2016-2017 Prelude 1

Prelude

FORT WAYNE PHILHARMONIC PROGRAM

October/November 2016

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Seasonal Only!

GIANT CARAMEL APPLES Available October through early November

Prelude

VOLUME 73 NO. 1 2016|17 SEASON

FORT WAYNE PHILHARMONIC PROGRAM

October/November

Editor: Brooke Sheridan Contributing Editors: Melysa Rogen, 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. We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue.

Table Of Contents 5 Welcome Letter, Andrew Constantine 39 IPFW University Singers Roster 44 The Phil Friends 46 Andrew Constantine, Music Director 48 Caleb Young, Assistant Conductor 49 Benjamin Rivera, Chorus Director 50 David Cooke, YSO Conductor 51 Marcy Trentacosti, YCO Conductor 52 Orchestra Roster

Artist Bios 11 Olga Kern, piano 25 Eric Ruske, horn 25 Charles Reid, tenor 30 Karen Gibbons-Brown, Artistic/Executive Director, Fort Wayne Ballet 39 Vaughn Roste, Choral Director, IPFW

54 Board of Directors 55 Administrative Staff 56 Fort Wayne Philharmonic Chorus Roster 57 Youth Orchestra Rosters 58 Series Sponsors 60 Donors 67 Sponsors 83 Index of Advertisers

40 Alexia Kruger Rivera, soprano 40 Lindsey Adams, mezzo soprano 41 Patrick Muehleise, tenor 41 Daniel Eifert, baritone

7 Masterworks Olga kern plays rachmaninoff Saturday, October 1 13 Patron appreciation concert Thursday, October 6 15 Freimann chamber beethoven Wednesday, October 12

Sunday, October 16 21 Masterworks mendelssohn’s “italian” symphony

Saturday, October 22 27 Pops bugs bunny at the symphony II Saturday, October 29 29 Family HALLOWEEN SPOOKTACULAR Sunday, October 30 33

4 Fort Wayne Locations • debrand.com • 260.969.8335

Youth Orchestras fall concert Sunday, October 30

35 Chamber Orchestra Series philharmonic chorus:

40th anniversary celebration Saturday, November 5 3

Welcome From The Music Director

Dear Friends: Welcome to the 2016-17 Season of the Fort Wayne Philharmonic.

Assembled are some of the brightest stars and beloved masterpieces for you to enjoy. Along the way, we’ll introduce you to some very carefully selected gems not so well known to current audiences, but nonetheless deserving of your attention.

We do hope you like what we have in store for you.

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.

Opening the Season on October 1 with Olga Kern is a dream come true. This striking pianist promises to captivate fans and critics alike with her dazzling technique and innate musicality. I so look forward to working with Olga for the very first time.

On October 6, Fort Wayne Philharmonic donors and subscribers are invited to celebrate the beginning of the 2016-17 Season with a FREE Patron Appreciation Concert. This first-time benefit for donors and subscribers is the Philharmonic’s way of thanking patrons for their extraordinary support of world-class music right here in Fort Wayne. See the enclosed program full of favorites by Beethoven, Grieg, Bartók, Mendelssohn, and Debussy.

Our Freimann Chamber Music Series opens on October 12 and 16 with a monumental program featuring two major works by Ludwig van Beethoven, one of the most legendary of all composers.

The composer said of his String Quartet No. 11, Op. 95, “The Quartet is written for a small circle of connoisseurs and is never to be performed in public”, because of its interesting use of silences, seemingly unrelated outbursts, and uncharacteristic freedom with tonality. Lucky for the world that Beethoven’s wishes were not honored!

On October 22, we perform one of the most colorful programs of the year. It opens with Rossini’s exuberant William Tell Overture, made famous in America by the popular Lone Ranger television series. Giddyup and hold on for an exhilarating musical ride! Next comes Britten’s shimmering Serenade for Tenor, Horn, and Strings, a setting of six poems by British poets on the subject of night. The concert closes with one of Mendelssohn’s most popular compositions, his musical postcard home from Italy, the Symphony No. 4 in A Major, Op. 90, and “Italian”.

Then to really change things up a bit, we open the Sweetwater Pops Series on October 29 with Bugs Bunny at the Symphony II. The Philharmonic gets even more animated when Bugs Bunny takes center stage with iconic scores from our favorite Looney Tunes while the animated shorts appear on the big screen. “What’s Opera, Doc?” and “The Rabbit of Seville,” plus Daffy Duck, Elmer Fudd, and the rest of the Looney Tunes gang will make for a hilarious night at the Philharmonic.

And, on November 5, the Philharmonic Chorus commemorates 40 years of extraordinary music making with one of the greatest oratorios in the choral orchestral repertory. Mendelssohn’s Elijah was hugely popular from the start; an early critic wrote, “The last note of Elijah was drowned in a long-continued unanimous volley of plaudits, vociferous and deafening ... never was there a more complete triumph; never a more thorough and speedy recognition of a great work of art.”

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

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We’re off and running with a busy fall full of your favorite masterworks and some new finds. We do hope you join us, and often.

I’ll see you at The Phil, Andrew Constantine Music Director

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Opening Night: Olga Kern plays Rachmaninoff Sponsored by Parkview Health

Saturday, October 1, 2016 • 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Olga Kern, piano

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TCHAIKOVSKY Symphony No. 4, Op. 36, F minor

I. Andante sostenuto

II. Andantino in modo di canzona

iii. Scherzo: Pizzicato ostinato

iV. Finale: Allegro con fuoco

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Festive Overture, Op. 96

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43

Olga Kern, piano

-- Intermission --

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, October 13 at 7:00 P.M. Thank You to the Following Sponsors:

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Program Notes

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Opening Night: Olga Kern Plays Rachmaninoff Saturday, October 1, 2016

Festive Overture, Op. 96 Dmitri Shostakovich (b. 1906, St. Petersburg, Russia; d. 1975, Moscow)

Rhapsody on a Theme of Paganini, Op. 43 Sergei Rachmaninoff (b. 1873, Oneg, Novgorod, Russia; d. 1943, Beverly Hills, California)

After the Soviet government in 1948 condemned him for the second time for writing difficult, modernist music that was deemed unhealthy for Soviet citizens, Dmitri Shostakovich adopted a protective covering for his work. He used a simpler, more accessible idiom for his public music, while saving his more complex, dissonant style for personal works such as his string quartets. Composed in November 1954 to celebrate the 37th anniversary of the Bolshevik Revolution, the Festive Overture naturally was in his most accessible idiom: tonal, tuneful, and totally positive in spirit.

Sergei Rachmaninoff’s most beloved work for piano and orchestra was not unveiled in his native Russia, but in Baltimore, Maryland on November 7, 1934 when the composer played the world premiere of his newly composed Rhapsody on a Theme of Paganini with the touring Philadelphia Orchestra. Rachmaninoff was in Baltimore and not Moscow because the Russian Revolution of 1917 had forced him to flee his native land at age 44 and begin his career again in the West. Once primarily a composer and conductor, he now became a touring piano virtuoso — one of the 20th century’s greatest — in order to support his family. America, with its insatiable demand for his concert appearances, made him richer than he’d ever been in Russia. But he never got over his homesickness.

In Elizabeth Wilson’s biography Shostakovich: A Life Remembered, the composer’s friend Lev Lebedinsky recalled how, when the anniversary concert’s organizers suddenly found themselves without a suitable opener, Shostakovich produced this overture for them in a matter of hours.

“Then he started composing. The speed with which he wrote was truly astounding. Moreover, when he wrote light music he was able to talk, make jokes, and compose simultaneously, like the legendary Mozart ... About an hour or so later, Nebol’sin started telephoning: “ ‘Have you got anything ready for the copyist? Should we send a courier?’ ” “A short pause and then Dmitri Dmitriyevich answered, ‘Send him.’ ” “What happened next was like the scene with the hundred thousand couriers out of Gogol’s Government Inspector. Dmitri Dmitriyevich sat there scribbling away, and the couriers came in turn to take away the pages while the ink was still wet — first one, then a second, a third, and so on. Nebol’sin was waiting at the Bolshoi Theatre and kept the copyists supplied.”

“Two days later the dress rehearsal took place.

I hurried down to the Theatre, and I heard this brilliant, effervescent work, with its vivacious energy spilling over like uncorked champagne.”

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His music, too, remained rooted in Russia. And while audiences loved his lushly Romantic melodies, many musicians and critics scorned him as out of date. Pondering his predicament, he wrote: “Perhaps I feel that the kind of music I care to write is not acceptable today. ... For when I left Russia, I left behind me the desire to compose: losing my country I lost myself also.

To the exile whose musical roots, traditions, and background have been annihilated, there remains no desire for self-expression.”

But the desire for self-expression did remain, and in 1934 it produced the brilliantly imaginative Paganini Rhapsody.

The work springs from the 24th Caprice for unaccompanied violin by a virtuoso of another age and instrument, Nicolò Paganini (1782– 1840). Rachmaninoff took Paganini’s spry two-part tune and built 24 highly contrasted variations on it. Most of these whiz by at high speed, so listeners should not struggle to keep count, but simply absorb the work as a continuous flight of fancy. Providing structural shape, Rachmaninoff grouped the variations into three larger units, making a mini-concerto: variations one through ten forming a fast

“movement,” 12 through 18 a slow “movement,” and 19 through 24 a virtuoso “finale.”

A theme-and-variations composition usually begins with a full presentation of the theme itself. But here Rachmaninoff gives a witty “preview” — just the teasing first notes of each measure — before the violins sing the theme for us. At the seventh variation, the tempo slows a bit, and the piano intones in stark chords the melody of the “Dies Irae” chant from the Catholic mass for the dead; this somber tune was a signature theme throughout Rachmaninoff’s music. It returns again in the tenth variation amid dazzling orchestral music, along with some syncopated brass writing that sounds more New York than Moscow.

The 12th variation opens the middle section with a dream-like minuet in 3/4 time. The shadows deepen in the 16th and 17th variations as the piano gropes for light at the end of the tunnel. This is gloriously achieved in the golden sunlight of the 18th variation, the work’s most beloved and surely one of the most gorgeous tunes ever written. From this tranquil oasis, the music builds in speed, excitement, and virtuoso display for the soloist until the charming surprise ending.

Symphony No. 4, Op. 36, F minor Piotr Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) Tchaikovsky’s Fourth Symphony is a tale of two women. Both entered the composer’s life in 1877, the year he created this tempestuous, fate-filled work. One of them nurtured his creative career with bountiful gifts of friendship, understanding, and money; the other, in a quixotic marriage, nearly destroyed it.

The composer’s bright angel was Nadezhda von Meck, recently widowed and heiress to a substantial financial empire. An intelligent, highly complex woman, she loved music passionately and that passion became focused on Tchaikovsky. Early in 1877, she began writing long, heartfelt letters to him: “I regard the musician-human as the supreme creation of nature. … In you the musician and the human being are united so beautifully, so harmoniously, that one can give oneself up entirely to the charm of the sounds of your music, because in these sounds there is noble, unfeigned meaning.”

From such effusions grew one of the strangest and most fruitful relationships in music. Mme von Meck and Tchaikovsky found they were soul mates, yet they determined to conduct their relationship exclusively through letters and never to meet. For 14 years, they poured out their innermost feelings to each other.

She gave him a generous annual stipend that freed him from financial worries. He stayed at her estate when she was away. Years later when they accidentally encountered each other on a street in Florence, they raced past each other in embarrassment. For a man of homosexual inclination who nevertheless yearned for closeness with a woman, it was an ideal situation.

Less ideal was Tchaikovsky’s relationship with his dark angel, Antonina Milyukova, whom the composer — hoping to create a “respectable” home life for himself — foolishly agreed to marry in July 1877. The relationship was a disaster from the beginning and drove the composer to a nervous breakdown. He fled his new bride almost immediately and for years traveled throughout Europe to avoid her.

The Fourth Symphony was conceived during this turmoil — drafted before the marriage and orchestrated in the aftermath — and the continual appearances of a malign “Fate” fanfare, the turbulence of its first movement, and the almost hysterical rejoicing of its finale reflect it. Dedicating the symphony to her, Tchaikovsky turned to his “best friend,” Mme von Meck, for solace. He kept her continuously apprised of the progress of “our symphony.”

When she begged him for a “program” explaining what the music “meant,” he at first demurred but finally obliged with the following movement descriptions, which are so expressive they seem more helpful than discussions of sonata forms and thematic development.

Movement 1: “The introduction [the loud fanfare theme] is the seed of the whole symphony, without a doubt its main idea. This is Fatum, the fateful force that prevents our urge for happiness from achieving its end, … hangs over our heads like the sword of Damocles, and constantly, unceasingly, poisons our soul. …

“Discontent and despair grow stronger, become more scathing. Would it not be better to turn one’s back upon reality and plunge into dreams? [the solo clarinet’s wistful theme] 9

…

“O joy! At least one sweet and tender dream has appeared. Some beatific, luminous human image flies by, beckoning us on: [the sweeping, waltz-like music] …

[Return of Fate fanfare] “No! They were only dreams, and Fatum awakes us. … So life itself is the incessant alternation of painful reality and evanescent dreams of happiness …”

Movement 2: “The second part of the symphony expresses a different aspect of human anguish. It is the melancholy feeling that appears in the evening, when you are sitting alone. … Memories swarm around you.

You feel sad about what was and is no more. …

It is sad and somehow sweet to sink into the past.”

Movement 3: “The third part … is made up of the capricious arabesques … that pass through the mind when one has drunk a little wine and feels the first phase of intoxication.

The soul is neither merry nor sad. One does

not think of anything; one leaves free rein to the imagination, and, for some reason, it begins to draw strange designs. … These are the disconnected pictures that pass though the head when one goes to sleep. They have nothing in common with reality; they are bizarre, strange, incoherent.”

Finale: “If you do not find cause for joy in yourself, look to others. Go to the people … They make merry and surrender wholeheartedly to joyful feelings. Picture a popular festival. Scarcely have you forgotten yourself and become interested in the spectacle of other people’s joy, when the tireless Fatum appears again and reminds you of his existence. … Do not say that everything is sad in the world. There exist simple but deep joys. … Life can still be lived.”

“This, my dear friend, is all I can tell you about the symphony. Of course, it is unclear and incomplete, but this is in the nature of instrumental music. … As Heine said: ‘Where words end, music begins.’ ” Notes by Janet E. Bedell copyright 2016

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Artist Biography

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OLGA KERN, Pianist Olga Kern is recognized as one of her generation’s great pianists. With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking Russian pianist continues to captivate fans and critics alike. Olga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five.

She jumpstarted her U.S. career as the first woman in over 30 years to receive the Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas.

First prize winner of the Rachmaninoff International Piano Competition at the age of seventeen, Ms. Kern is a laureate of many international competitions and tours throughout Russia, Europe, the United States, Japan, South Africa and South Korea. Ms. Kern is also a corresponding member of the Russian Academy of Sciences, Division of the Arts.

CANTERBURY SCHOOL

Ms. Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Symphony Hall in Osaka, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris.

Ms. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy Nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), Brahms Variations (2007) and a 2010 release of Chopin Piano Sonatas No. 2 and 3 (2010). She was also featured in the award-­winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg and in They Came to Play.

Ms. Kern resides in New York City with her son, Vladislav Kern, who studies piano in the Juilliard Pre-­College program.

“Teaching students at Canterbury gives me the opportunity to ignite a passion for learning that will guide them in and beyond the classroom.”

Olga Kern is represented by: COLUMBIA ARTISTS MANAGEMENT LLC R. Douglas Sheldon / Gabriella Compos New York, NY 10019 Olga Kern is a Steinway Artist Olga Kern records exclusively for Harmonia Mundi Olga Kern’s dresses designed by Alex Teih

—Pascal Losambe Canterbury High School science teacher

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IPFW Department of Fine Arts

Patron Appreciation Concert

2017 Study Abroad Program The Art of Italy June 5–26, 2017

Patron Appreciation Concert Thursday, October 6, 2016 • 7:30 P.M. Arts United Center Andrew Constantine, conductor

Community travelers are encouraged to join our students and gain vast knowledge of the Art of Italy. Our professors will share their knowledge of photography, history and the culture of Italia.

Contact Dana Goodman for more information at goodmand@ipfw.edu

BEETHOVEN Selection from Symphony No. 7 in A major, Op. 92

I. Poco sostenuto - Vivace GRIEG Selections from Peer Gynt, Suite No. 1, Op. 46 Morning

Ase’s Death

Anitra’s Dance BARTÓK Rumanian Folk Dances

I. Jocul cu bata (Stick Dance)

II. Braul (Waistband Dance)

III. Pe loc (Stamping Dance, or On the Spot)

IV. Buciumeana (Hornpipe Dance)

V. Poarga Romaneasca (Rumanian Polka)

VI. Maruntel (Quick Dance)

VII. Maruntel (Quick Dance) BEETHOVEN

Selection from String Quartet in F minor, Op. 95

Allegro con brio

MENDELSSOHN Selections from A Midsummer Night’s Dream, Op. 61 Nocturne Scherzo DEBUSSY

Claire de Lune

BEETHOVEN

Selection from Symphony No. 7 in A major, Op. 92

IV. Allegro con brio

Thank You to the Following Sponsors:

For complete details on this affordable trip visit ipfw.edu/vpa 13

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Chamber Beethoven Wednesday, October 12, 2016 • 7:30 P.M. Parkview Physicians Group ArtsLab Sunday, October 16, 2016 • 2:30 P.M. Rhinehart Music Center, IPFW BEETHOVEN Sonata in A Major for Violin and Piano, Op. 47, “Kreutzer”

Adagio sostenuto; Presto

Andante con variazioni Presto

Johanna Bourkova-Morunov, violin

Alexander Klepach, piano

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

-- Intermission --

BEETHOVEN String Quartet in F minor, Op. 95

Allegro con brio

Allegretto ma non troppo

Allegro assai vivace ma serioso

Larghetto espressivo; Allegretto agitato

Violetta Todorova, violin

Olga Yurkova, violin Derek Reeves, viola

Andre Gaskins, cello

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Program Notes

reimann

Freimann 1: Chamber Beethoven

wednesday, October 12 & Sunday, october 16, 2016 Sonata in A Major for Violin and Piano, Op. 47, “Kreutzer” Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) In April 1803, Ludwig van Beethoven was introduced to a brilliant 24-year-old violinist, newly arrived in Vienna, by the composer’s patron Prince Karl Lichnowsky: George Polgreen Bridgetower. Bridgetower was an extroverted and exotic personality of mixed racial origins (his father was from the West Indies, his mother European). And he was a fiery virtuoso — a protégé of the famed Franco-Italian master violinist Giovanni Battista Viotti, who had developed a new, more powerful French school of violin playing that utilized the revolutionary “Viotti” bow.

Beethoven was absolutely captivated by Bridgetower as both a musician and a man.

The two frequented taverns together, and soon Bridgetower convinced the composer to write a violin sonata for them to perform together. However, their proposed concert date was looming fast. Fortunately, Beethoven had an orphan finale for a violin sonata (Op. 31, no. 1) he’d composed in 1802, but then, deciding it was not a good match for that sonata, had replaced. Its wildly virtuosic style would be ideal for Bridgetower if he could only write two other movements quickly enough to go with it. And so at breakneck speed he composed the new movements and added them to his existing finale to make the extraordinary work that by rights should be called the “Bridgetower” Sonata but instead is known today as the “Kreutzer” Sonata. It was a sensational success for both musicians at its Vienna debut on May 24, 1803. However, a subsequent quarrel with Bridgewater (reportedly over a woman both were interested in) caused Beethoven to change the dedication to another violinist, the Frenchman Rodolphe Kreutzer, who ironically disliked the Sonata and never played it.

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Despite the speed with which it was composed, this Sonata is one of the most impressive and innovative Beethoven created for any instrument. He described it as being written more in the highly virtuosic style of a concerto than a traditional sonata, and it vastly expanded the demands placed on the violinist to match those Beethoven had already proposed for his own instrument. In his superb recent biography, Jan Swafford calls it “an exercise in sustained intensity” — a work of high drama and bold expressiveness that corresponded to such piano sonatas as the “Appassionata” and “Waldstein” Beethoven was also writing about this time.

Leo Tolstoy used it as the inspiration for one of his greatest short stories, The Kreutzer Sonata, about music’s ability to arouse dangerous erotic passions.

Though the first movement will be in a turbulent, fast-tempo A minor, it opens with a slow, pensive introduction in A Major. The arresting opening features the violin playing big multi-stopped chords, as full-bodied as those the piano will use. A little sighing motive swinging up by a half step becomes increasingly prominent and eventually culminates in the violin rising to a dissonant F-natural.

That idea then launches the boldly masculine principal theme of the Presto main section, the violin completing it with big slashing chords.

The fiery momentum cools briefly for a lyrically sustained second theme. And Beethoven concocts yet a third theme, introduced by the piano: a dashing ascending melody with a virile gypsy character and strong, thwacking accents plucked by the violin.

Beethoven then conjures up a spectacularly adventurous development section from these themes, which wanders all over the harmonic universe while constantly challenging both players to more feverish feats. A special moment in the movement’s concluding dash is an interruption by a slow, meditative passage musing on the usually bold principal theme.

The second movement, a set of four variations on a gentle song-like theme, gives the two perspiring players a chance to recover before the exertions of the finale. The dissonant note of F that appeared at the sonata’s beginning now finds its goal as the movement’s F-Major home key. Particularly interesting are the third variation — a mysterious and moody treatment in F minor — and the ethereal and fantastic fourth, filled with trills. The movement culminates in an exquisite reverie of a coda.

In A Major, the finale is a white-hot Presto in the whirlwind rhythm of a Neapolitan tarantella dance. The exuberantly playful theme generates a battle of virtuosity between the two players, which — as in the first movement — is briefly and cleverly slowed by a beautiful, unexpected passage of reminiscence.

String Quartet in F Minor, Op. 95 Ludwig van Beethoven Like the Fifth Symphony’s famous “fate knocking at the door” opening movement, Beethoven’s 11th string quartet, known as the “Serioso,” is a masterpiece of compression. In his three earlier “Razumovsky” Quartets, he had boldly expanded the forms he’d inherited from Mozart and Haydn to cosmic dimensions.

But the “Serioso,” the shortest of his quartets, is something like a musical black hole into which themes, harmonic schemes, and expressive gestures are packed so tightly they exert an irresistible gravitational force. It is often seen as an experimental and transitional work pointing the way to the visionary late quartets of the 1820s.

The “Serioso” was written in 1810, a difficult year for Beethoven in which he apparently experienced a creative crisis and produced few works. Certainly he was troubled by personal problems. Early in the year, he had made another of his doomed-to-fail attempts at marriage: proposing to Theresa Malfatti, a girl who’d shown no particular interest in him (he was 39, she was only 19). Writing to a friend after she turned him down, he exclaimed: “So be it then: for you, poor B, there is no happiness in the outer world, you must create it in yourself. Only in the ideal world can you find friends.”

had written the last of his piano concertos, the “Emperor,” and realized he would never be able to play it in public. In another letter written on May 2, 1810, he expressed his anguish: “Yet I should be happy, perhaps one of the happiest of mortals, if that fiend had not settled in my ears — if I had not read somewhere that a man should not voluntarily quit this life so long as he can still perform a good deed, I would have left this earth long ago — and, what is more, by my own hand. Oh, this life is indeed beautiful, but for me it is poisoned forever!”

During the summer and fall, he turned to this quartet, which seems to reflect his anger, sorrow, and determination to carry on despite all obstacles. Commentator Basil Lam describes its Allegro con brio first movement in F minor as “a brief tragedy in one act.” It opens with a fast, savage figure that ends where it began, like an animal caught in a trap. A pause, and the victim struggles again to extricate itself with leaping figures. After another pause, a plaintive idea in the first violin follows and eventually becomes the second subject in the strongly contrasted key of D-flat major: a song of sorrow mixed with acceptance.

The movement is woven from these ideas of struggle and acceptance, but struggle predominates. A loud chord signals the beginning of a brief but intense development in which the opening leaping idea contends with the caught-in-a-trap motive. The movement finally dies out in exhaustion.

In his sketchbook for the “Serioso,” Beethoven wrote out passages from Bach’s Chromatic Fantasia and Fugue, and this seems to have been a direct inspiration for the Allegretto non troppo second movement in D major, which includes a melancholy short fugue on a chromatically twisting subject. A downwardcreeping cello line presages the fugue subject, followed by flowing hymn-like music whose serenity is disturbed by dissonances in the second violin. The viola then launches the fugue, which comes in two sections separated by a chromatic version of the creeping cello line. The repeat of the fugue is stranger than the first version, broken by nervous figures thrown from one instrument to another. Then the opening music returns, its poignancy intensified by very high, flute-like writing for the cello.

Far worse was his awareness of how much his deafness had increased. The year before, he 17

A dramatic chord leads directly into the scherzo third movement, which Lam calls “a notable manifestation of controlled anger.”

It is from this movement’s marking, Allegro assai vivace ma serioso, that the Quartet gets its name. Two false starts are made before the movement slides into its proper key of F minor.

Jagged rhythms made spikier by sharp accents dominate the scherzo section. It alternates with a trio section that is all smoothness and flow, but harmonically restless.

The finale opens with a brief, heart-rending slow introduction. A little sighing figure from that music then accelerates and changes direction to propel a stormy rondo form: another expression of “controlled rage.”

In a final enigmatic gesture, Beethoven adds a crazy, almost comical fast coda, as if laughing off the deep feelings expressed in his “serious” Quartet.

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Mendelssohn’s “Italian” Symphony Saturday, October 22, 2016 • 7:30 P.M. Rhinehart Music Center, IPFW Andrew Constantine, conductor Charles Reid, tenor Eric Ruske, horn

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Guillaume Tell (William Tell): Overture

BRITTEN Serenade for Tenor, Horn & Strings, Op. 31

I. Prologue

II. Pastoral

III. Nocturne

IV. Elegy

V. Dirge

VI. Hymn

VII. Sonnet

VIII. Epilogue

Charles Reid, tenor

Eric Ruske, horn

-- Intermission --

MENDELSSOHN Symphony No. 4, Op. 90, A major (Italian)

I. Allegro vivace

II. Andante con moto

III. Con moto moderato

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Program Notes

Mendelssohn’s “Italian” Symphony Saturday, October 22, 2016

Guillaume Tell (William Tell): Overture Gioachino Rossini (b. 1792, Pesaro, Italy; d. 1868, Passy, near Paris, France) Although he didn’t know it at the time, William Tell was to be the last of Gioachino Rossini’s many operas. Only 37 years old when it was premiered in Paris on August 3, 1829, Rossini had no plans to retire, but somehow his workaholic period between ages 17 and 36 (during which he composed more than 30 operas, most of them smash hits) finally caught up with him. Too wealthy to need to work anymore, he lived on for another 40 years: writing very little music, growing fat (tournedos Rossini was named for him), and wittily presiding over one of Paris’ liveliest salons.

Although it contains some of Rossini’s greatest music, William Tell is rarely staged today.

Weighing in at five epic acts stuffed with ballets and choruses, it is difficult to produce and, moreover, boasts a demanding tenor role that few today can sing. Not a scintillating comedy like The Barber of Seville, it is a serious, highly embellished retelling of the William Tell myth, based on Friedrich Schiller’s dramatic play, set in 13th-century Switzerland.

But its overture has had quite a different fate.

A miniature tone poem in four sections, it is the greatest of Rossini’s overtures and one of the most famous ever written. How it must have thrilled its first audiences who didn’t automatically associate its galloping finale with the Lone Ranger and “Hi-oh, Silver!”

Opening with an extraordinary passage for five solo cellists setting a brooding atmosphere of Switzerland suffering under Austrian oppression, it is a tour de force for orchestra that reminds us that Rossini revolutionized operatic orchestral writing even more than he did singing. Next comes a thrilling mountain thunderstorm that even Richard Strauss might envy. Minor mode brightens to major as the clouds roll away for a peaceful Swiss landscape, featuring an authentic Swiss ranz de vaches (cattle-calling song) tune for English horn and flute. Finally, the famous 22

trumpet call announces the arrival of the Masked Man. But Rossini actually labeled this music “Victory and Liberty,” as the orchestra foretells Tell’s liberation of the Swiss people from Austrian tyranny.

Serenade for Tenor, Horn and Strings, Op. 31 Benjamin Britten (b. 1913, Lowestoft, England; d. 1976, Aldeburgh, England) Many composers and other artists have acknowledged the generative influence of dreams — the door to the subconscious — on their creative work. Benjamin Britten was particularly alive to the mysterious power of dream-filled sleep; as he said in an interview with biographer Donald Mitchell: “Night and dreams — I have had a strange fascination with that world since a very early age. … I do treasure the moment [of falling asleep] and that’s why I think I get so disturbed and distressed if I don’t sleep; I find that I wake up in the morning unprepared for my next day’s work.”

Britten’s fascination with night and dreams found its way into many of his works, including his opera A Midsummer Night’s Dream, the orchestral song cycle Nocturne, and this concert’s work, the Serenade for Tenor, Horn and Strings. The Serenade — written in 1943 for Britten’s friend and muse the tenor Peter Pears and the great British/Australian horn player Dennis Brain — sets six poems by English poets of different eras, all dealing with nocturnal themes. Some portray the positive nature of sleep as a time of rest and regeneration; others dwell on sleep’s dark side: the terrors of nightmares, the fears and dangers that lurk in the shadows.

Britten’s deep interest in and knowledge of poetry also fills this song cycle. The lion’s share of his creative output was written for voice — operas, choral works, songs — and his sensitivity to the written word and ability to find apt musical expression for it are among his greatest gifts as a composer. In the years immediately preceding the Serenade’s

composition, Britten had been a member of the circle of the British poet W. H. Auden. A gurulike figure, Auden had enormous influence on his younger colleague’s taste in poetry, and the results can be seen in this artfully selected mini-anthology of poets, from the well-known Keats, Tennyson, and Blake to the obscure 17thcentury Charles Cotton and obscurer still 15thcentury creator of the “Dirge.”

The cycle begins with an unaccompanied Prologue for the horn, which will be repeated — this time from offstage — at the work’s end. The audience should be aware that the composer has instructed the hornist to play this Prologue and Epilogue on the natural harmonics of the instrument, without using valves. This results in a pastoral, nostalgic quality, evoking the horn’s origins as an outdoors instrument used in hunting. However, it also produces some strange-sounding pitches, since the intonation of the horn’s natural scale does not match the welltempered, piano-derived scale we generally use today.

The first song, Charles Cotton’s “Pastoral,” musically epitomizes the mood associated with that word: it is a tranquil ode to the setting sun and day’s end. More brilliant is the following “Nocturne” by Tennyson, filled with ripe Romantic imagery. Britten has fun with the obvious musical implications of the refrain “Blow, bugle, blow, set the wild echoes flying,” and the horn/bugle echoes and embellishes the tenor’s lines throughout.

elaborate fugal writing for the strings. The horn makes a belated, fortissimo entrance on the fugue subject at the song’s emotional peak.

Night wears a more beneficent guise as Diana, goddess of the moon and hunt, in the Elizabethan poet Ben Jonson’s “Hymn.” Britten plays with both the horn’s natural affinity with hunting imagery in its chase-inspired music and with references to Elizabethan madrigal style in the tenor’s sprightly repetitions of “goddess, goddess” and showy coloratura.

Night’s peace is restored with John Keats’ beautiful “Sonnet,” a poem on the healing aspects of sleep that shows Britten at his subtle best in exquisitely nuanced text setting. At the end, the tenor trails off to sleep on a pianissimo sustained D, while divided strings shimmer like a benediction around him. The horn player is absent in this song — waiting in the wings for his Epilogue.

Symphony No. 4, Op. 90, A major (Italian) Felix Mendelssohn (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Germany) “This is Italy! And now has begun what I have always thought … to be the supreme joy in life. And I am loving it. Today was so rich that now, in the evening, I must collect myself a little, and so I am writing to you to thank you, dear parents, for having given me all this happiness …”

The mood grows darker for the next two poems, “Elegy” by William Blake and “Dirge” by an anonymous 15th-century poet writing in archaic English. The Blake poem is a terse epigram about the evil worm that attacks and destroys the innocent rose in the slumbering night. Here the singer is less important than the horn and strings, which carry the emotional power implied in the verse’s few words. Britten makes the horn the agent of corruption through its constant use of the descending half-step interval, a musical symbol of evil for Britten.

Thus the 21-year-old Felix Mendelssohn wrote his family on October 10, 1830 after arriving in Venice. He did well to remember to thank his parents, for it was their wealth that had made possible this second installment of his Grand Tour of Europe. The previous year had taken him to the British Isles and sown the seeds for his “Scottish” Symphony; his journeys in and around Venice, Florence, Rome, and Naples from October 1830 to July 1831 would inspire his other most popular symphony, the sunlit “Italian.”

The half-step interval reverses direction for the tenor’s unaccompanied opening of the “Dirge,” which follows immediately. He repeats the same lachrymose melody throughout the song, with only slight rhythmic alterations to accommodate the text. This obsessive refrain — like a voice wailing in purgatory — contrasts with the

Although he found much in the Italian culture that offended his fastidious German soul, the young composer threw himself into his Italian experience with gusto: not only making dutiful pilgrimages to all the great museums and churches but also reveling in Rome’s preLenten carnival season and taking long hikes in 23

the countryside. Soon he began work on a new symphony inspired by this captivating land.

But possessed with good looks and a charming personality, he made little progress on it; as he confessed in another letter home, he had so many calling cards stuck in his mirror he need never spend an evening alone.

Instead of following Beethoven’s pattern of an earthy scherzo third movement, Mendelssohn harkens back to an earlier age for a very Classical minuet. But the string writing is more lush and the sentiment stronger than in Mozart’s minuets, and the trio section with its suave horn and bassoon parts has a warm nobility.

After returning home, however, the “Italian” Symphony began to take shape during the winter of 1832, spurred on by a commission from the London Philharmonic Society. But despite its air of spontaneity and effortlessness, the symphony cost Mendelssohn a great deal of sweat. Even after its highly successful premiere by the London Philharmonic on May 13, 1833 under his own baton, he continued to anguish over it. Ultimately, it was not published until after his death at 38. Mendelssohn left behind instructions for its improvement, but fortunately — since many consider the “Italian” to be among the most perfectly crafted of symphonies — nobody has ever implemented them.

The spirit of the Roman carnival return in the vivacious finale, based on the Italian leaping dance, the saltarello. In an unusual choice, this is a minor-mode (A minor) conclusion to a work that began in major. But Mendelssohn had the knack for writing very light-hearted music in minor keys — remember his Violin Concerto in E minor. And indeed high spirits and nonstop energy propel this dance to its whirling conclusion.

First movement: With its upward-leaping theme for violins above throbbing woodwinds, the “Italian” has one of the easiest to remember openings in the symphonic canon: an irresistible musical expression of youthful high spirits and sheer joy. Clarity and lightness mark the orchestration of one of Mendelssohn’s finest scores, in which exactly the right color mixture is found for each mood. A rhythmically vigorous new tune delays its appearance until the development section where it becomes the subject of a lively string fugue — Mendelssohn certainly had not worshipped Bach in vain!

The slower second movement in D minor is a masterpiece of atmosphere and scene painting.

It was apparently inspired by a religious procession Mendelssohn witnessed in Naples, and the constant “walking bass” line carries the processional feeling. Above it, the haunting timbres of oboes, bassoons, and violas introduce a grave and lovely melody. When the violins succeed them, they are partnered by two flutes weaving a beguiling obbligato melody above. At midpoint, clarinets offer a flowing, heartfelt new theme. Throughout, a wailing motive, rising and falling a half step, suggests the cries of the pilgrims. The procession gradually fades into the distance.

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Notes by Janet E. Bedell copyright 2016

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Artist Biography

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Eric Ruske, horn Horn soloist Eric Ruske was named Associate Principal Horn of The Cleveland Orchestra at the age of 20, and he also toured and recorded extensively during his six-year tenure as hornist of the Empire Brass Quintet. An active chamber musician, he has appeared with the Lincoln Center Chamber Music Society, Santa Fe Chamber Music Festival, Evian Festival, Boston Chamber Music Society, and the Festival Pablo Casals both in Puerto Rico and in France. His numerous arrangements and transcriptions, including a complete edition of the Mozart Concerti, are now available from Cimarron Music. In 2012, Albany Records released The Horn of Eric Ruske, a Box Set that includes Charles Reid, tenor Versatile lyric tenor Charles Reid has performed a wide array of concert literature with such ensembles as Boston’s Händel and Haydn Society, the National, Harrisburg, Madison, Nashville and Virginia Symphonies; Rochester and Buffalo Philharmonics; Lincoln Center’s “Mostly Mozart” and Berkshire Choral Festivals; Vienna Radio Symphony Orchestra, Gulbenkian Orchestra (Lisbon), Orchestre National de Lyon and Beethoven Orchester Bonn. JoAnn Falletta, Bertrand de Billy, Adam Fischer and John Nelson are among the many distinguished conductors with whom he has collaborated.

Equally present on the world’s operatic stages, his engagements include the Metropolitan and San Francisco Operas, Oper Frankfurt, Bayreuth, Salzburg, Spoleto USA, and Glimmerglass Festivals. Tamino (Die Zauberflöte), Ottavio (Don Giovanni), Alfredo (La Traviata), Nemorino (L’Elisir d’Amore) and the Duke of Mantua (Rigoletto) are among the roles he performed at the houses of Mannheim, Düsseldorf, Wiesbaden, Gießen and Winterthur (Switzerland).

two discs of horn concerti with orchestra, three of music for horn and piano, one disc for solo horn and a disc of chamber music for horn, violin and piano.

Mr. Ruske currently directs the Horn Seminar at the Boston University Tanglewood Institute and is the Professor of Horn at Boston University.

Mr. Reid’s recent recordings include Haydn’s The Seasons with Amor Artis Baroque, Alice Parker’s Melodious Accord with the Master Chorale of Washington, Ascanio in Alba from the Salzburg Festival, and a DVD of Wagner’s Die Meistersinger von Nürnberg from Bayreuth. He is a recipient of awards from the Richard Tucker Music Foundation, Loren L. Zachary National Vocal Competition, Florida Grand Opera YPO Competition, Connecticut Opera Competition, and Marjorie Lawrence International Vocal Competition.

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Bugs Bunny at the Symphony II Saturday, October 29, 2016 • 7:30 P.M. Embassy Theatre

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KAREN GIBBONS-BROWN, Artistic/Executive Director, Fort Wayne Ballet Karen Gibbons-Brown’s resume contains an impressive list of credentials. She began her early training in Columbia, South Carolina under Ann Brodie, Naomi Calvert and Aldolphina Suarez-More. Her early training and performing included ballet as well as modern, jazz, tap, and theater dance. She continued her studies at American Ballet Theatre with Maria Swoboda, Michael Lland, Patricia Wilde and Leon Danelian and studied on scholarship at David Howard School of Ballet.

Her professional experiences also include South Carolina Chamber Dance Ensemble, Ballet Celeste, Bristol Ballet and the Theatre Ballet of San Francisco where she recreated Anna Pavlova’s roles The California Poppy and The Dragonfly. Other performing highlights include performances at the Spoleto Festival in Charleston, South Carolina, the title role in Cinderella, The Sugar Plum Fairy in The Nutcracker, Swanilda in Coppélia, Aurora in The Sleeping Beauty and “Spring Waters” pas de deux an exciting display of partnering created by the great Russian Asaf Messerer.

Ms. Gibbons-Brown considers herself fortunate to have had a few works created especially for her including solos, Pentimento by Jill Eathorne Barr and the role of Anna in Richard Monroe’s work, The Hussar. Throughout her career, she has made numerous guest appearances throughout the United States.

Ms. Gibbons-Brown is known for her work in the classroom and enjoys teaching a variety of dance related subjects including ballet, pointe, repertoire, terminology, dance history, pedagogue and makeup and hair for stage as well as restaging major classical works. She has often been invited to teach guest classes and workshops including Sicily, Italy, Fontenay le Fleury, France and the prestigious Joffrey San Antonio Workshop under the directorship of her mentor Jeremy Blanton.

She received her certification in Labanotation while serving on the faculty of Virginia Intermont College under the direction of Constance Hardinge and served as Ballet Mistress for John McFall as he created his production of The Nutcracker for Atlanta Ballet, In 1985, Ms. Gibbons-Brown founded the Kingsport Guild of Ballet and became Artistic Director of the State of Franklin Dance Alliance at its inception in 1988. Other dance administrative duties include serving on the Tennessee Association Board of Directors in many capacities including president and serving on the Performing Arts Panel for the Tennessee Arts Commission. She assumed directorship of Fort Wayne Ballet in August 1998.

Other career highlights include Outstanding Dance Artist Award in 1997, serving as a juror for Concours International de Danse Classique in Paris, France in 2000, a 2002 graduate of Leadership Fort Wayne and being listed in Who’s Who in the 21st Century. In 2010, a new book authored by renowned choreographer Dean Speer, entitled On Technique, identifies Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. Her other full time job is spending time with her husband, Jim, and children Watson, Madison, Hannah, Zachary, Raleigh, and a sundry of dogs.

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Elijah, Op. 70

PART I Introduction: “As God the Lord” Overture Chorus: “Help, Lord!”

Duet and Chorus: “Lord, bow thine ear” Recitative: “Ye people, rend your hearts” Aria: “If with all your hearts” Chorus: “Yet doth the Lord” Recitative and Chorus: “As God the Lord of Sabaoth” Chorus: “Baal, we cry to thee” Recitative: “Call him louder!”

Chorus: “Hear our cry, O Baal!”

Recitative: “Call him louder!”

Chorus: “Baal! Baal!”

Recitative and Aria: “Draw near, all ye people” Chorus: “Cast thy burden upon the Lord” Recitative: “O Thou, who makest thine angels spirits” Chorus: “The fire descends” Aria: “Is not His word like a fire?”

Arioso: “Woe unto them who forsake Him!” Recitative: “O man of God, help thy people!”

Recitative and Chorus: “O Lord, Thou hast overthrown thine enemies” Chorus: “Thanks be to God!”

PART II Aria: “Hear ye, Israel!”

Chorus: “Be not afraid” Recitative and Chorus: “The Lord hath exalted thee” Chorus: “Woe to him!”

Recitative: “Man of God” Aria: “It is enough” Recitative: “See, now he sleepeth” Chorus: “Lift thine eyes” Chorus: “He watching over Israel” Recitative: “Arise, Elijah” Recitative: “O Lord, I have labored in vain” Aria: “O rest in the Lord” Chorus: “He that shall endure” Recitative: “Night falleth around me” Recitative: “Arise, now!”

Chorus: “Behold, God the Lord” Recitative and Chorus: “Holy is God the Lord” Chorus and Recitative: “Go, return upon they way” Arioso: “For the mountains shall depart” Chorus: “Then did Elijah” Aria: “Then shall the righteous shine forth” Chorus: “And then shall your light break forth”

---Intermission---

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Program Notes

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Philharmonic Chorus: 40th Anniversary Celebration Saturday, november 5, 2016

Elijah, Op. 70 Felix Mendelssohn (b. 1809, Hamburg, Germany; d. 1847, Leipzig, Germany) Mendelssohn’s last oratorio, Elijah, was once as popular and as frequently performed in England and the United States as Messiah, but today performances and recordings are much less frequent than Handel’s hardy staple.

Yet the pendulum will undoubtedly swing Mendelssohn’s way again, for Elijah is one of the true masterpieces of the choral/orchestral literature.

Why has this magnificent oratorio fallen out of favor? Perhaps the real answer is that it was too popular and too frequently — and ineffectually —performed. For more than a generation after his premature death in 1847, Mendelssohn’s style dominated English music, and — because the U.S. aped British culture — American music as well. The reaction was bound to come. By the end of the 19th century and throughout the 20th, Mendelssohn’s oratorios have frequently been derided as “stuffy,” “Victorian,” and lacking in emotional depth and passion. But an examination of Elijah’s score reveals fire-breathing choruses and a powerful, moody characterization of the prophet that belie these charges. Perhaps it was the performances, not the music, that were stuffy and lacking in passion.

Writing to his librettist Julius Schubring some years before he actually composed the oratorio, Mendelssohn made some revealing comments about how he regarded the prophet Elijah and his mission in biblical Israel. “In fact I imagined Elijah as a real prophet through and through, of the kind we could really do with today: strong, zealous and, yes, even badtempered, angry and brooding — in contrast to the riff-raff, whether of the court or of the people, and indeed in contrast to almost the whole world — and yet borne aloft as if on angels’ wings.”

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These are surprising words for a composer whose public persona was generally characterized by good-humored equanimity, impeccable manners, and emotional selfcontrol, but apparently there was turmoil boiling under the seemingly placid surface.

And Mendelssohn’s words describe very well the dichotomy we find in his Elijah: blazing, ferocious sections contrasted with seraphic, lyrical moments (the sort that are usually given the label “Mendelssohnian”).

Elijah was composed by Mendelssohn near the end of his life on a commission from the annual music festival of the city of Birmingham, England. The composer loved England — and was in turn loved by the English public up to Queen Victoria and Prince Albert, who became personal friends — and journeyed there to perform as a pianist, organist, and conductor nearly every year of his adult life. As fluent in English as his native German, he supervised the development of two parallel librettos in English and German, so the work would be readily performable in both countries. The original German libretto on which the English is based was adapted by the theologian Julius Schubring, from passages in the Old Testament books of First and Second Kings.

Elijah’s premiere on August 26, 1846 at the Birmingham Festival was as brilliant a success as any composer could wish for. With a packed house in attendance, Mendelssohn led 125 instrumentalists, 271 choristers, and four soloists in a performance that culminated, according to The Times of London, in “a long-continued unanimous volley of plaudits, vociferous and deafening.”

Although Mendelssohn was delighted with the performance, he was less satisfied with the work than were the audience and critics, and he revised it for its London premiere on April 13, 1847; this is the version of the oratorio that endures. Less than seven months later, the composer died, after a series of strokes, at the age of 38.

Listening to Elijah Following the English oratorio tradition as exemplified by Messiah, Elijah is a work dominated by the chorus, not the soloists.

England had a well-deserved reputation for great choral singing, and Mendelssohn possessed the contrapuntal skills to exploit this talent to the fullest.

With 43 musical numbers and a running time of well over two hours, it is impossible to discuss more than a few of the more notable sections.

The oratorio is plotted around the four great miracles wrought by the Old Testament prophet. The first is intimate and not witnessed by the people of Israel: Elijah’s raising of the dead son of the widow with whom he has found shelter, recreated by Mendelssohn in a poignant scene for the soprano and baritone soloists (Number 8) that could have been lifted right out of a Romantic-era opera. The second miracle is a very public triumph: Elijah’s summoning of fire onto God’s altar in defiance of the worshippers of Baal. This extended scene comprises numbers 10-17 and pits the majestic prayers of the baritone soloist as Elijah against the progressively more frenzied pleas of the chorus representing Baal’s followers.

Miracle 3 concludes the first section of the oratorio (numbers 19 and 20); here the prophet calls on God to bring rain to drought-stricken Israel. In a wonderfully descriptive passage for chorus and orchestra, we hear the rains pouring down on the land, and the rivers surging in their banks. The fourth miracle is a cosmic event: following wind, earthquake, and fire, God appears to the prophet on Mount Horeb as “a still, small voice” (Numbers 34 and 35). Mendelssohn turns this scene into a masterpiece of dramatic choral writing, beginning in Allegro con fuoco E minor and concluding with the still, small voice in hushed E Major.

Number l: In the oratorio’s unusual opening, Mendelssohn begins with a stark D-minor recitative for the baritone soloist, accompanied by ominous low brass, as Elijah calls down a drought on the land of Israel as punishment for the people’s turning away from God to the worship of Baal. This is followed by the Overture proper: a racing D-minor fugato dominated by the strings, which depicts God’s — and Elijah’s — anger with the people of Israel. It builds in ferocity,

leading directly into the chorus’ opening “Help, Lord,” as the Israelites cry out to God for relief from the drought.

Numbers 11-17: The Fire Miracle. The chorus as worshippers of Baal begin with a confident invocation to their god in F Major; the eightpart choral texture sets the men antiphonally against the women. As Elijah mocks them and Baal fails to respond to their pleas for fire for his altar, their cries become more urgent.

Elijah then vents his fury on the followers of Baal in the aria “Is not His word like a fire?”, modelled on the wide-ranging, coloraturaembellished rage arias that Handel so often wrote for bass soloists.

Numbers 19 and 20: The Rain Miracle scene has a grand, ritualistic tone as Elijah calls three times for rain, and the boy soprano answers twice that no cloud can be seen and finally that “the heavens are black with clouds and wind.” The chorus responds to the miracle (listen to the rushing waters in the strings) with a mighty chorus “Thanks be to God.” As Part I concludes, the people of Israel are finally united with Elijah on God’s side.

Part II begins with a beautiful and justly famous aria for the soprano soloist, “Hear ye, Israel” (No. 21). Mendelssohn wrote this for Jenny Lind, the legendary “Swedish nightingale,” who was his protégé and close friend. Since he loved her F-sharp notes at the top of the staff, the aria is liberally laced with them, both at forte and pianissimo dynamic levels. The song is in the traditional 19th-century cavatinacabaletta aria form, with the slow cavatina in B minor succeeded by the faster, more rhythmic cabaletta in a martial B Major.

Numbers 26-29: After Queen Jezebel’s denunciation and his flight to the wilderness, Elijah reaches a spiritual crisis. Even after all his wonderful deeds, the people of Israel still will not listen to him, and he pours out his frustration and despair in a moving slow aria with a contrasting fast middle section, “It is enough.” An accompanying cello solo mournfully acts as his alter ego. He is comforted by an a cappella trio of angels (“Lift thine eyes”) and by the chorus singing one of Mendelssohn’s loveliest and most famous choruses, “He watching over Israel.”

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Number 32: In the exquisite chorus “He that shall endure to the end,” Mendelssohn opens with a Bach chorale-like phrase that blossoms into his own unique choral style, with eloquently flowing melodic lines for all voices.

Numbers 34 and 35: The appearance of God to Elijah as the still, small voice was the Biblical passage that originally inspired Mendelssohn to set the Elijah story as an oratorio. Here in an extraordinarily powerful section for chorus and orchestra, he graphically describes the tempest, earthquake, and fire that sweeps over the prophet on Mount Horeb. These numbers constitute the true climax of the oratorio.

Vaughn Roste, Director of Choral Studies IPFW

2017 UNDERGRADUATE AUDITION DATES Friday, January 20, from 2–8 p.m.

Saturday, February 11, from 9 a.m.–5 p.m. (voice and keyboard only)

Sunday, February 12, from 1–8 p.m. (winds/strings/percussion only)

Monday, February 20, from noon–8 p.m.

Number 43, “And then shall your light break forth,” concludes the oratorio with a grand choral affirmation and a fugue modelled on Handel’s most powerful choruses. A work that began in angry, brooding D minor over two hours ago now culminates in brilliant, triumphant D Major.

Application Deadline: Friday, January 6 To prepare for your audition, please review guidelines at bsu.edu/music/auditions.

Notes by Janet E. Bedell copyright 2016

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Keefer

Artist Biography

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Now in his second year at Indiana UniversityPurdue University Fort Wayne, Dr. Roste came to IPFW with over a decade of teaching experience at colleges and universities in Illinois, Ohio, Oklahoma, and Georgia. He serves as the Youth and Student Activities Coordinator on the Executive Board of the Indiana Choral Directors Association. A contributing editor of the Music Appreciation textbook entitled “Music,” published by Cengage Learning, he also continues to be a member of the editorial board for Anacrusis, the official publication of the Association of Canadian Choral Communities. Canadian by birth, he holds four degrees: a Bachelor of Arts in Music from Augustana University College, a Bachelor of Theological Studies from the Canadian Lutheran Bible Institute (both of which are in Camrose, Alberta), a Master of Music in Choral Conducting from the University of Alberta in Edmonton, and a Doctor of Musical Arts in Choral Conducting from

Louisiana State University. His research interests continue to explore the intersections of music and theology; his doctoral dissertation compared choral settings of Jesus’ Seven Last Words by three French Romantic composers: Gounod, Franck, and Dubois. Part of his interest in French composers stemmed from the year he lived in Paris; further travels have taken him to every continent except Antarctica. The author of over two dozen articles, he is also the author of The Xenophobe’s Guide to the Canadians, which recently went into its fifth printing (not including the translation into Estonian).

IPFW University Singers Roster Fall 2016 Vaughn Roste, director Soprano 1 Caitlyn Kahn Adrienne Martin Ashlee Miller Carol Morris Olivia Oetting Madelyn Rohrbach Sonia Salas Sydne Zuber Soprano 2 Julia Bokern Karlea Boleyn Shelby Fallis Emily Hernandez Zoe Lippi Alana Miller Abigail Mueller Molly Rea Shelby Weaver Zoe Volz

Alto 1 Alexandra Bohnke Madison Boyden Alisabeth Grossman Moriah Landon Mary Landrigan Grace Linn Leah Miller Maleea Roy Nicole Sewell Katie Steckbeck

Tenor 1 Kristopher Andorfer Quinton Bolduc Jesus Brito Josiah Hawkins

Alto 2 Jenna Coleman Taylor Duncan Naomi Ifer Shyanna Jimenez Anjelica Mojica Ashley Olson Kelli Roush Holly Woollweaver

Bass 1 Duffy Coyle William Moser Stephen Stachofsky Joel Steinbacher Jack Willke

Tenor 2 Bryce Ergle Ryan Lengacher Braxton Matthews Jonathan Warner

Bass 2 Ezekiel Felton Ryan Girardot John Neidich Eric Smead Jared Stephens

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Artist Biography

hamber Orchestra Series

Alexia Kruger Rivera, soprano Alexia Kruger Rivera enjoys performing a wide variety of music from the stage to the recital hall. She has been a soloist with such groups as Cantate Chicago (Faure’s Requiem, in which her solo was hailed by Chicago Classical Review as “achingly beautiful”; Corigliano’s Fern Hill), the Fort Wayne Philharmonic (Mozart’s “Coronation” Mass, Mendelssohn’s Lobgesang, Schubert Mass in G, excerpts from Mozart’s Solemn Vespers), St. John Cantius (Schubert Mass in B-flat, Mozart’s Requiem), the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), Chicago Sinfonietta at the Shedd and at Joffrey, the Chicago Modern Orchestra Project, the Bach Institute, the Valparaiso University Symphony Orchestra (R. Strauss’ Beim Schlafengehen and Im Abendrot), and the University of Illinois Percussion Ensemble (Stravinsky’s Les Noces).

As a recitalist, Ms. Rivera has appeared on the PianoForte Salon Series Live on WFMT radio, Lindsey Adams, mezzo-soprano Lindsey Adams has been praised for her “remarkably clear singing and perfect phrasing” (Stage and Cinema) and expressive interpretation of both early and contemporary repertoire. Ms. Adams recently appeared with Haymarket Opera Company as Endimione in Cavalli’s La Calisto and was hailed as “a captivating presence” by the Chicago Tribune.

She made her debut with Bourbon Baroque in 2015 as the Sorceress in Purcell’s Dido and Aeneas. Ms. Adams is the principal vocalist for Musik Ekklesia and can be heard on the ensemble’s Grammy®- nominated recording, The Vanishing Nordic Chorale. Ms. Adams performs with the Grant Park Music Festival, Chicago Bach Project, Ars Antigua,

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

William Ferris Chorale, Aestas Consort, Oriana Singers and Schola Antiqua of Chicago. Ms. Adams holds a degree in Vocal Performance from DePauw University.

She is the Musical Director for the Chicago Montessori School and is a member of the Piano Faculty at Access Contemporary Music.

Patrick Muehleise, tenor Patrick Muehleise has quickly emerged as an acclaimed soloist throughout the country in opera, musical theatre, and concert repertoire.

Patrick regularly collaborates with Grammy®nominated Seraphic Fire and True Concord, as well as the nationally renowned Santa Fe Desert Chorale, with whom he performed at the 2015 National ACDA Convention. Other recent engagements include performances with Lyric Opera of Chicago, The Santa Fe Opera, and American Classical Orchestra in New York City. This season continues to excite as Patrick makes his solo debut with Chicago’s Music of the Baroque performing Monteverdi’s Vespers of 1610 under the direction of Jane Glover, Mendelssohn’s Elijah with Elmhurst Symphony, Bach’s Mass in B Minor in Dallas, Reich’s The Desert Music with New World Symphony, and sings the role of La Natura & Pane in the fully-staged period performance of Cavalli’s La Calisto with Haymarket Opera Company of Chicago.

Daniel Eifert, Baritone Daniel Eifert is a long-standing member of the Chicago Symphony Chorus as well as the Grant Park Music Festival Chorus. His solo debut with the Grant Park Music Festival Chorus was in Orff’s Carmina Burana in 2012 and was heard this past summer in Mozart’s Great Mass in C Minor. Daniel is a frequent soloist with the Chicago Symphony Orchestra.

His performances include Golijov’s opera Ainadamar, Verdi’s Macbeth under the direction of Riccardo Muti and the role of Kurwenal in Wagner’s Tristan und Isolde under EsaPekka Salonen. The Chicago Classical Review acclaimed him as a “darkly resonant Pilate” in the Chicago Symphony Orchestra’s 2010 rendition of Bach’s St. John Passion. Daniel made his Carnegie Hall debut with the Chicago Symphony Orchestra in Orff’s Carmina Burana in 2012. His first Chicago Symphony Chorus solo came in their 50th Anniversary Celebration Concert. Daniel has also been featured with the Fort Wayne Philharmonic, the Civic Orchestra of Chicago, the Apollo Chorus of Chicago, Elmhurst Symphony Orchestra, Northwest Indiana Symphony Orchestra, Elgin Choral Union, and the Elmhurst Choral Union.

Patrick is an active member of the American Guild of Musical Artists and the National Academy of Recording Arts and Sciences, and can be heard on six nationally released recordings with Grammy Award nominated ensembles.

Mr. Muehleise was nominated for a 2016 Grammy Award for Best Choral Performance with his collaboration on True Concord’s album “Far In The Heavens: Choral Music of Stephen Paulus.”

performed Bach’s St. Matthew Passion, the Beethoven Missa Solemnis, and Haydn’s Creation.

He enjoys a continuing collaboration with the Bach Institute of Valparaiso University, where his solo performances have included Bach’s St. John Passion, St. Matthew Passion, Mass in B Minor, and the Christmas Oratorio. In March 2016, Daniel and the Bach Institute of Valparaiso University with the Leipzig Baroque Orchestra completed a multi-state tour of Bach’s St. John Passion. He earned degrees from Valparaiso University and the University of Minnesota and currently resides in Chicago with his wife and three children.

Daniel is a recurrent soloist with the Cuesta Master Chorale of California where he has 40

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Connecting special audiences with the arts.

260.424.1064 | AudiencesUnlimited.org

Welcome to the 2016-2017 Season of the Fort Wayne Philharmonic!

Behind every successful symphony orchestra in the United States there is an energetic, committed and active group of volunteers.

The Fort Wayne Philharmonic Friends fulfill this role in Fort Wayne.

We have a place for any music lovers with enthusiasm to support the orchestra. There are many programs that the Friends fund to educate and support the next generation of audiences and musicians alike.

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:

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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. Our most recent Playground was at Taste of the Arts downtown on August 27.

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.

Musically Speaking – Before the Masterworks concerts, the Friends sponsor a free half hour lecture/discussion lead by the orchestra’s assistant conductor, often joined by the featured artists.

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.

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.

The instruments are loaned to the students at a nominal maintenance fee.

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.

Music Director andrew constantine “The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield.

-The Times of London Born in the north-east of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!”

After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work.

His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire.

A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and 46

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

Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine

has worked throughout the UK and Europe with many leading orchestras including, The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra.

He was awarded an Honorary Degree of Doctor of Music by the University of Leicester for his “contribution to music.”

Constantine’s repertoire is incredibly broad and, whilst embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams.

His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere.

In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience.

This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages.

“Taste is malleable, we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives.

As performing musicians our responsibility is to not shirk away from the challenge, but keep the flame of belief alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes

the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of Music Director of the Reading Symphony Orchestra in Pennsylvania – after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates.

Other orchestras in the US that he has worked with include the 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.

Conductor

Chorus Director

Caleb Young

benjamin rivera

Caleb Young was most recently named the 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.

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.

During the 2012-13 season Caleb served as the Music Director of the Indiana Youth

Musicians, where he conducted the youth orchestra and coached chamber music.

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.

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.

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.

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

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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.

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Viet Greg White 49

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 with the Philharmonic.

David studied conducting with Craig Kirchhoff, Harvey Benstein, Carl Topilow, Louis Lane, and J. Ted Wenger.

to Holiday Pops and community outreach performances. In August of 2012, he was appointed Music Director of the Youth Symphony.

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.

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.

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 .

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

David lives in Fort Wayne with his husband, Kyle, their dog, 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!

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.

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Fort Wayne Philharmonic Orchestra Roster

andrew constantine music director Ione Breeden Auer Podium

CHAMBER MUSICIANS

CALEB YOUNG assistant CONDUCTOR benjamin rivera chorus director 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 52

Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III Erin Maughan Erin Rafferty Cello Andre Gaskins, Principal Morrill Charitable Foundation 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 Bass Adrian Mann, Principal Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun

Flute Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne BÊlanger Virginia R. and Richard E. Bokern 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 English Horn Leonid Sirotkin Marilyn M. Newman 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

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

J. Richard Remissong John D. Shoaff Chair

Jim Kraft Acting Second Trombone

Kirk Etheridge NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair

Michael Galbraith Walter D. Greist, MD Family Chair

Bass Trombone Andrew Hicks

Ben Kipp Patricia Adsit Chair

Tuba Vacant, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

Harp Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Katherine Loesch Trumpet Andrew Lott, Principal Gaylord D. Adsit Chair Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair

Timpani Eric Schweikert, Principal William H. Lawson Chair Percussion Scott Verduin,* Principal June E. Enoch Chair

Contributing Musicians VIOLIN Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Alexandra Matloff 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

CELLO Heather Scott Gena Taylor BASS Brad Kuhns FLUTE Patricia Reeves OBOE Jennet Ingle Stephanie Patterson Sarah Thelen CLARINET Elizabeth Crawford Dan Healton Dan Won BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won

Alison Chorn Acting Principal

Organ Irene Ator Robert Goldstine Chair Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair *Leave of Absence for the 2016/17 season

BASSOON Michael Trentacosti CONTRA-BASSOON Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette James Rester Kenji Ulmer TRUMPET Brittany Hendricks Douglas Hofherr Greg Jones

PERCUSSION Renee Keller Kevin Kosnik Jerry Noble KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon HARP Katie Ventura

TROMBONE Jamie Foster TUBA Matt Lyon Chance Trottman-Huiet 53

Fort Wayne Philharmonic Board

Fort Wayne Philharmonic Staff

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

ADMINISTRATIVE STAFF George Bartling Janet Bell 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 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 Carolyn 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

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

Roxanne Kelker Executive Assistant to the Managing Director and Music Director artistic operations Jim Mancuso General Manager

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

Clarissa Reis Assistant Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Development Coordinator finance & technology

Timothy Tan Orchestra Personnel Manager

Beth Conrad Director of Finance

Adrian Mann Orchestra Librarian/ Staff Arranger

education Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Joseph Kalisman Youth Orchestra Manager Derek Reeves Lead Instructor, Club Orchestra program

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development

Scott Stolarz Director of Operations

Ryan Pequignot Stage Manager

PAST PRESIDENTS OF THE FORT WAYNE PHILHARMONIC 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

Jim Palermo Managing Director

Kathleen Farrier Accounting Clerk marketing & communications Melysa Rogen Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager Mickey McCargish Patron Services Associate

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Fort Wayne Philharmonic Chorus Roster

Fort Wayne Philharmonic Youth Orchestra Rosters

Fort Wayne Philharmonic Chorus Benjamin Rivera, Director Jonathan Eifert, Assistant Chorus Director

Fort Wayne Philharmonic Youth Symphony Orchestra David Cooke, Conductor

Soprano Ashley Adamson Karen Campbell Sheila Chilcote-Collins Kaitlin Clancey Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Katy Hobbs Carole Jackson Jill Jeffery Natasha Kersjes Maria Kimes Sarah 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 Alyssa Bolinger Cathryn Boys Ronnie Brooks Nancy Brown Jeri Charles Caitlin Coulter Lenore DeFonso Joan Gardner Mary Gerken Ronnie Greenberg Sandra Hellwege 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

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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

PIccolo Alyssa Parr

Harp Michaela Yaste

Oboe Rachel Gripp

Piano Allyn Beifus

Cello John Sarno Lydia Harrison Jeremiah Tsai Maria Teel Helen Wargo Ramie Kuhns Kyra Warren Samuel Scheele

Clarinet Joe Crawford Stephen Tsai

Timpani Allyn Beifus

Flute Hildie Matter Megan Tarlton Madison Yoder Mayah Yacoob Alyssa Parr

French Horn Nathan Merz Abigail Smith Maiah Deogracious

Percussion Ethan Coplin

Trumpet Jarod Lewis Ethan Wood Tuba Spencer Mohre Brody Watkins

Fort Wayne Philharmonic Youth Concert Orchestra Marcy Trentacosti, Conductor 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

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

Cello Edward Sun Shaan Patel Destiny Seelig Maria Tan Adam Donat String Bass Henri Spoelhof Flute Sarah Hobson Chloe Morton Oboe Laurel Morton Kevin Wang 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

57

Series Sponsors

Series Sponsors

Madge Rothschild Foundation Masterworks

M

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

F

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

P

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

F

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

C

Steel Dynamics Regional Patriotic Pops

P

hamber

atriotic Pops

Orchestra Series

ARLEN FREISEN - President & CEO, 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

H

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.

59

Annual Fund Individuals

Annual Fund Individuals

The Fort Wayne Philharmonic gratefully acknowledges these individuals for their generous gifts received within the past twelve months. We make every attempt to include everyone who has supported The Phil during that time. Please let us know if we've made an error.

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

For information about supporting The Phil’s 2016/17 Annual Fund, contact the Development Office at 260•481•0775.

FOUNDERS SOCIETY (GIFTS OF $25,000+) Vicki & Rick James

Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Drs. David Paul J. & Jeneen Almdale Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman 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) George & Linn Bartling David & Janet Bell Will & Ginny Clark Mrs. Virginia Coats Andrew & Jane Constantine

60

Sattar & Marlene Jaboori Ginny & Bill Johnson Dorothy K. Kittaka Mr. & Mrs. John Krueckeberg 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 Wayne & Helen Waters Joseph L. Weaver Lewie Wiese Daryl Yost Virginia Lee Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Ben & Sharon Eisbart Leonard & Rikki Goldstein Patricia S. Griest Tod Kovara The Rifkin Family Foundation

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

Anonymous (3) Bill Andrews & Vicky Carwein Tim & Libby Ash Family Foundation Katherine Bishop Earl & Melanie Brooks Mr. & Mrs. Craig D. Brown Sarah & Sherrill Colvin Tom & Margaret Dannenfelser Sara Davis George & Ann Donner Anita G. Dunlavy Emily & Michael Elko The Dyer Family Foundation Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth A. Frederick Steven & Nancy Gardner Scott & Melissa Glaze David S. Goodman William & Sarah Hathaway Leonard Helfrich

Kevin & Tamzon O’Malley James Palermo The Rev. C. Corydon Randall &

Mrs. Marian Randall Carolyn & Dick Sage Robert Simon Carolyn & Larry Vanice Barbara Wachtman & Tom Skillman Al & Hannah Zacher

Anonymous (1) Dr. & Mrs. Richard N. Avdul Holly & Gil Bierman Joan Baumgartner Brown Dr. & Mrs. James G. Buchholz Barbara Bulmahn Keith & Kyle Davis Sandra K. Dolson Ann H. Eckrich Clayton Ellenwood Mr. & Mrs. Daniel C. Ewing Mr. & Mrs. Michael Gavin

Roy & Mary Gilliom Floyd & Betty Lancia Kathryn A. Miller Norma J. Pinney Carol & Bill Reitz Kay Safirstein Nancy & David Stewart Kathleen M. Summers Rachel A. Tobin-Smith Nancy Vendrely Herbert & Lorraine Weier Mary Ann & Mike Ziembo

ENCORE CIRCLE (GIFTS OF $750 TO $999) Larry & Martha Berndt Lois Guess Warren & Ardis Hendryx Mark & Debbie Hesterman Bruce & Mary Koeneman David B. Lupke

Anne & Ed Martin Paul & Bonnie Moore Alan & Pat Riebe Benjamin & Alexia Rivera Mark Troutman and Ann Wallace Kari & Jeannine Vilamaa

61

Annual Fund Individuals

Annual Fund Individuals

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (1) Jeane K. Almdale Scott & Barbara Armstrong Tony & Pat Becker Elizabeth Bueker Dr. David & Gayle Burns Andy & Peg Candor Dr. & Mrs. Jerald Cooper John & Janice Cox Dr. & Mrs. Fred W. Dahling Erica Dekko Tim & Ann Dempsey Bruce & Ellen England Pauline Eversole Mr. & Mrs. G.L. Guernsey Mrs. Eloise Guy Bob & Liz Hathaway 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 Paul & Pauline Lyons Peter & Christine Mallers 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. & Mrs. Stephen Reed Paul J. & Lula Belle Reiff Lance & Carol Richey Dr. Janet Schafer Robert & Ramona Scheimann Scot C. Schouweiler & Julie Keller Stephen R. & Anne S. Smith Anne C. Longtine & Marco J. Spallone Carl & Cynthia Thies Scott & Jenny Tsuleff Virginia & Don Wolf

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (2) Mary Jo & Michael Amorini Dr. & Mrs. Thomas Armbuster Mr. & Mrs. Craig Balliet Frederick Beckman Michael & Deborah Bendall Annie & David Bobilya Barbara L. Boerger Jon Bomberger & Kathryn Roudebush Dr. & Mrs. Todd Briscoe Arlene Christ Dan & Marjorie Culbertson Mark A. Crouch George & Nancy Dodd Bill & Dot Easterly Albert & Jeanne Emilian Dr. Joseph P. Fiacable John & Jane Foell Dan & Nancy Fulkerson 62

Linda Gaff 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 Larry & Annette Kapp Jane L. Keltsch John Kirchhofer Steve & Rhonda Lehman Anne A. Lovett Janet & Larry Macklin Peg Maginn Scott McMeen

Ray & Nancy Moore April & Charles Morrison Sean & Melanie Natarajan Martha L. Noel Mr. & Mrs. Maurice O’Daniel Mac & Pat Parker Mr. & Mrs. John M. Peters Cindy & Fred Rasp Jeremy & Clarissa Reis Sarah & Richard Reynolds Maryellen Rice Martin & Rita Runge Ms. Mary Francis Schneider

Chuck & Patty Schrimper Wayne & Ann Shive Fort Wayne Alumnae Chapter

of Sigma Alpha Iota David T. & Nancy Sites Curt & Dee Smith Lynda D. Smith Lois A. Steere Carol Ann Terwilliger Norma Thiele Don & Amy Urban Ms. Lea Woodrum Marcia & Phil Wright

SECTION PLAYER (GIFTS OF $100 TO $299) Ambulatory Medical Management Anonymous (7) Max M. Achleman Fritz & Sally Aichele Thomas Andrews Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Mel & Ruth Arnold Mr. & Mrs. William Arnold Dick & Adie Baach David & Beverly Baals Mr. & Mrs. John Batuello Carla Bauman & Owen Franks Mike & Kay Bauserman Amy & John Beatty Carol M. Bennett Bix & Anita Benson Kevin Beuret Mr. & Mrs. Don Bieberich Robert & Mary Binns David W. Bischoff Sherry L. Blake Virginia Bokern Barbara Boston Rebecca Bouse Dennis Bowman Jim & Sue Bradley Mr. & Mrs. David C. Brennan John P. Brennan & SuzAnne Runge Roberta Brokaw Evelyn M. Brosch-Goodwin David N. Brumm and Kim S. MacDonald

William & Joan D. Bryant William and Dorothy Burford Mr. & Mrs. Gerald Burns Marguerite & Thom Burrell Scott & Barbara Bushnell Nancy Butler Joyce & Paul Buzzard Mary Campbell John & Jill Case Mr. & Mrs. J. Nelson Coats Lenore DeFonso Tom & Holly DeLong Gene & Carol Dominique Fred & Joan Domrow Phyllis Dunham Dr. & Mrs. John Dyer 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 Nathan & Angela Freier Sheryl A. Friedley Leonard Garrett Edward J. Goetz Jr. William & Mary Goudy Marcia Grant Norm & Ronnie Greenberg Don & Kate Griffith David & Myra Guilford

Mark Hagerman Jonathan & Alice Hancock Brian & Barbara Harris Paul J. Haughan Dennis & Joan Headlee Jacqueline Heckler Cynthia Heffelfinger Ms. Sandra Hellwege Ms. Julie Henricks and Mrs. Jean Henricks Mayor Tom C. & Cindy Henry Andrew & Katy Hobbs Tom & Jane Hoffman Douglas E. & Karla K. Hofherr Michael & Suzanne Horton Phil & Sharon Howard Winifred Howe Marlene Huffman Ed & Mary Lou Hutter Jocelyn Ivancic Mr. & Mrs. Arlin Jansen Mark & Dianne Jarmus Jill Jeffery Alex & Sharon Jokay Gwen Kaag Dale Kelly Sheila D. Kiefer Sarah Kindinger Linda J. Kirby Richard and Audrey Kirk William G. Knorr James & Janice Koday Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes

63

Annual Fund Individuals

Annual Fund Individuals

SECTION PLAYER continued (GIFTS OF $100 TO $299)

CONTRIBUTOR (GIFTS OF $0 TO $99)

Hedi Krueger Georgia Kuhns Paula Kuiper-Moore James Larowe Sarah LaSalle Drs. Chung & Sage Lee Donna Lehman Frances LeMay and Peter D. Smith Michael & Mary Lewis Judith Ann Lopshire Frank T. Luarde Cameron & Meg MacKenzie Mr. & Mrs. Michael Makarewich Nellie Bee Maloley Harry & Barbara Manges Cheryl Mathews Elmer & Patsy Matthews David L. & Kathleen A. Matz Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Mary McDonald Mr. & Mrs. Ralph McDowell John & Shelby McFann Alice McRae Leanne Mensing Elizabeth Meyer Jane A. Meyer Laura Migliore David & Ann Miller Dr. Ken & Jan Modesitt David & Linda Molfenter Chuck & Becky Morris Kenneth and Linda Moudy John & Barbara Mueller

64

Kevin & Pat Murphy Ed Neufer Ron & Ruth Nofzinger Margaret Nolan Ron & Nancy Orman Mrs. Mary Jane Ormerod Dr. C. James & Susan J. Owen Betty O’Shaughnessey Emmanuel & Noemi Paraiso Penny Pequignot Gary & Alice Peterson Raymond & Betty Pippert Edwin and Cynthia Powers Marvin and Vivian Priddy Helen F. Pyles Roger Rang JoEllen & Donald* Reed John & Diana Reed Bev Renbarger Mr. & Mrs. David Ridderheim Ruth & Phillip Rivard Janet Roe Mr. & Mrs. John W. Rogers Rhonda & Ron Root Stanley & Enid Rosenblatt Douglas & Laura Runyan Marilyn Salon Nancy & Tom Sarosi Sylvia Schmidt Mary Ellen Schon Ed & Julia Schulz Mr. & Mrs. Richard Schweizer Ken & Mary Scrogham David Seligman Richard and Suzanne Shankle

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 Mr. & Mrs. Donald D. Stedge David & Beth Steiner Thomas & Mary Jane Steinhauser Annetta Stork Matt & Cammy Sutter Judge Philip R. Thieme Tom & Maureen Thompson James & Beverly Troyer Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle 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 Betty J. Woodmansee Ms. Lea Woodrum Mr. Galen Yordy Bob & Jan Younger Brian & Kyla Zehr

Anonymous (22) Jim Arnold Milton & Barbara Ashby Walt & Sue Asp Barbara Barnes Daniel & Cheryl Belschner James Berlien Mr. & Mrs. Bryan Bernstein Diane Beyer David & Janice Bleeke Norma Bloom Barbara Boggs David & Joan Boyer Teresa Brecht Ruth Braun Donita Brill H.C. Buckmaster Maureen Buschek Dr. Carol A. Buttell Darlene Buuck Kathy Choka Julie Clark Mark & Michele Colchin Barbara Collins Eva Collis Matt Converse Bob and Margita Criswell Amy Crouch Mr. & Mrs. Brian Crowl Paul & Kathleen Dahm Margie Deal Cynthia & Mark Deister Doug & Jean Deller Shirley A. Deschler Carol Diskey Janet & Bill Elsea Carol Ensley Jan Evrard Peter Ford Robert & Jill Forte Francis & Ann Frellick Stephen & Renee Gardt Daniel & Sara Gebhart Susyn Giaquinta Joy Giguere & Ben Proud Sharon Gillen John & Carol Glass Paul & Tauna Griffith Mr. & Mrs. John Gross

Sharon Gustin Jeff Hakes Jay Hammond Susan Hanzel Diana Hart Tod & Michelle Hauter Fran Headings Mr. John Heath Dewayne & Sandra Heckley Matt Hendryx & Katherine Tinsley Steve Naragon & Pam Higgins Jane Hope Mr. & Mrs. Jeff & Stacey Hudson Jerry Hudson William & Rae Huffman Steve & Teresa Irven Patricia Jackson David & Kathleen Johnston Bridget Kelly Yvette Kleven Mr. & Mrs. Arthur Konwinski Lahartz Trophies Denise Lapsley Lima Road Dentistry Raymond & Mary Lou Loase Norma L. Lyman Brandy Madson Dennis M. Mahoney Dr. & Mrs. Richard Manalis Conie McCoy Jim & Dee McCrea Rachel McNett Larry Michael Kerry A. Miller Laurie Miller Mr. & Mrs. Robert Miller Dr. & Mrs. William Miskelly Susan Mittelstadt Mr. & Mrs. Carl Moellering John M. Molitor Jr. &

Julanne Molitor Mary Helen Moore Marjorie Moorhead Ricky Myers Thomas & Lori Neumann Mary Jane Novosel Kay Novotny

Jane Odom Angie & Dan O’Neill Ms. Nigel Perry Wayne Peterson Mr. & Mrs. Ewing Potts Sue, Mike, & Alana Pries Marlene Purdy Yvonne & Richard Ramsey Dr. & Mrs. George F. Rapp Emma Reidenbach Glen & Pamela Reimink Mary Ann Ripperger Carol Roberts Max & Sandy Robison Jeff & Sarah Rose Gretchen Roth Dr. Ronald & Sylvia Scheeringa Shirlie Schmidt Alan Scott Lisbeth Scott Barbara Shaffer Anne & David Silletto Shirley Slater Mr. Paul Smith Sue Snyder Salvador Soto Hedy Speed Mr. & Mrs. Kent Sprunger Rex & Jo Stinson Daniel Stockman Mrs. Ida Mary Stringer Brenda Sullivan Mr. & Mrs. Arthur G. Surguine Steven & Ruth Anne Teeple Andrea Thomas Paul Trenary Linda Troop Jim Turcovsky & Sandy McAfee Martin & Patricia Van Leuven Gordon & Kay Walter Larry Wardlaw Ms. Joanne Weber Ann Weiss John & Deb Wilson Terry Winkeljohn Susan Wygant Kelly Zachrich Jerry Zent 65

Sponsors

The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260•481•0784 to join as a sponsor.

Series Sponsors

Madge Rothschild Foundation

Maestoso $250,000+

DECEMBER 9, 10 & 17

Madge Rothschild Foundation

Tickets start at $ 29

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

Founder’s Society $25,000 to $49,999

CALL OR GO ONLINE TODAY FOR THE BEST SEATS AT THE BEST PRICES!

Virtuoso Society $10,000 to $24,999

FWPHIL.ORG 260•481•0777 67

Sponsors

Sponsors

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

Concertmaster $500 to $999

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

Drs. Kevin & Pamela Kelly The Miller Family Foundation

Unified Wealth & Retirement Planning UniFirst

First Chair $300 to $499 Hyndman Industrial Products, Inc. Sigma Alpha Iota

Web Industries Inc.

Section Player $100 to $299 Stradivarius Society $5,000 to $9,999 Jim and Gloria Nash

Downtown Improvement District EPCO Products Hagerman Construction Corp.

Hakes & Robrock Design-Build Inc.

Metro Real Estate Moose Lake Products Co., Inc. John Shoemaker

auction sponsors

Jeff Sebeika, Subway

Conductor’s Circle $2,500 to $4,999 BAE Systems Janice Eplett

Parrish Leasing Inc. Parkview Field/Fort Wayne TinCaps

Composer’s Circle $1,000 to $2,499 Brotherhood Mutual Insurance Co. Med Partners Jehl & Kreilach Financial Management 68

Purpleblaze Enterprise LLC Wells Fargo Advisors

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

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 Jim 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

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Regional Partners

FULTON COUNTY Psi Iota Xi (Eta Mu)

The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. We take great pleasure in performing for enthusiastic audiences throughout the Northeast Indiana region and welcome and value each contribution that makes those concerts and education performances possible. Thank you!

MULTIPLE COUNTY SUPPORT Indiana Michigan Power Parkview Regional Medical Center/Parkview Health

Steel Dynamics Foundation, Inc.

ADAMS COUNTY Adams County Community Foundation Bunge North America

Decatur Rotary Club Eichhorn Jewelers Gilpin, Inc. 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 and 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 and 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 and Dan O’Neill James Palermo PNC 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 E. Zollinger

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

Fred and Mary Anna Feitler John and 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

70

KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Joyce Baumgartner James H. Benninghoff Dan and 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 and Joan Marcuccilli Mr. & Mrs. Paul Mast Garth and Susie McClain Thomas & Betsy McSoley

Thomas and 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 STAR Bank Ann Strong Dick & Linda Tillman Wawasee Property Owners Association Tod & Sandy Wolfrum James & Kay Young Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Greg & Sheila Beckman Kappa, Kappa, Kappa, Inc. – Alpha Iota Chapter

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 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 Coldwell Banker – Roth, Wehrly, Graber Fred & Bonnie Schlegel Mr. & Mrs. Charles Sheets Steuben County Community Foundation Steuben County REMC Round Up Foundation Elizabeth Wilson Jim & Kathryn Zimmerman Dale & Judy Zinn

WELLS COUNTY AdamsWells Internet Telecom TV Barbara Barbieri

Mrs. Diane Humphrey Paul J. and Lula Belle Reiff Sharon Snow

Wells County Foundation Holly Wittbrodt

WHITLEY COUNTY Copp Farm Supply Mr. & Mrs. Harold Copp Daniel Menu & Party Consulting

Fred Geyer J & J Insurance Solutions Rex & Holly Schrader Mr. & Mrs. Nicholas Steill

Pamela Thompson Dr. & Mrs. Richard Zollinger

71

Foundation and Public Support

Foundation and Public Support

Philharmonic Society $1,000,000+

Conductor’s Circle $2,500 to $4,999

Edward D. & Ione Auer Foundation

Ann and Gordon Getty Foundation

Maestoso $250,000+

Composer’s Circle $1,000 to $2,499

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

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

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

Steel Dynamics Foundation Yergens Rogers Foundation

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

Noble County Community Foundation

in kind donations

W. Gene Marcus Trust PNC Charitable Trusts Rifkin Family Foundation

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

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

Concertmaster $500 to $999

Founder’s Society $25,000 to $49,999 Community Foundation of

Greater Fort Wayne Indiana Arts Commission Lincoln Financial Foundation

Jennie Thompson 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

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

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

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

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Endowment Fund

Endowment Contributors

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

Chorus Director Louis Bonter

Youth Symphony Walter W. Walb Foundation

Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry,

by Liz and Mike Schatzlein

Family Concerts Howard and Betsy Chapman

Music Library Josephine Dodez Burns and Mildred Cross Lawson 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

Bequests The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Gloria Fink* Henrietta Goetz* Joyce Gouwens* John Heiney* Sanford Rosenberg Alice C. Thompson

Lutheran Health Network Access Corporate Wellness Occupational Medicine

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The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution.

The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, we will share the full list of Endowment Contributors in our first program book of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information.

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 Dennis & Nancy Becker Mary & Joseph Becker Mike & Ellen Becker Pat & Tony Becker Mr. & Mrs. Charles Beckman Betty & Frederick Beckman Nancy Bellinger Mr. & Mrs. William Benford Mr. & Mrs. Phillip Bennett Colleen & Jim Benninghoff Colleen Smith Benninghoff Trust Robert & Vera Benninghoff Bonita & William Bernard Bethel United Methodist Church – Chancel Choir Brenda Betley George Bewley Holly & Gil Bierman The Reverend Dr. Virgil Bjork, in honor of the Masson Robertson Family, in memory of Frances Mae Bjork Mr. & Mrs. William Black Sherry Blake Connie & Darrell Blanton Dr. & Mrs. Peter Blichert

Bob & Judy, in honor of Ervin Orban, in honor of Christine Thompson, in honor of David Borsvold, in honor of Deb & Andrew Hicks, in honor of Eric Schweikert, in honor of Braham Dembar, in honor of Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of our musicians, especially those who are soloists Jocelyn & Jim Blum Ann & David Bobilya Phyllis Boedeker Virginia & Richard Bokern, in memory of Loved Ones Jim & Lois Boomer Janellyn & Glenn Borden Sid & Bonnie Bostic Rebecca Bouse Patricia Boyle, in memory of B.C. Boyle, in memory of Mary A.J. Boyle J. Charles Braden Charlotte D. Bradley Kim & Dwight Brandon Robert Braun Dr. Helene Breazeale, in honor of Andrew Constantine David & Faye Brennan Martha Brenner, in memory of Elsa Brenner Dr. Wm. Lloyd Bridges Dr. Glenn Brinker & Ms. Willi Ratliff, in honor of Mr. & Mrs. John Brinker 75

Endowment Contributors continued

Carolyn Brody Mrs. Robert Brokaw, in memory of Harriet Parrish Roberta Brokaw, in memory of Miriam Louise Brokaw Joan Baumgartner Brown Barbara & John Bruce Beverly & Larry Brunke Bob & Margaret Brunsman Rosemary Bucklin James Bueter Barbara J. Bulmahn John & Paula Bullman Mr. & Mrs. Wayne Burnside Karen Butler Sean Butler & Paula George Dr. Carol Buttell Joyce & Paul Buzzard Mr. & Mrs. Thomas Callison Princess Cameron Kevin Campbell Isa & Elizabeth Canavati Alan Candioto Peg & Andy Candor Mr. & Mrs. John Cantrell Richard Carlson Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Charles Walter Hursh 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,

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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 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

Endowment Contributors continued

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 1221 Jo Bess Jackson, on behalf of The Windrose Ensemble Ms. Ruthie Jackson Marlene Jessup

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Endowment Contributors continued

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

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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 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

Endowment Contributors continued

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 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

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Tributes

Endowment Contributors continued

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

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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

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

In Memory of Ronald Ondrejka (Gifts honoring Ronald Ondrejka’s fifteen years as The Phil’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 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 Marilyn Newman Kenneth & Mary Scrogham In Memory of Lorraine Weinswig Donald & Sally Caudill Nancy Getzin Eloise Guy Cheryl Mathews Planalytics Team Dr. LeeAnn Sinclair

In Memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Phil 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 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

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Laureate Club

Index of Advertisers

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

2016/2017 Advertisers

Anonymous (25) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman Kevin Paul Beuert Janellyn & Glenn Border 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 The Phil is proud to honor our planned giving donors with membership in the Laureate Club.

A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level and can benefit both you and your family.

The Phil welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

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.

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

Ambassador Enterprises

34

Arts United

42

Audiences Unlimited

43

Ball State University School of Music

38

Brotherhood Mutual Insurance Company

14

Bose McKinney & Evans

31

Bruce Ewing Landscaping

50

Canterbury School

11

Concordia Lutheran School

24

Debrand 2 Embassy Theatre

32

Indiana Arts Commision

20

Indiana University Purdue University Fort Wayne

12

Keefer Printing

38

MedPartners 74 Old National Wealth Management

84

ONI Risk Partners

56

Parkview Health Paul Davis Restoration PNC

6 31 4

Red Mango

55

Satek

20

Science Central

19

STAR

28

Strategence Capital

51

Sweetwater

26

The Phil Friends

44, 45

The Town House

18

Troyer & Good, PC

48

Ueber & Frederich Dentists

19

WBOI

18

Windsor 19 Wine Down

10

WOWO 42 82

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