to prizes to boot.

Playgrounds are another to enjoy serving with the Friends. I have heard the  Instrument musical instrument with guidance from way a musician.

playground calledfund a “petting zoo”the as Swing children ages) have for(of theallSymphony III the golf opportunity outing held to in handle July.

The second, our major raiser, was and play a musical instrument with guidance from a musician.

Lots of fun!

We thought we would be out21foratthe outing, but the Orchard Ridge country Friends club wasalso not in The next playground is rained January Frozen Fairy Tales.

The Philharmonic the pathScholarships of the storms.toWe had astudents. great dayWe golfing and a good time at the cocktailthis party as well. award music have awarded 20 scholarships year.

Also, a word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support over the lastofseveral years, many of our education programs would not have been possible.

Our support the orchestra is funded by your our ongoing efforts.

We have To join the Philharmonic Friends and lend talents tofundraising these programs, please visit our awebsite bus trip to Toledo planned to see Beautiful, the Carole King Musical.

The bus trip is at www.philharmonicfriends.com You'll be glad you did.

You will make some interesting This past season, the Friends held two fundraisers; the first was a bus trip to Toledo, Ohio to see February There are a few seats our left,wonderful so get yours today! Contact ClarAnn Bengs friends and11.enhance yourstill appreciation trip was toorchestra! the Stranahan Theatre, just a short drive the Broadway musical, Kinky Boots. ofThe

(260) 744-1476 with questions.

and a spectacular show! We were served a box lunch from Bagel Station on the trip to Toledo, and wine and hors d’oeuvres on the return trip with generous door prizes to boot.

Do you have a Friends’ cookbook yet? Playing with Food is clearance priced at $10. This is a great buy. It contains more than 600 recipes from more than 200 musicians, staff, The second, our major fund raiser, was the Swing for the Symphony III golf outing held in July. board and members of the community. You may have tasted the recipes on the bus trip President We thought we would be rained out for the outing, but the Orchard Ridge country club was not in to Toledo or at other Friends events. No home should be without recipes for buffalo the path of the storms. We had a great day golfing and a good time at the cocktail party as well. balls, grape salad, or homemade baklava. Find out all the things you can do with coffee filters and dryer sheets. This cookbook is more than just recipes! It’s an accumulation Philharmonic andcookbook lend youror talents to Philharmonic these programs, pleaseonvisit of To ourjoin Fortthe Wayne culture. Friends Order the join the Friends the our websitewebsite at www.philharmonicfriends.com You'll be glad you did. You will make some interesting Friends’ at www.philharmonicfriends.com. friends and enhance your appreciation of our wonderful orchestra!

Cynthia Fyock

66

President President

FORT WAYNE PHILHARMONIC FRIENDS

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

Sandra Hellwege Pat Holtvoight Kelly Hudson Judy Lopshire Nellie Bee Maloley

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

IS PRESENTED BY THE PHILHARMONIC FRIENDS BEFORE EVERY MASTERWORKS CONCERT! Free pre-concert talks are presented one hour before every Masterworks concert by conductors, Philharmonic musicians, and special guests. Hear all about the evening’s repertoire, enhancing your symphony experience.

If you or your company would like to sponsor an evening of Musically Speaking, contact ClarAnn Bengs at 260.744.1476 or cbengs59@gmail.com Benefits may include an ad in the Prelude, free concert tickets, and more.

Playing With Food Still some copies left!

Clearance priced only $10/copy Order by calling Cynthia Fyock 260-710-1085 Also available at the Philharmonic Box Office and online at www.philharmonicfriends.com Playing with Food makes a great gift for any occasion.

67

Andrew Constantine, Music Director “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield.

-The Times of London Born in the northeast of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work.

His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire.

A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically.

“Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met.” In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art.”

Earlier in 1991 Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.”

Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with 68

many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.”

Constantine’s repertoire is incredibly broad and, while embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere.

In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable; we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but to keep the flame of belief alive and be a resource and supporter of all music educators.” Another project created by Constantine, geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programs the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work.

2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of music director of the Reading Symphony Orchestra in Pennsylvania - after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates.

Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as “the best concert in the last ten years.” Other recent engagements included concerts with the New Jersey Symphony, a return to the St. Petersburg Philharmonic, the Filarmonica de Gran Canarias, and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.

69

Caleb Young, Assistant Conductor Caleb Young joined the Philharmonic as Assistant Conductor in the fall of 2016. He serves as cover conductor to all Masterworks and other selected programs, and conducts various concerts throughout the season including Pops, Family, Education, and ballet.

Young also serves as founder and conductor of KammerMahler, a daring mobile chamber orchestra.

Founded in 2013, KammerMahler focuses on presenting the music of Mahler in a fresh and intimate medium.

KammerMahler has recorded and released the World Premiere album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9.

In 2016, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the Salzburg Festival. During the festival’s Don Giovanni production, he filled in last minute, conducting the off-stage banda with members of the Vienna Philharmonic. Young has also been selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross, and as Assistant Conductor for the National Music Festival.

Young has conducted the Fort Worth Symphony, the Russian National Orchestra, and the Asheville Ballet.

He has assisted and covered such organizations such as the St. Louis Symphony, Atlanta Opera, Portland Symphony, National Music Festival and the Jacobs School of Music at Indiana University.

A native of Asheville, North Carolina, Caleb started his musical training on piano at the age of three.

Young received his master’s degree in orchestral conducting from Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

70

Benjamin Rivera, Chorus Director Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He has served as Chorus Director and regular conductor of the Fort Wayne Philharmonic since 2013, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago since 2000, Rivera also serves as Music Director and Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. He takes on the position of Associate Conductor of GRAMMY-winner The Washington Chorus this fall.

A member of the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings.

Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and in-school residencies, and presented at the Iowa Choral Directors Association summer conference.

Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a Doctor of Musical Arts in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. In 2011, he researched choral rehearsal and performance practice in Berlin, Germany.

Dr. Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

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

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

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Veit Greg White 71

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER ANDREW CONSTANTINE, Music Director Ione Breeden Auer Foundation Podium

CHAMBER MUSICIANS

CALEB YOUNG, Assisant Conductor BENJAMIN RIVERA, Chorus Director

Louise Bonter Podium

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair

VIOLA Derek Reeves, Principal

Debra Welter, Johanna Bourkova Assistant Principal Morunov, Charles and Wilda Associate Concertmaster Gene Marcus Michael and Grace Family Chair Mastrangelo Chair Bruce Graham Rotating, Assistant Concertmaster Debra Graham John and Julia S. Marie Heiney Oldenkamp Chair and Janet Myers Heiney Chair Olga Yurkova, Principal Second Theodore E. Chemey III Wilson Family Erin Maughan Foundation Chair Erin Rafferty Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair

72

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

CELLO Andre Gaskins, Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens

Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair Martin Meyer BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. and Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

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

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

TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Allison Chorn, Acting Principal June E. Enoch Chair

Kirk Etheridge Acting North American Van Lines funded

by Norfolk Southern Foundation Chair

Akira Murotani Ben Kipp Charles Walter Hursh Acting Chair Patricia Adsit Chair TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair Vacant Second Trombone BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair

73

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Rachel Brown Lipeng Chen Yu-Fang Chen Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Caleb Mossburg Linda Oper Ilona Orban Kristine Papillon Eleanor Pifer Joachim Stepniewski Colleen Tan Lauren Tourkow VIOLA Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer CELLO Iris Ji Martin Meyer Peter Opie Heather Scott BASS Brad Kuhns Garry Wasserman FLUTE Kayla Burggraf Janet Galbraith Alistair Howlett Patricia Reeves Mihoko Watanabe

74

OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder Aryn Sweeney CLARINET Elizabeth Crawford Daniel Healton Dan Won BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won Ed Renz BASSOON Marat Rakhmatullaev Michael Trentacosti CONTRA-BASSOON Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette Albert Houde Charlotte O’Connor Kenji Ulmer TRUMPET Alessandro Bonotto Douglas Hofherr Greg Jones Dan Price TROMBONE Jim Kraft John Grodian Loy Hetrick Alex Krawczyk David Parrilla

TUBA Manny Colburn Matt Lyon Paul Mergen PERCUSSION Matt Hawkins Renee Keller Kevin Kosnik David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

CLUB ORCHESTRA Operating in partnership with three Fort Wayne Community Schools, Club Orchestra is a visionary movement that transforms the lives of children through music; a new model for social change. Its mission is to empower children by providing an intensive orchestra training program that teaches the importance of teamwork, promotes selfconfidence, and instills the value of social responsibility.

For more information, contact Club Orchestra Program Manager Aaron Samra at 260.481.0755 or asamra@fwphil.org.

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS OFFICERS

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

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

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

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

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

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1975 1975-1977 1977-1979 1979-1981 1981-1983 76

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

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

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

*Indicates Deceased

FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF

ADMINISTRATIVE STAFF James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Scott Stolarz Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Joel Dreyer Stage Manager Lorenzo Kleine Artistic and Development Coordinator EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Patricia Reeves Youth Orchestra Manager

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

Derek Reeves Lead Instructor, Club Orchestra program Aaron Samra Club Orchestra Program Manager

77

SERIES SPONSORS

The Robert, Carrie and Bobbie Steck Foundation Great Performers Series

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

Sweetwater Pops Series

CHUCK SURACK

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

STAR Family Series

JIM MARCUCCILLI

Chairman & CEO, STAR Bank

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

78

SERIES SPONSORS

Ambassador Enterprises Chamber Orchestra Series

ARLAN FRIESEN

President, Ambassador Enterprises “Ambassador Enterprises is proud to support The Fort Wayne Philharmonic and their impactful work in the region. We value the shared experiences that The Phil creates in our community for the people that live, work, grow, and play here.

Thank you to the talented people on and off the stage that make each performance possible.”

Brotherhood Mutual Insurance Company Freimann Series

MARK ROBISON

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

Steel Dynamics Foundation Regional Patriotic Pops Series

MARK MILLETT

President & CEO, Steel Dynamics

At Steel Dynamics, we believe that the right people in the right place are our greatest strength.

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

Parkview Health Regional Holiday Pops Series

MIKE PACKNETT

President & CEO, Parkview Health

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

79

FORT WAYNE PHILHARMONIC SPONSORS The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor.

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

MAESTOSO | $250,000+ Madge Rothschild Foundation Chuck & Lisa Surack

ALLEGRETTO | $50,000 to $149,999 Anonymous (1) The Robert, Carrie, and Bobbie Steck Family Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

FOUNDER’S SOCIETY | $25,000 to $49,999

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

80

FORT WAYNE PHILHARMONIC SPONSORS VIRTUOSO SOCIETY | $10,000 to $24,999 continued Janice Eplett, in memory of Winifred F. Howe and F. Russell Eplett Rick & Vicki James

Jeff Sebeika, Subway

Miller Family Fund Tamzon O’Malley and Family

STRADIVARIUS SOCIETY | $5,000 to $9,999 Anonymous (1) Jim & Gloria Nash

Russ & Jeanette Quilhot

Suzanne Light

Alfred Zacher, in memory of Hannah Zacher

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

Fort Wayne Metals

Allina Anesthesiology, P.C.

James W. Palermo

Brotherhood Mutual Insurance Company

Parkview Field, Home of the TinCaps

Anita & Bill Cast

Vera Bradley

Mark & Mary Kay Hagerman

81

FORT WAYNE PHILHARMONIC SPONSORS

COMPOSER’S CIRCLE | $1,000 to $2,499 Scott Miller Parrish Leasing, Inc. Purple Blaze Enterprise, LLC.

Crumpet the Trumpet Ben Eisbart David & Mary Fink Mr. & Mrs. Michael Gavin Eleanor H. Marine MedPartners

CONCERTMASTER | $500 to $999 Nancy & David Stewart UniFirst, Inc.

SECTION PLAYER | $100 to $299 Alice & Jonathan Hancock

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

NIPR Benjamin Rivera WANE TV WOWO 107.5 FM WLDE 101.7 FM

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

-

Benjamin Franklin

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

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

For information about supporting the Philharmonic’s 2017-2018 Annual Fund, contact the Development Office at 260.481.0775.

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

Chuck & Lisa Surack, Sweetwater Sound

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

William N. & Sara Lee Hatlem Tod Kovara Eleanor H. Marine Virginia Lee Zimmerman

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

Kevin & Tamzon O’Malley Michael & Carla Overdahl Russ & Jeanette Quilhot Jeff Sebeika, Subway Herb & Donna Snyder Charlie & Jeanné Wickens

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs. Alfred Allina Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin Andrew & Jane Constantine Elizabeth A. Frederick Mr. & Mrs. Michael Gavin David S. Goodman Patricia S. Griest Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Mr.* & Mrs. John Krueckeberg Antoinette K. Lee

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

83

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Bill Andrews & Vicky Carwein Nancy Archer Tim & Libby Ash Family Foundation Norma & Tom Beadie Janellyn & Glenn Borden Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner Emily & Michael Elko Clayton Ellenwood Fred & Mary Anna Feitler Susan & Richard Ferguson Scott & Melissa Glaze Leonard Helfrich Sattar & Marlene Jaboori Dorothy K. Kittaka Drs. Carol & David Lindquist

Kevin & Nicole Lowe Scott & Donna Mattson Mr. & Mrs. Donald T. Mefford Dr. Scott Miller Greg & Barbara Myers David & Sharon Peters Joseph & Lindsay Platt Linda Pulver The Rev. C. Corydon Randall & Mrs. Marian Randall The Rothman Family Foundation Melissa & Peter Schenkel Nancy & David Stewart Nancy Vendrely Wayne & Helen Waters Lewie Wiese Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (3) Holly & Gil Bierman Katherine Bishop Roberta Brokaw Barbara Bulmahn Dr. & Mrs. Jerald Cooper Tim & Ann Dempsey Sandra K. Dolson The Dyer Family Foundation Robert & Carol Fawley Fort Wayne Philharmonic Chorus Bob & Liz Hathaway Alice & Jonathan Hancock Anne & James Heger Ginny & Bill Johnson Floyd & Betty Lou Lancia

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

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

Bruce & Mary Koeneman Ed & Linda Kos Anne & Ed Martin Paul & Bonnie Moore Mark Troutman & Ann Wallace

CONCERTMASTER (GIFTS FROM $500 TO $749)

84

Jeane K. Almdale Dr.* & Mrs. Justin Arata Mr. & Mrs. William Arnold

Richard & Matoula Avdul Frederick Beckman* Michael & Deborah Bendall

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

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

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

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (3) Scott & Barbara Armstrong Mr. & Mrs. Craig Balliet Dr. Sunil Babu Mike & Kay Bauserman Matthew & Elizabeth Bechdol Tony & Pat Becker Larry & Martha Berndt David W. Bischoff Jon Bomberger & Kathryn Roudebush Rebecca Bouse Tom Cain John & Jill Case Dan & Marjorie Culbertson George & Nancy Dodd Dr. & Mrs. John Dyer Lillian C. Embick Albert & Jeanne Emilian Dr. Joseph P. Fiacable Dick Florea & Sandy Shearer John & Jane Foell Jeff Frappier Cynthia & Douglas Fyock Linda Gaff Leonard Garrett Robert & Barbara Gasser Robert & Constance Godley Thomas E. & Donna J. Green

Lois Guess Mayor Tom C. & Cindy Henry Mark & Debbie Hesterman Ellen & Bishop Holliman Mr. & Mrs. Arnold Huge Jennifer Jacobson Larry & Annette Kapp John & Lorene Kelley Kendall & Davis, Inc. Dr. & Mrs. Daniel Krach Kevin Kurtz Carolyn N. Lane Steve & Rhonda Lehman Mr. & Mrs. Duane Lupke Paul & Pauline Lyons Peg Maginn Peter & Christine Mallers John & Shelby McFann Leanne Mensing David & Linda Molfenter Noel & Diane Moore LTC & Mrs. John T. Moore Kenneth & Linda Moudy Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Pat & Mac Parker Mr. & Mrs. John M. Peters Raymond & Betty Pippert

85

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

FIRST CHAIR (GIFTS FROM $300 TO $499) continued Keith Raftree Dr. & Mrs. Fred L. Rasp Paul J. & Lula Belle Reiff Martin & Rita Runge Douglas & Laura Runyan Robert & Ramona Scheimann Chuck & Patty Schrimper Fort Wayne Alumnae Chapter of Sigma Alpha Iota

Sharon Singleton Matt & Cammy Sutter Carl & Cynthia Thies Scott & Jenny Tsuleff Don & Amy Urban Kari & Jeannine Vilamaa Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy

SECTION PLAYER (GIFTS OF $100 TO $299)

86

Ambulatory Medical Management Anonymous (15) Max M. Achleman John & Mary Ackerman Irving Adler Larry & Francine Allen Dr. Michael & Alysia Alter Thomas & Maryanne Alter Mr. & Mrs. Brad Altevogt Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mel & Ruth Arnold Mr. & Mrs. Lonnie Au Dick & Adie Baach David & Beverly Baals Gerald Backstrom Jim & Ellen Barr Greg Batterton Mr. & Mrs. John Batuello Marjorie Baumgartel Donna & Charlie Belch Carol M. Bennett Bix & Anita Benson Janet Bergeron Jim & Gay Berlien Diana Berich Kevin Beuret Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Matthew & Tracy Bilodeau Robert & Mary Binns Mr. & Mrs. Arlan Birkey David W. Bischoff David Blackwell Sherry L. Blake Steve Bloomfield & Linda Tannas Barbara L. Boerger

Barbara Boggs Virginia Bokern Dr. Charles & Nonda Bolyard Mr. & Mrs. Bruce Bone Bill Borgmann Brian Bostwick John Bottiglia Dennis Bowman Anne Marie Bracht Jim & Sue Bradley Ruth Braun Dr. Helene Breazeale John P. Brennan & SuzAnne Runge Evelyn M. Brosch-Goodwin Richard & Gloria Brown Dave Brumm & Kim McDonald Geneva Brummett William & Joan D. Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Bonnie Carroll Jim & Diane Carter Shane Cary Barbara Chamberlin Jeri Charles Kathy Choka Arlene Christ* Steve Christman Dr. & Mrs. Dennis Chubinski Bruce Cleveland Nelson & Mary Coats Barbara Collins Matt Converse

Wendell & Mary Cree Bob & Margita Criswell Amy Crouch Miles J. & Lorraine Hook Davis Fund Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Vera & Dominick DeTommaso Kathy Dew Sharon Dietrich Gene & Carol Dominique Fred & Joan Domrow Mr. & Mrs. Donald Duff Mr. & Mrs. Rodney Dunham Fred & Tina Eckart Ned & Sally Edington Don & Mary Kay Ehlerding Jon Eifert Susan Eikenberry Cynthia Elick Mr. & Mrs. George Emmert EPCO Products Inc. Pam & Steve Etheridge Pam Evans-Mitoraj Jan Evrard Larry & Judy Farver Mr. & Mrs. David Fee Susan Fox Nathan & Angela Freier Francis & Ann Frellick Peggy Frey Sheryl A. Friedley Melinda Fuchs Mr. & Mrs. Herb Fuller Michael & Janet Galbraith Elizabeth Garr Jane Gerardot & Jeff Leffers Tim & Ann Gibson

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

SECTION PLAYER (GIFTS OF $100 TO $299) continued Joy A. Gilbert Robert & Constance Godley William & Mary Goudy Janelle & Steven Graber Janet Graham Leah Grant Marcia Grant Don & Kate Griffith James B. Griffith David & Myra Guilford Sharon Gustin Mary K. Gynn Jennifer Hagerty Melanie & Robert Hall Linda Hansen & Tim McElwee Brian & Barbara Harris Melissa Hartman Marcia Haskins Paul J. Haughan* Joseph Hayes & Gregory Bowman Dennis & Joan Headlee John Heath Jacqueline Heckler Cynthia Heffelfinger Mr. & Mrs. Martin Heiny Sandy Hellwege Matt Hendryx Anthony & Susan Henry Lucille Hess Pamela Higgins Scott & Catherine Hill Andrew & Katy Hobbs Tom & Jane Hoffman Doug & Karla Hofherr Mr. & Mrs. Andrew Hosey Winifred Howe* Philip Hudson Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. George & Jane Irmscher Jocelyn Ivancic Carol Jackson Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Stephen Johnson Alex & Sharon Jokay Don & Joyce Jordan Scott Kardys

Lois Kaufman-Hunsberger Erick Keirn LuAnn R. Keller Bridget Kelly Dale Kelly* Chris & Angie Kidd Sheila D. Kiefer Sarah Kindinger Priscilla King Linda J. Kirby John Kirchhofer Audrey M. Kirk William G. Knorr James & Janice Koday Mr. & Mrs. Fred Kohler Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Shelby Lamm JJ Carroll & Jeff Lane Drs. Chung & Sage Lee Brad & Donna Lehman Douglas & Minda Lehman Frances LeMay & Peter D. Smith Arthur & Marcia Litton Raymond & Mary Lou Loase Marlene Lobsiger Chuck Logar Anne C. Longtine & Marco J. Spallone Jerry L. Mackel M.D. Janet & Larry Macklin Michael & Diane Makarewich Mr. & Mrs. Steven Malloris Dr. & Mrs. Richard Manalis Harry & Barbara Manges Ellen* & Eric Mann Linda Marshall Jane Martin Roy & Sharon Martin Dr. & Mrs. Naomichi Masaki Mark & Sarah Masloob Cheryl Mathews Elmer & Patsy Matthews David & Kathleen Matz Judith Maxwell Dr. & Mrs. Michael L. McArdle Diane McCammon

Susan J. McCarrol Mick & Sue McCollum Mary McDonald Debra McKinney Alice McRae Elizabeth Meyer David & Ann Miller Edward Miller Kerry A. Miller Mr. & Mrs. Carl Moellering Ray & Nancy Moore Chuck & Becky Morris Meg Moss Suzon Motz John & Barbara Mueller Kevin & Pat Murphy Steve Naragon & Pam Higgins Ed Neufer Beverly Norton John O’Connell & James Williams Don & Jenny Oberbillig Harold & Martha* Oechsle Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O’Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Penny Pequignot Ms. Nigel Perry Gary & Alice Peterson Marianne Platt R. W. Poorman Edwin & Cynthia Powers Marvin & Vivian Priddy Marlene Purdy Helen F. Pyles RAM Production Backline Roger & Catherine Rang John & Diana Reed Anne Rettenmaier Madonna Reynolds Sarah & Richard Reynolds Mr. & Mrs. David Ridderheim Alan & Pat Riebe Ruth & Phillip Rivard Ms. Rita Robbins Karen Roberts Janet Roe Mr. & Mrs. John W. Rogers Ron & Rhonda Root Stanley & Enid Rosenblatt Gretchen Roth

87

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

SECTION PLAYER (GIFTS OF $100 TO $299) continued Drs. Alan & Jane Roush Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Samuel Savage Gail Scheithauer Tom & Mary Ellen Schon Ed & Julia Schulz Richard & Ruth Schwartz Andrew Scriven Ken & Mary Scrogham Richard & Suzanne Shankle Elizabeth Sheets Ms. Cornelia L. Shideler Norma Shondell David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Keston Smith Lynda D. Smith Sharon M. Snow Mary & Rob Snow

88

Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Salvador Soto Jeff & Sunny Stachera Don & Linda Stebing Starla Steckbeck Mr. & Mrs. Donald D. Stedge Michael & Barbara Stedge Lois A. Steere Elizabeth Stehulak David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Jeffery Strayer Brenda Sullivan Michael & Cheryl Summers Arthur & Karen Surguine Lynn Syler Tim & Colleen Tan Steven & Ruth Anne Teeple Judge Philip R. Thieme

Joe & Larysa Thorsteinson Martin Tierney Larry & Ellen Till Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Walter & Martini Vandagriff Dave & Sharon vonGunten Karen & David Von Loesecke Carol Ward Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick John & Nancy Wilhelm Ellen Wilson Stephen & Marsha Wright Dalen & Stephanie Wuest Susan Wygant Bob & Jan Younger Jeanne Zehr

ALPHABETICAL INDEX OF ADVERTISERS 42 80/20, Inc. 35 Ambassador Enterprises 17 Andrew Constantine Recording 53 Arts United 30 Audiences Unlimited 14 Beers, Mallers, Backs & Salin, LLP 29 Bose, McKinney & Evans LLP 19 Bowie and Prince 59 Brian Kuhns, Realtor 100 Bushey’s Windows, Doors & Remodel 75 Club Orchestra 17 Concordia Lutheran HIgh School 9 Coppélia 18 DeBrand Fine Chocolates 37 Earshot/Conductor’s Workshop 24 Embassy Theatre 38 Franklin Electric 62 Indiana Arts Commission 54 IPFW Department of Theatre 91 Keefer Printing 2 Lake City Bank 95 Mozart, Beethoven and Schubert 67 Musically Speaking/Playing With Food 32 Old National Wealth Management 12 Parkview Health 8 PHILharmonious: Save the Date 59 Science Central 6 STAR 23 Strategence Capital 96 Steel Dynamics, Inc. 20 Sweetwater 60 The Music of Led Zeppelin 29 The Towne House 65 A Tribute to the Music of Rodgers & Hammerstein and Andrew Lloyd Weber 70 Troyer & Good 53 WBOI 89.1 FM 9 Wirco, Inc. 11 WOWO 107.5 FM 99 Youth Orchestra Program 89

FOUNDATION AND PUBLIC SUPPORT

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

MAESTOSO | $250,000+ Madge Rothschild Foundation

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

English, Bonter, Mitchell Foundation O’Rourke Schof Family Foundation

ALLEGRETTO | $50,000 to $149,999 Anonymous (2) Foellinger Foundation Steel Dynamics Foundation The Robert, Carrie, and Bobbie Steck Family Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

FOUNDER’S SOCIETY | $25,000 to $49,999 Community Foundation of Greater Fort Wayne The Huisking Foundation Indiana Arts Commission Lincoln Financial Foundation

W. Gene Marcus Trust National Endowment for the Arts PNC Charitable Trusts The Rifkin Family Foundation

VIRTUOSO SOCIETY | $10,000 to $24,999 Olive B. Cole Foundation Charles W. Kuhne Charitable Trust Miller Family Fund The Rea Charitable Trust

Edward M. and Mary McCrea Wilson Foundation The Donald F. Wood and Darlene M. Richardson Foundation Edward and Hildegarde Schaefer Foundation

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

Ian and Mimi Rolland Foundation Wells County Foundation

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Community Foundation DeKalb County BAE Systems Community Investment 90

FOUNDATION AND PUBLIC SUPPORT

COMPOSER’S CIRCLE | $1,000 to $2,499 Adams County Community Foundation Arthur and Josephine Beyer Foundation Fulton County REMC Fulton County Community Foundation Kenneth & Lela Harkless Foundation

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

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

Keefer

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

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

MULTIPLE COUNTY SUPPORT Parkview Regional Medical Center/ Parkview Health

Steel Dynamics Foundation, Inc.

ADAMS COUNTY Anonymous (3) Adams County Community Foundation

Michael Bauserman Bunge North America Eichhorn Jewelers

Gilpin, Inc. Antoinette K. Lee Porter Family Foundation

William & Mary Goudy William & Sarah Hathaway David & Pat Kruse Metal Technologies, Inc. Kenneth & Kelly Metzger Psi Iota Xi, Eta Xi Chapter

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

Fulton County REMC Joyce Good Peterson, Waggoner & Perkins, LLP. Psi Iota Xi, Eta Mu Chapter Rapid View

Thomas & Janet Ravencroft Rochester Telephone Company Rochester Metal Products Violet Seiwert Zimmerman Bros.

Funeral Homes

Mike’s Car Wash Omer & Susan Kropf The Papers Inc. Dr. & Mrs. Fred L. Rasp Salin Bank & Trust STAR Financial Randall & Deborah Tobias Foundation

Warsaw Performing Arts Center Wawasee Boat Co. Inc. Wawasee Property Owners Association

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

FULTON COUNTY Akron Area Arts League Beacon Credit Union Wendell Bearss First Savings Federal Bank Fulton County Community Foundation

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

92

REGIONAL PARTNERS continued

NOBLE COUNTY Airframe Components

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

Councilman & Mrs. James Dazey Mayor Suzanne & Randy Handshoe The Hawk, 95.5 FM Tim & Anita Hess – RE / MAX Results Jansen Family Dentistry J.O. Mory, Inc. Kammerer Design & Fabrication Dr.’s Craig & Elizabeth Lichlyter

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

Kappa Kappa Kappa – Zeta Upsilon Chapter Lake James Association Pokagon State Park Psi Iota Xi, Rho Chapter Tusie & Chuck Sheets

Steuben County Community Foundation Trine University Jim & Kathy Zimmerman

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

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

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

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

Ouabache State Park

Wells County Foundation

Whitley County

STAR Financial Bank

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

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

93

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

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

94

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

MOZART, BEETHOVEN AND SCHUBERT Saturday, April 7, 2018

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

FORT WAYNE PHILHARMONIC 260.481.0777

FWPHIL.ORG

95

ENDOWMENT FUND

SPECIAL ENDOWMENTS

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

Chorus Director Podium Louise Bonter

Youth Symphony Walter W. Walb Foundation

Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry,

by Liz and Mike Schatzlein

Family Concerts Howard and Betsy Chapman

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

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

Freimann Chamber Series In Memory of Frank Freimann BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Frederick Beckman* Charlotte A. Koomjohn* Doris Latz*

Sanford Rosenberg* Alice C. Thompson *Indicates Deceased

97

LAUREATE CLUB The Philharmonic honors planned giving donors with membership in the Laureate Club.

A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

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

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

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

Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic.

Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777.

98

Youth Orchestra Program The Fort Wayne Philharmonic Youth Orchestra Program offers an authentic orchestra experience, enhancing musical learning and personal growth through performance.

It serves as an introduction to the rigors of professional musicianship in an ambitious atmosphere—with transformative results.

Youth Orchestras are open to all student musicians in the greater Fort Wayne area who have not yet graduated high school. Auditions for the 2018-2019 season are in late May 2018. Auditions are held throughout the year for vacant positions. For more information, or to schedule an audition, contact Patricia Reeves, Youth Orchestra Manager, at preeves@fwphil.org or (260) 481-0757

Fiberglass Replacement Windows

Jim Bushey

Infinity® from MARVIN replacement windows.

Save $400 on window installation, plus 12 months 0% interest financing.* With Infinity from Marvin you can have everything you want. From low maintenance fiberglass and easy cleaning features, to even more daylight and better views. Every decision should be so easy. Call Bushey’s for a free estimate. *(qualified buyers, see Bushey’s for details)

windows

doors

remodeling

260-456-1247

www.busheysfw.com

1701 Fairfield Avenue, Fort Wayne, IN 46802

Sunrooms

n

Room Additions

n

Decks

n

Pergolas

n

Interior Remodeling

n

Basement Finishing