Fort Wayne Philharmonic Prelude 3 January | February | March 2020 by Fort Wayne Philharmonic

Prelude

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BRAHMS CLARINET QUINTET

Jan 22, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab Jan 26, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

A COLE PORTER CELEBRATION WITH THE CIVIC THEATRE

Mar 28, 2020 | 7:30 p.m. | Embassy Theatre Mar 29, 2020 | 2:00 p.m. | Embassy Theatre

VALENTINA LISITSA’S LOVE STORY: PIANO THEMES FROM CINEMA’S GOLDEN AGE

MOZART AND TWO PIANOS

PINCHAS ZUKERMAN PLAYS BRAHMS

PIRATES OF THE SEA

WINNER CONDUCTS MOZART

SENSORY FRIENDLY CONCERT

LISA VROMAN & THE PURDUE VARSITY GLEE CLUB SING BROADWAY

BEETHOVEN’S VIOLIN

RAVEL’S BOLÉRO

BLISS

Feb 22, 2020 | 7:30 p.m. | Embassy Theatre

Apr 29, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab May 3, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

STAR WARS: A NEW HOPE IN CONCERT

CLUB ORCHESTRA CONCERT

Feb 26 & 27, 2020 | 7:30 p.m. | Embassy Theatre

Apr 30, 2020 | 6:00 p.m. | North Side High School

FREIMANN QUARTET PLAYS BEETHOVEN

ABBA: THE CONCERT

Mar 4, 2020 | 7:30 p.m. | Parkview Physicians Group ArtsLab Mar 8, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

May 2, 2020 | 7:30 p.m. | Embassy Theatre

BACH IN THE BARN Wine & Dessert included!

Apr 4, 2020 | 7:30 p.m. | Rhinehart Music Center, PFW

Jan 25, 2020 | 7:30 p.m. | Embassy Theatre

Apr 5, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

Feb 1, 2020 | 7:30 p.m. | Embassy Theatre

Feb 8, 2020 | 7:30 p.m. | First Wayne Street U.M.C.

Feb 15, 2020 | 7:30 p.m. | Embassy Theatre

Mar 6, 2020 | 7:30 p.m. | Joseph Decuis Farm

Mar 8, 2020 | 4:00 p.m. | Rhinehart Music Center, PFW

Apr 25, 2020 | 7:30 p.m. | Embassy Theatre

May 8, 2020 | 7:30 p.m. | Joseph Decuis Farm

CONSTANTINE CONDUCTS SHOSTAKOVICH

May 16, 2020 | 7:30 p.m. | Embassy Theatre

YOUTH ORCHESTRAS: ACROSS THE STARS

CARMINA BURANA

Mar 14, 2020 | 7:30 p.m. | Embassy Theatre

May 17, 2020 | 2:00 p.m. | PFW International Ballroom

A MIDSUMMER NIGHT’S DREAM Mar 20, 21 & 22, 2020 | Arts United Center

Apr 19, 2020 | 2:00 p.m. | Rhinehart Music Center, PFW

Closing Night!

YOUTH ORCHESTRAS: GERSHWIN DANCES

WITH THE FORT WAYNE BALLET

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FORT WAYNE PHILHARMONIC PROGRAM

JANUARY | FEBRUARY | MARCH WELCOME CONDUCTORS & DIRECTORS ORCHESTRA & CHORUS ROSTERS FORT WAYNE PHILHARMONIC FRIENDS PHILHARMONIC BOARD OF DIRECTORS PHILHARMONIC ADMINISTRATIVE STAFF SPONSORS DONORS FREIMANN SERIES BRAHMS CLARINET QUINTET January 22 & 26 POPS SERIES VALENTINA LISITSA’S LOVE STORY: PIANO THEMES FROM CINEMA’S GOLDEN AGE January 25

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MISSION “To foster and instill a lifelong love of symphonic music through performance and education.”

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MASTERWORKS SERIES PINCHAS ZUKERMAN PLAYS BRAHMS February 1

CHAMBER ORCHESTRA SERIES WINNER CONDUCTS MOZART February 8

POPS SERIES LISA VROMAN & THE PURDUE VARSITY GLEE CLUB SING BROADWAY February 15

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MASTERWORKS SERIES RAVEL’S BOLERO February 22

SPECIAL EVENT STAR WARS: A NEW HOPE IN CONCERT February 26 & 27

FREIMANN SERIES FREIMANN QUARTET PLAYS BEETHOVEN March 4 & 8

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BACH IN THE BARN SERIES BACH IN THE BARN March 6

YOUTH ORCHESTRAS GERSHWIN DANCES March 8

MASTERWORKS SERIES CARMINA BURANA March 14

Make a Donation or Become a Sponsor 260.481.0770 | info@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. Design: Brooke Sheridan Contributing Editors: James W. Palermo, Jim Mancuso, Emily Shannon

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Welcome FROM THE MUSIC DIRECTOR Dear Friends: “Please share our heartfelt thank you to all the talented Philharmonic musicians who brought joy to us and everyone else last night at the Messiah concert. Fort Wayne and the entire northeast region are so very blessed to have this tremendously talented orchestra.” I was delighted to read this endorsement of the Philharmonic’s performance during the Holidays. We know our work on behalf of the community is appreciated by so many, but receiving a note like this is a heartfelt reminder of their value to the entire region. Philharmonic musicians offer us unquantifiable benefit as performers and teachers of music, and as colleagues and citizens. We thank each and every one of you for supporting them in their quest to create a vibrant artistic life for all of us in Northeast Indiana. I am thrilled that on February 1 the Philharmonic will be performing with one of the greatest violinists of all time on the Embassy Theatre stage. Part of the Robert, Carrie, and Bobbie Steck Family Foundation Great Performers Series, the Philharmonic will present Pinchas Zuckerman in Bruch’s Violin Concerto No. 1. Don’t miss this once in a lifetime opportunity to hear one of the world’s great virtuosos. Our next partnership with the Embassy Theatre will occur on February 26 and 27 with a screening of the original Star Wars film – Star Wars: A New Hope In Concert. Hearing John Williams’ legendary score performed live as the film is projected on a giant screen is a fantastic opportunity to see and hear this iconic movie in person. Carmina Burana! It’s a work that touches people’s souls, and leaves them wanting more. The opening O Fortuna is one of the most thrilling moments in all of music. With its large, percussion-driven orchestra and mixed chorus that sings racy texts by wayward monks, Carmina Burana celebrates the joys of the tavern, nature, humor, and love. It’s an audience favourite we look forward to sharing again with you. By now subscribers will have received a Season Announcement for the upcoming 2020-2021 Season. I am particularly proud of the vast and diverse array of programs and events we have in store for people throughout Northeast Indiana. Russian classics, debut guest conductors, a Beethoven mini festival, a drum concert, Romeo and Juliet with Fort Wayne Ballet, Mozart’s opera The Magic Flute, and the great world-renowned piano virtuoso Yefim Bronfman will make this Masterworks Series a real stand out. Add to that Pops, Family, Freimann, Chamber Orchestra, Bach in the Barn, and exciting special events, and you’ll soon see that this will be a Season full of variety and charm, one for every musical taste. Thank you again for treasuring your hometown orchestra and supporting it in so many ways. We hope you enjoy everything we have to offer. Sincerely,

Andrew Constantine, Music Director

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Thank you, Fort Wayne and Northeast Indiana, for Making Violins of Hope the Largest Collaboration of Its Type in the History of This Community.

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

JANUARY | FEBRUARY | MARCH 2020

BRAHMS CLARINET QUINTET JANUARY 22 & 26, 2020

Brotherhood Mutual Insurance Company

Freimann Series

Wednesday, January 22 | 7:30 p.m. | PARKVIEW PHYSICIANS GROUP ARTSLAB Sunday, January 26 | 2:00 p.m. | RHINEHART RECITAL HALL, PURDUE FORT WAYNE ZELENKA Sonata No. 5 in F major Allegro Adagio Allegro Orion Rapp, oboe Pavel Morunov, oboe Dennis Fick, bassoon Alexander Klepach, harpsichord RACHMANINOFF Two selections from All-Night Vigil, Op. 37 (‘Vespers’) (Arr. Adam Johnson) Bless the Lord, O my soul Rejoice, O Virgin Andrew Lott, trumpet Daniel Ross, trumpet Alex Laskey, horn Andrew Hicks, trombone Chance Trottman-Huiet, tuba

INTERMISSION

BRAHMS Quintet for Clarinet and Strings, Op. 115 Allegro Adagio Andantino Finale: Con moto Campbell MacDonald, clarinet Violetta Todorova, violin Christine Chon, violin Derek Reeves, viola Andre Gaskins, cello

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

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BRAHMS CLARINET QUINTET JANUARY 22 & 26, 2020

Sonata No. 5 in F major

JAN DISMAS ZELENKA (b. 1679, Lounovice, Bohemia, now Czech Republic; d. 1745, Dresden, Saxony, now Germany) Czech composer Jan Dismas Zelenka may be a relatively unknown Baroque composer to most audiences today, but in his own time his music was deeply admired by both J. S. Bach and G. F. Telemann. Born in rural Bohemia outside Prague and trained in Venice and Vienna as well, he spent most of his career at the Saxon Royal Court in Dresden, first as a virtuoso double bass player in its renowned orchestra and then as a highly paid composer. A sophisticated and cosmopolitan creator, he used his earnings to amass one of the finest libraries of musical scores from many European countries; even Bach borrowed scores from his collection. However, Bach, Telemann, and the Dresden court were not primarily impressed by Zelenka’s erudition. They valued him still more for his originality in the treatment of all the Baroque musical techniques, including his lavish counterpoint, adventurous use of harmony, and — most striking of all — his ability to devise complex, multi-layered rhythms in vibrant profusion. A prolific master of sacred and secular forms and vocal and instrumental music, Zelenka often energized his instrumental works with elements of Czech folk music. Like several of the great Baroque masters, Zelenka was forgotten for a century after his death. He was rediscovered by Bedrich Smetana, the mid-19th century “father” of distinctively Czech classical music. And he grew more renowned in the mid-20th century as Baroque ensembles began to explore more of this rich repertoire. As we’ll hear in his Sonata No. 5 in F major, Zelenka’s music is well worth discovering. Its first movement is tied together by an arresting fanfare theme, which all the instruments play in unison.

JANUARY | FEBRUARY | MARCH 2020

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Freimann Series

When the instruments break apart into counterpoint, you may be astonished at the fast, challenging runs the bassoon plays; a virtuoso on the double bass, Zelenka frequently demanded that low instruments exceed their normal limits. The two oboes are featured more in intricate contrapuntal duets. In D minor, the slow movement plays strongly with dissonance to create its heartbreaking mood. Significantly, its steady bass continuo part begins on an E-flat, a half-note above the home note of D, and similar out-of-key alterations will spice the music throughout. Frequent sustained notes in the oboes intensify the dissonant clashes. The fascinating last movement is all about intricate rhythmic conflict between the instruments as they variously move into off-the-beat patterns creating an almost poly-rhythmic world. Two selections from All-Night Vigil, Op. 37 (‘Vespers’) Sergei Rachmaninoff (b. 1873, Oneg, Russia; d. 1943, Beverly Hills, California) Arranged for Brass Quintet by Adam Johnson We think of Rachmaninoff as a master of music for the piano and the orchestra. So it comes as a surprise to discover that one of the greatest works he ever wrote was for neither of these forces, but rather for unaccompanied voices. This is his All-Night Vigil, hailed by many as the finest setting of Russian Orthodox liturgical music ever created. Although in his early years Rachmaninoff was not a practicing member of the Orthodox Church (he would become one later in life), he adored the distinctive, sonorous sounds of Orthodox chant. A friend remembered: “He loved church singing very much and quite often … would get up at seven o’clock in the morning and

hail a cab in the darkness, mostly to drive to…the Andronyev monastery, where he stood in the half-darkness of the enormous church through the whole of the liturgy, listening to the austere ancient chants from the Oktoekhos, sung by the monks.” These chant melodies would inspire the shapes of many melodies in his piano and orchestral works. World War I drove Rachmaninoff into a depression that hindered his composing for a while. Suddenly, in a two-week period from January to February 1915, he composed the 15 numbers of the Vigil. However, the work had clearly been gestating in his imagination for a long time, for it shows a profound knowledge of the rules of Orthodox choral music. Though tremendously expressive, the chant melodies are very simple, moving stepwise up and down the scale and using much repetition. Rachmaninoff glorified them with superb part-writing and rich, yet respectfully restrained harmonies. We will hear the second of the Vigil’s numbers, “Bless the Lord, O My Soul,” and the sixth, “Rejoice, O Virgin,” arranged for brass by Adam Johnson. Quintet for Clarinet and Strings, Op. 115 JOHANNES BRAHMS (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) As he approached his 60th birthday, Brahms started making noises about retiring, though he still enjoyed robust health. In 1891, he drew up his will and started dispatching messages to his publisher and friends like this one: “I’m really too old … I considered that all my life I had been sufficiently industrious and had achieved enough; here I had before me a carefree old age and could enjoy it in peace. And that made me so happy, so contented, so delighted — that all at once the writing began to go.” Brahms may have thought he’d had enough of composing, but somehow there was always one more idea to tempt him. And in 1891 when he visited the Meiningen Court Orchestra — an ensemble with which he’d long enjoyed a special relationship — he suddenly fell in love, not with a person but with an instrument: the clarinet. That spring, the Meiningen’s concerts featured its principal clarinetist, Richard Mühlfeld, playing the Weber Clarinet Concerto and

Mozart’s Clarinet Quintet. Brahms adored Mühlfeld’s subtly rhapsodic style, exquisite tone color, and polished musicianship; he spent hours listening to him play and studying the instrument. He called Mühlfeld “my prima donna” and his instrument “Fräulein Klarinette.” That summer at the fashionable Austrian resort of Bad Ischl, Brahms composed two works for Mühlfeld at high speed: the Trio for Clarinet, Cello and Piano and the magnificent Clarinet Quintet we hear tonight. Both were privately aired at the Meiningen court before receiving their public premieres in Berlin on December 12, 1891; the performers were Mühlfeld and violinist Joseph Joachim and his quartet. The Quintet especially was so rapturously received that the five players had to repeat the second movement. In Leon Botstein’s The Compleat Brahms, Margaret Notley perfectly sums up the work’s overall flavor: “The Clarinet Quintet has the subdued, unearthly beauty of sound that characterizes many of Brahms’ later works; it can also lay claim to being the quintessential ‘autumnal’ work of the composer.” “Autumnal” seems to be the adjective of choice for this haunting piece and with good reason. With thoughts of wills and death in his mind, Brahms was indeed experiencing the full emotional impact of being in the autumn of his life (he would die of cancer less than six years later). And perhaps it was the plaintive, plangent tone color of the clarinet that inspired him as much as Mühlfeld’s artistry. Certainly, he exploited that color throughout this work that constantly looks back — both in melodic material and its form — but without anger or bitterness. In B minor but with a strong pull to D Major, the first movement opens in a mood of mellow nostalgia. Dueting in sweet thirds and sixths, the two violins introduce a gentle spiraling motive, followed by a rocking descending line that together are the melodic seeds from which this entire Quintet grows. The clarinet responds with a yearning upward leap before adopting the spiral idea. Cello and viola expand the rocking descending line into a full-fledged theme. A mysteriously twisting second theme is led by the clarinet; its elusive quality comes from its syncopated rhythms and the intricate entwining of its phrases among the five instruments. In the introspective development section, Brahms artfully deploys nearly every element he has introduced so far. A most ingenious passage takes a formerly bold,

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hard-edged transition idea and combines it with the elusive second theme for a poignantly brooding mood. The movement closes in hushed melancholy. The magnificent slow movement opens with the clarinet singing a sighing theme over a misty veil of muted strings. Like nearly all the themes in this work, it follows a descending shape derived from the first movement’s rocking theme. Even though Brahms has ostensibly brightened the key here from B minor to B Major, this is music of utmost sorrow. And indeed the composer does move back to minor for this movement’s passionate middle section: his highest evocation of the Hungarian gypsy-style music that had enlivened many of his works throughout his career. Here the clarinet whirls through its wide range in a series of extravagant gypsy melismas while the strings tremble like a Hungarian cimbalom. This music reaches a rhetorical peak, then subsides back into a reprise of the opening section. A last echo of the Hungarian music graces one of Brahms’ most beautiful conclusions. The first movement’s two seed motives sprout new blooms in the third movement, a Brahmsian combination of moderate-

tempo intermezzo and faster scherzo. The clarinet’s blithe, folk-like first theme is a transformation of the work’s opening descending phrase. And in the succeeding Presto scherzo section, the first violin’s scampering theme is a recasting of the spiral motive. The folk theme returns briefly to round out this charming lighter movement. Brahms pays tribute to Mozart’s famous Clarinet Quintet by also making his finale a theme with five variations. The warm, gemütlich theme, presented mostly by the strings, is a sibling to the third movement’s first theme and another flower of the descending seed motive. The cello finally comes into its own for the first variation. Variation three is full of delicate sunshine with the rhythmically vague meanderings of the first violin countered by the bird-song joy of the clarinet. The rhythm changes to triple meter for the beautifully flowing variation five, which has a strong sense of reminiscence. Before long, we realize why, as the spiraling opening of the Quintet rolls gently back. Little fragments of this music and its two seed ideas drift by, creating a conclusion as formally elegant as it is emotionally satisfying.

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JANUARY | FEBRUARY | MARCH 2020

VALENTINA LISITSA’S LOVE STORY: PIANO THEMES FROM CINEMA’S GOLDEN AGE Photo credit: Sam Jones

SATURDAY, JANUARY 25, 2020

Sweetwater

Pops Series

7:30 p.m. | EMBASSY THEATRE Caleb Young, conductor Valentina Lisitsa, piano STEINER

Casablanca Suite (1942)

DAVIS

Main Theme from Pride and Prejudice (1995)

MOZART Selection from Piano Concerto No. 21 in C major, K. 467 from Elvira Madigan (1967) II. Andante NORTH

Love Theme from Spartacus (1960)

ROTA

Legend of Glass Mountain from The Glass Mountain (1949)

WILLIAMS

Dream of Olwen from While I Live (1947)

ROTA (Arr. Mancini) Love Theme from Romeo and Juliet (1968) SHOSTAKOVICH

Assault on Beautiful Gorky from The Unforgettable Year 1919 (1951)

INTERMISSION

SILVESTRI

Main Theme from Back to the Future (1985)

BENNETT

Overture from Murder on the Orient Express (1974)

NYMAN

The Heart Asks Pleasure First from The Piano (1993)

GRUSIN

Main Theme from On Golden Pond (1981)

ADDINSELL

Warsaw Concerto from Dangerous Moonlight (1941)

RACHMANINOFF Selection from Piano Concerto No. 2 in C minor, Op. 18 from The Seven Year Itch (1955) III. Allegro scherzando

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

Chuck & Lisa Surack

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VALENTINA LISITSA, PIANO

Valentina Lisitsa is not only the first YouTube star of classical music; more importantly, she is the first classical artist to have converted her internet success into a global concert career in the principal venues of Europe, the USA, South America and Asia. Washington Post Online wrote: “It’s striking that her playing is relatively straightforward. ‘Straightforward’ is an inadequate term for virtuosity. She does not tart the music up. She does not seek to create a persona, much less impose one on what she is playing. She offers readings that are, when you penetrate through the satin curtains of the soft playing and the thunder of the loud playing, fundamentally honest and direct. You feel you’re getting a strong performer but also a sense of what the piece is like rather than of how Lisitsa plays it. I was impressed, sometimes dazzled and sometimes even taken aback by the ferocity of her fortissimos. And she is also a delicate, sensitive, fluid player who can ripple gently over the keys with the unctuous smoothness of oil.” Valentina posted her first video on the internet platform YouTube in 2007, a recording of the Etude op. 39/6 by Sergei Rachmaninoff. The views increased staggeringly; more videos followed. The foundation stone of a social-network career unparalleled in the history of classical music was laid. Thanks to an unwavering dedication towards her audience and personal approach to videos, her YouTube channel now records over 500.000 subscribers and 147 million views with an average 75.000 views per day. The 2019/2020 season sees Valentina perform recitals in Istanbul, Moscow, Zurich, Geneva, Essen and Tbilisi and a return to Madison and Amelia Island Chamber Music Festivals in the USA. She also makes her debut with Philharmonia Orchestra under Alpesh Chauhan performing Shostakovich Piano Concerto No 2 and returns to Valencia Orchestra performing Beethoven Piano Concerto No. 5 and Fort Wayne Philharmonic with a programme including Piano Themes from Cinema’s Golden Age. Born in Kiev, Ukraine, Valentina started learning the piano at age three and gave her first public recital a year later. She graduated from Kiev Conservatory subsequently moving to the United States and giving her debut performance in New York in 1995. Now Valentina shares her time between Moscow and Rome.

Sweetwater

Pops Series CHUCK SURACK

Founder & CEO, 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.”

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A SPECTACLE OF SOUND Thank you to the Fort Wayne Philharmonic for creating, producing, and performing exceptional and compelling art.

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* GREAT PERFORMERS SERIES *

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PINCHAS ZUKERMAN PLAYS BRAHMS SATURDAY, FEBRUARY 1, 2020

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

7:30 p.m. | EMBASSY THEATRE Andrew Constantine, conductor Pinchas Zukerman, violin Amanda Forsyth, cello SCHUMANN

Overture to Manfred, Op. 115

BRUCH Violin Concerto No. 1 in G minor, Op. 26 Prelude: Allegro moderato Adagio Finale: Allegro energico Pinchas Zukerman, violin

INTERMISSION

BRAHMS Concerto for Violin and Cello in A minor, Op. 102 Allegro Andante Vivace non troppo Pinchas Zukerman, violin Amanda Forsyth, cello

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, February 13 at 7:00 p.m.

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

Encore Lounge sponsored by:

Prelude 17

PINCHAS ZUKERMAN PLAYS BRAHMS SATURDAY, FEBRUARY 1, 2020

Overture to Manfred, Op. 115

ROBERT SCHUMANN Born 1810, Zwickau, Saxony, Germany; d. 1856, Endenich, near Bonn, Germany) With its tormented hero vainly seeking peace among the high peaks of the Alps, Lord Byron’s dramatic poem Manfred (1817) epitomized the spirit of Romanticism. Many sensitive artists fell under its spell, and it inspired two fevered musical masterpieces: Tchaikovsky’s Manfred Symphony (1885) and Schumann’s remarkable Manfred Overture and incidental music (1848-49). Schumann probably first read the poem as an adolescent. His father, a successful book publisher, had translated Byron’s poems into German, and they became the rage among German artists and intellectuals. A quintessential Byronic antihero, Manfred, tortured by some mysterious crime (in Byron’s own case, it was an incestuous love affair with his half sister), seeks solitary refuge in the Alps. He summons the spirits of the universe for assistance, but they refuse to give him the peace he yearns for. He is tempted by evil spirits, but resists them; his life force also prevents his leaping from a lofty peak. Finally, he experiences a vision of the woman he has wronged, who foretells his death. The next day, he finally finds peace in the oblivion of death. Tormented himself by fears of madness and death — which unfortunately claimed him a few years later — Schumann found much to identify with in this poem. The years 1848 and 1849 belonged to one of his periods of manic creativity. In August 1848, he began the score for a staged performance of Manfred; by November, it was largely finished. He wrote that he had never devoted himself “with such love and outlay of force to any composition as to that of Manfred.” On June 13, 1852, his friend Franz Liszt staged Manfred at Weimar with Schumann’s music, but the composer was too overwhelmed by depression by then to attend.

JANUARY | FEBRUARY | MARCH 2020

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

The Overture is one of Schumann’s finest and most impassioned creations. Three quick, agitated chords snap us to attention. Then ensues a melancholy slow introduction prophesying tragedy. The first violins introduce Manfred’s theme: a yearning, upward-arcing melody with an uneasy syncopated rhythm. The tempo gradually accelerates, and Manfred’s theme gains a virile, heroic character. Eventually, the violins present the other major theme: a three-note wailing motive followed by a twisting melody that suggests Manfred’s frustrated quest for peace. Restless harmonies propel this feverish sonata form, which ultimately dies out in darkest E-flat minor. Violin Concerto No. 1 in G minor, Op. 26 MAX BRUCH (b. 1838, Cologne, Germany; d. 1920, Friedenau, near Berlin) Max Bruch’s First Violin Concerto is a young man’s creation. Bruch may have begun it in his teens, and he completed it in 1866 when he was 28. But over the course of his long life — he lived to the age of 82 and became one of the most prolific and respected German composers of the second half of the 19th century — he grew to resent this youthful masterpiece, which along with his Scottish Fantasy for violin and his moving Kol Nidrei for cello ensured his immortality. In later years, he complained to his publisher Simrock: “Nothing compares to the laziness, stupidity, and dullness of many German violinists. Every fortnight another one comes to me wanting the play the First Concerto; I have now become rude and have told them: ‘I cannot listen to this Concerto any more — did I perhaps write just this one?’” In fact, he had written four. Undoubtedly, Bruch was also irritated by the continual reminders that he had foolishly sold the concerto in 1869 for a one-time fee equivalent to $250 and thus derived no royalties from its numerous performances throughout Europe and America. For this work immediately took its place in the core

repertoire of virtuoso violinists after its premiere by the celebrated Joseph Joachim — for whom it was written — in Bremen, Germany on January 6, 1868 and has not budged from that position in 150 years. Why is this concerto so beloved of both violinists and audiences? Like the Mendelssohn Violin Concerto, it is perfectly written for the instrument and exploits virtually everything the violin can do in the hands of a master: from dramatic multistopped chords to soulful singing in the instrument’s rich low register all the way to its silvery top. Bruch’s greatest gift was for writing deeply expressive melodies, and here he makes a gorgeous slow second movement the centerpiece of his composition. The orchestral writing, too, fully compliments the solo part with its richness and drama. Bruch called the first movement a Vorspiel or Prelude. Dark drama unfolds over the rumble of the timpani as the soloist introduces himself in a series of free recitative-like phrases soaring upward on the violin’s warmest G-string. Then, over a portentous rhythm in the orchestral bass, he launches the bold, wide-ranging principal theme, enriched by multiplestopped chords. The second theme is a poetic, yearning double melody in which the orchestral violins soar upward while the solo violin moves expressively into its low register. A stormy orchestral passage stands in for a development section. But instead of returning to the opening music, Bruch then moves into a bridge passage to the slow movement, for this movement is only its prelude. That second-movement Adagio is the beating heart of this concerto with the soloist as lyric poet: singer of the secrets of the human soul. On his 75th birthday, Joseph Joachim paid tribute to four violin concertos he considered the greatest in the Austro-German repertoire: the Beethoven, Brahms, Mendelssohn, and this one. Of the four, he called Bruch’s “the richest, the most seductive.” Listening to this magical movement will tell you why. In the finale, a hushed, expectant orchestral opening builds excitement for one of the most captivating themes ever created for violin: a stomping, fiery Hungarian dance tune that honors Joachim’s birthplace. Here is virtuoso display at its most joyous and infectious! But Bruch also finds time — twice — for Romantic reflection with a slower theme introduced grandly by the orchestra. Everything a great violinist can do is on display here in a finale perfectly plotted to make an audience cheer.

Concerto for Violin and Cello in A minor, Op. 102 JOHANNES BRAHMS (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria) Though he was a lifelong bachelor and a bit of a loner, Johannes Brahms always placed great importance on his friendships. One of his most important was with the great Hungarian-born violinist Joseph Joachim. The two had become close friends as young men back in 1853 when they had begun giving concerts together. In 1878, Brahms created his magnificent Violin Concerto to show off Joachim’s artistry and had even accepted his recommended changes for some of the solo writing. But in 1884, the friendship crashed in flames. A pathologically jealous man, Joachim had instigated divorce proceedings against his wife, Amalie, accusing her of infidelity with Brahms’ publisher, Fritz Simrock. Fond of Amalie and convinced (quite rightly, it seems) of her innocence, Brahms wrote her a candid and sympathetic letter in which he affirmed his total faith in her and said he had long been aware of Joachim’s unreliable emotional nature. In her defense, Amalie then produced the letter in court, and it was the pivotal document causing the judge to rule against Joachim. Enraged, the violinist broke off all relations with Brahms for three and a half years. Brahms tried over and over to restore relations, but without success. Finally, in the summer of 1887 he hit upon a possible solution. The cellist Robert Hausmann — Joachim’s partner in a long-established string quartet — had been begging Brahms to write him a cello concerto. The composer decided instead to write a Double Concerto for Hausmann’s cello and Joachim’s violin — a concerto combination never tried before. In a letter to Joachim, Brahms told him about the new work and how much it meant to him, and asked him to simply reply by postcard with the words “I decline” if he was not interested. But Joachim did not decline. Instead, a reading of the concerto by Joachim, Hausmann, and Brahms was arranged at the home of another longtime friend, Clara Schumann, widow of Robert. As everyone had hoped, Joachim was quickly caught up in the new work, and the rift was gradually healed. The composer reportedly exclaimed: “Now I know what it is that’s been missing in my life for the past few years — it’s been the sound of Joachim’s violin!” And on October

Prelude 19

18, 1887, the three friends (with Brahms now on the podium) premiered the work in Cologne. In its very musical substance the Double Concerto is an ode to friendship. Brahms filled it with nostalgic messages to Joachim. The violinist’s entrance music recalls a theme in a Viotti violin concerto the two had played together years before. The slow movement is in the key of D Major — the key of Brahms’ Violin Concerto. And the finale is in gypsy-rondo style, recalling both the Violin Concerto’s finale and the two musicians’ mutual love of Hungarian gypsy music. The opening of the sonata-form first movement is most unusual. The orchestra loudly states the first four measures of the principal theme — with its characteristically Brahmsian conflict of two-beat dotted rhythms against three-beat triplets. But immediately the cello interrupts, attacking a forceful recitative. The woodwinds then try to start the movement’s second theme. But now the violin leaps into action. Both soloists join in a double cadenza, trading back and forth rapid arpeggios, just as good friends sometimes finish each other’s conversational ideas. Finally, the orchestra is allowed back in to present the

principal theme in all its muscular drama. Its character suggests the storminess of Joachim and Brahms’ friendship even in the best of times. And the orchestra shouts out the sighing second theme, whose lyrical character only the soloists will reveal. In the slow movement, the soloists present a wonderfully mellow and nostalgic theme in unison: a perfect musical portrait of the pleasures of long companionship. In the middle section, woodwinds sing a pensive melody to which the soloists add a beautiful rippling theme of their own. All of Brahms’ regret for a lost amity colors the closing moments of this sublime movement. The rondo finale is rich in melody. The cello opens with the impishly playful refrain theme; the orchestra then brings out its gypsy fire. A second theme, warm and noble in double stops for the cello, forms the first episode. And a dramatic third theme — proclaimed by both soloists and featuring the conflict of dotted rhythms and triplets we heard in the first movement — dominates the big central episode. The concerto’s brilliant conclusion is in the joyful A Major of friendship restored. Notes by Janet E. Bedell copyright 2020

PINCHAS ZUKERMAN, VIOLIN

With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought after and versatile musicians - violin and viola soloist, conductor, and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums for which he gained two Grammy® awards and 21 nominations. Highlights of the 2019-2020 season include tours with the Vienna Philharmonic and Royal Philharmonic Orchestra, as well as guest appearances with the Boston, Dallas and Prague Symphonies, Fort Wayne Philharmonic, Berlin Staatskapelle, and Israel Philharmonic Orchestra. In his fifth season as Artist-in-Residence of the Adelaide Symphony Orchestra, he tours with the ensemble to China and Korea, and recently premiered Avner Dorman’s Double Concerto for Violin and Cello, written for Zukerman and cellist Amanda Forsyth. Subsequent performances of the important new work take place at Tanglewood with the Boston Symphony, Ottawa with the National Arts Centre Orchestra, where Zukerman serves as Conductor Emeritus, and with the Israel Philharmonic. In chamber music, he travels with the Zukerman Trio for performances throughout North and South America, Europe and Asia, and joins longtime friend and collaborator Daniel Barenboim for a cycle of the complete Beethoven Sonatas for Violin and Piano, presented in a three-concert series in Berlin.

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A devoted teacher and champion of young musicians, he has served as chair of the Pinchas Zukerman Performance Program at the Manhattan School of Music for over 25 years, and has taught at prominent institutions throughout the United Kingdom, Israel, China and Canada, among others. As a mentor he has inspired generations of young musicians who have achieved prominence in performing, teaching, and leading roles with music festivals around the globe. Mr. Zukerman has received honorary doctorates from Brown University, Queen’s University in Kingston, Ontario, and the University of Calgary, as well as the National Medal of Arts from President Ronald Reagan. He is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music. “Zukerman again seemed the forever-young virtuoso: expressively resourceful, infectiously musical, technically impeccable, effortless. As usual, it was a joy to be in his musical company.” The Los Angeles Times “The precision and clarity of his sound and his strong romantic sensibility contribute to this excellence, but even more important is the intelligence of his interpretations. The listener is constantly engaged as he brings a little extra something to each phrase.” Ottawa Citizen “You could have blindfolded an experienced listener, put him in a different room where he could scarcely hear the sounds, and he’d still recognize that liquid, Zukerman tone. There is no other like it....His sound is utterly imimitable - as it has been for more than 30 years - from its intense sweetness on high to its throaty richness at the depths of the instrument....And the molten gold that streams from the instrument is completely breathtaking. Fabulous playing.” The Herald (Glasgow)

AMANDA FORSYTH, CELLO

Canadian Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. She is recognized as an eminent recitalist, soloist and chamber musician appearing with leading orchestras in North and South America, Europe, Asia and Australia. From 1999-2015, Amanda Forsyth was principal cellist of the National Arts Centre Orchestra, where she performed regularly as soloist and in chamber ensembles. Ms. Forsyth has appeared as soloists with orchestras around the globe including Orchestre Radio de France, Boston, Chicago, Toronto, and Vancouver Symphonies, and the English Chamber Orchestra. She has performed on international tours with the Mariinsky, Royal Philharmonic, and Israel Philharmonic Orchestras. She starts her 2019-2020 season with the Calgary Philharmonic performing her father, Malcom Forsyth’s Electra Rising. Amanda brings Avner Dorman’s Double Concerto for Violin and Cello, written for Forsyth and violinist Pinchas Zukerman, to Ottawa with the National Arts Centre Orchestra and Tel Aviv with the Israel Philharmonic. Additional orchestral engagements this season include performances with Lincoln’s Symphony, Fort Wayne Philharmonic, IRIS Orchestra, and Dallas Symphony. As cellist of the Zukerman Trio, she has performed on six continents and has appeared at prestigious music festivals such as Edinburgh, Verbier, BBC Proms, and Ravinia. Born in South Africa, Ms. Forsyth moved to Canada as a child and began playing cello at age three. Amanda Forsyth’s recordings appear on the Sony Classics, Naxos, Altara, Fanfare, Marquis, Pro Arte and CBC labels and her most recent disc features the Brahms Double Concerto with Pinchas Zukerman and the National Arts Centre Orchestra released by Analekta Records. Ms. Forsyth performs on a rare 1699 Italian cello by Carlo Giuseppe Testore.

Prelude 21

WINNER CONDUCTS MOZART SATURDAY, FEBRUARY 8, 2020

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Chamber Orchestra Series

7:30 p.m. | FIRST WAYNE STREET UNITED METHODIST CHURCH HyeYoun Jang, conductor Megan Shusta, horn MOZART Serenade in G major, K. 525 “Eine Kleine Nachtmusik” Allegro Romance: Andante Menuetto: Allegretto Rondo: Allegro MOZART Horn Concerto No. 4 in E-flat major, K. 495 I. Allegro moderato II. Romanza: Andante III. Rondo: Allegro vivace Megan Shusta, horn

INTERMISSION

MOZART

Overture to Così fan tutte, K. 588

MOZART Symphony No. 35 in D major, K. 385 (Haffner) I. Allegro con spirito II. Andante III. Menuetto IV. Presto

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WINNER CONDUCTS MOZART SATURDAY, FEBRUARY 8, 2020

Serenade in G major, K. 525 “Eine Kleine Nachtmusik” WOLFGANG AMADEUS MOZART (b. 1756, Salzburg, Austria; d. 1791, Vienna)

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Chamber Orchestra Series minuet, and a sonata-rondo finale. The second movement Romance introduces a few nocturnal shadows in its C-minor middle section to a work that is otherwise an ideal musical expression of the relaxed pleasures of a balmy summer evening.

Eine kleine Nachtmusik (its translation, “A Little Night Music,” was borrowed by Stephen Sondheim for his 1973 musical) has always enjoyed hit status among Mozart’s works, to the point that overexposure may blind us to its gemlike perfection. It is one of the finest examples of the specialoccasion music he composed throughout his career under various titles: serenade, divertimento, cassation, or nocturne. These works, usually were created for princely soirées or weddings of wealthy merchants and frequently for performance out of doors and/or in the evening. They were intended to be light, festive background music to accompany social chatter and plenty of eating and drinking.

Horn Concerto No. 4 in E-flat major, K. 495

Although Mozart usually wrote such works only on commission (they were an excellent source of quick cash for this often financially strapped composer), we have no record of why this piece — dated August 10, 1787 in the composer’s own catalogue — was written or even whether it was ever performed in his lifetime. Could he have written it just for his own pleasure? The title in Mozart’s native German, rather than the Italian he customarily used, suggests this might have been a personal piece. Mozart biographer Alfred Einstein came up with the ingenious suggestion that Mozart might have composed it as a corrective to his A Musical Joke, K. 522, written shortly before. In A Musical Joke, Mozart gleefully thumbed his nose at all the hallowed rules of musical composition in his day, while in Eine kleine Nachtmusik he followed those rules meticulously to create a work of refinement and charm.

Mozart delighted in playing jokes on Leutgeb: writing scores for him in a dizzying rainbow of red, blue, green, and black inks and appending insulting instructions to them. But he more than made up for his pranks with the four sublime horn concertos he wrote for Leutgeb as a gift of pure friendship. These are not easy works to play, even on today’s modern valve horns; played on the natural horn of the 18th century, on which the player could produce certain notes only by skillful hand-stopping within the instrument’s bell, they were harder still. Leutgeb may have been a goodhearted stooge, but he was certainly no fool on his unwieldy instrument.

Originally this composition contained another minuet movement. What we have now is a miniature four-movement symphony for string orchestra, with a sonata-allegro first movement, a slow movement in rondo form, the surviving

WOLFGANG AMADEUS MOZART Mozart’s genius was an intriguing mixture of the sublime and the ridiculous. Sublimity reigned in his music while love of the ridiculous revealed itself in a passion for puns, words spelled backwards, and practical jokes. Both qualities characterized his relationship with the horn player Joseph Leutgeb, an old crony from the Salzburg court orchestra, who moved to Vienna shortly after Mozart in 1781.

Completed in late June 1786, the Fourth Concerto poses especially formidable challenges because Mozart filled it with slithering chromatic half steps: subtle shifts that shade both the melodies and the harmonic modulations, but create difficulties maintaining pitch control. The Allegro moderato first movement is a spacious and rather noble-sounding sonata form, well-suited to the tonal qualities of its solo instrument. Rich in attractive melodies, the orchestral exposition presents

Prelude 23

a particularly lovely one just before the horn makes its first entrance. The generously sized development section carries the music away into the minor mode as well as other harmonic excursions, deepening the expressiveness of the themes. In the beautiful Romanze in B-flat Major, the soloist takes on the qualities of an operatic divo, spinning long phrases of melting cantabile melody. As in the previous movement, the middle section moves to the minor, intensifying the poignancy of the song. Before the horn made its way into the orchestra, it was traditionally the instrument of the hunt, summoning the riders to the fox’s trail. In the rondo finale, Mozart pays tribute to this heritage in a vivacious hunting rondo in a galloping meter. The infectious ear worm of a rondo refrain is mixed with episodes that sometimes seem to take the riders harmonically off the trail. Throughout, Mozart plays inventive games with exactly when the refrain is going to reappear.

Overture to Così fan tutte, K. 588

WOLFGANG AMADEUS MOZART In the late 1780s, Mozart, once the darling of Vienna, was no longer in demand in aristocratic circles. Though he had created back to back in 1786 and 1787 two of the greatest operas ever written — The Marriage of Figaro and Don Giovanni — all Emperor Joseph II of Austria gave him was a minor court position that paid little and required hardly any composing. With an ailing and pregnant wife, Mozart fell into debt and had to beg his wealthy Masonic friend Michael Puchberg for loans to pay his bills. His prospects brightened in the summer of 1789 when Figaro had a successful revival in the city, and the Emperor finally commissioned him to write another opera. The librettist again was the colorful Italian Lorenzo da Ponte, who had also written the librettos for Figaro and Giovanni. And this time, da Ponte decided to create his own plot about two men disguising themselves to test the fidelity of their sweethearts, supposedly based on a recent incident in Vienna that had amused the Emperor. With little else claiming his time, Mozart wrote the score for Così fan tutte (“Thus Do All Women”) rapidly in the fall and

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early winter of 1789. The premiere at the Burgtheater in Vienna on January 26, 1790 was quite successful. But then Mozart was hit with another stroke of bad luck: Joseph II died suddenly and the court went into mourning, closing down all opera performances. In Così’s plot, a worldly older man, Don Alfonso, suggests to his two young friends, Ferrando and Guglielmo, that perhaps their fiancées are not as devoted as they seem to be. The three concoct a scheme — abetted by Despina, the maid of the two sisters Fiordiligi and Dorabella — in which they pretend to go off to war, then return disguised as exotic Albanians each to woo the other’s girl. In time, the sisters succumb to the advances of their new suitors and, on the brink of marrying them, are suddenly surprised by the returning soldiers. In deep embarrassment, they return to their original lovers, all four now wiser about the mutability of the human heart. Mozart’s overtures generally do not quote from the music that will be heard in the operas themselves, but instead create an atmosphere and an expectation for the drama to come. That is the case with Così’s overture, except that here the five-note motive associated with the title — “Così fan tutte” — is proclaimed by the full orchestra both at the close of the slow introductory section and near the end of the overture. In the opera, the men bitterly sing this phrase after they have discovered that both women have been unfaithful to them. After an introduction featuring a plaintively romantic oboe solo, the Overture’s music bubbles along merrily, anticipating the plotting and play-acting that will be the lovers’ undoing. Symphony No. 35 in D major, K. 385 (Haffner) WOLFGANG AMADEUS MOZART In July 1782, Mozart was experiencing one of the most frenzied periods of his typically frenetic life. On July 16, he had just premiered his opera The Abduction from the Seraglio. Preparations were also underway for his August wedding to Constanze Weber, a marriage for which he had unsuccessfully sought his father’s approval for many months; Leopold Mozart had responded to this news by refusing to answer Wolfgang’s letters. When he finally did write his son, it was only to further complicate his life. Back in Salzburg, the Mozart family had been assisted by the wealthy merchant

family, the Haffners. In 1776, Mozart had written the “Haffner” Serenade with violin solo for a Haffner daughter’s wedding. Now in August 1782, the son, Sigmund, was to be raised to the nobility, and the Haffners again wanted a serenade from their favorite composer. Although he was already “up to my eyeballs” with work and personal pressures, Mozart could hardly refuse this family that had done so much for him. But he protested futilely: “By Sunday week I have to arrange my opera for wind instruments, otherwise someone will beat me to it and secure the profits instead of me. And now you ask me to write a new symphony too! How on earth am I to do so? … Well, I must just spend the night over it, for that is the only way; and to you, dearest father, I sacrifice it. … I shall work as fast as possible, and, as far as haste permits, I shall write something good.” Mozart indeed managed to “write something good” — and get married, too. However, it is not surprising that, when in December he asked his father to return the score so he could refashion it for his Viennese Lenten concert, his memory of the work was a blur. “Most heartfelt thanks for the music you have sent me. … My new Haffner symphony has positively amazed me, for I had forgotten every single note of it. It must surely produce a good effect.” The “Haffner” Symphony produced a splendid effect on the audience and Emperor Joseph himself when Mozart

premiered it in Vienna on March 23, 1783. The composer made a few changes: removing an opening march and an additional minuet to bring his serenade to four-movement symphonic form. Briefer than most of his later symphonies, it is a model of concision and high energy. The first movement (which Mozart instructed should be played “with great fire”) is built out of one skyrocketing theme heard at the beginning. The power of this theme, the rushing scale passages and aggressive trills in the violins, and the brilliance of trumpets and timpani all contribute to a quality of unstoppable momentum. The lightly scored second movement is all grace and elegance — music written to please 18th-century partygoers. It is succeeded by a minuet created from bold masculine proposals and languishing feminine responses — perhaps a musical dialogue representing Mozart the groom and his bride-to-be. A rustic woodwindcolored trio section adds charm. Mozart asked that the finale be played “as fast as possible.” Breathing the comic-opera atmosphere of Abduction, the mischievous principal theme, which returns over and over as a refrain, is related to an aria sung in that opera by Osmin, the harem overseer. Macho drum rolls suggest a composer feeling his virility on the wedding eve. Notes by Janet E. Bedell copyright 2020

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Prelude 25

HYEYOUN JANG, CONDUCTOR

Hyeyoun Jang is an active, versatile conductor who creates high quality music with a solid understanding of a wide range of repertoires. Jang has worked with the University of the North Texas Symphony and Concert Orchestras, the NOVA contemporary Ensemble, the Abilene Philharmonic Orchestra, Dubuque Symphony Youth Orchestra, the University of Iowa Chamber Orchestra and the University of Iowa opera production. Jang has been privileged to actively participate in valuable workshops and festivals. Through the events, she conducted the Fort Wayne Philharmonic Orchestra, the Richmond Symphony Orchestra, the Gyeong-Gi Philharmonic Orchestra (South Korea), the Chun-Cheon City Philharmonic Orchestra (South Korea) and the Cabrillo Festival of Contemporary Music Orchestra. With a special interest in new music, Jang loves broaden repertoires to new music series. She presented two U.S. premieres of internationally recognized composers’ compositions such as Harrison Birtwisle and Larry Polansky. Born in Busan, South Korea, Jang began her music studies through learning violin and piano at the age of six. She immediately found a deep interest and passion in music and has continued her studies with various musical methods. Jang studied composition and received both her Bachelor’s and Master’s in Music Composition at Ewha Woman’s University in Seoul, Korea. Also, she earned a Master’s degree at the University of Iowa and has completed a Doctor of Musical Arts in orchestral conducting at the University of North Texas. Currently, Jang is the director of College of Saint Benedict and Saint John’s University Symphony Orchestra in St. Joseph, Minnesota.

MEGAN SHUSTA, HORN

Megan Shusta is the principal horn player of the Toledo Symphony, a position she has had since 2019. Previously, Megan played principal horn with the Fort Wayne Philharmonic. Megan frequently performs as a substitute with other orchestras across the country including the Boston Symphony and Columbus Symphony. Megan has appeared as a soloist with the Fort Wayne Philharmonic, the Aspen Music Festival Orchestra and the Royal Conservatory Orchestra. In May of 2019, Megan won the overall grand prize at the Susan Slaughter Solo Brass Competition at the International Women’s Brass Conference. In June of 2017, Megan travelled to Moscow and St. Petersburg, Russia with the Educational Bridge Project where she performed many solo recitals and gave lectures and demonstrations on horn playing. Megan is originally from Maine and attended the New England Conservatory - Bachelor of Music 2017. Megan’s private teachers include Jamie Sommerville and Jim Pandolfi. Megan has attended many summer music festivals including the National Repertory Orchestra (Breckinridge, CO), the Aspen Music Festival, and the Lake George Music Festival. Aside from performing in the orchestra, Megan is a dedicated french horn teacher and advocate for the arts. Megan lives in Ohio with her fiancé, Douglas Amos, a trumpeter with the Erie Philharmonic.

JANUARY | FEBRUARY | MARCH 2020

LISA VROMAN AND THE PURDUE VARSITY GLEE CLUB SING BROADWAY SATURDAY, FEBRUARY 15, 2020

Sweetwater

Pops Series

7:30 p.m. | EMBASSY THEATRE Caleb Young, conductor Lisa Vroman, vocals The Purdue Varsity Glee Club, William E. Griffel, director BERNSTEIN MARTIN AND BLANE LERNER AND LOEWE BERLIN BOCK KIRKPATRICK WILLSON WILLSON BERLIN (Arr. Ades) BERNSTEIN BERNSTEIN, SONDHEIM BERNSTEIN, COMDEN AND GREEN WILDHORN, KNIGHTON WILDHORN, BRICUSSE AND CUDEN WEBBER WEBBER WEBBER LOESSER

Overture to Candide Trolley Song from Meet Me in St. Louis I Could Have Danced All Night from My Fair Lady I Love a Piano from Stop! Look! Listen! When Did I Fall in Love from Fiorello A Musical from Something Rotten Selections from The Music Man Lida Rose and Will I Ever Tell You from The Music Man Irving Berlin: A Symphonic Portrait INTERMISSION Overture to West Side Story I Feel Pretty from West Side Story Some Other Time from On the Town Into the Fire from Scarlet Pimpernel Someone Like You from Jekyll & Hyde The Phantom of the Opera All I Ask of You from Phantom of the Opera Think of Me from Phantom of the Opera Brotherhood of Man from How to Succeed in Business

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Prelude 27

LISA VROMAN, VOCALIST

From Broadway to classics, Lisa Vroman has established herself as one of America’s most versatile voices. She starred on Broadway, Los Angeles and San Francisco as Christine Daaé in The Phantom of the Opera, and garnered theatre critics’ awards for her portrayal. Lisa starred as Marian Paroo in The Music Man (with Shirley Jones, Patrick Cassidy and the Hartford Symphony), Lili Vanessi in Kiss Me Kate (Glimmerglass Opera/MUNY St. Louis), Birdie in Regina, Josephine in HMS Pinafore, Anna 1 in The Seven Deadly Sins (Utah Symphony/Opera), Rosalinde in Die Fledermaus (NJ Opera), and Rosabella in The Most Happy Fella (New York City Opera). For PBS: Johanna in Sweeney Todd (2001 Emmy Award), and Hey! Mr. Producer (London Royal Gala). She played Laurey in Oklahoma (BBC PROMS festival), Mary Turner in Of Thee I Sing (San Francisco Symphony w/Michael Tilson Thomas), Anna Leonowens in The King and I and sang and danced opposite Dick Van Dyke as Mary Poppins at the Hollywood Bowl (Disney 75th). Lisa is a frequent guest with symphonies including Philadelphia, Dallas, Utah, St. Louis, Houston, Pacific, Atlanta, Hong Kong, Cleveland, National, Florida, Cleveland, BBC Concert Orchestra, Boston Pops, Philly Pops, New York Pops, as well as with the New York Festival of Song (NYFOS) and Organist David Higgs (Disney Hall, Los Angeles). Her Broadway debut was in Aspects of Love and she was the first to play both Fantine and Cosette in Les Misérables. Ms. Vroman is a graduate of the Crane School of Music, State University at Potsdam (BM, Hon. Dr. of Music, Minerva Award), Carnegie-Mellon University (MFA), and is a George London Competition winner. WILLIAM E. GRIFFEL, DIRECTOR OF THE PURDUE VARSITY GLEE CLUB William is the Albert P. Stewart Director of Purdue Musical Organizations and the Jack Calhoun Director of the Purdue Varsity Glee Club at Purdue University in West Lafayette. William has served as a guest conductor and collaborator with Purdue University Bands, the Lafayette Symphony Orchestra, the Indianapolis Men’s Chorus, Indianapolis Children’s Chorus, the Indiana State FFA Chorus, the Northwest Indiana Symphony Orchestra, and the La Port Symphony Orchestra. William has traveled as a director and performer throughout Europe, the Baltics, the UK and Central America. He is sought after as an adjudicator, clinician and vocal coach for choral programs across the United States. As a vocalist, William has performed professionally with some of the most nationally and internationally recognized performing organizations. William is also an avid barbershopper having been a member of the Barbershop Harmony Society since 1997. His voice can also be heard on many commercial and professional recordings by some of the most recognizable publishing companies in the United States such as Warner Brothers, GIA Publications, Hal Leonard Publications, G. Schirmer and Hinshaw Press. William received his bachelor’s degree in Music Education and Vocal Performance from Viterbo University in La Crosse, WI. He went on to receive a Master’s Degree in Vocal Performance and a Performance Certificate in Vocal Performance from DePaul University. In 2015 and 2016, William was selected as a quarterfinalist for the prestigious Grammy’s® Music Educator Award from the Grammy Foundation in Los Angeles, CA which was created to bring attention and recognition to the teaching profession and to school music teachers across the country.

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THE PURDUE VARSITY GLEE CLUB

Founded in 1893, the Purdue Varsity Glee Club is one of the proudest and richest traditions of Purdue University and the State of Indiana. With integrity and passion, the members of the Glee Club represent different backgrounds and hometowns across the country, consistently maintaining a high level of academic excellence with majors ranging from engineering to education. The Glee Club has inspired audiences around the world with performance tours to Australia, Fiji, New Zealand, Canada, Mexico, China, the United Kingdom, South Africa, and the Baltics. These men have stirred hearts from legendary stages such as the Lincoln Center and Carnegie Hall and have performed at six presidential inaugurations. Performances with some of the brightest stars of stage and screen including Marvin Hamlisch, Garrison Keillor, Ed Sullivan and William Hurt continue to broaden the Glee Clubâ&#x20AC;&#x2122;s appeal. Under the direction of William E. Griffel, and Scott Hines the Purdue Varsity Glee Club continues to share a sound all its own through one-of-a-kind arrangements in tailor-made performances for audiences of all ages. Marcus Barron Joey Bedoy Steven Beering Max Bixby Brooks Boyer Jonathan Bradbury Alec Brooks Cooper Brooks Dante Bruno Zach Bucher Aidan Crowley Reed Davisson Carson Deal Adin Dove Adam Easterday Eric Evory Jonah Frese Eric Gilbertson

Hugh Grennan Parker Gunnison Mac Harlin Alex Harte Josh Hatton John Hedberg Decker Horninger Ryan Honwad Ronaldo Huang Ben Johnson Cameron Keiper Steven Kelly Vipata Kilembo Ross Klink Jared Kraus Luke Laboe Austin Larson Bryce Lemert

Jaden Miller Nicholas Mori Zach Mullen Michael Myers Subi Pandit Colin Patrick Soham Ray Matt Reilly Dylan Richards Sam Rickerd Carson Roberts Joseph Robinson Michael Roesel Sam Schein Mark Schueler Jeff Schwind Isaac Selm Jourdon Simmons

Sam Simpson Griffin Smith Josh Stegner John Svendsen Evan Turner Connor Turner Edwin Velez-Calez Cade Williams Mitch Witt Rhythm Logan Dodson Conner Hack Cade Quinn Sound Technician Alex Petty Caleb Wood

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LEARNING FROM PROFESSIONALS

Choral students had a once-in-a-lifetime experience singing back-up for Hugh Jackman at the Bankers Life Fieldhouse in Indianapolis. The experience was made possible by our well-connected faculty and their professional experiences.

TRAVELING THE GLOBE

Encouraging our students to study abroad and traveling with them are ways we help prepare them for the future. Theatre students studied at the IUGTW International Physical Theatre Workshop in Retzhof Castle, Austria, in June.

DISCOVERING CREATIVE AVENUES

Ceramic students networked with potters from across the region at the First Annual Potters Conference held on the Purdue Fort Wayne campus.

EDUCATION WITH PURPOSE CREATE A BRILLIANT FUTURE

Every student in the College of Visual and Performing Arts is part of a vibrant arts cultureâ&#x20AC;&#x201D; one where we strive to elevate their passion for the arts every day. These emerging artists, musicians, vocalists, actors, and directors learn, create, and flourish in this environment, preparing to go out and enhance our world.

LEARN MORE AT PFW.EDU/CVPA EA/EOU

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RAVEL’S BOLÉRO SATURDAY, FEBRUARY 22, 2020

The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

7:30 p.m. | EMBASSY THEATRE Andrew Constantine, conductor BERLIOZ

Roman Carnival Overture, Op. 9

DEBUSSY La Mer I. De l’aube à midi sur la mer [From Dawn to Noon on the Sea] II. Jeux des vagues [Play of the Waves] III. Dialogue du vent et de la mer [Dialogue of Wind and Sea]

INTERMISSION

COPLAND

Suite from Appalachian Spring

RAVEL

Boléro

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, March 5 at 7:00 p.m.

The Paul Yergens and Virginia Yergens Rogers Foundation Concert sponsor:

Encore Lounge sponsored by:

The O’Malley Charitable Fund

Prelude 31

RAVEL’S BOLÉRO SATURDAY, FEBRUARY 22, 2020

Masterworks Series

Roman Carnival Overture, Op. 9

La Mer

HECTOR BERLIOZ (b. 1803, La Côte-Saint-André, France; d. 1869, Paris)

CLAUDE DEBUSSY (b. 1862, St. Germain-en-laye, France; d. 1918, Paris)

Hector Berlioz had no luck cracking the Parisian musical establishment, especially its capital, the Paris Opéra. Far too radical in his ideas for his conservative home city, he had to travel to Germany, Russia, and England to win enthusiastic audiences. His best opportunity for a Parisian success came with his 1838 opera Benvenuto Cellini, based on the life of the 16th-century sculptor (Cellini’s most famous work was a golden statue of Perseus), bon vivant, and writer of a famously flamboyant autobiography. But the Opéra gave Benvenuto Cellini a limp production, and the work’s very public failure barred Berlioz from any hope of mounting another opera there.

On September 12, 1903, Claude Debussy wrote from his in-laws’ home in landlocked Burgundy to his friend André Messager to tell him he had begun a new piece, La Mer. “You may not know that I was destined for a sailor’s life and that it was only quite by chance that fate led me in another direction. But I have always retained a passionate love for her [the sea]. You will say that the Ocean does not exactly wash the Burgundian hillsides … but I have an endless store of memories and, to my mind, they are worth more than the reality, whose beauty often deadens thought.”

More than a blow to his ego, Benvenuto Cellini’s failure forced Berlioz to look beyond composing to make his living. By the 1840s, he had become one of the first great orchestral conductors, both of his own and other composers’ works, and was especially in demand in Germany. Still believing in his opera’s quality and in need of showy orchestral pieces for his concerts, Berlioz in 1843 fashioned this brilliant concert overture from Cellini material and unveiled it at a concert in Paris on February 3, 1844. It was an immediate success and became one of his most popular pieces. The Overture’s authentic Italian atmosphere comes from Berlioz’s stay in Rome in 1831–32 as winner of the coveted Prix de Rome. The work begins with a short burst of the Mardi Gras carnival music: an Italian saltarello dance sung by the chorus at the end of Act 1. Then the tempo slows, and the English horn begins a lovely, ardent melody; it is the music Cellini sings to his beloved, Teresa, earlier in Act 1. Ultimately, the vivacious Mardi Gras music — glittering with tambourines, triangle, and cymbals — returns for the spectacular conclusion.

The Paul Yergens and Virginia Yergens Rogers Foundation

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By the time La Mer was finished in March 1905, Debussy’s whole life had been turned upside down. In July 1904, he left his wife Lilly for the alluring and wealthy Emma Bardac, herself another man’s wife; the two eloped to the Channel island of Jersey. Although Emma and Debussy eventually contracted a happy remarriage, Debussy’s marital mess made him briefly the scandal of Paris. Lilly attempted suicide, both she and M. Bardac brought court actions against the composer, and many of his friends shunned him. Thus, La Mer — perhaps Debussy’s most passionate and personal work — can be heard as not only a musical portrait of the sea, but also as an expression of a turbulent period in the composer’s life. When the work was premiered in Paris on October 15, 1905, many of the critics and even Debussy’s friends did not like it. After the delicate colors and veiled emotions of his recent opera Pélléas et Mélisande, they found La Mer’s intense drama and loud, blazing climaxes unworthy of the composer. But Debussy had aimed for something new in this work. If he had already shown the sea as gentle and mysterious in Sirènes, the last movement of his Nocturnes, now he was going to describe its raw elemental power, corresponding to the deepest turmoil in the human soul.

Neither symphony nor tone poem (Debussy hated Richard Strauss’ graphic musical descriptions), La Mer was subtitled “Three Symphonic Sketches.” The first, “From dawn to noon on the sea,” begins with a slow, misty introduction out of which important motives rise as the day breaks. Gradually, the roll of the sea emerges: a fair-weather sea of sparkling waves and steady breezes. A brass chorale appears at the end, portraying the mid-day sun blazing overhead. “Play of the Waves” is lighter in mood and orchestration: the work’s scherzo section in which the waves frolic “in a capricious sport of wind and spray” (Oscar Thompson). The finale, “Dialogue of the Wind and the Sea,” begins ominously with the rumble of timpani and gong and a stormy cello/bass motive. A passionate melody, introduced by woodwinds and eventually treated in grand Romantic fashion by the strings, seems as much inspired by Debussy’s tumultuous love affair as by the storm-tossed waters. Motives from the first movement as well as the brass chorale return for a frenzied conclusion: Debussy finally tearing away his habitual self-protective veil.

Suite from Appalachian Spring

AARON COPLAND (b. 1900, Brooklyn, New York; d. 1990, North Tarrytown, New York) “I have been amused that people so often have come up to me to say, ‘When I listen to that ballet of yours, I can just feel spring and see the Appalachians.’ But when I wrote the music, I had no idea what Martha was going to call it!” So wrote Aaron Copland of the beautiful ballet score he composed for Martha Graham, the high priestess of American modern dance. She named it Appalachian Spring after a line in Hart Crane’s poem The Bridge, from which she also drew the ballet’s scenario; he called it simply “Ballet for Martha.” The two great American artists, born in the same year, had been brought together through the philanthropic generosity of Elizabeth Sprague Coolidge, a visionary American patroness who commissioned many important works from the leading creative figures of the first half of the 20th century. Their joint creation was introduced to the world on October 30, 1944

at the Library of Congress in Washington, D.C. and immediately became an American classic. The following year, it was honored with the Pulitzer Prize for Music. In a time when American values were being challenged by totalitarian enemies, Graham fashioned an affirming scenario that drew on the pioneer spirit that built the country. As described in the score, the ballet concerns “a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. … A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.” Because the Library of Congress’s theater was small, Copland originally had to restrict his orchestra to only 13 instruments, but we will hear the arrangement for large orchestra he made in 1945. Spareness and simplicity are at the heart of this eloquent music and its ability to conjure both the wide-open spaces of the American frontier and the down-to-earth values of the first settlers. Plain harmonies and open intervals of the fourth, fifth, and octave dominate the musical fabric, with complexity saved for the country-fiddling rhythms that propel several dance episodes. The score’s focal point is the song “Simple Gifts,” which Copland found in an anthology of dance tunes of the Shakers, a utopian sect that flourished briefly in early 19thcentury America. Introduced by the clarinet, it is treated to several variations, then sung very grandly by the full ensemble.

Boléro

MAURICE RAVEL (b. 1875, Ciboure, France; d. 1937, Paris) It inspired Torvill and Deane to skate for perfect sixes and Olympic gold. Bo Derrick swayed through the surf to it and scored the perfect Ten. But its composer said, “I’ve written only one masterpiece — Boléro. Unfortunately, there’s no music in it.” Maurice Ravel was speaking tongue in cheek here. He was astonished that a piece he called “an experiment in a very special

Prelude 33

and limited direction” should become the most popular of all his works. For with Boléro he took one propulsive rhythm — loosely based on the triple-meter Spanish dance of the same name — and two themes of exotic Arabic coloration and with his orchestral wizardry built from them a 15-minute piece of hypnotic power. Starting with just a snare drum, plucked low strings, and a solo flute, it builds the longest, most inexorable, and most thrilling crescendo in classical music. Boléro was composed in 1928 as a short ballet for Ida Rubinstein, a fascinatingly sensual dancer and Ravel’s close friend. During a vacation that summer near his hometown of Ciboure on the Spanish border, he played the undulating theme of Boléro on the piano for a friend. “Don’t you think this theme has an insistent quality?” he asked. “I’m going to try and repeat it a number of times without any development, gradually increasing the orchestra as best I can.”

with ease. A snare drum taps the unvarying boléro rhythm throughout, but it is enhanced by a changing ensemble of wind and eventually string instruments. An equally varied palette of instruments — strings, harp, even brass — imitate the strumming of a guitar marking out the three beats. The two oriental melodies — sung by various solo wind instruments; exotic combinations like two piccolos, horn and celesta; and eventually the full orchestra — alternate over constant C-Major harmonies. The ballet scenario takes place in a smoky Spanish cafe where a group of men are avidly watching a beautiful woman dance provocatively on a tabletop. At the cataclysmic conclusion, their lust has been so enflamed that knives are drawn and a bloody battle ensues.

Being one of the greatest orchestrators of the 20th century, Ravel achieved this goal

FREE RIDE SERVICE Thanks to the Donald F. Wood and Darlene M. Richardson Foundation and Community Transportation Network (CTN), qualifying patrons who find it difficult to drive at nighttime or have mobility issues will be eligible for the service that will meet patrons at two locations prior to every Masterworks Series concert. Reservations are required two weeks in advance. Those interested should contact the Box Office at 260.481.0777 for more information. LOCATIONS: North Georgetown Square in the parking spaces adjacent to the sidewalk bordering E. State Blvd. 6704 E. State Blvd. | Fort Wayne, IN South Stein Mart parking lot across from Covington Plaza 6325 W. Jefferson Blvd. | Fort Wayne, IN 46804 Pick up time will be 5:45 p.m. and 6:45 p.m. before all Masterworks Series performances.

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It’s okay to ignore us. You’re probably eager for the show to start and reading this just to pass the time. And that’s okay. Our entire philosophy is based on understanding our clients’ long-term goals so they can focus on what really matters in the moment. So, feel free to ignore us tonight. We’ll be here for you tomorrow—and all the tomorrows that follow.

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7/22/19 1:22 PM

M USI C + MIXO LO GY Sponsored by Clarissa and Jeremy Reis

Music + Mixology is for young professionals who want to experience classical music and enjoy networking opportunities in a relaxed setting and at affordable prices. Caleb Young, Fort Wayne Philharmonic Associate Conductor, will host each event.

2019 | 2020 Dates: Mar 14

Carmina Burana Post Show: Copper Spoon

Apr 25

Beethoven’s Violin Post Show: Copper Spoon

Follow Music + Mixology on Twitter and Instagram @fwphil and use hashtag #fwphilMandM. Find Music + Mixology events on the Philharmonic Facebook page @fortwaynephilharmonic

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Prelude 35

FEBRUARY 26 & 27, 2020

Special Event

7:30 p.m. | EMBASSY THEATRE Caleb Young, conductor

Presented in partnership with the Embassy Theatre

John Williams Star Wars: A New Hope Feature Film with Orchestra There will be one intermission Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. All rights reserved. â&#x20AC;&#x192; Star Wars Film Concert Series Star Wars A New Hope Twentieth Century Fox Presents A Lucasfilm Ltd. production Starring Mark Hamill Harrison Ford Carrie Fisher Peter Cushing and Alec Guinness Written and Directed by George Lucas Produced by Gary Kurtz Music by John Williams Panavision Prints by Deluxe Technicolor MPAA PG Rating Logo: Dolby Logo: Twentieth Century Fox Original Motion Picture Soundtrack available at DisneyMusicEmporium.com

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Star Wars Film Concert Series Production Credits President, Disney Music Group Ken Bunt SVP/GM, Disney Concerts Chip McLean Supervising Technical Director Alex Levy – Epilogue Media Film Preparation Ramiro Belgardt Business Affairs, Lucasfilm Rhonda Hjort Chris Holm

Music Preparation Mark Graham Matthew Voogt Joann Kane Music Service Disney Music Library Operations, Disney Concerts Brannon Fells Royd Haston

Business Affairs, Disney Concerts Andranise Baxter Darryl Franklin Gina Lorscheider Non-Theatrical Sales, Twentieth Century Fox Julian Levin Business Affairs, Warner-Chappell Scott McDowell

JOHN WILLIAMS, COMPOSER

In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG and The Post. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards® and fifty-one Oscar® nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-four Grammys®, four Golden Globes®, five Emmys®, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December, 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches”.

Prelude 37

THE FORT WAYNE PHILHARMONIC IS PROUD TO PARTNER WITH AUDIENCES UNLIMITED

Connecting special audiences with the arts. 260.424.1064 | AudiencesUnlimited.org

Are you a musician with a passion for service? We hire musicians and groups for daytime performances in nursing homes and at L.I.F.E. Adult Day Academy. To learn more, visit our website.

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MUSIC FOR EVERYONE

Comprehensive Campaign

FRIENDS

Ben Eisbart and Mark Hagerman, Co-Chairs, along with Honorary Chair Chuck Surack, and the Campaign Committee celebrate the success of the Philharmonic’s Comprehensive Campaign: Music for Everyone. The Fort Wayne Philharmonic is a special cultural jewel, strategically planning and implementing a transcendent vision for the future. Thanks to the extraordinary generosity of Campaign donors, future generations of audiences, musicians, and children will benefit from a legacy of philanthropic investment that is creating a Philharmonic without walls, reaching every part of a growing and thriving Fort Wayne and Northeast Indiana. Comprehensive Campaign Committee Ben Eisbart, Co-Chair Mark Hagerman, Co-Chair Chuck Surack, Honorary Chair Andrew Constantine Vicki James Will Clark Eleanor Marine

Sharon Peters Al Zacher

Comprehensive Campaign Contributors Anonymous (4) Edward D. & Ione B. Auer Foundation George & Linn Bartling David Billows & Kendall Dudley Billows Brotherhood Mutual Foundation Anita Hursh Cast Will & Ginny Clark Sarah & Sherrill Colvin Sara Davis Mr. & Mrs.* Irwin F. Deister, Jr. Ben & Sharon Eisbart English Bonter Mitchell Foundation David & Mary Fink Fort Wayne Metals Franklin Electric Carole Fuller The Goldstein Family Foundation Mark & Mary Kay Hagerman Family

Alice & Jonathan Hancock Leonard Helfrich Rick L. & Vicki L. James Drs. Pamela & Kevin Kelly Tod S. Kovara Suzanne Light Carol & David Lindquist Eleanor H. Maine Michael J. Mastrangelo The Miller Family Fund Scott A. Miller, MD Dan & Beth Nieter Kevin & Tamzon O’Malley O’Rourke Schof Family Foundation James W. Palermo Parkview Health Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation David & Sharon Peters

Owen & Jean Pritchard Foundation Judy Pursley Russ & Jeanette Quilhot Sarah & Richard Reynolds Carol Shuttleworth & Michael Gavin The Robert, Carrie and Bobbie Steck Family Foundation Nancy & David Stewart Chuck & Lisa Surack, Sweetwater Charlie & Jeanne’ Wickens Donald F. Wood* & Darlene* M. Richardson Paul Yergens and Virginia Yergens Rogers Foundation, Inc. Daryl Yost Alfred J. Zacher

Prelude 39

www.debrand.com Fort Wayne & Indianapolis Locations

THE ONE GIFT YOU KNOW THEYâ&#x20AC;&#x2122;LL LOVE!

JANUARY | FEBRUARY | MARCH 2020

FREIMANN QUARTET PLAYS BEETHOVEN MARCH 4 & 8, 2020

Brotherhood Mutual Insurance Company

Freimann Series

Wednesday, March 4 | 7:30 p.m. | PARKVIEW PHYSICIANS GROUP ARTSLAB Sunday, March 8 | 2:00 p.m. | RHINEHART RECITAL HALL, PURDUE FORT WAYNE TOWER Copperwave for Brass Quintet (2006) Andrew Lott, trumpet Daniel Ross, trumpet Alex Laskey, horn Andrew Hicks, trombone Chance Trottman-Huiet, tuba BRAHMS Horn Trio in E-Flat major, Op. 40 Michelle Hembree, horn Timothy Tan, violin Alexander Klepach, piano

INTERMISSION

BEETHOVEN String Quartet in C-sharp minor, Op. 131 Violetta Todorova, violin Christine Chon, violin Derek Reeves, viola Andre Gaskins, cello

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

Prelude 41

FREIMANN QUARTET PLAYS BEETHOVEN MARCH 4 & 8, 2020

Freimann Series

Copperwave for Brass Quintet (2006)

Horn Trio in E-Flat major, Op. 40

JOAN TOWER (b. 1938, New Rochelle, New York)

JOHANNES BRAHMS (b. 1833, Hamburg, Germany; d. 1897, Vienna, Austria)

Now 81, Joan Tower is indisputably one of this country’s finest composers for orchestras and chamber ensembles; the highly prestigious Grawemeyer Award as well as several Grammies attest to this. Moreover, she has been a true pioneer for women, and her ability to stand tall in a male-dominated field has opened the door for many younger women to become composers as well. She is also an influential teacher, serving as the Asher B. Edelman Professor of Music at Bard College. Tower’s father was a mining engineer, who transplanted his family from the New York suburbs to Bolivia and other mineralrich regions of Latin America. As she remembers: “My babysitter used to take me to these festivals. She would drop me off at the bandstand, so that she could go and have fun. The band people would throw me a maraca or some kind of castanet or drum. That was where I started to develop a love of percussion and also dance. My music is basically about rhythm. It’s all about timing for me.” Copperwave (2006) was commissioned for the American Brass Quintet by The Juilliard School for its centennial celebration. Its inspiration goes back to that peripatetic childhood: “My father was a geologist and mining engineer, and I grew up loving everything to do with minerals and rocks. Copper is a heavy but flexible mineral that is used for many different purposes; most brass instruments are made of copper. The ideas in this piece move in waves — sometimes heavy ones and at other times lighter — and also in circles, turning around on the same notes. Occasionally, there is a Latin type of rhythm appearing, which is a reminder of my growing up in South America.”

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On February 1, 1865, Johannes Brahms’ mother, Christiane, died at the age of 76. Learning of her final illness, Brahms had rushed back from Vienna to his old home in Hamburg, but arrived too late; as the stalwart prop of his family, he immediately took over organizing the funeral and caring for his father. It was his mother who had always understood and supported his dreams of moving beyond the family’s working-class poverty. Soon afterwards, his friend Josef Gansbacher dropped by to see him. He found the composer fiercely practicing Bach at the piano, tears running down his cheeks. Brahms told him of his loss, but never stopped playing. As always, Brahms could count on music to solace him. By spring, he decided to spend the warm summer months again in Lichtenthal, a pretty village near the spa town of Baden-Baden in Germany’s famed Black Forest region. And one of the first fruits of his stay was perhaps his most enchanting chamber work: the Trio for Piano, Violin and Horn. Walking with a friend in the Black Forest a few years later, he pointed out the exact spot where the Trio had been born. “One morning I had been walking, and at the moment when I arrived here, the sun began shining between the trunks of those trees; the idea of the Trio came to me immediately with its first theme.” Memories of childhood and a mournful tribute to his mother also shape this work with its variegated moods of nostalgia, grief, and the exuberant embrace of Nature. Brahms’ father, Johann Jakob, a humble band musician, played the horn and had taught Johannes the instrument as a child. But rather than a modern horn, he played the valveless natural horn known as the Waldhorn (“forest horn”), and it was this

already obsolete instrument the composer stipulated for this Trio. Brahms loved it for its muted, melancholy timbre. However, most performances, both in Brahms’ day and our own, have used the more powerful and versatile modern valved horn, which somewhat changes the character of the piece.

call played by the horn to summon the riders to the fox’s path. Despite his bereavement, Brahms was still young and healthy and could restore himself with a vigorous hike through the Black Forest’s soothing landscapes.

The Trio is in E-flat Major, the key that would best suit the natural E-flat horn. In an Andante tempo the violin, followed by the horn, introduces the first movement’s calmly rocking theme, suffused with nostalgia for a less complicated time. Unusually for Brahms, this is not a sonata-form opening movement, but follows a more informal A-B-A-B-A structure. The rocking theme of A alternates with a contrasting second section using a quicker tempo, a different meter, and a predominantly minor mode. In this more energetic and passionate B section, melody and harmonies are more chromatic and wandering than in the placidly diatonic A section. As these two thematic groups alternate, they become somewhat darker and agitated in mood.

String Quartet In C-sharp minor, Op. 131

LUDWIG VAN BEETHOVEN (b. 1770, Bonn, Palatinate, Germany; d. 1827, Vienna, Austria)

Movement two is a vivacious Scherzo cast as a miniature sonata form with two contrasting themes and a small development section. The opening theme is fast, rhythmically propulsive music whose horn-call motives summon up the spirit of the woods and the hunt. Against this, the violin proposes a more spacious melody with a rapturous trill evoking the sheer joy of the outdoors life. Moving to A-flat minor, the slower trio section introduces a poignant touch of sadness to this otherwise playful movement.

In 1826 as Beethoven’s health worsened and his relationship with his nephew Karl slid toward catastrophe, his commitment to the creation of his late string quartets never wavered. With the C-sharp minor Quartet, he continued his process of stretching the normal quartet dimensions beyond anything Haydn or Mozart had ever conceived. His two previous quartets, the A minor (opus 132) and the B-flat Major (opus 130), had had five and six movements respectively; now the C-sharp minor had an unprecedented seven. It also continued the juxtaposition of movements of extreme expressive contrast within a single entity. Nevertheless, it is ranked as his most fully integrated quartet, with melodic and rhythmic elements carried through from movement to movement. When the C-sharp was completed in the summer of 1826, Beethoven told a friend that he thought it was his greatest. Most Beethoven scholars and string players would agree.

The beautiful slow movement in E-flat minor, the work’s emotional heart, is a tribute to Brahms’ mother; the tempo is even marked “Adagio mesto” or “mournful Adagio.” Two heartbreaking themes are presented, the second, led by the horn, in melancholy imitative counterpoint between the three instruments. The brooding, rocking piano part deepens the mood of grief throughout. After the first theme returns in this ABA song form, Brahms briefly interjects a more positive rising-and-falling theme in the major mode; this is a quotation of the German folksong “Dort in Weiden steht ein Haus” (“There in the Willows Stands a House”), which his mother had sung to him as a child.

And it continued something else from the opus 130 Quartet: Beethoven’s obsession with the fugue. That quartet had originally ended with the astounding Grosse Fuge; now Beethoven made the unusual choice of opening his opus 131 with another fugue, but with a very different character. In a slow Adagio ma non troppo tempo, this firstmovement fugue has a grave, otherworldly beauty and deep emotional expressiveness. The theme’s first five notes incorporate the yearning, poignant sound of pairs of half steps (the smallest step in the scale): B-sharp and C-sharp, A and G-sharp. This movement by half steps will be a core motive both melodically and harmonically throughout the C-sharp minor.

That song melody, utterly transformed, becomes the ebullient, bounding theme of the finale, which pushes sorrow away in favor of rollicking hunting-horn music. And its central motive is the traditional “Halloo”

All four instruments enter in descending order on the theme. Then Beethoven begins breaking the theme apart and altering it so that we don’t hear it in its entirety again until nearly the movement’s end. The fugue’s

Prelude 43

climax begins with the viola finally reprising the fugue subject. Below it, the cello plays it in augmentation, or twice as slow. Above, the two violins begin a dramatic phase of leaping lines culminating in a series of violently accented dissonances between the first violin and the cello. The fugue comes to an uneasy conclusion on a series of C-sharp major chords. Throughout the Quartet, Beethoven makes one movement flow into the next. Now the quiet close on C-sharp paves the way for a half-step rise to D major for the second movement. Very different in mood and substance from the fugue, this is a giddy dance that follows no traditional form. The tiny movement three is not really a full-scale movement, but a transition to the centerpiece of the Quartet, the fourth movement. It begins enigmatically as a series of recitative-like gestures, then slows for a shimmering cadenza for the first violin. This lands on the doorstep of A major, the key of movement four. This is the Quartet’s heart: a superb theme and six variations. Marked “molto cantabile” (“very songful”), the peaceful theme, presented in continuous overlapping phrases between the two violins, seems simple and straightforward, but has builtin complexities. The half-step motive is incorporated into the melody. The musical flow continues seamlessly into the first variation, a dialogue between the three lower voices and the high-flying violin. In a faster tempo, variation 2 is a merry dance over a chugging accompaniment. Variation three, whose expressive tempo marking “lusinghiero” means “seductive,” is a series of Bachian canons, begun by the cello and viola. No. 5 is a strangely becalmed variation in which rhythmic pulse and melody almost completely vanish. Michael Steinberg describes variation 6 as “music

of spellbinding stillness.” A passage of solo cadenzas and trills prepares the way for the return of the original theme in the first violin. In an adventurous coda, Beethoven sends the theme through a series of distant keys before it magically vanishes. Again a huge emotional shift, and we hear movement five: a crazy, brainless scherzo in E major that is prone to sudden breakdowns and explosions of pizzicato. Its trio section, a little rising melody, provides little contrast. Beethoven runs madly around the scherzo-trio circuit two and a half times, but when he attempts a third go at the trio, everything comically breaks down. The restart is a bizarre repeat of the scherzo played in scratchy sul ponticello (“on the bridge”) — the composer’s first use of this unorthodox technique. Another abrupt about-face and the brief sixth movement appears: a beautiful slow movement in embryo in the key of G-sharp minor. To emphasize its tender sadness, Beethoven gives the theme to the viola. Again, the half-step motive colors the melodic line. But before this wonderful music can develop, it is suddenly cut off by the launch of the finale, which at last returns us to the home key of C-sharp minor. This Quartet’s only sonata form, it draws together and resolves the diverse elements of the entire work. The aggressively galloping principal theme, full of fierce determination and a will to explore and conquer a vast harmonic region, is balanced by a harmonically stable, serenely soaring second theme of longheld notes and rippling scales. Beethoven ultimately seals the triumph of his greatest chamber work with three brisk chords, now brightened to C-sharp major. Notes by Janet E. Bedell copyright 2020

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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.”

JANUARY | FEBRUARY | MARCH 2020

BACH IN THE BARN FRIDAY, MARCH 6, 2020

Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Bach in the Barn Series

7:30 PM | JOSEPH DECUIS FARM, 6755 EAST 900 SOUTH, COLUMBIA CITY, IN Caleb Young, conductor Violetta Todorova, violin Orion Rapp, oboe C. P. E. BACH

Sinfonia in E minor, H. 653 (Wq. 178) “Fandango”

J. S. BACH Concerto for Oboe and Violin in C minor, BWV 1060 I. Allegro II. Adagio III. Allegro Orion Rapp, oboe Violetta Todorova, violin

INTERMISSION

J. S. BACH

Prelude and Fugue in E-flat major, BWV 552 “St. Anne”

RAMEAU

Entrée de Polymnie from Les Boréades

STRAVINSKY Concerto in E-flat (Dumbarton Oaks) I. Tempo giusto II. Allegretto III. Con moto

PERFORMANCE MADE POSSIBLE BY: Series sponsor: Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Prelude 45

BACH IN THE BARN FRIDAY, MARCH 6, 2020

Sinfonia in E minor, H. 653 (Wq. 178) “Fandango” C.P. E. Bach (b. 1714, Weimar, Germany; d. 1788, Hamburg) The thoroughly cosmopolitan C.P.E. Bach was the most successful and prolific of all Johann Sebastian Bach’s musical sons. Boasting a university education in the law and humanities from the University of Leipzig and the University of Frankfurt, he borrowed from the latest French and Italian styles to keep his music au courant with the times. For nearly 30 years, he served at the Berlin court of Frederick the Great of Prussia, a hotbed of cultural and especially musical life in mid-18th-century Europe. Frederick was a keen amateur flutist, who performed at concerts several times a week, usually with C.P.E. as his keyboard accompanist. In 1768, C.P.E. moved on to Hamburg where he became Telemann’s successor as that city’s music director. Regarded as the leading exponent of the North German empfindsamer Stil or “sensitive style,” C.P.E. wrote music that is much lighter and more entertaining than his father’s. The empfindsamer Stil was borrowed from the French taste for music influenced by literature. In his solo keyboard and orchestral music, C.P.E. transferred this approach from vocal music to instrumental music — music expressing emotions without words. He was also a pioneer in the still young genre of the concert symphony. Rather brief in comparison to later symphonies and always in three movements — fast-slow-fast — these works were, nevertheless, considerable advances on the Italian sinfonia of the Baroque period. Composed in Berlin in 1756, the Symphony in E minor, subtitled “Fandango,” is one of the most adventurous and original of C.P.E.’s output. And though most of his symphonies were written only for strings, this one is enriched by the addition of flutes, oboes, and horns.

JANUARY | FEBRUARY | MARCH 2020

Robert J. Parrish, Harriet A. Parrish & David T. Parrish Foundation

Bach in the Barn Series Launched by a stormy unison theme low in the strings, the first movement has a relentless, furious drive that is in keeping with its E minor key. It is also a vivid example of the Sturm und Drang (“Storm and Stress”) style prominent in German literature and music at this time. Plaintive protests from the flutes and oboes do little to subdue its anger. Peace after the storm has to wait until the bucolic slow movement, in which the flutes and oboes chirp and sing happily like birds in an idyllic rural setting. The final Allegro is responsible for this Symphony’s nickname, “Fandango.” The fandango is a popular Spanish dance performed by a couple with castanets. Like an amorous colloquy between the male and female partners, this music is sly and flirtacious with lots of little pauses and phrases that ascend as if posing a question.

Concerto for Oboe and Violin in C minor, BWV 1060 JOHANN SEBASTIAN BACH (b. 1685, Eisenach, Thuringia, now Germany; d. 1750, Leipzig, Saxony) In an era when musicians were merely servants either of the church or a princely court, Johann Sebastian Bach was an early example of a successful musical entrepreneur whose ambition and talent allowed him to jump rapidly from one post to another in the pursuit of higher earnings and greater artistic challenges. After brief stints as organist at the churches of Arnstadt and Mühlhausen, in 1708 he moved on to the ducal court of Weimar where he won fame as a masterful composer of organ works and church cantatas. In 1717, he abandoned this secure niche to become composer at the much smaller princely court of Cöthen. The move seemed doubly odd since the Cöthen court followed the Reformed or Calvinist faith, which permitted only unaccompanied hymns in its church services; thus Bach would virtually have to abandon the organ. However, Prince Leopold of Anhalt-Cöthen was a highly

cultivated musician who maintained a fine orchestra and a rich program of secular music at his court. And he offered higher wages, an important concern considering Bach’s rapidly expanding family (he was eventually to sire 20 children!).

the foundational beliefs and liturgical practices of the Lutheran faith, to which Bach firmly adhered.

During his years at Cöthen from 1717 to 1723, Bach created much of his finest secular instrumental music including the six Brandenburg Concertos, the six sonatas for unaccompanied cello, and the first book of the Well-Tempered Clavier. He also wrote concertos for solo instruments in the manner of Vivaldi. Since these were intended as ephemeral pieces to be quickly replaced by newer concertos, only a few survive today. In fact, we would not have tonight’s concerto for oboe and violin, if Bach had not arranged it later as a concerto for two harpsichords in Leipzig.

This epic work begins with a majestic Prelude in E-flat Major — the longest he ever wrote — and closes with a spectacular Fugue in the same key for five voices and utilizing three different fugue subjects. Between these two pieces, which in fact make one mighty pair, come 21 chorale preludes and four duets, each representing portions of the Lutheran Mass. Scholars today believe that the Prelude and Fugue, set in the key of three flats, was meant to represent the Holy Trinity: God the Father, God the Son, and God the Holy Spirit. Though Bach did not give his Fugue the title “St. Anne,” it was added later in Englishspeaking countries because its first subject resembled an English hymn of that name.

At Weimar, Bach had studied Vivaldi’s concertos as well as the works of such Italian violin masters as Corelli and Torelli. At Cöthen, he put what he had learned to work, using Vivaldi’s concerto formula of three movements in fast-slow-fast tempos and enriching it with his own stronger contrapuntal and architectural gifts.

This Prelude and Fugue poses formidable technical challenges that render it beyond the performing capabilities of all but the greatest organists. Fortunately, we will be able to hear it with its many voices divided among string instruments in an arrangement by Fort Wayne musician Adrian Mann.

The first movement of this concerto makes delightful use of echo effects from the soloists. Eager to get to work, they keep interrupting the repeat of the orchestra’s opening theme while the orchestra doggedly persists in finishing it. Spirited themes and brilliant contrapuntal writing characterize both this and the infectious final movement. In the slow movement, the two soloists weave long, flowing melodic lines around each other in an exquisite pas de deux.

Comprising more than half of the total, the Prelude has three distinct themes, representing Father, Son, and Holy Spirit. Its opening theme follows the grand style of the French overture, so beloved in Baroque music. Near the end, it takes on a fugal texture preparing us for the Fugue proper.

Prelude and Fugue in E-flat major, BWV 552 “St. Anne”

JOHANN SEBASTIAN BACH Arr. for Strings by Adrian Mann In the late 1730s, Bach began assembling a compendium of his works for organ, which was published in Leipzig in 1739 under the unwieldy title Clavier-Übung III or “Keyboard Practice III.” It was a grand summation of his mastery both of the organ and of the art of counterpoint in all its forms and international styles practiced in the Baroque age. And it was intended to be something more: a musical expression of

In keeping with the overall theme of the Trinity, the Fugue has three different subjects, which are treated separately and together in fugal counterpoint. It begins quietly and fairly simply, but grows progressively more elaborate and resplendent. Its tour de force conclusion with the subject thundering forth in the bass is, in the words of Bach scholar Peter Williams, “the grandest ending to any fugue in music.” Entrée de Polymnie from Les Boréades

JEAN-PHILIPPE RAMEAU (b. 1683, Dijon, France; d. 1764, Paris) A contemporary of J.S. Bach and the greatest of the French Baroque composers, Jean-Philippe Rameau lived long enough— to just days before his 81st birthday—to

Prelude 47

combine two disparate musical careers in one lifetime. For his first career, he was one of France’s most renowned organists and also one of the 18th century’s most important music theoreticians. In the early 1730s when he had reached 50, Rameau turned his attention to dramatic music for the Paris stage. Astonishingly, he then created some 60 operas, ballets, and sets of theatrical incidental music before his death in 1764, in the process expanding the emotional range and sheer musical quality of these genres. His operas were crammed with beautiful instrumental interludes that accompanied stage spectacles or the dance episodes the French favored in their operas. We will hear the “Entrance of Polyhymnia” from Rameau’s last opera, Les Boréades, a “tragédie lyrique” to a libretto by an unknown author. Its Parisian premiere in 1764 was halted by the composer’s death that September, and this marvelous score remained unpublished until the Baroque revival of the late 20th century. The opera’s plot is set in ancient Greece in the country of Boréas, the fearsome god of the north wind. Its inhabitants, the Boréades, are ruled by Queen Alphise, who is a direct descendent of this god and must marry another descendent or incur Boréas’ wrath. The complications of the plot are ultimately resolved by the splendid arrival of Apollo accompanied by his nine muses. Among the muses is Polyhymnia, who represents sacred poetry, hymns, and dance. In keeping with the serious art forms she represents, Rameau chose slow and stately music for her. Her majestic descent from the heavens is depicted by downward-moving scales, traded back and forth between the orchestra’s deepest instruments and its highest.

CONCERTO IN E-FLAT (DUMBARTON OAKS)

IGOR STRAVINSKY (b. 1882, Oranienbaum, Russia; d, 1971, New York City) Though he was one of the 20th-century’s most prominent and daring composers, Igor Stravinsky loved to look back at the music of the 18th century and play witty games with its conventions. Reacting against the excesses of the Romantic era, Stravinsky in

JANUARY | FEBRUARY | MARCH 2020

the 1920s and ’30s adopted a neo-Classical style that drew inspiration from both the Baroque era of Bach and Vivaldi and the later Classical era of Mozart and Haydn. The Concerto in E-flat is directly modeled after Bach’s Brandenburg Concertos, especially the Third Concerto. It was written in 1937–38 on a commission by Mr. and Mrs. Robert Woods Bliss of Washington, D. C.; its subtitle comes from the name of their famous estate, Dumbarton Oaks, to this day site of many international conferences. Stravinsky was still living in France at the time, but receiving many commissions from America. Shortly after completing this work, he lost his daughter, wife, and mother within a seven-month period, and these tragedies combined with the onset of World War II caused him to move here permanently in 1939. “Dumbarton Oaks” is scored for a small neo-Baroque ensemble consisting of a flute, E-flat clarinet (not yet invented in Bach’s time), two horns, three violins, three violas, two cellos, and two double basses. Its colors are much brighter and brasher than Bach’s, and the tone throughout is somewhat mocking and sarcastic. The first movement sports a festive bell-like opening as well as later motives in the woodwinds resembling carillon peals. The upper strings and flute immediately launch a chugging pattern stolen from the Third Brandenburg. A moment later, the violins introduce a mindlessly repetitive three-note fugue subject, which gets more elaborate each time it comes back. A simple motive, introduced by the violas, opens and generates the music of the second movement; its middle section features woodwind solos over a hazy background of oscillating strings. Percussive Stravinskian rhythms propel the finale’s refrain, and over a stealthy bass, woodwind dissonances suggest a mockmenacing Hitchcock-like atmosphere. The refrain keeps returning in different guises, framing a fugal episode Bach might have enjoyed and a sweetly trilling string episode stolen from Mozart’s courtly world. Notes by Janet E. Bedell c. 2020

GERSHWIN DANCES SUNDAY, MARCH 8, 2020

Youth Orchestras

4:00 p.m. | RHINEHART MUSIC CENTER, PURDUE FORT WAYNE Troy Webdell, conductor JUNIOR STRINGS ENSEMBLE ENCINA Three Spanish Songs I. Allegro II. Vigorous III. Lively BACH Brandenburg Concerto, No. 5 I. Allegro moderato YOUTH SYMPHONY ORCHESTRA KHACHATURIAN BIZET/BORNE

Sabre Dance from Gayane

Fantaisie Brilliante on Themes from “Carmen” Chloe Morton, flute*

RESPIGHI trans. Di Vittorio

Aria for Strings

GERSHWIN

An American in Paris

*2020 Student Concerto Competition Winner

PERFORMANCE MADE POSSIBLE BY: Concert sponsor:

The Rea Charitable Trust

FRIENDS

Prelude 49

CHLOE MORTON, FLUTE

Chloe Morton is the principal flute of the Fort Wayne Youth Symphony Orchestra, and has played in the Youth Symphony for four years. Her love of music blossomed in kindergarten when she began taking piano lessons. Chloe began studying the flute in sixth grade and is a student of Patricia Reeves. Chloe is a senior at Homestead High School and plays in the schoolâ&#x20AC;&#x2122;s orchestra, wind ensemble, student-led flute choir, and handbell choir. She played in the Three Rivers Honor Band in 2017 and 2018 and won the Sigma Alpha Iota music camp scholarship in 2018.

JUNIOR STRINGS ENSEMBLE, TROY WEBDELL, DIRECTOR

1st VIOLIN

2nd VIOLIN

CELLO

Lillian Sorg, Concertmaster Frank Cai, Assist. Concertmaster Niobi Khan Bianca Mast

Alexis Carvajal Annabella King Rafael Cucueco

Sabrina Dombrowski

VIOLA

Miles Fritsch Matana Land

Jaida Lothvilaythong Dontal Glaspy

YOUTH ORCHESTRAS

BASS

Open to all student musicians in the Northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestras program auditions throughout the year for vacant positions.

twebdell@fwphil.org | 260.481.0757

JANUARY | FEBRUARY | MARCH 2020

YOUTH SYMPHONY ORCHESTRA, TROY WEBDELL, DIRECTOR

1st VIOLIN Mishael Paraiso, Concertmaster* Miranda Bartz, Assist. Concertmaster* Jessica Zhou Mikhayla Palicte Tommy Popp Court Wagner Madhuni Vamadevan Ashley Jing Daniel Liu Alisha Babu Trinity Forish Lucas Valcarcel Kennon Nicholson Ethan Walker 2nd VIOLIN Lydia Bingamon, Principal* Clara Bingamon, Assist. Principal* Kyra Wagmeister Karissa Brath Juliette Mikautadze Ella Hildebrand Kylie Delagrange Jaylynn Kim Jessica Tian Kaitlyn Jones Sara Gierke Yebin Jeong Lucy Gutman Rachel Bardsley Brandon Springer VIOLA Olivia Creech, Principal* Lawrance McDowell, Assist. Principal* Dillon Jackson Grace Buchanan Amir Pierre-Louis Collin Campbell Breanna Burlison CELLO Edward Sun, Principal* Shaan Patel, Assist Principal* Maria Tan Daniel Gruber

Eamonn Keane Maya Racz Niki Babu Payton Kempton Bethany Perkins Donnell Adams-Jones Elizabeth Domsic Jaemin Kim BASS Graydon Brath, Principal* Henri Spoelhof, Assist. Principal Preston Reeves Miles Fritsch FLUTE/PICCOLO Chloe Morton, Principal Brock Williamson, Assist. Principal Jessel Mehta Sara DeLong OBOE Laurel Morton, Principal Andy Deng, Assist. Principal Grace Rose

FRENCH HORN Maiah Deogracias, Principal Hannah Offhaus, Assist. Principal Noah Haefner TRUMPET Faith Allison, Principal Ethan Wood, Assist Principal Sam Parnin Henry Wellman Anna Hildebrand Liam Row TROMBONE Andrew Schroeder, Principal Aaron Kreie, Assist. Principal Joshua Walz Noah Jeong Jared White TUBA Alexander Inde, Principal

CLARINET

PERCUSSION

Isaac Bailey, Principal Marlena Haefner, Assist. Principal Mallory Neebes Yehyun Song Abby Johnson

Hailey Sandquist, Principal Caleb Walz, Assist. Principal Mason Nichols Catherine Ji Delaney Rice

BASS CLARINET

PIANO

Alec Sanavongsay, Principal

Kevin Wang, Principal

BASSOON

HARP

Ashley Plummer, Principal Ben Morton, Assist. Principal

Jaedyn Haverstock, Principal

SAXOPHONE Mason Nichols

*Denotes Premier Strings Musicians

Prelude 51

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Prelude 53

CARMINA BURANA The Paul Yergens and Virginia Yergens Rogers Foundation

SATURDAY, MARCH 14, 2020

Masterworks Series

7:30 p.m. | EMBASSY THEATRE Andrew Constantine, conductor Ilya Yakushev, piano Toni Marie Palmertree, soprano; Patrick Muehleise, tenor; Christian Bowers, baritone Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Fort Wayne Childrenâ&#x20AC;&#x2122;s Choir, Jonathan Busarow, director Northwest Indiana Symphony Chorus, Dr. Nancy Menk, director MUSSORGSKY

Night on Bald Mountain

SHOSTAKOVICH Piano Concerto No. 2 in F major, Op. 102 I. Allegro II. Andante III. Allegro Ilya Yakushev, piano

INTERMISSION

ORFF

Carmina Burana (Songs of Beuren)

Movements continued on page 55.

PERFORMANCE MADE POSSIBLE BY: Series sponsor:

TUNE IN TO WBNI-94.1 Tune in to the broadcast of this concert on Thursday, March 26 at 7:00 p.m.

The Paul Yergens and Virginia Yergens Rogers Foundation Concert sponsor:

FRIENDS

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Encore Lounge sponsored by:

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna Fortune plango vulnera PRIMO VERE (In Springtime) Veris leta facies Omnia Sol temperat Ecce gratum UF DEM ANGER (On the Green) Tanz Floret silva Chramer, gip die varwe mir Reie Were diu werlt alle min IN TABERNA (In the Tavern) Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus COUR D’AMOURS (The Court of Love) Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer com puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime BLANZIFLOR ET HELENA (Blanziflor and Helena) Ave formosissima FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna

Please see page 68 for Benjamin Rivera’s biography, and page 69 for the Fort Wayne Philharmonic chorus roster.

Join Today!

FORT WAYNE PHILHARMONIC CHORUS

The Philharmonic Chorus is for those who: • Love orchestral music • Enjoy the camaraderie of choral singing • Have vocal ability and can commit to prepare between rehearsals FWPHILCHORUS.ORG

260.481.0777

The audition is comprised of a one-on-one session evaluating your general musicianship and specific voice. No prepared audition piece required.

For the many in the community who sing, but wish to advance their repertoire, and the many who used to sing until life interrupted, the Philharmonic Chorus would love to welcome you. For more information about the Chorus and auditions visit fwphllchorus.org.

Prelude 55

CARMINA BURANA SATURDAY, MARCH 14, 2020

Night on Bald Mountain

MODEST MUSSORGSKY (b. 1839, Karevo, Russia; d. 1881, St. Petersburg) Modest Mussorgsky was one of the most original musical geniuses Russia has ever produced, but unfortunately he lacked the stability and discipline to shape many of his brilliant ideas into finished pieces. His only completed large-scale work was Boris Godunov, an epic opera of immense power that ranks at the top among all Romantic operas. Mussorgsky’s colleague Nikolai Rimsky-Korsakov was able to complete another striking operatic work, Khovanschina, for production. Dying of the effects of alcoholism at 42, Mussorgsky left a small sheaf of works, but his daring experiments using the principles of Slavic folk music changed the course of Russian music. Mussorgsky originally named this tone poem St. John’s Night on Bald Mountain; St. John’s Night is the night of the summer solstice and associated with witches in European folklore. This piece seems to have had two sources of inspiration: Franz Liszt’s devilishly virtuosic Totentanz for piano and orchestra and Nikolai Gogol’s fantasy story St. John’s Eve. Mussorgsky wrote his first version of Bald Mountain around the time of St. John’s Night in 1867. Lacking performance opportunities for it, in 1872 he revised it for inclusion in a ballet/opera Mlada that was intended to be written by several composers but never came together. After his death, Rimsky-Korsakov arranged Bald Mountain into the version we hear today. Here is Mussorgsky’s description of the tone poem’s story: “The witches congregated on this mountain ... gossiped, engaged in debauchery, and awaited their lord — Satan. On his arrival, they ... formed a circle around the throne, which their lord mounted in the form of goat, and lauded him in song. When the witches’ praises had brought Satan to a sufficient frenzy, he would order the Sabbath

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The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series

to begin, during which he would pick out the witches who caught his fancy to satisfy his wants ... The form and character of my piece are Russian and original. Its tone is inflamed and disorderly.” The most remarkable part of this fascinating, untamed work is its quiet closing section. Here a ringing church bell heralds the coming of dawn, and the witches gradually disperse in a mist of sated melodic fragments. Piano Concerto No. 2 in F major, Op. 102 DMITRI SHOSTAKOVICH (b. 1906, St. Petersburg, Russia; d. 1975, Moscow, U.S.S.R.) While four of Shostakovich’s solo concertos were written for celebrated Russian virtuosos — the two violin concertos for David Oistrakh and the cello concertos for Mstislav Rostropovich — his two piano concertos were kept in the family. He created the First Piano Concerto for himself in 1933 when his burgeoning fame was producing many requests for solo appearances. An accomplished pianist, Shostakovich had earned degrees in both piano and composition at the Petrograd Conservatory and received an honorable mention at the 1927 International Chopin Contest in Warsaw. However, his highly nervous disposition made public performances a terrible strain for him. In the winter of 1956–57, he wrote the Second Piano Concerto as a gift to his son Maxim, a talented pianist who later enjoyed a prominent career as a conductor. Maxim introduced the concerto in Moscow on May 10, 1957, his 19th birthday. The composer had good reason to want to strengthen family ties, for at this time the Shostakovich family was experiencing great loss and turmoil. In December 1954, the composer’s first wife, Nina, had suddenly died of undetected cancer at the age of 43, leaving Shostakovich a widower with two adolescent children. He fell into a deep

depression, which was soon worsened by the death of his mother — his first piano teacher and another staunch supporter — in November 1955. Grasping for love and security, Shostakovich made a hasty marriage in July 1956 to Margarita Kainova, who had little appreciation for music and still less for the needs of the vulnerable Shostakovich children. The marriage lasted only three years. With this concerto, Shostakovich clearly wanted to provide Maxim with a perfect vehicle for success. Unlike his profound and disturbing symphonies, it seems to have been carefully calculated not to offend the Soviet authorities. It is conservative in musical language, yet brilliant in style, with the spotlight always trained on the soloist (though Shostakovich gives the orchestra — and especially the woodwinds — some very characterful writing). Full of youthful high spirits, it may reflect some of Maxim’s personality as seen through his father’s affectionate eyes. The bassoon opens the sonata-form first movement with a droll idea that draws in oboes and clarinets as well. Against this wry background, the piano enters with the principal theme: a cocky toysoldier march, full of flourishes. After an enthusiastic workout of this theme, the key changes abruptly to D minor, and the piano introduces the second theme, smoother and winding mysteriously. Shostakovich later gives it a big triple-forte orchestral treatment in the development section. That development closes with a brief, elegantly shaped solo cadenza before the march theme returns, shrilling in the woodwinds. The slow second movement in C minor is a beautiful anachronism. Muted strings open with a pensive, very Slavic theme: a lovely recreation of the Russian Romantic tradition. And the piano’s rhapsodic singing theme over arpeggios conjures an even earlier Romantic world, that of Chopin. This is music for a young man’s sorrow, more pleasing than painful. The slow movement’s repeated C’s segue directly into the playfulness of the sonatarondo finale. And the note C initially holds a magnetic attraction for the pianist, who can’t seem to leave it in his fleet rondo theme; his efforts to escape only get him stuck again on other pitches. Equally infectious is the orchestra’s rhythmically vivacious dance in a tricky 7/8 meter. Shostakovich keeps his son’s — and future pianists’ — fingers flying in virtually perpetual motion, guaranteed to bring down the house.

Carmina Burana (Songs of Beuren)

CARL ORFF (b. 1895, Munich, Germany; d. 1982, Munich) Is there any music that grabs us from the very first chord with the sheer visceral force of Carl Orff’s Carmina burana? Issuing fortissimo from the depths of the orchestra and rooted in a blow-to-the-gut thud of timpani, this chord is followed by a blazing dissonance from the chorus, and we are off on a wild musical adventure that will hold us in its grip for the next hour. Flush with the work’s success at its premiere, a staged production at the Frankfurt Opera on June 8, 1937, Orff wrote to his publisher: “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina burana, my collected works begin.” For Orff, this was the beginning of a new musical path. Instead of the rich harmonies of the 19th century and the elaborate harmonic systems replacing tonality in the 20th, he had opted for music in its purest and most elemental form, emphasizing rhythm, melody, and sonic color. This is music that bypasses the brain and goes straight to the emotions. Orff was a man of the theater and the classroom: a born musical communicator and proselytizer. Believing every child was innately musical, he developed teaching methods and an array of simple instruments that helped children connect music to speech, dance, and folk traditions. His method was enshrined in the Orff Institute and is still influential today. In 1935, Orff came across Johann Schmeller’s 1847 edition of medieval poems, the “Carmina burana” or “Songs from Beuern” (“Beuern” being a variant of the German word for Bavaria). They had been drawn from poems found in a Benedictine monastery in the Bavarian Alps near Munich and later transferred to the Bavarian Court Library. Their authors were wandering university students and minor clergy who flourished during the 11th, 12th, and early 13th centuries in France, England, and Germany and were known as the golliards, for their supposed master, the mythical Bishop Gollas (a medieval stand-in for Satan). In a religious era that stressed denial of the flesh in preparation for the world to come, the golliards formed a robust counterculture that uninhibitedly celebrated the earthly

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pleasures of wine, women, food, and laughter. Hailing from many lands, they sang their poems in the universal language of Latin or occasionally in the vernacular. Traveling from town to town, they scandalized and delighted the residents with learned spoofs of church texts, sensuous love poems, and obscene verses that opened doors to a forbidden world. In setting 24 of the Beuern songs, Orff consciously returned to the primitive roots of music. Elaborate forms and complex harmonies went out the window. Instead, he emphasized powerful rhythms and evocative folk-like melodies that work their magic through repetition. Orff’s contemporary touch was his dazzling exploitation of the colors of the large modern orchestra. To emphasize his driving, heavily accented rhythms, he wrote for a big battery of percussion instruments, played by five musicians. He also pushed his chorus and especially his three soloists — soprano, baritone, and tenor — to the extreme limits of their ranges to intensify the emotional impact. The songs are arranged in three broad groups: “Spring”/”On the Green,” “In the Tavern,” and “The Court of Love.” Framing the whole is the choral invocation to “Fortune, Empress of the World,” which depicts humankind as helpless riders on the wheel of fortune — now swinging upward to happiness and riches, later plummeting down to ruin and despair. The various songs illustrate the stages of the wheel. The opening chorus, “O Fortuna,” epitomizes Orff’s techniques. After that electric opening, the chorus delivers this text forcefully in unison. As in most of the songs, a constant rhythmic ostinato pattern in the orchestra propels the music forward. Later, harsh blows from the bass drum and the gong accelerate the drive.

delicately luminous vocal and instrumental timbres. In “The Merry Face of Spring,” the tremor of high woodwind birds introduces a simple unison melody for the chorus over the heavy swinging of two chords. Its archaic-sounding melody, built on a pentatonic (five-note) scale, suggests the music the medieval poets might have actually used. An orchestral round dance for the scene on the green plays rhythmic games with constantly changing meters à la Stravinsky, who was an important influence on Orff. “Floret silva nobilis” is an infectious, folksong-inspired chorus; listen here for the musical depiction of the lover riding away in the tenors and timpani. Only men are allowed “In the Tavern.” This raucous, ribald section features the male chorus and the baritone soloist as an inebriated, blasphemous priest. The most striking song here is “Olim lacus colueram,” the “Lament of the Roasted Swan.” Singing in a squealing falsetto register, the tenor is the hapless swan, “now black and roasting fiercely.” The voices of women and children dominate “The Court of Love,” in which courtly odes grow quite explicit. Here the radiant tones of the soprano soloist are introduced. Her warm lower range is exploited in the exquisite “In trutina,” Carmina’s loveliest song, while at the very top of her range she abandons herself totally to passion (“Dulcissime”). The “Court of Love” ends in a grandly sonorous choral hymn to the “glorious virgin” — but here she is not the Virgin Mary, but rather Venus, the goddess of physical love. Its drumbeats propel us back to the opening “O Fortuna” chorus. Fortune’s wheel has made a complete revolution, and our medieval adventure ends where it began with a lusty thud of timpani. Notes by Janet E. Bedell copyright 2020

The section celebrating the coming of “Spring” provides strong contrast with

A MIDSUMMER NIGHT’S DREAM WITH FORT WAYNE BALLET & FORT WAYNE PHILHARMONIC

Mar. 20 | 7:30 p.m., Mar. 21 | 2:30 p.m. & 7:30 p.m. Mar. 22 | 2:30 p.m. | Arts United Center Caleb Young, conductor Fort Wayne Ballet, Karen Gibbons-Brown, artistic director

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ILYA YAKUSHEV, PIANO

Russian pianist Ilya Yakushev, with many awards and honors to his credit, continues to astound and mesmerize audiences at major venues on three continents. In the 2018-19 season, Ilya Yakushev performed as piano soloist with Edmonton Symphony, Cheyenne Symphony, Zacatecas Symphony, and Wisconsin Chamber Orchestra in addition to over 50 recitals in North America and Europe. Highlights of Yakushev’s 2019–20 season include return appearances with Millikin-Decatur Symphony, St. Petersburg Philharmonic, Fairfield County Orchestra, Fort Wayne Philharmonic, Zacatecas Symphony, and Hunterdon Symphony. He will also play recitals in the US and Russia. In February 2014, British label Nimbus Records published “Prokofiev Sonatas Vol. 1” CD. American Record Guide wrote “Yakushev is one of the very best young pianists before the public today, and it doesn’t seem to matter what repertoire he plays – it is all of the highest caliber”. Volume 2 was published in January 2017, as well as an all-Russian repertoire CD in September 2017. In past seasons, he has performed in various prestigious venues worldwide, including Glinka Philharmonic Hall (St. Petersburg), Victoria Hall (Singapore), Weill Recital Hall at Carnegie Hall (New York), Davies Symphony Hall (San Francisco), and Sejong Performing Arts Center (Seoul, Korea). His performances with orchestra include those with the Mariinsky Theatre Orchestra, St. Petersburg Philharmonic, San Francisco Symphony, BBC Concert Orchestra, Boston Pops, Rochester Philharmonic, Utah Symphony, and many others. Winner of the 2005 World Piano Competition which took place in Cincinnati, OH, Mr. Yakushev received his first award at age 12 as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg. In 1997, he received the Mayor of St. Petersburg’s Young Talents award, and in both 1997 and 1998, he won First Prize at the Donostia Hiria International Piano Competition in San Sebastian, Spain. In 1998, he received a national honor, The Award for Excellence in Performance, presented to him by the Minister of Culture of the Russian Federation in Moscow. Most recently, Mr. Yakushev became a recipient of the prestigious Gawon International Music Society’s Award in Seoul, Korea. Mr. Yakushev attended the RimskyKorsakov College of Music in his native St. Petersburg, Russia, and subsequently came to New York City to attend Mannes College of Music where he studied with legendary pianist Vladimir Feltsman. Ilya Yakushev is a Yamaha artist.

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TONI MARIE PALMERTREE, SOPRANO

Soprano Toni Marie Palmertree is a recent graduate of the prestigious Adler Fellowship Program at San Francisco Opera and an up-and-coming presence in the opera world. During her time in the program, she was heard as Barena in Jenufa, Voice of Heaven in Don Carlo, and High Priestess in Aida. Additional assignments include covering Elisabetta in Don Carlo, Violetta in La Traviata, and the title role in Madama Butterfly. In November of 2016, Ms. Palmertree was called to step onto the War Memorial stage as Cio-Cio San on three hours’ notice. Of her performance, Janos Gereben from San Francisco Classical Voice wrote: “The young soprano not only met the challenge, but she claimed her place among the finest vocal interpreters of the role heard here recently.” Ms. Palmertree opened San Francisco Opera’s 95th Season as Liù in Turandot receiving high praise for her “performance of wondrous poignancy and heroism…clothed in vigorous, expressive phrasing”. In the 2019-20 season, Palmertree joins the roster of The Metropolitan Opera for the first time for their production of Madama Butterfly, covers the title role in Luisa Miller for Lyric Opera of Chicago, returns to Festival Opera New Zealand as Nedda, and joins the Reno Philharmonic for Beethoven’s 9th Symphony. In the 2018-2019 season, Ms. Palmertree returned to San Francisco Opera to cover the role of Nedda in Pagliacci, was heard in The Dallas Opera’s Hart Institute for Women Conductor’s concert and made debuts in the title role of Tosca with the Reading Symphony Orchestra and in Verdi’s Requiem with Allentown Symphony. Recent performances include returning to the title role in Madama Butterfly for Festival Opera New Zealand and for Syracuse Opera.

PATRICK MUEHLEISE, TENOR

Praised for his “real musicality and finely executed coloratura,” Patrick Muehleise is an acclaimed American tenor specializing in a wide variety of concert soloist repertoire and known for his “beautiful, evenly produced lyric tenor” and “pure tone.” Recent engagements include Mozart’s Requiem with Xian Zhang at the Aspen Music Festival, Monteverdi’s Vespers of 1610 under the baton of Jane Glover, Mendelssohn’s Elijah with Fort Wayne Philharmonic, Handel’s Messiah with Winston-Salem Symphony, Bach’s B Minor Mass with Bach Akademie Charlotte, Reich’s The Desert Music with New World Symphony, Orff’s Carmina Burana with Long Beach Camerata, Rossini’s Petite messe solennelle with the University of Wisconsin-La Crosse; and continues this season performing Bach’s BWV 106 with Aspen Festival Orchestra under the baton of Robert Spano, Beethoven’s Symphony No. 9 in Chicago’s Symphony Hall with the Chicago Bar Association Symphony Orchestra, Bach’s Coffee Cantata, Handel’s Messiah and Acis and Galatea with Seraphic Fire, Bach’s B Minor Mass with Back Bay Chorale of Boston, Mozart’s Requiem with University of Wisconsin-La Crosse, and a solo recital on the Lake Wales Arts Council’s Concert Series.

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This season, Patrick continues his residency at UCLA for the second academic year and will return to the world-renowned Aspen Music Festival for his second year as Artist-Faculty in partnership with the Grammy-nominated Seraphic Fire Professional Choral Institute. Mr. Muehleise was named the 2019 tenor recipient of The American Prize Chicago Oratorio Award and in 2016 he was nominated for a Grammy Award in the Best Choral Performance category for his collaboration on True Concord’s album “Far In The Heavens: Choral Music of Stephen Paulus” and can be heard on seven nationally released recordings with Grammy®-nominated and award-winning ensembles.

CHRISTIAN BOWERS, BARITONE

American baritone Christian Bowers, hailed by Opera News for his “warm, well-knit baritone”, and by BroadwayWorld.com for his “strong, clear voice”, is quickly making a name for himself at home and abroad as a leading interpreter of the baritone repertoire. Mostly recently, Mr. Bowers made his role debut as the title character in Don Giovanni at Teatru Manoel in Malta. March 2019 performances as Guglielmo in Così fan tutte saw the completion of a Mozart/DaPonte collaboration with Teatru Manoel. Other engagements for 2018-2019 included a return to Washington National Opera as Ponchel in Silent Night, Vicomte de Valmont in Quartett with Theater Dortmund, and Enrico in Lucia di Lammermoor with the Festival Lyriqueen-mer. Bowers’ 2019-2020 season includes his Arizona Opera debut as Lassiter in Riders of the Purple Sage and Count Almaviva in Le nozze di Figaro with Maryland Lyric Opera. Mr. Bowers’ diverse repertory spans from concert to stage and from the Bel Canto classics to new works. A busy 2017-2018 season saw Mr. Bowers returning to favorite roles such as Escamillo in Carmen (Utah Opera), Maximilian in Candide (Théâtre du Capitole de Toulouse and Opéra National de Bordeaux), Count Almaviva in Le nozze di Figaro (Pittsburgh Opera and Teatru Manoel in Malta), and The Pilot in The Little Prince (Washington National Opera & Glimmerglass Festival). He added the role of Emile de Becque in South Pacific (Annapolis Opera) and performed Duruflé’s Requiem with the National Symphony Orchestra. In addition, he sang Fiorello in Il barbiere di Siviglia with Washington National Opera and was asked to jump in last minute as Maximilian in Candide with the company. 2016-2017 performances included singing Escamillo in Carmen and Captain Corcoran in HMS Pinafore with Shreveport Opera and reprising the role of Figaro in Il barbiere di Siviglia with Opera Project Columbus. He also covered Simon Thibault and Father Arguedas in the world premiere of Bel Canto at the Lyric Opera of Chicago. Mr. Bowers prides himself on his collaborations with leading creators of contemporary American music. He has especially worked closely with his longtime friend and neighbor Lee Hoiby, and has collaborated with Rachel Portman, Jake Heggie, Lori Laitman, Huang Ruo, Theodore Morrison, and Gene Scheer. Mr. Bowers’ performance as Clyde Griffith in Tobias Picker’s An American Tragedy at The Glimmerglass Festival in 2015 was received to great acclaim. Opera Today said, “The central role of Clyde Griffiths is a huge sing and baritone Christian Bowers was every inch the heart of the piece.”

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JONATHAN BUSAROW, FORT WAYNE CHILDREN’S CHOIR EXECUTIVE ARTISTIC DIRECTOR

Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir. He holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and Kodály Certification from the Kodály Institute at Capital University. Mr. Busarow also serves on the faculty of Purdue University Fort Wayne where he teaches voice and choral music education. He has also served as the interim director of choral studies at Purdue Fort Wayne and Valparaiso University. Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association National and Regional Conferences, the Association of Lutheran Church Musicians, the Indiana Music Educators Association Convention, and the Bach Institute at Valparaiso University. Mr. Busarow serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference. In 2015, he received the Arts United Award as the Emerging Leader. In 2018, Jonathan received the Distinguished Decade Award from his alma mater, Valparaiso University. He lives in Fort Wayne with his family, Nicole, Simon, Matthias, and Timothy.

FORT WAYNE CHILDREN’S CHOIR

Mara Affolder-Etchison Taja Bater Henry Blackard Suzanne Blee Avaya Bowman Liam Butterfield Katelyn Campbell Zachary Cecil Isabella Cooley Zoe Cramer Evinn DiClementi-Ross Alexis Ensley

Natilea Garcia Emily Grim Kendall Hoover Sasha Hopkins-Arrington Andrea Itt Jazmin Jimenez Matthew Minard Jayson Poeppel Anna Poswinski Kennedy Ritchie Audrey Rottinger Addison Rutledge

William Schriner Jane Schulert Audrey Schultz Alicia Seals Anna Sicoe James Simerman Alex Stauffer Myles Vorderman Vincent Wilson Mira Yarram

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.”

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NANCY MENK, DIRECTOR, NORTHWEST INDIANA SYMPHONY CHORUS

Nancy Menk holds the Mary Lou and Judd Leighton Chair in Music at Saint Mary’s College, Notre Dame, Indiana, where she is Professor of Music, Director of Choral Activities, and Chair of the Music Department. She also teaches graduate conducting at the University of Notre Dame. She is founder and conductor of the South Bend Chamber Singers, an ensemble of 32 select singers from the Michiana area. Both the Saint Mary’s Women’s Choir and the South Bend Chamber Singers regularly commission, perform, and record new works. Dr. Menk holds the Phyllis and Richard Duesenberg Concert Choir Chair for the Lutheran Summer Music Academy and Festival. She also serves as conductor of the 110-voice Northwest Indiana Symphony Chorus. She has conducted All-State Choirs in Colorado, Delaware, Indiana, Kentucky, North Dakota, Maryland, and Pennsylvania. Menk is Editor of the Saint Mary’s College Choral Series, published by earthsongs. In October 2016, she became the first woman to program and lead a subscription concert of the South Bend Symphony Orchestra, conducting works by C.P.E. Bach, Antonio Vivaldi, and Igor Stravinsky. In March 2019, she made her 6th Carnegie Hall appearance conducting a program of music for women’s voices and orchestra. She holds the D.M.A. in Choral Conducting from the University of Cincinnati College-Conservatory of Music.

NORTHWEST INDIANA SYMPHONY CHORUS ROSTER

SOPRANO Crystal Chandler+ Shirley Comer Jill Cooke# Rhonda Crouch Diane Glittenberg Melissa Goodwin Kathryn Hanson Mary Henrich Kathi R. Jones Linda Kennedy Natalie Krivas Donna Krumm Kinsey Mason Cindy McCraw* Kathleen Orgel Courtney Palasz Linda Pancheri Brenda Pollalis Amy Szymborski Linnetta Taylor Jaimee Young Caroline Ausema Joy Brown Gayle Faga Krystal Levi Kathy Madgiak Diana Murray* Kathy Pacholski Phyllis Palmquist Jennifer Rausei

Maggie Reister Sandra Rinkenberger Lisa Smith Sara Solis Leah Taylor Lovetta Tindal Marisa Valdez Pam Wendell ALTO Elizabeth Bessette Melissa Burgess# Christina Dougherty Suzanne Gruoner Jan Hosna Maureen Huizenga Jeanette Jancosek Tracie Martin Beth Moreno Rebecca Orange Geraldine Rainey* Joan Sporny+ Mia Strino Pat Urban Kathleen Wahlman Jane Walker Beth Zagrocki Maris Beswick Deborah Bleeke Mary Fox Roberta Gadomski

Lucy Gerace Prudence Leslie Patrice Martin* Kate McMahon Karen O’Brien-Bynum Michele Parsley Nancy Scaggs Marian Van Til-Cassidy Joann Wleklinski Sheila Wood TENOR Jack Chavez Nathaniel Driver Ron Hanchar Paul Huizenga Jim Kreger Richard Lynch* Mike Spurlock Howard Brenneman William Coble James Gazdick Charles Gierse+ Richard Hagelberg Barry Halgrimson Rick Landin Dean Leensvaart Jack Loomis

BASS Doug Amber Jonathan Armstrong Bill Bebout Scott Enloe* Bruce Foster Roy Hamilton Brett Lundgren Don Massa Kirk McQuiston Rich Pacholski Ed Palmisano Theodore Rosdil Mark Webster Ken Wieringa Matthew Byerly Ken Granle Ron Jongsma Clement Lessner Ed Lindquist William Radell+ Glen Richardson David Schoon* Ken VanderLugt Bill Westerhof + Section Leader * Section Manager

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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 SchleswigHolstein 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

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it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met.” In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art.” Earlier in 1991, Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.” 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.

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.

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 Other orchestras in the US that he has approach to the concert going experience. worked with include the Baltimore This is a commitment that he has carried Symphony, Buffalo Philharmonic, throughout his work and which continues Rochester Philharmonic, Syracuse with his advocacy for music education for Symphony, Jacksonville Symphony, all ages. “Taste is malleable; we only have Chautauqua Festival Orchestra and to look at sport to see the most relevant Phoenix Symphony. Again, critical acclaim analogy. It’s pretty rudimentary and not has been hugely positive, the press review rocket science by any stretch of the of his Phoenix debut describing it as imagination. The sooner you are shown “the best concert in the last ten years.” the beauties of something, whether it Other recent engagements included be football or Mozart, the greater is the concerts with the New Jersey Symphony, likelihood that you’ll develop a respect or a return to the St. Petersburg Philharmonic, even passion for it. It complements our the Filarmonica de Gran Canarias, general education and is vital if we want and recordings with the BBC National to live well-rounded lives. As performing Orchestra of Wales and the Royal Scottish musicians our responsibility is to not shirk National Orchestra. 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 MUSIC DIRECTOR ANDREW CONSTANTINE’S NEW has enjoyed a wonderful RECORDING FOR SALE IN THE EMBASSY THEATRE LOBBY working relationship with

“Masterly, insightful, compelling.”

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CALEB YOUNG, ASSOCIATE CONDUCTOR

Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series. Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival.

a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop.

In 2016 Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the prestigious Salzburg Festival. Young was also selected as

A native of Asheville, North Carolina, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen.

Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013. KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9.

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

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TROY WEBDELL, DIRECTOR OF YOUTH ORCHESTRAS

American born and trained, Maestro Troy Webdell continues to enthrall audiences and connect people through the language of music. His innovative programming and balance between contemporary music, world music, and the standard orchestral repertoire has created a welcomed niche in the world of classical music. In May 2018, Webdell was selected to become the new Director of Youth Orchestras for the Fort Wayne Philharmonic in Fort Wayne, Indiana. Under his leadership, the Youth Symphony Orchestra will travel to New York City in April 2020 and perform a featured concert in the Isaac Stern Auditorium/Ronald O. Perelman Stage at Carnegie Hall. Webdell is also the founder, music director, and conductor of South Shore Orchestra, a regional professional orchestra of 70+ musicians located in Valparaiso, Indiana. The South Shore Orchestra is currently in its 15th season and has performed numerous concerts throughout the USA and China featuring national and international guest artists. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renown concert halls in over 40 major cities including Beijing, Hangzhou, Shanghai, Nanjing, Qingdao, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, Xiamen, and Xian, where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In 2013, Maestro Webdell conducted the world premiere and 26 performances of Max Lee’s modern interpretation of the Chinese classic opera Romance of the Western Chamber which was completely sung and spoken in Mandarin Chinese. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus and SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia which

also featured the world premiere of Xiao He’s Long Song. Maestro Webdell has earned acclaim for his orchestral conducting in the USA, receiving outstanding musical/orchestral direction awards for staged and concert productions of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street (2001 & 2004), Jason Robert Brown’s PARADE (2005), and Mitch Leigh’s Man of La Mancha (2006). In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music. As an educator, Webdell taught band and orchestra students for 24 years in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students had consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China. Additionally, Maestro Webdell has been a collaborator in developing El Sistema based youth orchestras in the USA, interactive educational symphony concerts, and community “Unity Event” concerts featuring over 500 community chorus and orchestra musicians. In August 2019, Webdell joined the faculty of the Purdue University Fort Wayne School of Music to conduct the University and Community Orchestra.

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BENJAMIN RIVERA, CHORUS DIRECTOR

Benjamin Rivera 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. Rivera also serves as Choirmaster of Chicago’s Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. After completing a one-year engagement as the Associate Conductor of GRAMMYwinner The Washington Chorus, where he prepared the ensemble for performances with the National Symphony Orchestra at the Kennedy Center and Wolf Trap, Rivera joined the conducting staff of the Chicago Symphony Chorus in 2018. Rivera joins the Florentine Opera Company in the fall of 2019 as their Chorus Master, ad interim. 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 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) and led master classes and in-school residencies. Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria; conducting African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music.

FORT WAYNE PHILHARMONIC CHORUS BOARD OF DIRECTORS

OFFICERS

Sarah Reynolds, President Sara Davis, Vice President Greg White, Treasurer Carrie Veit, Secretary

JANUARY | FEBRUARY | MARCH 2020

BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Joseph Foltz Katy Hobbs Sarah Reynolds

Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White

FORT WAYNE PHILHARMONIC CHORUS

BENJAMIN RIVERA, CHORUS DIRECTOR LOUISE BONTER PODIUM

JONATHAN EIFERT, ASSISTANT DIRECTOR

SOPRANO

ALTO

TENOR

Karen Campbell Sheila Chilcote-Collins Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Janel Fitzgerald Crystal Harter Amy Headings Katy Hobbs Carol Jackson Margo Kelly Natasha Kersjes Maria Kimes Sara Kruger Kaitlin Lamison Katie Littlejohn Jane Meredith LeeAnn Miguel Meg Moss Brenda Potter Clarissa Reis Rebecca Smith Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter

Alison Case Jeri Charles Caitlin Coulter Cassie Daniels Lenore DeFonso Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Joanne Lukas Sharon Mankey Elena Parker Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Denise Snider Cecelia Snow Sue Snyder Ann Morrison Spinney Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum

Benjamin Cunningham David Eisenhauer Eddie Foggs Charles (Chuck) Goddard Sarah Kindinger John T. Moore Tom Neuer David Arthur Persley Mark Richert John Sabo Nathan Schall Joshua Sommermeyer Greg White BASS Thomas Callahan Jon Eifert Joe Foltz Jonathan Haggis Kemp Harris Gerrit Janssen Steve Kaduk Jacob Landi Johnathan Liechty Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig David Tovey

Prelude 69

FORT WAYNE PHILHARMONIC ORCHESTRA

ANDREW CONSTANTINE, MUSIC DIRECTOR

CALEB YOUNG, ASSOCIATE CONDUCTOR

BENJAMIN RIVERA, CHORUS DIRECTOR LOUISE BONTER PODIUM

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair

CELLO Andre Gaskins, Acting Principal Morrill Charitable Foundation Chair

Johanna Bourkova-Morunov, Associate Concertmaster Michael & Grace Mastrangelo Chair

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

IONE BREEDEN AUER FOUNDATION PODIUM

Timothy Tan, Assistant Concertmaster John & Julia Oldenkamp Chair Christine Chon, Principal Second Wilson Family Foundation Chair Betsy Gephart, Acting Assistant Principal Second Eleanor & Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair David Ling Michael Acosta Tomer Marcus Alexandra Tsilibes Pablo Vasquez Kristin Westover Lipeng Chen Daniel Colbert Janet Guy-Klickman Linda Kanzawa Ervin Orban Colleen Tan VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles & Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney & Janet Myers Heiney Chair Theodore E. Chemey III Erin Kipp Erin Rafferty

JANUARY | FEBRUARY | MARCH 2020

Jane Heald Elizabeth Lee David Rezits Brian Klickman Linda & 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 FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. & Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends’ Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair

BASS TROMBONE Andrew Hicks

Cynthia Greider Georgia Haecker Halaby Chair

TUBA Chance Trottman-Huiet, Principal Sweetwater Sound, Chuck & Lisa Surack Chair

BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair

Alex Laskey John D. Shoaff Chair

PERCUSSION Alison Chorn, Principal June E. Enoch Chair Kevin Kosnik North American Van Lines funded by Norfolk Southern Foundation Chair

Michael Galbraith Walter D. Griest, MD Family Chair

Kirk Etheridge Patricia Adsit Chair

HORN Michelle Hembree, Principal Mr. & Mrs. Arthur A. Swanson Chair

Katherine Loesch TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair

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

Brian Johnston, Second Trombone

CHAMBER MUSICIANS

FORT WAYNE PHILHARMONIC CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Gina Buzzelli Nicole Deguire Amber Dimoff Regan Eckstein Janice Eplett Emelinda Escobar Marley Haller Renee Henley Taishi Namura Linda Oper Sam Petrey Anna Poitrowski Joachim Stepniewski Michelle Taylor Emily Thompson Lauren Tourkow

VIOLA Rachel Goff Michael Hall Emily Mondok Charlie Pikler Anna Ross Liisa Wiljer CELLO Martyna Bleke Michael Frigo Peter Opie Heather Scott BASS Nick Adams Brad Kuhns John Tonne

FLUTE Janet Galbraith Patricia Reeves Jessica Warren OBOE Jennet Ingle Jonathan Snyder Stephanie Patterson CLARINET Gavin Arnold Laurie Blanchet Sergey Gutorov Dan Healton Dan Won

BASSOON Alex McCrory Alan Palider Keith Sweger Mike Trentacosti

TROMBONE Kevin Dombrowski John Grodrian David Parrilla Tyler Vahldick

HORN Kurt Civilette Amy Krueger Charlotte O’Connor Renèe Vogen

TUBA Paul Mergen

TRUMPET Alex Carter Mark Dulin Dan Price Charles Roberts Trevor Stirratt

PERCUSSION Matt Hawkins Renee Keller Ben Kipp Hannah Weaver Dan Zawodniak Jason Yoder KEYBOARD Jonathan Mann

Prelude 71

A MESSAGE FROM THE PHILHARMONIC FRIENDS

Hello Friends! I hope that while you have been enjoying the concerts, you have been reading about WHO the Friends are and WHAT we are all about. You would have learned about the ways we are promoting the love of music in our next generation by reaching out to kids during Instrument Playground, by supporting future orchestra musicians with scholarships, by loaning instruments for only a small maintenance fee to those who otherwise would not be able to afford them and through the Young Artist Competition. We also introduced you to the cool learning experience, Musically Speaking, that we sponsor prior to each Masterworks concert, hosted by the Associate Conductor, Caleb Young. Surprise guests frequently show up and you should check it out. Did you know that some of our most fun fundraising happens on buses? Our winter bus trip was in January to see the musical Bandstand at the Stranahan Theater in Toledo, Ohio. Doorprizes, food, a raffle and still making it home in time for dinner make for a fun time! Missed it? We are currently in planning another one this summer to the Ann Arbor Art Fair. Watch for more info in the spring. But, what about the musicians? We love to support them too! Several Friends host musicians in their homes when they come in from out of town to play for us. Not only does it save money for the musicians, but the hosts get to know the musicians personally and truly love caring for them! You don’t even need to be a Friend to participate in this unique experience.

is one of our greatest opportunities for volunteering in a way that directly impacts the musicians themselves. If you have a heart to feed hungry people, please contact us to find out more. Homemade and storebought is welcome. Not wanting to leave out those who work so hard behind the scenes, we provide a thankyou lunch for the staff each January. They are an interesting, dedicated group of people who probably don’t get enough Thanks from all of us! Are you seeing the same theme I am? Music and Food. Food and Music. One feeds our soul and the other our bodies. I’ve learned that being with Friends makes both all the more sweet. If you are interested in meeting us, knowing more about any of our programs or joining, please visit our Facebook page Fort Wayne Philharmonic Friends, our website www. philharmonicfriends.com or contact me at carolkeller@remax.com. Our ability to provide for this community of musicians and future musicians depends on the support of our members and we appreciate you!

We also have a long history of providing snacks during Friday night rehearsals. Here FORT WAYNE PHILHARMONIC FRIENDS OFFICERS Carol Keller – President Sara Davis – Vice President Education Jayne Van Winkle – Vice President Hospitality Patty Arata – Recording Secretary Kathy Sessions – Corresponding Secretary Sarah Reynolds – Treasurer

JANUARY | FEBRUARY | MARCH 2020

BOARD MEMBERS Patty Arata ClarAnn Bengs Barbara Boerger Ana Bowman Tadd Bowman Mary Campbell Sara Davis Emily Elko Cynthia Fyock Sandra Hellwege Pat Holtvoigt

Carol Keller Peggy Lee Judy Lopshire Nellie Bee Maloley John McFann Sarah Reynolds Kathie Sessions Marcella Trentacosti Alexandra Tsilibes Julie VanLue Jayne Van Winkle Galen Yordy

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

EXECUTIVE COMMITTEE Chuck Surack – Chair Mary Fink – Treasurer Sherrill Colvin – Vice Chair Mark Hagerman – Vice Chair Kendall Dudley Billows – Vice Chair Vicki James – Secretary Ben Eisbart – Immediate Past Chair Sharon Peters – Vice Chair

Anita Hursh Cast Sherrill Colvin Kendall Dudley Billows Raymond Dusman, MD Ben Eisbart Ron Elsenbaumer Mary Fink Bill Frank Carole Fuller Michael Galbraith Mark Hagerman Jonathan Hancock Vicki James Carol Keller Carol Lindquist

Andrew Lott Scott Miller, MD Dan Nieter Tammy O’Malley Sharon Peters Judy Pursley Sarah Reynolds Dar Richardson* Jeff Sebeika Carol Shuttleworth Philip Smith Steve Smith Nancy Stewart Chuck Surack Barb Wachtman

HONORARY BOARD

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

Jane L. Keltsch Dorothy Kittaka William Lee Carol Lehman Elise D. Macomber Michael J. Mastrangelo, MD

Jeanette Quilhot Richard & Carolyn Sage Howard & Marilyn Steele Zohrab Tazian W. Paul Wolf Donald F. Wood*

PAST CHAIRMAN OF THE 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

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*

1981-1983 1983 1983-1985 1985-1987 1987-1989 1989-1991 1991-1993 1993-1995 1995-1997 1997-1999 1999-2001 2001-2003 2003-2005 2005-2007 2007-2011 2011-2013 2013-2015 2015-2017

James K. Posther* 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

Prelude 73

FORT WAYNE PHILHARMONIC STAFF

ADMINISTRATIVE STAFF

DEVELOPMENT

James W. Palermo Managing Director

Brittany Hall Assistant Managing Director

Roxanne Kelker Executive Assistant to the Managing Director & Music Director

Stephanie Wuest Annual Fund Manager

ARTISTIC OPERATIONS Jim Mancuso General Manager Lorenzo Kleine Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/Staff Arranger Joel Dreyer Stage Manager Dalen Wuest Operations Assistant

Ann Cavalancia Grants & Sponsorship Manager FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Emily Shannon Director of Marketing & Public Relations Brooke Sheridan Publications & Graphics Manager

EDUCATION

Doug Dennis Communications & Public Relations Manager

Jason Pearman Director of Education & Community Engagement

Daniel Cavalancia Ticket Operations & Sales Manager

Anne Preucil Lewellen Education & Ensemble Coordinator

MaryAnne Skora Patron Services Associate

Aaron Samra Club Orchestra Program Manager

Hayley Johnson Patron Services Associate

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

JANUARY | FEBRUARY | MARCH 2020

FORT WAYNE PHILHARMONIC SPONSORS

The Fort Wayne Philharmonic thanks these sponsors for their generous contributions over the past twelve months. Please call 260.481.0774 to become a sponsor. SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation

Chuck & Lisa Surack

The Robert, Carrie and Bobbie Steck Family Foundation

APPASSIONATO ($150,000 TO $249,999)

The Paul Yergens and Virginia Yergens Rogers Foundation

Chuck & Lisa Surack

ALLEGRETTO ($50,000 TO $149,999) Anonymous (1) June E. Enoch Foundation

Robert, Carrie, and Bobbie Steck Family Foundation

FOUNDERâ&#x20AC;&#x2122;S SOCIETY ($25,000 TO $49,999) Rick & Vicki James

VIRTUOSO SOCIETY ($10,000 TO $24,999)

FRIENDS

Prelude 75

The Donald F. Wood and Darlene M. Richardson Foundation Miller Family Fund O’Malley Charitable Fund

STRADIVARIUS SOCIETY ($5,000 TO $9,999)

Janice H. Eplett, in memory of Winifred Howe and F. Russell Eplett

Jim & Gloria Nash, in memory of John L. Verweire, Emel Verweire, and Wade John Verweire, Jr.

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) Anonymous (1) Bose McKinney & Evans LLP Fort Wayne TinCaps

James W. Palermo Jeff Sebeika

Carol Shuttleworth & Michael Gavin

PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Anita & Bill Cast Parrish Leasing, Inc. Physicians Health Plan

Purple Blaze Enterprise, LLC Judy Pursley Jeremy & Clarissa Reis

Alfred Zacher

CONCERTMASTER ($500 TO $999) Edward & Kristen Brower

Mr. David Krabach & Cosmopolites Business & Professional Women’s Club Dr. Susan Steffy

CONTRIBUTOR ($1 TO $99) Debra F. Russell IN KIND DONATIONS A Party Apart Arby’s BluSpoon Catering Bravas The Clyde

Don Hall’s Catering Excell Color Graphics Firefly Coffee House Markey’s Rental & Staging Pizza Hut

JANUARY | FEBRUARY | MARCH 2020

Subway Taco Bell Wendy’s

PHILharmonious AUCTION SPONSORS AMC Theatres Arena Dinner Theatre Auburn City Steakhouse B. Antonio’s Pizza BakerStreet Belmont Beverage Biaggi’s Ristorante Italiano Ana & Tadd Boman Hope Bowie Bradley Gough Diamonds Judi Bruck Bussick Orthodontics Casa Ristoranti Italiano Bill & Anita Cast Catablu Grille Christopher James Menswear Cinema Center Ginny Clark Andrew Constantine Crestwoods Frame Shop Nicole Croy Cunningham Optical One North Irwin F. Deister Pat Demond Family Edwin Coe Spirits Madelane Elston Fort Wayne Ballet Fort Wayne Civic Theatre Fort Wayne Children’s Zoo Fort Wayne Dance Collective

Fort Wayne Komets Fort Wayne Philharmonic Board of Directors Free Wind Farm French-Deal Fine Art French Kande Natalee Fuller Doug & Cynthia Fyock Grandma Sue’s Pies and More Grant Park Music Festival Habegger Furniture Hall’s Restaurants Holiday World Honeywell Center The Hoppy Gnome Diane Humphrey Emma Hyndman Indiana Caverns Fred Inman Katharos Art & Gift Pamela Kelly Mad Anthonys/Shigs In Pit Eleanor Marine Mike’s Car Wash Scott Miller Moose and Mollies Café Dan & Beth Nieter The North End Olive Twist

Tammy O’Malley The Oyster Bar James W. Palermo Paper Moon Papier Creative Framing Parkview Health Pebblestone Retro, Sarah Schwaiger Peekaboo Lane Peg Perego Pizza Hut Proximo Sarah Reynolds Rick & Vicki James Rolling Pin Bakehouse Ruth’s Chris Steak House San Martin Designs, Steven & Susan Shaikh Chuck & Lisa Surack/ Sweetwater Three Rivers Music Theatre Two EE’s Winery Vera Bradley Viva Vintage 4U Stephanie Wuest The Yergens Rogers Estate Al Zacher Robyn Zimmerman

Elevate Your Philharmonic Experience

Your support makes possible exceptional artistry, unlocks invitations to exclusive events with artists and patrons, and creates a culturally vibrant community. QUESTIONS? Call 260.481.0770 or visit fwphil.org for more information.

Annual Fund 2019 | 2020

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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 Annual Fund, contact the Development Office at 260.481.0774. ALLEGRETTO (GIFTS OF $50,000+) Vicki & Rick James

Chuck & Lisa Surack, Sweetwater Sound

FOUNDERS SOCIETY (GIFTS OF $25,000 TO $49,999) Anonymous (1) VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy* Chapman Tod Kovara

Floyd & Betty Lou Lancia Eleanor H. Marine Winifred Mayes

Dr. Evelyn M. Pauly* Judy Pursley Russ & Jeanette Quilhot Virginia Lee Zimmerman

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Dr. & Mrs.* Alfred Allina Drs. David Paul J. & Jeneen Almdale George & Linn Bartling David L. & Janet Seiwert Bell Sherrill & Sarah Colvin Mr. & Mrs.* Irwin F. Deister Jr.

Ben & Sharon Eisbart David & Mary Fink Fort Wayne Metals Mark & Mary Kay Hagerman Drs. Kevin & Pamela Kelly Chris & Kirsten LaSalle

Antoinette & Dr. H. S.* Lee Kevin & Tamzon O’Malley Michael & Carla Overdahl Jeff Sebeika John Shoaff & Julie Donnell

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Holly & Gil Bierman David Billows & Kendall Dudley Billows Emily & Michael Elko David S. Goodman Patricia S. Griest William N. & Sara Lee* Hatlem Dr. Rudy & Rhonda Kachmann

Dorothy K. Kittaka Scott A. & Susan C. Miller James W. Palermo David & Sharon Peters Carolyn & Dick Sage Carol Shuttleworth & Michael Gavin

Philip & Rebecca Smith W. E. Spindler Robert & Donna Streeter Barbara Wachtman & Tom Skillman Al Zacher Bryan & Kyla Zehr

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) Anonymous (5) Jeane K. Almdale Tim & Libby Ash Family Foundation Norma & Tom Beadie Donna & Charlie Belch Katherine Bishop

Barbara L. Boerger Janellyn & Glenn Borden Dr. & Mrs. Todd P. Briscoe Mr. & Mrs. Craig D. Brown Barbara Bulmahn Anita & Bill Cast Willis S. Clark

JANUARY | FEBRUARY | MARCH 2020

Tom & Margaret Dannenfelser Keith & Kyle Davis Tim & Ann Dempsey Sandra K. Dolson George & Ann Donner Jack & Tammy Dyer

Mrs. J. Robert Edwards Robert & Carol Fawley Fred & Mary Anna Feitler Susan & Richard Ferguson Ronald B. Foster Elizabeth Frederick Jane Gerardot & Jeff Leffers Thomas E. Green Eloise Guy Dave & Sandy Haist Brittany A. Hall Jonathan & Alice Hancock Bob & Liz Hathaway James & Anne Heger Leonard Helfrich Sattar & Marlene Jaboori Marcia & Andy Johnson Ginny & Bill Johnson Bruce & Mary Koeneman Jim & Barbie Lancia Suzanne Light

Drs. David & Carol Lindquist Anne Longtine & Marco Spallone Mr. & Mrs. Duane Lupke Anne & Ed Martin Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Daniel & Beth Nieter Josh & Cristina Parrish Michael V. Parrott Norma J. Pinney Joseph & Lindsay Platt The Rev. C. Corydon Randall & Mrs. Marian Randall Caroll & Bill Reitz Dr. Peter M. Rothman Dr. Janet Schafer Jeanette D. Schouweiler

Tracy & Gretchen Shellabarger Gloria Shinn, M.D. Stephen R. & Anne S. Smith Nancy & David Stewart Kathleen M. Summers Arthur & Karen Surguine Robert & Suellen Swaney Carol Terwilliger Rachel A. Tobin-Smith Mark Troutman & Ann Wallace Lewie Wiese Nancy Vendrely Wayne & Helen Waters Joseph Weaver Dr. James C. Wehrenberg Herbert & Lorraine Weier Matthew & Sara Wilcox Leslie & John Williams Dr. & Mrs. Richard E. Zollinger

CONCERTMASTER (GIFTS FROM $500 TO $999) Anonymous (2) David Anzelmo Nancy F. Archer Scott & Barbara Armstrong Bill & Mary Lou Arnold Richard & Matoula Avdul Jim & Ellen Barr Matt, Beth, & Grace Bechdol Michael & Deborah Bendall David W. Bischoff Richard & Cathryn Boys Ann & Burt Brunner Nelson & Mary Coats Mrs. Virginia Coats Dr. & Mrs. Fred W. Dahling Sara Davis Erica Dekko Susan Devito George & Nancy Dodd Anita G. Dunlavy Bruce & Ellen England Joseph P. Fiacable John D. & Jane G. Foell Mr. & Mrs. Herb Fuller

G. Irving Latz II Fund Steven & Nancy Gardner Tim & Ann Gibson Mrs. Lois Guess Sharon Gustin Linda Hansen & Tim McElwee Ms. Susan Hanzel William & Sarah Hathaway Marsha Heller Mr. & Mrs. Addison Johnson Gordon Johnson Kenneth & Martha Johnson Larry & Annette Kapp Richard & Mary Koehneke Ed & Linda Kos David Krabach & Dr. Susan Steffy Jon & Kathy Lassus Dr. & Mrs. John W. Lee David & Melissa Long Elizabeth Lott Anne Lovett Paul & Pauline Lyons Thomas & Dianne May

Lusina McNall Jim & Alice Merz Ed & Martha Miller Paul & Bonnie Moore Suzon Motz Kenneth & Linda Moudy Paul Oberley Old Crown Brass Band Joan K. Olinghouse Pat & Mac Parker William & Melinda Peiserich Keith Raftree Bill & Sue Ransom Dr. Stephen & Carmen Reed Maryellen M. Rice Kay Safirstein Frederica Schaefer Melissa & Peter Schenkel Scot C. Schouweiler & Julie Keller Dr. Sharon J. Singleton Ruidong Sun & Xue Zhang Carolyn & Larry Vanice

FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (16) Max M. Achleman* Fran & Irv Adler David & Ellen Ahlersmeyer Larry Allen Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter Mr. & Mrs. Brad Altevogt Ambulatory Medical Management Patty Arata Ms. Mary Jo Ardington Tom & Pamela Armbuster

Mel & Ruth Arnold Milton & Barbara Ashby Lonnie & Mary Au Dick & Adie Baach Mr. & Mrs. A. Gerald Backstrom Craig & Peggy Balliet Linda Balthaser Cheryl Bartkavage John & Cathy Batuello Michael & Kay Bauserman Greg & Lydia Beer Amy & John Beatty Tony & Pat Becker

Mr. & Mrs. Don Bendel Robert Benninghoff Bix & Anita Benson Diana Berich Jim & Gay Berlien Larry & Martha Berndt Norb & Melissa Berninger Mr. H. Stephen Beyer Vivan Bickley Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Matthew & Tracy Bilodeau Joyce Bir

Prelude 79

Sheldon Bixler David Blackwell Sherry L. Blake Norma Bloom Steven Bloomfield Ann Blue Annie Bobilya Barbara Boggs Mr. & Mrs. John P. Boerger Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Bruce Bone Rebecca Bouse Dennis Bowman Anne Marie Bracht James Bradley Ruth A. Braun Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan & SuzAnne Runge Roberta Brokaw Evelyn Brosch-Goodwin Mark Bruhn & Valerie Kirby Mr. David Brumm & Ms. Kim McDonald Mr. & Mrs. William & Joan Bryant William & Dorothy Burford Carol E Burns Dr. David & Gayle Burns Barbara W. Bushnell Joyce & Paul Buzzard Andy & Peg Candor John & Jill Case Janice Cave Mike & Nancy Caywood Barbara Chamberlin David & Patricia Childers Steve Christman Dennis Chubinksi John Clarke David Coats Mark & Michele Colchin Barbara Collins Nathan Comsia Joseph & Nancy Conrad Matt & Kim Converse Dr. John N. Crawford Wendell & Mary Cree Bob & Margita Criswell Curt & Amy Crouch Dan & Marjorie* Culbertson Pat Darif & Sally Thomas Janet Dawson & Jerry Smith Lenore DeFonso Mr. & Mrs. Douglas Deller Tom & Holly DeLong Martha Derbyshire Mrs. Kathy Dew Sharon Dietrich Barbara Doehrman Steven Doepker Gene & Carol Dominique Mr. & Mrs. Donald L Duff Kirk Dunkelberger Ann H. Eckrich Sally & Ned Edington

Don & Mary Kay Ehlerding Susan Eickenberry Cynthia Elick Robert Ellison Lillian C. Embick Albert & Jeanne Emilian EPCO Products Pam Evans-Mitoraj Pauline Eversole Dave & Yvonne Fee Beverly Fetcko Fitzharris Family Michael & Marcia Flood Dick Florea & Sandy Shearer Robert Forte Jeff Frappier William Freeman Sheryl A. Friedley Eugene Fulmore Janice L. Futter Michael Galbraith Elizabeth Garr Leonard Garrett Robert & Barbara Gasser Sharran Gavin Betsy & Geoff Gephart Doug & Ruby Gerber Mark & Susyn Giaquinta Thomas GiaQuinta Michele Gillespie Roy & Mary Gilliom Lynne Gilmore Tertuliano & Marcia Giraldo Robert & Constance Godley William & Mary Goudy Janelle & Steven Graber Larry Graham Norm & Ronnie Greenberg James B. Griffith David & Myra Guilford Mary K. Gynn Jay & Sandra Habig Svetlana Hagan Susan Halley Tiia Harvey Vince & Dianne Hansen Barbara & Brian Harris Dennis & Joan Headlee David Heath Franklin & Dorothy Heath John Heath Jacqueline Heckler John & Susan Hein Marsha Heller Sandy Hellwege Greg & Emma Henderson Ms. Julie Henricks Mayor Tom C. & Cindy Henry Frederick & Sharon Hepler Lois Hess Lucille Hess Mark & Debbie Hesterman Bob & Karen Hoffman Dr. Thomas J. Hoffman Steven & Becky Hollingsworth Kristen Horton Philip Hudson Marlene Huffman

JANUARY | FEBRUARY | MARCH 2020

Tom & Mary Hufford Mr. & Mrs. Arnold Huge Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. George & Jane Irmscher Kenneth Ivan Carol Jackson Tom Jaquish Jill Jeffery Mike Johnson David & Kathleen Johnston Alex & Sharon Jokay Don & Joyce Jordan Susan Kaiser Lois Kaufmann-Hunsberger Emily & Ryan Keirns Charles & Carol Keller Luann R. Keller Kendall & Davis, Inc. Bridget Kelly John & Andrea Kelley Jane L. Keltsch Mr. & Mrs. Chris Kidd Sheila D. Kiefer Michael & Sarah Kindinger Stephen King John Kirchhofer Audrey Kirk Karen Knepper James & Janice Koday Ronald & Patricia Kohart Arthur & Elaine Konwinski Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger John Kruk Georgia Kuhns Dr. Larry H. Lambertson Miriam Larmore Scott & Amy Lazoff Drs. Chung-Seng & S. Sage Lee William & Judith* Lee Brad & Donna Lehman Douglas Lehman Steve & Rhonda Lehman Mrs. Frances LeMay Michael & Mary Lewis Al & Janet Lindsten Arthur & Marcia Litton Raymond & Mary Lou Loase Marlene Lobsiger Chuck Logar Dr. Joshua Long Judith Lopshire Andy & Rachel Lott Tom & Sue Lough Frank Luarde Jerry L. Mackel M.D. Larry & Janet Macklin Peg Maginn Peter & Christine Mallers Ginny & Nellie Bee Maloley Harry & Barbara Manges Rob & Natalie Manges Gale Mann Linda Marshall

Jane Martin Cheryl Mathews Elmer & Patsy Matthews David & Kathie Matz Judith E Maxwell Linda McArdle Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Mick & Sue McCollum Mary McDonald John H. & Shelby McFann Mr. Scott McMeen Samuel & Anita Medici Leanne Mensing Elizabeth Meyer Jane A. Meyer Sharon Michael David & Ann Miller Kerry A. Miller CJ & Andrea Mills Dr. & Mrs. Kenneth Modesitt Mr. & Mrs. Carl Moellering David & Linda Molfenter Mary Helen Moore Noel & Diane Moore Mr. & Mrs. Ray Moore Deborah Morgan Eleanora Moricz Chuck & Becky Morris Charles & April Morrison Marylee Morton Dr. David Moser John & Barb Mueller Kevin & Pat Murphy Ryan C. Murray Mr. Michael Mushett Paul Nalliah Steve Naragon & Pam Higgins Sean & Melanie Natarajan Ted & Deb Neuenschwander Ed Neufer Bob Nicolai David Griebel & Cathy Niemeyer Margaret Nolan Beverly Norton Mary Novosel Dr. Kay Novotny Elizabeth Nygaard & Travis M. Sims Dewayne & Betty Oakes Don & Jenny Oberbillig John O’Connell & James Williams Kristy Ohneck Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O’Shaughnessey Marvella Overfield Dr. C. James & Susan J. Owen Jan Paflas Emmanuel & Noemi Paraiso Rick Partin Brian & Sue Payne Penny Pequignot John & Liat Peters Katherine Phillips David & Billie Pierre Beverly Pigott Raymond & Betty Pippert

Marianne P. Platt Anthony Porter Edwin & Cynthia Powers Tresa M. Pricer Marvin & Vivian Priddy Sara Pulse Linda Pulver Marlene Purdy Helen F. Pyles Cindy & Fred Rasp John & Diana Reed Paul & Lu Reiff Jeremy & Clarissa Reis Bev Renbarger Carl & Jaci Reuter Paul Rexroth Madonna Reynolds Sarah & Richard Reynolds Marcia & Dennis Reynolds Ruth & Phillip Rivard Rita Robbins Gwenn Roberts Karen Roberts Richard & Ann Robinson Janet Roe Suzanne & John Rogers Jim* & Beth Rohrer Ron & Rhonda Root Susan Rosenberg Stanley & Enid Rosenblatt Stan & Gretchen Roth Shari Roy David & Patricia Rumon Brenda Ryland Marilyn Salon Marshall Sanders Mr. & Mrs. Robert Savage Jo Ann Schall Mr. & Mrs. Robert Scheimann Gail Scheithauer Albert & Ruth Ann Schlitt Tom & Mary Ellen Schon Dr. Eric & Jaki Schreier Chuck & Patty Schrimper Ed Schultz Richard & Ruth Schwartz Richard & Suzanne Shankle Ms. Elizabeth Sheets Amanda & Charles Shepard Ms. Cornelia L. Shideler Wayne & Ann Shive Eunice Shoaff Jay & Sandy Shumaker Katherine Sider David T. & Nancy Sites Ramona & Dick Sive Mary Jane Slaton Jan Sloan Craig Smith Dr. Darryl & Sharon Smith Hope Swanson Smith Keston Smith & Sandra Guffey Lynda D. Smith Sharon M. Snow Julia Snyder Drs. David A. & Judith J. Sorg Michael E. Sorg

Sal & Jackie Soto Rachel Starr Mr. & Mrs. Donald D. Stedge Mrs. Lois A. Steere David & Beth Steiner Tom & Mary Jane Steinhauser Don Steininger Sylvia Stell Annetta Stork Michael & Cheryl Summers Angela Boerger & Jeffrey Strayer Daniel Swartz Lynn & David Syler Steven & Ruth Anne Teeple Judge Philip R. Thieme Carl & Cynthia Thies Andrea Thomas Craig Tidball Larry Till Larry & Robin Tinsley Mr. Jarod Todd Julianne Toenges Robert Toth Carmen Tse & David Broerman Scott & Jenny Tsuleff J. Phillip Tyndall Susan & Bob Ueber Don & Amy Urban Jayne Van Winkle Walter Vandagriff Ronald VanDiver Lee & Carla VonGunten Alan Wagmeister Ted & Robin Wagner Andrea Waingold Daniel & June Walcott Carol Ward Mr. & Mrs. Paul J. Weber John & Pat Weicker Angela Weidler William Weinrich Keitha & Steve Wesner Drs. Thomas & Tamara Wheeler Dr. & Mrs. Alfred A. Wick David Wiegman John & Nancy Wilhelm Ellen K. Wilson Hope Wilson Jason Wilson John & Deb Wilson Sue & Matt Wojewuczki Marcia Wood-Reitz Debbie L. Woodroof Lea B. Woodrum Bette Worley Franklin & Judith Wright Phil & Marcia Wright Stephen & Marsha Wright Rudy Wuttke Mark Yde Mr. Galen Yordy Bob & Jan Younger Barb Zabel Regina Zartman Mary Ann & Mike Ziembo Dodie Zonakis

Prelude 81

FOUNDATION AND PUBLIC SUPPORT

MAESTOSO ($250,000+) The James Foundation APPASSIONATO ($150,000 TO $249,999) Anonymous (1)

English Bonter Mitchell Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

ALLEGRETTO ($50,000 TO $149,999) June E. Enoch Foundation Anonymous (2) Edward D. & Ione Auer Foundation Foellinger Foundation Arts United of Greater Fort Wayne W. Gene Marcus Trust The Dekko Foundation

Steel Dynamics Foundation The Robert, Carrie, and Bobbie Steck Family Foundation

FOUNDER’S SOCIETY ($25,000 TO $49,999) AWS Foundation Community Foundation of Greater Fort Wayne

The Huisking Foundation Indiana Arts Commission and National Endowment for the Arts

Lincoln Financial Foundation The Rifkin Family Foundation

VIRTUOSO SOCIETY ($10,000 TO $24,999) Eric A. & Mary C. Baade Charitable Purposes Trust Olive B. Cole Foundation K. Robert Ehrman Endowment Fund

Edward M. and Mary McCrea Wilson Foundation The Rea Charitable Trust The Donald F. Wood and Darlene M. Richardson Foundation

Edward and Hildegarde Schaefer Foundation O’Rourke Schof Family Foundation Wells Fargo Foundation

STRADIVARIUS SOCIETY ($5,000 TO $9,999) Ecolab Foundation

Ian & Mimi Rolland Foundation

Journal-Gazette Foundation

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) 3Rivers Credit Union Foundation BAE Systems Community Investment

Noble County Community Foundation

Community Foundation of Whitley County

PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Adams County Community Foundation Arthur and Josephine Beyer Foundation Community Foundation DeKalb County

Kenneth and Lela Harkless Foundation Gerald M. and Carole A. Miller Family Foundation Porter Family Foundation The Salin Foundation

JANUARY | FEBRUARY | MARCH 2020

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

CONCERTMASTER ($500 TO $999) City of Angola Kappa Kappa Kappa Zeta Upsilon

Kosciusko County REMC Operation RoundUp Fund Psi Iota Xi - Theta Theta Chapter

Randall L. & Deborah F. Tobias Foundation

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

FORT WAYNE PHILHARMONIC 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 Dekko Foundation English Bonter Mitchell Foundation

Parkview Health

Steel Dynamics

Antoinette K. Lee Porter Family Foundation

Joe & Janell Schwartz

Dr. & Mrs. C. B. Hathaway The James Foundation Rick & Vicki James Kimâ&#x20AC;&#x2122;s Korner Music

Dr. Keith & Phyllis Perry Scheumann Dental Associates

Fritz Kreutzinger & Sharon Brennan Omer & Susan Kropf Cindy & Fred Rasp The Salin Foundation in Memory of Bill Salin Smoker Craft, Inc.

STAR Financial Bank Jim & Patrice Marcuccilli and Tom & Joan Marcuccilli Randall & Deborah Tobias Foundation, Inc. Wawasee Property Owners Association Dr. & Mrs. Leamon D. Williams Al Zacher

ADAMS COUNTY Adams County Community Foundation Eichorn Jewelry, INC. DEKALB COUNTY Auburn Moose Family Center Beth, Grace, & Matt Bechdol Community Foundation of DeKalb County FULTON COUNTY Psi Iota Xi - Eta Mu Chapter KOSCIUSKO COUNTY Ann S. Borne Donn & Linda Baird Irwin F. Deister, Jr. Kenneth & Lela Harkless Foundation Ben & Elaine Johnston Kosciusko REMC Operation Round-up Fund

Prelude 83

NOBLE COUNTY Campbell & Fetter Bank

Dekko Investment Services

Jennie Thompson Foundation

Pat & Bill Culp Carol & Joe Frymier Suzi Hanzel Karen & Jim Huber Javets Inc. Lake James Association Gerald M. and Carole A. Miller Family Foundation

Max & Sandy Robison Rho Chapter of Psi Iota Xi Steuben County Community Foundation Vestil Mfg. Jim & Kathy Zimmerman

AdamsWells Internet Telecom TV

Troxel Equipment

Community Foundation of Whitley County

Copp Farm Supply STAR Financial Bank

STEUBEN COUNTY Charles & Ruth Ann Sheets Indiana Arts Commission Angola American Legion Post 31 City of Angola Kappa Kappa Kappa, Inc. Zeta Upsilon Chapter Dr. & Mrs. Jonathon Alley Dr. & Mrs. Todd P. Briscoe WELLS COUNTY Anonymous (1) John & Jolin Whicker WHITLEY COUNTY ChromaSource, Inc. Churubusco Family Dentistry Dr. & Mrs. Richard Zollinger

FORT WAYNE PHILHARMONIC LAUREATE CLUB

The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (23) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Kevin Paul Beuert Ana Luisa Boman Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Howard & Betsy* Chapman Fred & Mary Anna Feitler

Richard & Susan Ferguson Mrs. Edward Golden Leonard* & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Donald Hicks Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara John Kurdziel

Antoinette Lee Jeff Leffers & Jane Gerardot Lockwood* & Eleanor 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 260.481.0770 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

JANUARY | FEBRUARY | MARCH 2020

FORT WAYNE PHILHARMONIC TRIBUTES

The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. These gifts are so meaningful and appreciated. In Memory of Elizabeth (Betsy) Chapman Janellyn & Glenn Borden Anita & Bill Cast Sarah & Sherrill Colvin Eleanor H. Marine Russ & Jeanette Quilhot

In Memory of Winifred F. Howe and F. Russell Eplett Janice Eplett

In Memory of Don Goldner Eleanor H. Marine

In Memory of Judith Lee Sarah & Sherrill Colvin

In Memory of Sara Lee Hatlem Janellyn & Glenn Borden Eleanor H. Marine Russ & Jeanette Quilhot

In Memory of Naida MacDermid Mary Campbell Fred & Mary Anna Feitler Kenneth & Martha Johnson Lan-Con Electric Mary Parker Max Platt Ford-Lincoln Barbara Wachtman & Tom Skillman Jack & Joyce Walker

In Memory of William Haines Kimberley Haines In Memory of Carolyn Hoffman Anonymous (1) Karl & Diane Blust Carol Bower Karen K. Butler Roy Cooksey Paul & Eva Correll Pam Dager Barbara A. Griffin Linda W. Harmon Arden & Cathy Hoffman Rodney & Susan Hoffman Jane L. Keltsch Jennifer Keltsch Rebecca Klenke Shirlie R. Schmidt

In Memory of Lorene Kelley John Kelley

In Memory of Gerladine Raufer Ms. Nigel Perry In Memory of Darlene â&#x20AC;&#x153;Darâ&#x20AC;? Richardson Ginny & Nellie Bee Maloley Barrett McNagny Michael Mastrangelo Scott A. & Susan C. Miller In Memory of Donald F. Wood Anita & Bill Cast In Memory of Olga Yurkova Fred & Mary Anna Feitler Kenneth & Martha Johnson Carl & Jaci Reuter Paula Neale Rice Benjamin & Alexia Rivera

Prelude 85

FORT WAYNE PHILHARMONIC ENDOWMENT FUND

The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0770, or by email at info@fwphil.org for further information. SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See pages 70-71 for musician chair endowments. Chorus Director Podium Louise Bonter

Freimann Chamber Series In Memory of Frank Freimann

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

Youth Symphony Walter W. Walb Foundation

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Family Concerts Howard and Betsy Chapman Young People’s Concerts The Helen P. Van Arnam Foundation

Music Director Podium Ione Breeden Auer Foundation

Philharmonic Preschool Music Program Ann D. Ballinger

Guest Violinist Chair Nan O’ Rourke

Radio Broadcasts Susan L. Hanzel

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

Jane McInnis* Charlotte A. Koomjohn* Doris Latz* Betty Okeson*

JANUARY | FEBRUARY | MARCH 2020

Sanford Rosenberg* Lynne Salomon* Alice C. Thompson

MARK YOUR CALENDAR WITH OUR SUMMER PATRIOTIC POPS REGIONAL SERIES June 26, 2020 | 7:30 p.m. in DeKalb County DeKalb County Outdoor Theater in Auburn

July 2, 2020 | 7:30 p.m. in Steuben County Pokagon State Park in Angola

June 28, 2020 | 7:30 p.m. in Kosciusko County Oakwood Resort in Syracuse

July 4, 2020 | 8:30 p.m. in Noble County Bixler State Park in Kendallville

July 1, 2020 | 7:00 p.m. in Wells County Ouabache State Park in Bluffton

For more information, visit FWPHIL.ORG

Prelude 87

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DATE!

SAVE THE

Join us for a majestic evening in support of the Philharmonicâ&#x20AC;&#x2122;s vital education and community engagement programs for Northeast Indiana.

FRIDAY, JUNE 5, 2020 6:00 - 10:00 P.M. THE CLYDE THEATRE

TICKETS ON SALE APRIL 6, 2020 For details: fwphil.org/events/gala or contact Ann Cavalancia - acavalancia@fwphil.org