Elgin Symphony Orchestra Tchaikovsky Symphony No. 4 Program

Saturday, April 1, 2023, at 7:30 PM Sunday, April 2, 2023, at 2:30 PM Alex Amsel, conductor Blake Pouliot, violin The Hemmens Cultural Center, Elgin

CARLOS SIMON

Fate Now Conquers

SAINT-SAËNS

Violin Concerto No. 3 in B minor, op. 61 Allegro non troppo Andantino quasi allegretto Molto moderato e maestoso— Allegro non troppo Blake Pouliot, violin ~ Intermission ~

TCHAIKOVSKY

Symphony No. 4 in F minor, op. 36 Andante sostenuto— Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

This program is supported, in part, by a grant from the Illinois Arts Council Agency

ORCHESTRA PERSONNEL Violin I Isabella Lippi Concertmaster Eric Pidluski Joseph Malmquist Susan Carlson Carol Dylan Helen Kim Lee Wendy Evans Steve Winkler Caroline Slack Betty Lewis Katherine Hughes Azusa Tashiro Violin II Daniela Folker Principal Maria Arrua Gonzales Susan Thorne Kelvin Lin Kathryn Siegel Laura Burns Emily Boone Ray Ostwald Nina Saito Pam Lutter Marty Hackl Hanna Bingham Viola Loretta Gillespie Principal Becky Coffman Susan Posner Mark Djordjevic Willie McLellan Bridget Andes Ella Caswell

Cello Matthew Agnew Principal Nazar Dzhuryn Asst. Principal Mark Kuntz Robert Weber Elizabeth Start Sara Sitzer Larry Glazier Double Bass Jeremy Attanaseo Gregory Heintz Susan Sullivan Jason Niehoff Adam Attard Christian Dillingham Flute Jean Bishop Principal Maria Schwartz Scott Metlicka Oboe Grace Hong Joseph Claude Clarinet Gene Collerd Principal Barbara Drapcho

Bassoon Vincent Disantis Principal Collin Anderson French Horn Greg Flint Principal Steven Replogle Sharon Jones Mary BuscanicsJones Dan O’Connell Trumpet Ross Beacraft Principal Mike Brozick Trombone Ignacio Del Rey Corey Sansolo Robin Schultze Tuba Charles Schuchat Timpani Robert Everson Principal Percussion Brian Oriente Principal Michael Folker Jon Johnson

ESO BOARD AND ADMINISTRATION EXECUTIVE COMMITTEE R. Bert Crossland

DIRECTORS Ross Beacraft* Carlos Chavez Michele Clark Gene Crume Joyce Dlugopolski Jennifer Fukala Sandra Hagan K. Eric Larson Thomas Long Mary Maloy

Board Chair

Andre Fiebig Immediate Past Board Chair

Robert Chiappetta Treasurer

Arlyn Tolzmann Secretary

Patricia Harkin

Frank Maxson Carole Medal Martin Nobs Patrick Parks Ron Rogers Timothy Shaffer* Savitha Susarla James Tammi Marc Thayer, CEO* Herman A. Zwirn

* Ex Officio members

HONORARY LIFETIME DIRECTORS Harry ◊ & Phyllis Blizzard

Richard Collins ◊

Edward & Pearle Brody ◊

Ed & Karen Schock Deceased ◊

Dean & Jane Chipman ◊

ADMINISTRATION EXECUTIVE Marc Thayer

Chief Executive Officer

Rebecca DeWane Director of Finance & Administration

ARTISTIC Eric Gaston-Falk Vice President of Artistic Planning & Operations

Rylan Virnig

Community Partnerships & Personnel Manager

Macauley Manzano

Orchestral Librarian & Patron Services Manager

MARKETING & PR Chuck Kocal

Director of Marketing

Daphne Kawamoto Digital Marketing Coordinator

Donna Lake

Public Relations Manager

Erica Warszewik

Box Office Manager

OPERATIONS David Goldman Stage Manager

Eric Block Stage Manager

Elsa Jimenez Translator

LaTrisha Williams In Harmony Program Coordinator

GUEST CONDUCTOR Argentinian-Mexican conductor Alex Amsel has quickly established himself as a conductor equally at home with orchestral and operatic repertoire, as well as a music educator for students of all ages. Amsel’s hope is to integrate music into the fabric of every community he works with to reshape how we think about society and our place in it. He joins the Houston Grand Opera as Resident Conductor for the 2022-2023 season where he will lead performances of Verdi's La Traviata and premiering Jeremy Howard Beck’s Another City. Amsel spent 3 successful seasons with the Fort Worth Symphony Orchestra where he was appointed Assistant Conductor by Robert Spano and led the orchestra in a variety of concerts including Symphonic, Chamber and Education/Outreach concerts. Amsel was also selected for the prestigious Aspen Conducting Academy for the 2020 and 2021 summers where he worked closely with Robert Spano and Patrick Summers.

In high demand for summer seasons as both performer and educator, Amsel has led orchestras at Aspen Music Festival, National Repertory Orchestra, Round Top Music Festival, and Philadelphia International Music Festival. For the summer of 2019, Amsel was selected as the Assistant Conductor for the National Repertory Orchestra in Breckenridge, Colorado, where he led the orchestra in multiple subscription concerts.

An avid educator, Amsel is continually trying to advance what classical music can do for audiences.

Recently, he has completely reshaped the education programs at the Fort Worth Symphony in order to let music be the aid for societal growth and respect by creating

programs that emphasize the inclusion of minority and underrepresented composers and artists, as well as centering the concerts around the themes of teamwork, inclusivity, and learning about different cultures. His approach of creating programs that unify the students' school curriculum while exposing them to the magic and wondrous world of music has been highly regarded by arts organizations and school educators alike. His desire to aid students through music sees him as a frequent clinician at schools of all levels. During his time in Peabody, he served the Baltimore community in several ways through the Creative Leadership Immersion and Implementing Social Development programs. These programs helped connect the conservatory to the greater Baltimore community by helping emerging music programs at low-income schools.

Amsel supported students in creating original compositions that reflect their daily lives while discussing the importance of music and how it can supplement a young person’s life through communication, open discussions, and vocal leadership. He has been a featured performer and taught masterclasses through these organizations, as well as having had an active private bassoon studio of 30 weekly students in Austin and Houston, Texas.

Contemporary music is at the forefront in Amsel's musical journey and has premiered works both as conductor and instrumentalist. He has led recording sessions of world premieres at Peabody Conservatory as well as Rice University's Shepherd School of Music. He continues to be an advocate for living composers, with an emphasis on underrepresented composers that represent each community that he works in, and has continuously programmed works by Carlos Simon, Jessie Montgomery, Eleanor Alberga, Victor Agudelo, and Carlos Zamora among others. Amsel was selected to work as an Associate at the Cabrillo Music Festival with Cristian Macelaru, and was subsequently invited to return as the Assistant Conductor of the festival for the 2019 season.

GUEST ARTIST Winner of the Grand Prize at the 2016 Orchestre Symphonique de Montréal Manulife Competition, Blake Pouliot is a Soloist-inResidence at the Orchestre Métropolitain with whom he performed Mozart’s Violin Concerto No. 5, conducted

by Yannick Nézet-Séguin, as part of their digital series last year. 2021/22 culminated with his Philadelphia Orchestra debut, joining forces again with Nézet-Séguin in John Corigliano’s The Red Violin (Chaconne for Violin and Orchestra) in a special concert at the Kimmel Centre.

2022/23 symphonic highlights include a return to Orchestre Symphonique de Montréal, sharing a stage with Angela Hewitt in Beethoven’s Triple Concerto. Other guest appearances across the US include performances of the Korngold, Paganini, Mendelssohn, Saint-Saëns concerti as well as Bruch’s Scottish Fantasy with Madison, Milwaukee, Arkansas, Bangor, Elgin, North Carolina, Oregon, Tacoma, and Westmoreland Symphony orchestras. Engagements from recent seasons include his aforementioned Philadelphia Orchestra debut and engagements with Boise Philharmonic, Omaha Symphony, Plano Symphony, Sarasota Orchestra and Winnipeg Symphony.

As a chamber musician, Pouliot brings his artistic flair to the Koerner Hall in Toronto, as well as other recital halls in Temecula, Paris, and Boston. At the latter, his programme features the world premiere of Derrick Skye’s God of the Gaps for violin and electronics. Pouliot rounds out this season with his debut at the Seattle Chamber Music Society and a return to La Jolla Summerfest. He also returns to the National Youth

Orchestra of Canada to embark on his second year as Artist-in Residence, following last season’s inaugural residency in which the NYOC welcomed him to cultivate a curated program for students and faculty.

Pouliot released his debut album of 20th century French music on Analekta Records in 2019. Featuring Ravel’s Tzigane and Violin Sonata in G, Debussy’s Violin Sonata in G minor and Beau Soir, the recording received critical acclaim including a five-star rating from BBC Music Magazine and a 2019 Juno Award nomination for Best Classical Album.

Since his orchestral debut at age 11, Pouliot has performed with the orchestras of Aspen, Atlanta, Detroit, Dallas, Madison, Montreal, Toronto, San Francisco, and Seattle, among many. Internationally, he has performed as soloist with the Sofia Philharmonic in Bulgaria, Orchestras of the Americas on its South American tour, and was the featured soloist for the first ever joint tour of the European Union Youth Orchestra and National Youth Orchestra of Canada. He has collaborated with many musical luminaries including conductors Sir Neville Marriner, David Afkham, Pablo Heras-Casado, David Danzmayr, JoAnn Falletta, Marcelo Lehninger, Nicholas McGegan, Alexander Prior, Vasily Petrenko and Thomas Søndergård. Pouliot has been featured twice on Rob Kapilow’s What Makes it Great? series and has been NPR’s Performance Today Artist-in-Residence in Minnesota (2017/18), Hawaii (2018/19), and across Europe (2021/22).

Prior to that, he was named First Laureate of both the 2018 and 2015 Canada Council for the Arts Musical Instrument Bank.

Pouliot performs on the 1729 Guarneri del Gesù on generous loan from an anonymous donor.

PROGRAM NOTES Fate Now Conquers Carlos Simon (b. 1986) Born in Washington, D.C., composer Carlos Simon was raised in Atlanta. Descending from a long line of clergymen, he was strongly influenced by gospel music, but has developed an eclectic style that has included it occasionally while extending to many other influences as well, from Beethoven to jazz, hip-hop, and the techniques of contemporary classical composers. He holds degrees from Georgia State university and Morehouse College as well as a doctorate from the University of Michigan, where his teachers included the prominent American composer, Michael Daugherty.

Currently Composer-in-Residence at the John F. Kennedy Center for the Performing Arts, Simon has written for the National Symphony Orchestra and the Washington National Opera, both based at the Kennedy Center. He has also received commissions and performances from many other major organizations including the New York Philharmonic, the Los Angeles Philharmonic, and the London Symphony.

Fate Now Conquers is based on the second movement of Beethoven’s Seventh Symphony, well-known as one of the most profoundly moving and soul-searching moments in all of Beethoven. In working on the piece, Simon has said that he wanted to explore Beethoven on a personal level and so turned to studying the composer’s journals. In doing so, he came across the following quote from the Iliad, recorded in 1815: “But Fate now conquers; I am hers; and yet not she shall share / In my renown; that life is left to every noble spirit / And that some great deed shall beget that all lives inherit.”

Simon has described his approach as follows: “Using the beautifully fluid harmonic structure of the second movement of Beethoven’s Seventh symphony, I have

composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of freeflowing running passages depict the uncertainty of life that hovers over us.”

Although the Beethoven work is so well disguised that even listeners well acquainted with it will be hard put to recognize it, Fate Now Conquers is a brief but effective work in contemporary music language that provides a look into Beethoven’s soul. His sufferings, both physical and emotional, are well known, but as Carlos Simon has put it, “Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished himself to fate. Fate now conquers.”

Violin Concerto No. 3 in B minor, op. 61 Camille Saint-Saëns (1835-1921) Although Camille Saint-Saëns certainly occupies a place in the pantheon of great musicians, it might be said that the full extent of his achievement has often been underestimated. To begin with, he was a child prodigy of the highest order, picking out tunes at the age of two and proving himself an accomplished pianist and well- rounded musician by the age of six, achievements which rival those of Wunderkinder such as Mozart and Mendelssohn. Fast company indeed.

As an all-around musician, his facility and versatility were such that even a Leonard Bernstein, André Previn, or Daniel Barenboim in our own era might envy. Prominent musicians of his time marveled at his phenomenal musical memory, acuteness of ear, and sight-reading and score reading ability, confirming his status as one of music’s greatest natural musical minds.

Nor did his interests stop with music. He was the very definition of the Renaissance man, being also a writer, linguist, world traveler and passionate amateur scientist who

once arranged a concert tour so that he could see Mt. Aetna in eruption.

His musical career covered the entire extent of the art.

As composer, his large output reached to virtually every genre, including, incidentally, a film score (in 1908) which made him the first established composer to write for the new medium. As performer, he was a conductor and pianist but also part of the great tradition of titular master organists in the great churches of Paris, serving as organist at the church of the Madeleine for nearly two decades. Franz Liszt pronounced his organ playing “not merely in the front rank, but incomparable…No orchestra is capable of producing such an impression.” His literary and scholarly abilities made him an important music journalist and musicologist, who edited much eighteenth-century music at a time when it was not a well-known part of the repertoire.

As composer, one of Saint-Saëns’ greatest achievements was his important role in reviving interest in serious instrumental music in France. The Second Empire, which came crashing down at the time of the FrancoPrussian War of 1870-71, had been known for a certain superficiality and frivolity. The popularity of opera and the new operetta form left little time for instrumental music.

Under the rubric of Ars Gallica (“French art”), Saint-Saëns led a movement that would challenge German supremacy in music. Among other things, this would mean writing in German-dominated genres such as symphonies, concertos, and sonatas.

The Third Violin Concerto was written in 1880 and dedicated to the great Spanish violinist, Pablo de Sarasate, who premiered it. The elegance and formal beauty of the work illustrate the composer’s classical bent, even though he was writing at the very height of the Romantic period. As might be expected, the concerto is in the traditional fastslow-fast three- movement form, yet, classicist or no, the composer takes some liberties with the traditions of the genre. At the very beginning, for example, instead of an extended orchestral introduction, the soloist leaps in

suddenly over a string tremolo with the fiery and dramatic minor key principal theme. Eventually we hear a suavely lyrical theme in major key which perfectly contrasts with the opening material. In another departure from tradition, the end of the movement leaves no time for the usual solo cadenza.

Saint-Saëns’ lyrical gift is at its best in the second movement, with its exquisite, soaring major key melody in the gently rocking motion of the barcarolle, a Venetian gondolier’s boat song. The movement ends with a wonderfully delicate passage in which the soloist plays ethereal high harmonics doubled by a clarinet playing octaves lower.

The finale again breaks rules by beginning with a brief, introductory, recitative-like cadenza by the soloist before launching into the first theme, a jittery, fiery melody in B minor which has the flavor of so-called Gypsy music.

(Sarasate, who had recently written a famous solo piece based on such music, surely appreciated the gesture.) Two other themes eventually present themselves: the first, a broadly lyrical theme in D major, and then, as the mood suddenly changes, a new, touchingly gentle, chorale-like theme. The recap of the opening is again announced by the solo cadenza which leads again into both the Gypsy theme and the following D major theme. But then comes a surprise. The chorale-like theme reappears, this time stated not in gentle fashion but triumphantly by the full brass section. A fast coda drives the movement to a frenetic conclusion.

Symphony No. 4 in F minor, op. 36 Piotr Ilyich Tchaikovsky (1840-93) Writers of program notes must earn their pay and probably do, as has occasionally been alleged, spend too much time delving into the private lives of composers.

Biography, particularly of the more scandalous sort, is more interesting to the general public than technical analysis and

provides many temptations for making unwarranted connections between a composer’s private life and work.

Valid as such criticism may sometimes be, however, there clearly are occasions when such connections between art and life do exist, and to ignore them would be ridiculous.

One of the most striking such cases is Tchaikovsky’s Fourth Symphony. Although the bizarre circumstances surrounding the composition of the work may read like pulp fiction, they do give insight not only into the heart-rending difficulties of the composer’s private life but into his work as well.

Tchaikovsky began work on the symphony during the winter of 1876-77 in Moscow and completed it in January of 1878 in Sanremo, Italy. In the intervening period he experienced several of the most momentous events of his life. First, he began his famous relationship, conducted entirely by correspondence, with his patron Mme. Nadezhda von Meck. The relationship would last some thirteen years and produce over a thousand letters, constituting one of the most interesting testaments ever left by a major artist. Then, despite his homosexuality and against the advice of his closest friends, Tchaikovsky foolishly succumbed to social pressure and entered into a disastrous marriage with a former pupil whom he barely knew. The marriage lasted barely three months, driving Tchaikovsky to a complete nervous collapse. He was sent to convalesce in Western Europe, where he stayed for a time in a pension in Switzerland and then traveled to various places including Paris and Venice. As his condition improved, he was finally able to return to work on the symphony, finishing it in Italy.

The new work was dedicated to Mme. von Meck and received its first performance in Moscow in February of 1878, less than two months after its completion. The composer was not present.

In letters to Mme. von Meck Tchaikovsky poured out his feelings about his life as well as his thoughts about his new work, which, incidentally, he described to her as “our symphony.” From these confessions it is quite clear that he intended the work as a kind of “psychogram”, as one critic

has called it, expressing some of the turbulent feelings of this period of his life. The quotations which follow are all taken directly from Tchaikovsky’s own correspondence.

The symphony opens with a fanfare figure in the brass which Tchaikovsky called the “chief thought of the whole symphony” and a representation of “Fate, the fatal power which hinders one in the pursuit of happiness.” Tchaikovsky was quite explicit in saying that he had in mind Beethoven’s Fifth Symphony, supposedly the original “Fate” symphony, which begins in a dark minor key but ends in triumphant major.

After the introductory Fate motif dies away, Tchaikovsky begins the largest symphonic movement that he had yet written. The movement is in 9/8 time, an unusual meter for a symphonic movement and one which gives the impression of a melancholy waltz. David Brown, the distinguished Tchaikovsky scholar, has done some brilliant detective work about the theme, deducing that it is pieced together from two themes from Bizet’s opera Carmen, which Tchaikovsky had seen in Paris in 1876 and which overwhelmed him by its own concept of Fate.

We expect a movement in sonata form to have a contrasting second theme and Tchaikovsky actually gives two. The psychological import of these themes is again explained by the composer. If the first theme expressed the idea that Fate is invincible and can’t be overcome, these new themes provide escape. “Is it not better to turn away from reality and submerge yourself in daydreams?” The first of the themes begins with a clarinet solo in mincing rhythm with comments from other woodwinds. The other is a gentle theme in rocking rhythm played by the violins, signifying the possibility of happiness. “Everything gloomy, joyless is forgotten.” Very simply put, the remainder of this vast movement explores the possibilities of these contrasting themes and their psychological implications. The menacing Fate motif is clearly heard in the brass several times.

The slow second movement with its expressive oboe solo evokes a gentler melancholy about which the

composer writes: “This is that melancholy which comes in the evening when, weary from labour, you are sitting alone. You take a book- but it falls from your hand. There comes a whole host of memories…There were happy moments when young blood boiled, and life was satisfying. There were also painful moments, irreparable losses. It is both sad, yet somehow sweet, to immerse yourself in the past.”

The famous third movement scherzo marks a turning point in the symphony, introducing a new feeling of lightness. Tchaikovsky orchestrates in masterly fashion, omitting percussion but dividing the orchestra into the remaining three families. The opening string section with its novel pizzicato effect presumably is an imitation of the balalaika. The woodwind family then follows with its sprightly tune, followed by the brass. The composer’s comments state that we are hearing disjointed images including the sounds of drunken peasants, a street song, and a military procession.

The jubilant finale begins with an explosion in F major, symbolizing, like the finale of Beethoven’s Fifth Symphony, that joy has finally triumphed over Fate. Tchaikovsky’s commentary states that joy is to be found “among the people”, a notion that he may have borrowed from Tolstoy’s Anna Karenina, which had been recently published. For his second theme Tchaikovsky uses a well- known Russian folk song called There Stood a Little Birch, which recurs several times. Finally, the menacing Fate theme casts its melancholy shadow one more time near the end of the movement but is vanquished by another outburst of joy. “Rejoice in others’ rejoicing”, the composer tells us. “To live is still possible!”

DONOR HONOR ROLL CORPORATE & FOUNDATION SPONSORS Foundations and Corporations make it possible for the Elgin Symphony to offer access and equitable programming throughout the Fox River Valley. We value these strategic partners and celebrate their collaboration and generosity with the following honor roll.

Lead Season Sponsors +100,000 Evelyn W. Hunt Trust Willow Springs Charitable Fund Season Sponsors +50,000 S.E. (Stu) Ainsworth Family The Pepper Family Foundation OTTO Engineering, Inc John B. Sanfilippo & Son, Inc. Seigle Foundation

Concert Sponsors +25,000 Illinois Arts Council Agency Snodgrass Family Fund of DuPage Foundation Community Partnership Sponsors +10,000 Comed, an Exelon Company Elgin Symphony League Florence B. Palmer & Cornelia A. Palmer Foundation Francis J. & Patricia A. Houlihan Foundation National Endowment for the Arts Wells Fargo Advisors

Guest Artist Sponsors +5,000 Barrington Area Community Foundation Judson University, World Leader’s Forum Northern Trust Fall 2022 Farny R. Wurlitzer Foundation Fund Grant Partners +2,500 Elgin Cultural Arts Commission Music Performance Trust Fund Quarles & Brady Wickstrom Auto Group

ANNUAL GIVING SUPPORTERS The following honor roll celebrates the generosity of those who have supported this musical community since July 1, 2021, with a gift of $250 or more.

Season Sponsors $25,000+ Anonymous (2) R. Bert Crossland Evelyn W. Hunt Trust Nancy V. Rascher Concert Sponsors $10,000+ Anonymous (2) Patricia Harkin & Jim Sosnoski Mrs. James L. Ziegler Herman & Mary Zwirn Guest Artist Sponsors $5,000+ Anonymous (2) Mrs. Phyllis Blizzard Harry Eng & Frances Zollers Andre Fiebig & Tricia Van Eck Dr. Gwendolyn Rowe Gage Sandra Horvath Hagan Thomas & Linda Long Frank & Patricia Maxson Monica & Sanford Morganstein Martin & Brigitte Nobs Ron & Kris Rogers Karen & Ed Schock Dr. Emanuel & Mrs. Janice Semerad Jeanne C. Sigman John & Maribeth Totten Musician Sponsors $2,500+ Anonymous Diane Campbell Ray & Julie Daly

John & Sharyon DaSilva Walter & Andrea Gumm Elizabeth Hoeft David & Suzanne Johnson Loretta Kandl Mike & Marilyn McCarthy Mrs. Ruth-Ann McKellin Ralph V. Miner Dolores D. Nelson Rob & Jodie Stackowiak James & Judith Tammi Rev. Arlyn & Jeanne Tolzmann Musical Score Sponsors $1,000+ Dr. Walter & Alexis Alm Anonymous Herb & Marge Anderson James Bauer & Lois MyersBauer Mr. David Bosely David L. Brown Walter & Nancy Carlson Robert & Francine Chiappetta Gene Collerd ¶ Andrew & Britta Cuming Kevin P. Durkin Jerry & Judy Drommerhausen Deanna K. Engelke Jaime & Donna Garcia Eric ¶ & Jonathan GastonFalk David Gerber Mr. Andrew Grams

Jeffrey & Jayne Griese Judy Hanlon Val & Jim Heintz Bonnie Henn-Pritchard Ron & Pat Henning Craig & Karen Johnson David & Suzanne Johnson Peter Koenig Donald & Mary Koss Charitable Fund Mr. Richard Kuranda Peter C. & Constance L. Landwehr Charitable Fund K. Eric Larson & Margaret Williams Carolyn & Robert Malm Barbara G. Maring Russ & Diane Maxwell Carole A. Medal Joan Moen A. John Mullins Marsha Newcomer Joan Pelletier Mrs. Roxelyn Pepper Brian Pritchard Richard W. Renner Lois Robinson Erik & Nelleke Roffelsen Suzanne & Henry Rozycki John & Carole Ruby Patricia Sekowski Rachel Shannon Drs. April & Frank Smith Glenn & Susan Spachman Cherry Stoddard

DONOR HONOR ROLL Sunburst Corvette Club Carol & Mark Taylor Marc Thayer ¶ Donna F. Templeton Celine Voris Mr. David Waring Philip Zack Charles & Nancy Zimmerman Friends of the ESO $250+ Robert Acker & Alison Bleick Mark S. Albert Ms. Sharon Aleckson Douglas Anderson Helen Anderson Michael & Cecilia Anderson Ms. Sara Ellen Anderson Judith & Norm Andrews Bob & Jan Andry Anonymous Allan & Joanne Ayers Donna Bach Soren & Marilyn Backe Ross ¶ & Diane Beacraft Paul Bednar, Real People Realty Connie Bischof Carol Blohm Marlene R. Boncosky Melinda Borum Ruth & John Bradburn Dale & Craig Braun Diane Bridges Terry Gabel & Sue Brigham Tatiana Calhamer Colin C. & Glorianne Campbell Cecily Y. Christian William H. Collins Mr. & Mrs. Dennis Conway Michael Czerwionka Warren Dahn Kelly Day Mike Dempsey Mark & Patti Dewane Theresa & Patrick Donoghue Matt & Cherie Dorfman Jon & Joy Duerr Pat & Terry Dunning Rita A. Ehrenberg The Fabish Family John & Muriel Fenzel Carl & Mary Ellen Flaks Jennifer Fukala & Michael Kies Karl H. Gabbey Terry Gabel & Sue Brigham

Forrelyn Gamer John & Joanne Gerlach James & Barbara Gibbs Sallie & George Gill Robert & Lynn Gilly Jordan & Sheila Glazov Lorraine R. Gornick Katherine J. Graffagna Revs. Carl & Donna Gray Robert & Kathleen Hahn Sharon Hahn David & Elizabeth Hardy John Hauser & Jean Stone Dave & Mary Alice Helms Vivian J. Hileman Jeanne Hintz Margaret Mechtenberg & Roger Hotham Dr. Judith Hopkins Kathryn & Steven Huffman The Family of Wayne & Pamela Jensen Jim & Pat Jocius Phil & Pat Johnson Mr. & Mrs. Frank Kahoun Bonnie Kalaway Nancy Kawasaki David & Carlene Kellenberger Rev. Janet & Allen Kennedy Ann Chipman & Greg Keupfer Stephen & Linda Knight Douglas C. Kramp Jim & Sue Lamb Thomas & Terri Lamberti Nancy Lamia Joseph Lampinen Kenneth & Kathleen Lanfear Sharon LeCount Barbara R. Long Arline K. Lovett Grant & Patricia MacDonald Ms. Sandra Magana Michael Czerwionka & Cheryl Maihack Lynn Mall Joseph ¶ & Marge Malmquist Bob & Mary McCann Judith McDonald Elizabeth McKay James McNamee Loni Mecum Richard & Kathleen Michalec Shirley & Charles Milett Miller Charitable Fund Helen G. Moore

Barbara M. Mueller Diane Neal Ms. Henrietta Neeley David & Lynne Nellemann Rick & Nancy Nelson Jan Newingham James Ceithaml & Marty Owens Janet Page Patrick & Diane Parks Ms. Jean Pechtel Ernie & Joanne Perone John Pilsits Glen & Beth Prezembel Julia Pronitcheva Paul H. Reed Maureen A. Resheske Gail Rhodes Mr. & Mrs. Richard Robertson Gail & Dennis Rossow Mel & Arline Roth Michael & Robin Rothamer Barbara J. Rowan Howard & Gene Royer Paul Schaefer Robert & Mary Jean Schless William E. Schnell David A. Schroeder Jay & Debbie Schroeder David G. Schultz James & Kathy Secora Mr. & Mrs. Ronald Sersen Brue & Kathleen Sicklesteel Drs. April & Frank Smith Jane Sorensen Anna M. Speicher Family of Frederick J. Steffen, Sr. William & Roseann Stenzel Laura M. Sterba Linda Stolt Dr. Savitha Susarla Elmer & Mary Sweet Mr. Michael Tellin Michael & Kathleen Tennis Amy K. Tull Ms. Joyce Wagner Matthew Way ¶ & Ana Molina ¶ George & Anita Werderich Hon. Bonnie M. Wheaton Larry & Debbie Wild Leslie Wolko Tom & Linda Youngren ¶ Denotes ESO Musician and Staff

DONOR HONOR ROLL TRIBUTE GIFTS Tribute Gifts honor accomplishments, celebrate occasions, and pay respect in memory of reflection.

In honor of Suzanne & David Johnson Christopher Johnson In honor of Carole A. Medal Miriam Lytle

In memory of Jeanne Hebeisen Ruth & John Bradburn Betty Brown Laurel Beth Burgess Ann Chipman & Greg Kuepfer Kevin P. Durkin Patricia Harkin & Jim Sosnoski Rick & Nancy Hiton Adrienne & Ira Holtzman David & Suzanne Johnson

K. Eric Larson & Margaret Williams Jerry Latherow Karen & Dan Maki Antonio Romanucci Karen & Ed Schock Jodie & Robert Stackowiak Celine Voris

ENCORE SOCIETY The Encore Society is a meaningful and generous way to ensure the longevity of your Elgin Symphony. It is more than a donation – it is a statement of devotion and trust in our community impact for generations to come. It is with great admiration that we thank the following individuals for their selfless commitments.

Anonymous S.E. “Stu” Ainsworth ◊ Harry ◊ & Phyllis Blizzard R. Bert Crossland David & Arlene Donovan Cyril Friend ◊ Dr. Gwendolyn Rowe Gage Wally & Andrea Gumm Jeanne Hebeisen ◊

Evelyn W. Hunt ◊ Sally Lee ◊ Marcene Linstrom ◊ Thomas & Linda Long Michael & Kelly McKay Betty Moorehead Leo & Marilyn Nelson Dr. Eleanor Pick ◊ Tom & Sue Rakow

Ed & Karen Schock Jeanne Sigman David Waring Herman & Mary Zwirn ◊ denotes deceased members