2016-2017 Prelude 4 by Fort Wayne Philharmonic

Prelude

FORT WAYNE PHILHARMONIC PROGRAM

March/April/May 2017

Prelude

VOLUME 73 NO. 4 2016|17 SEASON

FORT WAYNE PHILHARMONIC PROGRAM

March/April/May

Editor: Brooke Sheridan Contributing Editors: Jim Mancuso Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department, 4901 Fuller Drive • 260•481•0777 • fwphil.org. Printed by Keefer Printing Company, 3824 Transportation Drive, 260•424•4543. The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors in order to ensure the quality of each issue.

Table Of Contents 5 Welcome Letter, Andrew Constantine 35 Anita Hursh Cast: A Legacy of Giving 62 The Phil Friends 64 Andrew Constantine, Music Director 66 Caleb Young, Assistant Conductor 67 Benjamin Rivera, Chorus Director 68 David Cooke, YSO Conductor 69 Marcy Trentacosti, YCO Conductor 70 Fort Wayne Philharmonic Chorus Featurette Artist Bios 11 Jason Vieaux, guitar 20 Michelle Areyzaga, soprano 22 Kimberly Jones, soprano 23 Shelby Lewis, actor 23 Michael Liebhauser, actor 34 Tony DeSare, piano and vocals 40 Melissa Long, host 7 Masterworks GUITAR PREMIERE Saturday, March 11 13 Youth Orchestras SPRING CONCERT Sunday, March 12

72 Orchestra Roster 74 Board of Directors 75 Administrative Staff 76 Fort Wayne Philharmonic Chorus Roster 77 Youth Orchestra Rosters 78 Series Sponsors 80 Sponsors 83 Donors

41 41 50 51 58 59

Violetta Todorova, violin Susan Nelson, soprano Andre Gaskins, cello Orion Rapp, oboe Katie Van Kooten, soprano J’Nai Bridges, mezzo-soprano

37 Masterworks ORCHESTRAL FAVORITES Saturday, April 22 43 Pops STAR WARS 40TH ANNIVERSARY Saturday, April 29

15 Masterworks A MIDSUMMER NIGHT’S DREAM 47 Family THE WILD WEST Sunday, April 30 Saturday, April 1 25 Freimann DVOŘÁK’S “AMERICAN” QUARTET 48 Special BACH IN THE BARN FESTIVAL Wednesday, May 3 Wednesday, April 5 Thursday, May 4 Sunday, April 9 Friday, May 5 31 Special HARRY POTTER AND THE 53 Masterworks MAHLER’S “RESURRECTION” SORCERER’S STONE IN CONCERT SYMPHONY Friday, April 7 Saturday, May 13 33 Pops SINATRA AND BEYOND WITH TONY DESARE 3 Saturday, April 8

Welcome From The Music Director Dear Friends: It’s hard to believe we are nearing the end of the 2016-17 Season of the Fort Wayne Philharmonic. We hope you have enjoyed our concerts and many other program offerings.

the arts are the highest form of expression. The arts serve as a source of inspiration for us all. That’s why PNC is proud to sponsor The Fort Wayne Philharmonic.

The Board, Staff, and I have begun an exciting new initiative to grow the Philharmonic’s listener base while boldly innovating to connect with new groups of people. On April 7th you will have the opportunity to see and hear our presentation of Harry Potter and the Sorcerer’s Stone at the Allen County War Memorial Coliseum. The Philharmonic will perform John Williams’ unforgettable score live as the film is projected on a giant 40-foot screen above their heads. Then there’s a new mini series of three different programs called Bach in the Barn, highlighting some of the greatest Baroque Masterpieces ever composed. Scheduled for May 3, 4, and 5, the programs will be performed at Marian Hills Farm, just fifteen minutes southeast of downtown. Bach in the Barn is designed to be an intimate listening experience in a bucolic setting. Audiences will be seated at elegantly appointed tables set to candlelight, with wine and desserts included in the ticket price. We hope this will make for an unforgettable experience and become an annual tradition. These last several months are full of even more exciting programs. A few of my favorites include a new Guitar Concerto by the exciting American composer Dan Visconti, as performed by 2015 Grammy® Award winner Jason Vieaux, on March 11. April 1 finds the Philharmonic offering a Shakespeare-inspired Masterworks program whose centerpiece is Mendelssohn’s sparkling A Midsummer Night’s Dream, complete with actors reading from the Bard’s comedy. Don’t miss the mega-talented singer, pianist, and composer Tony DeSare who pays tribute to Ol’ Blue Eyes in a program entitled Sinatra and Beyond on April 8. We then present an entire evening of the most cherished Orchestral Favorites on April 22nd, with our friend and colleague, veteran anchor Melissa Long, recently retired from Fort Wayne ABC affiliate WPTA, as host. Star Wars 40th Anniversary on April 29, and a Family Series concert called The Wild West on April 30 lead us toward the end of the season. For me, the season will end in stunning fashion as we present one of the most monumental works ever composed, Gustav Mahler’s “Resurrection” Symphony, on May 13. This sprawling and transcendent work features gargantuan orchestral and vocal forces, promising to stir the soul with its moving musical language and intense spirituality. It’s been a magnificent season, and all of us at the Fort Wayne Philharmonic are grateful for your unwavering support and love of the music.

Call Kendall Dudley Billows (260) 461-7436 pnc.com 4

Sincerely, Andrew Constantine Music Director

Madge Rothschild Foundation

Guitar Premiere

Thank You to the Following Sponsors:

Sponsored by Tamzon O’Malley and Family

Saturday, March 11, 2017 • 7:30 P.M. Rhinehart Music Center, IPFW

Connect to your doctor’s office — anytime, anywhere. MyChart from Parkview makes it easy. This secure online portal gives you 24/7 access to your Parkview Physicians Group office – letting you request appointments, access test results, request prescription refills and more! Contact your PPG office today to learn how you can sign up for MyChart.

Your partner in health.

MADGE ROTHSCHILD FOUNDATION

Andrew Constantine, conductor Jason Vieaux, guitar Fort Wayne Philharmonic Youth Symphony Orchestra, David Cooke, conductor DVOŘÁK

Slavonic Rhapsody in A-flat major, Op. 45, No. 3

VISCONTI Concerto for Guitar and Orchestra, “Living Language” Jason Vieaux, guitar

-- Intermission –

KHACHATURIAN Masquerade: Suite Nocturne Waltz Side-by-side with the Fort Wayne Philharmonic Youth Symphony Orchestra SHOSTAKOVICH Symphony No. 9 in E-flat major, Op. 70 I. Allegro II. Moderato III. Presto IV. Largo V. Allegretto Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, March 23 at 7:00 P.M. 7

Madge Rothschild Foundation

asterworks

Guitar Premiere

orchestra, including a very prominent part for harp. The style of this piece is similar to the more familiar Slavonic Dances, but on a considerably bigger scale.

Slavonic Rhapsody in A-flat major, Op. 45, No. 3 ANTONÍN DVOŘÁK (b. 1841, Nelahozeves, Bohemia, now Czech Republic; d. 1904, Prague)

The Third Rhapsody opens with a slow, prelude-like section featuring the harp, which summons the spirit of the old European bards declaiming their poetic epics. Then the tempo increases for a series of different melodic episodes in Czech folkdance style, all in a very positive and mostly extroverted mood. Midway through, the more pensive melody of the harp prelude reappears in the woodwinds.

SATURDAY, MARCH 11, 2017

Until he was in his late thirties, Antonín Dvořák was little known outside of Prague and his native Bohemia. That situation suddenly changed because of the intervention of none other than Johannes Brahms. By the mid-1870s, Brahms was securely established as one of Europe’s leading composers and was serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Since the present-day Czech Republic was then a dependency of Austria, Dvořák was one of the candidates. Deeply impressed by his music, Brahms went to his own publisher, the prestigious Simrock of Berlin, and urged the firm to take the young Czech on. And he used his considerable clout to secure performances of Dvořák’s music. Thus began another illustrious career and a devoted friendship between the two men that lasted until Brahms’ death. Simrock had recently reaped substantial profits from Brahms’ Hungarian Dances for piano four-hands. In 1878, the firm asked Dvořák to create a similar set, based on his own native dance traditions; the composer responded with the eight Slavonic Dances of Opus 46, arranging them for orchestra as well as piano duet. They were such a success that Simrock asked for more pieces in Czech folk style, and Dvořák happily responded with his three Slavonic Rhapsodies, all written in the same year (the First Rhapsody was actually written before the Slavonic Dances). In the 19th century, a rhapsody was an instrumental work in a free formal style. Dvořák’s models were the extremely popular Hungarian Rhapsodies of Franz Liszt, and he sought to create a Czech equivalent in his Slavonic Rhapsodies. He scored the Third Rhapsody in A-flat Major for a rather large 8

Program Notes

Concerto for Guitar and Orchestra, “Living Language” DANIEL VISCONTI (b. 1982) Though he’s been embraced by the classical music establishment and has a fistful of prestigious prizes and fellowships — such as the Cleveland Arts Prize, Columbia’s Bearns Prize, and the Barlow Prize — Daniel Visconti is an eclectic maverick interested in many different musical traditions. When he was recently invited to give a TED talk, he explained in an interview his wide-open approach. “I guess the best way to say it is that I’m trying to make the composer relevant again — not this old guy with a wig and a quill pen laboring in isolation, but a cultural ambassador and collaborator, someone deeply integrated in the communities that he or she serves. One of the ways I do that is by composing music that’s open to diversity of traditions. Often my pieces sound like they’re not classical music. A piece might have the directness of expression of a great jazz performance, or the sense of audience rapport at a small club venue, or the wildness and improvisatory spirit of a really good rock performance.” Visconti has also commented, “I’m not so much composing for an instrument as for the audience’s experience.” Visconti’s creative philosophy certainly explains why he named his new concerto for the Grammy Award-winning classical

guitarist Jason Vieaux “Living Language.” As he explained in his commentary about the piece: “My new concerto for Jason Vieaux is a reflection of Jason’s well-earned reputation as the classical guitarist who goes beyond the classical. Inspired by the special scales, expressive ornaments, and playing techniques of indigenous music from across the globe, the concerto explores the idea of music as a kind of ‘living language,’ with a simple introductory idea on the guitar expanding and evolving in a series of conversations between soloist and orchestra that transcends style, time, and place. The work is cast in three movements that begin with a simple chant-like melody that continuously transforms itself over three connected movements.” Because of its relatively soft sound, the guitar is a challenging instrument to combine with an orchestra in a concerto. Even though the guitar is amplified in “Living Language,” Visconti had to be extremely careful in balancing the two forces. Explaining his technique for solving this problem, Visconti says: “‘Living Language’ will explore an inversion of the typical concerto format, where the orchestra normally exposes material, with the soloist elaborating and commenting; to the contrary, my piece will explore the orchestra as a kind of echo chamber that passes around gestures that all originate from the guitar soloist’s melodic material.” Premiered in May 2016, “Living Language” was commissioned by the California Symphony — where Visconti has served as Young American Composer-in-Residence from 2014 to 2017 — and a consortium including the Reading Symphony, Richmond Symphony, and Fort Wayne Philharmonic for the Serge Koussevitzky Music Foundation at the Library of Congress. It was dedicated to the memory of Serge Koussevitzky, legendary music director of the Boston Symphony, and his wife Natalie. Last November, it was honored with the Koussevitzky Award given by the Library of Congress. This will be its premiere performance in the Midwest. Symphony No. 9 in E-flat major, Op. 70 DMITRI SHOSTAKOVICH (b. 1906, St. Petersburg, Russia; d. 1975, Moscow, U.S.S.R.) When the U.S.S.R.’s political and musical elite gathered in the great concert hall of the

Leningrad Philharmonic on November 20, 1945 for the world premiere of Shostakovich’s Ninth Symphony, they had every expectation of hearing an epic, transcendent work. In the words of Soviet musicologist Dmitri Rabinovich: “We were prepared to listen to a new monumental musical fresco, something that we had the right to expect … particularly at a time when the Soviet people and the whole world were still full of the recent victory over Fascism. But we heard something quite different, something that at first astounded us by its unexpectedness.” Instead of an ode to victory and a threnody to the millions who had died in World War II, they heard a flippant little work for modest orchestra without chorus, soloists, or extra brass — the lightest, wittiest, and secondshortest of Shostakovich’s 15 symphonies. Stalin especially took the work as a personal affront. For him the victory over the Fascists was the greatest triumph of his career, and he had expected a suitable musical tribute and a heartfelt dedication to him. Others were appalled that Shostakovich should cap his trilogy of “war symphonies” — including the heroic Seventh dedicated to Leningrad’s brave resistance during the three-year German siege; and the powerful Eighth, a harrowing musical depiction of the suffering war inflicts — with such an inconsequential finale. And there was also the mystique of the “Ninth” symphony in a composer’s oeuvre, generated by Beethoven’s mighty Ninth. Schubert, Bruckner, and Mahler had all found that death waited on the other side for composers who reached this fateful number. Surely, a Ninth Symphony must be a grand summation: a composer’s last word to humanity. It seems that Shostakovich originally tried to write an epic Ninth. But after two abortive attempts, he found he could not honestly create a hymn of triumph, given that he believed life under Stalin would be just as bleak after the war as it had been before. In Testimony, the controversial memoir he allegedly dictated to Solomon Volkov, he said: “Everyone praised Stalin, and now I was supposed to join in this unholy affair. … I couldn’t write an apotheosis for Stalin, I simply couldn’t.” Not sharing the expectations of the Ninth’s first listeners, Western audiences today love this work for its bright spirit and infectious tunes and because it does not assault them with strident dissonances and painful 9

emotions as do so many Shostakovich works. But our appreciation of this symphony is enhanced by knowing that more complex currents flow under its smooth surface: the black humor and satirical worldview that has saved generations of Russians from despair under repressive regimes. As Shostakovich’s friend, the music critic Daniil Zhitomirsky wrote: “Superficially there was much that was playful and carefree in the music, even at times a sort of festive swagger; but this then was transformed into something tragic and grotesque. It showed up the senseless vacuity and triteness of that everyday ‘rejoicing’ which so gratified our authorities.” The sonata-form first movement begins with a buoyant little theme in the style of Haydn, but with the sassy, mocking spirit of Prokofiev’s “Classical” Symphony. The orchestra’s brightest colors — brass, high woodwinds, and drums — paint the world of the circus, especially when a raucous trombone and oom-pah drums usher on the piccolo squeaking the second theme, “bouncing as weightlessly as an acrobat on a trampoline,” in Mary Ann Feldman’s felicitous phrase.

Movement two is the Symphony’s most serious. Two types of music alternate: first sinuous, melancholy lines for solo woodwinds, then a mock-ominous chromatic creeping in the strings. The mood is ambiguous: more wistful than mournful. The final three movements are deftly linked together. First comes a scherzo, a romping dance for clowns that finally darkens and slows to lead into the fourth-position Largo. A baleful brass fanfare introduces the solo bassoon singing a lament in long lines; here is a brief elegy to the wartime dead. But the bassoon continues on to launch the finale’s merry principal theme. This gradually builds in volume and energy to a festive full-orchestra recapitulation. But there is something mechanical and unreal here — a dance for zombies. As Shostakovich sarcastically snapped to a friend reacting in horror to the news of the atom-bomb attack on Hiroshima: “Our business is to rejoice!” Notes by Janet E. Bedell copyright 2017

Madge Rothschild Foundation

asterworks

Artist Biography

JASON VIEAUX, Guitar Grammy®-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation.” His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. In June 2014, NPR named “Zapateado” from the album as one of its “50 Favorite Songs of 2014 (So Far).” Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching, and recording commitments is distinguished throughout the U.S. and abroad. His solo recitals have been a feature at every major guitar series in North America and at many of the important guitar festivals in Asia, Australia, Europe, and Mexico. Vieaux’s passion for new music has fostered premieres of works by Avner Dorman, Dan Visconti, Vivian Fung, Keith Fitch, Kinan Abou-Afach, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin, Jeff Beal, Gary Schocker and more. Vieaux continues to bring important repertoire alive in the recording studio as well. His latest album, Infusion with bandoneonist Julien Labro, was released in October 2016 on Azica Records. Vieaux recently recorded Alberto Ginastera’s Sonata for Guitar Op. 47 for a Ginastera Centennial album produced by Yolanda Kondonassis, which was released in October 2016 on Oberlin Music and features additional performances by Kondonassis, violinist Gil Shaham, and pianist Orli Shaham. His duo album Together, with harpist Yolanda Kondonassis, was released in January 2015. Of his Grammy-winning 2014 solo album Play, Soundboard Magazine writes, “If you ever want to give a friend a disc that will cement his or her love for the guitar, this is a perfect candidate,” while Premier Guitar claims, “You’d be hard pressed to find versions performed with more confidence, better tone, and a more complete understanding of the material.”

Online @WBOI.ORG Download t he WBOI Mobile App

In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001. Vieaux is affiliated with Philadelphia’s Astral Artists. His primary teachers were Jeremy Sparks and John Holmquist. In 1992 he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant. In 1995, Vieaux was an Artistic Ambassador of the U.S. to Southeast Asia. Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd and plays a 2013 Gernot Wagner guitar. 11

outh Orchestras

Youth Orchestra Spring Concert Project supported by Lincoln Financial Foundation

Thank You to the Following Sponsors:

Sunday, March 12, 2017 • 4:00 P.M. Rhinehart Music Center, IPFW

CARSON D. AND ROSEMARY NOECKER FAMILY FOUNDATION

CRUMPET THE TRUMPET

Fort Wayne Philharmonic Youth Concert Orchestra Marcella Trentacosti, conductor WILLIAMS/STORY The Magic of Harry Potter FRESCOBALDI/KINDLER Toccata WANG The General’s Order WANG The Brilliant Red Shandandan Flowers WIANT/KOSELLECK Stars of Ice, Wheel of Moonlight Bright Side By Side with Youth Symphony Orchestra Musicians Fort Wayne Philharmonic Youth Symphony Orchestra David Cooke, conductor ELGAR

Chanson de Nuit, Op. 15 No. 1

Chanson de Matin, Op. 15 No. 2

SALZEDO/Arr. Doris Preucil Chanson dans la nuit Michaela Yaste, Harp

Connecting special audiences with the arts.

SCHUBERT Symphony No. 9 in C Major (The Great) Allegro

260.424.1064 | AudiencesUnlimited.org 12

Madge Rothschild Foundation

A MIdsummer Night’s Dream

Thank You to the Following Sponsors:

Sponsored by Alfred Zacher in memory of Hannah F. Zacher

MADGE ROTHSCHILD FOUNDATION

Saturday, April 1, 2017 • 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Michelle Areyzaga, soprano Kimberly Jones, soprano Philharmonic Women’s Chorus, Benjamin Rivera, director Shelby Lewis, actor Michael Liebhauser, actor SIBELIUS Suite No. 1 from The Tempest, Op. 109 and NYMAN - Prospero’s Books “A Synthesis” 1. The Oak Tree 6. Scene 2. Humoresque 7. Prospero’s Curse 3. Caliban’s Song 8. Entr’acte - Ariel’s Song 4. Prospero’s Magic 9. Miranda 5. Canon 10. The Storm

-- Intermission --

MENDELSSOHN

A Midsummer Night’s Dream, Op. 21 & 61 Overture: Allegro di molto After Act I No. 1 Scherzo: Allegro vivace Act II, Scene 1 March of the Fairies: L’istesso tempo; Allegro vivace Act II, Scene 2 No. 3 Song with Chorus: Allegro ma non troppo No. 4 Andante – Allegro molto After Act II No. 5 Intermezzo: Allegro appassionato Act III, Scene 2

After Act III No. 7 Nocturne: Con moto tranquillo No. 8 Andante; Allegro molto After Act IV No. 9 Wedding March: Allegro vivace Act V, Scene 1 Prologue No. 10 Allegro comodo Marcia funebre: Andante comodo No. 11 A Dance of Clowns: Allegro di molto No. 12 Allegro vivace come I No. 13 Finale: Allegro di molto

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, April 13 at 7:00 P.M. 15

Madge Rothschild Foundation

asterworks

A Midsummer Night’s Dream SATURDAY, APRIL 1, 2017

Selections from Suite No. 1 from The Tempest, Op. 109 JEAN SIBELIUS (b. 1865, Hämeelinna, Finland; d. 1957, Järvenpää, Finland) The theater played an enormously important role in Scandinavian culture during the 19th and early-20th centuries, as the fame of its two most celebrated playwrights — Norway’s Henrik Ibsen and Sweden’s August Strindberg — attests. Thus it is not surprising that Finland’s greatest composer, Jean Sibelius, should have worked throughout his long career creating incidental music for plays, especially for Helsinki’s Swedish Theater (Swedish, not Finnish, was Sibelius’ mother tongue). Yet his finest theatrical music was written for one of William Shakespeare’s plays, his last The Tempest, for a lavish production at the Royal Theater in Copenhagen, Denmark, opening on March 15, 1926. The music for The Tempest was one of the last three scores Sibelius composed: written between the Seven Symphony and his mighty final tone poem, Tapiola. All were among his most extraordinary achievements, and yet, mysteriously, he then ceased composing at age 61. Though he lived another thirty years to the venerable age of 91, there was only silence from his writing desk (although rumors of new pieces constantly were heard). In The Tempest, Shakespeare created the fascinating figure of Prospero, an Italian duke exiled with his young daughter by his enemies to an unknown island somewhere in the Atlantic; there he studies magic and develops extraordinary powers. When his old opponents try to invade his solitude, he creates a tremendous storm at sea that wrecks their boat and makes them castaways on his island. The ensuing drama combines magical spells with a very human drama of forgiveness and reconciliation. Sibelius’ friend and mentor, Axel Carpelan, first proposed the idea of setting The 16

Program Notes

Tempest to music in 1901 to the composer. Another invitation came in 1925 from his Danish publisher Wilhelm Hansen, who told him about the Royal Theater’s production; the score was written between 1925 and 1926. Sibelius was clearly deeply committed to it because he wrote some 34 individual numbers for the play lasting over an hour in all. This original score was never published, but Sibelius subsequently published two suites drawn from its music as well as his powerful Prelude. We will hear the First Suite, the longest and most substantial of the two. It contains nine rather brief movements and concludes with a shortened version of Sibelius’ Prelude. The most significant movements are the following: Number one, “The Oak” relates to the past history of Prospero’s servant, the sprite Ariel, who was previously imprisoned by a witch in the cleft of an oak tree for 12 years. It opens with piercing woodwind chords that accompanied Ariel’s appearance in Act III. Ariel’s plight is then represented in a plaintive flute solo over string chords rocking in anguish. Number three, “Caliban” is a comic portrait of another of Prospero’s servants, the grotesque monster Caliban clumsily lumbering around to heavy drum beats. Interlude and Ariel’s Second Song (No. 8) is introduced by the deepest and darkest of woodwinds and provides a taste of Sibelius’ unique sound world, conjuring the wonders of Nature’s uncanny powers. “The Storm” (No. 10) describes the titular tempest created by Prospero to thwart the plans of his enemies. Ralph Wood has called it “the most thoroughly onomatopoetic stretch of music ever written, while Sibelius biographer Robert Layton describes it as “almost physical in its impact.” It is surely the most terrifying musical storm any composer ever created, outdoing even Richard Strauss’ thunderstorm in An Alpine Symphony.

Selections from Prospero’s Books MICHAEL NYMAN (b. 1944, London, England) In this program devoted to music in many different styles but all inspired by the plays of William Shakespeare, we now move to our own time for a suite of music by the English composer Michael Nyman from his score for the 1991 film Prospero’s Books by the British avant-garde director Peter Greenaway. Though the movie is loosely based on Shakespeare’s The Tempest, it is far from a straightforward filming of the play. Instead, it combined elements of the story with mime, dance, opera, and animation to create a new riff on it. The legendary actor Sir John Gielgud, who had often performed the role of the magician Prospero in the theater, here played a character that was a composite of Prospero and Shakespeare himself, as well as being the narrator of the film. The movie’s title matches its 24 individual sequences, each named for a thematic book supposedly by Prospero. The composer Michael Nyman is one of England’s most prolific film composers as well as a prominent composer of operas. His score for Jane Campion’s lauded film The Piano (1993) earned him both Golden Globe and British Oscar nominations. He became a partner with Greenaway, scoring a number of his most famous and controversial films including The Draughtsman’s Contract and The Cook, The Thief, His Wife and Her Lover. Like America’s Philip Glass (who has also scored many films), Nyman is a composer in the minimalist style. In fact, as a music critic writing in 1968, he actually coined this term for contemporary music that stresses hypnotic repetition of rhythmic patterns and small melodic motives, slow-moving harmonies in clear major/minor tonalities, and a very gradual rate of change and evolution. “Prospero’s Magic,” the first movement we will hear, is pure minimalism with a repetitious rhythmic ostinato over a few slowly changing chords. Brass motives are gradually layered on top. “Prospero’s Curse” is a frenzied whirling dance over relentless rhythms and emphasizes the high ranges of strings, woodwinds, and brass. Using minimalist patterns to create a much slower, more contemplative atmosphere, “Cornfield” gradually builds in propulsion and in the development of a striking melody for the violins. Minimalism becomes more maximal in

“Miranda” (Prospero’s daughter), in which a syncopated melody for trumpets and later a romantic theme for violins build to a wildly active climax. A Midsummer Night’s Dream, Op. 21 & 61 FELIX MENDELSSOHN (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Germany) “We were mentioning yesterday what an important part the Midsummer Night’s Dream has always played in our house. … We really were brought up on [it], and Felix especially has made it his own, almost recreating the characters which had sprung from Shakespeare’s inexhaustible genius. From the ‘Wedding March,’ so full of pomp but so thoroughly festive in its character, to the plaintive music of Thisbe’s death, the fairy songs, the dances, the interludes … all and everything has found its counterpart in music, and his work is on a par with Shakespeare’s.” Fanny Mendelssohn Felix Mendelssohn’s beloved and gifted older sister, Fanny, was rhapsodizing over her brother’s incidental music to Shakespeare’s enchanted comedy, which she and the other Mendelssohn siblings had just heard at its premiere in Potsdam on October 14, 1843. Even allowing for a bit of sisterly pride, her assessment of his achievement here is on the mark. The magnitude of Mendelssohn’s achievement is even more astonishing when we realize that, while the incidental music was composed when the composer was 34, the overture — one of the best-loved curtain raisers ever penned — comes from 1826 when he was only 17. Mendelssohn was truly a golden child, blessed with brains and prodigious talent, and a near-ideal environment in which to cultivate them. His grandfather, Moses Mendelssohn, had risen from poverty to become an esteemed philosopher; his father, Abraham, was one of Germany’s leading bankers and had made the family fortune. Both of Felix’s parents were highly educated people and were determined their offspring would realize their full potential. As Felix’s musical genius hatched, he was able to spread his wings into all the areas that distinguished his adult career. Sunday afternoon musicales at the Mendelssohn household drew a crowd of Berlin’s artistic

elite, and featured the youngster as impresario (planning the concert programs), piano soloist, conductor (the Mendelssohns sometimes hired a full professional orchestra), and composer. In 1825 when the family moved to a grand estate on Berlin’s Leipzigerstrasse, they converted the summerhouse in the garden into an auditorium seating more than 200. It was there, probably in the summer or early fall of 1826, that the 17-year-old prodigy premiered his Midsummer Night’s Dream Overture. As Fanny Mendelssohn recalled, the Mendelssohn children were enraptured with Shakespeare’s plays and delighted in acting them out as well as reading them. Family performances of their favorite, A Midsummer Night’s Dream, a tale of four mismatched lovers benighted and bedeviled by fairies in an Athenian wood, led to Felix’s precocious masterpiece. It is one of the finest of Romantic overtures, cast in traditional sonata form, but full of programmatic correspondences to the play’s plot and characters. The opening is pure magic: four soft woodwind chords raising the curtain on a world of fantasy. This is followed by soft, fleet, otherworldly music in E minor for violins, an early example of Mendelssohn’s trademark scherzo music here representing the world of the fairies. The world of mortals follows with a loud theme in E Major, full of pomp and grandeur, befitting the court of Theseus and Hippolyta. We also meet two other groups of mortals in the exposition: the beleaguered lovers (Hermia and Lysander, Helena and Demetrius) in lyrical, yearning music for clarinets and violins, and finally the lowerclass Athenian artisans in a clod-hopping peasant dance, punctuated with the heehaws of Nick Bottom (transformed by the fairies into an ass). The development section is as much a dramatic story as an imaginative working-out of themes; notice the mischievous, even menacing sound of the woodwinds suggesting these fairies are more than a little dangerous. In the Overture’s marvelous closing coda, the pompous court theme is slowed down to make a lovely, dreaming reverie for the violins, before the four magical woodwind chords ring down the curtain. Seventeen years later, Mendelssohn returned to the world of his childhood to recapture and expand this spellbound music into a set 18

of incidental music to accompany a court production of the play commissioned by King Friedrich Wilhelm IV of Prussia. A sparkling Scherzo introduces us to Puck, the nimble elf who will create most of the mischief by unwary applications of his magic potions; Mendelssohn makes masterly use of bright woodwind colors here, especially a solo flute at the end. High woodwinds also dominate the impish “Fairies’ March.” A charming choral song, “Ye spotted snakes,” is the fairies’ lullaby to their queen Titania and reminds us that Mendelssohn had tremendous influence on later English composers, including Sir Arthur Sullivan of Gilbert and Sullivan fame. In the agitated Intermezzo, phrases are hurled back and forth between violins and high woodwinds; this music expresses Hermia’s anguish after she awakens to discover her lover, Lysander, has deserted her. After Puck has put the four lovers, now hopelessly confused by his spells, to sleep, comes the beautiful dreaming Nocturne, led by a melancholy solo horn, the traditional instrument of the forest. The lovers awaken and, restored to their rightful loves, are united with King Theseus and Queen Hippolyta in a triple wedding to the brilliant “Wedding March”; this music, unfortunately, soon degenerated into cliché after Queen Victoria and Prince Albert of England, great Mendelssohn fans, chose it for the 1858 wedding of their eldest daughter to the Crown Prince of Prussia. Whimsically humorous music describes the artisans’ inept enactment of the myth of Pyramus and Thisbe (“Dance of the Clowns”) at the wedding festivities. Suggesting music from Shakespeare’s own era, a trio of clarinetbassoon-drum plays a droll “Funeral March” for Thisbe’s death. In the Finale, “Through this house give glimm’ring light,” we return to where we began. Over the Overture’s scherzo music, the fairies creep through the palace to bless the newlyweds; the story closes with the violins’ lovely song and the enchanted woodwind chords. Notes by Janet E. Bedell copyright 2017

A MIDSUMMER NIGHT’S DREAM VOCAL/CHORAL TEXTS Felix Mendelssohn No. 3 – Song with Chorus

You spotted snakes with double tongue, thorny hedgehogs be not seen; Newts, and blindworms, do no wrong; come not near our fairy queen. Hence away, hence away!

Philomel, with melody, sing in our sweet lullaby, Never harm, nor spell, nor charm, come our lovely lady nigh. So, good night with lullaby.

Weaving spiders, come not here: hence, you long-legged spinners, hence: Beetles black, approach not near, worm, nor snail, do no offence. Hence away, hence away! Hence away, now all is well: One, aloof, stand sentinel.

Finale

Through this house give glimm’ring light, by the dead and drowsy fire, Ev’ry elf and fairy sprite hop as light as bird from brier. And this ditty after me, sing and dance it trippingly.

First, rehearse the song by rote: to each word a warbling note, Hand in hand with fairy grace, will we sing and bless this place. Trip away, make no stay; meet me all by break of day.

Loaves e

Fort Wayn AuntMillies.com

Madge Rothschild Foundation

asterworks

Artist Biography

MICHELLE AREYZAGA, soprano As a coveted performer with a diverse repertoire, American soprano Michelle Areyzaga is held in high regard by orchestras and opera companies throughout the United States and abroad. She has performed operatic roles with New York City Opera in Telemann’s Orpheus as well as in their VOX series, and has appeared in leading roles with Chicago Opera Theater, Lyric Opera of Chicago’s “‘In the Neighborhoods” programs,’ Opera Birmingham, Ravinia Festival, and Orquesta Sinfónica del Estado de México. As an orchestral soloist, she has appeared with Cleveland Orchestra, Minnesota Orchestra, Oregon Bach Festival, Richmond Symphony, Toledo Symphony, Israel Philharmonic, Colorado Symphony Orchestra, Grant Park Music Festival, Rochester Symphony, Phoenix Symphony Orchestra, Hartford Symphony, San Antonio Symphony, Rhode Island Philharmonic, Wichita Symphony Orchestra, Cheyenne Symphony Orchestra, and North Carolina Symphony, among others. She sang the first Bach B minor Mass in the country of Costa Rica, under the baton of Maestro John Nelson. Ms. Areyzaga’s operatic roles have included Susanna, Le nozze di Figaro; title role, Madama Butterfly; Cunegonde, Candide; Adina, L’elisir d’amore; Despina, Così fan tutte; Zerlina, Don Giovanni; Pamina, Die Zauberflöte; Lauretta, Gianni Schicchi; both Musetta and Mimì, La bohème and Casilda in The Gondoliers. Known as a foremost interpreter of vocal art song and chamber music, Ms. Areyzaga has been a repeat guest of the New York Festival of Song under the direction of Steven Blier and Michael Barrett, the Chamber Music Society of Lincoln Center, the Chicago Ensemble, as well as Chicago’s Dame Myra Hess Memorial Concert Series, and the Tucson Desert Song Festival. She has collaborated with the Avalon String Quartet, the Cavatina Duo, and the Lincoln Trio, and has been selected to perform world premieres of many new works by American composers. As a recorded artist, she has performed song cycles by Gwyneth Walker on The Sun Is Love (Proteus). Other recordings include Songs from Spoon River (Cedille) by Lita Grier and The Small Hours, songs by William Ferris. She has sung numerous times in both live and programmed broadcasts on Chicago’s classical music radio station WFMT. Michelle Areyzaga was named “Artist of the Year” by Pioneer Press in 2006 and has been an award recipient from the Julian Autrey Song Foundation, Wm. C. Byrd International Young Artist, Shreveport Opera Singer of the Year, Marguerite McCammon Vocal Competition (Ft. Worth Opera), NATSAA—National Finalist “Outstanding Artist” chosen by Teresa Stratas, Metropolitan Opera National Council (Central Region), Viñas Concurs International and the Concert Artist Guild.

She received her B.A. in Vocal Performance from Roosevelt University with honors and was a member of Ravinia’s Steans Institute for Young Artists. In addition she has been a member of the OperaWorks Summer intensive Program in L.A. and a member of Chicago Opera Theater’s Debut Artist Series.

Drop in. Get your business booming.

lakecitybank.com

Madge Rothschild Foundation

asterworks

Artist Biography

Madge Rothschild Foundation

asterworks

Artist Biography

KIMBERLY JONES, soprano

SHELBY LEWIS, actor

Kimberly Eileen Jones is an alum of the Ryan Opera Center with the prestigious Lyric Opera of Chicago. Her performances there include the slave girl, Margru, in the world premiere of Anthony Davis’ Amistad. She also portrayed the feisty Olga in Fedora, Princess Xenia in Boris Godunov, and the spitfire Despina in Così Fan Tutte student matinee performances. With the Ryan Opera Center, she portrayed Laetitia in Menotti’s Old Maid and the Thief. Additionally, she made her Grant Park debut as Zerlina (Don Giovanni) and Adele (Die Fledermaus) the following season. Kimberly performed in Houston Grand Opera’s colorful production of the Magic Flute (Papagena), and reprised her role of Xenia in Boris Godunov. Also with Houston, she participated in their production of Porgy and Bess, as Clara. This tour graced the international stages of La Scala in Milan, the Bastille in Paris, and the Bunkamura in Tokyo, Japan. For her portrayal of Clara, she was nominated for Best Supporting Actress by the NAACP Awards.

Shelby Lewis is proud to join the Fort Wayne Philharmonic in bringing Shakespeare to life through timeless text and music. Originally from Traverse City, Michigan, she graduated from Interlochen Arts Academy in Theatre Arts, went on to receive a BFA in Acting from the Carnegie Mellon School of Drama, and has trained in Los Angeles, New York and Paris in various forms of choreographic theatre and voice work. Shelby is a resident member of two professional theatre companies, Parallel 45 Theatre and the Interlochen Shakespeare Company, and her voiceover work includes regional commercials and several audiobooks through Audible.com. Her favorite credits include A Christmas Carol in Prose, Alice in Wonderland, Assistant Director of She Kills Monsters, Juliet in Romeo and Juliet, and Rosalind in As You Like It. Currently she is pursuing a Master of Arts in Theatre Education from UNC and will be directing Vanya and Sonia and Masha and Spike later this Spring. Shelby would like to thank Orion for his unmatched support and constant inspiration. www.shelbylewisofficial.com

She has been nominated for the Richard Tucker grant, received three grants from the MacAllister Awards competition, and was awarded the Richard Gold Career Grant from the Lyric Opera of Chicago. She was very excited to debut in Singapore with the Singapore Chinese Orchestra in an evening of Porgy and Bess excerpts and spirituals. This past year she returned to Lyric Opera of Chicago in the Ensemble of Porgy and Bess. Last year, engagements included Carmina Burana with the Chicago Sinfonietta, Beethoven Mass in C with the DePaul Community Chorus. She was showcased in South Shore Opera Company’s Honey and Rue. She was in the ensemble of Chicago Opera Theater’s production of The Coffin in Egypt, with legendary mezzo-soprano Frederique Von Stade. Recent engagements include a Porgy and Bess concert with the New Philharmonic and the title role of The Fairy Queen with Chicago Opera Theater, repeated with Long Beach Opera this January. Future engagements include the world premiere of Stewart Copeland’s Invitation of Morel with Chicago Opera Theater, as Dora, Dvořák symphony with Fox Valley symphony, and A Midsummer Nights’ Dream with the Fort Wayne Philharmonic. Miss Jones is on the voice faculty at Columbia College and Merit School of Music.

MICHAEL LIEBHAUSER, actor Michael Liebhauser is a New York based actor and lyricist whose work has been seen at various Shakespeare festivals and regional theaters around the country. Some of his favorite Shakespeare credits include: Friar Lawrence, Hotspur, Tybalt, and Lysander. He is a recent graduate of the University of Minneapolis/Guthrie Theater BFA Actor Training Program and an alumni of Interlochen Arts Academy.

Celebrating The Philharmonic

Offices in Fort Wayne, LaGrange, Syracuse and Warsaw

260.426.9706 • www.beersmallers.com

Brotherhood Mutual Insurance Company

reimann

Dvořák’s American Quartet

Thank You to the Following Sponsors:

Wednesday, April 5, 2017 • 7:30 P.M. Parkview Physicians Group ArtsLab Sunday, April 9, 2017 • 2:30 P.M. Rhinehart Music Center, Recital Hall, IPFW YOUNG “The Song of the Lark” Song to the Waking Sun Flight Into Darkness Luke Fitzpatrick, flute Anne Preucil Lewellen, harp

the Fort Wayne Philharmonic is the Fort Wayne Philharmonic is life the Fort Wayne Philharmonic is family the Fort Wayne Philharmonic is community the Fort Wayne Philharmonic is inclusive the Fort Wayne Philharmonic is inspiring music

HAUFRECHT Suite for Brass Quintet Intrada: Allegro Ceremonial: Allegro moderato Passacaglia: Slow Fugue: Allegro non troppo e ritmico Andrew Lott, trumpet Dan Ross, trumpet Jay Remissong, horn David Cooke, trombone Chance Trottman-Huiet, tuba

DVOŘÁK String Quartet in F major, Op. 96 “American” Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo Violetta Todorova, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

Brotherhood Mutual is proud to support the Fort Wayne Philharmonic and the difference they make.

-- Intermission --

| Ministry Payroll

Program Notes

Brotherhood Mutual Insurance Company

reimann

DVOŘÁK’S “AMERICAN” QUARTET

WEDNESDAY, APRIL 5 & SUNDAY, APRIL 9, 2017 “The Song of the Lark” CHARLES ROCHESTER YOUNG (b. 1965 — Composers have chosen woodwind instruments — and especially the flute — for centuries to imitate the songs and cries of birds. An unforgettable example is Beethoven’s use of the flute, oboe, and clarinet in the second movement of his “Pastoral” Symphony to conjure the sounds of the nightingale, quail, and cuckoo. In The Song of the Lark of 1989, Wisconsin-based composer Charles Rochester Young has created a beautiful contemporary addition to this tradition that partners the flute with the colorful sparkle of the harp.

melody in the flute in the first movement, “Song of the Waking Sun.” In the second movement, “Flight,” the most delicate sounds these two instruments can produce alternate with high shrieks on the flute and violent strumming on the harp that remind us that the latter really is a percussion instrument. The flute as the voice of the lark dominates the melancholy, gently lyrical final movement, “Into Darkness.”

The recipient of degrees from Baylor University and the University of Michigan, Young is a professor of theory, composition, and electronic music at the University of Wisconsin at Stevens Point. In 1999, he was named “Wisconsin Professor of the Year” by the Carnegie Foundation and the Council for the Advancement and Support of Education. He has also received numerous prizes for his compositions, including first prize in the National Flute Association New Publications Competition for The Song of the Lark. Subsequently, it has been performed extensively around the country, including twice at Carnegie Hall.

A composer, folklorist, and community organizer, Herbert Haufrecht developed his very American voice from his earliest professional experiences during the Great Depression. After studies at the Cleveland Institute of Music and New York City’s Juilliard School, he was hired as a field representative in West Virginia for the Resettlement Administration of the Federal Department of Agriculture. There he collected folk songs, organized square dances, and began writing about folk music. When he finally returned to New York in 1939, Haufrecht continued to be passionately involved in folk music. He became a staff composer for the Federal Theater and also organized an annual folk festival in the Catskills Mountains north of the city. He published several collections of folk songs and worked closely with some of the country’s most legendary folk singers, including Pete Seeger, Burl Ives, the Weavers, and Judy Collins. Haufrecht’s interest in jazz as well as in folk music influenced his classical concert music. Certainly a jazz flavor is prominent throughout his engaging Suite for Brass Quintet, composed in 1960. In four very brief movements, it opens with “Intrada,” which, like the title, has the feeling of the musicians processing onto the stage to a leisurely march rhythm. The tempo speeds up for the jaunty “Ceremonial” with its brilliant fanfare motives and march-banding style. Movement three is “Passacaglia,” a passacaglia being a piece written over a repeating bass pattern. This one slips steadily downward while snarling slides above provide a blues coloration. One of the trumpets launches the snappily syncopated fugue subject of the final movement “Fugue,” whose comic mood broadens for its very tongue-in-cheek conclusion.

Young was only 23 when he wrote this threemovement piece, which he explains was “inspired after a painting of the same title by Jules Breton … on display at the Art Institute of Chicago. This French ruralist work portrays a woman working in a field who is pleasantly charmed away from her work by the song of a lark, which is seen in the distance. The simple, yet sincere mood of the painting is one of its most unique qualities and is the primary emphasis of the musical material in the work.” After preliminary sounds of awakening, the lark’s song takes shape in a lovely swaying

Suite for Brass Quintet HERBERT HAUFRECHT (b. 1909, New York City; d. 1998, Albany, New York)

String Quartet in F major, Op. 96 “American” ANTONÍN DVOŘÁK (b. 1841, Nelahozeves, Bohemia, now Czech Republic; d. 1904, Prague)

“The Song of The Lark” by Jules Breton

In September 1892, Antonín Dvořák — lured by a lucrative contract from New York philanthropist Jeannette Thurber to

become director of her newly formed National Conservatory of Music — arrived in America with his wife and two of his children. He would ultimately remain in this country for three years and would compose his three most popular works here: the Symphony “From the New World,” the Cello Concerto, and the String Quartet in F Major he called “American.” Dvorák had mixed feelings about life in New York City, where financial wheeling and dealing, high-pressure marketing, and a hyperactive media were already in full swing; he both admired and was intimidated by “American push,” as he called it. As the summer of 1893 loomed ahead, he longed to return home to Bohemia for a breather. However, his Czech-American secretary Josef Jan Kovarík convinced him to seek relaxation instead in Kovarík’s hometown, the little Czech community of Spillville in northeastern Iowa. Full of high spirits after being reunited with his other four children, the composer boarded a transcontinental train and arrived in Spillville on June 5. The town and its people — so like his friends back home — enchanted him. Rising early for walks in the countryside, he exulted: “After eight months I heard again the singing of birds! And here the birds are different from ours, they have much brighter colors and they sing differently, too.” The song of one bird not found in Europe especially caught his ear: the scarlet tanager. Three days after his arrival, Dvorák was composing again — “thank goodness, only for my own pleasure.” In just over two weeks, he completed a new quartet. (A string quintet followed later that summer.) Tryouts of the quartet were held at the Kovarík home, with Dvořák exchanging his customary viola for the first violin part and the other three parts played by members of the Kovarík family. The joy and contentment of this summer idyll for the Dvořák family in a place both stimulatingly foreign and comfortingly familiar permeates this work and probably accounts for its being the most popular of Dvořák’s 14 string quartets. Its themes are infectious, its construction clear and straightforward, and its string writing gloriously sensuous. “I wanted for once to write something very melodious and simple,” the composer explained, “and I always kept Papa Haydn before my eyes.” Many commentators have detected a strong relationship between the first movement’s buoyant principal theme, introduced by the viola, and themes from the “New World” Symphony, the work Dvořák had 27

recently completed. Its prominent use of syncopated rhythms may have been an Americanism borrowed from the spirituals, popular songs, and piano rags the composer was listening to with great interest. Likewise, its emphasis on the exotic pentatonic scale (a gapped scale one can produce on the piano’s five black keys) may be Dvořák’s evocation of the sounds of Native American music. A smoother second theme in A Major, sung tenderly by the first violin, is a little sentimental and nostalgic. After a warm-hearted development section with no dramatic storms, listen for the cello singing this theme early in the recapitulation long before its official reprise, where it gains a rapid, exciting accompaniment in the upper instruments. A slow movement in D minor of heartbreaking loveliness is the work’s highlight. Its undertone of melancholy may be explained by Dvorák’s sensitive response to the Iowa landscape. “It is very strange here. Few people and a great deal of empty space. A farmer’s neighbor is often 4 miles off … sometimes very sad — sad to despair.” Above a subtle accompaniment in the middle instruments, the first violin, then the cello sing a gorgeous, impassioned melody. The duet writing in this movement is

extraordinarily beautiful, especially for the two violins in the middle section. The viola’s twonote wailing motive adds the final touch to this haunting landscape. Movement three is a true dancing scherzo, with another pentatonic theme, crisply rhythmic in profile. Note the high writing for the first violin here: this is Dvořák’s imitation of the scarlet tanager’s song. An eerie minor-minor trio section, which appears twice, is based on a stretched-out version of the scherzo theme. The fourth movement is Dvořák’s version of the merry rondo-form finales that capped many of Haydn’s works. Also Haydn-esque is the dominant role the first violin plays throughout. It sings an exuberant skippingrhythm theme above the other instruments’ vivacious dance accompaniment. The music eases slightly for a warm middle-European melody in the first episode. And it slows conspicuously in the second episode for a gentle chorale passage, possibly inspired by Dvořák’s organ improvisations at Spillville’s St. Wenceslaus Church. However, exuberance soon returns to bring this appealing work to a rollicking conclusion.

Keefer

Villas at Whisper Rock

New Model Coming this Spring!

Brand New

Luxury Villas from the mid $200’s Off Gump Rd. 1/2 mile W. of Coldwater Rd. & 3 miles N. of Dupont

Contact Cory Setser: (260)760-2424 mywindsorhome.com

R�� C�� D�� I��’� E��. S�� O�� E�� I��’� C��. B�� C�� L�� M�� A�� L�� E��

F�� W��

I��

C�� L�� I�� P�� R�� E��

W��, D.C.

Harry Potter And The Sorcerer’s Stone™ In Concert Friday, April 7, 2017 • 7:30 P.M. Allen County War Memorial Coliseum Justin Freer, conductor Brady Beaubien, producer Relive the magic of the entire film in high-definition on a 40-foot screen while hearing the orchestra perform John Williams’ unforgettable score, live. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

Sweetwater

ops

Tony Desare: Beyond Sinatra

Thank You to the Following Sponsors:

Saturday, April 8, 2017 • 7:30 P.M. Embassy Theatre

PROUD SPONSOR OF

T H E F O R T WAY N E

PHILHARMONIC POPS SERIES

Caleb Young, conductor

Tony DeSare…..vocals, piano Ed Decker…..guitar Dylan Shamat…..bass Michael Klopp…..drums Selections to be announced from the stage.

Sweetwater is honored to support the Fort Wayne Philharmonic for its continuing tradition of amazing performances and musical excellence. We are proud to partner with these talented musicians and to celebrate music and the arts in Fort Wayne.

Visit Sweetwater

Experience the Sweetwater Difference at our amazing campus. Our family friendly environment has something for everyone to enjoy!

Music Store Academy of Music Recording Studios Free Events 32

Live Performances Music Seminars Instrument Repair Gear Exchange and More!

5501 US Hwy 30 W | Fort Wayne, IN 46818 | Sweetwater.com | (260) 432-8176

Artist Biography

Sweetwater

OPS

TONY DESARE, piano and vocals

In December 2016 Anita Hursh Cast generously endowed the Principal Bass Chair for the Fort Wayne Philharmonic, now called the Anita Hursh Cast Chair Honoring Adrian Mann.

Tony DeSare performs with infectious joy, wry playfulness and robust musicality. Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, the Today Show and his music has been posted by social media celebrity juggernaut, George Takei.

Anita Hursh Cast and her husband Bill arrived in Fort Wayne in late August 1969 and within a month she began what would become a nearly 47-year journey of leadership and generosity in support of the Fort Wayne Philharmonic. “In September of that year I was invited to a Women’s Committee meeting and joined. My first job was to sell program advertising,” said Cast.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials and has composed the full soundtrack for the December 2016 film Love Always, Santa. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook. His compositions include a wide-range of romantic, funny, and soulful sounds that can be found on his top-selling recordings. DeSare’s forthcoming appearances include the Houston Symphony, The Philly Pops, Minnesota Orchestra, Charleston Symphony, Manship Theatre in Baton Rouge, Napa Valley Performing Arts Center and the Wengler Center for the Arts in Malibu. DeSare releases new recordings, videos of standards and new originals every few weeks on his YouTube channel, iTunes and Spotify. Follow Tony on Facebook, Twitter and subscribe on YouTube to stay connected. Tony DeSare is a Yamaha Artist.

Experience

Better Banking.

Over 70,000 members strong, 3Rivers grows meaningful relationships through simple, personalized financial solutions. With many branches, we’re close and convenient to wherever you’re going, and we’re always open online and on your mobile device.

Helping people understand money matters every day.

3riversfcu.org

260.490.8328

Federally insured by the NCUA.

Anita Hursh Cast: A Legacy of Giving

Around that same time, Anita delivered some papers to the new principal bassist of the Philharmonic, Adrian Mann. “That was the beginning of my friendship and admiration for Adrian. My respect, admiration, and friendship have continued and grown over these many years.”

Adrian Mann and Anita Hursh Cast

Since that time, Anita went on to train Philharmonic ushers at the Embassy Theatre, eventually leading the Women’s Committee (now the Philharmonic Friends) and the Philharmonic Board. Her constant, tireless efforts have helped the Philharmonic earn the prestige and respect it enjoys today. “I can’t imagine what our orchestra would have been like had Adrian not taken the principal bass position back in the early 1970s. He is, first of all, a very talented player. He is also an excellent quiet leader of the bass section. His skill as a talented arranger goes beyond our orchestra, a career that I don’t think he had anticipated.” Anita is quick to point out that her contribution is actually a gift representing three generations of women in her family. “When our daughter Jennifer heard of my commitment to Adrian and the bass chair, she added a significant contribution of her own. Jennifer, a cellist, remembers fondly her lessons in our living room with John Mann, Adrian’s younger brother. She also has great respect and fondness for Adrian.” “Adding to the third generation to our story, upon my mother’s passing four years ago, I inherited stock from her. The portfolio has grown and makes up a significant amount of my contribution. So, my mother Hulda Hursh Thornburg, my daughter Jennifer Cast, and I joined together to endow Adrian’s chair.” “Adrian is an outstanding example of the very talented, dedicated musicians in the Fort Wayne Philharmonic. It is an honor for me to underwrite the principal bass chair in honor of Adrian Mann, an extremely talented musician and friend.” The Fort Wayne Philharmonic thanks and salutes Anita Hursh Cast for her love of the music, nearly five decades of friendship, and a lifetime of dedication to service. 35

Madge Rothschild Foundation

Orchestral Favorites

Thank You to the Following Sponsors:

Sponsored by Jeff Sebeika in memory of Fran & Bob Sebeika

MADGE ROTHSCHILD FOUNDATION

Saturday, April 22, 2017 • 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Melissa Long, narrator Violetta Todorova, violin Susan Nelson, soprano

STRAUSS

Introduction from Also Sprach Zarathustra

BERNSTEIN

Overture to Candide

SAINT-SAËNS

Danse Macabre, Op. 40

PROKOFIEV

The Montagues and the Capulets from Romeo and Juliet

ELGAR

Nimrod from Enigma Variations

SMETANA

The Moldau

-- Intermission --

MOZART

Overture to The Marriage of Figaro, K. 492

VIVALDI Spring, from The Four Seasons, Op. 8 1. Giunt’e la primavera Violetta Todorova, violin BACH

Toccata and Fugue in D minor, BWV 565

STRAUSS

On the Beautiful Blue Danube, Op. 314

DVOŘÁK “Song to the Moon” from Rusalka Susan Nelson, soprano WAGNER

Ride of the Valkyries

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, May 4 at 7:00 P.M.

Madge Rothschild Foundation

asterworks

Orchestral Favorites

SATURDAY, APRIL 22, 2017 In the orchestral repertoire, there are a number of works that have been embraced by a wider public beyond dedicated symphony subscribers. Sometimes they are pieces that contain extraordinarily beautiful and captivating melodies that listeners can’t get out of their heads and want to hear over and over. Tonight’s program contains several works in this category: Smetana’s The Moldau, Elgar’s “Nimrod” from the Enigma Variations, Johann Strauss’ On the Beautiful Blue Danube, and Dvorák’s “Song to the Moon” from Rusalka. Others are so rhythmically energetic and exciting they set the pulse racing uncontrollably: like Bernstein’s Overture to Candide, Saint-Saëns’ Danse macabre, Prokofiev’s “The Montagues and the Capulets,” and Wagner’s “Ride of the Valkyries.” Some give us the gift of happiness embodied in music: Mozart’s Overture to The Marriage of Figaro and Vivaldi’s “Spring” from The Four Seasons. And others are so overwhelming in their dramatic impact that our brains are riveted by their power: Richard Strauss’ arresting opening to Also sprach Zarathustra and Bach’s Toccata and Fugue in D minor. Prepare to be dazzled! Strauss, Bernstein and Saint–Saëns With his sixth tone poem, Also sprach Zarathustra of 1896, Richard Strauss (1864– 1949) proved he was the most audacious composer in Europe. Not content to express a straightforward story in music as he had done with his previous Don Juan and Till Eulenspiegel, here he took on the most controversial philosophical treatise of the day: Friedrich Nietzsche’s 80 discourses on moral and philosophical topics, each of them ending with the phrase: “Thus spake Zarathustra.” “Zarathustra” is the German rendering of Zoroaster, the sixth-century B.C. Persian religious philosopher. Nietzsche’s Zarathustra lives apart from the world on a lofty mountaintop, from which he descends periodically to share his wisdom with unenlightened humanity. Representing the prophet on his mountaintop greeting the 38

Program Notes

sunrise before descending to man’s world, the epic “Prologue” opens with the most elemental of motives: a solo trumpet intoning C-G-C, an idea representing Nature that will reappear throughout the work. Framed by pounding timpani, this idea rises to the most resplendent of C-Major chords. Composer, conductor, pianist, educator Leonard Bernstein (1918–1990) was probably the most extraordinarily versatile musical figure America has yet produced. Bernstein always said he wanted to write “the Great American Opera,” and he probably came closest with his “comic operetta” Candide of 1956. Based on Voltaire’s satirical novel of 1759, it chronicles the misadventures of Candide, a naive, pure-hearted youth, and his much more tough-minded sweetheart, Cungégonde. Although Candide has been taught by his tutor, Dr. Pangloss, that “All is for the best in this best of all possible worlds,” throughout the story he is assailed by legions of man-made and natural disasters that sorely test this theory. The brilliantly scored Overture features two of the show’s big tunes: the sweeping, romantic one is Candide’s and Cunégonde’s love duet, “Oh, Happy We,” while the wacky, up-tempo music is from Cunégonde’s fabulous send-up of coloratura-soprano arias, “Glitter and Be Gay.” The ghoulish theme of the midnight witches’ sabbath was especially alluring to many 19th-century Romantic artists. The French composer Camille Saint-Saëns (1835–1921) was not immune, and in 1874 he produced the amusing, innovatively scored Danse macabre. A crazy little poem by Henri Cazalis provides its scenario: “Zig and zig and zag, Death sets the rhythm/ Striking a tombstone with his heel/ Death at midnight plays a dance/Zig and zig and zag, on his violin/ One hears the rattling bones of the dancers/ But psitt! Suddenly the dance ceases/They push each other, they flee, the cock has crowed.” To represent the rattling bones, Danse macabre introduced the xylophone to symphonic music. It was so new to European musicians that the composer actually wrote into the score where it could be purchased!

Prokofiev, Elgar, Smetana As he returned to the Soviet Union in the mid-1930s after years of exile in the West, Sergei Prokofiev (1891–1953) chose a dance version of Shakespeare’s Romeo and Juliet as a gift to his homeland, written for Moscow’s legendary Bolshoi Ballet. We will hear one of its most dramatic excerpts: “The Montagues and the Capulets.” With two savagely dissonant, crescendoing chords, Prokofiev sets the tragic scene, as in the play’s prologue the Prince of Verona forbids the two families to continue their feud. Then, in the swaggering macho dance of the Capulet men at Juliet’s ball, the composer boldly demonstrates why this command will be ignored. In a lyrical interlude, Romeo first spies Juliet dancing with Paris, the man her parents wish her to marry. Seldom in musical history has one work propelled a composer from obscurity to fame to the degree the Enigma Variations did in 1899 for Edward Elgar (1857–1934). Enigma is an unusual and felicitous blending of the theme and variations form with a series of beguiling, psychologically astute musical portraits of Elgar’s friends and family. The sublime heart of the variations, its noble slow movement “Nimrod” pays tribute to August Jaeger, Elgar’s publisher and close friend. “Jaeger” is German for “hunter,” and Nimrod was a mighty hunter in the Old Testament. “Nimrod” was inspired by a moving conversation in which the two men had discussed the greatness of Beethoven’s slow movements. Often called “the father of Czech music,” Bedrich Smetana (1824–1884) in 1874 began composing Má Vlast (“My Country”): a cycle of six symphonic poems celebrating the history, legends, and natural beauties of the Czech lands. The second of Má Vlast’s tone poems, “The Moldau,” or “Vltava” in the original Czech, is a dramatic ode to the river that flows across northern Bohemia and through Prague. Its gorgeous melody depicts the river sweeping from its forest source, and the heroic climax depicts its passage by the Vysehrad, the mighty fortress castle that looms over Prague. Mozart, Vivaldi and Bach When Beaumarchais’ subversive comedy Le Mariage de Figaro was premiered in Paris in

1784, it sent shock waves across Europe. The notion of a barber-valet, Figaro, and his lady’s maid-fiancée, Susannah, opposing a count wishing to exercise the droit du seigneur with the bride on her wedding night and, worse still, making their aristocratic boss look like a fool before his entire household was just too threatening to the status quo. Since there was always a rebellious, irreverent streak in Wolfgang Amadeus Mozart (1756–1791), it is not surprising that this scandalous new play should have fascinated him as a subject for an opera. His ebullient Overture to The Marriage of Figaro exudes a spirit of comic bustle with prominent use of the orchestra’s comedians, the bassoons. Much of the music is macho in spirit, presaging the battle to come between two hot-blooded men, Figaro and the Count. But the ladies, Susannah and the Countess, are not forgotten: a violin melody expresses their subtler plotting which ultimately wins the day. So popular is Antonio Vivaldi’s (1678–1741) The Four Seasons today that it seems incomprehensible these four delightful concertos should have languished in the musical attic for more than 200 years after being composed around 1720. Although Vivaldi had written other concertos (he wrote some 500 in all!) with colorful titles, the Seasons took descriptive writing several steps farther by graphically illustrating four sonnets, possibly written by Vivaldi himself. We will hear the lovely, lilting “Spring,” depicted as this happiest of the seasons. Its opening movement features enchanting birdsong for the soloist and two other solo violins. The slow movement describes a goatherd slumbering in the fields; listen for the “woof-woof” of his watchful dog in the violas. The final Allegro is a pastoral bagpipe dance with the lower strings providing the drone. One of the most famous and spectacular of all J.S. Bach’s (1685–1750) works is the Toccata and Fugue in D minor for organ, written between 1703 and 1707 when he was only 18 to 22 years old. A fascinating description of the young Bach’s experimental approach to composition comes from his first biographer, Johann Forkel. He wrote that Bach began as a “finger composer,” who liked “to run or leap up and down the instrument, to take both hands as full as all the five fingers will allow, and to proceed in this wild manner till they by chance [found] a resting place.” Certainly this method seems to apply to the Toccata and Fugue’s vivid improvisational style. Nearly everything is derived from the 39

imperious descending D-minor scale that opens the Toccata as well as its ascending version — even the whirling subject theme of the fugue that follows. We’ll hear this work not on the organ but in the opulent largeorchestra arrangement conductor Leopold Stokowski made in the early 20th century for The Philadelphia Orchestra. Johann Strauss, Dvořák, and Wagner Johann Strauss II (1825–1899) would probably be amazed to know that, more than a century after he reigned as the Waltz King of Vienna, audiences in America — and indeed all over the world — would still be flocking to concerts of his dance music. For he was not trying to write music for the ages, but was instead the leading composer-performer of the Viennese popular music of his day. Of all his waltzes, none is better loved than On the Beautiful Blue Danube, which he composed during the winter of 1867. Like most of Strauss’ mature waltzes, the Blue Danube contains a series of contrasting dance melodies besides the famous tune we all know. Throughout, tempos are treated very flexibly, with a characteristic lingering on the second beat of the three-beat waltz pulse. In America, Antonín Dvořák (1841–1904) is better known for his symphonies, but his Czech compatriots love his nine operas

every bit as much. Of these, the finest is his fairy-tale opera, Rusalka, composed in 1900. Rusalka is an adaption of Hans Christian Andersen’s The Little Mermaid: a tragic tale of a water nymph in love with a human prince, here transferred from the ocean to the riverine forests of land-locked Bohemia. Although Rusalka is a fairy creature, Dvořák’s music makes her into one of the most compellingly human heroines in opera. We hear this in her gorgeous “Song to the Moon,” in which she reveals her ardent love to the night and begs the moon to tell her lover of her longing. In August 1876, Richard Wagner (1813–1883) revealed his massive cycle of four operas, The Ring of the Nibelungen, to a mesmerized audience in the small Bavarian city of Bayreuth. This mythological tetralogy — Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung — changed the face of European opera, and of much of classical music besides. From the second opera, Die Walküre, comes the most famous of all Ring passages, “The Ride of the Valkyries.” On a rocky mountain pass, Wotan’s daughters — warrior maidens or Valkyries — gather after a battle where they have rescued slain heroes to carry to new life in Valhalla, home of the gods. In this electrifying music, we hear the galloping of their airborne steeds, the rushing winds, and their fierce battle cries. Notes by Janet E. Bedell copyright 2017

MELISSA LONG, host Melissa Long is a Fort Wayne native whose love of music was nurtured by the fine arts programs of Fort Wayne Community Schools. An accomplished pianist, Melissa also studied violin and enjoys strumming her banjo and ukulele. After 31 years as a local television news anchor on WKJG and WPTA, Melissa retired in December of 2015. She now enjoys volunteering as a member of the Board of Directors of Visiting Nurses, Fort Wayne Youtheatre and the TROY Center. Melissa has performed in productions at IPFW, First Presbyterian, and the Fort Wayne Civic Theatre. This is her third appearance with the Ft. Wayne Philharmonic. She has been married to Indiana Senate President David Long for 35 years. They have two grown sons.

Madge Rothschild Foundation

asterworks

Artist Biography

VIOLETTA TODOROVA, violin In the spring of 2016, Violetta Todorova was named the Concertmaster of Fort Wayne Philharmonic. An emerging voice of her generation, Ms. Todorova holds prizes from the International Competition for Young Violinists in Estonia and the All-Russian Competition for Young Violinists in Nizhny-Novgorod, Russia and has appeared as a soloist with various orchestras and ensembles across the US, Russia, Finland, and Sweden. She has also held the Concertmaster position with the Illinois Symphony, has been an Assistant Concertmaster with the Northwest Indiana Symphony, and a part of the Colorado Symphony Orchestra. Originally from Saint Petersburg, Russia, Ms. Todorova started playing violin at the age of five. After her studies at the St. Petersburg Conservatory Preparatory School, she attended Interlochen Arts Academy and DePaul University School of Music in Chicago, where she earned her Bachelor (summa cum laude) and Master (with distinction) Degrees in violin performance, studying with one of the world’s top concert violinists and pedagogues, Ilya Kaler. During her studies at DePaul, she also served as an assistant concertmaster of the Civic Orchestra of Chicago. Todorova has also been a guest concertmaster with the Chicago Arts Orchestra, Kalamazoo Symphony Orchestra, Orchestra Iowa, South Shore Orchestra, and Lincolnwood Chamber Orchestra. In 2013 Ms. Todorova co-founded 42nd Parallel, a self-conducted orchestra in Chicago. Passionate about bringing classical music to new audiences, members of the ensemble offer performances in a variety of nontraditional venues, including black box theaters and churches.

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. The 2016-2017 season includes a concert in the inaugural season of the Midwest Mozart Festival, three cantatas and Bach’s Johannes-Passion with Grace Lutheran’s Bach Cantata Vespers, Mendelssohn‘s Psalm 42 with DePaul Community Chorus, and Vaughan Williams Sea Symphony with Fox Valley Symphony Orchestra. 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 Music of the Baroque’s Jubilate and Mother and Child CDs, and the Grant Park Music Festival Chorus’ first a cappella CD, Songs of Smaller Creatures and Other American Choral Works, which was released in 2012. 41

Sweetwater

ops

Star Wars 40th Anniversary

Thank You to the Following Sponsors:

Sponsored by Jim and Gloria Nash

Thank You to the Following Sponsors:

Sunday, April 30, 2017 • 2:00 P.M. Rhinehart Music Center, IPFW Caleb Young, conductor

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

COPLAND

“Hoe Down” from Rodeo

GROFÉ

“On the Trail” from Grand Canyon Suite

ROSSINI

Allegro Vivace from Overture to William Tell

WILLIAMS

The Cowboys Overture

FORD

Go West!

DVOŘÁK Suite in A major, Op. 98b (American) Andante Allegro

Member FDIC

Bach In The Barn 2

Thursday, May 4, 2017 • 7:30 P.M. The Old Barn at Marian HIlls Farm 5910 Maples Rd., Fort Wayne, IN Andrew Constantine, conductor Orion Rapp, oboe C.P.E. BACH Symphony No. 2 in B-Flat Major, H. 658 Allegro di molto Poco adagio Presto

Bach In The Barn

Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation Wednesday, May 3, 2017 • 7:30 P.M. The Old Barn at Marian HIlls Farm 5910 Maples Rd., Fort Wayne, IN

Thank You to the Following Sponsors: Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

Andrew Constantine, conductor Andre Gaskins, cello BACH

Brandenburg Concerto No. 3 in G Major, BWV 1048

BACH

Jesu, Joy of Man’s Desiring from Cantata 147

LEO Cello Concerto in A Major, L. 50 Andre Gaskins, cello BACH Orchestral Suite No. 1 in C Major, BWV 1066 Overture Courante Gavotte I & II Forlane Menuet I & II Bourrée I & II Passepied I & II

J.C. BACH Sinfonia in G Minor, Op. 6, No. 6 Allegro Andante più tosto adagio Allegro molto BACH (attrib.) Oboe Concerto in G Minor, BWV 1056 Orion Rapp, oboe BACH Orchestral Suite No. 3 in D Major, BWV 1068 Overture Air Gavotte I & II Bourrée Gigue

Bach In The Barn 3

Friday, May 5, 2017 • 7:30 P.M. The Old Barn at Marian HIlls Farm 5910 Maples Rd., Fort Wayne, IN Andrew Constantine, conductor Violetta Todorova, violin (Biography on page 41) BOYCE Sinfonia No. 5 in D Major Allegro ma non troppo — Adagio — Allegro assai Tempo di Gavotta Tempo di Menuetto ALBINONI

Adagio in G Minor for Organ and Strings (Giazotto)

BACH Violin Concerto No. 1 in A Minor, BWV 1041 I. [No tempo indicated] II. Andante III. Allegro assai Violetta Todorova, violin

BACH Orchestral Suite No. 4 in D Major, BWV 1069 Overture Bourrée I & II Gavotte Minuet Réjouissance

Artist Biography

ANDRE GASKINS, cello

ORION RAPP, oboe

Principal Cellist of the Fort Wayne Philharmonic, Andre J. Gaskins enjoys a diverse musical career as cellist, conductor, composer and music educator.

Orion Rapp holds the Margaret Johnson Anderson Principal Oboe Chair with the Fort Wayne Philharmonic, a position he has held since the fall of 2013. He has also served as Principal Oboist of the Illinois Symphony Orchestra since 2009, where he is regularly featured as a soloist. Orion maintains an active performance career outside of Indiana. He has performed as principal oboist with the San Diego Symphony, the Mansfield Symphony Orchestra, and the Opera in the Ozarks Opera Orchestra. Orion has also performed with the San Diego Lyric Opera, and the La Jolla Music Society Summerfest Orchestra. Orion made his New York debut in 2013 in a production of Benjamin Britten’s opera, “The Rape of Lucretia.”An avid educator, Orion regularly coaches chamber music and teaches oboe reed-making at the historic Interlochen’s Summer Arts Camp. In addition, he has taught undergraduate chamber music at Rutgers University, and for three years Orion was a conductor and woodwind coach for the Youth Orchestra of Central Jersey in Princeton, New Jersey. Orion is featured performing and teaching on the multimedia that accompanies Bruce Pearson’s and Ryan Nowlin’s nationally distributed band method books, Tradition of Excellence.

Maintaining an active schedule as a performing cellist, his recording of Martinu’s ‘Concertino’ for the Summit Records label was nominated for the 2004 Grammy Awards, in the category of ‘Best Performance by a small ensemble (with or without conductor)’. Solo appearances with orchestra have included performances with the Indianapolis Chamber Orchestra, the Central Jersey Symphony, the Richmond Philharmonic, the Columbus Symphony Orchestra, the Richmond Symphony Orchestra, the Pro Arte Chamber Orchestra, the Fort Smith Symphony, the Carmel Symphony Orchestra and the Butler Symphony Orchestra. Mr. Gaskins has appeared as solo cellist from historic venues as the Grand Philharmonic Hall in St. Petersburg, Russian Federation to the cities of Indianapolis, Richmond, Cincinnati, Ann Arbor, Concepcion (Chile), Okinawa (Japan) and Beijing (China). Mr. Gaskins has served as the Music Director and Conductor of the Oshkosh Symphony Orchestra, the Columbus Ballet Orchestra, the University of Wisconsin Oshkosh Symphony, the Earlham College Orchestra and the Youth Orchestra of Greater Columbus. He has served as Assistant or Associate conductor with the Richmond Symphony, the Columbus State University Philharmonic and the New World Youth Orchestra. As an orchestral cellist, Mr. Gaskins served as the principal cellist of the Columbus (GA) Symphony Orchestra, the LaGrange Symphony and the Richmond (IN) Symphony. He also performs regularly as a substitute with the cello section of the Indianapolis Symphony Orchestra. While pursuing doctoral studies at Indiana University, he served as the teaching assistant to world-renowned cellist, Janos Starker. He also studied conducting with David Effron and composition with David Dzubay. An aspiring film composer, Mr. Gaskins has composed and performed original music for short films, documentaries and commercials. His music has been heard in commercials produced for American Express, Valspar and Chevrolet. Mr. Gaskins has been a faculty member of the Schwob School of Music at Columbus State University, the University of Wisconsin Oshkosh, Eastern Illinois University, Earlham College and the Brevard Music Center. In February of 2012, Mr. Gaskins made his Carnegie Hall debut, performing in Weill Recital Hall.

Artist Biography

Orion is currently a doctoral candidate (DMA) at Rutgers University and he holds a Masters degree from the Cleveland Institute of Music. His previous teachers include Nathan Hughes (principal oboist of the Metropolitan Opera Orchestra), Frank Rosenwein (principal oboist of the Cleveland Orchestra), and Dwight Parry (principal oboist of the Cincinnati Orchestra).

IPFW/SHRUTI INDIAN PERFORMANCE SERIES PRESENTS... Madge Rothschild Foundation

World-Renowned Sitar Virtuoso

Anoushka Shankar Sunday, March 26 6:00 p.m. IPFW Auer Performance Hall

DEPARTMENT OF THEATRE PRESENTS...

Admission: Students with Current School ID Are Free $10 for All Others

Tickets Available at IPFW Box Office: 260‑481‑6555 www.ipfw.edu/tickets

Four‑time Grammy®‑nominated Anoushka Shankar, “one of the greatest sitar players in the world” (Rolling Stone), will perform at IPFW. The celebrated daughter of sitar star Ravi Shankar, along with other musicians will present music that showcases the virtuosity of the Indian raga and other works by Anoushka in this intimate, heartfelt live performance in the Admission traditional style.

$5 IPFW Students and Students 18 and younger All others $18 and under

260-481-6555 ipfw.edu/tickets ipfw.edu/theatre

Mahler’s “Resurrection” Symphony Saturday, May 13, 2017 • 7:30 P.M. Embassy Theatre

Thank You to the Following Sponsors: MADGE ROTHSCHILD FOUNDATION

Andrew Constantine, conductor Katie Van Kooten, soprano J’Nai Bridges, mezzo-soprano Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Northwest Indiana Symphony Chorus, Nancy Menk, director

MAHLER Symphony No. 2 in C minor (Resurrection) I. Allegro maestoso II. Andante moderato III. In ruhig fliessender Bewegung IV. Urlicht (Primeval Light) V. Im Tempo des Scherzo

This evening’s concert is presented without intermission.

April 20–29 Williams Theatre Music by Alan Menken Directed by Bev Redman A deviously delicious and eccentric sci-fi smash musical, Little Shop of Horrors has devoured the hearts of theatre goers for over 30 years, allowing them to indulge in some pretty naughty stuff, while leaving the theatre guiltless. Who could ask for anything more?

Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, May 25 at 7:00 P.M.

Madge Rothschild Foundation

asterworks

Mahler’s “Resurrection” Symphony SATURDAY, MAY 13, 2017

Symphony No. 2 in C minor (Resurrection) GUSTAV MAHLER (b. 1860, Kalischt, Bohemia; d. 1911, Vienna, Austria) Nicknamed, though not by Mahler, “Resurrection” because its finale incorporates words from the “Resurrection Ode’ by the 18thcentury German poet Friedrich Klopstock, the Second Symphony was the first in which Mahler tried to answer through symphonic means the big questions that tormented him throughout his all too brief life. Conductor Bruno Walter, a close friend of the composer, remembered Mahler’s musing over them in his presence: “From where do we come? To where does our road take us? ... What is the object of toil and sorrow? How am I to understand the cruelty and malice in the creations of a kind God? Will the meaning of life be finally revealed by death?” In each of his symphonies from the Second on, Mahler wrestled with these cosmic questions, arriving at different answers. In the Second, he embraced the Christian promise of resurrection. (Though born a Jew, Mahler converted to Catholicism in adulthood.) The Second began its slow gestation in 1888 when Mahler was completing his First Symphony. At that time, he composed a large work called Todtenfeier (“Funeral Rites”), originally intended to be an independent symphonic poem. When the First Symphony was poorly received, he set aside orchestral composing for several years, instead concentrating on his burgeoning career as one of Europe’s most sought-after operatic conductors. But by 1893 when he had become principal conductor of the Hamburg Opera, his creative juices were flowing again. For that summer, Mahler found an idyllic retreat: the village of Steinbach-am-Attersee in Austria’s glorious Salzkammergut district of mountain-girt lakes. In such beautiful surroundings, he experienced one of his most productive summers: composing the second and third movements of the Second Symphony, for which the revised Todtenfeier would be the first movement. He also turned one of his previously composed songs, 54

Program Notes

Urlicht (“Primal Light”), based on poetry from the German folk anthology Des Knaben Wunderhorn (“The Youth’s Magic Horn”), into the sweetly childlike fourth movement. At summer’s end as he returned to his duties in Hamburg, Mahler knew he wanted to cap his symphony with a choral finale in the manner of Beethoven’s Ninth. But what text would be worthy? The composer ransacked books of poetry and philosophy that winter. On March 29, 1894, he attended the funeral in Vienna of the renowned conductor and pianist Hans von Bülow, who had championed Mahler’s conducting career while remaining unmoved by his compositions. During the service, the composer had an epiphany. As he recalled, “All of a sudden the choir ... intoned Klopstock’s ‘Auferstehn’ [‘Resurrection Ode’]. It was as if I had been struck by lightening; everything suddenly rose before me clearly! Such is the flash for which the creator waits.” When Mahler returned to Steinbach in the summer, he had already sketched some of the enormous finale — at 35 minutes it is longer than most complete symphonies — that closes with Klopstock’s radiant words sung by chorus with soprano and alto soloists. And waiting for him on a peninsula jutting out into the Attersee was the first of his Spartan one-room composing cottages, built to his specifications during the spring. On three sides, its windows framed lovely vistas of water and mountains. But they always remained closed, so that no sound from the outside world would disturb his inner music. “I’m surrounded by nothing but flowers and birds which I see but don’t hear,” he exulted in a letter to a friend. The Second’s finale was swiftly finished. Mahler chose only to use the first two stanzas of Klopstock’s Ode, adding several stanzas of his own, beginning with “O glaube” — “O believe, my heart!” — which make Klopstock’s universal statement of faith into something much more personal and passionate. The 1890s was the age of the giant orchestra, epitomized by Richard Strauss’ brilliant tone poems. Nevertheless, the “Resurrection” Symphony calls for even more instruments than was Mahler’s generous norm: ten horns and ten trumpets (some positioned offstage), an enormous percussion arsenal staffed by two timpanists and five other players, two harps,

an organ for the final moments, plus a very large mixed chorus and two soloists. For this is the most dramatic — one could even say cinematic — of Mahler’s symphonies, showing the composer’s experience in the world of opera at every turn. It begins with the death of the protagonist — Mahler identified him as the hero of the First Symphony, but he is also Everyman who faces the certainty of extinction — and closes with what Mahler scholar Henry de La Grange calls “a huge apocalyptic fresco of doomsday.” Yet amid the sonic onslaughts — including several of the most pulverizing passages in the symphonic literature — there are far more moments of great subtlety, using just a handful of players. As a conductor of genius, Mahler knew the capacities of instruments inside out; the complete orchestra, rather than the piano or violin, was his virtuoso instrument. After the fact, Mahler devised several programs to explain the extra-musical ideas and events inspiring the music. But he was concerned that they might be taken too literally. Echoing Beethoven about his “Pastoral” Symphony, he wrote: “The original aim of this work was never to describe an event in detail; rather it concerns a feeling. Its spiritual message is clearly expressed in the words of the final chorus. ... I have imagined in certain passages something like the dramatic performance of a real event. ... Yet I ask no one to follow me along this track, and I leave the interpretation of details to the imagination of each individual listener.” Nevertheless, Mahler’s programs are often illuminating, and excerpts will be quoted along with the movement descriptions. In C minor, movement one is the first of the great funeral marches that reappear throughout Mahler’s symphonies. Faster in tempo, however, than a conventional dirge, this one is full of youthful energy and audacity: Mahler’s fierce protest against death’s apparent finality. Under a ferocious string tremolo, a growling principal theme — full of gruff scales, angular dotted rhythms, and lumbering triplets — is proclaimed by unison cellos and basses; it will haunt this entire movement, often as a rumbling accompaniment. Oboes and English horn reverse this downward trend into an ascending fanfare idea that sets the march’s tone of heroic resistance. Countering the grimness, the violins offer a message of hope: a lovely melody that yearns upward to the light and is the movement’s other important theme. Also listen for an optimistic brass chorale: it is

the first hint of the finale’s Resurrection theme. This march music builds to a big climax, then subsides into a massive two-part development section. A new pastoral theme led by oboes appears here: a remembrance of life’s sweetness. The reality of death returns with crushing force as the second phase of the development opens with an explosion of sound from the battery of drums and the gong. Ultimately, this section ends in catastrophe: an ear-splitting scream of dissonant chords ending in two shattering thunderclaps. After the recapitulation of the opening music, the closing coda is quiet and fragmented. But Mahler adds a last theatrical gesture of destruction: a huge, chromatically descending scale by the full orchestra. So utterly different is the second-movement Andante that Mahler asked for a considerable pause to be taken after the first movement. In his program, he explains: “The second and third movements are conceived as an interlude. The second is a memory — a shaft of sunlight from out of the life of this hero. It has surely happened to you, that you have followed a loved one to the grave, and ... there suddenly arose the image of a long-dead hour of happiness ... you could almost forget what has just happened.” This happy memory takes the form of a graceful Austrian ländler dance, lightly scored and without a shadow. The third movement is a more disturbing interlude: the first of Mahler’s diabolical scherzos. It begins innocently enough with the music of a comical Wunderhorn song, “St Anthony Preaching to the Fishes,” Mahler composed simultaneously in 1893. But for Mahler humor and tragedy were close companions. The aggressive middle or trio section, led by brass, undermines the humor, and when the whirling scherzo returns, it has become fiercer, more dissonant, and altogether unhinged. The trio’s second appearance pushes matters over the edge, culminating in a shattering “cry of despair,” in Mahler’s words. “To someone who has lost himself and his happiness, the world seems crazy and confused, as if deformed by a concave mirror. The scherzo ends with the fearful scream of a soul that has experienced this torture.” Over the shuddering gong that closes this nightmare emerges, without pause, Mahler’s purest, most untroubled vision: the song “Urlicht,” sung by the alto soloist. Mahler asks the singer to use “the tone and vocal expression of a child who thinks he is in 55

heaven.” The music and the message of trusting faith are as sincere and uncomplicated as the scherzo’s was cynical and despairing. But such serenity is premature, and the finale opens with a reprise of the “cry of despair” from the third movement. This music returns us to the drama of the first movement and its implicit questions: what is the meaning of life, of death? It unfolds in a series of vivid musical-dramatic tableaux. We hear distant horn calls from another world. The brass chorale theme from the first movement returns, now clearly based on the old Gregorian “Dies irae” chant that obsessed so many composers. But here it is most apt, for the Day of Judgment is truly upon us! A solo trombone, then trumpet sound the Resurrection theme. Flutes and English horn introduce an anguished, fearful theme that will also reappear. In one of the most stunning moments in any Mahler score, a great crescendo of drums depicts the earth cracking open to yield its dead. A huge and surprisingly jaunty march now begins. Mahler: “The dead arise and march forth in endless procession. The great and the small of the earth, the kings and the

beggars, the just and the godless, all press forward. The cry for mercy and forgiveness sounds fearful in our ears.” In a strange passage, Mahler juxtaposes the anguished theme against a distant band playing incongruously upbeat music. A distant series of brass fanfares, which Mahler called the “Grosser Appel” or the Last Trump, sounds across the empty planet. In another spine-tingling moment, we hear the “Bird of Death” (flute and picccolo) crying out: the last sound of Earth.

Madge Rothschild Foundation

asterworks

Mahler’s “Resurrection” Texts/Translations

Urlicht O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ ich im Himmel sein!

Primal Light O little red rose! Humankind lies in greatest need! Humankind lies in greatest pain! Much rather would I be in Heaven!

The next sound issues from another world. It is the softest, most haunting of all choral entrances as the choir intones the Resurrection theme and Klopstock’s words: “Rise again, yea, thou shalt rise again.” Now with Mahler’s own words, the alto soloist and then the soprano transform the anguished theme into joy: “Oh believe, my heart ... Thou were not born in vain.” With bells and organ pealing, all the assembled forces proclaim Mahler’s triumphant if provisional answer to life’s riddle: “With wings, which I have won me, I shall soar upwards, I shall die, to live!”

Then I came onto a broad path; Da kam ich auf einen breiten Weg; Da kam ein Engelein und wollt’ mich abweisen. And an angel came and wanted to turn me away.

Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

But no, I would not be turned away! I am from God and would return to God! The dear God will give me a little light, Will light me to eternal, blissful life.

Die Auferstehung Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird, der dich rief, dir geben.

Resurrection Rise again, yes, you will rise again, My dust, after brief rest! Immortal life! Immortal life Will He, who called you, grant you.

Wieder aufzublüh’n, wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben.

To bloom again, you were sown! The Lord of the Harvest goes And gathers like sheaves, Us, who died.

O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja Dein, was du gesehnt, Dein, was du geliebt, Was du gestritten!

O believe, my heart, believe: Nothing will be lost to you! Yours, yes, yours is what you longed for, Yours what you loved, What you fought for!

WHEN THE UNEXPECTED OCCURS, CALL PAUL!

O glaube: Du wardt nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

O believe: You were not born in vain! You have not lived in vain, nor suffered!

There’s never a good time for property damage.

Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!

All that has come into being must perish! All that has perished must rise again! Cease from trembling! Prepare to live!

O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen!

O Pain, piercer of all things! From you I have been wrested! O Death, conqueror of all things! Now you are conquered!

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben!

With wings I won for myself, In love’s ardent struggle, I shall fly upwards To that light which no eye has penetrated! I shall die so as to live!

Aufersteh’n, ja aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Rise again, yes, you will rise again, My heart, in the twinkling of an eye! What you have conquered, Will bear you to God!

YOUR EMERGENCY IS OUR EMERGENCY.

Whether it’s water, fire, mold, storm or any other devastating event, it can leave you feeling helpless. Paul Davis is here for you. We have the training and expertise necessary to completely restore your property fast.

Paul Davis of Northeast Indiana

1-800-436-7510 WhyCallPaul.com ©Paul Davis Restoration, Inc. Each franchise office independently owned and operated.

Artist Biography

Madge Rothschild Foundation

asterworks

Artist Biography

Madge Rothschild Foundation

asterworks

KATIE VAN KOOTEN, soprano

J’NAI BRIDGES, Mezzo-soprano

American soprano Katie Van Kooten’s operatic and concert appearances continue to thrill audiences and earn her praise for using her “powerful, gleaming soprano” to bring vibrancy and life to all of her performances. Of her recent role debut as Tatyana in Tchaikovsky’s Eugene Onegin, the Houston Chronicle wrote, “Her singing is extraordinary in its radiance, power and sheer expressiveness. Her “Letter Scene” alone, would be reason enough to attend.”

American mezzo-soprano J’Nai Bridges, known for her “rich, dark, exciting sound” (Opera News) is quickly becoming one of the most sought-after talents of her generation.

In the current season Ms. Van Kooten will return to the Lyric Opera of Kansas City to reprise her portrayal of the Countess in Mozart’s Le Nozze di Figaro, and will return to the Baltimore Symphony Orchestra for Beethoven’s Ninth Symphony conducted by music director, Marin Alsop and the Oregon Symphony for Mozart’s Requiem, conducted by Jean-Marie Zeitouni. The 2015-16 season saw her return to Houston Grand Opera as Tatyana in Eugene Onegin, as well as concert appearances with the Minnesota Orchestra for Strauss’ Four Last Songs and Mahler’s Symphony No. 4 under the baton of music director Osmo Vänskä, and Beethoven’s Ninth Symphony with the Oregon Symphony. A graduate of the Guildhall School of Music and Drama in London, Ms. Van Kooten studies voice with Rudolf Piernay. She received her Bachelor’s degree in vocal performance from Biola University where she studied with Dr. Jeanne Robison and is a graduate and perpetual member of the Torrey Honors Institute.

In the 2016-17 season, J’Nai will make debuts at San Francisco Opera and Bavarian State Opera as Bersi in Andrea Chénier, at Los Angeles Opera as Nefertiti in Akhnaten, and at Vancouver Opera as Sister Helen Prejean in Jake Heggie’s Dead Man Walking. As a young artist with the Glimmerglass Music Festival, J’Nai covered Cherubino in Le nozze di Figaro, and Mrs. Jenks in Copland’s The Tender Land, and sang the title role in Carmen. Additional engagements while a resident artist at the Ryan Center include the title role in Act IV of Carmen for Stars of Lyric Opera, Dorabella in Act I of Così fan tutte for the Grant Park Music Festival, and appearances as a Flower maiden in Parsifal, the Second Wood Nymph in Rusalka, and the Second Maid in Elektra with Chicago Lyric Opera. In 2015, J’Nai represented the United States at the prestigious Singer of the World Competition in Cardiff, Wales. Additionally, she was the recipient of a 2016 Richard Tucker Career Grant, a first prize winner at the 2016 Francisco Viñas International Competition, a first prize winner at the 2015 Gerda Lissner Competition, a recipient of the 2013 Sullivan Foundation Award, a 2012 Marian Anderson award winner, the recipient of the 2011 Sara Tucker Study Grant, the recipient of the 2009 Richard F. Gold Grant as the singer with a promising operatic career, and the winner of the 2008 Leontyne Price Foundation Competition.

CANTERBURY SCHOOL

A native of Lakewood, Washington, J’Nai earned her Master of Music degree from the Curtis Institute of Music, and holds a Bachelor of Music degree in vocal performance from the Manhattan School of Music.

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

Personal Direction: William G. Guerri, Vice-president Columbia Artists Management, LLC (212) 841-9680 guerri@cami.com

Artist. Athlete. Scholar. Inquire today! • canterburyschool.org • 260.407.3553 Financial assistance available Canterbury seeks to enroll students of all races, colors, religions and national or ethnic origin.

Northwest Indiana Symphony Chorus

Madge Rothschild Foundation

asterworks

Artist Biography

NORTHWEST INDIANA SYMPHONY CHORUS

DR. NANCY MENK, Director, Northwest Indiana Symphony Chorus

The over Northwest Indiana Symphony Chorus is comprised of gifted vocalists from the Chicagoland area who share their talents with the Chicago Symphony on a volunteer basis.

Nancy Menk holds the Mary Lou and Judd Leighton Chair in Music at Saint Mary’s College, Notre Dame, Indiana, where she is Professor of Music, Director of Choral Activities, and Chair of the Music Department. She also teaches graduate conducting at the University of Notre Dame. At Saint Mary’s College, Dr. Menk conducts the Women’s Choir and the Collegiate Choir, teaches conducting, and prepares the Madrigal Singers for the annual Christmas Madrigal Dinners. Under her direction, the Women’s Choir has performed on tour throughout the United States and it regularly commissions, performs, and records new works for women’s voices for their series on the ProOrgano label. In February 2005 they performed for the ACDA National Convention in Los Angeles, CA, and in June 2012 they performed for the ACDA National Symposium on American Choral Music in Washington, DC. They made their first international tour visiting China in March 2011, and were named second place winners of The American Prize in Choral Performance for 2012.

Led by Nancy Menk, the Chorus will perform during the 2016-2017 season with the Chicago Symphony on the following concerts: Celebrate 75! (September 30, 2016 at the Star Plaza Theatre), Holiday Pops (December 8, 2016 at the Star Plaza Theatre), and Beethoven & Bernstein (March 24, 2017 at The Auditorium at Bethel Church, Crown Point). Established in 1987, the Northwest Indiana Symphony Chorus has performed with the Chicago Symphony in everything from Requiems to Reggae. This talented group is the choral component of the Symphony Society, providing added texture and versatility to the Symphony’s performance repertoire. Recent repertoire includes Beethoven’s Ninth Symphony, Bernstein’s Chichester Psalms, Requiems by Fauré, Duruflé and Verdi, Holst’s The Planets, Orff’s Carmina Burana, and Strauss’ Die Fledermaus, plus Bizet’s Carmen with the The Patrick G. and Shirley W. Ryan Opera Center. The Chorus occasionally presents its own Sing-Along Messiah or other concerts of Choral Masterworks. SOPRANO Crystal Chandler Shirley Comer Rhonda Crouch Sarah-Kate Davidson Anjali Dziarski Betty Duwer Melissa Goodwin Mary Henrich Kathi R. Jones Linda Kennedy Donna Krumm Karen Lounsbury Joy Masson Cindy McCraw Diane Needles Kathleen Orgel Courtney Palasz Linda Pancheri Brenda Pollalis Jennifer Rausei Stephanie Sepiol Linnetta Taylor Alexis Wade Cristin Zilz Joy Brown Jill Cooke Sally Dubois Sarah Emery Gayle Faga Maureen Huizenga Kathy Johnson Diana Kovach 60

Madge Rothschild Foundation

Nicole Kovach Janet Leatherman Krystal Levi Kathy Madgiak Diana Murray Kathy Pacholski Phyllis Palmquist Alison Powell Maggie Reister Sheree Richardson Lovetta Tindal Marisa Valdez Dana Zurbriggen ALTO Elizabeth Bessette Melissa Burgess Christina Dougherty Jan Hosna Prudence Leslie Tracie Martin Beth Moreno Sherry Peters Geraldine Rainey Joan Sporny Pat Urban Jenna Vasaitis Kathleen Wahlman Jane Walker Mary Wells Beth Zagrocki Stacey Augle Maris Beswick

Lauren Erickson Mary Fox Roberta Gadomski Kate Hutton Natalie Lukich Patrice Martin Karen O’Brien Tina Ostrom Deborah Bleeke Sanjour Joann Wleklinski Sheila Wood Janet Yehnert TENOR Jack Chavez Matt DeSchepper Paul Huizenga Jim Kreger Richard Lynch Thomas Olsen Mike Spurlock Richard Yehnert James Gazdick Charles Gierse Richard Hagelberg Barry Halgrimson Dean Leensvaart Doug Wiseman

BASS Doug Amber Lee Amstutz Bill Bebout Scott Enloe Roy Hamilton Mark Kurowski Richard Pacholski Ed Palmisano Theodore Rosdil Ken Tazelaar David VanDerMolen Mark Webster Tim Duncan Tom Jenkins Ron Jongsma Clement Lessner Ed Lindquist William Radell Glen Richardson David Schoon Bill Westerhof

She is founder and conductor of the South Bend Chamber Singers, an ensemble of 32 select singers from the Michiana area. In 2000, the Singers were one of five finalists for the prestigious Margaret Hillis Award for Choral Excellence, given annually by Chorus America, and in 2004 they won the ASCAP/Chorus America Award for Adventurous Programming. They were invited to perform for the American Choral Directors Association Central Division Conference in Fort Wayne, Indiana in March 2012. The Chamber Singers were finalists for The American Prize in 2012 and 2013. Both the Saint Mary’s Women’s Choir and the South Bend Chamber Singers regularly commission, perform, and record new works. Dr. Menk has been a conducting participant in the National Conductor’s Symposium with the Vancouver Chamber Choir and the Oregon Bach Festival. She is Editor of the Saint Mary’s College Choral Series, a distinctive series of select music for women’s voices published by earthsongs of Corvallis, Oregon. Along with Dr. James Laster of Shenandoah Conservatory, she has prepared an annotated bibliography of women’s choir resources, which has been published by the American Choral Foundation. Dr. Menk serves regularly as a guest conductor and choral adjudicator throughout the United States. She has conducted All-State Choirs in Colorado, Delaware, Indiana, Kentucky, North Dakota, and Pennsylvania. In August 2011, she served as guest conductor for the Hong Kong Youth Music Camp Chorus. She has conducted 6 Carnegie Hall concerts, including the Carnegie Hall premiere of American composer Carol Barnett’s The World Beloved: A Bluegrass Mass. She returned to NYC in November 2014 to conduct a concert of music by American composer Gwyneth Walker at Lincoln Center’s Alice Tully Hall. She holds the B.S. and the M.A. degrees in Music Education from Indiana University of Pennsylvania, and the M.M. and the D.M.A. degrees in Choral Conducting from the University of Cincinnati College-Conservatory of Music.

The Philharmonic Friends are friends, indeed. In addition to supporting the orchestra, the friends sponsor education opportunities for the entire community. The main focus is music education for children learning to play a musical instrument, but the Friends sponsor other education programs as well. See the full descriptions below of the programs that are sponsored by the Philharmonic Friends. To join the Philharmonic Friends and lend your talents to these programs and to fundraising to finance these programs, contact John McFann at fwphilfriends@aol.com or call him at 260-433-6691. Our mission and purpose at the Philharmonic Friends since 1944 has been to support the orchestra, to discover and encourage musical talent, and to promote musical education for all ages. Listed below are some of the ways that we do this in Fort Wayne: Young Artists’ Competition – For serious music students within a 100 mile radius of Fort Wayne, the competition provides an opportunity for young artists to perform for qualified judges other than their teachers. They receive valuable insights as well as an opportunity to win prize money. The 2017 competition is scheduled for March 26 at IPFW. The winner in the senior division will have an opportunity to perform with the Philharmonic Orchestra. Hospitality – Friends members provide housing for out-of-town musicians as needed as well as snacks for the musicians during the Friday rehearsals prior to the Masterworks concerts. Friends also provide transportation from airport to hotel for out-of-town musicians. Instrument Loan Program – The Friends ensure that any child who wants to learn to play a musical instrument will have one available. The instruments are maintained by the Friends and may be used for school music classes or private lessons. We are currently helping 40 students with this program. Instrument Playgrounds – People have an opportunity to handle some of the orchestral instruments and try them out. We say this is for children, but adults enjoy the playgrounds too. Student Scholarships – The Friends provide financial aid to promising students who need assistance in meeting the cost of private lessons in voice or orchestral instruments.

Music Director

his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.”

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

A British Council scholarship took Constantine to the Leningrad State

Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met”. In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art”. Earlier in 1991 Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending

Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including, The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Degree of Doctor of Music by the University of Leicester for his “contribution to music.” Constantine’s repertoire is incredibly broad and, whilst embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable, we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but keep the flame of belief

alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of Music Director of the Reading Symphony Orchestra in Pennsylvania – after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates. Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as, “the best concert in the last ten years.” Other recent engagements include concerts with the Orchestra Sinfonica Siciliana in Italy, the NWD Philharmonie in Germany and the St. Petersburg Philharmonic in Russia. Forthcoming engagements include the New Jersey Symphony, a return to the St. Petersburg Philharmonic the Filarmonica de Gran Canarias and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.

Assistant Conductor

Chorus Director

CALEB YOUNG

BENJAMIN RIVERA

Caleb Young was most recently named Assistant Conductor with the Fort Wayne Philharmonic. Young will serve as cover conductor to all Masterworks and other selected programs, and will conduct various concerts throughout the season including Pops, Family, Education, and ballet.

Benjamin Rivera has been Artistic Director and conductor of Cantate Chicago since December of 2000. He has prepared and conducted choruses at all levels, from elementary school through adult, in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. He prepared the Fort Wayne Philharmonic Chorus and members of Cantate for a performance of William Walton’s Belshazzar’s Feast in March of 2013. He was appointed director of the Fort Wayne Philharmonic Chorus in the fall of the same year. He has also served as Guest Chorus Director of the Grant Park Music Festival in Chicago.

Young also serves as founder and conductor of KammerMahler, a daring mobile chamber orchestra. Founded in 2013, KammerMahler focuses on presenting the music of Mahler in a fresh and intimate medium. KammerMahler has recorded and released the World Premiere album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9. This summer, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the Salzburg Festival. During the festival’s Don Giovanni production, he filled in last minute, conducting the off-stage banda with members of the Vienna Philharmonic. Young has also been selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross, and as Assistant Conductor for the National Music Festival. Other ensembles Young has conducted include the Fort Worth Symphony, the Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations such as the St. Louis Symphony, Atlanta Opera, Portland Symphony, National Music Festival and the Jacobs School of Music at Indiana University. A native of Asheville, North Carolina, Caleb started his musical training on piano at the age of three. Young received his Master’s Degree in orchestral conducting from Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

In his nineteenth season as a member of the Chicago Symphony Chorus, including twelve seasons as bass section leader, Rivera also sings professionally with Chicago a cappella, the Grant Park Chorus, and many other ensembles. He is a frequent soloist, appearing with these ensembles and others, most often in sacred and concert works. He has sung across the U.S., and can be heard on numerous recordings. He has been on the faculty of several colleges and universities, directing choirs and teaching voice, diction, music theory, and history. In addition, he has adjudicated many competitions (solo and ensemble), led numerous master classes and in-school residencies, and he has presented at the Iowa Choral Directors Association summer conference. Especially adept with languages, Benjamin Rivera frequently coaches German and Spanish, among several others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies also have included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. In 2011, he researched choral rehearsal and performance practice in Berlin, Germany. Benjamin Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

The Phil Chorus Board of Directors OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Carrie Viet, Secretary

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

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Veit Greg White 67

Youth Symphony Orchestra Conductor

Youth Concert Orchestra Conductor

DAVID COOKE

MARCY TRENTACOSTI

David began his musical studies at the age of 9 in his hometown of Canton, Ohio. He received a B.M in trombone performance from The Ohio State University and a M.M. in trombone performance with an emphasis on orchestral conducting from the Cleveland Institute of Music. David has performed with the Cleveland Orchestra, Columbus (Ohio) Symphony and the Indianapolis Symphony Orchestra. He is currently in his 28th year as principal trombonist with the Fort Wayne Philharmonic. In addition to his regular duties, he has performed as soloist, and as guest conductor on numerous occasions with the Philharmonic. David studied conducting with Craig Kirchhoff, Harvey Benstein, Carl Topilow, Louis Lane, and J. Ted Wenger.

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

He is currently in his 24th season as conductor of the IPFW Community Orchestra. David has been invited to conduct the Fort Wayne Philharmonic in several performances over the years, ranging from children and family concerts to Holiday Pops and community outreach performances. For the 2003-04 academic year, Cooke was appointed Interim Director of Instrumental Studies at Indiana-Purdue University at Fort Wayne. His duties included teaching studio trombone, coaching brass chamber music, conducing the university orchestra and wind ensemble, and serving as conductor for the Fort Wayne Area Community Band. David previously held this interim position in the 1998-99 academic year. David has served, during separate seasons, as the conductor of the Fort Wayne Youth Symphony. In August of 2012, he was appointed Music Director of the Youth Symphony. David is a proud member of Phi Mu Alpha Sinfonia, the International Trombone Association and the American Federation of Musicians, local 58. He has served as instructor of trombone at IPFW since 1989. David lives in Fort Wayne with his husband, Kyle, their 2 dogs, Ollie and Gizmo, and 2 cats, Tina and Milly. He loves the music of Prince and insists that he is the biggest Ohio State football fan you will ever know!

She participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago ; Bach, Beethoven, Breckenridge Music Festival in Breckenridge, Colorado and served as Concertmaster of the Marion Philharmonic . As an educator she has taught at Snider High School, Woodside Middle School, Canterbury School and Blue Lake Fine Arts Camp. In 2012, she received an Arts United Artie Award for “Outstanding Music Educator.” In addition to performing and conducting the Fort Wayne Philharmonic Youth Concert Orchestra since 2010, she maintains a private teaching studio for the IPFW Community Arts Academy, teaches violin and String Techniques for the IPFW Department of Music and is the Director & Founder of the IPFW Community Arts Academy Summer String Camp. Marcy is an active member of Sigma Alpha Iota in which she has held several offices, ASTA (American String Teachers Association), IMEA, serves on the board of the Philharmonic Friends and is currently faculty adviser for the SAI Zeta Psi Collegiate Chapter. Marcy is married to bassoonist, Mike Trentacosti.

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

www.TowneHouse.org

Lives In Music: Celebrating 40 Years of the Fort Wayne Philharmonic Chorus, Part II

the intense preparation required for that performance.

Celebratin g Fo rty Years

Anniversary 1976 - 2016

“It stretched us, and was a challenge. I never had to work that hard.”

While singing in a choir is thoroughly enjoyable and rewarding, it also takes a lot of work and concentration. When asked about the early days of the Fort Wayne Philharmonic Chorus, the five founding members, Lenore DeFonso, Sara Davis, Cher Griswold, Sarah Reynolds, and Lea Woodrum, fondly recounted many anecdotes. “It used to be a fledgling group,” said one. “We all arrived on the scene at slightly different times.” “We don’t remember the auditions – we try to forget them!,“ said another. These five women have been in the Chorus for a good part of their lives. While they took time off to raise children, go back to school, cater to family needs, and sing with other groups, the Fort Wayne Philharmonic Chorus has remained a constant for all of them. Even more touching is how much they value the relationships they’ve forged through singing. Personal bonds of all types were developed through the Chorus. One soprano met a tenor in the chorus, subsequently they were married, and now have four children. Some Chorus members had children who have gone on to become singers in other groups. “The Chorus got me through some bad times,” said one. “When my job was rough, and I was tired, I would drag myself to rehearsal and it would give me tremendous energy, it lifted my mood,” she said. The founders fondly remembered mundane but also unusual details of

Three generations of the Boys family carry on the choral tradition.

Another remembers “going around to perform in all of the local churches. In churches we reached people who wouldn’t normally go the concerts.”

New York City trip (left to right ) Lenore Defonso, Sara Davis, Sarah Reynolds, Lea Woodrum, and Cheryle Griswold

their experiences, including carpooling to rehearsals, and colorful moments like buckets on the stage collecting water from a leaky roof, and a stray bird flying around a rehearsal. All remembered former director John Loessi, now deceased, and his rather unusual manner of obtaining results. “He used to say, “Practice makes permanent,” said one. “You have to sing with your ears…..gird up your loins.”” Another of his memorable expressions was “You were born in rhythm and by God you’re going to sing in rhythm.” One funny incident occurred in the late 1980s when the Chorus was invited to sing at Avery Fisher Hall in New York City. “John insisted on wearing his cowboy boots all over the city, and got blisters so bad that he had to buy sandals to wear for the rest of the trip,” said one. For one a musical highlight of these forty years included Mozart’s Grand Mass in C at the First Wayne Street United Methodist Church. Music Director Edvard Tchivzhel had the

John Loessi

Chorus seated in the rear of the sanctuary, with the audience placed where the performers usually sit. “Tchievzel was in his element – he outdid him self emotionally,” she said. Another involved a performance, led by Loessi, who had programmed an avantgarde work by the 20th century Polish composer Krzysztof Penderecki. “We sang the piece, then he made us sing it again,” said one founder. “The audience sat in stunned silence and the Chorus was in shock.” Among other highlights included joining in performances with guest choruses, which they all considered a real boost, fun concerts of PDQ Bach, singing at TinCaps games, performances in Van Wert and at Goshen College, and for Patriotic concerts at the Foellinger Theatre. Off stage, legendary Chorus parties were remembered fondly by all.

Edvard Tchievzel and friend.

Others recalled specific works that stretched their imaginations and abilities. William Walton’s Belshazzar’s Feast was “lots of work” and hard to put together. One founder said she would never forget

When asked why they stayed in the Chorus so long, the resounding answer was a love for the music and the camaraderie and friendship the founders have formed with other Chorus and Orchestra members. “It feeds my soul, and I love the music. Singing is my thing, and I like the feeling of being in harmony with others.” “People stay connected – it’s like a family. Even if some have left the Chorus, it is good to know that they have stayed with music.” When asked about the future of the Fort Wayne Philharmonic Chorus, all were enthusiastic that so many young people are joining their ranks, a real testament to Chorus Director Benjamin Rivera. Congratulations to all the founding, former, and current members of the Fort Wayne Philharmonic Chorus, now celebrating 40 years of distinguished service to this community. Thank you for shaping and enriching the lives of countless people, for inspiring and encouraging audiences, and for singing passionately. About the Fort Wayne Philharmonic Chorus: The Philharmonic Chorus is comprised of volunteers from the community who come from all walks of life. The Chorus performs many concerts each season with the Fort Wayne Philharmonic, including choral masterworks, pops concerts, chamber orchestra performances, and the annual Messiah by Candlelight. The Philharmonic Chorus continues to provide outstanding music for all Northeast Indiana communities and is a key voice of the Fort Wayne Philharmonic.

ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

Fort Wayne Philharmonic Orchestra Roster

ANDREW CONSTANTINE MUSIC DIRECTOR IONE BREEDEN AUER FOUNDATION PODIUM

CHAMBER MUSICIANS

CALEB YOUNG ASSISTANT CONDUCTOR BENJAMIN RIVERA CHORUS DIRECTOR LOUIS BONTER PODIUM VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair David Ling Alexandra Tsilibes Pablo Vasquez Kristin Westover Dessie Arnold Zofia Glashauser Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan

VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun

Theodore E. Chemey III Erin Maughan Erin Rafferty

FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair

CELLO Andre Gaskins, Principal Morrill Charitable Foundation Chair

Vivianne Bélanger Virginia R. and Richard E. Bokern Chair

Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens Joseph Kalisman Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair HORN Michael Lewellen, Principal Mr. & Mrs. Arthur A. Swanson Chair J. Richard Remissong John D. Shoaff Chair Michael Galbraith Walter D. Greist, MD Family Chair Katherine Loesch

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

PERCUSSION Scott Verduin,* Principal June E. Enoch Chair Alison Chorn Acting Principal Kirk Etheridge North American Van Lines funded by Norfolk Southern Foundation Chair Ben Kipp Patricia Adsit Chair

Jim Kraft Acting Second Trombone BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach English, Bonter, Mitchell Foundation Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair

*Leave of Absence for the 2016/17 season

CONTRIBUTING MUSICIANS VIOLIN Shanna Brath Rachel Brown Lipeng Chen Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Dmitriy Melkumov Caleb Mossburg Emily Nash Michael O'Gieblyn Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Lauren Tourkow Jessica Wiersma

VIOLA Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

OBOE Jennet Ingle Stephanie Patterson Aryn Sweeney Sarah Thelen

CELLO Martin Meyer Heather Scott Gena Taylor

CLARINET Elizabeth Crawford Dan Healton Dan Won

BASS Brad Kuhns

BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won

FLUTE Kayla Burggraf Alistair Howlett Patricia Reeves

BASSOON David Husby Michael Trentacosti

CONTRA-BASSOON Alan Palider Keith Sweger

TUBA Manny Colburn Matt Lyon

HORN Gene Berger Kurt Civilette Charlotte O’Connor James Rester Kenji Ulmer

PERCUSSION Renee Keller Kevin Kosnik Parker Lee Jerry Noble

TRUMPET Brittany Hendricks Douglas Hofherr Greg Jones Dan Price TROMBONE Jamie Foster Loy Hetrick

KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

Fort Wayne Philharmonic Board

Fort Wayne Philharmonic Staff

BOARD OF DIRECTORS

ADMINISTRATIVE STAFF

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

George Bartling Thomas Cain Vicky Carwein Anita Cast Sherrill Colvin Kevin Dwire Ben Eisbart Dennis Fick Carole Fuller Cynthia Fyock

Michael Galbraith Mark Hagerman Leonard Helfrich Vicki James Pamela Kelly Carol Lindquist Kevin Lowe Greg Marcus Eleanor Marine Nick Mehdikhan

Sharon Peters Melissa Schenkel Jeff Sebeika Carol Shuttleworth Philip Smith Nancy Stewart Chuck Surack Barb Wachtman Daryl Yost Alfred Zacher

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

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

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1775 1975-1977 1977-1979 1979-1981

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

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

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

James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Scott Stolarz Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Ryan Pequignot Stage Manager EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator

DEVELOPMENT Clarissa Reis Assistant Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Development Coordinator FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager

Joseph Kalisman Youth Orchestra Manager Derek Reeves Lead Instructor, Club Orchestra program

*Indicates Deceased 75

Fort Wayne Philharmonic Chorus Roster

Fort Wayne Philharmonic Youth Orchestra Rosters

Benjamin Rivera, Director • Jonathan Eifert, Assistant Chorus Director

Fort Wayne Philharmonic Youth Symphony Orchestra David Cooke, Conductor

SOPRANO Ashley Adamson Karen Campbell Sheila ChilcoteCollins Kaitlin Clancey Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Katy Hobbs Carole Jackson Jill Jeffery Natasha Kersjes Maria Kimes Sara Kruger Jane Meredith LeeAnn Miguel Meg Moss Rachel Parker Brenda Potter Clarissa Reis

Rita Robbins Mary Snow Sherrie Steiner Sue Stump Carrie Veit Sarah Vetter Stephanie Wuest ALTO Nancy Archer Caitlin Banton Cathryn Boys Ronnie Brooks Nancy Brown Jeri Charles Caitlin Coulter Lenore DeFonso Joy Jolley Joan Gardner Mary Gerken Ronnie Greenberg Sandra Hellwege Joy Jolley

Darah Jones Jody Jones Susan Maloney Sharon Mankey Tara Olivero Cheryle Phelps- Griswold Sarah Reynolds Paula Neale Rice Cindy Sabo Hope Swanson Smith Sue Snyder Sunny Stachera Ruth Trzynka Frédérique Ward Gretchen Weerts Mary Winters Lea Woodrum TENOR Michael Bienz Matthew Bowman Garrett Butler

Thomas Cain David Courtney Sarah Kindinger John T. Moore Nathan Pose Mark Richert John Sabo Greg White BASS Thomas Baker John Brennan Thomas Callahan Jon Eifert Gerrit Janssen Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Kent Sprunger David Tovey

VIOLIN 1 Morgan Bland Anna Stout Mishael Paraiso Wendy Kleintank Jelena Nguyen Mikayla Surface Miranda Bartz VIOLIN 2 Miles Nicholson Sara Diem Anna Haggenjos Victoria Wood Julia Eifert Christina Park Krissy Brumbaugh Hannah Hobson VIOLA Jodi Sarno Leeza Gallagher Dana Kiefer Grace Henschen

CELLO John Sarno Lydia Harrison Jeremiah Tsai Maria Teel Helen Wargo Ramie Kuhns Kyra Warren Samuel Scheele Ethan Hart STRING BASS Graydon Brath FLUTE Hildie Matter Megan Tarlton Madison Yoder Mayah Yacoob Alyssa Parr PICCOLO Alyssa Parr

OBOE Rachel Gripp CLARINET Joe Crawford Stephen Tsai

TUBA Spencer Mohre Brody Watkins HARP Michaela Yaste

BASSOON Benjamin Kammerer

PIANO Allyn Beifus

FRENCH HORN Nathan Merz Abigail Smith Maiah Deogracious

TIMPANI Allyn Beifus

TRUMPET Jarod Lewis Ethan Wood

PERCUSSION Ethan Coplin

TROMBONE Spencer Mohr

Fort Wayne Philharmonic Youth Concert Orchestra Marcy Trentacosti, Conductor

melodious

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

VIOLIN 1 Lydia Bingamon Co-Concertmaster Mikhayla Palicte Co-Concertmaster Alisha Babu Sydnee Fritz Reganne Ackmann Lucas Valcarcel Clara Bingamon Daniel Liu Ella Hildebrand Sophie St. John Court Wagner VIOLIN 2 Isabel Carrillo Principal Elisabeth Rowdabaugh Trinity Forish Alexis Clarke John Copeland Yebin Jeong

Juliette Mikautadze Kieran Niska Cora Fritz Lauryn Wulliman Emily Mosher Kaitlyn Jones VIOLA Lucas Drake Dillon Jackson Amir Pierre-Lewis CELLO Edward Sun Shaan Patel Destiny Seelig Maria Tan Adam Donat STRING BASS Henri Spoelhof Twyla Herron

FLUTE Sarah Hobson Chloe Morton

TROMBONE Spencer Mohr Noah Jeong

OBOE Laurel Morton Kevin Wang Andy Deng

TUBA Brody Watkins

CLARINET Isaac Bailey Abigail Johnson Marlena Haefner FRENCH HORN Megan Merz Hannah Offhaus TRUMPET Sam Parnin Faith Allison Audrey Germain Rylee Eagleson

PERCUSSION Evelyn Rowdabaugh Andy Deng Hailey Sandquist Rex Scheele PIANO Lucas Drake Kevin Wang HARP Michaela Yaste

Series Sponsors

Madge Rothschild Foundation Masterworks

asterworks

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

STAR Family Series

amily

JIM MARCUCCILLI - President and CEO, STAR Bank

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

Sweetwater Pops

ops

CHUCK SURACK Founder and President, Sweetwater Sound, Inc.

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

Brotherhood Mutual Insurance Freimann

reimann

MARK ROBISON - Chairman & President, Brotherhood mutual insurance Co.

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

Ambassador Enterprises Chamber Series

Steel Dynamics Regional Patriotic Pops

hamber

atriotic Pops

Orchestra Series

ARLAN FRIESEN - President, Ambassador Enterprises

Ambassador Enterprises is proud to support The Fort Wayne Philharmonic and the Chamber Orchestra Series. We tremendously value the shared experiences that The Phil creates in our community. Thank you to the talented people on and off stage that make each performance possible.

MARK MILLETT - President & CEO, Steel Dynamics

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

Parkview RMC Regional Holiday Pops

oliday Pops

Mike Packnett - President & CEO, Parkview Med Center

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

Sponsors

CONCERTMASTER $500 to $999

Annual Fund Individuals

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

ChromaSource Inc. Monarch Capital Management, Inc. Paul Davis Restoration & Remodeling

Unified Wealth & Retirement Planning UniFirst

For information about supporting the Philharmonic’s 2016/17 Annual Fund, contact the Development Office at 260•481•0775. FOUNDERS SOCIETY (GIFTS OF $25,000+)

FIRST CHAIR $300 to $499

Vicki & Rick James

Hyndman Industrial Products, Inc. Fort Wayne Alumnae Chapter of Sigma Alpha Iota

Web Industries Inc.

SECTION PLAYER $100 to $299 Downtown Improvement District EPCO Products Hagerman Construction Corp.

Psi Iota Xi - Honorary Pi Chapter Metro Real Estate Moose Lake Products Co., Inc.

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Drs. David Paul J. & Jeneen Almdale Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs. Irwin F. Deister Jr. Dr. June E. Enoch Mark O. Flanagan William N. & Sara Lee Hatlem

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

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

AUCTION SPONSORS Adler J. SalonSpa Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Biggby Coffee Black Canyon Restaurant Breakthrough Resumes Camp Timber Lake Bill & Anita Cast Ginny Clark Club Soda Country Heritage Winery & Vineyard Country Kitchen SweetArt Crazy Pinz DeBrand Fine Chocolates Della Terra Photo Eichorn Jewelry Ben Eisbart Erika’s Day Spa & Wellness Center Firefly Coffee House

Chuck & Lisa Surack, Sweetwater Sound

Fortezza Coffee Fort Wayne Children’s Zoo Fort Wayne Dental Group Fort Wayne Museum of Art Fort Wayne Parks & Recreation David S. Goodman Granite City Food & Brewery Grant Park Orchestra Headwaters Park Ice Rink Hilton Fort Wayne Diane Humphrey Jophiel Legacy Portraits by Kayte Lutheran Air James Palermo Papillon Inspirations Parkview Field Paula’s on Main Paw’s n Claw’s Putt-Putt Golf & Games Clarissa Reis

Science Central Sheridan Stables Smoothie King Sweet Aviation Sweetwater Sound The Friendly Fox The Hoppy Gnome Tin Caps Tomkinson BMW Tucanos Brazillian Grill Two EE’s Winery Unifirst Vera Bradley Vicky Carwein & Bill Andrews Vision Scapes Lawn & Landscape Warehouse Salon Wine & Canvas

Anonymous (1) George & Linn Bartling David & Janet Bell Will & Ginny Clark Mrs. Virginia Coats Andrew & Jane Constantine Ben & Sharon Eisbart

Leonard & Rikki Goldstein Patricia S. Griest Mark Hagerman Steven Hinkle Tod Kovara Kevin & Tamzon O’Malley The Rifkin Family Foundation

CONDUCTOR’S CIRLCE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs. Alfred Allina Nancy Archer Norma & Tom Beadie Anita & Bill Cast John H. Shoaff & Julie Donnell David S. Goodman Dr. Rudy & Rhonda Kachmann Mr. & Mrs. John Krueckeberg Antoinette K. Lee Drs. Carol & David Lindquist Greg Marcus Michael Mastrangelo

Michael & Carla Overdahl James Palermo The Rev. C. Corydon Randall & Mrs. Marian Randall Carolyn & Dick Sage Robert Simon W. E. Spindler Carolyn & Larry Vanice Barbara Wachtman & Tom Skillman Daryl Yost Al & Hannah* Zacher Brian & Kyla Zehr

Annual Fund Individuals

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Anonymous (3) Bill Andrews & Vicky Carwein Tim & Libby Ash Family Foundation Katherine Bishop Earl & Melanie Brooks Mr. & Mrs. Craig D. Brown Joan Baumgartner Brown Sarah & Sherrill Colvin Tom & Margaret Dannenfelser Sara Davis George & Ann Donner Anita G. Dunlavy The Dyer Family Foundation Emily & Michael Elko Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth A. Frederick Scott & Melissa Glaze William & Sarah Hathaway Leonard Helfrich Sattar & Marlene Jaboori

CONCERTMASTER (GIFTS FROM $500 TO $749) Ginny & Bill Johnson Dorothy K. Kittaka Kevin & Nicole Lowe Mr. & Mrs. Donald T. Mefford Susan & David Meyer Timothy & Jennifer Miller Greg & Barbara Myers Kathryn & Michael Parrott David & Sharon Peters Linda Pulver The Rothman Family Foundation Melissa & Peter Schenkel Philip & Rebecca Smith Nancy & David Stewart Nancy Vendrely Wayne & Helen Waters Joseph L. Weaver Lewie Wiese Virginia Lee Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (1) Dr. & Mrs. Richard N. Avdul Holly & Gil Bierman Dr. & Mrs. James G. Buchholz Barbara Bulmahn Dr. & Mrs. Jerald Cooper Keith & Kyle Davis Sandra K. Dolson Ann H. Eckrich Clayton Ellenwood Mr. & Mrs. Daniel C. Ewing Fort Wayne Philharmonic Chorus Mr. & Mrs. Michael Gavin Roy & Mary Gilliom

Floyd & Betty Lou Lancia Kathryn A. Miller Norma J. Pinney Joseph & Lindsay Platt Caroll & Bill Reitz Benjamin & Alexia Rivera Kay Safirstein Dr. Darryl & Sharon Smith Stephen R. & Anne S. Smith Kathleen M. Summers Rachel A. Tobin-Smith Herbert & Lorraine Weier Deborah Weinswig Mary Ann & Mike Ziembo

ENCORE CIRCLE (GIFTS OF $750 TO $999) Larry & Martha Berndt Janellyn & Glenn Borden Tim & Ann Dempsey Lois Guess Warren & Ardis Hendryx Mark & Debbie Hesterman Bruce & Mary Koeneman 84

David B. Lupke Anne & Ed Martin Paul & Bonnie Moore Alan & Pat Riebe Mark Troutman & Ann Wallace Kari & Jeannine Vilamaa

Anonymous (1) Jeane K. Almdale Scott & Barbara Armstrong Tony & Pat Becker Frederick Beckman Elizabeth Bueker Dr. David & Gayle Burns Andy & Peg Candor John & Janice Cox Dr. & Mrs. Fred W. Dahling Erica Dekko Bruce & Ellen England Pauline Eversole Mr. & Mrs. G.L. Guernsey Mrs. Eloise Guy Bob & Liz Hathaway Anne & James Heger Steve & Becky Hollingsworth Mr. & Mrs. Kenneth Johnson Marcia & Andy Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke Ed & Linda Kos G. Irving Latz II Fund Dr. & Mrs. John W. Lee

Stephen & Jeanne Lewis Senator David & Melissa Long Anne C. Longtine & Marco J. Spallone Paul & Pauline Lyons Peter & Christine Mallers Thomas & Dianne May Lusina McNall Nick & Amber Mehdikhan Jim & Alice Merz Paul A. Oberley Joan K. Olinghouse Brian & Sue Payne Mr. & Mrs. William Peiserich William & Sue Ransom Dr. Stephen & Carmen Reed Paul J. & Lula Belle Reiff Lance & Carol Richey Dr. Janet Schafer Robert & Ramona Scheimann Scot C. Schouweiler & Julie Keller Carl & Cynthia Thies Scott & Jenny Tsuleff Virginia & Don Wolf Lea B. Woodrum

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (3) Mary Jo & Michael Amorini Dr. & Mrs. Thomas Armbuster Mr. & Mrs. William Arnold Mr. & Mrs. Craig Balliet Matthew & Elizabeth Bechdol Michael & Deborah Bendall Annie & David Bobilya Barbara L. Boerger Jon Bomberger & Kathryn Roudebush Richard & Cathryn Boys Dr. & Mrs. Todd Briscoe Tom Cain Arlene Christ Dan & Marjorie Culbertson Mark A. Crouch George & Nancy Dodd William Easterly* Albert & Jeanne Emilian Dr. Joseph P. Fiacable John & Jane Foell Jeff Frappier Dan & Nancy Fulkerson

Cynthia & Douglas Fyock Linda Gaff Leonard Garrett Robert & Barbara Gasser Geoff & Betsy Gephart Robert & Constance Godley Mr. & Mrs. Thomas E. Green James B. Griffith Mary K. Gynn Ellen & Bishop Holliman Tom & Mary Hufford Mr. & Mrs. Arnold Huge George & Jane Irmscher Jennifer Jacobson Larry & Annette Kapp Jane L. Keltsch John Kirchhofer Steve & Rhonda Lehman Anne A. Lovett Janet & Larry Macklin Peg Maginn Scott McMeen Ray & Nancy Moore 85

Annual Fund Individuals

SECTION PLAYER, CONTINUED (GIFTS OF $100 TO $299)

FIRST CHAIR, CONTINUED (GIFTS FROM $300 TO $499) April & Charles Morrison Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Pat & Mac Parker Josh Parrish Mr. & Mrs. John M. Peters Raymond & Betty Pippert Dr. & Mrs. Fred L. Rasp Jeremy & Clarissa Reis Maryellen Rice

Martin & Rita Runge Douglas & Laura Runyan Ms. Mary Francis Schneider Chuck & Patty Schrimper Wayne & Ann Shive Fort Wayne Alumnae Chapter of Sigma Alpha Iota Sharon Singleton David T. & Nancy Sites Curt & Dee Smith

Lynda D. Smith Lois A. Steere Carol Ann Terwilliger Norma Thiele Don & Amy Urban Ronald Van Diver Marcia & Phil Wright Mr. Galen Yordy

Jim & Sue Bradley Dr. Helene Breazeale Mr. & Mrs. David C. Brennan John P. Brennan & SuzAnne Runge Roberta Brokaw Evelyn M. Brosch-Goodwin Richard & Gloria Brown David N. Brumm & Kim S. MacDonald William & Joan D. Bryant William & Dorothy Burford Mr. & Mrs. Gerald Burns Marguerite & Thom Burrell Scott & Barbara Bushnell Nancy Butler Joyce & Paul Buzzard Mary Campbell Bonnie Carroll John & Jill Case Barbara Chamberlin Jeri Charles Kathy Choka Nelson & Mary Coats Barbara Collins Matt Converse Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Gene & Carol Dominique Fred & Joan Domrow Phyllis Dunham Dr. & Mrs. John Dyer Fred & Tina Eckart Ned & Sally Edington G. Edwards Don & Mary Kay Ehlerding Cynthia Elick

Lillian C. Embick Mr. & Mrs. George Emmert Pam Evans-Mitoraj David & Mary Fink The Fitzharris/Kelly Family Michael & Marcia Flood Richard Florea Susan Fox Nathan & Angela Freier Sheryl A. Friedley Jeff Leffers & Jane Gerardot Edward J. Goetz Jr. William & Mary Goudy Janelle & Steven Graber Marcia Grant Norm & Ronnie Greenberg Don & Kate Griffith David & Myra Guilford Jonathan & Alice Hancock Brian & Barbara Harris Melissa Hartman Paul J. Haughan Dennis & Joan Headlee Jacqueline Heckler Cynthia Heffelfinger Mr. & Mrs. Martin Heiny Sandy Hellwege Ms. Julie Henricks & Mrs. Jean Henricks Anthony & Susan Henry Mayor Tom C. & Cindy Henry Lucille Hess Andrew & Katy Hobbs Tom & Jane Hoffman Doug & Karla Hofherr Michael & Suzanne Horton Phil & Sharon Howard Winifred Howe

SECTION PLAYER (GIFTS OF $100 TO $299) Ambulatory Medical Management Anonymous (9) Max M. Achleman Fritz & Sally Aichele Larry & Francine Allen Dr. Michael & Alysia Alter Thomas & Maryanne Alter Thomas Andrews Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Mel & Ruth Arnold Mr. & Mrs. Lonnie Au Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Jim & Ellen Barr Greg Batterton Mr. & Mrs. John Batuello Carla Bauman & Owen Franks Mike & Kay Bauserman Amy & John Beatty Carol M. Bennett Bix & Anita Benson Janet Bergeron Kevin Beuret Mr. & Mrs. Don Bieberich Robert & Mary Binns David W. Bischoff David Blackwell Sherry L. Blake Steve Bloomfield & Linda Tannas Virginia Bokern Bill Borgmann Barbara Boston Rebecca Bouse Dennis Bowman Anne Marie Bracht 86

Philip Hudson Marlene Huffman Mark & Karen Huntington Ed & Mary Lou Hutter Jocelyn Ivancic Carol Jackson Mr. & Mrs. Arlin Jansen Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Stephen Johnson Alex & Sharon Jokay Don & Joyce Jordan Gwen Kaag Lois Kaufman-Hunsberger Erick Keirn LuAnn R. Keller John & Lorene Kelley Dale Kelly* Sheila D. Kiefer Sarah Kindinger Linda J. Kirby Richard & Audrey Kirk William G. Knorr James & Janice Koday Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Georgia Kuhns Paula Kuiper-Moore James Larowe Sarah LaSalle Drs. Chung & Sage Lee Donna Lehman Frances LeMay & Peter D. Smith Michael & Mary Lewis Raymond & Mary Lou Loase Marlene Lobsiger Judith Ann Lopshire Frank T. Luarde Cameron & Meg MacKenzie Mr. & Mrs. Michael Makarewich Mr. & Mrs. Steven Malloris Nellie Bee Maloley Harry & Barbara Manges Ellen* & Eric Mann Jane Martin Roy & Sharon Martin Mark & Sarah Masloob Cheryl Mathews Elmer & Patsy Matthews David L. & Kathleen A. Matz Judith Maxwell Dr. & Mrs. Michael L. McArdle Diane McCammon Susan J. McCarrol

Mary McDonald Timothy McElwee John & Shelby McFann Debra McKinney Alice McRae Leanne Mensing Elizabeth Meyer Jane A. Meyer Laura Migliore* David & Ann Miller Edward Miller Dr. Scott Miller Dr. Ken & Jan Modesitt David & Linda Molfenter Tim & Noel Moore Chuck & Becky Morris Meg Moss Suzon Motz Kenneth & Linda Moudy John & Barbara Mueller Kevin & Pat Murphy Steve Naragon & Pam Higgins Ed Neufer Ron & Ruth Nofzinger Margaret Nolan Beverly Norton Harold & Martha* Oechsle Ron & Nancy Orman Mrs. Mary Jane Ormerod Dr. C. James & Susan J. Owen Betty O’Shaughnessey Emmanuel & Noemi Paraiso Penny Pequignot Gary & Alice Peterson Marianne Platt Edwin & Cynthia Powers Marvin & Vivian Priddy Helen F. Pyles Keith Raftree Roger & Catherine Rang JoEllen & Donald* Reed John & Diana Reed Bev Renbarger Anne Rettenmaier Madonna Reynolds Sarah & Richard Reynolds Mr. & Mrs. David Ridderheim Ruth & Phillip Rivard Ms. Rita Robbins Janet Roe Mr. & Mrs. John W. Rogers Rhonda & Ron Root Stanley & Enid Rosenblatt Gretchen Roth Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Samuel Savage Gail Scheithauer

Sylvia Schmidt Tom & Mary Ellen Schon Ed & Julia Schulz Mr. & Mrs. Richard Schweizer Ken & Mary Scrogham David Seligman Richard & Suzanne Shankle Elizabeth Sheets Ms. Cornelia L. Shideler Dick Sive & Ramona Naragon-Sive Mary Jane Slaton Stan & Linda Sneeringer Sharon M. Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Mr. Kenneth Stahl Don & Linda Stebing Starla Steckbeck Mr. & Mrs. Donald D. Stedge Elizabeth Stehulak David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Michael & Cheryl Summers Arthur & Karen Surguine Matt & Cammy Sutter Tim & Colleen Tan Judge Philip R. Thieme Tom & Maureen Thompson Joe & Larysa Thorsteinson Larry & Ellen Till James & Beverly Troyer Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Walter & Martini Vandagriff Dave & Sharon vonGunten Daniel & June Walcott Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick Ellen Wilson Hope Wilson Dalen & Stephanie Wuest Bob & Jan Younger Jeanne Zehr

Foundation and Public Support

PHILHARMONIC SOCIETY $1,000,000+

COMPOSER’S CIRCLE $1,000 to $2,499

Edward D. & Ione Auer Foundation

Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Judith Clark-Morrill Foundation DeKalb County Community Foundation Kenneth & Lela Harkless Foundation

MAESTOSO $250,000+ Madge Rothschild Foundation

CONCERTMASTER $500 to $999

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

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

Steel Dynamics Foundation Yergens Rogers Foundation

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

W. Gene Marcus Trust PNC Charitable Trusts Rifkin Family Foundation

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

STRADIVARIUS SOCIETY $5,000 to $9,999 3Rivers Credit Union Foundation Ecolab Foundation Charles W. Kuhne Charitable Trust Journal Gazette Foundation

Robert, Carrie, and Bobbie Steck Foundation Wells County Foundation Wells Fargo Charitable Trusts

CONDUCTOR’S CIRCLE $2,500 to $4,999 Ann and Gordon Getty Foundation BAE Systems Community Investment

Unity Performing Arts Foundation

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

Benjamin Rivera WANE-TV WOWO-FM WLDE-FM Patricia Weddle Reusser Design

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

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

Huser Charitable Foundation Noble County Community Foundation IN KIND DONATIONS

ALLEGRETTO $50,000 to $149,999 Anonymous (1) Foellinger Foundation McMillen Foundation, Inc.

Kosciusko County Community Foundation Gerald & Carole Miller Family Foundation Steuben County Community Foundation Mary E. Van Drew Charitable Foundation Whitley County Community Foundation

SIA Foundation Jennie Thompson Foundation

Benjamin Franklin

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

Endowment Fund

Endowment Contributors

SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 72-73 for musician chair endowments. Chorus Director Podium 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 Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke

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

Freimann Chamber Series In Memory of Frank Freimann BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Gloria Fink* Henrietta Goetz* Joyce Gouwens* John Heiney*

Charlotte A. Koomjohn* Sanford Rosenberg* Alice C. Thompson

In tune with Fort Wayne. Your Local Insurance Expert

Personal & Business Insurance | Employee Benefits

1111 Chestnut Hills Parkway 260.625.7500 | ONIRisk.com

The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information. Mr. & Mrs. Max Achleman Mr. & Mrs. James Ackley Dr. Verna Adams Patricia Adsit, in memory of Gaylord Adsit Mr. & Mrs. Walter Ainsworth Mr. & Mrs. Oscar Albers Sabah Al-Saud Howard &JeaneAlmdale Mr. & Mrs. James Almdale Brad Altevogt, in memory of Jeff Altevogt Mr. & Mrs. Dale Amstutz Dorothy Anglin, in memory of James Anglin Bob & Pat Anker Dr. & Mrs. James Arata Drs. William & Mary Ellen Argus Dr. & Mrs. Thomas Armbuster Dessie Arnold & Richard Dunbar Jr., in memory of Eddy & Beth Lydy Brown Mr. & Mrs. Melvin Arnold Mr. & Mrs. Richard Arnold, in memory of George & Esther Hull Karen & Gerald Arthur Barbara & Milton Ashby Irene & Jim Ator Mr. & Mrs. Edward Auer Virginia Ayers Adie & Dick Baach Mary A. Bach A. Gerald & Pauline Backstrom H. Norman Ballinger, in memory of Ann Ballinger Linda Balthaser Mr. & Mrs. James Barrett III R. Janice Barton Mr. & Mrs. Glenn Basham Norma & Thomas Beadie Arthur A. Beal Mr. & Mrs. Glen Beams Mr. & Mrs. John Beatty

Janellyn & Glenn Borden Dennis & Nancy Becker Sid & Bonnie Bostic Mary & Joseph Becker Rebecca Bouse Mike & Ellen Becker Patricia Boyle, in memory of Pat & Tony Becker B.C. Boyle, in memory of Mr. & Mrs. Charles Beckman Mary A.J. Boyle Betty & Frederick Beckman J. Charles Braden Nancy Bellinger Charlotte D. Bradley Mr. & Mrs. William Benford Kim & Dwight Brandon Mr. & Mrs. Phillip Bennett Robert Braun Colleen & Jim Benninghoff Colleen Smith Benninghoff Trust Dr. Helene Breazeale, in honor of Andrew Constantine Robert & Vera Benninghoff David & Faye Brennan Bonita & William Bernard Martha Brenner, in memory of Bethel United Methodist Elsa Brenner Church – Chancel Choir Dr. Wm. Lloyd Bridges Brenda Betley Dr. Glenn Brinker & George Bewley Ms. Willi Ratliff, in honor of Holly & Gil Bierman The Reverend Dr. Virgil Bjork, Mr. & Mrs. John Brinker Carolyn Brody in honor of the Masson Robertson Family, in memory Mrs. Robert Brokaw, in memory of Harriet Parrish of Frances Mae Bjork Roberta Brokaw, in memory Mr. & Mrs. William Black of Miriam Louise Brokaw Sherry Blake Joan Baumgartner Brown Connie & Darrell Blanton Barbara & John Bruce Dr. & Mrs. Peter Blichert Bob & Judy, in honor of Ervin Beverly & Larry Brunke Bob & Margaret Brunsman Orban, in honor of Rosemary Bucklin Christine Thompson, in James Bueter honor of David Borsvold, Barbara J. Bulmahn in honor of Deb & Andrew John & Paula Bullman Hicks, in honor of Eric Mr. & Mrs. Wayne Burnside Schweikert, in honor of Braham Dembar, in honor of Karen Butler Alexander Klepach, in honor Sean Butler & Paula George of Brian Prechtl, in honor of Dr. Carol Buttell Joyce & Paul Buzzard Bradley Thachuk, in honor of our musicians, especially Mr. & Mrs. Thomas Callison Princess Cameron those who are soloists Kevin Campbell Jocelyn & Jim Blum Isa & Elizabeth Canavati Ann & David Bobilya Alan Candioto Phyllis Boedeker Peg & Andy Candor Virginia & Richard Bokern, Mr. & Mrs. John Cantrell in memory of Loved Ones Richard Carlson Jim & Lois Boomer

Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Charles Walter Hursh, in honor of Adrian Mann Jennifer Cast Brian & Vicki Castle Donald & Sally Caudill Kim Caudill Mr. & Mrs. M. Stuart Cavell Charles Caylor, MD Mrs. Harold Caylor Mr. Michael Cayot Elizabeth & Howard Chapman Charles Chidester, in memory of Jean Chidester Mr. & Mrs. C. Gregory Childs Will & Ginny Clark Mr. & Mrs. Beresford Clarke Don Cleary Willis Clouse Mr. & Mrs. Lowell Coats Mr. & Mrs. John Coe Nancy Cole Annelie & Bob Collie, in memory of Capt. Otto Eichrodt, in memory of “Suse”Gitterman Eichrodt, in memory of Judge Turner, in memory of Mrs. Zula Collie Sherrill & Sarah Colvin, in memory of Herbert Cooper Gwendolyn & Donald Converse J. Philip & Susan Cooling Cook Patricia Cook Mr. & Mrs. Herbert Cooper Harry Crawford Dr. & Mrs. John Crawford Rosemarie & Stephen Crisafulli Kathleen & Robert Crispin Dawn, Dave & Nate Crofton Patricia & Robert Cross Brenda & David Crum Michael Crump Dr. & Mrs. John Csicsko Mr. & Mrs. King Culp Joseph Culver Gloster Current Jr. Bill & MaryAnn Dahlman Albert & Yvonne Dahm Edward & Linda Dahm Mr. & Mrs. George Davis Janet Davis Mr. & Mrs. Ronald Davis Ted Davis Judy & Wayne Dawes Cathleen & David Debbink Cindy & Mark Deister Gwen & Dick DeKay Martha & William Derbyshire Jane & Tom Dickson 92

Roslyn Didier Beverly Dildine Mr. & Mrs. John Dillard Mr. & Mrs. Lloyd Doehrmann Mr. & Mrs. Richard Doermer Mr. & Mrs. Fred Doloresco Nancy & Harley Donnell Mr. & Mrs. Richard Donnelly George & Ann Donner Mr. & Mrs. Barry Dorman Dr. Robert Doyal Mr. & Mrs. George Drew Douglas Driscoll Mr. Richard Dunbar Jr. Delores Dunham Phyllis Dunham Dr. & Mrs. John Dyer Dot & Bill Easterly Lawrence Eberbach Mr. & Mrs. Thomas J. Eckrich Mr. & Mrs. John Edris Jr. Dr. & Mrs. J. Robert Edwards Ben & Sharon Eisbart Cynthia Elick Mr. & Mrs. C.B. Ellis Jr. Constance Ellis Madelane& Ralph Elston Thomas Elyea Lillian C. Embick, in memory of Byron L. Embick Bruce & Ellen England English, Bonter, Mitchell Foundation June Enoch Dr. & Mrs. James Epps Richard Erb Mr. & Mrs. Walter Erxleben Rev. James & Helen Eshleman James Evans Trust Mr. & Mrs. Charles Eversole Dow & Angelique Famulak Dorothy Faulkner Mr. & Mrs. Robert Fay Mary Anna Feitler Susan & Richard Ferguson Vernell & Peter Fettig Charles Fine Gloria Fink Mr. & Mrs. Richard Fink Betty Fishman Margaret & Mark Flanagan Jr. Cleon Fleck Richard E. Ford Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn Theresa & Michael Franke

Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C.William Goebel Mr. & Mrs. Edward Goetz Jr. Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm Mrs. Hugo Gottesman Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty

Dave & Sandy Haist Dr. & Mrs. Fouad Halaby Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B.F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD David Kaminsakas, MD Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD Robert Swint, Sr., MD Gregory Tomlinson, MD Ravi Vaela, MD Stacie Wenk, MD Carl Wrobleski, MD Christopher Zee-Cheng, MD Ronald Heilman

John Heiney, in memory of Janet Heiney, in memory of S. Marie Heiney Leonard Helfrich Jerome Henry Dr. & Mrs. T.L. Herendeen Nancy & Philip Hershberger, MD Deborah & Andrew Hicks James & Dorothy Hilmert Ann Hoard Jenny & Andrew Hobbs Mark Hochstetler & Mary Maloney Dr. & Mrs. Arthur Hoffman Donald Hoffman Dr. & Mrs. Gregory Hoffman Colleen J. Hohn Hook Drug Foundation John & Dawn Hopkins Nancy & Tuck Hopkins Jody & Jim Horein Suzanne & Michael Horton Barbara & Phillip Hoth Mrs. Rod Howard Mary & Tom Hufford Amanda Hullinger & Family Diane Humphrey David & Nancy Hunter Leonard Iaquinta Gordon & Marie Iddles Martha Herbert Izzi Jo Bess Jackson, on behalf of The Windrose Ensemble Ms. Ruthie Jackson Marlene Jessup Sheila & David Joest Ginny & Bill Johnson Mary & George Johnson, in memory of M. Johnson Anderson Mr. & Mrs. Kenneth Johnson Mr. & Mrs. M. James Johnston Barbara Jones Mr. & Mrs. Christopher Jones Mr. & Mrs. Joseph Jones Mr. & Mrs. Thomas Jones Richard Juergens, MD Philip & Phyllis Kaiser Dr. & Mrs. Martin Kaplan Dr. & Mrs. Gerry Kaufman Dr. & Mrs. Carleton Keck Marcile Keck Keefer Printing Company, Inc. Leslie Keeslar Mr. & Mrs. David Keim Dale Kelly Pamela Kelly, MD & Kevin Kelly, MD Mr. & Mrs. Geoffrey Kelsaw

Jane Keltsch, in memory of Donald Keltsch Dr. & Mrs. Norman Kempler Diane Keoun Craig & Diane Keoun Dr. & Mrs. S. Bruce Kephart Anne Kern Mr. & Mrs. Ross King Dr. & Mrs. Robert Kittaka, in memory of Mr. Kizo KometanI, in memory of Kumako Kittaka, Beloved Mother John & James Knight Foundation Mr. & Mrs. Lynn Koehlinger Mary Koehlinger Bruce & Mary Koeneman John Korte Tod Kovara, in memory of Earl Kovara, in memory of Judy Ann Kovara Fritz & Joan Kraber Bil & Shirley Kransteuber Krouse Foundation Hedi & Irwin Krueger Keith Kuehnert Mr. & Mrs. Don E. Lahrman Mr. & Mrs. Rex Lamm Mr. & Mrs. Theron Lansford Dr. & Mrs. William LaSalle Janet & Bud Latz Mr. & Mrs. William Latz William Lawson Doretta Laycock Pat Leahy Mr. & Mrs. Ivan Lebamoff Ruth Lebrecht Dr. Chung-Seng & Sage Lee Antoinette & H.S. Lee John Lee, MD Judith & William Lee Mr. & Mrs. Joseph Leeuw Dr. & Mrs. Robert Leininger Mr. & Mrs. Gerald LeMasters Mr. & Mrs. James Lewellen Paul Liechty David & Carol Lindquist Mr. & Mrs. Nocholas Litchin David & Melissa Long Anne Longtine & Marco Spallone Judy & Gerald Lopshire Eleanor Ludy Duane & Carol Lupke Margaret & Doug Lyng Mr. & Mrs. William Macomber Mr. & Mrs. George Mallers Peter & Christine Mallers, in honor of the Philharmonic musicians & staff Joyce Mallory Nellie Maloley 93

Sylvia Manalis & Richard Manalis Don Mansfield George & Mary Marchal Mr. & Mrs. Michael Marchese Jr. Mrs. Charles Marcus Greg Marcus Wilda Gene Marcus Trust Eleanor Marine Christina & Stephen Martin Don & Eleanor Martin Nancy & Victor Martin Wayne Martin & Nancy Olson-Martin Christian & Michelle Maslowski Michael Mastrangelo, in memory of Grace Mastrangelo Michael & Grace Mastrangelo George & Doris Mather Judge & Mrs. Dalton McAlister Mrs. Byron McCammon Emery McDaniel Shelby & John McFann, in memory of Sarah Smith & Ben McFann J. McFann Consulting Co. Monarch Capital Management Monty McFarren Scott & Charles McGehee George McKay Mr. & Mrs. Richard McKee Mrs. Thomas McKiernan Lee McLaird Mary McLisle Mr. & Mrs. Alan McMahan McMillen Foundation Joan McNagny Eugene & Betty McQuillan, in memory of Betty McQuillan Donald Mefford Julie & Bob Mehl Mr. & Mrs. Richard Menge, in memory of Elsie Menge Fred Meriwether Mr. & Mrs. Edwin Metcalfe Ralph Meyer Sidney & Belva Meyer Susan & David Meyer Dr. & Mrs. Joseph Meyers Mr. & Mrs. George Mikula Barbara & Joe Miller Bradley Miller Kerry Miller Mr. & Mrs. P. Michael Miller Susan & Scott Miller, MD Dr. & Mrs. Michael Mirro Judge & Mrs. Alfred Moellering Mr. & Mrs. Charles Momper Monarch Capital Management Mr. & Mrs. Frank Monroe 94

Mr. & Mrs. Bruce Montgomery Bill Morgan Aloyse Moritz James Morrell Amy Morrill Trust Morrill Charitable Foundation Marie Moser Sue & Rowland Moser Dr. & Mrs. Dwight Mosley Mr. & Mrs. Lindy Moss Mr. & Mrs. Leslie Motz Mrs. Nancy Moyer Akira Murotani & Alexandra Tsilibes Mr. & Mrs. John Murray Mr. & Mrs. Wilbur Nahrwold Ralph & Becky Naragon Gloria & Jim Nash National Endowment for the Arts Agnes Nelson, in memory of Sheldon Nelson Marilyn Newman Barb & Tom Niezer Mr. & Mrs. Carson Noecker The Carson & Rosemary Noecker Family Foundation Carol Nole, in memory of Bobbie & Bob Shilling Walter & Margaret Nollen North American Van Lines & Norfolk Southern Foundation Catharine Norton, in memory of Philip Norton Sally & David Norton Terrence Nufer Marta & Jim Oberlin Carol & Joe Offerle Mr. & Mrs. Harry Okeson Mr. & Mrs. John Oldenkamp Mr. & Mrs. Larry O’Maley Ervin & Cynthia Orban The O’Rourke-Schof FamilyFoundation Connie Overholser Harry & Ruth Owen Mr. & Mrs. Ralph Paetz Janet & Daniel Paflas, MD Patricia & Maclyn Parker Harriet & Robert Parrish Kathy & Michael Parrott Kevin & Ann Patrick Patrick Payment Mr. & Mrs. Kenneth Pearson Lucio & Ann Perego Douglas & Lenore Perry Mrs. Theodor Petry Pat & John Pfister Phelps Dodge

Philharmonic Staff, in recognition of Christopher D. Guerin Ron Philips Dr. & Mrs. Richard L. Phillips Richard Phillips, in memory of Evelyn Phillips Mr. & Mrs. Richard Phillips Mr. & Mrs. Douglas Pinner Poinsatte-Altman Foundation Mr. & Mrs. Howard Polk Mrs. H. Leslie Popp Jr. Vivian Purvis David Quilhot Mr. & Mrs. A. Russell Quilhot, in memory of Mr. & Mrs. Byron Holmes Somers Barbara Mann Ramm Dr. & Mrs. Fred Rasp Mrs. J. E. Rawles Betty Rayl John Reche Dr. & Mrs. John Reed Mr. & Mrs. Thomas Rehrer Paul & Lula Belle Reiff Carroll & Bill Reitz Laura Ress Robert & Nancy Rhee Nancy Rieke Willis & Anne Ritter Ann & Dick Robinson Mr. & Mrs. Don Robinson Max & Sandy Robinson Phyllis Roby Mr. & Mrs. Richard Roese David & Kathy Rogers Nancy Rogers Ian & Mimi Rolland Sanford Rosenberg Trust Philip & Barbara Ross Madelon Rothschild Drs. Roush & Roush, Inc. Emily & Matt Roussel Bette Sue Rowe Phillip & Ruth Ruder Mr. & Mrs. Joseph Ruffolo Carol Lynn Rulka Deb & Bob Rupp Rabbi Richard & Lois Safran Richard & Carolyn Sage Lynne Salomon Dr. & Mrs. Joel Salon Alma Salzbrenner Ann & Morrie Sanderson Nancy & Tom Sarosi Saturday Club Schaefer Foundation Patricia Schaefer

Liz & Mike Schatzlein, in honor of George Schatzlein Timothy Scheidt Letha Scherer Kathleen & Dale Schipper Mr. & Mrs. Donald Schmidt Phillis Schmidt, in memory of Eugene Schmidt, MD Jeanne Schouweiler, in memory of Edwin Schouweiler William Schreck Schust Foundation Mike Scott Mr. & Mrs. Frank Sechler Mr. & Mrs. Daniel Serban Mr. & Mrs. William Serstad Shearson Lehman Hutton Inc. Erin Sheehan Joan & Don Sherman Roqua Shideler, in memory of Jack Shideler Jr. John Shoaff & Julie Donnell, in memory of John Shoaff Mr. & Mrs. Thomas Shoaff Mack Short Mary & Robert Short Carol Shuttleworth & Michael Gavin Dr. & Mrs. James Sidell C. David & Ann Silletto Pauline Ware Silva Mark & Sharon Simmons Roberta & Robert Simmons Hank & Marilyn Skinner Sledd Foundation Mr. & Mrs. Walter Sloffer Michael Slutsky & Jean Tipton, in memory of Tasha Tipton Dr. Edra Smiley Mr. & Mrs. Daniel Smith Herbert & Donna Snyder Byron Somers Foundation Carol Baxter Somerville Thelma Somerville Kathryn & Ray Sommers Shari & Jim Sousley William Spindler Mr. & Mrs. Arthur Spirou Barbara Spreen Square D Company Staehle Foundation Ronald Stagg STAR Financial Bank Deposit Services Howard & Marilyn Steele Mr. & Mrs. Allen Steere Lois A. Steere, in memory of Allen C. Steere Mr. & Mrs. A. James Stein

Todd & Janet Stephenson Rev. & Mrs. Daniel Stewart Nancy & David Stewart Marjorie Stewart, in memory of Carlton Stewart Amy Stone Robert Stouffer Edith Stout Mr. & Mrs. Leo Stroncczek James & Jeanne Leita Stump Styles Beyond Salon Carl Suedhoff Jr. James Suelzer Thomas Summerill Kathleen Summers Mrs. Thomas Summers Sunriver Music Festival Friends The Bowerman Family of Sunriver Sunset Drive Neighbors, in memory of Betty McQuillan Chuck & Lisa Surack & Sweetwater Sound, in honor of Samuel Gnagey Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc. Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick

Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Mr. & Mrs. Robert Walda Jane & Frank Walker Mr. & Mrs. John Walley Mr. & Mrs. James Walper Esther Walter Robert & Irene Walters Nathan & Natalie Wanstrath Marie & David Warshaver Michael & Ruth Wartell Bob & Martha Wasson Mrs. Richard Waterfield Helen & Wayne Waters Mr. & Mrs. Herbert Weier Dorothy Weiss Ken & Kathy Welig Mr. & Mrs. Paul Welker Nicholas Werdell Lynn Wernet Kristin Westover Cathleen Westrick Mrs. Charles Weyrick Catherine White Perry & Jackie White Dana Wichern Dr. & Mrs. Alfred Wick Mr. & Mrs. Ray Wiley William Willennar Foundation Fred & Marion Williams Eloise Willis Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf Melody Wolff Lawrence & Lea Woodrum Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger

Tributes

Regional Partners

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

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

In Memory of Ronald Ondrejka (Gifts honoring Ronald Ondrejka’s fifteen years as the Philharmonic’s music director will provide merit-based scholarships for Youth Orchestra players. To contribute, please contact the Development Office at 481-0775.)

Irene & James Ator Virginia Bokern Laurie Bryant Karl & Patricia Buchmiller Stuart & Cathy Cleek Philip & Ann D’Amico David & Patricia Durflinger Barbara & Ildefonso Fantone Fred and Mary Anna Feitler Marcia Grant Ken & Marty Johnson Mary Kay Loney Eleanor H. Marine Ervin & Cynthia Orban Lenette & Ron Pike Marcus & Stephanie Priest Jeff & Daisy Saito Howard & Marilyn Steele Terry & Julie Taira Rudy Wuttke In Memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Philharmonic musician will fund the Ernest Zala Youth Orchestra’s Concertmaster Chair and will provide merit-based scholarships for Youth Orchestra string players. To contribute, please contact the Development Office at 481-0775.)

Dessie Arnold & Richard Dunbar Irene & Jim Ator Virginia Bokern Bob & Margaret Brunsman Dr. Carol Buttell Andy & Peg Candor Nena & Willard Clark Andrew & Jane Constantine Brenda & David Crum George & Ann Donner Delores Dunham Betsy & Geoff Gephart Ronald Heilman Deborah & Andrew Hicks Colleen J. Hohn Bridget Kelly Eleanor H. Marine Christina & Stephen Martin

Don & Eleanor Martin Wayne Martin & Nancy Olson-Martin Lee McLaird Akira Murotani & Alexandra Tsilibes Ervin & Cynthia Orban Barbara Mann Ramm Robert & Nancy Rhee Cathy Tunge & Steve Kiefer Carolyn & Larry Vanice Kristin Westover Cathleen Westrick Mr. & Mrs. Ray Wiley Tim & Sandy Zadzora Special thanks to all those who provided a free will donation at the Conductor Workshop concert in support of this scholarship fund.

In Memory of George Johnson Roy & Sharon Martin In Memory of Ellen Mann Jean Hanson In Memory of Patricia McKinney Debra McKinney In Memory of Marilyn Newman Kenneth & Mary Scrogham In Memory of Joyce Ellen O’Riordan Anita G. Dunlavy Jan Lamar Kenneth & Theresa Liggett Jane & Rollin Shaw Jean Ann Stayanoff In Memory of David Platt for the Youth Symphony Jane & Frank Walker In Memory of Lorraine Weinswig Donald & Sally Caudill Nancy Getzin Eloise Guy Cheryl Mathews Planalytics Team Dr. LeeAnn Sinclair In Memory of Hannah Zacher Brian & Carrie Bean Joy Neuenschwander Patricia Wyneken

MULTIPLE COUNTY SUPPORT Steel Dynamics Foundation, Inc. Indiana Michigan Power 3Rivers Federal Credit Union Parkview Regional Medical Center/Parkview Health ADAMS COUNTY Adams County Community Foundation Bunge North America Decatur Rotary Club

Eichhorn Jewelers Gilpin, Inc. Antoinette K. Lee Ellen* Mann Porter Family Foundation

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

ALLEN COUNTY Alana, Martha, Bonnie, Lynne, Doris, Carol, Melodie, and Diane Beth Anderson Anonymous (18) Jennifer Bates Marjorie Baumgartel Donna & Charlie Belch Leslie Blakley Barbara L. Boerger Dr. Charles & Nonda Bolyard Terry Bowers Beth Champion Howard & Betsy Chapman Rosemary Davis Ben & Sharon Eisbart Michael & Emily Elko Mark O. Flanagan Mike & Marcia Flood Fort Wayne Downtown Improvement Elizabeth Garr Leonard Helfrich Marcus & Carol Holmes

Diane Humphrey Drs. Kevin & Pamela Kelly Roxanne Kelker Bob & Carol Kiefer Ron & Pat Kohart Alice Kopfer Michael & Brenda Koza Bonnie Krueckeberg Drs. Carol & David Lindquist Arthur & Marcia Litton Marlene Lobsiger Sara & Marvin Loutsenhizer Janet & Larry Macklin Majic 95.1 Elmer & Patsy Matthews Diane McCammon John & Shelby McFann The Miller Family Foundation Diane Moore Myrna M. Nelson Ted & Deb Neuenschwander Don & Patti Neuhaus Angela & Dan O’Neill James W. Palermo

PNC Psi Iota Xi (Pi Chapter) Psi Iota Xi (Theta Theta Chapter) Clarissa Reis Patricia J. Reuille Carl & Jaci Reuter Ron & Sylvia Scheeringa Jeff Sebeika Shauna Shaffer Norma Shondell John Smith Max & Gayle Smith Rex & Jo Stinson Gary & Joyce Stoops Ken & Carol Suesz Chuck & Lisa Surack Tin Caps Unfirst, Inc. Ronald E. Waters John & Patty Weicker Brock & Becky Zehr Dr. & Mrs. Richard Zollinger

DEKALB COUNTY Anonymous (1) Auburn Arts Commission Auburn Moose Family Center Auburn Dental Associates Von & Nancy Baum Gary & Lisa Bowser John & Cheryl Chalmers DeKalb County Community Foundation DeKalb County Council on Aging

Fred & Mary Anna Feitler John & Jane Foell William & Mary Goudy Janelle & Steven Graber C. Bishop Hathaway William & Sarah Hathaway Greg & Emma Henderson Don & Judy Kaufman David & Pat Kruse Steve & Linda Kummernuss Michael & Diane Makarewich

Metal Technologies Inc. Foundation Margery Norris Dr. & Mrs. Keith Perry Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Rosemary Sprunger Jim Turcovsky & Sandy McAfee

FULTON COUNTY Akron Area Arts League

Psi Iota Xi (Eta Mu)

Zimmerman Bros. Funeral Homes

Laureate Club

Regional Partners, continued KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Joyce Baumgartner James H. Benninghoff Dan & Marilyn Berkey Timothy & Ann Borne Al Campbell Bill & Anita Cast Dr. & Mrs. William Couch CTB Gretchen & Greg Dahm Kathy Denig Tom & Sandi Druley Richard & Susan Ferguson Mr. & Mrs. Vaughn Hankins Kenneth & Lela Harkless Foundation Charles & Charlotte Hetrick Jerry Hipskind Stanley & Mary Hursh

Rosalie Hurst Harriet Inskeep George & Jane Irmscher Phillip & Janet Keim Dan & Sarah Kitch Carolyn Kleopfer Kosciusko County Community Foundation Omer & Susan Kropf Lakeland Community Concert Association Floyd A. & Betty Lou Lancia Sam & Fran Leman Main Channel Marina Jim & Pat Marcuccilli Tom & Joan Marcuccilli Mr. & Mrs. Paul Mast Garth & Susie McClain Thomas & Betsy McSoley Thomas & Martha Moore Barbara Naab

Walter & Ann Palmer Dr. & Mrs. Ronald Pancner Mr. & Mrs. Paul Phillabaum Richard & Susan Pletcher Maryellen Rice Ian & Mimi Rolland Salin Foundation Kip & Pamela Schumm Ann Strong Star Bank The Papers, Inc. Dick & Linda Tillman Warsaw Performing Arts Center Wawasee Property Owners Association Tod & Sandy Wolfrum James & Kay Young Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Dekko Investment Services Greg & Sheila Beckman Kappa, Kappa, Kappa, Inc. – Gamma Xi Chapter

Cripe Chiropractic Clinic Dr. & Mrs. Kenneth Cripe Bishop & Ellen Holliman

Kendallville Party Store Jennie Thompson Foundation

STEUBEN COUNTY Sandra Agness Don & Janet Ahlersmeyer American Legion Angola Post 31 Mr. Ron Ball Glen & Chris Bickel Mr. & Mrs. Robert Bigelow Ray & Marianne Bodie Chuck & Maureen Buschek Cameron Memorial Community Hospital City of Angola, Richard Hickman, Mayor Judith Clark-Morrill Foundation Coldwell Banker – Roth, Wehrly, Graber

Mrs. Margie Deal First Federal Savings Bank of Angola Joseph & Carol Frymier Jim & Karen Huber Indiana Arts Commission Javets, Inc. Kappa Kappa Kappa Inc. – Zeta Upsilon Chapter Leo & Marlene Kuhn Lake James Association Mr. & Mrs. Wally Leuenberger Gerald & Carole Miller Family Foundation Steve & Jackie Mitchell Marilyn Molyneux

Stan & Jean Parrish Psi Iota Xi (Rho Chapter) Max & Sandy Robison Fred & Bonnie Schlegel Mr. & Mrs. Charles Sheets Steuben County Community Foundation Steuben County REMC Round Up Foundation Trine University Elizabeth Wilson Jim & Kathryn Zimmerman Dale & Judy Zinn

The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Anonymous (22) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch Fred & Mary Anna Feitler Richard & Susan Ferguson Mrs. Edward Golden Leonard & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Mr. & Mrs. Donald Hicks

* Indicates Deceased

The Philharmonic is proud to honor its planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level and can benefit both you and your family. The Philharmonic welcomes the opportunity to assist donors and their advisors in planning a contribution that suits your particular needs. Please contact the Development Office at 260•481•0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

WABASH COUNTY Honeywell Foundation

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

Financial guidance that puts you on the podium.

WELLS COUNTY Mrs. Diane Humphrey AdamsWells Internet Telecom TV Paul J. & Lula Belle Reiff Barbara Barbieri Sharon Snow

Wells County Foundation Holly Wittbrodt

WHITLEY COUNTY 80/20 Inc. ChromaSource, Inc. Churubusco Family Dentistry Copp Farm Supply Mr. & Mrs. Harold Copp

Don Wood & Dar Richardson Whitley County Community Foundation Dr. & Mrs. Richard Zollinger

Daniel Menu & Party Consulting Fred Geyer J & J Insurance Solutions Rex & Holly Schrader Mr. & Mrs. Nicholas Steill Pamela Thompson

Graig P. Stettner, CFA, CMT

Strategence Capital was founded with the goal of assisting our clients in every aspect of their financial lives. As an independent investment firm, we focus on you and your dreams. Call or visit us online to learn more. Securities offered through LPL Financial, Member FINRA/SIPC. Investment advice offered through Strategence Capital, a registered investment advisor and separate entity from LPL Financial.

260.236.0385 Tim Stoller, AAMS, AIF, CRPS

strategencecapital.com

Strategence Capital

The next chapter of life begins with

A DREAM YOU CAN CALL HOME

Design Build Room Additions Whatever the seasons bring, wherever you live, you can enjoy the best of nature from the comfort of a Bushey sunroom. When we design and build a sunroom, we build it to harmonize beautifully with your home and your lifestyle.

Free design work by Jeff Bushey BSU Graduate Architect

Call Busheyâ&#x20AC;&#x2122;s today for:

Special $500.00 off per complete room 12 months 0% Interest Free in-home estimate

www.busheysfw.com

1701 Fairfield Avenue, Fort Wayne, IN 46802 windows

Sunrooms

doors

260-456-1247

remodeling

Room Additions

Decks

Pergolas

Interior Remodeling

Basement Finishing