Elgin Symphony Orchestra Rhapsody in Blue Program

Saturday, May 6, 2023, at 7:30 PM Sunday, May 7, 2023, at 2:30 PM Chad Goodman, conductor Drew Petersen, piano The Hemmens Cultural Center

COLERIDGE-TAYLOR GERSHWIN o orch. Grofé

Ballade in A minor, op. 33 Rhapsody in Blue Drew Petersen, piano ~ Intermission ~

BEETHOVEN

Symphony No. 7 in A major, op. 92 Poco sostenuto—Vivace Allegretto Presto— Allegro con brio

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

ORCHESTRA PERSONNEL Violin I Isabella Lippi Concertmaster Eleanor Bartsch Assoc. Concertmaster Gerald Loughney Eric Pidluski Joseph Malmquist Carol Dylan Helen Kim Lee Wendy Evans Jennifer Leckie Caroline Slack Azusa Tashiro Pamela Lutter Violin II Daniela Folker Principal Maria Arrua Asst. Principal Susan Thorne Steve Winkler Elizabeth Huffman Kelvin Lin Meghan Lanfear Kathryn Siegel Laura Burns Katherine Hughes Sally Stephenson Martin Hackl Viola Claudia Lasareff-Mironoff Nicholas Munagian Susan Posner Mark Djordjevic Jacqueline Scavetta Willie McLellan Kelly Larson

Cello Matthew Agnew Principal Nazar Dzhuryn Asst. Principal Kerena Fox Mark Kuntz Robert Weber Elizabeth Start Sara Sitzer Double Bass Tim Shaffer Principal Jason Niehoff Susan Sullivan Gregory Heintz Adam Attard Ben Foerster Flute Jean Bishop Principal Eliza Bangert Scott Metlicka Oboe Adèle-Marie Buis Principal Joseph Claude Clarinet Gene Collerd Principal Trevor O’Riordan

Bassoon Vincent Disantis Principal Collin Anderson French Horn Greg Flint Principal Steven Replogle Mary Jo Neher Mary BuscanicsJones Dan O’Connell Trumpet Ross Beacraft Principal Mike Brozick Trombone Ignacio Del Rey Hugo Saavedra David Becker Tuba Keith Polito Timpani Simon Gomez Percussion Brian Oriente Principal Michael Folker Jon Johnson

ESO BOARD AND ADMINISTRATION EXECUTIVE COMMITTEE R. Bert Crossland

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

Board Chair

Andre Fiebig Immediate Past Board Chair

Robert Chiappetta Treasurer

Rev. Arlyn Tolzmann Secretary

Dr. Patricia Harkin Governance Chair

Frank Maxson Carole Medal Martin Nobs Patrick Parks Ron Rogers Timothy Shaffer* Dr. 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

DEVELOPMENT & MARKETING

OPERATIONS

Chuck Kocal

David Goldman

Rebecca DeWane

Director of Marketing

Director of Finance & Administration

Daphne Kawamoto

Eric Block

Chief Executive Officer

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

Rylan Virnig

Community Partnerships & Personnel Manager

Macauley Manzano

Orchestral Librarian & Patron Services Manager

Digital Marketing Coordinator

Donna Lake

Public Relations Manager

Erica Warszewik

Box Office Manager

Stage Manager Stage Manager

Ana Molina Translator

LaTrisha Williams In Harmony Program Coordinator

GUEST CONDUCTOR With a flair for inventive programming and a bold presence on stage and in the community, Chad Goodman has been praised for "bringing innovation to classical music" (Forbes).

As the Conducting Fellow of the New World Symphony, Goodman conducts on subscription, education, family and holiday programs. His program, “SPARK: How Composers Find Inspiration,” blended captivating light design and videography with engaging audience participation to explore how a composition is created and brought to life by an orchestra.

Since 2018, Goodman has served as an Assistant Conductor to the San Francisco Symphony, assisting Michael Tilson Thomas, Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Pablo Heras-Casado, Simone Young, and James Gaffigan among others.

Goodman’s 2022-2023 Season will include debut appearances with the Baton Rouge Symphony, Greensboro Symphony and San Francisco Chamber Orchestra.

As Founder and Artistic Director of Elevate Ensemble, Goodman’s ambitious vision for concert programming resulted in the pairing of music from Bay Area composers with underappreciated gems of the 20th and 21st centuries. Under his leadership, Elevate Ensemble established a Composer-in-Residence program and commissioned fifteen works from Bay Area composers.

Elevate collaborated with photographers, videographers, poets, and culinary artists, bringing new music and vibrant multi-genre experiences to unique venues such as yoga studios, historic Victorian homes, and art studio warehouses.

Goodman has previously served as Conducting Fellow of Festival Napa Valley, Music Director of the Contra Costa Chamber Orchestra, Conducting Fellow of the Atlantic Music Festival, and rehearsal and cover conductor for the San Francisco Ballet.

In addition to his performing career, he teaches young musicians the business and entrepreneurial skills needed to successfully navigate the world as a working musician in his workshop “You Earned a Music Degree.

Now What?”

Goodman holds a Bachelor of Music degree from the Eastman School of Music and a Master of Music degree from San Francisco State University. His mentors include Michael Tilson Thomas and Alasdair Neale.

GUEST ARTIST Acclaimed young American pianist Drew Petersen is a sought-after soloist, recitalist, and chamber musician. He has been praised for his commanding and poetic performances of repertoire ranging from Bach to Zaimont, and is the recipient of the 2018 Avery Fisher Career Grant, 2017 American Pianists Award, and the Christel DeHaan Fellow of the American Pianists Association.

With the resumption of live concerts his 21/22 season will include orchestras in Cincinnati, Santa Fe, Buffalo, Delaware, Columbus and Indianapolis and recitals in San Francisco, Madison and Sanibel, FL. Recent highlights have included debuts with the Sarasota, Houston, Phoenix, Pacific, Milwaukee, Fort Smith, Buffalo, Waco and Allentown symphonies as well as his recital debut at the Kennedy Center. In solo recital Petersen has appeared at the Gilmore International Keyboard Festival, University of Indianapolis, Williams College Concert Series, Dame Myra Hess Concerts in Chicago, Lincoln Center’s Mostly Mozart Festival, Brevard Music Center’s Summer Festival and Chicago’s Ravinia Festival. 2018 marked the release of his first solo recording of music by Barber, Carter, and other American composers on the Steinway & Sons label for which BBC Music Magazine acknowledged his presence as a rising star.

A frequent radio contributor, Petersen has performed on McGraw-Hill Young Artists Showcase, From the Top, and Performance Today. Profiles include The New York Times, New York Magazine, and the documentary “just normal” by award-winning director Kim A. Snyder. A champion of chamber music, Petersen has appeared on French radio’s France Musique while a member of a Verbier Festival piano trio.

Drew Petersen’s firm belief in the importance of music in contemporary society led to collaborations with Young Audiences NY that presents performances in New York City’s public schools. His appearance in Andrew Solomon’s New York Times bestselling book, Far From the Tree, sparked a nation-wide conversation on raising extraordinary and different children who test the willpower and capabilities of their families and society.

Petersen continually advocates for the necessity of classical music and other arts in society, and was named a 2006 Davidson Fellow for his portfolio entitled Keeping Classical Music Alive.

ARTS EDUCATOR OF THE YEAR Born in Kaunas, Lithuania, her native country, Vilma J. Dydas discovered at an early age her passion and love for music and playing the piano. In 1987 she was appointed, out of 1500 students to attend the prestigious Academy of Music in Vilnius, Lithuania where she excelled.

While living in Europe Vilma had the honor of performing for Francois Mitterrand, Prime Minister of France, Pope John Paul II, and numerous piano and organ concerts.

In 1995 Vilma came to the US to complete her master’s degree at St. Joseph college, Indiana. She settled in the Chicagoland area where she has excelled over the past 28 years as a musician, music teacher, music director, choir director (adult & children).

Overall, she has been a private piano/organ teacher since 1987, for students aged 4-72, and has mentored, tutored, and been an amazing influence for more than 2500 individuals.

Her credentials are truly remarkable, which include a Master’s Degree in Church Music and Liturgy, and a Bachelor of Music in Piano and Organ Performance. She is a Professional pianist, organist, and conductor, an experienced piano, organ, keyboard and voice teacher, and teaches music theory and music appreciation at all levels.

Vilma has a driving passion for teaching, performing and her love for music as an art form that she has shared throughout all the communities she is part of.

She is an outstanding and dedicated ambassador for music and art in the greater Elgin area and truly enjoys what she does.

PROGRAM NOTES Written by - Daniel Maki Ballade in A minor, op. 33 Samuel Coleridge-Taylor (1875-1912) Samuel Coleridge-Taylor was born in London to an English mother and a father from Sierra Leone. The couple was not married and when the father returned to Africa due to frustration with racial prejudice (he was not aware of the pregnancy), the child was raised by the mother and her family. She named her son after the distinguished poet Samuel Taylor Coleridge (without the hyphen, which apparently was added much later due to a printer’s error).

There were musicians on the mother’s side of the family, and the boy quickly benefited from the instruction, demonstrating extraordinary ability. At the age of fifteen he entered the Royal College of Music studying with one of England’s prominent composers, Charles Villiers Stanford.

By his early twenties he was an established composer and in 1898 completed the work which would bring him international fame, a cantata entitled Hiawatha’s Wedding Feast, based on Longfellow’s poem. Deeply fascinated by the poem (he would name his own son Hiawatha), he would add two more cantatas making a trilogy under the overall title, The Song of Hiawatha. This work would become wildly popular in England, rivaling such choral classics as Handel’s Messiah and Mendelssohn’s Elijah. Largely on the basis of this work, Coleridge-Taylor made three trips to the United States in the early 1900’s where he conducted many performances. Among his honors was a visit to President Theodore Roosevelt at the White House, a rare occurrence for a person of color at the time. He was lionized especially by the American black community, with the creation of a 200-voice chorus in Washington, D.C. named the Samuel Coleridge-Taylor Society. Several public schools were named after him in Baltimore and Louisville.

As important as Hiawatha was in his career, it was far from the composer’s only triumph. Just two months before the premiere of Hiawatha, he achieved a major success at one of England’s major musical institutions, the Three Choirs Festival. Founded in 1715 and still very much a part of England’s musical life today, the festival has over the years heard the premieres of countless works from Purcell and Handel to contemporary composers. Coleridge-Taylor had caught the attention of Edward Elgar, then well on his way to becoming England’s leading composer. Elgar recommended the young man to the festival’s leaders saying that he was “far and away the cleverest fellow going amongst all the young men.”

The new work was a 13-minute orchestral piece called a ballade, one of three works which Coleridge-Taylor wrote by that title. In instrumental music, the term implies no particular form but a work with a strongly lyrical quality and a feeling of dramatic narrative. Here we are given an opening which is turbulent and strongly rhythmic, eventually giving way to a passage of soaring lyricism. The two moods alternate but the work ends with a return to the stormy opening material. Skillfully orchestrated, the Ballade reveals a strong musical personality with powerful dramatic and lyrical sense.

Rhapsody in Blue George Gershwin (1898-1937) Rhapsody in Blue was written for a concert held in New York’s Aeolian Hall on November 12, 1924. That concert, often described in music history books, was in its own way a very American event, part blatantly commercial publicity stunt and yet also part earnest cultural experiment.

On January 3, 1924, George Gershwin was shooting pool in a billiard parlor on 52nd and Broadway, when his brother Ira noticed a newspaper article which stated that George Gershwin was writing a “jazz concerto” that would

be performed by Paul Whiteman and his Orchestra in February. That was news to George Gershwin.

As it turned out, Whiteman, one of the most popular big-band leaders of the era, had the grand idea of a concert that would bring the new jazz style into the respectable confines of the concert hall. In addition to presenting various types of jazz, he wanted to invite several composers such as Gershwin to write concert pieces that would have a jazz flavor. Furthermore, to place the imprimatur of respectability on the whole affair as well as to drum up more business, he had the brilliant idea of inviting a panel of distinguished figures from classical music who would answer the question, “What is American music?” (The panel included such heavyweights as Rachmaninoff and Heifetz.) When Gershwin asked Whiteman why he had gone ahead with the plan without telling him, Whiteman replied that a rival bandleader had stolen his idea and he had to move quickly to beat him. Carnegie Hall, incidentally, was unavailable so Whiteman had to book the smaller Aeolian Hall.

Although he was busy with commitments on Broadway, Gershwin began the daunting task of writing a concert piece in roughly one month. (Whiteman had actually broached the subject to Gershwin some years earlier but no serious work had been done.) Somehow, in a few weeks he managed to produce a piano score which was then given to Ferde Grofé, Whiteman’s staff arranger, for orchestration. Changes were still being made in rehearsal.

Due to much advance publicity and the panel-ofexperts ploy, the concert attracted many of the country’s musical glitterati such as Igor Stravinsky, Fritz Kreisler, and John Philip Sousa. Unfortunately, Whiteman had selected a program that was repetitive and far too long and members of the audience had already begun to leave when Gershwin, next to last on the program, made his entrance as piano soloist. The mood in the hall changed quickly, as

Gershwin’s virtuosity and the freshness of his musical ideas saved the day. He was called back for five curtain calls.

Most of the press coverage of the event concerned the new Gershwin piece. Opinion was sharply divided, ranging from raves to revulsion. And the question, “What is American music?”, seemed as open as ever. The public, however, soon determined the fate of the new work.

Repeat performances in New York as well as a tour and a classic 78 rpm recording (now available on CD) with Gershwin as soloist were huge commercial successes.

Today, Rhapsody in Blue is an established American classic.

Using the term rhapsody, a genre much employed by romantic composers implying a free form work with an improvisatory character and many sudden mood changes, Gershwin combines techniques of piano giants such as Liszt, Tchaikovsky, and Rachmaninoff with his infectious jazz rhythms and incomparable melodic inventiveness. The term “crossover” used so often these days to refer to music that appeals to listeners in more than one of the strictly segregated categories such as jazz, rock, classical, etc., can trace its meaning back to the Rhapsody. With one foot on each side of the classical/jazz divide, it is music which still today sounds spontaneous, fresh, and, yes, American.

Symphony No. 7 in A major, op. 92 Ludwig van Beethoven (1770-1827) Beethoven’s Seventh Symphony received its first performance in December, 1813, in Vienna at a concert held for the benefit of Austrian and Bavarian soldiers wounded in the Napoleonic Wars. It was the sort of happening which would be a great media event today and would no doubt be covered tastefully by public television.

An all-star orchestra made up of such musical luminaries as Ludwig Spohr, Giacomo Meyerbeer, and Johann Nepomuk Hummel was conducted by Beethoven himself, even though he was by then so deaf that he couldn’t hear the soft passages and in general comported

himself on the podium in his usual wildly eccentric manner.

In keeping with the festively bellicose tone of the occasion (Napoleon’s hated army was finally, after years of devastating warfare, on the verge of defeat), Beethoven also produced a battle piece called Wellington’s Victory, commemorating Napoleon’s defeat on the Iberian Peninsula the previous June. Like Tchaikovsky’s 1812 Overture, it is a piece of skilled, highly professional hackwork and made a big noise both figuratively and literally. (Like the 1812 Overture it contains enough gunfire to induce shellshock in even the most hardened concertgoer.)

Lest we underestimate the musical taste of the Viennese public, however, it should be said that the Seventh symphony generated as much enthusiasm as did Wellington’s Victory. Most telling of all is the fact that the second movement, one of Beethoven’s most poignant utterances, was encored, an unusual occurrence for any slow movement.

Despite the grumblings of some professional musicians such as the composer Carl Maria von Weber who pronounced Beethoven “ripe for the madhouse” because of an unusual passage near the end of the first movement and Friedrich Wieck, who implied that the composer had been drinking too much lager, public opinion carried the day and the Seventh Symphony helped to bring Beethoven to a new level of popularity. After his death the Seventh took its place alongside those other odd-numbered masterpieces of the heroic statement, the Symphonies 3,5, and 9, and today remains one of the most popular of all symphonies.

The best-known characterization is Richard Wagner’s reference to it as the “apotheosis of the dance.” Wagner, whose prose was nothing if not purple, went on to say that the symphony would cause “tables and benches, cans and cups, the grandmother, the blind and lame, aye the children in the cradle” to dance.

The first movement begins with what was at the time the longest and most complex slow introduction in symphonic history. After a journey through several keys we

return to the principal key of A major and the flute announces a theme which, though innocent in character, bears the responsibility of being the primary theme of this impressive movement. The dance-like rhythm of this theme (known to music students as the “Amsterdam” rhythm) dominates the movement. Finally, near the end of the movement we hear the famous passage which so upset Herr von Weber. The low strings state a figure which is derived from the main theme but made to sound rather ominous in the nether regions of the orchestra. It is repeated obsessively time and time again while the top of the orchestra builds to an enormous climax.

Despite its tempo marking of allegretto (rather fast), the second movement performs the expressive function of the traditional slow movement of a symphony—the movement which provides the deepest, most reflective and introspective music. Beginning with simple materials consisting of the most basic chords stated over an insistent rhythm, Beethoven constructs a rich set of variations. Set in the somber key of A minor, this movement stands as one of Beethoven’s most moving expressions and has often been used as funeral music.

Finally, after the wit and color of the delightful third movement scherzo, Beethoven releases the whirlwind force of the finale. In the words of the great English critic D.F. Tovey, this movement “remains unapproached in music as a triumph of Bacchic fury.”

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