The Phil: Prelude 4 by Fort Wayne Philharmonic

FORT WAYNE PHILHARMONIC PROGRAM

MARCH/APRIL/MAY 2015

PRELUDE

VOLUME 71, NO. 4 2014/15 SEASON M A R C H /A P R I L / M AY

FORT WAYNE PHILHARMONIC PROGRAM Editor: Brooke Sheridan

Contributing Editors: Melysa Rogen, Jim Mancuso, Adrian Mann

Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department. Printed by Keefer Printing Company 3824 Transportation Drive 260 424-4543 We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue.

table of contents 5 12 12 13 13 21 43 43 44

Welcome Letter, Andrew Constantine Marcella Trentacosti, YCO Conductor Youth Concert Orchestra Roster David Cooke, YSO Conductor Youth Symphony Orchestra Roster Goshen College Choirs Roster Fort Wayne Philharmonic Chorus Roster IPFW University Singers Benjamin Rivera, Choral Director

artist bios

21 Jonita Lattimore 22 Barbara Rearick 22 Noah Baetge 23 Jeremy Galyon 27 Paul Pement 7 FREIMANN WEDNESDAY, MARCH 11 SUNDAY, march 15 11

27 28 28 29 29

62 64 66 67 67 68 72 74 82

The Phil Friends Andrew Constantine, Music Director Chia-Hsuan Lin, Assistant Conductor Board of Directors Staff Listing Orchestra Roster Business Partners Donors Index of Advertisers

Susan Hammond Barbara Nichol Andrew Redlawsk Thad Avery Steve Hiltebrand

35 Ilya Yakushev 46 Alexia Kruger Rivera 46 Susan Nelson 47 Geoffrey Agpalo 61 William Wolfram

YOUTH ORCHESTRAS SPRING CONCERT SUNDAY, MARCH 15

15 MASTERWORKS verdi's requiem saturday, march 21 25 FAMILY BEETHOVEN LIVES UPSTAIRS sunday, april 12 31

MASTERWORKS beethoven's fourth piano concerto SATURDAY, april 18

FREIMANN WEDNESDAY, APRIL 22 SUNDAY, april 26

CHORAL MENDELSSOHN'S HYMN OF PRAISE SATURDAY, APRIL 25

POPS PIXAR IN CONCERT SATURDAY, MAY 2

MASTERWORKS STRAVINSKY'S FIREBIRD SATURDAY, MAY 9 4901 Fuller Drive, Fort Wayne, IN 46835 office: 260 481-0770 Box Office: 260 481-0777 fwphil.org

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WELCOME FROM THE MUSIC DIRECTOR Welcome to the final Prelude of our 2014/15 season, a season which has been a thrill for us to bring to you and one in which your support of us has been tremendous. And as we head into Spring our last three Masterworks concerts are particularly exciting. On March 22, the Embassy stage will be ‘filled to the gunnels’ with instrumentalists and singers for a performance of Verdi’s Requiem, a choral masterpiece oweing as much to the opera house as any sacred venue. I challenge anyone not to be simply ‘blown away’ by the terrifying power of the Dies Irae! Slightly more measured and ‘classical’ will be our April 18th Masterworks concert at Auer Performance Hall when my dear friend and masterful young Russian pianist, Ilya Yakushev, will perform Beethoven’s Piano Concerto No. 4. You’ll also have a rare opportunity to experience the Symphony No. 5 by Dvorak; every bit as full of warmth and melody as his later works. The final Masterworks of this season has as thrilling a close to it as I can imagine. Brahms’ Piano Concerto No. 2 with the great William Wolfram should be enough to get anyone into the concert hall, but when you add Stravinsky’s Firebird and Turina’s Danzas Fantasticas – a work you’ll find as thrilling as Firebird, I guarantee! – we’ll have a night to remember!! Chamber music in the Freimann Series and our ever-popular Family Series are well served at this time too. Beethoven Lives Upstairs just has to be one of the best shows out there to engage all members of the family with classical music and the great man in particular. Bring your young ones along to IPFW on Sunday, April 12 to find out what all the fuss is about, you won’t regret it. And our two Freimann programmes of this period are filled with our own great Philharmonic artists and masterpieces as well. A Schubert trio and the lovely but rarely heard String Quartet by Grieg are on the bill for March 11 and 15 and the final set of the year, on April 22 and 26 showcase the great String Quartet, Op. 131 by Beethoven, a violin sonata by Brahms and the rarely heard "Requiem for Three Cellos" by the 19th Century virtuoso, David Popper. There are still three other hugely dynamic areas of the Phil’s work that I haven’t even mentioned yet! Can you believe how vibrant this organization is? Well, make sure you don’t miss the Sweetwater Pops concert on May 2 when Pixar in Concert, with its stunning HD visuals, will be a spellbinding treat. Another treat will be Benjamin Rivera and the Fort Wayne Philharmonic Chorus performing Mendelssohn’s Hymn of Praise a wonderful work, actually his Symphony No. 2, on Saturday, April 25 in the intimate surroundings of the First Wayne Street Methodist Church. And last, but by no means least, the marvelous young artists of the Phil’s Youth Symphony and Youth Concert Orchestra will bring you works by Vivaldi, Bach, Brahms and so much more in their Spring Concert on Sunday, March 15 at 6:30 pm in the Auer Performance Hall of IPFW. Non-stop music, endless art at the Fort Wayne Philharmonic.

Music Director, Andrew Constantine.

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Wednesday, March 11, 2015 | 7:30 P.M. Fort Wayne History Center Sunday, March 15, 2015 | 2:30 P.M. RHINEHART MUSIC CENTER, ipfw

SCHUBERT Piano Trio in E-flat major, Op. 100 Allegro Andante con moto Scherzo: Allegro moderato Allegro moderato Olga Yurkova, violin Deborah Nitka Hicks, cello Alexander Klepach, piano

-- Intermission --

GRIEG String Quartet in G minor, Op. 27 Un poco Andante; Allegro molto ed agitato Romanze: Andantino Intermezzo: Allegro molto marcato Finale: Lento; Presto al Saltarello David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

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F REIMANN P RO G RAM NOTES FREIMANN WEDNESDAY, march 11 & SUNDAY, march 15, 2015 Piano Trio in E-Flat Major, Op. 100 Franz Schubert (1797 - 1828) It is tragic to look at the amount of incredible music composed in Schubert’s last couple of years and to think it was so abruptly cut off due to an untimely death. In his last two years alone, he composed upwards of 3 different string quartets, a symphony, a song cycle, and numerous solo piano works. On top of that, he finished his Piano Trio in E-Flat Major, a substantial work for violin, cello, and piano that is impressive in both length and depth of emotion. In fact, if there is one area where Schubert excelled, besides crafting some of the most gorgeous melodies ever put on paper, it was getting a lot of mileage out of his compositions. For his short time on the planet he not only wrote a massive amount of music, but he composed pieces that were often epic in length, not just short little show pieces. During his life, Schubert did not seem inhibited in his creativity by having to cater to his employers, probably because he had relatively few. Instead, he often wrote music for a circle of intellectuals and other artists which perhaps gave him the freedom to write such expansive and meaningful works. His chamber works were often inspired by his art songs or Lieder, such as his String Quartet in D Minor which features a theme and variations movement based on his hauntingly beautiful song “Death and the Maiden.” In this trio, the standout movement is the slow second movement that is based off a Swedish folk song that will likely stay with the listener for quite some time. The opening movement starts with a cheerful and robust melody, but as is typical in Schubert, the mood changes quite rapidly and slips in between dark and light passages. The writing is also equally demanding of all players in the ensemble with each instrument sharing in the spotlight. The second movement has a tempo marking of Andante Con Moto which implies a moderate tempo with motion. The piano opens with a march-like accompaniment while the cello states a famous melody that the listener may recognize as it has been used in several movies. The melody is then developed throughout the movement yet the on-going pulse of the piano seems to remain consistent. The mood changes yet again in the third movement as a lively scherzo shows off Schubert’s ability to create a playful and charming atmosphere. Finally, the fourth movement’s carefree style seems to imply that Schubert got his taste of drama

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finished in the first two movements and just wants to have fun for the remainder of the work. The composer also plays around with traditional musical forms by combining the styles of standard Sonata form with the returning themes of a rondo. He even goes as far as to recap the second movement further cementing its place as the song that gets sung in the shower for months after this performance. This trio stands out as one of the most beloved and substantial additions to the chamber music canon. Schubert can often seem long-winded with long sections repeated entirely, but this work’s 45 minutes fly by with its incredible range of emotion and character.

String Quartet in G Minor, Op. 27 Edvard Grieg (1843 - 1907) It was all the rage in the late 19th century for composers to write music based on the national heritage and culture of their homeland. Just about any notable composer one can name has an immediate association with their country. Sibelius is synonymous with Finland, Dvořak with Czechoslovakia, and Grieg with Norway. It comes as no surprise that much of Grieg’s music then draws from Norwegian folk elements and popular songs. In fact, his String Quartet in G minor, composed between 1877-1878, is bursting at the seams with this folksy style. The G Minor Quartet was one of Grieg’s three attempts at the medium and ended up being the only quartet he completed. It uses the “Fiddler’s” song throughout all 4 movements that Grieg composed as part of his set of six Ibsen songs (Op. 25). The song is a about a spirit that offers any young musician incredible talent in exchange for their happiness...not sure what Grieg is implying about what it takes to be a successful musician. Perhaps the most noticeable characteristic of the quartet however is its use of double stops, as in playing multiple strings and notes at once, across all four instruments. Many criticized the usage of this effect for being excessive, however, Grieg was attempting to unlock the full range and sonority of the quartet. Modern listeners should enjoy the fullness and depth to the sound it adds to the performance. The piece opens with a very dramatic, and very G minor, statement. Then he erupts into a furious

folk-dance that sounds much like the inspiration for Bartok and Debussyâ&#x20AC;&#x2122;s later contributions to the string quartet. The first movement continues, trading these fast and furious passages for slower and lyrical statements. The second movement is entitled â&#x20AC;&#x153;Romanceâ&#x20AC;? and features a pleasant cello solo in the beginning, but much like the first movement, offers contrast with darker and faster sections. The third movement, Intermezzo, is another lively dance that reminds me of similar movements by Brahms and even Beethoven. Still present are the thick sonorities created by lots of double-stops. Finally, the piece concludes with a fourth movement that combines many of the ideas from earlier in the work, with a slow and sombre opening followed by an exciting dance that changes character from dark to light about every 30 seconds.

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Great string writing can often make a small number of instruments sound like a full orchestra and this piece is the perfect example. Its unique, forward-thinking style will grab the listener from the very beginning and not let go until its final chords.

Program Notes by Ed Stevens, 2015

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Spring Concert Sponsored by lutheran health network Sunday, March 15, 2015 | 6:30 p.m. rhinehart music center, IPFW David Cooke, YSO Conductor Marcella Trentacosti, YCO Conductor

Youth Concert Orchestra Bach Concerto for Violin and Oboe second movement Mishael Paraiso, violin Rachel Gripp, oboe Reed

A Festival Prelude

holst

Jupiter from ‘The Planets’

--Intermission-Youth symphony Orchestra Brahms

Hungarian Dances Nos. 5 and 6

WILLIAMS

Selections from "E.T. The Extra-Terrestrial"

Mendelssohn Violin Concerto in E minor, Op. 64 Allegro molto appassionato Caleb Stuckey, violin DvoŘÁk Symphony No. 9 movements II and IV

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yco conductor marcella trentacosti Born and raised in Allentown, Pennsylvania Marcy has been a full-time section violinist in The Fort Wayne Philharmonic since 1976. She graduated from Indiana University in 1981 with a Bachelor of Music Education, and in August of 2008 received her Master of Music from Bowling Green State University, Bowling Green, Ohio. Marcy participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago; Bach, Beethoven, Breckenridge Music Festival and was Concertmaster of the Marion Philharmonic for 8 years. She taught Orchestra at Snider High School, Woodside Middle School, Canterbury School, and Blue Lake Fine Arts Camp. Marcy maintains a private teaching studio and teaches for the IPFW Community Arts Academy in addition to serving as an IPFW Limited Term Lecturer and the director of the IPFW Summer String Camp. She served as the manager and a string coach for the Fort Wayne Youth Symphony. As an active member of the Fort Wayne Alumnae Chapter of Sigma Alpha Iota, presently Co-Chair VP Program, she has held the office of Recording Secretary and President.

Recently, in 2012 she received an Arts United Artie Award for “Outstanding Music Educator.” Presently, as a full-time section violinist with the Fort Wayne Philharmonic she is also the conductor of the Youth Concert Orchestra since 2010. Her teachers include Anne Rylands, Henryk Kowalski(IU), Victor Aitay (former coconcertmaster of the Chicago Symphony), Lawerence Shapiro, and Dr. Penny Thompson-Kruse. Marcy is married to bassoonist, Mike Trentacosti who has since retired from FOX Products. They have 4 children - Mike Jr., Tony, Nick and Lauren plus 4 grandchildren and of course their 2 sweet dogs…Ross & Lanie (a sheltie).

youth concert orchestra roster Violin 1 Mishael Paraiso Lydia Bingamon Mikhayla Palicte Grace Jiang Hannah Hobson Julia Eifert Alexis Clarke Grace Lee

viola Leeza Gallagher Lucas Drake Grace Henschen Cello Maria Teel Caleb Remocaldo Jeremiah Tsai Sam Scheele Shaan Patel Kyra Warren Edward Sun

Violin 2 Wendy Kleintank Allison Deshaies Sydnee Fritz Clara Bingamon Cami Crawford Krissy Brumbaugh Daniel Liu Sophie St. John Tyler Li Owen Dankert

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String Bass Samantha Trier Flute Sarah Hobson Megan Tarlton Colleen Williamson

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Oboe Rachel Gripp

Trombone Isaac Lambert Paul Ward

Clarinet Johanna Ashley Connor Meeks

Tuba Josh Vandre

Bassoon Kyle Peters Gillian Anders

Percussion Evelyn Rowdabaugh Teddy Tsai

French Horn Jenny Horne Claire Braun Megan Merz

Piano Lucas Drake

Trumpet Sam Parnin Alexander Angel Audrey Germain Kirsten Horne Drew O’Neal

Harp Micaela Yaste Cora Snyder

ySo conductor david cooke David B. Cooke, Principal Trombonist with the Fort Wayne Philharmonic, began his musical studies at age nine in his hometown of Canton, Ohio. He received a Bachelor of Music in trombone performance from The Ohio State University and a Master of Music in trombone performance with an emphasis on orchestral conducting from the Cleveland Institute of Music. He has performed with the Cleveland Orchestra, Columbus (Ohio) Symphony and the Indianapolis Symphony Orchestra and has been with The Phil for 21 years. He also has performed as a soloist with The Phil and has conducted several pops performances. As a chamber musician, Cooke was the founding member of the Cleveland Chamber Brass and has played with the Philharmonic

Brass Quintet and the Fort Wayne Chamber Brass. He is director of orchestral studies and a trombone instructor at IPFW. Cooke lives in Fort Wayne with his partner, Kyle Malott. They have two dogs, Olly and Gizmo, and two cats, Tina and Milly. Cooke says he loves the music of Prince and calls himself “the biggest Ohio State fan you’ll ever know.”

youth symphony orchestra roster Violin 1 Caleb Stuckey Isaac Mahoney Jacob Liebhauser Morgan Bland Kate Ward Elizabeth Ward Analiese Helms Mikayla Surface Reyanna Carter Violin 2 Alaina Richert Anna Stout Jelena Nguyen Michael Rowlett Sara Diem Carly Erst Katrin Hodson

Viola Sabrina Richert Parker Henschen Dana Kiefer Tyler Robb Jodi Sarno Cello Paul Ward Walter Li Eli Tash John Sarno Jaidee Bobbitt String Bass Creyana Robb Flute Jacob Hoger Hildie Matter Claire Griffith

Oboe David Zoschnick Hannah Ringo Mary Grace O’Neal

Trombone Austin Horn Hannah Tyler Chris Pyles

Clarinet Tucker Germain Joe Crawford Stephen Tsai

Percussion Jake Allan Logan Johnson Allyn Beifus

Bassoon Aaron Webb Kristen Kays

Harp Kinsey Lederman

French Horn Jake Byrd Alex Angel Chase Carter Micaela Deogracias Trumpet Josh Shepler Drew Atkinson

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MASTER W OR K S verdi's requiem Made possible by support from franklin electric

Saturday, march 21, 2015 | 7:30 P.M. embassy theatre Andrew Constantine, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director The Goshen College Choirs, Dr. Scott Hochstetler, Dr. Debra Brubaker, directors Jonita Lattimore, soprano Barbara Rearick, mezzo-soprano Noah Baetge, tenor Jeremy Galyon, bass

VERDI Messa da Requiem Requiem and Kyrie Sequence (Dies Irae) Offertorio (Domine Jesu) Sanctus Agnus Dei Lux aeterna Libera me

Concert is presented without intermission.

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, April 2, at 7:00 P.M.

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MASTER W OR K S P RO G RAM NOTES v erdi ' s r e q u i e m Saturday, march 21, 2015 Messa da Requiem Giuseppe Verdi (1813 - 1901) When the poet/novelist Alessandro Manzoni died in Milan on May 22, 1873 at the advanced age of 88, he left Giuseppe Verdi the sole surviving spiritual/cultural leader of the Risorgimento, Italy’s successful mid-19th century movement of reunification as a nation, free of Austrian domination. Manzoni had been the poet of the Risorgimento, Verdi its composer. To non-Italians, Verdi’s artistic legacy in his mighty series of immensely popular operas is well known, Manzoni’s far less so. Manzoni had written what is even today Italy’s most famous and beloved novel — its War and Peace or David Copperfield — I promessi sposi (“The Betrothed”). Virtually every Italian has read it (Verdi himself first read it at age 16), not only for its romantic story but also for its fresh, vivid language. For Manzoni had consciously tried to create a new language for a new nation, heretofore divided by its regional dialects. In I promessi sposi, he produced the model for modern literary Italian at just the moment when Italians were most eager to embrace it. The novel ensured Manzoni’s place in the hearts of his countrymen, and at his death, a whole nation mourned. Verdi mourned too. To his lifelong friend, the Contessa Maffei, he wrote: “Now all is over! and with him ends the most pure, the most holy, the greatest of our glories. I have read many papers. No one speaks fittingly of him. Many words, but none deeply felt.” Too grief-stricken to attend Manzoni’s funeral, Verdi brooded on his own memorial — something to counteract the “many words, but none deeply felt.” A week later, he proposed it to the Mayor of Milan: a Requiem Mass to be composed by him and performed in a Milanese church on the first anniversary of Manzoni’s death. Verdi would pay the expenses of producing and printing the music and would select, train, and lead the chorus, soloists, and orchestra. The city would pay the performance expenses. The Mayor didn’t think twice. Here was Italy’s greatest composer — fresh from the triumph of Aida — offering a new work in memory of Milan’s first citizen. In the words of a later, fictional Italian, truly “an offer he can’t refuse.” The Requiem and its performing forces — four vocal soloists, including the celebrated soprano Teresa Stolz, the first La Scala Aida; a chorus of 120; and an orchestra of 100 — were ready as promised on the anniversary, May 22,

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1874. Verdi had chosen Milan’s Church of San Marco as having the finest acoustics for the premiere. Under the composer’s baton, it was one of those all too rare artistic occasions when expectations are exceedingly high and the work and the performance are great enough to meet them. Three days later, the Requiem was performed again, this time to the tumultuous applause the church premiere had denied, at Milan’s La Scala opera house, site of many Verdi operatic triumphs. It then proceeded on a successful tour of European capitals: Paris, Vienna, London. But from the beginning, the “Manzoni Requiem” was a controversial work. Too theatrical, said some. Not a suitably reverent treatment of the sacred text of the Roman Catholic Mass for the Dead. The famous German conductor and Brahms supporter, Hans von Bülow, initially dismissed it as Verdi’s “latest opera in ecclesiastical dress” and refused to hear it. Brahms himself came to the defense; after studying the score, he declared, “Bülow has made a fool of himself, since this could only have been done by a genius.” Yet von Bülow wasn’t entirely wrong. The Messa da Requiem, Verdi’s only large-scale nonoperatic work, really is a sacred opera. Its glory is its very theatricality. Verdi responded to the ancient text with, as Donald Francis Tovey said, “flaming sincerity,” and the work is the product of his years of experience in the opera house. And the dominant role goes not to the chorus or orchestra but to his four soloists, all given music of great virtuosity and operatic thrust. Yet the chorus and orchestra are not slighted. In his early years, Verdi was accused of writing for the orchestra as though it were a crude, smalltown Italian band, such as those he knew in his hometown of Busseto. But when he created the Requiem, the composer was as great a master of the orchestra as of voices. Verdi wrote of needing always to find the right color or “tinto” for an operatic scene, and here he finds it every time, whether in the hair-raising brass fanfares that introduce the “Tuba mirum” or the three flutes spinning silvery webs above the soprano and mezzo in the “Agnus Dei.” Like two other composers of famous Requiems, Brahms and Berlioz, Verdi was an agnostic, and so, since he was too honest a man and artist, his Requiem does not portray what he could not himself believe. It is an often troubling setting, providing no false consolation, no answers. The composer elevates the “Dies irae” (“Day of Judgment”) portion of the mass to the center of

his conception and gives it music of terrifying force. The emphasis throughout is on the fears of the living as they face the unknown region of death, not the joys awaiting the departed. I. Requiem and Kyrie: The work begins almost inaudibly in the muted cellos, with the chorus murmuring “Requiem” in broken phrases. As often happens in late Verdi works, the melody emerges in the orchestra, not the voices. Listen for the magical brightening effect of the chorus’ harmonic progression on “lux” (“light”), as A minor is transformed into A Major. The middle portion of this opening section, “Te decet hymnus,” features beautiful counterpoint, reminiscent of Palestrina, for unaccompanied chorus. (Verdi was schooled in the contrapuntal methods of Palestrina and remained a lifelong admirer of this 16th-century Italian master.) After a return of the “Requiem” music, the “Kyrie” begins, introducing the soloists with bravura vocal writing befitting the grand operatic artists they are. II. Dies Irae: Four hammer-blows launch the ferocious “Dies irae” music, which dominates this section, by far the longest in the work and casting its fiery glow over the entire Requiem. The chorus’ terrified cries as they envision this “Day of Anger” are silenced by fanfares from eight trumpets, four on-stage and four off, which swell into an eruption of the entire brass section (“Tuba mirum”). Here Verdi’s early exposure to village brass bands has been transmuted into one of the most electrifying passages of brass writing in the classical canon — “The Last Trump” indeed! This large section subdivides into many highly contrasted, artfully balanced numbers for the soloists, as well as two returns of the blazing “Dies irae” music. Here Verdi brings the drama down to the personal level: each individual’s struggle with the fear of death and what may come afterward. Then he gathers his forces together again for the concluding “Lacrimosa,” introduced by the mezzo-soprano, with its sighing motives and its anguished chromatically ascending scale partnering the poignantly simple principal melody. At the end, in a marvelously subtle use of harmony for dramatic effect, Verdi gives us an “Amen” on an unexpected, bright G-major chord (a ray of hope?), then subsides to an exceedingly dark-colored B-flat major close (death is the reality). III. Offertorio: The “Offertorio” provides quiet contrast in a lyrically flowing movement for the solo quartet. At mid-point, the beautiful “Hostias et preces” (“A sacrifice of praise and prayer”) section is introduced by the tenor. This is framed by the two faster “Quam olim Abrahae” (“As He promised to Abraham”) sections, which Verdi, eschewing custom, chose not to set as a fugue. The movement has a lovely, haunting ending as the soprano rises to a dolcissimo high A-flat, and the orchestra closes with shimmering mutedstring tremolos and a melancholy solo clarinet.

IV. Sanctus: Brass peals forth to open a fiery fugue for double chorus. In this compact, hotblooded movement, the composer combines the “Sanctus,” “Osanna,” and “Benedictus” texts, often set separately by other composers. His conception of God is not a gentle one: no mystery and awe here, instead virile, Italianate worship of fierce divinity. V. Agnus Dei: After the fire of the “Sanctus” comes the chaste, cool sound of the soprano and mezzo soloists singing, at first unaccompanied, a simple melody in C major in bare octaves. Listen for Verdi’s ethereal writing for three flutes at the soloists’ third entrance, a moment to treasure. VI. Lux Aeterna: In one of the most beautiful sections of the Requiem, Verdi spotlights his three lower-voiced soloists, saving his soprano for the last act. The mezzo’s luminous pianissimo “Lux aeterna” melody, with a halo of divided tremolo strings, contrasts with the bass’s ominous-sounding “Requiem aeternam” theme, accompanied by low brass. These two moods battle gently, with the mezzo’s ultimately dominating. The orchestra is used sparingly but with great artistry throughout. VII. Libera Me: The soprano soloist suddenly shatters the tonality and the serene mood of the preceding with her frantic unaccompanied recitative, “Save me, Lord, from eternal death.” The mood of terror has returned, and soon it erupts full-force as the “Dies irae” music returns one final time. Soprano and chorus then sing very softly what may be the most exquisite moment in the entire work: “Requiem aeternam.” This culminates in a floating pppp high B-flat for the soloist: a moment audiences look forward to eagerly — and sopranos with butterflies in their stomachs. Verdi had originally composed part of the “Libera me” in 1869 for a multi-composer Requiem in memory of Rossini, and the vigorous choral fugue that follows, with the soprano cresting to a high C, is a survivor of this earlier movement. But Verdi refuses to conclude his Requiem on this exuberant plane. The subject, after all, is death; and Verdi, the agnostic, closes in an uncertain, questioning mood. The soprano and chorus mutter “Libera me” on a unison middle-C, which dies out over the darkest C-major orchestral chord imaginable. In the words of Giuseppina Verdi, a clear-headed, astute observer of her husband’s work: “They have all talked so much of the more, or less, religious spirit of this sacred music, of not having followed the style of Mozart, of Cherubini, etc. etc. I say that a man like Verdi must write like Verdi.” Janet E. Bedell copyright 2015

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TEXT AND TRANSLATIONS Introit Requiem æternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus Deus, in Sion, et tibi reddetur votum in Ierusalem. Exaudi orationem meam; ad te omnis caro veniet. Requiem æternam dona eis, Domine, et lux perpetua luceat eis.

Grant them eternal rest, O Lord, and let perpetual light shine upon them. A hymn becomes you, O God, in Zion, and to you shall a vow be repaid in Jerusalem. Hear my prayer; to you shall all flesh come. Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.

Kyrie eleison Kyrie eleison; Christe eleison; Kyrie eleison.

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

Gradual Requiem æternam dona eis, Domine : et lux perpetua luceat eis. In memoria æterna erit iustus, ab auditione mala non timebit.

Eternal rest grant unto them, O Lord : and let perpetual light shine upon them. He shall be justified in everlasting memory, and shall not fear evil reports.

Tract Absolve, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum et gratia tua illis succurente mereantur evadere iudicium ultionis, et lucis æternae beatitudine perfrui.

Forgive, O Lord, the souls of all the faithful departed from all the chains of their sins and by the aid to them of your grace may they deserve to avoid the judgment of revenge, and enjoy the blessedness of everlasting light.

Sequence

Dies iræ! dies illa Solvet sæclum in favilla: Teste David cum Sibylla!

The day of wrath, that day Will dissolve the world in ashes As foretold by David and the sibyl!

Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus!

How much tremor there will be, when the judge will come, investigating everything strictly!

Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.

The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne.

Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura.

Death and nature will marvel, when the creature arises, to respond to the Judge.

Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur.

The written book will be brought forth, in which all is contained, from which the world shall be judged.

Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.

When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished.

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Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix iustus sit securus?

What am I, miserable, then to say? Which patron to ask, when [even] the just may [only] hardly be sure?

Rex tremendæ maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

King of tremendous majesty, who freely saves those who should be saved, save me, source of mercy.

Recordare, Iesu pie, Quod sum causa tuæ viæ: Ne me perdas illa die.

Remember, merciful Jesus, that I am the cause of thy way: lest thou lose me in that day.

Quærens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.

Seeking me, thou sat tired: thou redeemed [me] having suffered the Cross: let not so much hardship be lost.

Iuste iudex ultionis, Donum fac remissionis Ante diem rationis.

Just judge of revenge, give the gift of remission before the day of reckoning.

Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.

I sigh, like the guilty one: my face reddens in guilt: Spare the supplicating one, God.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.

Thou who absolved Mary, and heardest the robber, gavest hope to me, too.

Preces meæ non sunt dignæ: Sed tu bonus fac benigne, Ne perenni cremer igne.

My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire.

Inter oves locum præsta, Et ab hædis me sequestra, Statuens in parte dextra.

Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.

Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis.

Once the cursed have been rebuked, sentenced to acrid flames: Call thou me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.

I meekly and humbly pray, [my] heart is as crushed as the ashes: perform the healing of mine end.

Lacrimosa dies illa, Qua resurget ex favilla Iudicandus homo reus. Huic ergo parce, Deus:

Tearful will be that day, on which from the ashes arises the guilty man who is to be judged. Spare him therefore, God.

Pie Iesu Domine, Dona eis requiem. Amen.

Merciful Lord Jesus, grant them rest. Amen.

Offertory Domine Iesu Christe, Rex gloriæ, libera animas omnium fidelium defunctorum de pœnis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; sed signifer sanctus Michael repræsentet eas in lucem sanctam, quam olim Abrahæ promisisti et semini eius. Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahæ promisisti et semini eius.

Lord Jesus Christ, King of glory, free the souls of all the faithful departed from infernal punishment and the deep pit. Free them from the mouth of the lion; do not let Tartarus swallow them, nor let them fall into darkness; but may the standard-bearer Saint Michael, lead them into the holy light which you once promised to Abraham and his seed. O Lord, we offer You sacrifices and prayers of praise; accept them on behalf of those souls whom we remember today. Let them, O Lord, pass over from death to life, as you once promised to Abraham and his seed.

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Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth; pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of your glory. Hosanna in the highest.

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

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

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem, Agnus Dei, qui tollis peccata mundi, dona eis requiem, Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them eternal rest.

Communion Lux æterna luceat eis, Domine, cum sanctis tuis in æternum, quia pius es. Requiem æternam dona eis, Domine; et lux perpetua luceat eis; cum Sanctis tuis in æternum, quia pius es.

May everlasting light shine upon them, O Lord, with your Saints forever, for you are kind. Grant them eternal rest, O Lord, and may everlasting light shine upon them. with your Saints forever, for you are merciful.

Pie Jesu Pie Jesu Domine, dona eis requiem. Dona eis requiem sempiternam.

Merciful Lord Jesus, grant them rest; grant them eternal rest.

Libera Me Libera me, Domine, de morte æterna, in die illa tremenda: Quando cœli movendi sunt et terra. Dum veneris iudicare sæculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando cœli movendi sunt et terra. Dies illa, dies iræ, calamitatis et miseriæ, dies magna et amara valde. Dum veneris iudicare sæculum per ignem. Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

Deliver me, O Lord, from death eternal on that fearful day, when the heavens and the earth shall be moved, when thou shalt come to judge the world by fire. I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath, when the heavens and the earth shall be moved. That day, day of wrath, calamity, and misery, day of great and exceeding bitterness, when thou shalt come to judge the world by fire. Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.

In paradisum In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Ierusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere æternam habeas requiem.

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May Angels lead you into paradise; may the Martyrs receive you at your coming and lead you to the holy city of Jerusalem. May a choir of Angels receive you, and with Lazarus, who once was poor, may you have eternal rest.

goshen college choirs roster Dr. Debra Detwiler Brubaker, director and Dr. Scott Hochstetler, director Soprano 1 Annie Agutu Clara Beck Diona Beck Brianne Brenneman Miranda Earnhart Emily Evans Sadie Gustafson-Zook Hillary Harder Lydia Hartman-Keiser Emma Koop Liechty Olivia Ressler Gloria Showalter Soprano 2 Abby Banning Katrina Evans Nina Fox Joelle Friesen Sarah Hartman-Keiser Cecilia Lapp Stoltzfus Drea Mast Erika Miller Dona Park Katie Shank Lana Smucker

Halle Steingass Hannah Thill Chelsea Thompson Amanda Vanderzee Ramona Whittaker

Cara Paden Morgan Short Grace Weaver Hannah Yoder April Zehr

Alto 1 Erin Bergen Dominique Chew Sierra Coulahan Friede Diestel Maddy Garber Tabitha Immanuel Katie McKinnell Lydia Miller Alisa Murray Anna Shetler Ida Short Jill Steinmetz

Tenor 1 Joshua Bungart Lane McDonald Jacob Zehr

Alto 2 Maddie Birky Debra Brubaker Sarah Hofkamp Kara Hostetter Laura Miller

James Lang Reuben Leatherman Reuben Ng Kyle Stocksdale Malcolm Stovall Bobby Switzer Brody Thomas

Tenor 2 Jim Bontrager Philip Bontrager Nat Dick Nate O’Leary Andrew Pauls Simon Weaver Julian Harnish Bryan Yoder Baritone Isaiah Breckbill Isaiah Friesen Karsten Hess Scott Hochstetler

Bass Noah Corbin Gabriel Eisenbeis Jacob Greaser David Jantz Mark Kreider Caleb Liechty Peter Paetkau Blake Shetler Sam Smucker Seth Yoder Ben Wiebe Matt Wimmer Peter Wise Christine Larson Seitz, accompanist

artist biography Jonita Lattimore, soprano Jonita Lattimore, a lyric soprano of immense vocal range and expressive musicality. The 2014-2015 Season will feature Verdi’s Requiem with the Fort Wayne Philharmonic and Huntsville Symphony; and concert performances of Porgy and Bess with the Hartford and Columbus (OH) Symphonies and the Orquesta Sinfónica Nacional de Costa Rica. On the concert stage her recent performances have included Beethoven’s Symphony No. 9 with the Huntsville Symphony, Nashville Symphony, Oregon Symphony, and Orquesta Sinfónica Nacional de Mexico; Mozart’s Requiem with the Vermont Symphony and Louisiana Philharmonic; Brahms’ Ein deutsches Requiem with the Vermont Symphony; Bernstein’s Songfest with the Chicago Sinfonietta; Rossini’s Stabat Mater, Szymanowski’s Stabat Mater, and Vaughan Williams’ Dona Nobis Pacem with the Grant Park Music Festival; and Verdi’s Requiem with the Colorado Symphony, Orquesta Sinfónica Nacional de Costa Rica, Virginia Symphony, and Winnipeg Symphony,

as well as in her Kennedy Center debut with the Choral Arts Society of Washington, DC. Jonita Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the City of Mahagonny, and was also seen on Lyric’s stage as Micaëla in Carmen and Serena in Porgy and Bess. With Houston Grand Opera she appeared as Marguerite in Faust, First Lady in Die Zauberflöte, and in the world premieres of Harvey Milk, The Book of the Tibetan Dead, and Jackie O, which was recorded on Decca. JONITA LATTIMORE BIOGRAPHY CONTINUED ON PAGE 22.

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LATTIMORE CONTINUED FROM PAGE 21. She has also made her Paris Opera-Bastille debut as Serena; performed the Countess in Le Nozze di Figaro with Tulsa Opera; and debuted in the title role in the world premiere and recording of James Niblock’s Ruth at Blue Lake Fine Arts Festival.

An artist profile of Jonita Lattimore was aired on Artbeat Chicago, an arts television program on WTTW-Chicago’s Public Broadcast System entitled Home Grown Diva; and she is featured on WTTW’s Opera Philes, a program of favorite opera arias and ensembles. She also appears as the soprano soloist in Robert Avalon’s Sextet de Julia de Burgos, recorded on Centaur.

BARBARA REARICK, MEZZO-soprano American mezzo-soprano Barbara Rearick has been lauded by Opera News for her “tonal beauty” and Gramophone for her “charm and finesse.” Since her 1993 Carnegie Hall debut in Handel’s Messiah, she has performed internationally with such orchestras as the Houston Symphony, Baltimore Symphony, Rundfunk Sinfonieorchester Berlin and City of Birmingham Symphony Orchestra. The 20142015 season will feature Verdi’s Requiem with the Fort Wayne Philharmonic and Huntsville Symphony, Mozart’s Requiem with Symphoria (Syracuse, NY), and Elijah with the South Dakota Symphony. Recent concert appearances for Barbara Rearick include performances with the Chicago Symphony Orchestra as a part of their MusicNow series; Beethoven’s Symphony No. 9 with the Colorado, Syracuse, and Wichita Symphonies; Mahler’s Symphony No. 8 with the Canterbury Choral Society; Mozart’s Coronation Mass at the Spoleto Festival USA; Handel’s Messiah with the symphonies of Baltimore, Buffalo, Indianapolis, Memphis, Nashville, Orange County and Syracuse; Bach’s Magnificat and St. Matthew Passion with Voices of Ascension; Bach’s St. John Passion with the Bach Festival Society of Winter Park and Orquesta Sinfónica Nacional de Costa Rica; and Mahler’s Rückert Lieder at Princeton University. A prolific performer and champion of 20thcentury music, Ms. Rearick gave the United

NOAH BAETGE, TENOR Praised by Opera News for his “clarion tenor”, Noah Baetge begins the 2014-2015 season as one of North America’s most promising young tenors. Following his Summer 2014 debut with Santa Fe Opera as Remendado in Carmen and covering Florestan in Fidelio, he returns to the Metropolitan Opera in 2014-2015 for his largest assignments with the company to date – Malcolm in Macbeth and Moser in Die Meistersinger, as well as the First Armed Man in Die Zauberflöte. On the concert stage he will perform Verdi’s Requiem with the Fort Wayne Philharmonic and

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States premiere of Nicholas Maw’s Nocturne with Leon Botstein and the American Symphony Orchestra at Bard College; collaborated with the New York New Music Ensemble for the world premiere of Mary Wright’s Sunflower; and performed A Winter’s Journey, Douglas Cuomo’s setting of Wilhelm Müller’s text (from Schubert’s Winterreise). Frequent collaborations with the New York Chamber Ensemble include Ravel’s Trois poèmes de Stéphane Mallarmé, Ravel’s Chansons madécasses, and Berlioz’s Les nuits d’été. Barbara Rearick has appeared on BBC World Service Radio, New York City’s WQXR, and National Public Radio and has recorded for Naxos, Gateway Classics, and ASV. Born in Pennsylvania, she is currently a member of the voice faculty at Princeton University and a founding member of the Britten-Pears Ensemble, a chamber group specializing in rarely heard contemporary works.

Huntsville Symphony and Mozart’s Requiem with Symphoria (Syracuse, NY). Noah Baetge made his Metropolitan Opera debut in 2011 as the Offizier in Ariadne auf Naxos, and has returned to the company in subsequent seasons for productions of Enchanted Island, Francesca da Rimini, The Magic Flute, Parsifal, Wozzeck, and the world premiere of Nico Muhly’s Two Boys. A native of the Pacific Northwest, he spent 2006-2008 as a member of the Seattle Opera Young Artist Program, where his roles included Fenton in Falstaff and Rinuccio in Gianni Schicchi. His other recent performances include the Male Chorus in The Rape of Lucretia and Remendado with Pittsburgh Opera; Rodolfo in La Bohéme with Music Academy of the West, and the Royal Herald in the Paris version of Don Carlos with the Caramoor Music Festival. On the concert stage, his appearances include Bruckner’s Te Deum with the Spoleto Festival

USA; Beethoven’s Symphony No. 9 with the Peninsula Music Festival; Verdi’s Requiem with the Winnipeg Symphony, Erie Philharmonic, and the St. Cecilia Chorus & Orchestra (in his Carnegie Hall debut). A 2009 Grand Finalist in the Metropolitan Opera National Council Auditions, Mr. Baetge has also won first prize in the Gerda Lissner Foundation Vocal Competition, as well as awards from the George London Foundation, Liederkranz Foundation, and Licia Albanese-Puccini Foundation. Noah Baetge received his Bachelor of Music Degree in Vocal Performance from Pacific Lutheran University, where he was awarded the Mary Baker Russell Music Scholarship for merit. Mr. Baetge graduated from The Juilliard School with an Artist Diploma in Opera Studies in 2012, receiving the Richard F. Gold Career Grant from the Shoshana Foundation.

JEREMY GALYON, BASS Applauded for his “robust and charismatic performances” (San Francisco Chronicle), Jeremy Galyon continues to impress audiences and critics alike. His 2014-2015 season will feature debuts with Pacific Opera Victoria as Fafner in Das Rheingold, Dayton Opera as Sarastro in The Magic Flute and Opera San Antonio as the Fifth Jew (covering Jochanaan) in Salome; as well as Verdi’s Requiem with the Fort Wayne Philharmonic and Huntsville Symphony and Mozart’s Requiem with Symphoria (Syracuse, NY). A former Adler Fellow with San Francisco Opera, his appearances there include Count Horn in Un ballo in maschera, Count Ceprano in Rigoletto, Lincoln in the world premiere of Philip Glass’ Appomattox, and Sarastro in Die Zauberflöte. He joined the Metropolitan Opera roster during the 2008-09 season as Alessio in La Sonnambula, and has since appeared with the Met in productions of Billy Budd, Gianni Schicchi, Ernani, Madama Butterfly, Nabucco, Queen of Spades, Rigoletto, Der Rosenkavalier, and Tosca. Other recent opera engagements include Lt. Ratcliffe in Billy Budd and Second Priest / Second Armored Man in Die Zauberflöte with Houston Grand Opera; Sarastro in Die Zauberflöte with Utah Opera; Crespel in The

Tales of Hoffmann with Opera Theatre of St. Louis; Theseus in Britten’s A Midsummer Night’s Dream with Chicago Opera Theater and at the Princeton Festival; Osmin in Die Entführung aus dem Serail at the Midsummer Mozart Festival; Zuniga in Carmen with Cedar Rapids Opera; and the Commendatore and Masetto in Don Giovanni with Opera Grand Rapids. His work as a symphonic soloist includes Schubert’s Mass No. 6 with the San Francisco Symphony; Mozart’s Requiem with the Colorado and Columbus (OH) Symphonies; Verdi’s Requiem with the Orquesta Sinfónica Nacional de Costa Rica; Bach’s Christmas Oratorio with Orquesta Sinfónica Nacional de Mexico; Messiah with American Bach Soloists; and Brahms’ Ein Deutsches Requiem and Fauré’s Requiem at Carnegie Hall.

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F AMIL Y beethoven lives upstairs concert sponsored by Jim & Gloria Nash with additional support from Jeff Sebeika, in memory of Fran & Bob Sebeika produced by classical kids music education SUNDAY, april 12, 2015 | 2:00 P.M. RHINEHART MUSIC CENTER, IPFW Chia-Hsuan Lin, conductor paul pement, director, producer & Light designer susan hammond, series creator alex meadows, costume design steve hiltebrand, production stage management, and technical coordination actors: ANDREW REDLAWSK as Christoph THAD AVERY as Uncle MUSICAL EXCERPTS Symphony No. 7, Mvmt. II Symphony No. 5, Mvmt. I Piano Sonata, No. 27, Op. 90, Mvmt. II Symphony No. 1, Mvmt. IV Romance for Violin and Orch. in G Major Piano Sonata, (Pathétique) Symphony No. 9, Mvmt. II Piano Sonata Op. 14, No. 2 Symphony No. 4, Mvmt. II Minuet in G Major (Piano & Bells) Spring Sonata (Violin & Piano) Symphony No 8, Mvmt. II Leonore Overture No. 3 Für Elise (Piano) Polonaise für Militärmusik in D major

Sonata, Op. 27, No. 2 (Moonlight) Mozart Variations (Woodwind Trio) Symphony No. 6, Mvmt. I Symphony No. 6 (Birds) Symphony No. 6 (Storm) Piano Concerto No. 1, Mvmt. I Piano Concerto No. 5, Mvmt II Variations on ‘Nel Cor Più’ (Piano) Bass Sting from Symph. No. 9 (Finale) Piano Capriccio, (Rage over a Lost Penny) Symphony No. 6 (Tremolo) Symphony No. 9 (Ode to Joy) Symphony No. 9 (Finale) Piano Sonata Op. 49, No. 2, Mvmt. II Symphony No. 6 (Shepherd’s Theme)

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FAMILY P LOT SY NO P SIS & P RODUCTION NOTES B E E T H O V E N L I V E S U P S TA I R S SUNDAY, APRIL 12, 2015 This world famous production features a lively exchange of letters between young Christoph and his Uncle. Their subject is the “madman” who has moved into the upstairs apartment of Christoph’s Vienna home. The funereal second movement of Beethoven's Seventh Symphony sets the scene as we travel back in time from March 26, 1827, the day of Beethoven's death, into the more intimate setting of young Christoph's house in Vienna a few years before. Christoph's father has just died and Beethoven has taken the room upstairs. As the correspondence with his uncle unfolds, Christoph recounts the horrors of the composer standing naked at the window, water dripping down into their apartment and Beethoven playing late into the night. Finally, after attending the famous first performance of the Ninth Symphony, Christoph comes to understand the genius of Beethoven, the torment of his deafness, and the beauty of his music.

PRODUCTION NOTES: The original audio recording of Beethoven Lives Upstairs claims dozens of top music, educational, and parenting awards. It has gone multi-platinum, been translated and distributed around the world, and made into an Emmy award-winning film. Based on this highly acclaimed recording, the Beethoven Lives Upstairs theatrical symphony concert is an imaginative way to introduce young audiences and their families to the life and music of Ludwig Van Beethoven in a live performance setting. Audiences are inspired by more than twenty-five excerpts of the master's music, including Moonlight Sonata, Fur Elise, and the great Fifth and Ninth Symphonies. Classical Kids LIVE! is produced by Classical Kids Music Education, a Chicago-based not-for-profit organization that works to enrich communities through direct access to culturally significant venues, professional artists and organizations, and high-quality theatrical concert productions, while fostering new appreciation for classical music and music history. In combination with the Classical Kids Teaching Edition, Classical Kids LIVE! serves as one of the worlds best educational outreach and community engagement programs contributing to the long-term health of classical music. Having received more awards and honors than any other entity of its kind, Classical Kids is proud to say, “We’re making a difference!” (www. ckme.org)

"The Best Way to Unlock the Mind and Heart of a Child to the Wonders of Musical Masterpieces!" - New York Daily News *Note: at various points in the production, loose sheets of manuscript paper may drift over the edge of the stage. Please refrain from gathering up or removing the paper at any time during or after the performance.

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At Old National, we’re committed to community partnership. That’s why, last year alone, we funded nearly $3 million in grants and sponsorships and our associates donated almost 93,000 volunteer hours. It’s also the

“Far And Away the Best for Introducing Children to Classical Music!” – Boston Herald

reason we’re a proud supporter of the Fort Wayne Philharmonic.

"One of the Most Completely Wondrous Examples of Children's Entertainment Ever!" - Billboard "Art Made Accessible: Nobody Does it Better than Classical Kids!" - Entertainment Weekly

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artist biography PAUL PEMENT, DIRECTOR/PRODUCER Paul serves as Executive and Artistic Director of Classical Kids Music Education, a nonprofit arts organization focused on introducing children to the lives and musical masterpieces of the great classical composers. A BFA in theatre from the University of Illinois UrbanaChampaign and professional experience as an actor, singer, dancer, director, choreographer and stage manager have enabled Paul to achieve success with Classical Kids LIVE! programming - the leader in the field of family concert programming presented by orchestras throughout North America and abroad. Over the past decade Mr. Pement has led the organization in processes that include strategic planning, board and committee development, financial accounting, funding development, community engagement, and marketing and communications. Together with the help

of dedicated consultants and passionate board and committee members, Paul is excited to create the organization's newest project, Gershwin’s Magic Key - the first-ever symphony concert production that introduces future generations to the legacy of the great American composer, George Gershwin.

SUSAN HAMMOND, SERIES CREATOR Susan has created a whole new generation of classical music fans through her innovative and award-winning Classical Kids recordings. She is the executive producer of a 16 title series of children’s classical music recordings known collectively as Classical Kids, selling to date nearly 5 million CDs, DVDs and books worldwide, and earning over 100 prestigious awards and honors. Each story entails its own adventure featuring a unique combination of music, history, and theatricality to engage the imaginations of children. Susan holds the philosophy that, “Where the heart goes, the mind will follow.” An accomplished concert pianist and music teacher, Hammond searched for recordings about classical music to share with her young daughters. One day, she sat reading to her girls with a classical music radio station on in the background and noticed how they responded to the literature in a different way when enhanced by music. The rest, as they

say, is history. Susan is the recipient of Billboard Magazine’s International Achievement Award and resides with her husband in Toronto where she is a member of the Order of Canada for her contribution to the arts.

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artist biography BARBARA NICHOL, AUTHOR Barbara is an award-winning author and filmmaker. Her book "Dippers" was a finalist for the Governor General’s Literary Award, and "Biscuits in the Cupboard" won the Mr. Christie’s Book Award. She is also well known as the author and director of the Juno award-winning original recording of Beethoven Lives Upstairs and author of the book by the same title. She was awarded a Genie for Best Short Film for Home for Blind Women and was nominated for an Emmy for her work with Sesame Street. Barbara Nichol has published four books with Tundra,

including "Safe and Sound," "Trunks All Aboard: An Elephant ABC," and "Dippers."

Andrew Redlawsk – Christoph Andrew Redlawsk is proud to have spent seven seasons bringing classic composers to life for young people around the globe. Originally from Iowa, Andrew has lived and performed all over America, from Chicago to New York, and he currently resides in Los Angeles. When he's not performing with Classical Kids, he tours with Oh What A Night! - A Tribute to Frankie Valli and the Four Seasons both on land and at sea on Norwegian Cruise Lines. Andrew is also currently working on his debut film - an adventure documentary entitled Just Go. None of this would be possible without help from countless teachers, friends, and family members, and it is to them that this performance is dedicated.

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artist biography Thad Avery – Uncle Mr. Avery performs for Classical Kids Live! as both Uncle in Beethoven Lives Upstairs and Tchaikovsky in Tchaikovsky Discovers America. He is based in Chicago with his wife Cheryl, and two children, Spencer and Grace. A proud union member of all three performing unions, his first professional show was with Milwaukee Repertory Theatre. He received his training from Wayne State University in Detroit. There he performed in a number of shows ranging from the classics to many musicals. After graduation, he was a company member of Utah Shakespearean Festival and traveled around the world with an international comedy troupe. The troupe was featured at World Entertainment in Japan and also at the Wintergarten in Berlin. When Thad returned home, he started a long and rewarding relationship with the musical

Forever Plaid. The production took him from Door County, WI to the first national tour, to Las Vegas, and back home to Chicago. Other appearances in Chicago include: I Love You, You're Perfect, Now Change, The Wizard of Oz, Charlotte's Web, Alice in Wonderland, and The Nutcracker. Thad gives special thanks to his mentor, the late Robert Hazzard.

Steve Hiltebrand –Production Stage Manager Steve has served as production stage manager in cities across North America for the Classical Kids productions of Tchaikovsky Discovers America, Vivaldi’s Ring of Mystery, Mozart’s Magnificent Voyage and Beethoven Lives Upstairs in which he also played the role of Uncle. As an actor he has been featured in the Broadway National Tours of The Best Little Whorehouse in Texas, Dreamgirls and Starlight Express, and has a major history with the role of Reuben in Joseph and the Amazing Technicolor Dreamcoat both in Chicago and on the road.

Steve has performed in numerous theatres across the US and Europe in roles that include: the Dentist in Little Shop of Horrors, Will Parker in Oklahoma! , Stewpot in South Pacific, Pedro in Man of La Mancha, Caleb in Seven Brides for Seven Brothers and has also played a variety of theatre for young audience roles including The Beast in Beauty and the Beast, The Mad Hatter in Alice in Wonderland and Prince Charming in Snow White and the Seven Dwarfs. Steve resides in Chicago balancing his time between performing, producing and directing.

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Music

Music at IPFW

Music Education Music Therapy Music Performance Music Technology

Contact Us Department 260-481-6714 ipfw.edu/music music@ipfw.edu Box Office 260-481-6555 ipfw.edu/tickets The Department of Music is accredited by the National Association of Schools of Music (NASM) facebook.com/ipfwmusic IPFW is an Equal Opportunity/Equal Access University.

thank you to our sponsors: MADGE ROTHSCHILD FOUNDATION

MAD G E ROTHSCHILD F OUNDATION

MASTER W OR K S beethoven's fourth piano concerto concert sponsored by Wirco Inc. with additional support from Jeff Sebeika, in Memory of Fran & Bob Sebeika Saturday, april 18, 2015 | 7:30 P.M. rhinehart music center, ipfw Andrew Constantine, conductor ILYA YAKUSHEV, PIANO the phil youth symphony orchestra, david cooke, yso conductor

BERLIOZ

Overture to Béatrice et Bénédict

BEETHOVEN Concerto No. 4 in G major for Piano & Orchestra, Op. 58 Allegro moderato Andante con moto Rondo: Vivace Ilya Yakushev, piano

-- Intermission --

BRAHMS Hungarian Dances Nos. 5 and 6 The Phil Youth Symphony (side by side) DVOŘÁK Symphony No. 5 in F major, Op. 76 Allegro ma non troppo Andante con moto Scherzo: Allegro scherzando

Finale: Allegro molto

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, April 30, at 7:00 P.M.

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MASTER W OR K S P RO G RAM NOTES B E E T H OV E N ' S F O U R T H P I A N O CO N C E R TO Saturday, APRIL 18, 2015 Overture to Béatrice et Bénédict Hector Berlioz (1803 - 1869) The enchanting comic opera Béatrice et Bénédict was Hector Berlioz’s last work. After nearly a decade of labor on his huge two-part opera Les Troyens (The Trojans) based on Virgil’s Aeneid, he returned to the author who had inspired him throughout his career, William Shakespeare, and dashed off this work in a few months. Even though the composer never became very fluent in English, Shakespeare was a kind of god to him. At age 24, he saw Hamlet and Romeo and Juliet performed by an English theatrical troupe in Paris and fell madly in love with both the playwright and the young Irish actress Harriet Smithson (later to be his wife) who played Juliet and Ophelia. “This sudden and unexpected revelation of Shakespeare overwhelmed me. The lightning-flash of his genius revealed the whole heaven of art to me,” he recalled in his Memoirs. By that lightning-flash, Berlioz wrote such Shakespeare-based works as Roméo et Juliette, Le Mort de Cléopâtre, and the King Lear Overture. Finally, he left the world of Shakespearean tragedy and chose the comedy Much Ado About Nothing for a comic coda to his creative life. Much Ado About Nothing concerns two lovers, Beatrice and Benedict, who play endless games of witty insults rather than admit they really love each other. In his libretto, Berlioz pared down Shakespeare’s plot so it focused almost exclusively on the battling lovers and omitted the dark subplot against Beatrice’s cousin Hero. But he retained large chunks of Shakespearean dialogue, translated into French, as spoken scenes between the various musical numbers. The opera was premiered in Baden-Baden, under the composer’s baton, on August 9, 1862 and was an immediate success. But despite one of the most ravishing scores Berlioz ever created, it has remained on the fringe of the operatic repertory. The reason, perhaps, is the difficulty of finding singing actors capable of doing justice to Berlioz’s soaring arias and ensembles AND also delivering Shakespearean spoken dialogue. Berlioz was an old man, bowed down by illness and professional disillusionment, when he came to write Béatrice et Bénédict, and yet not a trace of that can be detected in this youthful,

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effervescent score: “a caprice written with the point of a needle,” as he called it. The overture is scherzo (Italian for “joke”) music representing the verbal duels of the lovers and the goodnatured plots of their friends to unmask their love. But it also has a touch of seriousness: after the opening moments, the tempo slows and we hear the melody of Béatrice’s big aria “Il m’en souvient” in the clarinets and the chromatically languishing flutes and strings. With this aria, Béatrice reveals to the audience what she is not yet willing to reveal to Bénédict: she loves this man and is not sure she can live without him.

Piano Concerto No. 4 in G Major Ludwig van Beethoven (1770 - 1827) With his final three piano concertos, Beethoven left the model of Mozart’s piano concertos behind and struck out on a new path. And among these concertos, the most daring, the most innovative — even though it is also the quietest and most introspective — is the Fourth Piano Concerto he completed in 1806, the same year he wrote the Violin Concerto and the Fourth Symphony. That this work should be both radical and gentle seems a paradox. The mood throughout the first two movements is reflective and introspective, and the dynamic level is seldom loud. Beethoven used a small orchestra: strings and woodwinds for the first movement, strings only for the second, two trumpets and timpani added for the finale. Yet the work is indeed revolutionary from its very opening bars. First Movement: The beginning of the concerto is unprecedented. Instead of the expected orchestral exposition, the soloist begins alone, introducing the principal theme in hushed, rich chords in the home key of G. Another surprise: the orchestra answers the piano, but in a questioning manner in the remote key of B major. Like so many of Beethoven’s most productive motives, this theme is as much a rhythmic pattern — three repeated staccato (short, stabbing) notes leading to a sustained note (shades of the Fifth Symphony!) — as a melodic one. By simply quoting this rhythm throughout this sonata-form movement, Beethoven will be able to conjure up the theme while allowing himself free range for development. Appropriately, since the composer wrote the

solo part for himself, the soloist is the leader in driving this movement forward. Not only does he begin the movement, he also interrupts the orchestra’s completion of the exposition to begin the development section with the principal theme and incites the orchestra to new deeds of harmonic daring throughout its course. And he introduces the recapitulation with a bold, lavishly embellished version of his quiet opening statement. The second movement, in E minor, is the work’s most innovative. Commentators from the mid19th century on (including Liszt) have agreed that it must have been inspired by the classical legend of Orpheus venturing into the underworld in search of his wife, Euridice, and bewitching the infernal gods with his music. Beethoven may have been inspired by Gluck’s famous Orfeo opera or by a forgotten one by the composer’s friend Friedrich August Kanne. Beethoven’s pupil Carl Czerny tells us that his works were often “inspired by … visions or pictures from his reading or from his own lively imagination” although the composer “was reluctant to speak on this matter except on a few occasions when he was in a confiding mood.” The movement takes the form of a dialogue between the strings — representing the Furies in brusque, staccato-rhythm octaves — and the pianist as Orpheus, entreating them with softly singing, beautifully harmonized phrases. Toward the end, the soloist plays a remarkable passage sounding like a magical incantation: a sustained trill that throws off eerie chromatically descending scale figures. Spellbound, the orchestra is finally subdued; only the cellos and basses protest faintly with an echo of their fierce opening. The finale is a rondo, full of wit and energy, but its extensive developmental passages give it more musical substance than the conventional 18th-century rondo finale. A lyrical second theme introduced by the piano, provides contrast; it is answered by the orchestra singing in rich counterpoint. The music accelerates to Presto for a whirlwind finish.

Symphony No. 5 in F Major Antonín DvoŘák (1841 - 1904) Antonín Dvořák’s early composing career was a period of severe hardship for himself and his family. So poor was this butcher’s son in his early thirties that he could not even afford a piano. All this began to change when in 1874 he applied for and won the first of three annual stipends from the Austrian government intended to assist talented but struggling young composers in the far-flung provinces of the Austrian Empire, of which Bohemia was then a part.

On the distinguished panel granting him that stipend was Johannes Brahms, who was soon to take up Dvořák’s cause most generously: recommending him to Brahms’ own publisher Simrock and setting in motion Dvořák’s rise to international acclaim. So buoyed was Dvořák by this financial assistance — and even more by the Viennese stamp of approval it represented — that the following year, 1875, was one of the most fruitful of his career. In addition to a number of chamber works and a five-act grand opera, Vanda, he was inspired to write his Fifth Symphony in the space of just five and a half weeks. It was by far the finest symphony he’d yet composed, with an impassioned finale ranked by many among the finest symphonic movements he ever created. But since Dvořák was still only known in his native Prague, where performance opportunities were rather limited, it was not premiered until 1879 nor published till 1888, by which time he was firmly established among Europe’s most revered composers. We frequently hear Dvořák’s last three symphonies — the Seventh, Eighth, and the “New World” Ninth — and to a lesser extent his Sixth as well. But an opportunity to hear the Fifth Symphony — bursting with youthful energy and a host of marvelous Czech-flavored melodies — comes all too rarely. And it is a work well worth discovering. The first movement is music of the Czech countryside: buoyant and optimistic, with bright, pastoral woodwind colors. Two clarinets, then two flutes introduce a birdlike reveille of a principal theme, with a serenely rising threenote tail that Dvořák will put to good use; Dvořak scholar Otakar Sourek describes this music as having “the dew-fresh fragrance of a spring morning.” It ripples into the second part of the principal theme: a boisterous, syncopated peasant dance delivered loudly by the full orchestra. Syncopated rhythms also animate the contrasting lyrical theme: a chromatically slithering idea proposed by the violins. These ideas are briefly and energetically developed before the entire exposition is repeated. The true development section initially emphasizes the opening theme and is yet more stormily energetic. The recapitulation returns quietly, with a pair of horns reprising the birdsong reveille theme. Movement two, in A minor, is a pensive intermezzo revolving around a lovely, gently melancholy melody, first sung by the cellos. A middle section, in A major and dominated by the woodwinds, brightens the mood a bit; it has a tender sprightliness that recalls one of Dvořák’s favorite composers, Franz Schubert. The opening of the third movement briefly reprises the drooping melody of the second

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before accelerating into an enchanting scherzo dance, its sparkle accented by triangle. A skipping-rhythm Trio section again emphasizes the woodwind band before the scherzo dance repeats. After the lightness of the two middle movements, the fierce entrance of the cellos singing an intensely passionate melody in A minor comes as quite a shock. This is the surprising launch of the Fifth’s great finale, which begins as a battle to find the way back to the home tonality of F major. After a series of tempestuous passages, this dark minor theme is finally transformed into a boldly triumphant one in F major. This done, the storm can abate momentarily for a smoothly romantic second theme by cool woodwinds, topped by swooning

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violins. The music flows into one of Dvořák’s most exciting development sections, full of fire and drama. As it dies out, the passionate theme, still stubbornly clinging to A minor, quietly recapitulates in the violins. In the closing coda, listen for the high woodwinds softly recalling the rising three-note motive from the beginning of the symphony. With a last exuberant brass fanfare, Dvořák joyfully demonstrates how well the first-movement reveille theme meshes with the finale’s triumphant theme, bringing the work to a satisfying full-circle close.

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artist biography ILYA YAKUSHEV, PIANO Russian pianist Ilya Yakushev, with many awards and honors to his credit, continues to astound and mesmerize audiences at major venues on three continents. He made his San Francisco Symphony debut in 2007 with Music Director Michael Tilson Thomas, performing Prokofiev’s First and Fourth Piano Concertos as part of the Symphony’s “Prokofiev Festival”. His performances were included in the top ten classical music events of the year by the San Francisco Chronicle, and prompted a return to the Symphony in September 2009 with Maestro Tilson Thomas performing Prokofiev’s 3rd Piano Concerto. The highlights of Yakushev’s 2013-14 season included return appearances with the Des Moines Symphony, Las Cruces Symphony, Cheyenne Symphony, and Utah Symphony. He also performed with the Anchorage Symphony, Winnipeg Symphony, “Klassika” Orchestra, El Camino Youth Symphony, California Symphony, and New Haven Symphony. Mr. Yakushev also appeared as recitalist at the Mariinsky Concert Hall, International Keyboard Institute & Festival, and Maverick Series. In February 2014, British label Nimbus Records published “Prokofiev by Yakushev Vol. 1” CD. American Record Guide wrote “Yakushev is one of the very best young pianists before the public today, and it doesn’t seem to matter what repertoire he plays – it is all of the highest caliber.” Engagements in 2014-15 season include appearances with the La Crosse Symphony, Rhode Island Philharmonic, Wisconsin Chamber Orchestra, Edmonton Symphony, Pensacola Symphony, and Fort Wayne Philharmonic. In past seasons, he has performed in various prestigious venues worldwide, including Glinka Philharmonic Hall (St. Petersburg), Victoria Hall (Singapore), Weill Recital Hall at Carnegie Hall (New York), Davies Symphony Hall (San Francisco), and Sejong Performing Arts Center

(Seoul, Korea). His performances with orchestra include those with the Kirov Orchestra, BBC Concert Orchestra, Boston Pops, Syracuse Symphony, Rochester Philharmonic, Arkansas Symphony and others. Winner of the 2005 World Piano Competition which took place in Cincinnati, OH, Mr. Yakushev received his first award at age 12 as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg. In 1997, he received the Mayor of St. Petersburg’s Young Talents award, and in both 1997 and 1998, he won First Prize at the Donostia Hiria International Piano Competition in San Sebastian, Spain. In 1998, he received a national honor, The Award for Excellence in Performance, presented to him by the Minister of Culture of the Russian Federation in Moscow. Most recently, Mr. Yakushev became a recipient of the prestigious Gawon International Music Society’s Award in Seoul, Korea. Mr. Yakushev attended the Rimsky-Korsakov College of Music in his native St. Petersburg, Russia, and subsequently came to New York City to attend Mannes College of Music where he studied with legendary pianist Vladimir Feltsman. Since 2002, Mr. Yakushev has served as Executive Director of the International Keyboard Institute and Festival at the Mannes College in New York City. Ilya Yakushev is a Yamaha artist.

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Wednesday, APRIL 22, 2015 | 7:30 P.M. Fort Wayne History Center Sunday, APRIL 26, 2015 | 2:30 P.M. rhinehart music center, ipfw

POPPER Requiem for 3 Celli, Op. 66 Deborah Nitka Hicks, cello Ed Stevens, cello Jane Heald, cello Alexander Klepach, piano BRAHMS Sonata for Violin and Piano in D minor, Op. 108 Allegro Adagio Un poco presto e con sentimento Presto agitato Johanna Bourkova-Morunov, violin Alexander Klepach, piano

-- Intermission --

BEETHOVEN String Quartet In C-sharp Minor, Op. 131 Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

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F REIMANN P RO G RAM NOTES FREIMANN WEDNESDAY, april 22 & SUNDAY, april 26, 2015 Requiem for 3 Celli, Op. 66 David Popper (1843 - 1913) David Popper was either an incredibly gifted cellist, or a cruel sadist. Most cellists will cringe when they hear his name since he is responsible for many long, excruciating hours in the practice room perfecting and preparing his etudes and concert pieces. Most of these works try to make the cello sound as effortless and virtuosic as Heifetz playing his violin. Yet despite Popper’s multitude of evil torture pieces, his Requiem for 3 Celli and Piano stands out as a favorite among cellists. David Popper was born in Prague and studied at the famous Prague Conservatory with cellist Julius Golterman, another legend among cellists. Not only were his contributions to the cello repertoire vast, but he was also a worldfamous concert soloist who premiered many concerti during his life. He even played with Johannes Brahms on the premiere of Brahms’ Piano Trio No. 3 during his time in Budapest where he served as professor of cello at the Budapest Conservatory. The Requiem for 3 Celli was originally composed with orchestral accompaniment but perhaps is most often performed with the piano accompaniment heard on today’s program. It was written in 1892 in memory of Popper’s close friend Daniel Rahter, who also served as Popper’s first publisher. The piece was beloved enough that it was even played at Popper’s own funeral in 1913. The music itself is representative of what the cello does best, and features gorgeous and lush melodies that highlight the impressive range of the instrument. The work is in three basic sections, the first of which establishes the main theme, a second more agitated section that builds on the theme, and finally a return to the opening material one last time before closing with a sombre finish. Sonata for Violin and Piano in D Minor, Op. 108 Johannes Brahms (1833 - 1897) I can’t say if the previous Requiem and this sonata were paired together on purpose, but this work has a direct connection to the composer of the previous piece. Brahm’s Violin Sonata in D minor was premiered in 1888 by the violinist Jenő Hubay, who was a member of the piano trio that featured Brahms on piano with cellist David Popper. But Brahms decided to

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leave the cello out of this composition and write a beautiful and substantial work for the violin and piano. It is easy to love Brahms for his amazing symphonies, or even his moving choral works. But ask any instrumentalist and you will find that discovering and performing Brahms’ chamber music is probably up there with reasons why these musicians chose classical music as a profession. His chamber music is wonderfully complex yet always sounds beautiful to the ear and moving to the soul and this sonata is no exception. The piece opens up in a very Brahmsian style with an agitated accompaniment in the piano supporting a passionate theme by the violin. The movement is in sonata-allegro form which establishes two main themes in the opening, develops the material, and then returns to the opening themes and closes out the movement with a slow and sombre repetition of the initial material. The second movement is a contemplative and breath-taking slow adagio that reminds the listener a bit of the slow movement of Brahms’ first symphony. The movement features the violin in the more prominent role while the pianist takes a back seat for most of the movement. The roles are reversed in the third movement, as the piano opens with a playful scherzo-like melody as the violin accompanies on off-beats. The fourth movement returns to the darker D minor key and opens abruptly. The time is 6/8 which offers an almost Tarantella feel to the movement and makes for an exciting finale. String Quartet in C-Sharp Minor, Op. 131 Ludwig Van Beethoven (1770 - 1827) If the listener is anything like the person writing these program notes they would have bought their tickets months ago when they noticed a late Beethoven String Quartet programmed on this concert. Beethoven had probably one of the more fascinating and drastic developments in his compositional style as he progressed in age and struggled to come to terms with his declining health and loss of hearing. Nothing shows this development better than listening to Beethoven’s string quartets. If one is looking for a fairly simple example of what I am referring to when I talk about this shift, simply look at the descriptions for the movements. The first movement alone is labeled

Adagio ma non troppo e molto espressivo which more or less describes the movement as Slow, but not too slow, and extremely expressive. Beethoven also began writing in more descriptive instructions in his later works to communicate the mood and character of a passage when earlier in his career, like most composers, he would just write simple instructions such as “Allegro” or “Andante.” Also of note is how Beethoven decided to write a continous work with no break between movements for a continuously flowing atmosphere. Despite its seven distinct sections, Beethoven pioneers a method referred to as “cyclical” writing where he reprises a theme from the opening in the final movement. While this became common practice amongst composers after Beethoven’s time, it was rarely done at the time. Sometimes listening to the music of Beethoven can be a humbling experience; even masters like Schubert and Schumann had a difficult time reconciling with the genius of Beethoven. After listening to this particular work Franz Schubert remarked “After this, what is left for us to write?” Beethoven even commented on how this was one of his favorite string quartets that he composed. For the cinephiles out there this quartet was featured heavily in the 2012 movie “A Late Quartet” starring Philip Seymour Hoffman and Christopher Walken. Program Notes by Ed Stevens 2015

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CHORAL mendelssohn's hymn of praise concert sponsored by Janice Eplett, in Memory of Russ Eplett saturday, april 25, 2015 | 7:30 P.M. first wayne street umc Benjamin Rivera, conductor fort wayne Philharmonic Chorus, Benjamin Rivera, director IPFW University Singers, Kristofer Sanchack, director Alexia Kruger Rivera, soprano Susan Nelson, soprano Geoffrey Agpalo, tenor MENDELSSOHN

Symphony No. 2 ("Lobgesang") in B-flat Major, Op. 52

I. SYMPHONIE

Maestoso con moto - Allegro

Allegretto un poco agitato Adagio religioso

II. KANTATE

Chorus: Alles was Odem hat

Solo & chorus: Lobe den Herrn, meine Seele

Recit. & Aria: Saget es, die ihr erรถlst seid

Chorus: Sagt es, die ihr erlรถst seid

Duet & Chorus: Ich harrete des Herrn

Tenor solo: Stricke des Todes

Chorus: Die Nacht ist vergangen

Chorale: Nun danket alle Gott

Duet: Drum sing' ich mit meinem Liede

Chorus: Ihr Vรถlker, bringet her dem Herrn

Concert is presented without intermission.

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CHORAL P RO G RAM NOTES mendelssohn ' s h y m n o f p r a i s e saturday, april 25, 2015 Symphony No. 2 ("Lobgesang") in B-flat Major, Op. 52 Felix Mendelssohn (1809 - 1847) Ever since the tremendous success of his oratorio Saint Paul in 1836, Felix Mendelssohn and his friends had been looking for a suitable new religious text for him to set. Early on, he decided to do an oratorio about the Old Testament prophet Elijah, but it took years to create a workable libretto, and his Elijah did not appear until 1846. The arrival in 1840 of the 400th anniversary of Johannes Gutenberg’s invention of the printing press offered an intriguing alternative. Though Gutenberg had been a native of Mainz in western Germany, the major festivities were to be held in Leipzig, the center of the German printing industry and the home of the renowned orchestra Mendelssohn directed, the Leipzig Gewandhaus. And, of course, it would be unthinkable for the festivities to take place without a grand new work by Leipzig’s leading musical citizen. In fact, Mendelssohn composed not one but two works for the festival, which ran for three days that June. On June 24th, he led a rather bombastic outdoor piece in Leipzig’s main square: a Festgesang performed by a 200-voice male chorus accompanied by 16 trumpets and 20 trombones! It was an ephemeral work designed for that single occasion, but one section managed to live on in a new guise; set to words by the English Methodist Charles Wesley in 1856, it is well known to us today as the Christmas carol “Hark! The Herald Angels Sing.” On the next day, June 25 — the Feast of John the Baptist and an important holiday in German lands when printers’ apprentices traditionally were initiated into their craft — Mendelssohn presented a far greater work: a hybrid symphony and cantata lasting some 70 minutes. Later published as his Second Symphony, it is far better known by its subtitle, “Lobegesang” or “Song of Praise.” In some sense, it follows the pattern of Beethoven’s Ninth or “Choral” Symphony: three purely instrumental symphonic movements followed by an extended choral finale. But while Beethoven’s finale still fits within the overall framework of a symphony, Mendelssohn’s exploded the “Lobgesang”’s finale into something quite different: a full-fledged cantata in nine sections lasting far longer than the three instrumental movements combined. Using words mainly drawn from the Psalms, its major theme is praise to God for all His benefits to humankind, including, of course, the life-enhancing gift of the printing press. A strong secondary theme, expressed throughout the text, is the struggle between darkness — implying man’s ignorance before printing was invented — and the eventual

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triumph of the light of knowledge. As Mendelssohn explained, “first the instruments praise in their own way, then the choir and the solo voices.” A prominent motto theme, presented by trombones in the first movement and returning with words attached in the cantata, links the two major sections together. Certainly this ambitious structure was most appropriate for such a grand festival occasion, but since that time, it has prevented the “Lobgesang” from receiving as many performances as it deserves, though it was still extremely popular during the 19th century. Many have criticized its dual nature, saying that it is neither a proper symphony nor a proper cantata. But not to hear the “Lobgesang” is to miss some of Mendelssohn’s loveliest and loftiest music, for he was truly one of the giants of 19th-century choral music. Listening to the Music Movement one opens with the trombones proudly intoning the motto theme with its bold signature rhythm. In this typical first-movement sonata form, the tempo soon accelerates into the main Allegro section and a lively, almost boisterous principal theme. However, the proud motto theme will remain equally important and will drive the contrapuntal energy of the middle development section. After this movement has reached its joyous conclusion, a quiet bridge passage, based on the motto and featuring a solo clarinet, leads smoothly into the next movement. The Allegretto second movement is a very charming and delicately scored waltz that seems to possess little connection to the “Lobgesang’s” overall theme. Mendelssohn does, however, provide a musical link in the middle or trio section, where an archaic-sounding Lutheranstyle chorale, voiced by woodwinds and brass, intermingles with the waltz. Marked Adagio religioso, the third movement somewhat resembles the rapt mood of the corresponding movement in Beethoven’s Ninth. Featuring very effective writing for the woodwinds, it is an instrumental hymn revolving around a lovely yet dignified melody with solemn repeated notes. This is a slow movement in which time actually seems to stand still, hovering in expectation. The pulsing ostinato we heard in the middle of the third movement now intensifies to an excited gallop as “Lobgesang’s” vocal portion begins. Once again, the trombones followed by other instruments proclaim the motto theme, and now the chorus gives it words: “Alles, was Odem hat, lobe den Herrn!” (“All who have breath, praise the Lord!”). The chorus elaborates the motto in a rapid series of imitative entrances. The music then hushes and slows slightly, and the firstsoprano soloist offers a more personal expression of thanks, contrasting with the corporate praise of the chorus.

In a brief recitative and aria “Saget es ... Er zählet uns’re Tränen” (“He numbers our tears”), the tenor soloist introduces the theme of darkness and sings serenely of God’s comfort to the bereaved. In response, the chorus adopts some of his words and sets them to a pensive new melody. One of the loveliest moments in “Lobgesang” is the mellifluously flowing duet for the two soprano soloists: “Ich harrete des Herrn” (“I waited for the Lord”). Hauntingly introduced by solo horn, it continues with eloquent support from the chorus. The most dramatic of the vocal numbers, the tenor’s “Stricke des Todes” (“The Bonds of Death”), follows. Set in the dark key of C minor, it represents the culmination of the struggle between darkness and light and the musical/ emotional turning point of the whole cantata section. Until now, the keys of the vocal numbers have been steadily descending; with the soprano’s response, they will begin to rise again to finally regain the work’s bright home key of B-flat Major. The tenor’s repeated, anguished cries, “Hüter, ist

die Nacht bald hin?” (“Watchman, will the night soon pass?), prominently use the disturbing interval of the tritone, the “devil in music.” But ultimately, the soprano soloist answers with the radiant line “Die Nacht ist vergangen” (“The Night has departed”), and C minor brightens into the daylight of D Major. The remainder of “Lobgesang” is a triumphant paean to the light, or more specifically to the enlightenment shed by Gutenberg’s invention and its vital assistance in spreading the word of God to people now able to read the scriptures for themselves. A more contemplative contrast appears with the famous old Lutheran chorale “Nun danket Alle Gott” (“Now Thank We All Our God”); we first hear it in a plain version for unaccompanied six-part chorus, then wreathed in a beautiful orchestral countermelody. Mendelssohn closes his uplifting festival piece with a powerful fugal chorus and a last majestic return of the motto theme, “Alles was Odem hat,” in chorus and orchestra.

the phil chorus roster Benjamin Rivera, chorus director

Jonathan Eifert, assistant director

Doug Ahlfeld Karen Allina Nancy Archer Thomas Baker Cathryn Boys Sarah Boys John Brennan Nancy Brown Garrett Butler Thomas Cain Thomas Callahan Karen Campbell Alin Cass Jeri Charles Sheila Chilcote-Collins Greg Chillds Kaitlin Clancey Elaine Cooper Carol Courtney David Courtney

Sarah Kindinger John McKelvey Jane Meredith Fred Miguel LeeAnn Miguel Maury Mishler John T. Moore Meg Moss Michael Popp Nathan Pose Ewing Potts Keith Raftree Clarissa Reis Karma Remster Sarah Reynolds Paula Rice Alaina Richert Mark Richert Sabrina Richert Rita Robbins

Nicoline Dahlgren Sara Davis Lenore DeFonso Kathy Dew Jon Eifert Joan Gardner Kris Gray Ronnie Greenberg Cheryle Griswold Rachael Hartmann Sandra Hellwege Katy Hobbs Carol Jackson Gerrit Janssen Joanna Jessup Karen Johnson Darah Jones Jody Jones Gayle Keane Natasha Kersjes

Cindy Sabo John Sabo Marshelle Schuttle Gabriel Selig Lynn Shipe Lynn Shire Mary Snow Sue Snyder Kent Sprunger Sherrie Steiner Sue Stump Ruth Trzynka Michelle Urban Carrie Veit Frédérique Ward Gretchen Weerts Greg White Mary Winters Lea Woodrum

ipfw university singers roster Kristofer Sanchack, Director Soprano Karlea Boleyn Elizabeth Dickens Shelby Fallis Kimberly Galligan Kaelyn Hatcher Alexandra Leonard Adrienne Martin Ashlee Miller Caitlyn Mishler Megan Misner Larissa Moreno Olivia Oetting Hollan Potts Jill Robinson Daveana Schieler Kassandre Yenser

Alto Christie Bliss Brandi Bron Madison Cole Jenna Coleman Georgia Gladding Alisabeth Grossman Naomi Ifer Shyanna Jimenez Mackenzie Kankovsky Moriah Landon Alana Miller Melinda Parr Libby Schuld Mikah Sunderman Zoe Volz Shelby Weaver

Geoffrey North, Assistant Tenor Kristopher Andorfer Brian Beaty Dakota Carey Josiah Hawkins Ryan Lengacher Brandon Melia Andrew Nesler Grant Nill Alec Rajcany Edward Reinhart Joshua Stone Evan Stuerzenberger Jonathan Warner

Bass Nathan Bailey Jonathan Casey Duffy Coyle Joseph Foltz Ryan Girardot Camdon Heckaman Jordan Kortenber De'Andre Martin Joshua Mathews John Neidich Eric Smead Cameron Taylor Jack Willke

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choral director benjamin rivera Benjamin Rivera is the chorus director of the Fort Wayne Philharmonic, where he prepares the Chorus for several performances per season and conducts the Orchestra and Chorus in concert. Based in Chicago, Rivera is also artistic director and conductor of the chamber choir Cantate, cantor and choir director of Immanuel Lutheran Church, Evanston during the church year, and choir director of north suburban Shir Hadash Synagogue for the High Holy Days. He recently appeared as Guest Chorus Director of the Grant Park Music Festival, with summer performances in Millennium Park. He is in his 18th season as a professional member of the Chicago Symphony Chorus, many of those as bass section leader, and he also sings with the Grant Park Chorus, Chicago a cappella, and many other ensembles. He is a frequent soloist and recording artist, focusing on sacred and concert works. In addition to performing, Rivera has been on the faculty of several colleges and universities, directing choirs and teaching voice, diction, music theory, and history, given numerous master classes, and presented at the Iowa Choral Directors Association summer conference. Especially adept with languages,

Benjamin Rivera frequently coaches German and Spanish, among several others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and he has completed the coursework for a doctorate in choral conducting from Northwestern University, where he is in the process of writing his dissertation on the works of John Tavener. His studies have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music.

TEXT AND TRANSLATIONS I. SYMPHONIE

II. KANTATE Chorus and solo Alles, was Odem hat, lobe den Herrn. (Psalm 150)

I. SYMPHONIE II. KANTATE Chorus and solo Everything that has breath praise the Lord. (Psalm 150)

Lobt den Herrn mit Saitenspiel, lobt ihn mit eurem Lied. (Psalm 33)

Praise the Lord with the lyre, praise him with your song. (Psalm 33)

Und alles Fleisch lobe seinen heiligen Namen. (Psalm 145) Lobe den Herrn, meine Seele, und was in mir ist, seinen heiligen Namen. Lobe den Herrn, meine Seele, und vergiß es nicht, was er dir Gutes getan. (Psalm 103)

And let all flesh bless his holy name. (Psalm 145) Bless the Lord, O my soul, and that is within me , bless his holy name. Bless the Lord, O my soul, and forget not that he has done you good. (Psalm 103)

Recitative and Aria Saget es, die ihr erlöst seid durch den Herrn, die er aus der Not errettet hat, aus schwerer Trübsal, aus Schmach und Banden, die ihr gefangen im Dunkel waret, alle, die er erlöst hat aus der Not. Saget es! Danket ihm und rühmet seine Güte! (Psalm 107)

Recitative and Aria Say it that you are redeemed by the Lord, he has delivered them out of trouble, of severe tribulation, from shame and bondage captives in the darkness, all which he hath redeemed from distress Say it! Give thanks to him and praise ye, His goodness! (Psalm 107)

Er zählet unsre Tränen in der Zeit der Noth, er tröstet die Betrübten mit seinem Wort. (Psalm 56)

He numbers our tears tears in our time of need, he comforts the afflicted with his word. (Psalm 56)

Saget es! Danket ihm und rühmet seine Güte.

Say it! Give thanks to him and praise ye his kindness.

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Chorus Saget es, die ihr erlöset seid von dem Herrn aus aller Trübsal. Er zählet unsere Tränen in der Zeit der Noth.

Chorus Say it that you are redeemed by the Lord out of all tribulation. He numbers our tears in out time of need.

Duet and Chorus Ich harrete des Herrn, und er neigte sich zu mir und hörte mein Flehn. Wohl dem, der seine Hoffnung setzt auf den Herrn! Wohl dem, der seine Hoffnung setzt auf ihn! (Psalm 40)

Duet and Chorus I waited patiently for the Lord, and He inclined to me and heard my supplication. Blessed is the man whose hope is in the Lord! Blessed is the man whose hope is in him! (Psalm 40)

Tenor solo Stricke des Todes hatten uns umfangen, und Angst der Hölle hatte uns getroffen, wir wandelten in Finsternis. (Psalm 116)

Tenor solo The sorrows of death encompassed us and fear of hell had struck us, We wandered in darkness. (Psalm 116)

Er aber spricht: Wache auf! der du schläfst, stehe auf von den Toten, ich will dich erleuchten! (Ephesians 5:14)

He saith, Awake! you who sleep, arise from the dead, I will enlighten you! (Ephesians 5:14)

Wir riefen in der Finsternis: Hüter, ist die Nacht bald hin? Der Hüter aber sprach: Wenn der Morgen schon kommt, so wird es doch Nacht sein; wenn ihr schon fraget, so werdet ihr doch wiederkommen und wieder fragen: Hüter, ist die Nacht bald hin? (Isaiah 21:11–12)

We called in the darkness, Watchman, will the night soon pass? But the Watchman said: if the morning comes soon, it will yet again be night; and if you ask, you will return and ask again, Watchman, will the night soon pass? (Isaiah 21:11–12)

Chorus Die Nacht ist vergangen, der Tag aber herbei gekommen. So laßt uns ablegen die Werke der Finsternis, und anlegen die Waffen des Lichts, und ergreifen die Waffen des Lichts. (Romans 13:12)

Chorus The night has passed, but the day has come. So let us cast off the works of darkness, and put on the armor of light, and take up the armor of light. (Romans 13:12)

Chorale Nun danket alle Gott mit Herzen, Mund und Händen, der sich in aller Not will gnädig zu uns wenden, der so viel Gutes tut, von Kindesbeinen an uns hielt in seiner Hut und allen wohlgetan.

Chorale Now let us all thank God with hearts and hands and voices, who in all adversity will be merciful to us, who does so much good, who from childhood has kept us in his care and done good to all.

Lob Ehr und Preis sei Gott, dem Vater und dem Sohne, und seinem heilgen Geist im höchsten Himmelsthrone. Lob dem dreiein’gen Gott, der Nacht und Dunkel schied von Licht und Morgenrot, ihm danket unser Lied. (Evangelisches Kirchengesangbuch; Text v. Martin Rinckart, 1636)

Praise, honor and glory be to God the Father, and the Son, and his Holy Spirit on heaven’s highest throne. Praise to God, three in one, who separated night and darkness from light and dawn, give thanks to him with our song. (Evangelical Church Hymnal, text Rinckart v. Martin, 1636)

Duet Drum sing ich mit meinem Liede ewig dein Lob, du treuer Gott! Und danke dir für alles Gute, das du an mir getan. Und wandl’ ich in der Nacht und tiefem Dunkel und die Feinde umher stellen mir nach, so rufe ich an den Namen des Herrn, und er errettet mich nach seiner Güte.

Duet So I sing your praises with my song forever , faithful God! And thank you for all the good you have done to me. Though I wander in night and deep darkness and enemies beset me all around I will call upon the name of the Lord, and he saved me by His goodness.

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Chorus Ihr Völker! bringet her dem Herrn Ehre und Macht! Ihr Könige! bringet her dem Herrn Ehre und Macht! Der Himmel bringe her dem Herrn Ehre und Macht! Die Erde bringe her dem Herrn Ehre und Macht! (Psalm 96)

Chorus You peoples! give unto the Lord glory and strength! You kings! give unto the Lord glory and strength! The sky will bring forth the Lord glory and strength! Let the earth bring forth the Lord glory and strength! (Psalm 96)

Alles danke dem Herrn! Danket dem Herrn und rühmt seinen Namen und preiset seine Herrlichkeit. (I Chronicles 16:8–10)

All thanks to the Lord! Praise the Lord and exalt his name and praise his glory. (I Chronicles 16:8–10)

Alles, was Odem hat, lobe den Herrn, Halleluja! (Psalm 150)

Everything that has breath praise the Lord, Hallelujah! (Psalm 150)

artist biography alexia kruger rivera, soprano 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 the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), the Fort Wayne Philharmonic (Schubert Mass in G and excerpts from Mozart’s Solemn Vespers), the Bach Institute, St. John Cantius (Schubert Mass in B-flat, Mozart Requiem), Chicago Sinfonietta at the Shedd and at Joffrey, the Chicago Modern Orchestra Project, 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, Alexia 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. Past roles have included 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). Alexia 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.

Susan nelson, soprano Equally at home on the operatic stage or in concert repertoire, American lyric soprano Susan Nelson has been praised by critics for her “full, powerful voice – agile and pliant” as well as her interpretations, called both “sensitive and moving” and “full of life and vigor.” She showcases versatility and vocal beauty in repertoire from Bach and Mozart to verismo and contemporary opera, as well as light opera and popular music. In the 2013-2014 season, Susan gave performances as Yum Yum in The Mikado with both The Savoyaires and North Shore Opera Hour, covered one of the Flower Maidens in Parsifal at Lyric Opera of Chicago, DePaul

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Community Chorus’ A Thankful Heart (featuring Vaughan Williams’ Song of Thanksgiving and SUSAN NELSON CONTINUED ON PAGE 47.

artist biography NELSON CONTINUED FROM PAGE 46. Jonathan Willcocks’ Magnificat), was a soloist in Music of the Baroque’s Holiday Brass and Choral Concert, soprano soloist in the final cantata of Bach’s Weihnachts Oratorium with Bach for the Sem, in Access Contemporary Music’s Vanishing Point concert, a recital and masterclass at Rock Valley College, Geraldine in A Hand of Bridge and Laetitia in The Old Maid and the Thief with Governors State University’s Opera Up Close, and was the 2nd soprano soloist in Bach’s Magnificat at First Congregational Church of LaGrange. Recent engagements include Pamina in Die Zauberflöte with Opera Delaware, Music for Eighteen Musicians with eighth blackbird, Caldara’s Magnificat with Baroque Artists of Champaign-Urbana, Newspaper Blackout Poems with Access Contemporary Music, BWV 80 – Ein feste Burg is unser Gott with St. Luke’s Lutheran Church Bach Cantata Series and as a soloist in Music of the Baroque’s Holiday Brass and Choral concerts. Ms. Nelson’s busy schedule has included Estelle in No Exit with Chicago Opera Vanguard, the title role of Rusalka with Opera for the Young, the Mistress in Peter and Paul in the Land of Nod with Chicago Folks Operetta, Micaëla in Carmen with Bowen Park Opera, Nedda in I Pagliacci with Intimate Opera and Fiordiligi in Così fan tutte with Opera Illinois. Ms. Nelson’s concert appearances include performances of Handel’s Messiah, Brahms’

Ein deutsches Requiem, Mozart’s Requiem and Vesperae solennes de confessore, Bach’s Magnificat, Rossini’s Stabat Mater and Schubert’s Mirjams Siegegesang. Her solo in Ravel’s Trois beaux oiseaux du Paradis for the Grant Park Music Festival was praised by John von Rhein of the Chicago Tribune: “Soprano Susan Nelson floated her solo in the second Ravel chanson, Three Beautiful Birds of Paradise, gorgeously.” The 2014-2015 season includes Countess in Le Nozze di Figaro with Salt Creek Chamber Orchestra, a return to South Bend Symphony Orchestra for their Holiday Pops concert, Handel’s Messiah with both the Waukegan Symphony Orchestra and the Illiana Oratorio Society, four Bach cantatas and the Messe in H Moll with Grace Lutheran Church in River Forest, covering a Page in Tannhäuser with Lyric Opera of Chicago and Mendelssohn’s Lobgesang with Fort Wayne Philharmonic. Ms. Nelson holds degrees from the University of Illinois and the Eastman School of Music. Ms. Nelson tied for third place for the 2014 The American Prize in Vocal Performance Friedrich & Virginia Schorr Memorial Award in the Professional Opera Division, was also a 2014 Finalist for the Chicago Oratorio Award by the same organization, and is a recipient of a Career Encouragement Award from the MacAllister Foundation. Ms. Nelson is also featured on the Grant Park Music Festival Chorus’ first a cappella CD, Songs of Smaller Creatures and Other American Choral Works, which was released in 2012.

Geoffrey Agpalo, tenor Geoffrey Agpalo recently won second place in the Central Region of the Metropolitan Opera National Council Auditions. He has performed as a soloist with the Lyric Opera of Chicago and has also covered roles in Aida, Parsifal, Capriccio, and Il Trovatore. He has also been a soloist for Chicago Symphony Orchestra’s Welcome Yule holiday concert. Last year he covered the role of Nemorino in The Elixir of Love at Opera Theatre of Saint Louis. He is returning there this season as Hooker in Tobias Picker’s Emmeline and will also be covering Ruggero in La Rondine. At Northwestern University he appeared in The Merry Widow, The Consul, Il Barbiere di Siviglia and The Ghosts of Versailles. Other performances include The Cousin from Nowhere and Lehar’s The Land of Smiles with Chicago Folks Operetta. His concert repertoire includes

the Verdi Requiem, Beethoven Symphony 9, Bach Mass in B Minor and Vaughan Williams Hodie. He has been an artist at Chautauqua Opera and Central City Opera. He is also a member of the choruses of the Lyric Opera of Chicago and the Chicago Symphony Orchestra.

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pixar in concert Saturday, MAY 2, 2015 | 2:00 P.M. & 7:30 P.M. Embassy Theatre Chia-Hsuan Lin, conductor PIXAR IN CONCERT PRODUCTION CREDITS: Pete Docter, Creative Director David Tanaka, Creative Editor Jonas Rivera and John Lasseter, Executive Producers Laurel Ladevich and Brice Parker, Producers Jonathan Heely, Disney Executive Producer Music Adapted by - Mark Watters Orchestrations by - Mark Watters, Brad Dechter, Tim Simonec, Peter Boyer, Jonathan Sacks, Eric Schmidt, Gordon Goodwin, Ira Hearshen Music Editor - Ed Kalnins Guitar Arrangements - Carl Rydlund Special thanks to Jonathan Garson, Chris Montan and Tom MacDougall for their support and insight. Act One Fanfare/Toy Story

Finding Nemo

Ratatouille

PROGRAMMING CONTINUED ON PAGE 50.

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PIXAR IN CONCERT

programming continued from page 55.

A Bug’s Life

Wall-E

Toy Story 2

Cars

Act Two

The Incredibles

Monsters, Inc.

Cars 2

Toy Story 3

Brave

Monsters University

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P O P S P RO G RAM NOTES PIXAR IN CONCERT saturday, MAY 2, 2015 The 14 films that Pixar Animation Studios has produced, and The Walt Disney Company has distributed, have changed the way we look at animation for the big screen. Critics across the country have remarked on the quality of storytelling, the cleverness of the scripts, and the increasingly lifelike look of the computergenerated imagery that the Pixar team employs.

additional depth with the introduction of yodeling cowgirl Jessie and Buzz’s intergalactic enemy Emperor Zurg, prompting Randy Newman to add Coplandesque roundup music and John Williams-style space-opera sounds to his score. The Oscar-nominated song “When She Loved Me” remains among the most poignant of all the Pixar tunes.

One of the distinguishing aspects of the Pixar films is serious and respectful attention to music and its role in that storytelling. All 14 scores have been written by just four composers: Randy Newman (b. 1943), Michael Giacchino (b. 1967), Thomas Newman (b. 1955) and Patrick Doyle (b. 1953). Collectively, this music has won three Academy Awards, received 10 additional Oscar nominations and won 10 Grammy Awards.

Monsters, Inc. (2001) was another big boxoffice hit, the story of a parallel universe where a monster world is powered by the screams of children. Monster pals Mike (Billy Crystal) and Sulley (John Goodman) discover a little girl has accidentally infiltrated their workplace and must hide her from the authorities. Randy Newman added a strong jazz element to his fourth consecutive Pixar score, and won his first Academy Award for the film’s song “If I Didn’t Have You.”

“Music, to me, is one of the most important things to give a movie emotion,” John Lasseter, chief creative officer at Pixar and Walt Disney Animation Studios, told Variety during a Hollywood recording session last year. “Lighting, color and music are all things I use as a storyteller. I’m in absolute awe of the talent of these musicians... the fact that they have never seen this music before and yet play it perfectly, with feeling and interpretation.” Toy Story (1995) was the first of the Pixar films. Its clever story of a child’s playthings, including the rivalry of cowboy doll Woody (voiced by Tom Hanks) and astronaut action figure Buzz Lightyear (voiced by Tim Allen), were embraced by young and old alike. It became the year’s topgrossing film and won a Special Achievement Oscar as the first feature-length computeranimated film. Its lively orchestral score, and three original songs – including “You’ve Got a Friend in Me,” now a standard – were composed by Randy Newman, the Los Angeles-born pop songwriter and respected film composer (whose earlier films included Ragtime, The Natural and Parenthood). Randy Newman returned to score A Bug’s Life (1998), the story of an ant inventor named Flik (Dave Foley) who recruits a troupe of bug circus performers to help rid the ant colony of its grasshopper oppressors. Newman’s score employed a variety of styles from mock-heroic to Gershwinesque big-city jazz and remains among the composer’s most delightful scores. Pixar’s third feature, Toy Story 2 (1999), found Woody declared a valuable collectible and stolen for eventual sale. The toys’ saga gains

Finding Nemo (2003) takes place mostly underwater, with its story of clownfish Marlin (Albert Brooks) and regal tang Dory (Ellen DeGeneres), who suffers from short-term memory loss, on a search for his kidnapped son Nemo. Director Andrew Stanton said that he wrote the entire script while listening to the music of Thomas Newman (composer of The Shawshank Redemption, Little Women and American Beauty, and Randy’s cousin) and so decided to hire the younger Newman for the Nemo score, which adds synthesizer textures and exotic instruments to the traditional symphony orchestra. Nemo became the first Pixar film to win the new Oscar category of Animated Feature Film; the second was The Incredibles (2004), a comedy about a family of superheroes who must conceal their powers from the public (Craig T. Nelson and Holly Hunter are the voices of the adult heroes). Michael Giacchino, composer of the Medal of Honor series of videogames and the TV series Alias and Lost, scored the film with a lively pastiche of 1960s spy and caper music; he cited such influences as John Barry, Henry Mancini and Hanna-Barbera cartoon composer Hoyt Curtin. Cars (2006), the seventh Pixar feature, was inspired by the sights and sounds of the American West’s Route 66. This time the characters were all motor vehicles, including racecar Lightning McQueen (Owen Wilson) and former racer Doc Hudson (Paul Newman), stuck in the forgotten town of Radiator Springs. For music, Lasseter returned to Randy Newman, an

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especially apt choice given the elder Newman’s well-known grasp of the Americana idiom in film scores, both orchestral and the more folkand country-based, guitar-and-banjo traditions. Ratatouille (2007) offered the most outrageous storyline yet: a French rat named Remy who wants, more than anything, to become a chef. Remy (voiced by Patton Oswalt) eventually becomes the secret weapon of Linguini (Lou Romano), heir to a top Paris restaurant frequented by feared food critic Anton Ego (Peter O’Toole). Director Brad Bird, as he had on The Incredibles, turned to Giacchino for a lighthearted score filled with waltzes and flavored with such classic French colors as accordion and musette. “This simple little robot love story” is how director Andrew Stanton described WALL-E (2008), an ecology-minded science-fiction tale about a future, garbage-strewn Earth, the sole robot (WALL-E) left to clean it up, and the streamlined, vegetation-seeking robot (named EVE) who visits; soon they are in space on an adventure that will change mankind’s destiny. Stanton again called on Thomas Newman, who invested the quirky robots with charm and warmth, and the outer-space scenes with appropriate large-orchestra drama. Although six of the previous Pixar films had been Oscar-nominated for Best Original Score, Up (2009) became the first to take home the Academy Award for its composer. For this touching story of an old man (voiced by Ed Asner) whose balloon-borne house travels to South America with an 8-year-old in tow, Michael Giacchino supplied his most personal and emotional score – particularly for the “Married Life” sequence, a constantly evolving waltz for a four-minute condensation of Carl and his wife Ellie’s life together. Toy Story 3 (2010) concluded the Woodyand-Buzz trilogy with a surprising, thrilling and heartfelt story about their owner Andy growing up, leaving home and finding new homes for his beloved toys. For his sixth Pixar score, composer Randy Newman once again rose to the challenge, writing music that both propelled the action and lent human qualities to the characters. Touches of classical music, jazz and country can be heard, along with Newman’s most hair-raising music for the toys’ near-death experience at a dump and perhaps the most

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moving finale ever for a Pixar film. Toy Story 3 became the year’s highest-grossing film in the U.S.; made more than $1 billion worldwide; and won Newman a second Oscar for his song, “We Belong Together.” Cars 2 (2011) takes Radiator Springs residents McQueen and his tow-truck pal Mater to Japan, Italy and England on a spy caper (with the voice of Michael Caine as master spy Finn McMissile). For music, Lasseter once again called on Michael Giacchino, whose score creatively combines elements of 1960s British spy-movie music and surf rock. The film, Brave (2012), departs from tradition in several ways: It’s the first to feature a female protagonist; and it takes place entirely in the past, on foreign soil (10th-century Scotland), with fairy-tale overtones. Brave concerns a young Scottish princess named Merida (voice of Kelly Macdonald) who defies her parents by refusing an arranged marriage and foolishly asking a witch to help solve her problems. Scottish-born composer Patrick Doyle – Oscar-nominated for Sense and Sensibility, perhaps best-known for his scores for Kenneth Branagh’s Shakespeare films Henry V, Much Ado About Nothing and Hamlet – supplied a colorful and authenticsounding musical backdrop that includes such ethnic sounds as Celtic fiddle, Celtic harp and whistles, Uilleann pipes and bagpipes. In Monsters University (2013) we revisit Monstropolis for a prequel featuring the young Mike and Sully as freshman college students. They both have a life goal of working on the scarefloor of the power company we learned about in Monsters Inc. (2001). They find their differences make them a successful team in the college fraternity competitions. Starting out as rivals they are forced to become friends and by balancing their strengths and weaknesses become heroes to the entire campus. Another film score with collegiate inspired sounds by Randy Newman. -- Jon Burlingame Jon Burlingame writes about film music for Variety and teaches film-music history at the University of Southern California.

pixar composers michael giacchino, composer Michael Giacchino is a prolific and awardwinning composer whose work spans the entertainment spectrum. Giacchino studied at the Julliard School and UCLA before beginning his career as a game score composer for Jurassic Park and the Medal of Honor and Call of Duty series. Since branching into television, he has composed for such shows as Alias, LOST, for which he earned an Emmy, and Fringe. In 2004, he scored his first feature film, The Incredibles, launching a collaboration with Pixar that would result in the scores for Ratatouille, UP, for which he won an Academy Award, and Cars 2.

III, and Mission: Impossible Ghost Protocol. In 2005, he collaborated with Walt Disney Imagineering to create the new soundtrack for Disneyland’s Space Mountain and in 2009, he was invited to conduct the 81st Academy Awards orchestra.

Giacchino’s other film work includes John Carter, Sky High, Super 8, Star Trek, Mission: Impossible

patrick doyle, composer Patrick Doyle has composed over 50 international feature film scores, including Rise of the Planet of the Apes, Harry Potter and the Goblet of Fire, Gosford Park, Sense and Sensibilty, Much Ado About Nothing, Indochine, Carlito’s Way and A Little Princess, collaborating with some of the most acclaimed directors in the world. Doyle has received two Academy Awards, Golden Globe and Cesar nominations and, in 1989, received the Ivor Novello Award for Best Film Theme for Henry V. Classically trained, Doyle graduated from the Royal Scottish Academy of Music in 1975. After many years composing for theatre, radio and television, he joined the Renaissance Theatre Company as composer and musical director in 1987. In 1989, director Kenneth Branagh commissioned Doyle to compose the score for

Henry V. They have subsequently collaborated on several pictures, including 2011’s Thor. Doyle was made a Fellow of the Royal Scottish Academy of Music in 2001.

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pixar composers RANDY NEWMAN, composer Musician Randy Newman is known to generations of fans as a songwriter, singer, pianist, and film composer. His critically acclaimed solo albums span six decades and include 12 Songs, Sail Away, Good Old Boys, Harps & Angels, and the current Randy Newman Songbook series. Newman began scoring films in the 1980s, with movies including Avalon, Ragtime, The Natural, Awakenings, Pleasantville, all three Toy Story pictures, A Bug’s Life, Cars, Monsters, Inc., James and the Giant Peach, Seabiscuit, and The Princess and the Frog. Newman has won two Academy Awards, three Emmys, five Grammy Awards, and the Governor’s Award from the Recording

Academy. In 2005, he was inducted into the Songwriters Hall of Fame, and in 2007, he was recognized as a Disney Legend - a program honouring integral contributions to The Walt Disney Company. Newman is on the Board of Councilors for the USC Thornton School of Music.

THOMAS NEWMAN, composer Thomas Newman has scored more than 50 motion pictures and television series and has earned ten Academy Award nominations, five Grammy Awards and an Emmy Award for his theme for the HBO original series Six Feet Under. The youngest son of legendary Hollywood music director Alfred Newman, Newman studied composition and orchestration both at USC and Yale University and was greatly influenced by his mentor, Stephen Sondheim. At the age of 27, Newman successfully composed his first feature film score, Reckless. Since then, he has contributed distinctive scores to many acclaimed films including Fried Green Tomatoes, The Player, Scent of a Woman, The Shawshank Redemption, Little Women, The Horse Whisperer, Meet Joe Black, American Beauty, The Green Mile, Erin Brockovich, Finding

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Nemo, Cinderella Man, Jarhead, Revolutionary Road, Angels in America and Wall•E. Newman is also an accomplished composer for the concert hall, including symphonies, concertos, and chamber works.

2014-15 Season SCORE! EXP ERI EN CE the E MB ASSY

THE-

SCORE!

Musical theatre workshop for middle school students JULY 6-24, 2015 Performance July 25, 2 p.m. Cost of workshop: $450 early bird fee by April 24, $550 after Registration forms are available online at fwembassytheatre.org or call Rebecca Reeder, 260.424.5665, ext. 241. SCORE! is an intensive three-week workshop for a small group of students in grades 6-8 who will develop, produce and perform a piece of original musical theatre on the Embassy Theatre stage. Students will work with a professional stage director and educators specially trained at the Met in creating opera with young people. Only 25 students will be accepted into this program.

This program is made possible with support from Arts United of Greater Fort Wayne, the Indiana Arts Commission, a state agency, and the National Endowment for the Arts, a federal agency.

thank you to our sponsors: MADGE ROTHSCHILD FOUNDATION

MAD G E ROTHSCHILD F OUNDATION

MASTER W OR K S STRAVINSKY'S FIREBIRD Saturday, MAY 9, 2015 | 7:30 P.M. embassy theatre Andrew Constantine, conductor WILLIAM WOLFRAM, PIANO

BRAHMS Concerto No. 2 in B-flat major for Piano & Orchestra, Op. 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso William Wolfram, piano

-- Intermission --

TURINA Danzas Fantásticas, Op. 22 Exaltación Ensueño Orgía STRAVINSKY Suite from "The Firebird" Introduction L’Oiseau de feu et sa danse & Variation de l’oiseau de feu Ronde des princesses Danse infernale du roi Kastcheï Berceuse Final Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, MAY 21, at 7:00 P.M.

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MASTER W OR K S P RO G RAM NOTES S T R A V I N S K Y ' S FIRE B IRD Saturday, MAY 9, 2015 Piano Concerto No. 2 in B-flat Major Johannes Brahms (1833 - 1897) In April 1878, Johannes Brahms decided to treat himself to a vacation in Italy. And, like many travelers before and since, he fell in love with this land of sunshine, good living, and even greater art and would return there eight more times. To his longtime friend, the celebrated pianist Clara Schumann, he penned a “wish-you-were-here” letter: “How often do I not think of you, and wish that your eye and heart might know the delight which the eye and heart experiences here! If you stood for only one hour in front of the facade of the Cathedral of Siena, you would be overjoyed. … On the following day, in Orvieto, you would be forced to acknowledge that the cathedral there was even more beautiful; and after all this to plunge into Rome is a joy beyond words …” Though his eyes were dazzled by what he saw in Italy, the composer found little in Italian music to please his German ears. But the rich visual stimulation did indeed inspire a new work, which would eventually become his Second Piano Concerto. In July 1881, he announced the concerto’s birth in a series of teasing letters to several friends. To Dr. Theodor Billroth, the companion of his Italian sightseeing, he sent a copy of the bulky score with a note identifying it as “a couple of little piano pieces.” To his current muse, the lovely and safely married Elizabeth von Herzogenberg, he revealed: “I have written a tiny little piano concerto with a tiny wisp of a scherzo.” More appropriately, the composer revealed the true nature of his newest creation to von Herzogenberg when he described it as “the long Terror.” For the Second Piano Concerto is long indeed: with four substantial movements lasting approximately 50 minutes, it is the size of two ordinary concertos put together. And it is monumental in its architecture, emotional scope, and the demands it places on the pianist. Brahms scholar Malcolm MacDonald describes its technical challenges well: “In its massive chording, wide [finger] stretches, vigor, richness and textural variety, the piano writing is the most elaborate result of his lifelong fascination with virtuoso technique.” The successful interpreter of “the long Terror” must have limitless technique and stamina, but more importantly the brains of a scholar and the heart of a poet. And he or she must also be a colleague in the spirit of chamber music. For the Second Concerto is a truly symphonic conception in the manner of Beethoven’s concertos, with orchestra and pianist equal participants in the musical journey. Brahms

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ranges over a broad emotional territory, and he uses everything at his disposal: from the most massive orchestral sounds to the most intimate chamber effects, such as the dialogue between horn and piano that begins the work or the partnership of solo cello and oboe that glorifies the slow movement. Movement one: The concerto’s chamber-music opening is utterly unique. A solo horn sings out the gently rising principal theme, and the piano echoes each phrase. Suddenly, the pianist throws off his reserve and plunges into a titanic monologue, the first of many mini-cadenzas Brahms embeds throughout his structure rather than giving the soloist a single extended opportunity for display. This in turn galvanizes the orchestra into action, transforming the horn’s shy theme into a mighty march. And soon we hear the first suggestion of the movement’s second theme: a supple, swaying melody in D minor in the violins that is quickly broken off. The pianist now expands this thematic material, and when he comes to the swaying second theme, he reveals its character as passionate rather than nostalgic, hardening its curves with stentorian chords. By now, the music has taken a very dramatic and even ominous turn from its tender beginning. It culminates in a fierce declamation of the principal theme by the full orchestra before the horn quietly sounds that theme again and the music merges into the development section proper. The arrival home at the recapitulation section is one of Brahms’ most magical and moving. He keeps trying to get there by gestures of musical willpower. But finally, only gentle acceptance succeeds, as the piano floats in shimmering arpeggios and the horn warmly welcomes it back. In his closing coda, Brahms combines mysterious reminiscences of the horn theme over a dark piano march, a last grand summing up of themes, and a heroic windup, accented by triumphantly trilling woodwinds. The “tiny wisp of a scherzo” in D minor forms the pianist-killer second movement, a fierce Allegro appassionato. Brahms’ friends asked him why he had added this extra component to the customary three-fold concerto formula; he replied, in another fit of ironic understatement, that he felt it was necessary because the first and third movements were so “harmless.” The pianist hurls out a boldly rhythmic first theme, and the strings contribute a contrasting sighing melody that the piano elaborates soulfully. This music is repeated, then rolls into a development section. But in this formal hybrid — part scherzo-and-trio dance, part sonata form — the music suddenly shifts into a radiant tolling-bells episode in D major, which is the trio section.

After two movements of almost unremitting intensity, Brahms at last provides repose with perhaps the most beautiful slow movement he ever composed. The pianist takes a needed rest while the solo cello sings a melody of heartbreaking loveliness; a solo oboe soon joins in, intensifying the poignancy. As in the slow movement of Brahms’ Violin Concerto, the soloist never sings this eloquent theme, but instead weaves marvelous variants on it. The movement’s most haunting moment occurs midway through when the piano — now stranded in the distant key of F-sharp major and accompanied by two clarinets — seems to float in some timeless, otherworldly realm. The cello’s reappearance with its glorious melody seems no intrusion. While some commentators have criticized the finale, Brahms showed sure instincts when he chose to crown his three imposing movements with a relaxing finale of lighthearted melodiousness. Beginning with the piano’s buoyantly skipping theme, he concocts a beguiling succession of melodies in the genial spirit of his Hungarian Dances. Notable among them is the lushly swaying Viennese dance shared by piano and strings. Throughout, the pianist’s virtuoso figurations sparkle like diamonds, especially in Brahms’ vivacious spedup conclusion. Danzas fantásticas, op. 22 Joaquín Turina (1882 - 1949) One of the most prominent Spanish composers of the early 20th century, Joaquín Turina was born and raised in Seville, and though he left that city at age 20, he carried the sounds of Sevillian music with him for the rest of his career. Ambitious for better musical training, he moved to Madrid, where he met Manuel de Falla, who became a lifelong friend. Like de Falla, he moved to Paris in 1905 and there, studying composition with Vincent D’Indy, fell for a time into the circle of César Franck’s disciples. He also dabbled in the impressionist styles of Debussy. But Turina stayed close to the other Spanish composers living in Paris, and when Isaac Albéniz urged him to reconnect with his Spanish folk roots, he eagerly assented. Returning to Madrid, Turina became choirmaster of the Teatro Réal and in 1930 a professor of composition at the Madrid Conservatory. Including some significant chamber music and a symphony (Sinfonia sevillana) as well as songs and many piano works, his music reflects his French classical training alongside the folk influences of his native Andalusia. Both these characteristics can be heard in Danzas fantásticas, his most popular work today, which was written first for piano and then orchestrated in 1919. Turina’s music often reflected pictorial or narrative sources, and this work was inspired by José Mas’ novel set in Seville, Orgía (which in Spanish has a slightly different meaning related to a joyous union of dancing and wine). In his

score, the composer wrote a quotation from the book at the beginning of each movement. The three movements are each based on a different Spanish dance. Movement one, “Exaltación,” is a jóta: a fast triple-beat dance from Aragón, named for the leaping motion called for in the choreography. It opens with a soft, misty introduction in impressionist style that brings the scene into focus before the brilliant dance itself is presented. The Mas quotation reads: “It seemed as if the figures in that incomparable picture were moving inside the calyx of a flower.” Movement two, “Ensueño” (“Reverie”), is a zortzico, a dance in an irregular five-beat rhythm from the northern Basque region. It alternates with slower, dreaming music that matches the title. The descriptive quotation is: “The guitar’s strings sounded the lament of a soul helpless under the weight of bitterness.” The final movement, “Orgía,” is a farruca, a vigorous flamenco dance from Andalusia. In Turina’s words, it is “set in the humble and modest patio of a little house somewhere in Seville.” The whirling intensity of the farruca is relieved by gentler interludes with lovely, airy scoring. The Mas quotation here is: “The perfume of the flowers merged with the odor of manzanilla, and from the bottom of raised glasses, full of wine incomparable as incense, joy flowed.” Suite from "the firebird" (1919) Igor Stravinsky (1882 - 1971) Igor Stravinsky’s score for the fairy-tale ballet The Firebird, particularly in its suite adaptation, is far and away his most popular work. For nearly six decades, the composer conducted it hundreds of times, even though he had since moved on to more radical styles. In fact, it became almost impossible to believe that this fearless modernist had actually once written such a lush and sensual score: a grand summation of the 19th-century Russian fascination with fantastic plots and opulent instrumental colors. The Firebird’s music needed to be lush for it was written for Serge Diaghilev’s spectacular Ballets Russes, which was dazzling Paris during the seasons immediately preceding World War I. Diaghilev had a genius for assembling the greatest Russian dancers as well as scenic designers, poets, and composers from Russia and France to create ballet extravaganzas that looked as colorful as they sounded. In 1909, seeking a composer to replace Anatoli Liadov (dropped after he failed to meet his deadline), Diaghilev had the happy inspiration to try the 27-year-old Stravinsky, who had hitherto worked for him only as an orchestrator. The Firebird was Stravinsky’s first major commission. “Take

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a good look at him,” Diaghilev told his leading ballerina Tamara Karsavina during rehearsals. “He is a man on the eve of celebrity.” And indeed, when The Firebird premiered at the Paris Opéra on June 25, 1910 to tumultuous applause, Stravinsky immediately became one of the hottest composers of the day. The Firebird is a beloved creature in Russian folklore, and she corresponds to the Phoenix in classical mythology as a symbol of rebirth. The Russian folklorist Afasyev describes her thus: “The feathers of the Firebird are effulgent with silver and gold … her eyes shine like crystal, and she sits in a golden cage. At darkest midnight, she flies into the garden and lights it as brightly as if with a thousand burning bonfires. Just one of her tail feathers holds such magical power that it is worth more than a kingdom.” The scenario of the ballet combines the Firebird with the legends of the evil ogre Kashchei the Deathless One, and the captive princesses (familiar to us as the Grimm Brothers’ tale The Twelve Dancing Princesses). At this concert, we will hear the 20-minute suite Stravinsky drew from his 45-minute complete ballet score, which serves as a kind of promotional trailer for this gorgeous work. In the murky and mysterious Introduction, Stravinsky conjures the dangerous realm of Kashchei’s castle with ominous scales in muted low strings and menacing trombone snarls. Soon we hear the eerie sound of the Firebird’s wings: an otherworldly effect

created by the strings playing natural harmonics. Prince Ivan climbs over the castle wall to try to capture her. He briefly succeeds in The Firebird’s Dance and Variations: here is some of Stravinsky’s most ingenious music, glinting with darting rhythms and prismatic, lighter-than-air colors from high woodwinds. The Firebird escapes, but leaves the Prince with one of her magical feathers. More earthbound is the Round Dance of the Princesses, who like Ivan are ordinary mortals and captives of Kashchei. They dance a traditional Russian khorovode or female round dance, and the Prince falls in love with the most beautiful of them. Next comes the stunning “Infernal Dance of King Kashchei.” Stravinsky’s rhythmic vitality is on display in this brutal dance built from syncopations. In the nick of time, Prince Ivan remembers the magic tail feather and summons the Firebird. She forces Kashchei and his minions to dance until they drop in exhaustion. Lulling them to sleep with the rocking “Berceuse” or lullaby led by solo bassoon, the Firebird tells the Prince that Kashchei’s soul lives in a buried egg; if he can crush that, he will kill the ogre and break the spell that binds the princesses. The Prince accomplishes this and in the majestic Finale weds his Princess. Its melody, introduced by solo horn, is another authentic Russian folksong. The melody spreads through the orchestra, and the ballet ends in a blaze of bell-tolling Russian splendor. Notes by Janet E. Bedell copyright 2015

Listen online at wbni.org

artist biography WILLIAM WOLFRAM, PIANO American pianist William Wolfram was a silver medalist at both the William Kapell and the Naumburg International Piano Competitions and a bronze medalist at the prestigious Tchaikovsky Piano Competition in Moscow. Wolfram has appeared with many of the greatest orchestras of the world and has developed a special reputation as the rare concerto soloist who is also equally versatile and adept as a recitalist, accompanist and chamber musician. In all of these genres, he is highly sought after for his special focus on the music of Franz Liszt and Beethoven and is a special champion for the music of modernist 20th century American composers. His concerto debut with the Pittsburgh Symphony under the baton of Leonard Slatkin was the first in a long succession of appearances and career relationships with numerous American conductors and orchestras. He has also appeared with the San Francisco, Saint Louis, Indianapolis, Seattle and New Jersey symphonies, the Buffalo Philharmonic, the National Symphony Orchestra (Washington D.C.), the Baltimore Symphony, the Colorado Symphony, the Rochester Philharmonic, the Nashville Symphony, the Oregon Symphony, the Utah Symphony, the Edmonton Symphony, the Columbus Symphony, the Florida Orchestra, and the Grand Teton and San Luis Obispo Mozart festival orchestras, among many others. He enjoys regular and ongoing close associations with the Dallas Symphony, the Milwaukee Symphony, the San Diego Symphony and the Minnesota Orchestra in the United States. Internationally recognized conductors with whom he has worked include Andrew Litton, Jerzy Semkow, Mark Wigglesworth, Jeffrey Tate, Vladimir Spivakov, Gerard Schwarz, Carlos Miguel Prieto, Jeffrey Kahane, James Judd, Roberto Minczuk, Stefan Sanderling, JoAnn Falletta, James Paul, Carlos Kalmar, Osmo Vanska, Hans Vonk and Joseph Silverstein.

composers such as Aaron Jay Kernis, Kenneth Frazelle, Marc Andre Dalbavie, Kenji Bunch, and Paul Chihara. His world premiere performance of the Chihara reorchestration of Chopin’s Piano Concerto No. 1, with the Milwaukee Symphony under the baton of Andreas Delfs, was met with great critical attention and acclaim. Wolfram has extensive experience in the recording studio. He has recorded four titles on the Naxos label in his series of Franz Liszt Opera Transcriptions and two other chamber music titles for Naxos with violinist Philippe Quint (music of Miklos Rosza and John Corigliano). Also for Naxos he has recorded the music of Earl Kim with piano and orchestra - the RTE National Symphony Orchestra of Ireland behind him. For the Albany label, he recorded the piano concertos of Edward Collins with Marin Alsop and the Royal Scottish National Orchestra. In print and other media Wolfram was the focus of a full chapter in Joseph Horowitz’s book, The Ivory Trade: Music and the Business of Music at the Van Cliburn International Piano Competition. On television, he was a featured pianist in the documentary of the 1986 Tchaikovsky International Piano Competition. A graduate of The Juilliard School, William Wolfram resides in New York City with his wife and two daughters.

Abroad, Wolfram has appeared with the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, the RTE Symphony Orchestra of Ireland (Dublin), the Beethovenhalle Orchestra Bonn, the Warsaw, Moscow, and Budapest Philharmonics, the Capetown and Johannesberg Symphonies of South Africa, L’Orchestre de Bretagne, and the National Symphony of Peru. An enthusiastic supporter of new music, he has collaborated with and performed music by

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message from the phil friends Welcome to the last Concert Prelude of the season! The print deadline for this letter is such that I am in the position of writing about things that haven’t happened yet, but will be over and done by the time most of you read this. It’s also customary that the President’s last Prelude letter be a summary of Friends’ activities over the past year. So, I will attempt to do my best to relate what has happened or will happen by the time summer begins: •

We had our first Vibes & Vine fundraiser in October at Two EE’s Winery near Roanoke. Entertainment was by String Shift, a string ensemble made up entirely of Phil musicians. We hope to have another one sometime in May or June.

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Our scholarship committee awarded almost $5000 to 38 successful applicants to assist them in taking private music lessons.

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The Friends sponsored the October Masterworks concert and have reserved funds to do it again this coming October.

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The third annual Symphony of Style fashion show was held March 12 at the Empyrean atop the downtown PNC bank building.

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The Friends Young Artist Competition was held at the IPFW-Rhinehart Music Center on Saturday, March 14, the winners of each division receiving cash prizes.

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Over $3500 in underwriting and scholarships were distributed to the Youth Symphony.

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Our nationally award winning Instrument Loan Program currently has almost 70 instruments placed with students who might not otherwise have the opportunity to experience the joy of learning to play music.

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We put on four Instrument Playgrounds including one at the August Taste of the Arts where we reached hundreds of children.

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The Friends sponsored the Musically Speaking programs before most of the Masterworks with the help of some generous underwriters.

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We also provide overnight housing for out-of-town musicians; refreshments for the Friday Masterworks rehearsals and between Holiday Pops matinee and evening performances; and dozens of trips to and from the airport for the Music Director, visiting artists and other transportation needs.

I know I’ve probably forgotten a bunch of things, but you get the idea. The important thing to remember is the Friends Board and I couldn’t have accomplished any of this without your generosity. With your continued help, the Friends will find the footing and finances to enter their 72nd year of support and service to your own, hometown, Fort Wayne Philharmonic. Sincerely,

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the phil friends board of directors OFFICERS:

BOARD MEMBERS:

President: John McFann Vice-President Education: Sara Davis Vice-President Fundraising: Elizabeth Lehmann Vice-President Fundraising: Sue Lehmann Vice-President Hospitality: Jayne Van Winkle Vice-President Marketing: Louise Jackson Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Marylou Hipskind

Amy Beatty Annie Eckrich Cynthia Fyock Fred Haigh Suzi Hanzel Pat Holtvoigt Susan Lehmann Naida MacDermid Nellie Bee Maloley

Christine Mallers Shelby McFann Nan Nesbitt Tamzon O'Malley Janet Ormiston Rebecca Ravine Ruth Springer Marcella Trentacosti Alexandra Tsilibes

music director andrew constantine “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the north-east of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire. A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated 64

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

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

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 include concerts with the Orchestra Sinfonica Siciliana in Italy and, the NWD Philharmonie in Germany.

ASSistant conductor chia-hsuan lin Chia-Hsuan Lin is pleased to begin her first season as Assistant Conductor with the Fort Wayne Philharmonic. Lauded for her clarity and elegance on the podium, Chia-Hsuan has shared her talents in many diverse musical settings throughout the world. She recently conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and she was a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania. Earlier this year, Chia-Hsuan conducted a performance of Mark Adamo’s Little Women at Northwestern University. She led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the University of Cincinnati, where she also served as music director of the University of Cincinnati Symphony Orchestra, and later participated in the 2012 Cabrillo Festival of Contemporary Music in California. In celebration of the Taiwanese premiere of Bach’s St. Matthew Passion, Chia-Hsuan returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus for a lecture series by conductor and Bach scholar Helmuth Rilling. In the summer of 2011, she traveled to Italy to serve as Assistant Conductor of Opera at the CCM Spoleto Music Festival. Chia-Hsuan first received musical training as a pianist in Taiwan at age three. At age nine, she began studies as a percussionist and later performed with the renowned Taipei Percussion Group from 2003 to 2010. Chia-Hsuan received her undergraduate degree in percussion and graduate degree in conducting from National Taiwan Normal University, where she studied with Apo Hsu. Her musical training continued in the United States after being selected to study with Harold Farberman as a Fellow of the Conductor Institute at Bard College. Under the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati, and in 2012, Chia-Hsuan received the Foreign Study Award for Music from the Taiwan Education Bureau to begin her doctoral degree with Victor Yampolsky at Northwestern University.

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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.

B OARD OF DIRECTORS officers Carol Lindquist, Chairman Eleanor Marine, Vice-Chairman Ben Eisbart, Vice-Chairman Philip Smith, Vice-Chairman Greg Marcus, Secretary Jeff Sebeika, Treasurer

Karen Allina George Bartling Sarah Bodner Anita Cast Keith Davis Ben Eisbart Dennis Fick Debra Graham Leonard Helfrich Pamela Kelly

Lyman Lewis Carol Lindquist Greg Marcus Eleanor Marine John McFann Timothy Miller Greg Myers Sharon Peters Melissa Schenkel Jeff Sebeika

Philip Smith Chuck Surack Daryl Yost Alfred Zacher Mary Ann Ziembo

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

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

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

A DMI NISTRATIVE STAFF Jim Palermo Interim Executive Director Roxanne Kelker Executive Assistant to the Executive Director and Music Director artistic operations Jim Mancuso General Manager Christina Brinker Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Ian Lemberg Stage Manager

education

finance & technology

Jason Pearman Director of Education and Community Engagement

Beth Conrad Director of Finance

Anne Preucil Lewellen Education and Ensemble Coordinator, Interim Youth Orchestra Manager Derek Reeves Instructor, Club Orchestra program development Angela Freier Development Manager Lynn Mabie Grants and Research Manager Lori Morgan Data Resources Coordinator

Angelyn Begley Technology Coordinator marketing & communications Melysa Rogen Assistant Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager Clarissa Reis Patron Services Associate MAR APR

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

Violin

Bruce Graham

David Ling, Acting Concertmaster Frank Freimann Chair

Debra Graham S. Marie Heiney and Janet Myers Heiney Chair

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

Theodore E. Chemey III Sekyeong Cheon Logan Strawn^

Cello

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

Orion Rapp, Principal Margaret Johnson Anderson Chair

Jane Heald

Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair

David Rezits Edward Stevens

Bass

Dessie Arnold

Adrian Mann, Principal

Zofia Glashauser Janet Guy-Klickman

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Linda Kanzawa Ervin Orban

Brian Kuhns

Viola

Andres Gil

Derek Reeves, Principal

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Oboe

English Horn Leonid Sirotkin Marilyn M. Newman Chair

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

Joel Braun

Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair 68

Vivianne Bélanger Virginia R. and Richard E. Bokern Chair

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

Pablo Vasquez Kristin Westover

Jenny Robinson, Acting Principal

Hillary Feibel Mary-Beth Gnagey Chair

Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Alexandra Tsilibes

Jennifer Regan Volk,^ Principal Rejean O’Rourke Chair

Andre Gaskins, Principal Morrill Charitable Foundation Chair

Joseph Kalisman

Timothy Tan

Flute

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Bassoon Dennis Fick, Principal

Anne Devine Joan and Ronald Venderly Family Chair

Horn Michael Lewellen, Principal ℗ Mr. & Mrs. Arthur A. Swanson Chair J. Richard Remissong John D. Shoaff Chair

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

Bass Trombone Andrew Hicks

Tuba

Michael Galbraith Walter D. Greist, MD Family Chair

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

Katherine Loesch

Trumpet Alan Severs, Principal ℗ Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair

Timpani Eric Schweikert, Principal℗ William H. Lawson Chair

Percussion Jason Markzon,^ Principal June E. Enoch Chair

Akira Murotani Charles Walter Hursh Chair

Scott Verduin, Principal

Contributing Musicians VIOLIN

VIOLA

OBOE

Jenna Anderson Nathan Banks Nicole DeGuire Regan Eckstein Janice Eplett Michael Houff Mary Kothman Victoria Moore Caleb Mossburg Irina Mueller LInda Oper Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Jessica Wiersma

Melissa Lund Ziegler Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

Jennet Ingle Aryn Sweeney

CELLO Lori Morgan Gena Taylor

BASS Brad Kuhns John Tonne

FLUTE Alistair Howlett Patricia Reeves Jessica Warren

CLARINET Elizabeth Crawford Dan Healton Spencer Prewitt

BASS CLARINET Elizabeth Crawford Daniel Healton

BASSOON Michael Trentacosti

Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair Renee Keller Patricia Adsit Chair

Harp Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Organ Irene Ator Robert Goldstine Chair

Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair ℗ Philharmonic Mentor, jointly appointed by the Fort Wayne Philharmonic and IPFW Department of Music ^ Leave of absence for the 2014/15 season CONTRABASSOON Alan Palider Keith Sweger

HORN Gene Berger Kurt Civilette Kenji Ulmer Jonas Thoms

TRUMPET

PERCUSSION Kirk Etheridge Colin Hartnett Kevin Kosnik Jerry Noble

TIMPANI Todd Sheehan

SAXOPHONE Ed Renz Farrell Vernon

Brittany Hendricks Douglas Hofherr Larry Powell Adam Strong Aaron Trammel

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2015

series sponsors

robert wagner

MAD G E ROTHSCHILD F OUNDATION

the madge rothschild foundation

MASTER W OR K S 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.

sw e e t wat e r

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

jim marcuccilli PRESIDENT & CEO, STAR BANk

STAR

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

series sponsors

mark millett president & CEO, steel dynamics, inc steel dynamic s

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

mike packnett PRESIDENT & CEO, parkview medical center

pa r kv i ew r e g i o n a l m e d i ca l c e n t e r

h o l i d ay p o p s

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

TAKE THEIR BREATH AWAY — PLAN YOUR NEXT EVENT WITH THE PHIL! Whether you want to impress your clients with amazing seats at the beautiful and historic Embassy Theatre, or treat your employees to a concert at the state of the art Auer Performance Hall - a group outing at a Fort Wayne Philharmonic performance is sure to strike all the right chords with your friends and colleagues.

business partners The Phil gratefully acknowledges the following Business Partners for their contributions received within the past twelve months. The Business Partner program recognizes local businesses that have shown their support of the local arts community through a charitable gift to the orchestra. For more information about becoming a Business Partner, contact the Development Office at 260 481-0774.

Platinum Partner gifts of $2,500 or more Franklin Electric

Pain Management & Anti- Aging Center, Dr. Alfred Allina

Gold Partner gifts of $1,500 to $2,499

Shambaugh, Kast, Beck & Williams, LLP

Silver Partner gifts of $1,000 to $1,499

Bronze Partner

gifts of

$600 to $999

Ram Production Backline

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2015

Partner

At Old National Bank, we’re committed

gifts of $300 to $599

to community partnership. That’s why, last year alone, we funded nearly $3 million in grants and sponsorships and our associates donated almost 77,000 volunteer hours. It’s also the reason we’re a proud supporter of the Fort Wayne Philharmonic 1111 Chestnut Hills Parkway

oldnationalins.com 0112-067

ChromaSource Inc. Dekko Investment Group

Ottenweller Co., Inc. Pershing Advisor Solutions, LLC

Associate Partner gifts of $100 to $299

Payroll & Employer Services (574) 262-2800

Ambulatory Medical Management Bone Asset Management

Brown Equipment Co. Design Collaborative

Hakes & Robrock Design-Build Inc. Lupke Rice Insurance Masolite Moose Lake Products Co. Inc. Northeast Indiana Building Trades John Shoemaker Strebig Construction Inc.

When our corporate partners invest in The Phil, they are enriching the lives of employees who work and live in Northeast Indiana, as well as their families, and customers of all industries. Becoming a Business Partner means a closer connection with the orchestra, program advertising opportunities, ticket discounts for your clients and staff, and invitation to exclusive events. To join this esteemed list of partners, please contact the Development office at 260 481-0774.

annual fund individuals The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. We make every attempt to include everyone who has supported The Phil during that time. Please let us know if we've made an error. For information about supporting The Phil’s 2014/15 Annual Fund, contact the Development Office at 260 481-0774.

Virtuoso Society gifts of $10,000 or more Anonymous Howard and Betsy Chapman June E. Enoch William N. and Sara Lee Hatlem The Huisking Foundation, Inc.

Diane S. Humphrey Elise D. Macomber Eleanor Marine Russ and Jeanette Quilhot Ian and Mimi Rolland

Jeff Sebeika Chuck and Lisa Surack, Sweetwater Sound

Stradivarius Society gifts of $5,000 to $9,999 Wayne and Linda Boyd Gloria Fink Leonard and Rikki Goldstein Charlie Huisking

Drs. David Paul J. & Jeneen Almdale George and Linn Bartling David and Janet Bell

Drs. Kevin and Pamela Kelly Tod Kovara Rifkin Family Foundation Herb and Donna Snyder

Conductor’s Circle gifts of $2,500 to $4,999 Nancy Archer Joan Baumgartner Brown Anita and Bill Cast Will and Ginny Clark Sarah and Sherrill Colvin Jane and Andrew Constantine John H. Shoaff and Julie Donnell Mr. & Mrs. Irwin F. Deister Jr.

Ann H. Eckrich Mark O. Flanagan Patricia S. Griest Susan Hanzel Greg Marcus Michael Mastrangelo Kevin and Tamzon O'Malley Dr. Evelyn M. Pauly

Mr. & Mrs. Victor Porter Carolyn and Dick Sage Ms. Carol Shuttleworth and Mr. Michael Gavin James Still Daryl Yost Al and Hannah Zacher Brian and Kyla Zehr

Composer’s Circle gifts of $1,250 to $2,499 Dr. & Mrs. Alfred Allina Katherine Bishop Kathy Callen Sarah and Sherrill Colvin Tom and Margaret Dannenfelser George and Ann Donner Susan and Richard Ferguson Fredrica Frank David S. Goodman

Leonard Helfrich Sattar and Marlene Jaboori Ginny and Bill Johnson Dorothy K. Kittaka Carol and David Lindquist Greg and Barbara Myers J.L. Nave III and Paul Cook Rosemary Noecker Kathryn and Michael Parrott

Linda Pulver The Rothman Family Foundation Linda Ruffolo Jeff Schneider, MD Dr. Joseph Schneider Wayne and Helen Waters Lewie Wiese Dr. and Mrs. Richard Zollinger

Encore Circle gifts of $750 to $1,249 Tim & Libby Ash Norma and Tom Beadie Glenn and Janellyn Borden Mr. & Mrs. Craig D. Brown Dr. & Mrs. James G. Buchholz Virginia Coats Beth Conrad Dr. & Mrs. Jerald Cooper John and Janice Cox Keith and Kyle Davis Anita G. Dunlavy Jack and Tammy Dyer Mr. & Mrs. Daniel C. Ewing Fred and Mary Anna Feitler Mr. & Mrs. Ronald B. Foster

MAR APR

M AY

Elizabeth A. Frederick Kenneth & Lela Harkless Foundation Dr. Rudy and Rhonda Kachmann Diane Keoun Ed and Linda Kos Lyman and Joan Lewis David B. Lupke Anne and Ed Martin Timothy and Jennifer Miller Bonnie and Paul Moore Mr. & Mrs. Joseph L. Nave, Jr. Norma J. Pinney The Rev. C. Corydon Randall & Mrs. Marian Randall

2015

Caroll and Bill Reitz Linda and Alan Richards Alan and Pat Riebe Melissa and Peter Schenkel Robert Simon Philip Smith John and Barb Snider Kathleen M. Summers Rachel A. Tobin-Smith Norma Thiele Carolyn and Larry Vanice Nancy Vendrely Kari and Jeannine Vilamaa Herbert and Lorraine Weier Virginia Zimmerman

Concertmaster gifts of $500 to $749 Anonymous (2) John Bales Amy and John Beatty Frederick A. Beckman Larry and Martha Berndt Holly and Gil Bierman Elizabeth Bueker Margaret L. and Richard F. Bugher Barbara Bulmahn Mary Campbell Dr. & Mrs. Fred W. Dahling Sara Davis Dr. & Mrs. J. Robert Edwards Clayton Ellenwood Steven and Nancy Gardner Roy and Mary Gilliom Scott and Melissa Glaze

First Chair

Shirley H. Graham Bob and Liz Hathaway William and Sarah Hathaway Anne and James Heger Karen and Bob Hoffman Mark and Karen Huntington Huser Charitable Foundation Mr. and Mrs. Kenneth Johnson Marcia and Andy Johnson Richard and Mary Koehneke Floyd A. Lancia G. Irving Latz II Fund Stephen and Jeanne Lewis Peter and Christine Mallers Ellen Mann Thomas and Dianne May Susan and David Meyer

Paul Oberley Leone Neidhardt Brian and Susan Payne William and Sue Ransom Dr. & Mrs. Stephen Reed LTC Ret. and Mrs. Richard Reeves Ann and David Silletto Mr. Marco Spallone and Ms. Anne Longtine Nancy and David Stewart Matt and Cammy Sutter Jane C. Thomas Barbara Wachtman and Tom Skillman Angela and Dick Weber Jan Wilhelm Virginia and Don Wolf

gifts of $300 to $499

Anonymous (3) Scott and Barbara Armstrong David and Janet Bell Michael and Deborah Bendall Mary and Todd Briscoe, DDS, PC Dr. and Mrs. Robert Burkhardt Ann and Tim Dempsey George and Nancy Dodd Dot and Bill Easterly Ben and Sharon Eisbart Emily and Michael Elko Al and Jeanne Emilian Bruce and Ellen England Pauline Eversole Dan and Nancy Fulkerson Linda Gaff Mr. & Mrs. Thomas E. Green Mr. & Mrs. G.L. Guernsey Lois Guess Warren and Ardis Hendryx

Mark and Debbie Hesterman Tom and Mary Hufford Mr. & Mrs. Arnold Huge Ed and Mary Lou Hutter Larry and Annette Kapp Jane L. Keltsch Mr. John A. Kirchhofer Mr. and Mrs. John Krueckeberg Bruce and Mary Koeneman Dr. and Mrs. John W. Lee Dr. & Mrs. Richard D. Lieb Anne A. Lovett Mr. & Mrs. Duane Lupke Paul and Pauline Lyons Peg Maginn Stewart and Patricia Marsh John H. and Shelby McFann Lusina McNall Carol Moellering Suzon Motz

Sean and Melanie Natarajan Marvin and Vivian Priddy Paul J. and Lula Belle Reiff Maryellen Rice Robert and Ramona Scheimann Scot C. Schouweiler and Julie Keller Fort Wayne Alumnae Chapter of Sigma Alpha Iota Stephen R. and Anne S. Smith Lois A. Steere Carl and Cynthia Thies Ann and Mark Troutman Michael J. Vorndran and Joshua Long Daniel and June Walcott Steve and Keitha Wesner Elizabeth Wilson Marcia and Phil Wright Brian and Kyla Zehr

Section Player gifts of $100 to $299 Anonymous (7) Richard and Matoula Avdul Irving Adler Max and Carol Achleman Jeane K. Almdale Mike and Mary Jo Amorini Terry and Phil Andorfer Keith and Lynne Apple Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mel and Ruth Arnold Mr. & Mrs. William Arnold John and Dianna Thornhill Auld Tony and Pat Becker Dick and Adie Baach Dave and Bev Baals The Baggett Family Linda Balthaser Patricia Barrett Mike and Kay Bauserman Kevin Beuret H. Stephen Beyer

Beth and Don Bieberich Holly and Gil Bierman Robert Binns David W. Bischoff Sherry L. Blake Virginia R. Bokern Jon Bomberger and Kathryn Roudebush Dennis Bowman David and Joan Boyer Sue and James C. Bradley Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan and SuzAnne Runge Dr. and Mrs. Todd Briscoe David N. Brumm and Kimberly S. McDonald William and Joan D. Bryant William and Dorothy Burford Dr. David and Gayle Burns Marguerite W. Burrell Philip Burt

Joyce and Paul Buzzard Andy and Peg Candor Anne and Michael Cayot Arlene Christ Willard and Nena Clark Nelson and Mary Coats Robert and Annelie Collie John Crawford Wendell and Mary Cree Bob and Margita Criswell Tom and Holly DeLong Vera and Dominick DeTommaso Carol Diskey Daryle L. Doden Gene and Carol Dominique Fred and Joan Domrow George Drew and Janet Arnold Mr. & Mrs. Rodney Dunham Cynthia Elick Lillian C. Embick Pam and Steve Etheridge Mr. and Mrs. Larry Farver

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2015

Dr. & Mrs. Joseph P. Fiacable John and Jane Foell Elizabeth Garr Robert and Barbara Gasser Dnaiel and Sara Gebhart Geoff and Betsy Gephart Doug and Ruby Gerber Robert and Constance Godley Edward and Henrietta Goetz Norm and Ronnie Greenberg James B. Griffith Don and Kate Griffith Mary K. Gynn Dr. & Mrs. Charles Frederick Haigh Melanie and Robert Hall Jonathan and Alice Hancock Brian and Barbara Harris Paul J. Haughan Dennis and Joan Headlee Jacqueline Heckler Marsha Heller Sandra Hellwege Julie Henricks and Jean Henricks Mayor Tom C. and Cindy Henry Tom and Jane Hoffman Douglas and Karla Hofherr Lois Teders Horn Phil and Sharon Howard Winifred Howe Dr. & Mrs. Joseph Huguenard George W. Irmscher Jocelyn Ivancic Gordon and Judie Johnson Sharon and Alex Jokay Gwen Kaag Jim Karlin LuAnn R. Keller Dale Kelly Jane L. Keltsch Carol and Norman Kempler William G. Knorr James and Janice Koday Kay and Fred Kohler Arlene and George Konley Dr. & Mrs. Daniel Krach Hedi Krueger Mr. & Mrs. John Kruk Frank Luarde

Pam Evans-Mitoraj Paula Kuiper-Moore JJ Lane Carroll and Jeff Lane Drs. Chung and S. Sage Lee Dr. & Mrs. John W. Lee Jeff Leffers and Jane Gerardot Galen Lehman Steven and Rhonda Lehman Ms. Frances Lemay Raymond and Mary Lou Loase Dale and Virginia Lutz Janet and Larry Macklin Nellie Bee Maloley David Matz Sheila and David Mayne Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Scott McMeen Alice McRae Mr. & Mrs. Donald T. Mefford Leanne Mensing Elizabeth Meyer Mr. & Mrs. Jerry R. Meyer Laura Migliore Carolyn Miller Al and Cathy Moll Ray and Nancy Moore Kenneth and Linda Moudy John and Barbara Mueller Ed Neufer Martha L. Noel Ron and Ruth Nofzinger David and Sally Norton Mr. & Mrs. Maurice O'Daniel C. James and Susan J. Owen Mr. and Mrs. Paraiso Mac and Pat Parker Edwin and Maxine Peck Mr. & Mrs. John M. Peters Raymond and Betty Pippert Helen F. Pyles Dr. & Mrs. George F. Rapp Dr. Donald and JoEllen Reed Diana and John Reed Mr. & Mrs. Robert Relitz Thomas Remenschneider Anne Remington Dennis L. Reynolds

Janet Roe Jim and Phyllis Ronner Stanley and Enid Rosenblatt Martin and Rita Runge James M. Sack Marilyn Salon Nancy and Tom Sarosi Harold Schick Mary Schneider Mary Ellen Schon Chuck and Patty Schrimper David S. Seligman Phyllis Shoaff Lt. Col. and Mrs. Tom Sites Ramona and Dick Sive Curt and Dee Smith Darryl R. Smith Lynda D. Smith Sharon Snow Betty Somers Michael Sorg Don and Linda Stebing Beth and David Steiner Thomas and Mary Jane Steinhauser Krista and Dan Stockman Annetta Stork Tim and Colleen Tan Carol Terwilliger Judge Philip Thieme Scott and Jenny Tsuleff Dr. and Mrs. J. Phillip Tyndall Donald and Amy Urban Mr. & Mrs. David Van Gilder Donald and Karen Ward Dr. & Mrs. MIchael Wartell Jayne Van Winkle Pat and John Weicker Lorraine and Shepard Weinswig Thomas and Tamara Wheeler Dr. & Mrs. Alfred A. Wick Ellen Wilson Lea B. Woodrum Marcia and Phil Wright Mr. Galen Yordy Glen and Janice Young Bob and Jan Younger

annual fund match Thank you to the following companies for generously matching individual gifts made to the Annual Fund: BAE, Dekko Foundation, Energizer, General Electric, Lincoln Financial Foundation, Norfolk Southern, PNC Foundation, Swiss Re, Vera Bradley

sponsors The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260 481-0774 to join our family of sponsors.

Series Sponsors Madge Rothschild Masterworks Series Sweetwater Pops Series STAR Family Series

Steel Dynamics Foundation Patriotic Pops Series Parkview Regional Holiday Pops Series

Allegretto gifts of $50,000 to $99,999 W. Gene Marcus Trust

Madge Rothschild Foundation

Steel Dynamics Foundation

Applause gifts of $25,000 to $49,999 Sweetwater Lincoln Financial Foundation Group

Carson D. and Rosemary Noecker Family Foundation

Virtuoso gifts of $10,000 to $24,999 80/20 Foundation Anonymous (2) Audiences Unlimited Diane S. Humphrey Do it Best Corp. Fort Wayne Newspapers Franklin Electric

Parkview Regional Medical Center Phil Friends The Huisking Foundation, Inc. Indiana Michigan Power Lutheran Health Network The Miller Family Foundation One Lucky Guitar

Old National Wealth Management PNC Ian and Mimi Rolland STAR Financial Bank WANE-TV

Stradivarius gifts of $5,000 to $9,999 Ambassador Enterprises Nancy F. Archer Barnes & Thornburg Fort Wayne Metals Indiana University - Purdue University Fort Wayne Lake City Bank

Mildred Roese and Gloria Nash Charitable Fund Monarch Capital Management Northeast Indiana Public Radio Jeff Sebeika Tower Bank

Vera Bradley Wells Fargo Bank Wirco, Inc.

Conductor gifts of $2,500 to $4,999 1st Source Bank Brotherhood Mutual Insurance Co. BKD Keefer Printing

Med Partners Parkview Physicians Group Subway Summit City Radio Group

Travel Leaders Wayne Metals WAJI-FM WLDE-FM

Composer gifts of $1,000 to $2,499 Downtown Improvement District Hagerman Group

Jehl & Kreilach Financial Management Wells Fargo Advisors

WFWI-FM

MAR APR

M AY

2015

regional partners The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. We take great pleasure in performing for enthusiastic audiences throughout the Northeast Indiana region and welcome and value each contribution that makes those concerts and education performances possible. Thank you! Multiple County Support Indiana Michigan Power Olive B. Cole Foundation Parkview Regional Medical Center/Parkview Health Steel Dynamics Foundation, Inc. Adams County Adams County Community Foundation Bunge North America Decatur Rotary Club Eichhorn Jewelers Gilpin, Inc. Larry & Janet Macklin Ellen Mann DeKalb County Auburn Arts Commission, Inc. Auburn Moose Family Center Gerald Chapp Rita Collins DeKalb County Community Foundation DeKalb Outdoor Theater Dekko Investments/Erika Dekko Gloria Fink William & Mary Goudy William & Sarah Hathaway Greg & Emma Henderson David & Pat Kruse Metal Technologies Inc. Foundation Margery Norris Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Mayor Norman & Peggy Yoder Fulton County Fulton County REMC Indiana Arts Commission Psi Iota Xi (Eta Mu) Kosciusko County James H. Benninghoff Al Campbell Bill & Anita Cast Tom & Sandi Druley David & Judith Eckrich Richard & Susan Ferguson Kenneth & Lela Harkless Foundation William C. & Rosalie S. Hurst Harriet Inskeep Dr. Rudy & Rhonda Kachmann Phillip & Janet Keim Kosciusko County Community Foundation

MAR APR

M AY

Kosciusko REMC Operation Round Up Program Lakeland Community Concert Association Tom & Joan Marcuccilli Mr. & Mrs. Paul Mast Garth & Susie McClain Dr. Dane & Mary Louise Family Foundation Dave & Dorothy Murphy Walter & Ann Palmer Prickett’s Properties, Inc. Ian & Mimi Rolland Linda Ruffolo Wawasee Property Owners Association Alfred & Hannah Zacher Robert & Karen Zarich Noble County Dr. and Mrs. Craig Atz Greg & Sheila Beckman Arthur E. & Josephine Campbell Dr. and Mrs. Kenneth Cripe Beyer Foundation Dekko Investment Services Ms. Ellen Holliman KPC Media Group Noble County Community Foundation Noble County REMC Round Up Trust Jennie Thompson Foundation Parkview Noble Hospital Steuben County Donald & Janet Ahlersmeyer Glen & Chris Bickel Ray & Marianne Bodie James & Lynn Broyles Chuck & Maureen Buschek City of Angola, Richard Hickman, Mayor Judith Clark-Morrill Foundation First Federal Savings Bank of Angola Susan Hanzel Jim & Karen Huber Patricia Huffman Kappa Kappa Kappa – Zeta Upsilon Gerald & Carole Miller Family Foundation Steve & Jackie Mitchell Stan & Jean Parrish Psi Iota Xi-Rho Chapter Max & Sandy Robison Satek Winery Fred & Bonnie Schlegel

2015

Steuben County Community Foundation Steuben County REMC Round UP Foundation Trine University Jim & Kathryn Zimmerman Dale & Judy Zinn Wells County AdamsWells Internet Telecom TV Bluffton Rotary Club L. A. Brown Co. Creative Arts Council of Wells County Pretzels, Inc. Troxel Equipment United REMC Wells County Community Foundation Whitley County 80/20 Inc. Copp Farm Supply DeMoney Grimes Funeral Home Fred Geyer J & J Insurance Kappa, Kappa, Kappa Inc. Alpha Iota Chapter Parkview Whitley Hospital Performance PC, LLC STAR Bank Laurel L. Steill Pamela Thompson Whitley County Community Foundation Dr. & Mrs. Richard Zollinger

foundation & public support Philharmonic Society gifts of $1,000,000 and above Edward D. & Ione Auer Foundation

Philharmonic Circle gifts of $250,000 and above Dekko Foundation

Appassionato gifts of $150,000 to $249,999 Arts United of Greater Fort Wayne English, Bonter, Mitchell Foundation Madge Rothschild Foundation

O’Rourke-Schof Family Foundation Steel Dynamics Foundation

Allegretto gifts of $50,000 to $149,999 Foellinger Foundation W. Gene Marcus Trust

McMillen Foundation

Applause gifts of $25,000 to $49,999 Carlie Cunningham Foundation Community Foundation of Greater Fort Wayne Robert Goldstine Foundation

Indiana Arts Commission Lincoln Financial Foundation The Carson D. and Rosemary Noecker Family Foundation

PNC Charitable Trusts Dr. Louis & Anne B. Schneider Foundation

Virtuoso gifts of $10,000 to $24,999 Olive B. Cole Foundation Eric and Mary Baade Charitable Trust The Huisking Foundation

The Miller Family Foundation Wells Fargo Discretionary Trusts Edward M. & Mary McCrea Wilson Foundation

Stradivarius gifts of $5,000 to $9,999 Ann & Gordon Getty Foundation Journal Gazette Foundation Keiser Foundation Magee-O’Connor Foundation, Inc. Porter Family Foundation

Ed & Hildegarde Schaefer Foundation Robert, Carrie and Bobbie Steck Foundation Jennie Thompson Foundation Wells County Foundation, Inc.

Conductor gifts of $2,500 to $4,999 Kosciusko County Community Foundation Dr. Dane & Mary Louise Miller Foundation

Northern Indiana Fuel & Light

Composer gifts of $1,250 to $2,499 Adams County Community Foundation Howard P. Arnold Foundation Greater Fort Wayne Chamber of Commerce Foundation

MAXIMUS Foundation Mary E. VanDrew Charitable Foundation Vann Family Foundation

MAR APR

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2015

endowment fund Special Endowments The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 68-69 for musician chair endowments. Chorus Director Louis Bonter

Youth Symphony Walter W. Walb Foundation

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

Family Concerts Howard and Betsy Chapman

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Young People’s Concerts The Helen P. Van Arnam Foundation

Music Director Podium Ione Breeden Auer Foundation

Philharmonic Preschool Music Program Ann D. Ballinger

Guest Violinist Chair Nan O’ Rourke

Radio Broadcasts Susan L. Hanzel

Bequests The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Beverly Dildine Gloria Fink

Joyce Gouwens Sanford Rosenberg

Alice C. Thompson

Contributors Due to space limitation we will share the full list of endowment contributors in our first program book of each season. We're grateful for each gift that has helped build our endowment and appreciate your ongoing contributions.

tributes We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated. In memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Phil musician will fund the Ernest Zala Youth Orchestras Concertmaster Chair and will provide merit-based scholarships for Youth Orchestra string players. To contribute, please contact the Development Office at 481-0776.) Irene & Jim Ator Virginia Bokern Bob & Margaret Brunsman Brenda & David Crum George and Ann Donner Delores Dunham Betsy & Geoff Gephart

Ronald Heilman Deborah & Andrew Hicks Colleen J. Hohn Dr. Carol Buttell Eleanor Marine Christina & Stephen Martin Don & Eleanor Martin Wayne Martin & Nancy Olson-Martin Lee McLaird Barbara Mann Ramm Cathy Tunge & Steve Kiefer Kristin Westover Cathleen Westrick Mr. & Mrs. Ray Wiley Tim & Sandy Zadzora

tributes

continued

We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated. In memory of Larkin Craig Keoun Dr. and Mrs. Thomas Armbuster Irene & Jim Ator Adie & Dick Baach Holly & Gil Bierman Jocelyn & Jim Blum Ann & David Bobilya Virginia Bokern Janellyn & Glenn Borden Mr. & Mrs. Wayne Burnside Princess Cameron Alan Candioto Peg & Andy Candor Anita & Bill Cast Sarah & Sherrill Colvin Michael Crump Judy & Wayne Dawes Cindy & Mark Deister Mr. & Mrs. John Dillard Nancy Donnell Ben and Sharon Eisbart Susan & Richard Ferguson Vernell & Peter Fettig William Gharis Suzanne Gilson Nancy Graham-Sites Judy & Tom Hayhurst Jerome Henry Ann Hoard Jenny & Andrew Hobbs Nancy & Tuck Hopkins Suzanne & Michael Horton Barbara & Phillip Hoth Amanda Hullinger & Family Ginny & Bill Johnson Pat Leahy Judy & Gerald Lopshire Carol & Duane Lupke Margaret & Doug Lyng Eleanor Marine Dr. Michael Mastrangelo Monarch Capital Management Bill Morgan Gloria & Jim Nash Catherine Norton Sally & David Norton Jan Paflas Kathy & Michael Parrott Pat & John Pfister David Quilhot Jeanette & Russ Quilhot Ann & Dick Robinson Emily & Matt Roussel Bette Sue Rowe Carol Lynn Rulka Deb & Bob Rupp Morrie Sanderson Nancy & David Stewart Kathleen Summers Amy Throw & Family Nancy Vacanti & Abigail Kesner Robert and Irene Walters Helen & Wayne Waters

Bob and Martha Wasson Dana Wichern Mack Wootton In memory of Evelyn Phillips Barbara & Milton Ashby Dennis Becker Pat & Tony Becker Bonita & William Bernard George Bewley Sherry Blake Karen Butler Ted Davis Martha & William Derbyshire L. Ann & James Golm Ron and Nicole Greek Mary & Tom Hufford Keith Kuehnert Ruth Lebrecht Nancy & Victor Martin Julie & Bob Mehl Bradley Miller Richard Phillips Vivian Purvis John Reche Carroll & Bill Reitz Robert Rupp William Schreck Mary & Robert Short Jane C. Thomas Martha & Bob Wasson

David and Nancy Stewart Leonard Helfrich Daryl Yost Carol Linquist Virgina Bokern David and Nancy Hunter Mr. and Mrs. John Beatty Greg Marcus In memory of Lockwood Marine Bethel United Methodist Church - Cancel Choir Michael and Janet Tucker In memory of Dorothy Goon Lois A. Steere In Memory of Allen C. Steere Bob and Martha Wasson In Memory of Barry Ellis Roberta Brokaw In memory of Miriam Louise Brokaw Anonymous In memory of Russ Eplett

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2015

laureate club The following people have provided for a deferred gift to the Philharmonic, through an estate plan or other financial planning instrument. We gratefully acknowledge their kindness, forethought and lifelong commitment. All gifts are allocated to the Philharmonic Endowment Fund unless otherwise specified by the donor. Anonymous (25) Patricia Adsit Richard and Sharon Arnold Dick and Adie Baach George and Linn Bartling Fred Beckman Kevin Paul Beuret Janellyn and Glenn Borden Carolyn and Steve Brody Anita Hursh Cast Betsy and Howard Chapman June E. Enoch Fred and Mary Anna Feitler

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

Antoinette Lee Jeff Leffers and Jane Gerardot Naida MacDermid Eleanor Marine Mick and Susan McCollum John and Shelby McFann Donald Mefford John Shoaff and Julie Donnell Chuck and Lisa Surack Ron Venderly Foundation Herbert and Lorraine Weier Mr. & Mrs. W. Paul Wolf

Donors have found that a planned gift can provide an ideal opportunity to support the orchestra they love at a higher level then they had thought possible. Your planned gift to the Fort Wayne Philharmonic can also benefit you and your family. We are proud to honor our planned giving donors with membership in the Laureate Club. There are multiple ways to give and many different assets you can use. From a simple bequest to more complex arrangements, we welcome the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Please contact the Development Office at 260 481-0774 or by email at info@fwphil.org to find out more about specific planned giving strategies.

index of advertisers 39 Arts United

26 Old National Insurance

66 Audiences Unlimited

28 Restore It With Elements of Design

6 Brotherhood Mutual Insurance Co.

24 STAR Bank

9 Bruce Ewing Landscaping

65 Summit Plastic Surgery

36 Canterbury School

2 Sweetwater

40 Concordia Lutheran School

84 SYM Financial Advisors

34 Dignity Memorial

29 The Towne House

56 Embassy Theatre

39 Troyer & Good

63 Indiana Arts Commission

48 WANE TV

30 IPFW School of Music

60 WBNI

36 Keefer Printing

4 Wirco

14 Lincoln Financial Foundation

40 Windsor Homes

10 Lutheran Health Network 55 Lutheran Medical Group

www.32 AUC TI oNS.Co M /ThEPh IL

You Are Instrumental ONLI NE AUC T I ON APRIL 29 - MAY 9

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