2015-2016 Prelude 3 by Fort Wayne Philharmonic

PRELUDE

FORT WAYNE PHILHARMONIC PROGRAM

JAN, FEB & MAR | 2016

LIMITED EDITION 2016

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PRELUDE FORT WAYNE PHILHARMONIC PROGRAM

V O L U ME 7 2 , NO . 3 2 0 1 5 / 1 6 S EA S ON JAN, FEB & MAR/2016

Editor: Brooke Sheridan Contributing Editors: Melysa Rogen, Jim Palermo, JIm Mancuso, Adrian Mann Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department, 4901 Fuller Drive | 260•481•0777 | fwphil.org. Printed by Keefer Printing Company, 3824 Transportation Drive | 260•424•4543. We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue. table of contents

5 Welcome Letter, Andrew Constantine 39 Marcy Trentacosti, Youth Concert Orchestra Director 39 Yout Concert Orchestra Roster 56 The Phil Friends 58 Andrew Constantine, Music Director 60 Chia-Hsuan Lin, Assistant Conductor 61 Benjamin Rivera, Chorus Director

ARTIST BIOS

12 Boris Slutsky, piano 23 John Varineau, conductor 24 Jake Shimabukuro, ukulele 33 Alexia Kruger Rivera, soprano 33 Sarah Ponder Brock, mezzo-soprano 34 Erich Buchholz, tenor

63 Board of Directors 63 Administrative Staff 64 Orchestra Roster 66 The Phil Chorus Roster 67 Series Sponsors 69 Donors 73 Sponsors

34 Daniel Eifert, bass 38 Christopher J. Murphy, narrator 45 Jodie DeSalvo, piano 54 Martin Herman, conductor 54 Classical Mystery Tour

9 MASTERWORKS midwinter mozart SATURDAY, january 23 17 FREIMANN MOZART'S CLARINET QUINTET WEDNESDAY, JANUARY 27 SUNDAY, JANUARY 31 21

POPS JAKE SHIMABUKURO: UKULELE WIZARD SATURDAY, JANUARY 30

CHAMBER royal mozart SATURDAY, february 6

FAMILY young person's guide to the orchestra Sunday, february 14

MASTERWORKS AN EVENING WITH GEORGE GERSHWIN SATURDAY, FEBRUARY 20

49 FREIMANN BARTÓK'S STRING QUARTET NO. 6 WEDNESDAY, MARCH 2 SUNDAY, MARCH 6

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POPS CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLES SATURDAY, MARCH 5

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WELCOME FROM THE MUSIC DIRECTOR And as if by magic we find ourselves at the mid-point of the Fort Wayne Philharmonic’s 2015/16 season. How did that happen? So much great music behind us yet, thankfully, so much truly wonderful music still to come. With this is the enormously encouraging fact that more and more people are discovering the beauty of live music making from your orchestra. Ticket sales and attendance this year are showing a dramatic increase over recent years. There’s nothing that I and the musicians enjoy more than performing for the appreciative audience that you are. However, the growing attendance causes us all to feel even more certain that what we bring to the community, all the energy and commitment we put into our preparation, is becoming more and more recognized and more and more valued. Thank you for being our loyal advocates and supporters!

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Masterworks audiences in this period enjoy two evenings devoted entirely to the music of one composer. Dangerous programming you might think but when it’s two enormously popular figures such as Mozart and Gershwin, I think we all know that we are in for a very special evening. As part of our Midwinter Mozart Festival I have the privilege of leading the orchestra in a selection of his greatest works including, the Symphony No. 40 and the Piano Concerto No. 21 with my good friend and one of the most thoughtful musicians I know, Boris Slutsky. On February 20th we welcome back Chia-Hsuan Lin to conduct a program of Gershwin greats to include, of course, Rhapsody in Blue with Fort Wayne favorite Jodie de Salvo as soloist, as well as An American in Paris and selections from Porgy and Bess! If you’ve never heard Jake Shimabukuru before, give yourself the earliest Christmas present ever and get along to the Embassy Theatre on January 30th! The ukulele has never sounded like this before, as audiences around the world will testify. Jake brings a selection of some of his most popular numbers whilst John Varineau leads the orchestra in a beautiful medley of orchestral favorites. Then, whilst still intended for our “Pops” audience, though I suspect the Embassy will be ‘packed to the gunnels’, we move ahead to March 5th and a very special evening. A CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLES is one of the most popular and successful tribute shows ever. I can only imagine how much fun this is going to be - and I know how Fort Wayne loves its Brits! Jumping back in the calendar somewhat, February 6th brings an intimate evening at the First Wayne Street Methodist Church with the Philharmonic and Philharmonic Chorus. Our tremendous chorus master, Benjamin Rivera, leads a program ‘under Royal construction’ to include Beethoven’s King Stephen Overture, Handel’s Coronation Anthem Zadok the Priest and Mozart’s Coronation Mass. Becoming even more intimate, our Freimann concerts in this period include January 27th and 31st (Fort Wayne History Center at 7:30pm and Rhinehart Recital Hall at 2:30pm ) for more of our Mozart Midwinter Festival when you can hear the truly sublime Clarinet Quintet and March 2nd and 6th (Fort Wayne History Center at 7:30pm and Rhinehart Recital Hall at 2:30pm ) when the Freimann Quartet will dazzle you with Bartok’s String Quartet No.6!

And let the music set you free. Have you heard? Listening to your favorite tunes is actually good for you, helping to lower stress levels and increase endorphins. It’s one easy thing you can do right now to improve your wellbeing. For more healthy ideas, log on to parkviewGO.com.

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Finally, another one of our offerings which is growing in popularity is the Family Series and on February 14th you can treat yourself (and your young ones!) to Britten’s A Young Person’s Guide to the Orchestra. This is one of those rare things, a masterpiece which both informs, entertains and uplifts. That’s 2:00pm at the Auer Performance Hall in IPFW. More musical gems from your Fort Wayne Philharmonic. I’ll see you there!

Andrew Constantine.

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C o mi n g S o on ...

2016 | 2 0 1 7 s e aso n to be a n n ou nce d i n f e b ruary 201 6

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midwinter mozart Sponsored by 80/20 Inc. Saturday, January 23 | 7:30 P.M. Rhinehart Music Center, IPFW Andrew Constantine, conductor Boris Slutsky, piano MOZART

Overture to Don Giovanni, K. 527

MOZART Concerto No. 21 in C major for Piano & Orchestra, K. 467 Allegro maestoso Andante Allegro vivace assai Boris Slutsky, piano

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MOZART Symphony No. 40 in G minor, K. 550 Molto allegro Andante Menuetto: Allegretto Allegro assai Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, February 4 at 7:00 P.M.

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SATURDAY, january 23, 2016

Overture to Don Giovanni, K. 527 Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) In 1786, just as Mozart’s popularity in Vienna went into a slump, the city of Prague, capital of the then-Austrian province of Bohemia, came to the rescue. Mozart’s new comic opera The Marriage of Figaro had been such a spectacular success at the Prague Opera House that the city’s musical leaders begged the composer to visit as soon as possible. Arriving in early January 1787, he found the city gripped by Figaro-mania. He described a ball given in his honor: “I looked on … with the greatest pleasure while all these people flew about in sheer delight to the music of my Figaro, arranged for contradances and German dances. For there, they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. … Certainly a great honor for me!” Not surprisingly, the Prague Opera House offered a commission for a new opera, and it turned out to be one of his greatest masterpieces: Don Giovanni, premiered in Prague on October 29, 1787. The story of Don Juan, the prodigious Spanish womanizer who seduces thousands of women throughout southern Europe, dated back at least to the late 16th century. The great French dramatist Molière created a play about him in the 17th century, and in the 18th, the composer Glück composed a ballet score while the forgotten Giuseppe Gazzaniga had produced a one-act opera in Venice earlier in 1787. Librettist Lorenzo Da Ponte actually cribbed from Gazzaniga’s libretto to create his longer story for Mozart. Da Ponte and Mozart called their work a “dramma giocoso” because, to an unprecedented degree, it combined comedy with a very serious drama of crime and punishment. In the opera’s first scene, the Don is discovered escaping from the bedchamber of the noble Donna Anna, with both the lady and her father, the Commendatore, in furious pursuit. Both men draw their swords, and the Don kills the older man. Through the remainder of the plot, Donna Anna and her fiancé, Don Ottavio, trail the libertine seeking revenge. But it is the ghost of the Commendatore himself who brings divine retribution. In a fit of bravado, Don Giovanni invites his memorial statue to supper. To the horror of the Don’s comic servant, Leporello, the statue appears at the appointed hour and drags his murderer down to Hell.

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In its two parts, the opera’s riveting overture encapsulates both the tragic and the comic aspects of this dramma giocoso. First, we hear a slow introduction in D minor, full of darkness and foreboding. Its whirling scale passages terrifyingly portray the supernatural forces that will ultimately destroy the Don; this music will return in the opera’s final scene when Don Giovanni meets his doom. Then the tempo accelerates to Allegro, and the key brightens to D Major for music of comic verve. But it also has more weight than do the overtures for Mozart’s more purely comic operas and with its dashing fanfares seems a portrait of the virile Don himself.

Concerto No. 21 in C major for Piano & Orchestra, K. 467 Wolfgang Amadeus Mozart

During the concert season of 1784–85, Mozart was at the peak of his popularity as a piano virtuoso in Vienna. And unlike today’s concert pianists, he created his own repertoire. From 1784 to 1786, the continual demand for new works with which to dazzle his audiences brought forth 12 of the greatest piano concertos ever written — concertos in which Mozart was not content simply to cater to popular taste. Instead, he enjoyed stretching both himself and his audiences, and his Piano Concerto in C Major, K. 467 is a splendid example of his ability simultaneously to seduce and challenge his listeners. Even before Swedish director Bo Widerberg made its slow movement the theme music of his film Elvira Madigan in the 1970s, this was one of the most popular of Mozart’s concertos. But when it was premiered on March 10, 1785, the composer’s father, Leopold, was so alarmed by its dissonance that he thought the overworked copyist must have made an unusual number of mistakes. After all, his son was notorious for barely meeting his deadlines and had just completed the score the day before the premiere. But the notes were correct. In the sublime slow movement, Mozart demonstrated what the poet Baudelaire put into words a century later: “The Beautiful is always strange.” This second movement is a soaring aria sung by pianist and orchestra, always hushed and breathing a nocturnal, dreamlike atmosphere. The orchestration is exquisite: muted strings magically blended with poignant woodwinds. But listen closely: in this song without words, soothing

consonances constantly tumble into dissonances. Its harmonies always yearn toward keys far from the home key of F major. And its gentle flow is troubled by a nervous accompaniment. Of course, this concerto also has two other movements, and the first especially matches the slow movement’s greatness. Expansive and leisurely, it is a remarkably subtle military march, with its stealthy opening “a tiptoed march in stocking feet” (Cuthbert Girdlestone). Listen for the charming gesture of oboe, bassoon, and flute gently beckoning the pianist onto the stage for his first solo. The finale is a comic-opera rondo with a sly refrain and merrily mischievous contributions from the woodwinds. Here Mozart wakes his audience from the yearning dream of his slow movement and sends them home smiling. Symphony No. 40 in G minor, K. 550 Wolfgang Amadeus Mozart During the summer of 1788 in an amazing burst of inspiration spanning just six weeks, Mozart composed his last three symphonies: No. 39 in E-flat major, No. 40 in G minor, and No. 41 (“Jupiter”) in C major. Ironically, this creative surge occurred during a low ebb in the composer’s fortunes. His popularity with the Viennese public as a pianist and a composer had waned, pupils were scarce, a major court appointment was still beyond his grasp, and he had begun to borrow large sums of money from his Masonic brother Michael Puchberg to support his wife and children — and a rather extravagant lifestyle. To add to Mozart’s frustrations, it seems that plans for the concerts to premiere these magnificent new works — the crown of his symphonic achievement — eventually fell through; today it is not clear when, if ever, in his lifetime the last three symphonies were performed. However, Mozart/Haydn scholar H.C. Robbins Landon believes there is evidence that the G-minor Symphony may have been performed at concerts in April 1791, if not at an earlier date as well. Of the last three symphonies, only the G minor seems to reflect the turmoil Mozart was actually experiencing in his life as he wrote it. Its minor key — unusual for Mozart outside of his operas — harmonic daring, and pervading spirit of anger, pain, and unrest set this symphony apart from its fellows. Mary Ann Feldman, former annotator for The Minnesota Orchestra, believes that in this symphony the composer was also reacting to larger cultural and political issues beyond his own personal situation. “The Symphony No. 40 was composed on the eve of the French

Revolution. Another year, and the Bastille would fall. Something of the defiance and unrest of that epoch, if not Mozart’s darkest inner thoughts, resonates at least as an undercurrent of this symphony. He may have been apolitical, but he was nevertheless an artist of the times. Moreover, he had not gone untouched by the Sturm und Drang movement that pervaded German art in the late 1770s and ‘80s. The descriptive label ‘Storm and Stress,’ borrowed from a drama of that period, evokes the impassioned subjectivity and brooding atmosphere of this aesthetic, the harbinger of Romanticism.” In the opening bars of the Molto Allegro first movement, an agitated rocking figure for the violins, on the chromatic half step of E-flat to D, launches us immediately into a world of “storm and stress.” Such chromaticism will be the watchword for the entire symphony, used both in melodic patterns for the various instruments and in harmonic movement. For instance, at the opening of the development section of this sonata-form movement, listen for Mozart’s sudden careening off to F-sharp minor — tonally about as far away from the home key of G minor as one can wander — followed by a passage of sinking chromatic modulations that sounds as though the whole orchestral machine were being rapidly unwound. Even the recapitulation abounds with surprises, including a sly moment of tonal uncertainty just before the final cadence. Pathos mingles with beauty in the Andante second movement in E-flat major, also a sonata form. The graceful flourishes that conclude the principal theme at first sound charmingly ornamental, but by the time Mozart has finished working them over in the development section, they have been transformed into audible tears of pain. Lovely passages for the woodwinds also adorn this movement. The G-minor third movement is no courtly minuet; instead, it is a dance of defiance. Mozart seems very much the rebellious courtier here; the violins and bassoons are determinedly out of step with the rest of the ensemble, producing some violently accented dissonances that seem to say: “If I have to play your game, I’ll play it my way.” By contrast, the gentle trio section with its exquisite woodwind writing is the only wholly untroubled section of the entire symphony. In keeping with the spirit of the rest of the work, the Allegro assai finale is not a playful rondo, but another aggressive sonata form. The pert, upward-shooting principal theme, played softly by the violins, is immediately answered by stormy scolding from the full ensemble. The development section is introduced by a nosethumbing gesture in the tough-minded spirit of Beethoven, as the whole ensemble in unison marches angrily away from the key of B-flat.

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More astonishments follow in the contrapuntally enriched development before the recapitulation wraps up the work in a mood that is more black comedy than high spirits.

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artist biography boris slutsky piano masterworks

Consistently acclaimed for his exquisite tonal beauty and superb artistry, Boris Slutsky emerged on the international music scene when he captured the first prize – along with every major prize including the Audience Prize and the Wilhelm Backhaus Award – at the 1981 William Kapell International Piano Competition at the University of Maryland. His other accomplishments include first prizes at the Kosciuszko Chopin Competition, the San Antonio International Competition and major prizes at the International Bach Competition in Memory of Glenn Gould, the Busoni, the Rina Sala Gallo and the Ettore Pozzoli International Piano Competitions. Since his orchestral debut at Carnegie Hall with the New York Youth Symphony in 1980, Mr. Slutsky has appeared on nearly every continent as soloist and recitalist, collaborating with such eminent conductors as Valery Gergiev and Dmitri Kitaenko. He has performed with the London Philharmonic, Stuttgart State Orchestra and the Deutsche Kammerphilharmonie Neuss am Rhein in Germany, the Bern Symphony Orchestra in Switzerland, Bergen Philharmonic Orchestra in Norway, RAI Orchestra in Italy, KBS Symphony Orchestra in Korea, and other major orchestras in Spain, Russia, Columbia and Brazil. In South Africa, he has been a soloist with the orchestras of Cape Town, Durbin and Johannesburg. His North American engagements have included concerts with the Baltimore, Florida, Utah and Toronto symphonies. Mr. Slutsky has been heard on recital series throughout the US, Canada, Europe, Latin America and the Far East, making appearances at the Kennedy Center for the Performing Arts, the Kaufmann Concert Hall, the Bunka

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Kaikan in Tokyo, Japan, the National Concert Hall in Taipei, Taiwan, the Performing Arts Center in Seoul, Korea and the Teatro Colon in Bogota. Mr. Slutsky is an avid chamber musician, and his more than three decades of chamber music collaborations include the critically acclaimed Naxos recording of Schumann’s Sonatas for Violin and Piano with Ilya Kaler as well as performances with many renowned artists. A new solo recording was released in 2014. Mr. Slutsky has presented masterclasses throughout North America, Europe and Asia and has served as a jury member for many international competitions. Born into a Moscow family of musicians, Mr. Slutsky received his early training at Moscow’s Gnessin School for Gifted Children as a student of Anna Kantor. He completed his formal studies at the Juilliard School and the Manhattan School of Music, studying with Nadia Reisenberg, Nina Svetlanova, John Browning and Joseph Seiger. In addition, he has worked for many years with his mentor, Alexander Eydleman. Boris Slutsky joined the faculty of the Peabody Conservatory in 1993 where he currently serves as chair of the piano department.

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M I D W I N T E R M O Z A R T F E S T I VA L B y J i m Pa l e r m o, M a n ag i n g D i r e c to r

The Philharmonic’s Midwinter Mozart Festival combines a compelling variety of genres and styles, offering audiences an immersion into the breadth and depth of the composer’s music. Full orchestra, chamber orchestra, and chamber music works appear over the three separate programs. Featured are the chorus and chamber orchestra in the Mass in C Major, KV 317, “Coronation Mass”; the full orchestra performing an opera overture, a piano concerto, and one of Mozart’s most famous symphonies - his 40th - and a chamber music concert featuring the sublime Clarinet Quintet.

Mozart’s output was enormous, he had an amazing and wicked sense of humor, and lived like a rock star, even when he couldn’t afford it. Imagine all of this from a composer who died when he was just 35 years old. One can only imagine what Mozart would have produced had he lived longer.

The juxtaposition of these different genres, varying styles, and different instrumentations in various performance venues (Embassy Theatre, First Wayne Street United Methodist Church, History Center, and Rhinehart Recital Hall) will afford listeners the opportunity to hear selected works performed in acoustics similar to those for which they were written.

"A phenomenon like Mozart remains an inexplicable thing." (Johann Wolfgang von Goethe, Writer and Statesman)

Why is Wolfgang Amadeus Mozart so revered? We know Mozart was exceptionally proficient at everything he undertook and somewhat of a celebrity during his day. A prodigious wunderkind, he toured throughout Europe as a child performer, and became famous when he transcribed Gregorio Allegri’s secretive masterpiece, Miserere mei, Deus, from memory during Holy Week at the Sistine Chapel. He was later summoned by the Pope who marveled at his brilliance. Mozart’s facility and speed as a composer was legendary. He would create and edit works in his head, then flawlessly transcribe them onto musical scores, without error. The remarkable range of his work encompasses vocal arias, operas, concertos, symphonies, sonatas of every description, other chamber music, and choral compositions. Mozart wrote great, memorable, singable tunes, and his music is filled with countless transcendent moments. From his Eine Kleine Nachtmusik, the Magic Flute, and Clarinet Concerto, to the quartets, serenades, masses, and symphonies, there is hardly a work that isn’t considered a masterpiece.

His peers, contemporaries, and musical heirs sum up his art best in the following quotes:

"21 piano sonatas, 27 piano concertos, 41 symphonies, 18 masses, 13 operas, 9 oratorios and cantata, 2 ballets, 40 plus concertos for various instruments, string quartets, trios and quintets, violin and piano duets, piano quartets, and the songs. This astounding output includes hardly one work less than a masterpiece." (George Szell, Music Director, Cleveland Orchestra) "Mozart’s music always sounds unburdened, effortless, and light. This is why it unburdens, releases, and liberates us." (Karl Barth, Theologian) "The sonatas of Mozart are unique: too easy for children, too difficult for adults. Children are given Mozart to play because of the quantity of notes; grown ups avoid him because of the quality of notes." (Artur Schnabel, Pianist) Special thanks to Ales Pancner for allowing the Philharmonic to reprint his image of Mozart in celebration of this Mozart Festival. (PIctured right) (pancnersart.com)

mozart's clarinet quintet Sponsored by Fort Wayne Metals Wednesday, January 27 | 7:30 P.M. Fort Wayne History Center Sunday, January 31 | 2:30 P.M. Rhinehart Music Center, IPFW MOZART Flute Quartet in D major, K. 285 Allegro Adagio Rondo Luke Fitzpatrick, flute David Ling, violin Derek Reeves, viola Andre Gaskins, cello MOZART Quintet for Piano and Winds in E-flat major, K. 452 Largo - Allegro moderato Larghetto Rondo: Allegretto Orion Rapp, oboe Campbell MacDonald, clarinet Michael Lewellen, horn Dennis Fick, bassoon Alexander Klepach, piano

On behalf of our employees, Fort Wayne Metals is proud to sponsor the Fort Wayne Philharmonic.

MOZART Clarinet Quintet in A major, K. 581 Allegro Larghetto Menuetto Allegretto con variazioni Campbell MacDonald, clarinet David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

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wednesday, january 27 & sunday, january 31, 2016

Flute Quartet in D major, K. 285 Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) This piece, written in 1778 during Mozart’s travels through Mannheim, Germany, came to be via a commission from the gifted amateur flautist Ferdinand de Jean. Mozart admittedly wasn’t crazy about the flute as an instrument but took the commission from de Jean being always desperate for paying gigs. The job order was to include three of these quartets, and a set of concerti, although one of these ended up being just a transcription of an oboe concerto of his. The two didn’t exactly see eye to eye and de Jean ended up only paying Mozart half of the commission. Luckily for de Jean, and for this evening’s audience, it was never in Mozart’s style to phone it in. Even if the flute wasn’t his favorite he could still compose for the instrument with style and grace. It definitely takes center stage in this work accompanied by violin, viola and cello. The first movement is a bright and stately Allegro. The second is a darker adagio in B Minor, that opens with the flute melody accompanied by plucked (“pizzicato”) strings. The ending movement is another Rondo returning to the energy of the first movement. In this movement, Mozart makes the strings and the flute more directly play off each other with lots of movement in the lower strings to create forward momentum. Quintet for Piano and Winds in E-flat major, K. 452 Wolfgang Amadeus mozart This quintet, a work written in 1784, five years before the clarinet quintet, shows just how fond Mozart was of wind instruments. After finishing this particular quintet, Mozart even exclaimed to his father Leopold that this was the best work he had ever written. It may have helped that Mozart was in a better place at this point for he was holding regular subscription concerts and performing and premiering new works often. The music reflects the energy of the young composer and the sunny disposition frequently associated with Mozart. The quintet consists of piano, oboe, clarinet, horn and bassoon and is organized into three movements. The first opens slowly but develops into a charming allegro moderato. The second is a fairly traditional slow movement found in Mozart’s works, a

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larghetto that moves along at a comfortable walking pace. The third movement is a rondo, which means the initial “rondo” theme is returned to frequently with other melodies introduced in between statements of the rondo. Mozart’s treatment of the instruments, particularly in regards to the piano, is quite different than in many other chamber works featuring the piano. Here the piano serves as an equal partner where in his other chamber works it tends to hog the spotlight. Clarinet Quintet in A major, K. 581 Mozart, Wolfgang Amadeus The music smiles through the tears… H.C. Robbins Landon made this observation in his biography Mozart: the Golden Years. This sentiment sums up what was considered one of Mozart’s most difficult years. His career was at a low point. His status was far from the upper circles of Viennese cultures and he was scraping by with composing substitute arias for other composers’ operas for very little compensation and no credit. Add to that failing health and the death of his fifth child and it made for some dark times. It is that backdrop that gives his clarinet quintet, written in 1789, its somber quality despite being in a major key. The work is intricately composed for all parts with the string quartet providing an equal partner to the clarinet, yet the ear can’t help but constantly shift to the reed instrument as the star of the show. It wasn’t until Mozart had heard the potential of the clarinet as performed by his friend Anton Stadler that he decided to help put the instrument on the map with several compositions including this quintet, a trio with piano and viola, and a concerto. Many credit Mozart for helping make the clarinet the staple member of the orchestra it has become. The quintet is in four movements and opens with a lush, almost romantic allegro. The second is a beautiful and serene larghetto movement in D Major, and the third is a slightly more optimistic menuetto and trio. It isn’t until the last movement, a theme and variations, where Mozart’s charm and wit finally return to full form for a light-hearted finale. Notes by Ed Stevens copyright 2015

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jake shimabukuro: ukulele wizard Sponsored by Franklin Electric Saturday, January 30 | 7:30 P.M. Embassy Theatre John Varineau, conductor Jake Shimabukuro, ukulele Nolan Verner, bass BADELT

Pirates of the Caribbean

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Selections to be announced from the stage

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CANTERBURY SCHOOL Make the connection. Schedule a tour today! 260.407.3553 canterburyschool.org/arts

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artist biography john varineau conductor Pops

John Varineau is in his thirty-first season as the associate conductor of the Grand Rapids Symphony. He conducts that orchestra in nearly all of its varied programming, from classical to pops, and all of its educational programs. He is the conductor of the Grand Rapids Youth Symphony and Classical Orchestras, and he conducts for the Grand Rapids Ballet.He was the Music Director of the Holland Chamber Orchestra (now the Holland Symphony Orchestra) for four years. He has conducted the Detroit Symphony, Indianapolis Symphony, Duluth-Superior Orchestra, Traverse City Symphony, Alabama Symphony, Arkansas Symphony, Kalamazoo Symphony, and the Oklahoma City Philharmonic. He is the program annotator for the Grand Rapids Symphony, the Lansing Symphony, the Richmond Symphony, and the San Antonio

Symphony. Mr. Varineau grew up in the state of Wyoming and studied at Michigan State University, the University of Wyoming, and Yale University. In addition to his professional duties as conductor, he is an adjunct professor at Calvin College, where he conducts the college orchestra and teaches clarinet.

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Consider the humble ukulele. It’s an adaptation of a stringed instrument that traveled with Portuguese immigrants who came to work in the sugar cane fields of Hawaii. Islanders made the “machete” their own, mixing external influences of classical European music and Spanish guitar with Hawaiian songs. Native Hawaiians renamed the little machete the ukulele and it’s become synonymous with Hawaiian music and Hawaiian culture. Jake Shimabukuro comes from that same process of mixing both island and outside influences, both modern and historical. He’s combined the qualities of a long line of virtuoso ukulele players with modern rock musicians to create a sound that’s uniquely his own but still firmly grounded in Hawaiian tradition. Growing up in Hawaii, Jake’s influences include legendary ukulele players like Eddie Kamae, Ohta-San and Peter Moon. Jake also credits icons like Bruce Lee and Michael Jordan as a source of inspiration. Known for his energetic strumming on the ukulele, Jake’s performance incorporates elements of thoughtful, sophisticated arrangements to spontaneous, improvised passages. In addition to his original compositions, his repertoire includes Queen’s "Bohemian Rhapsody," Schubert’s "Ave Maria" and Cohen’s "Hallelujah." Born and raised in Honolulu, Hawaii, Jake’s life has always centered on the ukulele. He started playing at the age of four, urged by his mother who also played. Jake began his music career in the mid-90’s, performing at local coffee shops as a sideman with his first band, Pure Heart. But Jake’s solo career began in 2002 when he signed with Epic Records, becoming the first ukulele player to sign with Sony Music. While his wellreceived solo releases positioned Jake as an established musician in Hawaii and Japan, his career skyrocketed when a cover of “While My Guitar Gently Weeps” went viral on YouTube with more than 13 million views, opening the rest of the world’s eyes to Jake and his unique playing style. In the years since the YouTube clip aired, Jake has collaborated with an array of artists that include Yo-Yo Ma, Jimmy Buffett, Bette Midler, Cyndi Lauper, Jack Johnson, Ziggy

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THE

POPS SERIES Marley, Dave Koz, Michael McDonald, Bela Fleck and The Flecktones, Tommy Emmanuel, and Lyle Lovett - as well as orchestras around the world. He’s sold out world-class venues, played at Bonnaroo, SXSW, the Playboy Jazz Festival, Fuji Rock Festival, the influential TED conference, and even performed for Queen Elizabeth II at the Royal Variety Performance in Blackpool, England. He has topped Billboard’s World Music Chart numerous times, been declared a musical “hero” by Rolling Stone Magazine, which also stated: “one of the hottest axemen of the past few years doesn’t actually play guitar.” He has also won accolades from the disparate likes of Eddie Vedder who states: “Jake is taking the instrument to a place that I can’t see anybody else catching up with;” been talked about by Perez Hilton and Dr. Sanjay Gupta, wowed audiences on national TV with appearances on “Jimmy Kimmel Live,” “Late Night with Conan O’Brien,” “Good Morning America,” and “The Today Show,” and along the way has earned comparisons to musical innovators such as Jimi Hendrix and Miles Davis.

We’re honored to sponsor the Pops Series and hope you enjoy these exciting performers in concert with the Fort Wayne Philharmonic. Sweetwater is committed to the arts in our community, and we thank you for supporting the Sweetwater Pops Series.

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Jake has been the subject of an award winning documentary “Jake Shimabukuro: Life On Four Strings,”currently on Netflix. Jake also travels to schools around the world and spreads positive messages to young people, encouraging them to find their passion and live drug-free. Although he is constantly touring, playing 140 shows a year, Jake and his family continue to make Hawaii their home. Official Website: www.jakeshimabukuro.com. We have an amazing selection of digital and acoustic pianos.

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Sponsored by Janice Eplett Saturday, February 6 | 7:30 P.M. First Wayne Street United Methodist Church Benjamin Rivera, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Members of the Trine University Concert Choir, Kristofer Sanchack, director Alexia Kruger Rivera, soprano Sarah Ponder Brock, mezzo-soprano Erich Buchholz, tenor Daniel Eifert, bass

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BEETHOVEN Overture to King Stephen, Op. 117 HANDEL Royal Fireworks Music, HWV 351 Overture Bourrée La Paix La Réjouissance Menuet I & II HAYDN

Symphony No. 45 in F-sharp minor "Farewell"

-- Intermission --

HANDEL

Zadok the Priest (Coronation Anthem No. 1), HWV 258

MOZART Mass in C major, K. 317 "Coronation" Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

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CHAMBER PROGRAM NOTES chamber orchestra series chamber

saturday, february 6, 2016

Overture to King Stephen, op. 117 Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) Both many portraits and the character of some of his music have imprinted Beethoven as “the man with the scowl” on our collective imaginations. But anyone who doubts the composer had a sense of humor should listen to the opening of his King Stephen Overture. Its portentous opening chords leading to one of the silliest little tunes ever composed is as good an example of comedy in music as anything by Peter Schickele (aka P.D.Q. Bach). This overture plus nine other numbers was created in a bout of high-speed composing during the late summer of 1811 along with the overture and incidental music for The Ruins of Athens. Both King Stephen or Hungary’s First Benefactor (to give the full title) and The Ruins of Athens were brief festival plays written by August von Kotzebue to celebrate the opening of the new theater in Pest, Hungary that autumn. Both plays paid obsequious tribute to the Austrian Emperor Franz I, who was also emperor of Hungary. Canonized as a saint in 1803, Stephen was Hungary’s national hero, crowned king in 1000 A.D. and subsequently converting his people to Christianity. The subtitle “Hungary’s First Benefactor” implied that Franz I, who would be attending the performance, was the country’s modern benefactor. Beethoven obviously did not take this commission as an opportunity for musical profundity. Vacationing at the Bohemian health spa of Teplitz, he was enjoying one of the happiest summers of his life, and the Overture’s music reflects that mood. He seemed to be mocking his own heroic style with those fateful opening chords. And as the music warms to Presto, a fiery syncopated tune in the Hungarian style takes the stage. Without development or emotional complexities, the music sails on to a bombastic finish, topped off with a crowdpleasing drum roll.

Even without the extra instruments, this is the grandest instrumental work Handel ever wrote and sums up the splendor of Baroque music just as it was about to yield to the cooler Classical style. Its most glorious movement is its Overture in the ceremonial French ouverture style: an opening slow section with stately double-dotted rhythms, followed by a faster section. Usually, the fast section would be highly contrapuntal, even fugal in character. However, knowing that the interplay of so many separate voices would produce a muddle in an outdoor situation, Handel instead stressed splendid antiphonal effects between the different instrumental groups. Then follows three short dances —a bourrée (a lively French dance in two beats) and two minuets — as well as two character pieces — La Paix, in which peace is illustrated in a gently rocking pastorale, and the brilliant La Réjouissance (“Rejoicing”). Handel emphasized the contrasting colors of his large ensemble by specifying different scoring for the repeated passages.

Royal Fireworks Music, HWV 351

Symphony No. 45 in F-sharp Minor, “Farewell” Franz Joseph Haydn (b. 1732, Rohrau, Austria, d. 1809, Vienna, Austria)

By 1749, when he wrote his Royal Fireworks Music, Handel was 64 and the acknowledged monarch of British music. This score of

In 1766, Joseph Haydn was promoted to the post of Kapellmeister, in charge of all musical activities at the court of Prince Nicolaus Esterházy. The splendor of the Esterházy establishment rivaled, if not exceeded, that of the Austrian Imperial

George Frideric Handel (b. 1685, Halle, Saxony, Germany; d. 1759, London, England)

unparalleled instrumental splendor was created for a spectacular fireworks display in London to celebrate the Treaty of Aix-la-Chapelle, ending nearly a decade of war — known as the War of the Austrian Succession — between Great Britain and Austria on one side and France, Spain, and various German principalities on the other. For months, an elaborate Palladian edifice was constructed in the city’s Green Park as a backdrop for the fireworks. George II insisted that Handel’s music (which was to be performed before not during the fireworks) be written only for “warlike instruments”: trumpets, horns, and drums. Handel, however, was stubborn enough to override his majesty’s wishes and include strings as well. For this first performance on April 27, 1749, the orchestra consisted of 24 oboes, 12 bassoons, nine horns, nine trumpets, three sets of timpani, and strings. When Handel performed the music at an indoor concert the next month, he significantly reduced the number of wind players.

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Court itself. Already possessing a palace at Eisenstadt on the Hungarian border and a vast town house in Vienna, Prince Nicolaus about this time transformed a modest hunting lodge on the muddy plains of Hungary into a glorious rococo palace emulating Versailles. Named Esterháza, it contained a 400-seat opera house with all the latest stage equipment, a marionette theater, a chapel, and two magnificent concert halls. Haydn was expected to write music for all these venues, lead an orchestra composed of some of Europe’s finest virtuosos, as well as carry out all the day-to-day administrative tasks. It was a job for a superman, but Haydn promptly rose to the challenge. Despite all the claims on his time, his creative genius burst into full flower, producing symphonies and chamber music that set new standards for his period. As Jens Peter Larsen writes, “The symphony was by this time more or less established as an elegant piece of entertainment for a noble audience, and Haydn had the courage to write symphonies that were completely different.” Haydn’s risk-taking and originality can be found especially in the remarkable symphonies in minor keys he wrote between 1768 and 1774. One of the greatest of them is Symphony No. 45, now known as the “Farewell” Symphony, which became even more famous because of the fascinating story tied to its composition. Prince Nicolaus became increasingly fond of his remote Esterháza palace and spent longer and longer periods there. Since the musicians’ families were not allowed to come with them to Esterháza, this imposed a severe hardship on them. Finally, after a particularly lengthy season in 1772, they appealed to Haydn to intercede with the prince on their behalf.

of intense, even melodramatic feeling. Over an agitated syncopated accompaniment, the principal theme in the violins marches angrily down the notes of an F-sharp-minor chord. Wild harmonic clashes and sharp accents abound. After the development section is underway, Haydn pulls one of his surprises by inserting a charming, relaxed second theme as a shelter from the storm before the agitated music returns. Played with mutes on the violins to soften their sound, the Adagio second movement is as hesitant and reticent as the first movement was vigorous and assertive. Though it is filled with timid short-long rhythms and sustained notes that seem reluctant to move forward, this movement gains strength from its adventurous harmonies. Moving to another extremely rare key for the 18th century, F-sharp major, the third-movement minuet alternates dramatically between loud and soft dynamics and between straightforward rhythms and those that obscure the regular beat. The horns lead off the middle or trio section, which uses an old Gregorian-chant melody Haydn had earlier included in his Symphony No. 26, “Lamentation” — perhaps another reference to his musicians’ unhappiness. The finale begins in the style all symphonic final movements followed in Haydn’s day: high-speed, energetic music with a positive outlook. But after three minutes, it comes to an unexpected halt. Then begins a new phase: a tenderly melancholic Adagio in the key of A major. As this lovely music repeats, each musician plays a little “goodbye” solo and departs the stage; the woodwinds leave first, then the double bass leads off the departure of the strings. The surviving two violinists place mutes on their instruments to give them an even more plaintive sound. What an elegant way to send a message to a reluctant prince!

Haydn came up with an ingenious idea to get the prince’s attention: he devised a final movement for his latest symphony that graphically illustrated his players’ unhappiness and yearning for home. Partway through the finale, the music switched to a melancholy Adagio during which one player after another abandoned his part, blew out the candle at his music stand, and departed from the ensemble. Finally, only two violinists remained to finish the symphony: Haydn himself and his concertmaster Luigi Tomasini. As Haydn headed for the door, Prince Nicolaus rose and stopped him. “I have realized your intention; the musicians are longing for home,” he said. “Well, tomorrow we pack up.”

Zadok the Priest (Coronation Anthem No. 1), HWV 258 George Frideric Handel

But the “Farewell” Symphony is more than this wonderful gimmick. It is a stunningly dramatic work, in which Haydn plays daringly with symphonic form, rhythmic motion, and harmony in every movement. And it uses a key — F-sharp minor — never before chosen for a symphony in the 18th century; in fact, the Esterháza blacksmith had to build special attachments for the horns in the orchestra so they could play in this key. The Allegro assai opening movement is full

In 1727, Handel’s old patron King George I unexpectedly died, but the composer found just as much favor with his son and heir. The new George II immediately commanded that Handel write the music for his coronation ceremonies, which were held on October 11, 1727 in Westminster Abbey. And he gave the composer

There was no composer in 18th-century England who could create grander music for royal ceremonial occasions than George Frideric Handel, and at this concert, we shall hear two spectacular examples: Zadok the Priest and the Royal Fireworks Music.

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a free hand in choosing what to write and even to selecting the texts. The result were the four Coronation Anthems, of which Zadok the Priest is the most dramatic and popular. After its 1727 debut, it has been used in every subsequent British coronation including that of Elizabeth II. Zadok was intended for the ceremony of the anointing of the king, the last act before the actual crowning. Its text comes from the chronicle of King Solomon’s coronation in First Kings. The key is D Major, a key for splendid effects in 18th-century music because it ideally suited the trumpets of the period. Handel cannily set up its dramatic coup by opening with a quiet prelude of pulsing arpeggios in the strings, which gradually crescendos until the magnificent explosion at the entrance of the full seven-part chorus, now bolstered by trumpets and timpani. Handel biographer Donald Burrows likens it to “a slow parting of theatrical curtains.” Mass in C Major, K. 317, “Coronation” Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) Considered by many scholars to be Mozart’s finest complete mass setting (both the later Mass in C minor and the Requiem were not finished), the “Coronation” Mass was composed in March 1779 shortly after the young composer returned from a lengthy journey around Europe in search of a position worthy of his phenomenal talents. This trip had been a bitter disappointment: Mozart received no suitable offers, and while he was in Paris, his mother, who had been serving as his chaperone, died suddenly. He was forced to return to his now stultifying life at the provincial court of Salzburg. Nevertheless, his abortive trip made him a much more mature and impressive composer as the “Coronation” Mass soon demonstrated. There was some consolation awaiting him in Salzburg. In January 1779, Archbishop Colloredo appointed the now 23-year-old composer as court organist. The “Coronation” Mass was Mozart’s response to this appointment and was probably premiered on Easter Sunday at the Salzburg Cathedral. For years, it was believed that its title, “Coronation,” was given because it was composed for the ceremony of the crowning of a statue of Mary at the pilgrimage church of Maria Plain outside Salzburg. However, this legend has now been discredited, and it is more likely the title is connected to its performance in 1791 in Prague at the coronation ceremonies of Leopold II of Austria as king of Bohemia. Though classified as a missa brevis or short mass setting, the “Coronation” is actually considerably longer and more elaborate than a

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typical missa brevis of the period. It is a work of ceremonial grandeur boasting trumpets and drums; the C-Major key was the other key besides D Major that was best suited to the valveless trumpets of the 18th century. Capitalizing on those instruments, Mozart filled the music with fanfare motives. He also emphasized the drama of the mass text with fascinating harmonies and especially bold writing for the chorus. And he highlighted the contrasts between the chorus’ heroic utterances and the lyrical delicacy of his music for the four soloists. There is also a pronounced symphonic quality to this mass setting, for the shape of the mass segments echo the forms used for symphonic movements and several themes recur to unify the structure. The Mass opens with explosive choral exclamations of the word “Kyrie,” each of which dramatically fades before being repeated. The principle of contrast is then introduced as the soloists sing the more rapid and flowing “Christe eleison.” Following a symphonic sonata form, the Gloria epitomizes the grandeur of Mozart’s setting of the text. After the soloists present the gentler “Domine Deus” and “Qui tollis” sections, the “Quoniam” brings back the Gloria opening music but now in a somewhat softer dynamic. Since this is a missa brevis, there is no room for the lengthy traditional setting of “Cum sancto spiritu” as a fugue; instead, Mozart created a fine contrapuntal setting for soloists and chorus of the closing Amen.

TEXTS/TRANSLATIONS Kyrie eleison. I Christe eleison. Kyrie eleison.

Gloria in excelsis Deo Glory to God in the highest, et in terra pax hominibus bonae voluntatis. and on earth, peace towards men of good will. Laudamus te, benedicimus te, We praise You, we bless You, adoramus te, glorificamus te. we adore You, we glorify You. Gratias agimus tibi propter magnam gloriam tuam. We give thanks to You for Your great glory. Domine Deus, rex coelestis, Lord God, heavenly king, Pater omnipotens, Father almighty, Domini Fili unigenite, Lord, the only-begotten Son, Jesu Christe altissime, Jesus Christ, the most high, II Domine Deus, Agnus Dei, Filius patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You, who takes away the sins of miserere nobis, suscipe the world, have mercy upon us, deprecationem nostram. receive our prayers. Qui sedes ad dexteram patris, You, who sits at the right hand of the miserere nobis. Father, have mercy upon us. Quoniam tu solus sanctus, tu solus For You alone are holy, You alone are Dominus, tu solus altissimus, Jesu Christe. the Lord, You alone are the Lord, O Jesus Christ. Cum sancto spiritu in gloria With the Holy Spirit, in the glory of Dei Patris. Amen. God the Father. Amen. Credo in unum Deum, I believe in one God, Patrem omnipotem, factorem Father almighty, maker of coeli et terrae, visibilium heaven and earth, and of all things omnium et invisibilium. visible and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, et ex Patre only begotten Son of God, who was natum ante omnia secula. begotten by his Father before all worlds.

The lengthy text of the Credo is set over “rauschende” or racing violins, a style popular in 18th-century Austria. The soloists sing the beautiful, minor-mode “Et incarnatus est,” followed by the chorus’ darkly dramatic “Crucifixus” with its disturbing harmonies. Both the choral and solo sopranos are given joyous coloratura to celebrate the resurrection and the hope of the world to come. Trumpets and drums reinforce the splendor of the chorus’ Sanctus. The soloist quartet sings a charming setting of the “Benedictus,” underpinned by a lovely woodwind-colored accompaniment. The aesthetic highlight of the “Coronation” is surely the Agnus Dei, a gorgeous, long-breathed aria for the soprano soloist that presages the Countess’ great “Dove sono” aria in The Marriage of Figaro. This flows directly into the “Dona nobis pacem,” a reprise of the flowing melody for the soloists in the Kyrie. The chorus also brings back the opening fanfare motive from that section to bring this festive Mass to a satisfying full-circle close.

Lord have mercy. Christ have mercy. Lord have mercy.

III

Deum de Deo, lumen de lumine, God of God, light of light, Deum verum de Deo vero, very God of very God, genitum, non factum, begotten, not made, being consubstantialem Patri, of one substance with the Father, per quem omnia facta sunt. by whom all things were made. Qui propter nos homines et propter nostram salutem Who, for us, and for our salvation descendit de coelis. descended from heaven. Et incarnatus est de Spiritu And was incarnate by the Holy Sancto ex Maria virgine, et homo factus est. Spirit of the Virgin Mary, and was made man. Crucifixus etiam pro nobis sub And was also crucified for us under Pontio Pilato, passus et sepultus est. Pontius Pilate, suffered, and was buried. Et resurrexit tertia die And on the third day, He rose again secundum scripturas, according to the Scriptures, et ascendit in coelum, and ascended into heaven, and sedet ad dexteram Patris. sits on the right hand of the Father. Et iterum venturus est And He shall come again, cum gloria, judicare vivos with glory, to judge both the living et mortuos, cujus regni non erit finis. and the dead, whose kingdom shall have no end. Et in Spiritum sanctum, And in the Holy Spirit,

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Dominum et vivificantem, the Lord and giver of life, who qui ex Patre et Filio precedit. proceeds from the Father and Son. Qui cum Patre et Filio simul Who, with the Father and Son adoratur et conglorificatur. is worshipped and glorified, qui locutus est per Prophetas. Who spoke by the Prophets. III Et unam sanctam catholicam And one holy, catholic, et apolstolicam ecclesiam. and apostolic Church. Confiteor unum baptisma I acknowledge one baptism in remissionem peccatorum, for the remission of sins, Et expecto resurrectionem mortuorum, And I expect the resurrection of the dead, et vitam venturi saeculi. Amen. and the life of the world to come. Amen. Sanctus, sanctus, sanctus, Dominus Deus Sabaoth, pleni sunt coeli et terra gloria ejus. Osanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth, heaven and earth are filled with His glory. Hosanna in the highest.

Benedictus qui venit in nomine Domine. IV Osanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Agnus Dei, qui tollis peccata mundi, miserere nobis.

Lamb of God, who takes away the sins of the world, have mercy on us.

Dona nobis pacem. Grant us peace.

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artist biography alexia kruger ri v era , soprano chamber

Alexia Kruger Rivera, soprano, enjoys performing a wide variety of music from the stage to the recital hall. She has been a soloist with such groups as Cantate Chicago (Faure Requiem, hailed as “achingly beautiful”; Corigliano’s Fern Hill), the Fort Wayne Philharmonic (Mendelssohn’s Lobgesang, Schubert Mass in G, excerpts from Mozart’s Solemn Vespers), St. John Cantius (Schubert Mass in B-flat, Mozart Requiem), the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), Chicago Sinfonietta at the Shedd and at Joffrey, the Chicago Modern Orchestra Project, the Bach Institute, the Valparaiso University Symphony Orchestra (R. Strauss Beim Schlafengehen and Im Abendrot), and the University of Illinois Percussion Ensemble (Stravinsky’s Les Noces). As a recitalist, Ms. Rivera has appeared on the PianoForte Salon Series Live on WFMT radio, on the Musicians’ Club of Women Award Winners in Concert series at the Chicago Cultural Center,

the Fourth Presbyterian Church Friday noonday concert series, and several locations with VOX 3 Collective. Her stage roles include Susanna and Contessa d’Almaviva (Le Nozze di Figaro), Giulietta (Les Contes d’Hoffmann), the title role in Suor Angelica, Lola (Gallantry), and Eve (Children of Eden). Ms. Rivera also performs with Chicago a cappella, the Grant Park Music Festival Chorus, and the Chicago Symphony Chorus, where she was recently the cover soloist for Britten’s War Requiem.

artist biography sarah ponder brock , me z z o - soprano Sarah Ponder Brock, mezzo-soprano enjoys a busy career as a soloist and ensemble singer with Grant Park Chorus , Chicago Symphony Chorus, Lyric Opera of Chicago, Chicago a cappella, Music of the Baroque, and many others. Hailed as “Deeply expressive” (Chicago Sun Times) and a “first-class soloist” (Chicago Classical Review), some of Sarah’s favorite recent performances include two featured solo appearances with Grant Park Music Festival, a lead role in Lyric Opera’s Opera in the Neighborhoods production of The Brothers Grimm, as well as a rousing trio rendition of “Row, Row Your Boat” with Yo-Yo Ma at Children’s Memorial Hospital as part of her ongoing work with the Citizen Musician Initiative. In addition to various oratorio performances, Sarah is looking forward to repeat appearances as famed chef Julia Child in Lee Hoiby’s hilarious one-woman opera Bon Appétit! Through her outreach at Chicago Symphony Orchestra, Sarah has also “beguilingly” (Chicago Tribune) performed several solo concerts with famed Maestro Riccardo Muti at the piano. This work inspired by Muti’s vision of this project, spreading music to all - “even prisons” - has been featured in both the Chicago Tribune and Sun Times. The partnership between the Chicago Symphony Orchestra, Storycatcher’s Theatre, and IYC Warrenville has helped to foster an appreciation of classical music and also given marginalized youth a chance to work with and perform alongside talented teaching

artists. In addition to being featured in these performances, Sarah has also helped to bring opera and classical music to new audiences, appearing with Opera for the Young, the Opera Divas, and recitals through the Musicians Club of Women. A dedicated teacher, Sarah holds a faculty position at Loyola University. In addition to training voices, Sarah has assisted many young composers through workshops at Merit School of Music and Chicago Academy for the Arts, providing specialized feedback and instruction. She is looking forward to recording another set of compositions from Carnegie Hall’s Lullaby Project partnered with the CSO, assisting young mothers to create original lullabies. Her work as a technique model was also recently featured in the award-winning pedagogy book, Vocal Technique: A Guide for Conductors, Teachers, and Singers.

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artist biography erich buchhol z , tenor chamber

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Tenor Erich Buchholz has enjoyed a career Wine Tasting, cheese & crackers and of remarkable versatility and breadth. With Chicago Folks Operetta he has performed in Entertainment featuring the American premieres of Lehar’s Mitislav and Modern and Cloclo, Fall’s Girl in the Train, Alicia Pyle at the piano Rose of Stambul and Madame Pompadour, and Kalman’s Arizona Lady. With the comedy Wednesday, October 14, 2015 sextet Hudson Shad he has toured extensively in the United States and Japan. He has sung in 5:30 - 7:30 PM concert works by Bach, Handel, Haydn, Britten, debuts with the Cincinnati Pops Orchestra and atonCountry Heritage Winery & Vineyard* Mozart and Debussy. He can be heard the the Calgary Philharmonic. Naxos recording of Fall’s Rose of Stambul with Chicago Folks Operetta. He recently made his $40 per person

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artist biography daniel eifert , bass

carmina burana saturday, april 2 3 | 7 : 3 0 p. m . | E mbassy T heatre With its large, percussion-driven orchestra, and mixed chorus that sings texts by wayward monks, Carmina Burana's primitive energy promises a physical response in each and every listener.

Daniel Eifert is a long-standing member of the * 185 County Rd 68, LaOtto, IN 46873 Chicago Symphony Chorus as well as the Grant Park Music Festival Chorus. A frequent soloist Just north of Huntertown on Hwy 3 (Lima Rd) with the Chicago Symphony Orchestra, Daniel made his debut in Golijov’s opera Ainadamar and his Chicago Symphony Chorus solo debut in their 50th Anniversary Celebration Concert. The Chicago Classical Review acclaimed him as a “darkly resonant Pilate” in the Chicago Symphony Orchestra’s 2010 rendition of Bach’s St. John Passion. Most recently, Daniel held minor roles in Verdi’s Macbeth under the direction of Cuesta Master Chorale of California, performing Riccardo Muti and sang the role of Kurwenal in Bach’s St. Matthew Passion, the Beethoven Wagner’s Tristan und Isolde under Esa-Pekka IS PRESENTED BY THE HILHARMONIC RIENDS Missa Solemnis, and Haydn’s Creation. He Salonen. Daniel has also been featured with the enjoys a continuing collaboration with the Bach Fort Wayne Philharmonic, the Civic Orchestra If you or your company would like to sponsor an evening of Institute of Valparaiso University, where his solo of Chicago, the Grant Park Music Festival, the performances Musically Speaking, contact have included Bach’s St. John Apollo Chorus of Chicago, Elmhurst Symphony Passion, St. Matthew Passion, Mass in B Minor, Orchestra, Northwest Indiana at Symphony Susan Lehmann 260-755-0041 or slehmann@hotmail.com and the Christmas Oratorio. He earned degrees Orchestra, and the Elgin Choral Union. Daniel Benefits include an ad in the Prelude, free concert tickets and andthe more. from Valparaiso University University of made his Carnegie Hall debut with the Chicago Minnesota and currently resides in Chicago with Symphony Orchestra in Orff’s Carmina Burana his wife and three children. in 2012. Daniel is a recurrent soloist with the

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young person's guide to the orchestra Sunday, February 14 | 2:00 P.M. Rhinehart Music Center, IPFW Chia-Hsuan Lin, conductor Christopher J. Murphy, narrator Fort Wayne Philharmonic Youth Concert Orchestra Marcy Trentacosti, Youth Concert Orchestra director GLINKA Overture to Russlan and Ludmilla VAUGHAN WILLIAMS March from English Folk Song Suite Side-by-Side with the Fort Wayne Philharmonic Youth Concert Orchestra BRITTEN

From community arts to economic development, we believe great performances and ideas create vibrant communities. That’s why we proudly support the Phil. Its dedication to excellence brings joy to our hearts and business to our city. And that is sweet music to our ears.

Young Person’s Guide to the Orchestra, Op. 34

DVOŘÁK Menuetto from Serenade for Winds in D minor, Op. 44 DUKAS

La Péri: Fanfare

MIKI

Selection from Marimba Spiritual

BIZET Entr'acte from Carmen ANDERSON

Plink, Plank, Plunk!

ANDERSON

The Typewriter

STRAUSS

Thunder and Lightning Polka

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artist biography christopher J . murphy

youth concert orchestra conductor marcy trentacosti

family

Born and raised in Allentown, Pennsylvania, Marcy, has been a full-time section violinist in the Fort Wayne Philharmonic since 1976. Marcy graduated from Indiana University with a Bachelor of Music Education and in 2008 completed a Master of Music from Bowling Green State University in Bowling Green, Ohio.

Christopher J. Murphy (Producer/Director) is an award-winning actor and director whose works have been seen on stages as far away as the Virginia State Symphony and as near to home as Arena Dinner Theatre, First Presbyterian Theatre, the Fort Wayne Civic Theatre and the Fort Wayne Youtheatre. Most recently, he directed FPT’s The Foreigner and Arena Dinner Theatre’s Company. Additional credits include the Summit City premieres of The Fox on the Fairway, The 39 Steps and Boeing Boeing (Director), as well as Dirty Rotten Scoundrels (Lawrence Jameson) and Moonlight & Magnolias (Director). He has collaborated with Grammy and Tony-winning composer Rupert Holmes on a revised version of The Mystery of Edwin Drood for Arena Dinner Theatre and with Emmy Award-winner

Mark Kistler on a new performing arts camp in Houston, Texas. Murphy is the Director of Theatre at Blackhawk Middle School and has served as a Master Teacher with F.A.M.E. (Foundation for Art and Music Education) for the past ten years. He is pleased to return to the Phil for his fourth season as a producer, director, writer and performer.

don't miss our final family concert of the season!

She participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago ; Bach, Beethoven, Breckenridge Music Festival in Breckenridge, Colorado and served as Concertmaster of the Marion Philharmonic. As an educator she has taught at Snider High School, Woodside Middle School, Canterbury School and Blue Lake Fine Arts Camp. In 2012, she received an Arts United Artie Award for “Outstanding Music Educator.” In addition to performing and conducting the Fort Wayne Philharmonic Youth Concert Orchestra since 2010, she maintains a private teaching studio for the IPFW Community Arts Academy, teaches violin and String Techniques for the IPFW Department of Music and is the

Director & Founder of the IPFW Community Arts Academy Summer String Camp. Marcy is an active member of Sigma Alpha Iota in which she has held several offices, ASTA (American String Teachers Association), IMEA, serves on the board of the Philharmonic Friends and is currently faculty adviser for the SAI Zeta Psi Collegiate Chapter. Marcy is married to bassoonist Mike Trentacosti who since retired from Fox Products and is a very active musician and billiard player.

family

Fairy Tale Fantasia SUNDAY, April 17, 2016

2:00 PM | Rhinehart Music Center, IPFW Chia-Hsuan Lin, conductor Tickets only $13 adults, $7 kids

Financial guidance that puts you on the podium. Graig P. Stettner, CFA, CMT

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2015/2016 YOUTH CONCERT ORCHESTRA roster marcy trentacosti conductor Violin 1 Lydia Bingamon Mikhayla Palicte Wendy Kleintank Hannah Hobson Krissy Brumbaugh Sydnee Fritz Andrew Schroeder Elliot Lin Violin 2 Daniel Liu Clara Bingamon Sophie St. John Elisabeth Rowdabaugh Owen Dankert Lucas Valcarcel Yebin Jeong Trinity Forish

Viola Leeza Gallagher Grace Henschen Lucas Drake

Flute Megan Tarlton Alyssa Parr Sarah Hobson

Cello Jeremiah Tsai Kyra Warren Destiny Seelig Edward Sun Maria Tan Kallista Williams

Oboe Than Myo Win Rachel Gripp

String Bass Kevin Gillespie Henri Spoelhof Hailey Miller

Clarinet Isaac Bailey

Trumpet Sam Parnin Audrey Germain trombone Nicholas Nagel tuba Eden Fuchs

Bassoon Gillian Anders

Percussion Evelyn Rowdabaugh Andy Deng Samuel Fromholt

French Horn Megan Merz Maiah Deogracias

Piano Hannah Hobson Lucas Drake Harp Mary Neuman

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MADGE ROTHSCHILD FOUNDATION

An Evening with George Gershwin

Fort Wayne Philharmonic Masterworks Radio Broadcast Schedule Thursdays at 7PM on Classical 94.1WBNI Dec 3

Dvorak's New World Symphony

Jan 21

Tchaikovsky's Violin Concerto

Feb 4

Midwinter Mozart

Mar 3

Sponsored by Drs. Pamela and Kevin Kelly in loving memory of Mary Marxen Saturday, February 20 | 7:30 P.M. Embassy Theatre Chia-Hsuan Lin, conductor Jodie DeSalvo, piano

GERSHWIN

Porgy and Bess: A Symphonic Picture

GERSHWIN Rhapsody in Blue Jodie DeSalvo, piano

-- Intermission --

An Evening with George Gershwin

GERSHWIN

Cuban Overture

Mar 24

Legends and Fairy Tales

GERSHWIN

An American in Paris

Apr 21

Sibelius and Brahms

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, March 3 at 7:00 P.M.

May 5

Carmina Burana

May 26 Russian Classics Metropolitan Opera Saturdays at 1PM on Classical 94.1 WBNI

JAN, FEB & MAR 2016

M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS SATURDAY, february 20, 2016 Porgy and Bess: A Symphonic Picture George Gershwin (Born in Brooklyn, New York, September 26, 1898; died in Beverly Hills, California, July 11, 1937) Arranged by Robert Russell Bennett On an October night in 1926, George Gershwin, wound up from rehearsals of his Broadwaybound musical Oh! Kay, was unable to sleep. He turned to a popular new novel, Porgy, about African American life in the Charleston ghetto written by a white South Carolinian named DuBose Heyward. The composer was enthralled and read until dawn. His savvy theatrical sense told him this was a story crying out for dramatic treatment, and he promptly fired off a letter to Heywood expressing his interest in using it for a future opera. However, it would be another nine years before Porgy and Bess had its premiere. The scion of an aristocratic but impoverished Charleston family, Heyward had spent time as a cotton checker working among black stevedores on the Charleston wharves. He found himself mesmerized by “the color, the mystery and movement of Negro life” and began studying local African American folkways, speech patterns, and spirituals. Just down the street from his home was a decaying courtyard of tenements called Cabbage Row, and this became the Catfish Row of his novel and play. The inspiration for the crippled Porgy was a real-life local character Samuel Smalls, known as “Goat Sammy,” who traveled around the streets of Charleston on a tiny goat-driven cart. At last in 1933, Gershwin felt ready to embark on his operatic project. The most intense period of work came during the summer of 1934 when the composer rented a cottage near Heywood’s summer home on Folly Island, off Charleston, and immersed himself in local Gullah and black culture. Back in New York, Gershwin’s brother, Ira, joined the creative team to write many of the lyrics. Porgy and Bess opened at Broadway’s Alvin Theater on October 10, 1935. The audience — as audiences have ever since — loved it, but critics questioned what kind of work Porgy and Bess really was: musical, operetta, or opera? Gershwin maintained it was an opera and had followed the operatic conventions of using continuous music throughout, without spoken dialogue. In 1985, fifty years after its premiere, Porgy’s operatic status received the ultimate confirmation when the Metropolitan Opera gave it a new production, led by its artistic director

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James Levine. Today, it remains unchallenged as the Great American Opera. We’ll hear a symphonic medley of music from Porgy and Bess arranged in 1942, a few years after Gershwin’s death, by his friend Robert Russell Bennett for conductor Fritz Reiner and the Pittsburgh Symphony Orchestra. Reiner stipulated that this purely orchestral arrangement be no longer than 24 minutes, so that it could fit onto three 78-rpm records (the LP was still a few years in the future). Furthermore, Bennett reported that Reiner himself selected the excerpts to be included. And so, although we hear several of the opera’s most famous songs — “Summertime,” “I Got Plenty of Nothin,” “Bess, You Is My Woman,” and “It Ain’t Necessarily So” — we also hear some more rarefied moments, such as the street calls of the Catfish Row vendors (led by solo trumpet and saxophone near the beginning of the medley) and part of the dramatic hurricane music (following “I Got Plenty of Nothin”). Rhapsody in Blue George Gershwin Like Mozart, George Gershwin was a natural. His Russian-Jewish émigré family did not acquire a piano until he was 12 years old, yet within a short time he was playing the songs he heard around him with intuitive harmonizations and the beginnings of the rhythmic flair that would become a trademark. At 15, he quit school to become a “song plugger” for the publishing firm Remick’s on West 28th Street, immortalized as “Tin Pan Alley.” While pounding out other people’s songs, he began writing his own and was soon contributing melodies for Broadway musicals. By his mid-20s, he was one of the leading composers on Broadway and already a wealthy and celebrated young man. But what set Gershwin apart from his peers — Irving Berlin, Jerome Kern, Cole Porter — was his appetite for musical growth. If he had already conquered Broadway with his music, why not the classical concert hall? But in 1924 when Rhapsody in Blue was introduced, American composers were hardly welcomed by American concert impresarios. As Gershwin biographer Edward Jablonski wrote: “It was a time of musical conservatism, when in order to have your works performed in Carnegie Hall, it seemed essential to be foreign-born or dead — preferably both. Gershwin, more than any other American composer of the period, helped to ameliorate the situation.”

That Rhapsody in Blue became an American legend from its very first performance is attributable to two factors. First, Gershwin was a pianist of spectacular charisma and virtuosity who could present his music better than anyone else. And, more importantly, he had the genius to tap into the spirit of his country and his times and translate it into music that possessed, as a more academic composer of the day Frederick Jacobi said, “that high attribute of making people fall in love with it.” Instead of imitating European models, he drew on American popular song and dance, African-American jazz, and the rhythm of the New York streets to create a potent new hybrid for the concert hall. Rhapsody in Blue marked the 25-year-old Gershwin’s debut as a “serious” concert artist and composer. The occasion was a highly publicized concert on February 12, 1924 at New York’s Aeolian Hall devised by band director Paul Whiteman and given the portentous title “Experiment in Modern Music.” Whiteman wanted to demonstrate to the New York musical establishment that American jazz had come of age and was worthy of the same respect as European art music. Although Whiteman had talked vaguely with Gershwin about writing a piano concerto for the occasion, Gershwin didn’t actually learn he was on the program until he read about it in The New York Tribune on January 3rd. Panicked, he called Whiteman who agreed there was not sufficient time to create a full-scale concerto and suggested a shorter, free-form rhapsody instead. To help Gershwin meet his tight deadline, he offered the services of composer-arranger Ferde Grofé, who orchestrated the work as fast as it emerged from Gershwin’s pen. The title referred not just to the blue notes of jazz, but also to the composer’s love of the visual arts; having recently attended a Whistler exhibit with paintings such as “Nocturne in Black and Gold,” he chose “Rhapsody in Blue.” On that snowy Sunday afternoon, Whiteman’s over-long concert seemed to be turning into a bust as the audience dribbled toward the exits. Then for the 22nd and penultimate number, Gershwin strode to the keyboard. With that famous clarinet glissando, he immediately riveted the audience’s attention, and his buoyant composition and high-energy playing proclaimed a fresh and very American new voice for the concert hall. Incidentally, the wailing blues-style of playing that clarinet opener was not in Gershwin’s original score. Fooling around in rehearsal, Whiteman’s clarinetist Ross Gorman improvised the jazzy slide, and a delighted Gershwin urged him to keep it and add as much wail as possible.

Cuban Overture George Gershwin George Gershwin was very conscious of his lack of early formal musical training and in adulthood studied with various teachers to remedy it whenever his frenetic schedule allowed. Although he’d allowed Ferde Grofé to score Rhapsody in Blue, he orchestrated all his subsequent concert pieces himself and bristled at journalists who periodically accused him of letting others polish his work. Just how sophisticated his mastery of the orchestra became can be heard in his Cuban Overture, written in 1932. At that time, Gershwin was studying theory and composition with Joseph Schillinger, a graduate of the St. Petersburg Conservatory, and this piece grew from his lessons in counterpoint (the art of weaving together multiple musical lines). It was also inspired by a vacation he’d taken in Cuba that winter; he became fascinated with Cuban dance music and returned with several Cuban percussion instruments in his luggage — bongo drums, Cuban sticks or claves, gourd, and maracas — that received prominent parts in his new work. By the summer of 1932, he was rapidly completing the Overture for a mammoth all-Gershwin concert held outdoors at New York’s Lewisohn Stadium on August 16. That concert was a spectacular success, with 18, 000 in attendance and thousands more turned away at the gates. Gershwin called it “the most exciting night I ever had.” Cuban Overture is in three sections, opening and closing with the fast, intricate rumba music featuring the indigenous Cuban instruments. In the middle, a lengthy slow section shows Gershwin’s ability to create a subtle, haunting atmosphere conjuring a tropical night. The brilliant orchestration throughout suggests the composer had learned a thing or two from his friend Maurice Ravel, but the verve and melodic inspiration are pure Gershwin. an american in paris George Gershwin Paris first entranced Gershwin when he visited the French capital as a wide-eyed young tourist in 1923. Returning in 1926 with both Rhapsody in Blue and the Piano Concerto in F under his belt, he apparently was already casting his experiences into music. As a thank-you to his Parisian hosts, he inscribed a photograph with both a theme from the Rhapsody and the opening theme of what he already called “An American in Paris.” But busy with Broadway assignments, Gershwin didn’t take up the composition for another two years. By early 1928, conductor Walter Damrosch was pressuring him for a new concert work for the New York Philharmonic’s next season, and he began writing what he first called an “orchestral

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ballet,” then a “tone poem” about his Parisian impressions. He decided another research trip was needed, and in March installed himself and a piano at Paris’ Hôtel Majestic. Here, despite a whirl of professional and social activities, he managed to compose most of An American in Paris’s marvelously atmospheric central blues section. Wanting to capture the characteristic sounds of Paris’ bustling streets, he went to an auto parts store to purchase four authentic Parisian taxi horns, whose off-key honks animate the score’s opening moments. An American in Paris received an enthusiastic reception at its premiere by the New York Philharmonic under Damrosch’s baton at Carnegie Hall on December 13, 1928. Deems Taylor contributed a colorful program note giving a detailed scenario for the work. But this was not Gershwin’s intention. “My purpose here is to portray the impressions of an American visitor in Paris as he strolls around the city, listens to the various street noises, and absorbs the French atmosphere,” he wrote. “The rhapsody is programmatic only in a general, impressionistic way, so that the listener can read into the music such episodes as his imagination pictures for him.” Gershwin’s own commentary provides the best guide to this work, eternally youthful and vital nearly 90 years after it was written. “The opening gay section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café and having a few drinks, has suddenly succumbed to a spasm of homesickness . . . “This ‘blues’ rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. Apparently the homesick American, having left the café and reached the open air, has downed his spell of blues and once again is an alert spectator of Parisian life.

artist biography jodie desalv o piano

Jodie DeSalvo has captured national and international attention with her classical and jazz interpretations of the masters of keyboard literature. Upon winning the Artist International Competition in 1988, Ms. DeSalvo made her Carnegie Hall debut to critical acclaim with an encore performance two years later at Lincoln Center. She has been a top prize winner in the Young Keyboard Artists Competition, the American Music Scholarship Competition and the National Federation of Music Clubs Competition. A graduate of the Hartt and Manhattan Schools of Music, and a former student of John Browning and Gary Graffman, she is also a past recipient of the Artist Fellowship Grant from the National Endowment for the Arts. Ms. DeSalvo has toured extensively as a piano soloist appearing with the orchestras of Chicago, Geneva, Lucerne, San Francisco, Hartford, and Chautauqua under the batons of noted Maestros Christopher Wilkins, David Effron and Gisele Ben Dor. Having called Fort Wayne her home for nine years, she has appeared with the Fort Wayne Philharmonic numerous times under the direction of Ron Ondrejka and Edvard Tchivzhel. A frequent soloist with the Naples Philharmonic, she has appeared on the classical and pops series with Jorge Mester, Jeff Tyzik, Bruce Hangen, and Stuart Chafetz. A noted chamber player, Ms. DeSalvo has appeared with cellists Sharon and Keith Robinson, violinists Glenn Basham and Jennifer Frautschi, pianist Robert Wells, the Miami String Quartet, the Bergonzi String Quartet and members of the American String

Quartet. She has performed at such prestigious festivals as Brevard, Chautauqua, Birch Creek, as well as over 100 times on National Public Radio. Ms. DeSalvo has become equally proficient as a conductor. Having built choral programs in several private and public schools, she has traveled with her high school chorus on a 10day tour of Italy during Easter week. The chorus performed in Venice, and Florence, culminating in a performance in Rome on Easter Sunday. She returned to Italy and Greece the following year and last spring completed a concert tour throughout England and France. This spring, Ms. DeSalvo will appear at Carnegie Hall in New York City with the High School Chorus from Seacrest Country Day School. Jodie DeSalvo loves to play the piano and loves to have fun, so it is within the last two years that she has broadened her horizons on the concert stage by giving tribute concerts to the art of Victor Borge, renowned pianist/comedian. She has found great joy in interpreting some of his best loved skits, including Phonetic Punctuation and Inflationary Language, as well as writing some of her own original material. These concert performances are well loved and enjoyed by audiences of all ages!

Tracy Troyer, Attorney • Leah Good, Attorney

Ms. DeSalvo has recorded and produced 10 CDs of solo literature, chamber and choral music, which are available for purchase at tonight’s performance. As she continues to perform extensively, Ms. DeSalvo is also Director of Fine Arts and Artistic Director of concerts at Seacrest Country Day School, as well as the music director at Unity Church in Naples, Florida. Ms. DeSalvo’s recital/ lecture series at Artis-Naples is now in its tenth year and has sold out for the last two seasons.

6303 Constitution Drive, Fort Wayne, IN 46084 260-440-3241 www.TroyerGood.com

Jodie is thrilled to be back in Fort Wayne!

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CHRIS BOTTI

you’re making our community a better place.

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PNC congratulates Chuck Surack on his 2015 Citizen of the Year honor. Philanthropist, community volunteer and friend, Chuck is an inspiration to us all.

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bartĂ&#x201C;k's string quartet no. 6 Wednesday, March 2 | 7:30 P.M. Fort Wayne History Center Sunday, March 6 | 2:30 P.M. Rhinehart Music Center, IPFW GABRIELI

Canzone per Sonare No. 2

DELERUE Vitrail for Brass Quintet Andrew Lott, trumpet Dan Ross, trumpet Jay Remissong, horn David Cooke, trombone Sam Gnagey, tuba BEETHOVEN Piano Trio in B-flat major, Op. 11 Allegro con brio Adagio Allegretto con variazioni Olga Yurkova, violin Deborah Nitka Hicks, cello Alexander Klepach, piano

-- Intermission --

BARTĂ&#x201C;K String Quartet No. 6 Mesto - Vivace Mesto - Marcia Mesto - Burletta: Moderato Mesto - Molto Tranquillo David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

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freimann PROGRAM NOTES freimann wednesday, march 2 & sunday, march 6, 2016 Canzone per Sonare No. 2 Giovanni Gabrieli (1557 - 1612) The music of the renaissance era is not often performed in modern orchestras, yet Gabrieli’s works have been a staple of brass ensembles for years. Giovanni Gabrieli was head of music at the famous St. Mark’s Cathedral in Venice, Italy like his father before him. He was known for taking advantage of the split architecture of the cathedral by placing choirs on either side and writing music with both sides responding to each other for an antiphonal effect. He wrote numerous Canzoni for various instruments with this particular Canzone being played on the precursors to the instruments seen on stage this evening such as the sackbut (an early trombone) and the cornetti (a trumpet likely without valves). The power and control of modern brass instruments adds a brilliance and depth to the Canzone, or “song” in Italian, heard tonight. Vitrail for Brass Quintet Georges Delerue (1925 - 1992) Ever since the dawn of Hollywood in the early 20th century, many of the top composers in the world have gravitated towards film scoring. French composer Georges Delerue earned his place as the “Mozart of Cinema” composing over 350 film scores during his life. Early in his career, Delerue was often forced to choose between musical pursuits and helping make ends meet. Through this he often took odd jobs at local clubs and playhouses during his studies at the Conservatoire de Paris and hence was introduced into the world of film scoring for short films and theater. Throughout his career he worked primarily in art house cinema, however his resume would eventually include collaborations with acclaimed directors such as Jean Luc Goddard and Oliver Stone. Vitrail for Brass Quintet is a work in four movements written in 1979. Delerue was already well established at this point and added this work to his many other non-cinematic scores he composed throughout his life. The piece stands out as a staple of 20th Century brass music for its treatment of harmony is definitely extended beyond the “traditional.” However, despite its frequent dissonance there is a certain elegance and beauty to the writing brought out by the

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sonorities of the brass that make the piece very accessible to most listeners. Piano Trio in B-flat major, Op. 11 Ludwig van Beethoven (1770 - 1827) Beethoven’s early chamber works definitely fall within the more “classical” category bearing similarities to Haydn and Mozart. However, one noticeable difference is a playful charm in these early chamber works that make them stand out on their own. This particular trio was originally written for clarinet to be performed by Joseph Beer, who later dismissed the trio as not being quite as showy as he preferred. Beethoven then chose to substitute the clarinet with violin to give the work more versatility in performance. Also of note is a bit of a kerfuffle Beethoven had with Daniel Steibelt, the pianist who he collaborated with on early performances of this trio. When music nerds throw down they tend to do it in ways that involve mocking each other’s compositions. Steibelt responded to the work with a not-so-flattering improvisation on the theme used in the third movement of this work, which Beethoven countered with turning the cello part to one of Steibelt’s quintets upside down and plucking out the notes with one finger. Apparently this gesture upset Steibelt so much that the two musicians were never to collaborate again. The trio is in three movements with an exciting opening movement, a beautiful adagio featuring the cello for the second movement, and finally a third movement theme and variations. The tune used in this third movement was so popular that it was often heard whistled around the streets of Vienna earning this trio the nickname “Gassenhauer” or “street tune.” String Quartet No. 6 Béla Bartók (1881 - 1945) Fans of Bartók will know the composer is as capable of writing lively folk dances as he is with writing music that makes the listener’s hair on their neck stand up. His six quartets are an amazing example of Bartók’s range, yet by the time he got to his sixth quartet in 1939, any sense of optimism seemed to be missing from the composer’s vocabulary. With World War II looming, a war that would eventually displace Bartók from his native home of Hungary

permanently, and his mother falling gravely ill there wasn’t much for Bartók to be cheerful about. It was with this mindset he labels each movement as “Mesto” or “Sadly.” The first movement opens with a solo viola crying out with a slow chromatic line that will similarly be echoed throughout the opening of the other movements. The music picks up with a faster pace with another chromatic line being tossed around the parts. If the music sounds chaotic the listener only needs to find repeated rhythms throughout the four string parts to help organize their thoughts. The second movement develops into a harsh march of sorts. The third is a pompous burletta filled with a bit more of the folk-like energy heard in much of Bartók’s music. The character and violence heard in the music would not be out of place in any modern day slasher flick. The final movement was originally meant to be a lively dance but was instead replaced with a somber expansion of the “mesto” themes heard earlier in the quartet due to the knowledge of the death of his mother. The six Bartók quartets remain one of the monumental achievements of 20th Century chamber music, and despite their often-dark nature there is something human and personal woven into these works. However, It might not be a bad idea to throw on your favorite comedy flick when you get home this evening to lighten the mood after listening to this music. Notes by Ed Stevens copyright 2016

Strengthening the Fabric of Our Community

From funding over $5 million in grants and sponsorships in 2014, to supporting our associates who volunteered more than 99,000 hours last year alone, Old National is passionately committed to community engagement. It’s also the reason why we are a proud supporter of the Fort Wayne Philharmonic.

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A true reflection of our dedication and support As one of the largest member-owned home improvement co-ops in America, the Do it Best Corp. team is dedicated to serving the needs of independent businesses and their customers. Weâ&#x20AC;&#x2122;re pleased to be able to offer that same level of support to programs that enrich our community â&#x20AC;&#x201C; all to make the best even better in Northeast Indiana!

classical mystery tour: a tribute to the beatles Sponsored by Do It Best Corp. Saturday, March 5 | 7:30 P.M. Embassy Theatre

James Owen presents

Classical Mystery Tour Jim Owen - Rhythm guitar, piano, vocals Tony Kishman - Bass guitar, piano, vocals David John - Lead guitar, vocals Chris Camilleri - Drums, vocals Martin Herman - Conductor Beatles Medley Overture arr: Martin Herman Classical Mystery Tour --intermission-Classical Mystery Tour Performing selections from the following: A Day In the Life A Hard Day's Night All You Need Is Love Come Together Eleanor Rigby Golden Slumbers Good Night Got to Get You Into My Life Hello, Goodbye

Here Comes the Sun I Am the Walrus I Saw Her Standing There Imagine Live and Let Die The Long and Winding Road Ob-la-di, ob-la-da Penny Lane

Sgt. Pepper's Lonely Hearts Club Band/With a Little Help From My Friends Sgt. Pepper's Lonely Hearts Club Band (reprise) Something Yellow Submarine Yesterday

All songs written by John Lennon, Paul McCartney, or George Harrison.

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ClassicalMysteryTour.com JAN, FEB & MAR 2016

guest conductor biography martin herman Pops

A resident of Los Angeles, Martin Herman was educated at Duke University, University of Pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years in Paris on a Fulbright Grant where he worked as a composer and conductor with the “New American Music in Europe” and “American Music Week” festivals. Aside from his conducting interests, Herman is an active composer and arranger. He has received fellowships and grants from the American Music Center, the Camargo Foundation, Meet the Composer, Trust for Mutual Understanding, and the National Endowment for the Arts. He has written chamber and orchestral works as well as three operas. He is recorded on the Albany Record label. As a long time Beatles fan, Martin was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour show. Recent guest conducting

engagements include the Detroit Symphony, Pittsburgh Symphony, Dallas Symphony, San Diego Symphony, New Jersey Symphony, Fort Worth Symphony, Louisville Symphony, the Virginia Symphony, Delaware Symphony, Alabama Symphony, the Omaha Symphony, the Buffalo Philharmonic, and the Philharmonia Chamber Orchestra in Prague, Czech Republic.

artist biography Classical mystery tour Pops

Since its initial performance at the Orange County Performing Arts Center in 1996, Classical Mystery Tour has become one of the top Symphony Pops attractions over the last decade. The group has been performing consistently for 17 years with more than 100 orchestras in the US, Canada, Europe, Asia, and Australia. Classical Mystery Tour was the highest selling show of the San Diego Symphony’s 2011 Summer Concert Series, and played three packed houses at the Sydney Opera House in 2009. The group has performed 12 times with the Fort Worth Symphony, and broke attendance records four years running with the Indianapolis Symphony. The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The show presents more than two dozen Beatles tunes transcribed note-for-note and performed exactly as they were originally recorded. Hear “Penny Lane” with a live trumpet section, experience the beauty of “Yesterday” with an acoustic guitar and string quartet, and enjoy the classical/rock blend on “I Am the

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Walrus.” Classical Mystery Tour is the best of The Beatles – from early Beatles music on through the solo years – like you’ve never heard them before. Many have called it “the best show the Beatles never did!” The Los Angeles Times called Classical Mystery Tour “more than just an incredible simulation... the swelling strings and soaring French horn lines gave the live performance a high goosebump quotient...the crowd stood and bellowed for more.” Classical Mystery Tour CDs and T-shirts are available for purchase on their website classicalmysterytour.com.

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

message from the phil friends “The purpose of this organization shall be to support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra, Inc. in its fundraising and educational endeavors, while striving also to discover and encourage musical talent.”

Happy New Year from the Philharmonic Friends. Below is a quick rundown of our activities over the Holidays and what’s coming up.

FROM THE PHILHARMONIC FRIENDS A MESSAGE • The Friends provided snacks for the musicians and chorus between the matinee and evening performances of the Holiday Pops. “The purpose of this organization shall be to support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra, Inc. in its fundraising • At the Young People’s Concerts on February the Friends and educational endeavors, while 10, striving also towill again provide additional securitymusical as fifthtalent.” grade students enter and leave the Embassy Theater. discover and encourage the Instrument Holiday edition of the of Prelude. The last Welcome • Ourtothird Playground the season will couple be held of at the February 14 Family months have been really busy. Concert, “Young Person's Guide to the Orchestra” at IPFW’s Auer Performance Hall. If you would like to help, contact Sara Davis at saraleadavis@hotmail.com • The Friends sponsored the second Masterworks concert on October 24 at IPFW’s Auer Performance Hall. • • YoungInstrument Artist’s Competition willofbethe held on March atat IPFW’s Rhinehart OurThe second Playground season was 26 held the October 25 Music Hallow eenCenter. By the time you read this, applicationsHall. and information will be our Spooktacular at IPFW’s Auer Performance Thanks so much toposted all ouron volunassite, theywww.fwphilfriends.com provided exciting “playing” opportunities for the young ghosts and gob teers web lins. The next Playground will be on February 14. If you would like to help, contact Sara Davis at saraleadavis@hotmail.com • Applications for the Friends Student Scholarships for the 2016-17 school year will • The second Vines & Vibes wine tasting fundraiser was held on October 14 at Country Heritage also beWinery available on our web site in by March 1st. This scholarship provides financial with Alicia Pyle providing the vibes. aid to promising elementary and/or secondary musicplanned studentsfor who need2016 assistance • Another Symphony of Style fashion show is being April at Club Soda. in meeting the cost of private lessons. Keep an eye on this space and our web site www.fwphilfriends.com for more information as it becomes available. TheThe Friends continue sponsor Musically before the Masterworks con • • Friends reservedtofunds to sponsor next Speaking October’s Masterworks Concert. certs. While attendance is free to our concert patrons, the venue does cost the Friends money. If you would like to sponsor an evening of Musically speaking or donate some • The second annual Swing for the Symphony golf outing is scheduled for July 28, thing to help cover expenses, see our ad elsewhere in this publication. 2016. at the Orchard Ridge Country Club. Please check future Preludes and our • The second annual Swing for the Symphony golf outing is scheduled for July 28, 2016. website more information as it’sClub. available. at thefor Orchard Ridge Country Please check future Preludes and our website for more information as it’s available. As you can see, we do a lot of things to support the Phil and encourage young musicians. This year promises to be full many andand/or varied joining opportunities to supportDownload the Phil through Please consider supporting ouroffundraisers our organization. an our ongoing fundraising, education and hospitality projects. Whatever your interest, there application from our web site or contact one of our Executive Committee members listed is a place for you. Just contact us at our alternate email address fwphilfriends@aol.com below at our alternate emailCommittee address fwphilfriends@aol.com and weassist will assist in your and one of our Executive members listed below will you inyou your willingwillingness to become a vital contributing member of the Philharmonic family. ness to become a vital contributing member of the Philharmonic family. We have a great orchestra, chorus and staff. Let’s make their greatness even more possible through the workwarm, that we forand them. Stay staydodry enjoy music played by the finest orchestra in the Midwest, your own hometown Fort Wayne Philharmonic! And last, but not least, the entire Friends Board and membership wish you a Merry Christmas, and a prosperous, healthy New Year. Sincerely, Sincerely,

The Friends Officers & Board P.S. Buy a Cookbook. They make great holiday gifts!!!

J A NPHILHARMONIC , F E B & M A R 2 0 FRIENDS 16 THE BOARD

THE PHILHARMONIC FRIENDS BOARD

Wine Tasting, cheese & crackers and Entertainment featuring Alicia Pyle at the piano

Wednesday, October 14, 2015 OFFICERS Vice-President Education: Sara Davis Vice-President Marketing: Cynthia Fyock PM 5:30 - 7:30 Vice-Presidents Fundraising: Susan Lehmann Recording Secretary: Patty Arata at Country Heritage Winery & Vineyard* Vice-President Hospitality: Jayne Van Winkle Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds $40 per person BOARD MEMBERS Mary Campbell Suzi Hanzel Sandra Hellwege Pat Holtvoigt Naida MacDermid Nellie Bee Maloley Nan Nesbitt

R.S.V.P. to Susan Lehmann - (260) 755-0041 slehmann01@hotmail.com Tamzon O'Malley or online at www.fwphilfriends.com John McFann Janet Ormiston by October 10, 2015 Ruth Springer * 185 County Rd 68, LaOtto, IN 46873 Marcella Trentacosti Just north of Huntertown on Hwy 3 (Lima Rd) Alexandra Tsilibes

MUSICALLY SPEAKING IS PRESENTED BY THE PHILHARMONIC FRIENDS If you or your company would like to sponsor an evening of Musically Speaking, contact Susan Lehmann at 260-755-0041 or slehmann@hotmail.com Benefits include an ad in the Prelude, free concert tickets and more.

PLAYING WITH FOOD STILL A FEW COPIES LEFT!

NOW CLEARANCE SALE PRICED ONLY $10/COPY Order by calling Marylou Hipskind 260-485-0945 (MLH121@aol.com) The books are also available at the Box Office and online at

www.fwphilfriends.com

Playing with Food makes a great holiday gift.

music director andrew constantine “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the north-east of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire. A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated

JAN, FEB & MAR 2016

human beings I have ever met”. In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art”. Earlier in 1991 Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including, The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Degree of Doctor of Music by the University of Leicester for his “contribution to music.” Constantine’s repertoire is incredibly broad and, whilst embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his

international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable, we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but keep the flame of belief alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED.

In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of Music Director of the Reading Symphony Orchestra in Pennsylvania – after the RSO considered over 300 candidates and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates. Other orchestras in the US that he has worked with include the Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as, “the best concert in the last ten years.” Engagements in 2014 included concerts with the Orchestra Sinfonica Siciliana in Italy and, the NWD Philharmonie in Germany.

CREATIVE MINDS WILL DRIVE OUR FUTURE.

Support arts education programs by purchasing or renewing an Arts Trust license plate!

Learn more at: www.in.gov/arts

conductor

chorus director

chia-hsuan lin

benjamin rivera

Lauded for her clarity and elegance on the podium, Chia-Hsuan has shared her talents in many diverse musical settings throughout the world. She recently conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and she was a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania. Earlier this year, Chia-Hsuan conducted a performance of Mark Adamo’s Little Women at Northwestern University. She led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the University of Cincinnati, where she also served as music director of the University of Cincinnati Symphony Orchestra, and later participated in the 2012 Cabrillo Festival of Contemporary Music in California. In celebration of the Taiwanese premiere of Bach’s St. Matthew Passion, Chia-Hsuan returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus for a lecture series by conductor and Bach scholar Helmuth Rilling. In the summer of 2011, she traveled to Italy to serve as Assistant Conductor of Opera at the CCM Spoleto Music Festival. Chia-Hsuan first received musical training as a pianist in Taiwan at age three. At age nine, she began studies as a percussionist and later performed with the renowned Taipei Percussion Group from 2003 to 2010. Chia-Hsuan received her undergraduate degree in percussion and graduate degree in conducting from National

Taiwan Normal University, where she studied with Apo Hsu. Her musical training continued in the United States after being selected to study with Harold Farberman as a Fellow of the Conductor Institute at Bard College. Under the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati, and in 2012, Chia-Hsuan received the Foreign Study Award for Music from the Taiwan Education Bureau to begin her doctoral degree with Victor Yampolsky at Northwestern University. Chia-Hsuan has furthered her education through masterclasses and workshops, including sessions with the Richmond Symphony Orchestra, Baltimore Chamber Orchestra, and the Romanian Royal Camerata, as well as with conductors Günther Herbig, Jorma Panula, Imre Palló, Steven Smith, Helmuth Rilling, Gábor Hollerung, Mei-Ann Chen, Markand Thakar, Israel Yinon, and Douglas Bostock.

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

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

the phil chorus board of directors OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Sara Davis, Secretary

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BOARD MEMBERS Tom Cain Sara Davis

Lenore Defonso Sandy Hellwege

Katy Hobbs Nathan Pose

Sarah Reynolds Greg White

www.TowneHouse.org 260-483-3116 2209 St. Joe Center Road Fort Wayne, IN 46825 JAN, FEB & MAR 2016

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

George Bartling Sarah Bodner Earl D. Brooks, II Vicky Carwein Anita Cast Keith Davis Ben Eisbart Dennis Fick Michael Galbraith Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Carol Lindquist Greg Marcus Eleanor Marine

Nick Mehdikhan Timothy Miller Tamzon Oâ&#x20AC;&#x2122;Malley Sharon Peters Dr. Lance Richey (Intern) Melissa Schenkel Jeff Sebeika Rob Simon Philip Smith Nancy Stewart Chuck Surack Barb Wachtman Daryl Yost Alfred Zacher Mary Ann Ziembo

HONORARY BOARD Patricia Adsit Mrs. James M. Barrett III Howard and Betsy Chapman Will and Ginny Clark Dru Doehrman June E. Enoch Leonard M. Goldstein William N. and Sara Lee Hatlem

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

Carolyn and Dick Sage Lynne Salomon Herbert Snyder Howard and Marilyn Steele Zohrab Tazian Ronald Venderly W. Paul Wolf Don Wood

ADMINISTRATIVE STAFF Jim Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director

On Sale Now

February 24 â&#x20AC;˘ 7:30PM

Embassy Theatre | 800-745-3000 Tickets also available at the Embassy Box Office, outlets, and at www.ticketmaster.com All For Group Discounts (10+) Call 260-424-5665

Presented by

EMBASSY

education

finance & technology

Jason Pearman Director of Education and Community Engagement

Beth Conrad Director of Finance

artistic operations

Anne Preucil Lewellen Education and Ensemble Coordinator

Jim Mancuso General Manager

Joseph Kalisman Youth Orchestra Manager

Christina Brinker Director of Operations

Derek Reeves Instructor, Club Orchestra program

Timothy Tan Orchestra Personnel Manager

development

Adrian Mann Orchestra Librarian/ Staff Arranger

Angela Freier Assistant Director of Development

Ryan Pequignot Stage Manager

Sarah Kimou Grants and Sponsorship Coordinator Clarissa Reis Annual Fund Coordinator

Kathleen Farrier Accounting Clerk Angelyn Begley Technology Coordinator marketing & communications Melysa Rogen Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager

JAN, FEB & MAR 2016

the phil orchestra roster andrew constantine music director Ione Breeden Auer Podium

Violin

Viola

Bass

David Ling, Acting Concertmaster Frank Freimann Chair

Derek Reeves, Principal

Adrian Mann, Principal

Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Bruce Graham

Andres Gil

Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair Timothy Tan Alexandra Tsilibes

Joel Braun

Theodore E. Chemey III

Luke Fitzpatrick, Principal Rejean Oâ&#x20AC;&#x2122;Rourke Chair

Erin Rafferty

Cello Andre Gaskins, Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair

Pablo Vasquez

Jane Heald

Kristin Westover

David Rezits

Dessie Arnold

Edward Stevens

Zofia Glashauser

Joseph Kalisman

Janet Guy-Klickman

Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Linda Kanzawa Ervin Orban

Brian Kuhns

Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Erin Maughan

Flute

JAN, FEB & MAR 2016

Timpani

Campbell MacDonald, Principal Howard and Marilyn Steele Chair

Andrew Lott, Principal Gaylord D. Adsit Chair

Eric Schweikert, Principal William H. Lawson Chair

Daniel Ross George M. Schatzlein Chair

Percussion

Bassoon Dennis Fick, Principal

Horn

Adam Johnson

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

Bass Trombone

J. Richard Remissong John D. Shoaff Chair

Hillary Feibel Mary-Beth Gnagey Chair

Katherine Loesch

Oboe Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair

English Horn

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

Michael Galbraith Walter D. Greist, MD Family Chair

Scott Verduin, Principal June E. Enoch Chair Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair

Akira Murotani Charles Walter Hursh Chair

Anne Devine Joan and Ronald Venderly Family Chair

Vivianne BĂŠlanger Virginia R. and Richard E. Bokern Chair

Leonid Sirotkin Marilyn M. Newman Chair

chamber musicians

Trumpet

Cynthia Greider Georgia Haecker Halaby Chair

benjamin rivera chorus director

Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair

Clarinet

Kirk Etheridge Patricia Adsit Chair

Harp Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Andrew Hicks

Tuba Samuel Gnagey, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

Contributing Musicians VIOLIN

VIOLA

OBOE

Jenna Anderson Nathan Banks Nicole DeGuire Regan Eckstein Janice Eplett Paul Hauer Michael Houff Victoria Moore Caleb Mossburg Irina Mueller Michael O'Gieblyn Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Lauren Tourkow Jessica Wiersma

Melissa Lund Ziegler Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

Jennet Ingle Aryn Sweeney Sarah Thelen

CELLO Gena Taylor

Organ Irene Ator Robert Goldstine Chair

Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair

CONTRABASSOON Alan Palider Keith Sweger

CLARINET

HORN

Elizabeth Crawford Dan Healton Spencer Prewitt

Gene Berger Kurt Civilette Kenji Ulmer

BASS CLARINET

TRUMPET

PERCUSSION Colin Hartnett Matt Hawkins Renee Keller Ben Kipp Kevin Kosnik Jerry Noble

KEYBOARD Jonathan Mann

BASS Brad Kuhns John Tonne

FLUTE Janet Galbraith Alistair Howlett Patricia Reeves

Elizabeth Crawford Daniel Healton Spencer Prewitt

Brittany Hendricks Douglas Hofherr Larry Powell Alan Severs Adam Strong

SAXOPHONE Matt Cashdollar Ed Renz Farrell Vernon

BASSOON Marat Rakhmatullaev Michael Trentacosti

JAN, FEB & MAR 2016

the phil chorus roster

series sponsors

Benjamin Rivera chorus director Jonathan Eifert assistant director soprano Ashley Adamson Micaela Basillici Karen Campbell Maria Chase Sheila Chilcote-Collins Kaitlin Clancey Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Ruth Fearnow Katy Hobbs Carol Jackson Jill Jeffery Natasha Kersjes Carol Anne McMillen Jane Meredith LeeAnn Miguel Meg Moss Clarissa Reis Karma Remster

Rita Robbins Mary Snow Sherrie Steiner Sue Stump Christina Thomson Carrie Veit Sarah Vetter Alto Nancy Archer Cathryn Boys Ronnie Brooks Jeri Charles Caitlin Coulter Lenore DeFonso Joan Gardner Ronnie Greenberg Cheryle Griswold Sandra Hellwege Darah Jones Jody Jones Sharon Mankey

Tara Olivero Sarah Reynolds Paula Neale Rice Sabrina Richert Cindy Sabo Lynn Shire Sue Snyder Hope Swanson Smith Ruth Trzynka Frédérique Ward Gretchen Weerts Nancy Weigelt Mary Winters Lea Woodrum tenor Michael Bienz Garrett Butler Thomas Cain Sarah Kindinger John T. Moore Nathan Pose

Mark Richert John Sabo Greg White BASS Thomas Baker John Brennan Thomas Callahan Jon Eifert Kris Gray Gerrit Janssen Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Kent Sprunger

robert wagner & MARLENE BUESCHING

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

chuck surack founder and president, sweetwater sound, inc.

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

melodious

Design/Build, Maintenance, Irrigation, Floral Studio Bruce Ewing | 124 North Thomas Road | 260.432.2785 | bruceewinglandscaping.com

jim marcuccilli PRESIDENT & CEO, STAR BANk

STAR is proud to call Fort Wayne home. As a local company, we’re dedicated to making our city an ideal place to raise a family. That is why we created Family of STARs, our community involvement initiative that supports family-oriented programming. The Phil Family Music Series is one of those underwriting commitments. (The three-part Family Series is held in IPFW’s Auer Performance Hall). The programs showcase classical music to families in a fun, relaxed setting. The perfect fit for a culturally rich family experience.

series sponsors

annual fund individuals

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."

Mark Millett president & CEO, Steel dynamics

The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. We make every attempt to include everyone who has supported The Phil during that time. Please let us know if we've made an error. For information about supporting The Phil’s 2015/16 Annual Fund, contact the Development Office at 260•481•0775. FOUNDERS SOCIETY (GIFTS OF $25,000+) Anonymous (1) Gloria Fink* Russ & Jeanette Quilhot

Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman June E. Enoch Leonard & Rikki Goldstein William N. & Sara Lee Hatlem

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

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

st e e l dy n a m i c s

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

Dr. & Mrs. Alfred Allina Drs. David Paul J. & Jeneen Almdale Nancy Archer George & Linn Bartling David & Janet Bell Mrs. Virginia Coats

Andrew & Jane Constantine Mark O. Flanagan Tod Kovara Mr. & Mrs. Victor Porter The Rifkin Family Foundation

CONDUCTOR’S CIRLCE (GIFTS OF $2,500 TO $4,999)

Mike Packnett president & ceo, parkview medical center parkview regional medical center

holiday pops

Tim & Libby Ash Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin John H. Shoaff & Julie Donnell Mr. & Mrs. Irwin F. Deister Jr. Ann H. Eckrich Patricia S. Griest Dr. Rudy & Rhonda Kachmann Drs. Carol & David Lindquist Greg Marcus

For so many of us, a Fort Wayne Philharmonic Holiday Pops Concert is a treasured part of our end-of-year festivities. The familiar carols bring us together in the spirit of community, evoking happy memories with friends and family.

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499)

We at Parkview Health are very pleased to sponsor the Regional Holiday Pops Concert series. From the physicians and the clinical, administrative and support staff members, and from my wife, Donna, and me, heartfelt wishes to you and yours for a blessed and joyous holiday season.

Anonymous (1) Norma & Tom Beadie Katherine Bishop Earl & Melanie Brooks Joan Baumgartner Brown

Michael Mastrangelo Kevin & Tamzon O’Malley Dr. Evelyn M. Pauly Carolyn & Dick Sage Ms. Carol Shuttleworth & Mr. Michael Gavin Barbara Wachtman & Tom Skillman Daryl Yost Al & Hannah Zacher

Kathy Callen Tom & Margaret Dannenfelser George & Ann Donner Ben & Sharon Eisbart Fred & Mary Anna Feitler

JAN, FEB & MAR 2016

Susan & Richard Ferguson Fredrica Frank* David S. Goodman Sattar & Marlene Jaboori Dorothy K. Kittaka Mr. & Mrs. John Krueckeberg Greg & Barbara Myers Rosemary Noecker Kathryn & Michael Parrott Linda Pulver

The Rev. C. Corydon Randall & Mrs. Marian Randall The Rothman Family Foundation Melissa & Peter Schenkel Philip & Rebecca Smith Wayne & Helen Waters Lewie Wiese Virginia Zimmerman Dr. & Mrs. Richard Zollinger

Timothy & Jennifer Miller Norma J. Pinney Carol & Bill Reitz Dr. Joseph Schneider Nancy & David Stewart Kathleen M. Summers Rachel A. Tobin-Smith Carolyn & Larry Vanice Nancy Vendrely Herbert & Lorraine Weier

ENCORE CIRCLE (GIFTS OF $750 TO $999) Glenn & Janellyn Borden Mr. & Mrs. Craig D. Brown Anita G. Dunlavy Emily & Michael Elko Mr. & Mrs. Daniel C. Ewing Diane Keoun David B. Lupke

Anne & Ed Martin Paul & Bonnie Moore David & Sharon Peters Robert Simon Norma Thiele Kari & Jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (4) Jeane K. Almdale Dr. & Mrs. Richard N. Avdul Larry & Martha Berndt Elizabeth Bueker Margaret L. & Richard F. Bugher Barbara Bulmahn Andy & Peg Candor Dr. & Mrs. Jerald Cooper John & Janice Cox Dr. & Mrs. Fred W. Dahling Sara Davis Clayton Ellenwood Bruce & Ellen England Steven & Nancy Gardner Roy & Mary Gilliom Scott & Melissa Glaze Shirley H. Graham Mrs. Eloise Guy Bob & Liz Hathaway William & Sarah Hathaway

JAN, FEB & MAR 2016

LTC Ret. & Mrs. Richard Reeves Alan & Pat Riebe Anne & David Silletto Mr. Marco Spallone & Ms. Anne Longtine Jane C. Thomas

Mr. John Ulmer Angela & Dick Weber Virginia & Don Wolf Mary Ann & Mike Ziembo

FIRST CHAIR (GIFTS FROM $300 TO $499)

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (1) Holly & Gil Bierman Dr. & Mrs. James G. Buchholz Keith & Kyle Davis The Dyer Family Foundation Elizabeth A. Frederick Leonard Helfrich Ginny & Bill Johnson Floyd A. & Betty Lou Lancia Lyman & Joan Lewis Mr. & Mrs. Donald T. Mefford

CONCERTMASTER CONTINUED (GIFTS FROM $500 TO $749)

Anne & James Heger Mark & Debbie Hesterman Mr. & Mrs. Kenneth Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund Floyd & Betty Lancia Dr. & Mrs. John W. Lee Stephen & Jeanne Lewis Senator David & Melissa Long Frank Luarde Peter & Christine Mallers Thomas & Dianne May Lusina McNall Jim & Alice Merz Susan & David Meyer Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Brian & Sue Payne William & Sue Ransom Dr. & Mrs. Stephen Reed

Anonymous (2) Michael & Mary Jo Amorini Scott & Barbara Armstrong Linda Balthaser Frederick Beckman Michael & Deborah Bendall Jon Bomberger & Kathryn Roudebush Dr. & Mrs. Robert Burkhardt Ann & Tim Dempsey George & Nancy Dodd William Easterly Mrs. Philip W. Eherenman Albert & Jeanne Emilian Pauline Eversole Dan & Nancy Fulkerson Linda Gaff Robert & Barbara Gasser Robert & Constance Godley Mr. & Mrs. Thomas E. Green Lois Guess Warren & Ardis Hendryx Tom & Mary Hufford Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Larry & Annette Kapp Jane L. Keltsch Mr. John A. Kirchhofer Bruce & Mary Koeneman Ed & Linda Kos Steven & Rhonda Lehman Dr. & Mrs. Richard D. Lieb Anne A. Lovett

Paul & Pauline Lyons Peg Maginn April & Charles Morrison Suzon Motz Martha L. Noel Paul A. Oberley Janet Paflas Mac & Pat Parker Mr. & Mrs. William Peiserich Mr. & Mrs. Delmar J. Proctor Cindy & Fred Rasp Paul J. & Lula Belle Reiff Jeremy & Clarissa Reis Sarah & Richard Reynolds Maryellen Rice Benjamin & Alex Rivera Robert & Ramona Scheimann Mary Schneider Scot C. Schouweiler & Julie Keller Chuck & Patty Schrimper Wayne & Ann Shive Fort Wayne Alumnae Chapter of Sigma Alpha Iota Stephen R. & Anne S. Smith Lois A. Steere Carol Ann Terwilliger Carl & Cynthia Thies Scott & Jenny Tsuleff Don & Amy Urban Michael J. Vorndran & Joshua Long Lorraine & Shepard Weinswig Phil & Marcia Wright

SECTION PLAYER (GIFTS OF $100 TO $299) Anonymous (6) Max M. Achleman Ambulatory Medical Management Terry & Phil Andorfer Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mel & Ruth Arnold Mr. & Mrs. William Arnold Dick & Adie Baach Dave & Bev Baals Michael & Kay Bauserman Amy & John Beatty Tony & Pat Becker

Beth & Don Bieberich Matthew Bilodeau Robert & Mary Binns David W. Bischoff Sherry L. Blake Barbara L. Boereier Virginia Bokern Rebecca Bouse Dennis Bowman Jim & Sue Bradley Dr. Helene Breazeale Dr. & Mrs. Todd Briscoe Mr. Mike Britten Ms. Evelyn Brosch-Goodwin

David N. Brumm & Kimberly S. MacDonald William & Joan D. Bryant William & Dorothy Burford Dr. David & Gayle Burns Marguerite W. Burrell Philip Burt Joyce & Paul Buzzard Mary Campbell Anne & Michael Cayot Arlene Christ Willard & Nena Clark Mr. & Mrs. J. Nelson Coats Robert & Annelie Collie Mr. & Mrs. Richard Cook

JAN, FEB & MAR 2016

John Crawford Dan & Marjorie Culbertson Jane Dehaven Tom & Holly DeLong Vera & Dominick DeTommaso Carol Diskey Daryle L. Doden Fred & Joan Domrow Phyllis Dunham Dr. & Mrs. John Dyer G. Edwards Don & Mary Kay Ehlerding Cynthia Elick Lillian C. Embick Pam Evans-Mitoraj Mr. & Mrs. Larry Farver Dr. & Mrs. Joseph P. Fiacable David & Mary Fink Michael & Marcia Flood John & Jane Foell Nathan & Angela Freier Sheryl A. Friedley Daniel & Sara Gebhart Geoff & Betsy Gephart Edward & Henrietta Goetz William & Mary Goudy Mr. & Mrs. Ronald Greek Norm & Ronnie Greenberg Don & Kate Griffith James B. Griffith David L. Guilford Mary K. Gynn Mark Hagerman Jonathan & Alice Hancock Brian & Barbara Harris Paul J. Haughan Dennis & Joan Headlee Jacqueline Heckler Mayor Tom C. & Cindy Henry Tom & Jane Hoffman Douglas E. & Karla K. Hofherr Phil & Sharon Howard Winifred Howe Ed & Mary Lou Hutter George & Jane Irmscher Mr. & Mrs. Arlin Jansen Mark & Dianne Jarmus Steve Johnson Alex & Sharon Jokay Gwen Kaag James R. Karlin LuAnn R. Keller Bridget Kelly

Dale Kelly William G. Knorr James & Janice Koday Kay & Fred Kohler Dr. & Mrs. Daniel Krach Carolyn Krebs Hedi Krueger Paula Kuiper-Moore JJ Carrol & Jeff Lane Drs. Chung & Sage Lee Ms. Frances Lemay Dale & Virginia Lutz Cameron & Meg MacKenzie Janet & Larry Macklin Mr. & Mrs. Michael Makarewich Nellie Bee Maloley Cheryl Mathews David Matz Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Mary McDonald Mr. & Mrs. Ralph McDowell John H. & Shelby McFann Scott McMeen Alice McRae Leanne Mensing Elizabeth Meyer Dr. Ken & Jan Modesitt David & Linda Molfenter Al & Cathy Moll Ray & Nancy Moore Deborah Morgan Chuck & Becky Morris Dr. David Moser Kenneth & Linda Moudy John & Barbara Mueller Kevin & Pat Murphy Ms. Mary Musson Ron & Ruth Nofzinger David & Sally Norton Ed Neufer Betty O’Shaughnessey C. James & Susan J. Owen Emmanuel & Noemi Paraiso Edwin* & Maxine Peck Mr. & Mrs. John M. Peters Raymond & Betty Pippert Marvin & Vivian Priddy Helen F. Pyles JoEllen & Donald Reed John & Diana Reed Emma Reidenbach Dennis L. Reynolds

Ruth & Phillip Rivard Janet Roe Stanley & Enid Rosenblatt Martin & Rita Runge Douglas & Laura Runyan Marilyn Salon Nancy & Tom Sarosi Jan & Steve Sarratore Harold Schick Sylvia Schmidt Mary Ellen Schon Beverly & Dick Schweize David Seligman Mr. & Mrs. Richard Shankle Phyllis Shoaff Lt. Col. & Mrs. Tom Sites Ramona & Dick Sive Curt & Dee Smith Darryl R. Smith Lynda D. Smith Stan & Linda Sneeringer Sharon Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Mr. & Mrs. Donald D. Stedge David & Beth Steiner Mary Jane & Thomas Steinhauser Annetta Stork Matt & Cammy Sutter Tim & Colleen Tan Lois Teders Horn Judge Philip R. Thieme Tom & Maureen Thompson Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Daniel & June Walcott Dr. James Wehrenberg John & Pat Weicker Steve & Keitha Wesner Dr. & Mrs. Alfred A. Wick Ellen Wilson Hope Wilson Betty J. Woodmansee Lea B. Woodrum Mr. Galen Yordy Bob & Jan Younger Brian & Kyla Zehr

sponsors The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260•481•0784 to join our family of sponsors. Series Sponsors

Madge Rothschild Foundation

Maestoso $250,000+

Madge Rothschild Foundation Appassionato $150,000 to $249,999 Anonymous (1) Allegretto $50,000 to $149,999 Anonymous (1)

Founder’s Society $25,000 to $49,999

Virtuoso Society $10,000 to $24,999

The Huisking Foundation, Inc.

JAN, FEB & MAR 2016

Virtuoso Society (continued) $10,000 to $24,999

Composer’s Circle $1,000 to $2,499 Alpha Rae Personnel, Inc. Brotherhood Mutual Insurance Co. Fort Wayne Parks & Recreation Hagerman Construction Corp. Indiana Wesleyan University – Fort Wayne

Drs. Kevin & Pamela Kelly

Jehl & Kreilach Financial Management Parrish Leasing, Inc. Shambaugh, Kast, Beck, & Williams, LLP Ueber & Friedrich Dentistry Wells Fargo Advisors

The Miller Family Foundation Russ and Jeanette Quilhot

Stradivarius Society $5,000 to $9,999

Jim and Gloria Nash

Jeff Sebeika, Subway

AEGIS Sales & Engineering Inc. ChromaSource Inc. Club Soda Erika’s Spa & Wellness Club Hyndman Industrial Products, Inc.

Conductor’s Circle $2,500 to $4,999 Parrish Leasing Inc. PBS 39 Travel Leaders

Old National Insurance Ottenweller Co., Inc. String Shift The Oyster Bar Web Industries Inc.

Section Player $100 to $299 Ambulatory Medical Management Leonard J. Andorfer & Co., LLP Aunt Millie’s Bakeries Belmont Beverage Bone Asset Management Bradley Gough Diamonds Brown Equipment Co. Cali Nails Catablu Grille Certified Burglar & Fire Alarm Systems Crazy Pinz Dekko Investments Design Collaborative EPCO Products Fort Wayne Tin Caps Friendly Fox Hakes & Robrock Design-Build Inc.

Janice Eplett

JAN, FEB & MAR 2016

Old Crown Brass Band Parkview Field Paul Davis Restoration & Remodeling Unified Wealth & Retirement Planning UniFirst Vision Scapes

First Chair $300 to $499

Nancy Archer

Britton Marketing & Design Group Christopher James Menswear Club, Car, Limousine, & Trolley Downtown Improvement District Joseph Decuis Monarch Capital Management, Inc.

BAE Systems BKD Debrand Fine Chocolates MedPartners Pain Management & Anti-Aging Center, Dr. Alfred Allina

Concertmaster $500 to $999

Jophiel Clothing Longhorn Steakhouse Masolite Metro Real Estate Mike’s Carwash Moose Lake Products Co., Inc. Northeast Indiana Building Trades Paula’s on Main Rudy’s Shop Sheridan Stables John Shoemaker SkyZone Smoothie King Tomkinson BMW Two EE’s Winery Ultrazone Family Entertainment Center

regional partners The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. We take great pleasure in performing for enthusiastic audiences throughout the Northeast Indiana region and welcome and value each contribution that makes those concerts and education performances possible. Thank you! MULTIPLE COUNTY SUPPORT Indiana Michigan Power Olive B. Cole Foundation Parkview Regional Medical Center/ Parkview Health

Star Financial Bank Steel Dynamics Foundation, Inc

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

Eichhorn Jewelers Gilpin, Inc. Janet & Larry Macklin Ellen Mann

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

ALLEN COUNTY Jonathan Atkins Dr. & Mrs. Justin Arata George & Linn Bartling Craig & Diana Bartscht Amy & John Beatty Leaanne Bernstein Sarah Bodner Charles Bolyard Joan Baumgartner Brown Richard Brown Anita & Bill Cast Carolyn Colpetzer City Of Fort Wayne Jane Dehaven Matthew & Kris Derby Downtown Improvement District Teresa Dustman Ann H. Eckrich Suzie Fast Hagerman Construction Corp.

Robert Hoffman Stanley & Mary Hursh Martha Jones Dr. Rudy & Rhonda Kachmann Gerald & Marie Kanning Stephen Kelker Drs. Kevin & Pamela Kelly Russ & Marcia Kirby Ronald & Patricia Kohart Joellen Lauer Drs. Carol & David Lindquist Paul & Pauline Lyons John Martin Michael Mastrangelo Diane McCammon Douglas McCoy John H. & Shelby McFann Roger & Rachel McNett Susan & David Meyer Greg & Barbara Myers Mike & Pat Miller

Ray & Nancy Moore Mr. & Mrs. Terence O’Neil Ms. Nigel Perry PNC Mr. & Mrs. David Ridderheim Alan & Pat Riebe Madonna Ryan Richard Scheumann Grant & Stephanie Schultz John Smith Nancy & David Stewart Mr. & Mrs. Robert Streeter Mrs. Carol Ward Wayne & Helen Waters Jeanne Weber Rush Wells Fargo Advisors Donna Windmiller David Winters Daryl Yost

DEKALB COUNTY Auburn Moose Family Center Auburn Dental Associates Gary & Lisa Bowser John & Cheryl Chalmers Gerald Chapp DeKalb County Community Foundation DeKalb County Council on Aging Erica Dekko

Phyllis Dunham William & Mary Goudy C. Bishop Hathaway William & Sarah Hathaway Greg & Emma Henderson David & Pat Kruse Steve & Linda Kummernuss Metal Technologies Inc. Foundation Margery Norris

Kevin & Tamzon O’Malley Dr. & Mrs. Keith Perry Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Gary Sible Rosemary Sprunger Mayor Norman & Peggy Yoder

FULTON COUNTY Psi Iota Xi (Eta Mu)

Ronnie Shreffler

JAN, FEB & MAR 2016

KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Aunt Millie’s Bakeries Mrs. Carol B. Bennett James H. Benninghoff Al Campbell Bill & Anita Cast Georgia Cook Thomas & Nancy Cottrell Edward & Linda Dahm Gretchen & Greg Dahm Tom & Sandi Druley David & Judith Eckrich Richard & Susan Ferguson Mr. Alan Fox Michael Glasper Dr. & Mrs. Lloyd Hagedorn Mr. & Mrs. Vaughn Hankins Kenneth & Lela Harkless Foundation

Bruce & Sabine Hopkins Mrs. Hope Huber Stanley & Mary Hursh Needham & Mary Lou Hurst Rosalie Hurst Harriet Inskeep Dr. Rudy & Rhonda Kachmann Phillip & Janet Keim Dan & Sarah Kitch Kosciusko County Community Foundation Kosciusko REMC Operation Round Up Program Lakeland Community Artist's Corp. Floyd A. & Betty Lou Lancia Mr. & Mrs. Max Laudeman Jim & Pat Marcuccilli Mr. & Mrs. Paul Mast Mr. & Mrs. William F. McNagny

Dave & Dorothy Murphy Walter & Ann Palmer Dr. & Mrs. Ronald Pancner Mr. & Mrs. Paul Phillabaum Richard & Susan Pletcher Prickett’s Properties, Inc. Maryellen Rice Ian & Mimi Rolland Ms. Mary Roth Ann Strong Dick & Linda Tillman Wawasee Property Owners Association Mr. Larry Weigand Dr. & Mrs. Leamon D. Williams Tod & Sandy Wolfrum Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Dr. & Mrs. Craig Atz Greg & Sheila Beckman Arthur & Josephine Beyer Foundation Gregory & Michele Bricker

Kappa, Kappa, Kappa, Inc. – Alpha Iota Chapter Dr. & Mrs. Kenneth Cripe Erica Dekko Bishop & Ellen Holliman

Kendallville Party Store Noble County Community Foundation Jennie Thompson Foundation

STEUBEN COUNTY Anonymous (1) Donald & Janet Ahlersmeyer American Legion Angola Post 31 Mr. Ron Ball Glen & Chris Bickel Mr. & Mrs. Robert Bigelow Ray & Marianne Bodie James & Lynn Broyles Chuck & Maureen Buschek Cameron Memorial Community Hospital City of Angola, Richard Hickman, Mayor Judith Clark-Morrill Foundation Coldwell Banker Roth Wehrly Graber

Mrs. Margie Deal First Federal Savings Bank of Angola Susan Hanzel Jim & Karen Huber Patricia Huffman Thomas & Cheryl Hughey Mr. & Mrs. Roger Kaiser Leo & Marlene Kuhn Lake James Association Mr. & Mrs. Wally Leuenberger Mr. & Mrs. Ralph McDowell Gerald & Carole Miller Family Foundation Steve & Jackie Mitchell Stan & Jean Parrish

Psi Iota Xi (Rho Chapter) Max & Sandy Robison Fred & Bonnie Schlegel Mr. & Mrs. Charles Sheets Erik & Laura Sorensen Steuben County Community Foundation Steuben County REMC Round Up Foundation Trine University Norma Warren Jim & Kathryn Zimmerman Dale & Judy Zinn

WELLS COUNTY AdamsWells Internet Telecom TV Bluffton Rotary Club Mr. & Mrs. Doug Gerber

Mrs. Diane Humphrey L.A. Brown Co. Richard & Donna Scheumann

Mr. & Mrs. Kenneth Steffen Troxel Equipment Wells County Foundation

WHITLEY COUNTY 80/20 Inc. Copp Farm Supply Mr. & Mrs. Harold Copp Fred Geyer J & J Insurance Solutions

Performance PC, LLC Rex & Holly Schrader Mr. & Mrs. Nicholas Steill Pamela Thompson John Underwood

Mr. & Mrs. Jeffrey Walker Whitley County Community Foundation Dr. & Mrs. Richard Zollinger

JAN, FEB & MAR 2016

foundation and public support

Composer’s Circle (continued) $1,000 to $2,499

Edward D. & Ione Auer Foundation

DeKalb County Community Foundation Greater Fort Wayne Chamber of Commerce Foundation Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation MAXIMUS Foundation

Maestoso $250,000+

Concertmaster $500 to $999

Philharmonic Society $1,000,000+

Dekko Foundation

Madge Rothschild Foundation

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

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

Lincoln Financial Foundation W. Gene Marcus Trust PNC Charitable Trusts

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

Wells County Foundation Wells Fargo Charitable Trusts

Chorus Director Louis Bonter

Youth Symphony Walter W. Walb Foundation

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

Family Concerts Howard and Betsy Chapman

Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke

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

The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Jennie Thompson Foundation

Composer’s Circle $1,000 to $2,499 Adams County Community Foundation Howard P. Arnold Foundation

The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 46-47 for musician chair endowments.

Bequests

Conductor’s Circle $2,500 to $4,999 Ann and Gordon Getty Foundation

Special Endowments

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Stradivarius Society $5,000 to $9,999 Ecolab Foundation Journal Gazette Foundation Robert, Carrie, and Bobbie Steck Foundation

Soft Rock 103.9 Summit City Radio WANE-TV WOWO-FM WLDE-FM Patricia Weddle

endowment fund

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

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

Steel Dynamics Foundation Yergens Rogers Foundation

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

Noble County Community Foundation

in kind donations

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

Auburn Arts Commission

Dr. Dane & Mary Louise Miller Foundation Gerald & Carole Miller Family Foundation Steuben County Community Foundation Mary E. VanDrew Charitable Foundation Whitley County Community Foundation

Arthur A. Beal Charlotte D. Bradley Beverly Dildine Gloria Fink Henrietta Goetz

Joyce Gouwens John Heiney Sanford Rosenberg Alice C. Thompson

Arthur and Josephine Beyer Foundation Judith Clark-Morrill Foundation

JAN, FEB & MAR 2016

Contributors The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, we will share the full list of Endowment Contributors in our first program book of each season. A full Endowment Fund listing is available year round on the website at fwphil. org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information. tributes We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated. In Memory of Dr. Richard D. Lieb Anonymous (1) Brian & Vicki Castle Bruce & Ellen England Fred & Mary Anna Feitler David & Kathy Fuller

Janelle & Steven Graber Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway

Bil & Shirley Kransteuber Sidney & Belva Meyer Philip & Barbara Ross Styles Beyond Salon Nathan & Natalie Wanstrath

Jane & Frank Walker In Honor of Hannah & Al Zacher (60th Wedding Anniversary)

Debra Hazel Carolyn & Dick Sage

In Memory of Maria Offerle Mike & Ellen Becker Kim & Dwight Brandon Kathy Caudill Theresa & Michael Franke Carol & Joe Offerle

Mike Scott Barbara Spreen Star Financial Bank – Deposit Services Bob & Sherry Tilkins

Anonymous (26) Patricia Adsit Richard & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch Fred & Mary Anna Feitler Richard & Susan Ferguson

Gloria Fink* Henrietta Goetz* Mrs. Edward Golden Leonard & Rikki Goldstein Joyce Gouwens* Jay & Sandra Habig Susan Hanzel Jeff Haydon John Heiney* Mr. & Mrs. Donald Hicks Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara

Doris Latz Antoinette Lee Jeff Leffers & Jane Gerardot Naida MacDermid Eleanor H. Marine Mick & Susan McCollum John & Shelby McFann Donald Mefford John Shoaff & Julie Donnell Chuck & Lisa Surack Herbert & Lorraine Weier Mr. & Mrs. W. Paul Wolf * Indicates Deceased

Please contact the Development Office at 260•481•0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

Michael, Andrew, Daniel, Adam, Joshua & Theo (children & grandchildren)

In Memory of Shepard Weinswig Donald & Sally Caudill Dow & Angelique Famulak

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

The Phil is proud to honor our planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level and can benefit both you and your family. The Phil welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

In Memory of David Platt for the Youth Symphony

Marie & David Warshauer Judy & Steven Zacher

laureate club

Ken & Kathy Welig Mike & Cindy Wright

Fort Wayne ’ s oWn LocaL 146 stagehands . Working behind the scenes to provide your entertainment since 1908.

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online auction May 4 - 14

Images depicted are from the 2015 Auction and may not depict actual items in this year's event.

More details will be available soon at fwphil.org!

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