Fort Wayne Philharmonic Prelude 3 January - March 2019

PRELUDE JA N UA RY, F E B R UA RY & M A RC H 2 0 1 9

UPCOMING CONCERTS BIZET’S CARMEN

CINDERELLA with Fort Wayne Ballet

BEETHOVEN’S 2ND SYMPHONY

SALUTE TO AMERICA

THE SOUNDS OF SIMON AND GARFUNKEL

SIBELIUS 2

BARBER AND VAUGHAN WILLIAMS

HARRY POTTER

CARNIVAL OF THE ANIMALS

THE FANTASTIC SYMPHONY

FORT WAYNE OVERTURES

SPORTS IN MUSIC: FASTER HIGHER STRONGER!

February 2 | 7:30 p.m.

February 9 | 7:30 p.m.

February 16 | 7:30 p.m.

February 23 | 7:30 p.m.

February 24 | 2:00 p.m.

FREE CONCERT

Fort Wayne Philharmonic and Conductors Guild International Conductor Workshop Concert

February 27 | 7:30 p.m.

March 22 & 23 | 7:30 p.m.

March 23 & 24 | 2:30 p.m.

March 30 | 7:30 p.m.

April 6 | 7:30 p.m.

April 10 & 11 | 7:30 p.m.

April 27 | 7:30 p.m.

April 28 | 2:00 p.m.

AN EVENING WITH LESLIE ODOM, JR.

BACH IN THE BARN

EARTH IS ALIVE

SHINING RIVER

AND THIS IS MY BELOVED

RHAPSODY & RHYTHM: THE GERSHWIN CONCERT EXPERIENCE

March 2 | 7:30 p.m.

March 10 | 2:00 p.m.

March 6 | 7:30 p.m.

March 10 | 2:00 p.m.

BEETHOVEN’S 9TH: AN ODE TO JOY March 16 | 7:30 p.m.

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2018 - 2019 SEASON

JANUARY / FEBRUARY / MARCH

May 1, 2 & 3 | 7:30 p.m.

May 8 | 7:30 p.m.

May 12 | 2:00 p.m.

May 11 | 7:30 p.m.

DVOŘÁK AND JANÁČEK May 18 | 7:30 p.m.

CALL OR GO ONLINE TODAY! 260.481.0777 | FWPHIL.ORG

PRELUDE FORT WAYNE PHILHARMONIC PROGRAM

VOLUME 75

NO.

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Design: Brooke Sheridan

TABLE OF CONTENTS

Contributing Editors: James W. Palermo, Jim Mancuso

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Prelude is created and produced four times per year by the Fort Wayne Philharmonic 4901 Fuller Drive, Fort Wayne, IN 260.481.0770 - FWPHIL.ORG The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors. Programs and artists are subject to change.

Cover Photo: Nathan Johnson

Welcome Letter, Andrew Constantine 75th Anniversary Andrew Constantine, Music Director Caleb Young, Associate Conductor Benjamin Rivera, Chorus Director Troy Webdell, Youth Orchestras Conductor Philharmonic Youth Symphony Orchestras Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Chorus Fort Wayne Philharmonic Friends Philharmonic Board of Directors Philharmonic Administrative Staff Series Sponsors Sponsors Donors

ARTIST BIOS & LISTINGS 8 Jake Shimabukuro 16 Jonathan Busarow 16 Fort Wayne Children’s Choir 1 7 Allegra DeVita 1 7 Alex Richardson 18 Timothy Mix 19 Michelle Arezaga 20 Frances Rabalais

20 29 32 33 33 40 46 62

Kevan Loney Keven Keys Michael Krajewski AJ Swearingen Jonathan Beedle Robert DeMaine Leslie Odom, Jr. Miho Sasaki

7 Pops

AN EVENING WITH JAKE SHIMABUKURO Saturday, January 26 10 Masterworks

BIZET'S CARMEN

Saturday, February 2 23 Chamber Orchestra

BEETHOVEN'S 2ND SYMPHONY

Saturday, February 9 3 1 Pops

THE SOUNDS OF SIMON AND GARFUNKEL Saturday, February 16

35 Masterworks

BARBER AND VAUGHAN WILLIAMS

Saturday, February 23

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Andrew Crow Kerry Glann B.S.U. Chamber Choir B.S.U. Concert Choir Katie Van Kooten Corinne Wallace-Crane Andrew Owens Michael Dean

43 Family

CARNIVAL OF THE ANIMALS Sunday, February 24 45 Special Events

AN EVENING WITH LESLIE ODOM, JR.

Saturday, March 2 48 Freimann

AND THIS IS MY BELOVED Wednesday, March 6 Sunday, March 10 6 1 Youth Orchestra

EARTH IS ALIVE

Sunday, March 10 65 Masterworks

BEETHOVEN'S 9TH: AN ODE TO JOY Saturday, March 16

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WELCOME FROM THE MUSIC DIRECTOR Dear Friends of the Philharmonic: My colleagues in the Philharmonic and I could not be happier about the sense of community we are forging around the orchestra, and that our relationships with loyal audiences continue to deepen and grow.

The 75th Anniversary Season continues on January 26 as ukulele wizard Jake Shimabukuro returns in a Pops program that mixes jazz, funk, folk, and popular music. One concert I am particularly excited about is the Philharmonic’s presentation of the world’s most popular opera, Carmen. Bizet’s bewitching melodies, including the “Habanera” and the “Toreador Song,” plus stunning projected visuals make this semi-staged production an ideal introduction to the thrill of opera. Then on February 9, chorus director Benjamin Rivera leads a program whose centerpiece is Beethoven’s Symphony No. 2, a sparkling work full of youthful energy, rhythm, and even musical jokes. The versatility of this fine orchestra is on display when on February 16 guest conductor Michael Krajewski teams up with the Philharmonic and guest vocalists to capture the essence of Simon and Garfunkel’s 1960s folk rock harmonies. Close to my heart is the music of Ralph Vaughan Williams and on February 23 I have the opportunity to conduct his 5th Symphony, a pastoral romance that sings with emotional strength and spirituality.

March 16 offers a highly anticipated performance of Beethoven’s 9th, a work that has inspired audiences with its monumental scale, intensive technical demands, and the utopian idealism of its “Ode to Joy.” Please look carefully within this Prelude for more information about Family, Freimann, Youth Orchestras and a special concert featuring Broadway and Hamilton star Leslie Odom, Jr. in concert.

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I am also delighted to announce the 2019-2020 Season of the Fort Wayne Philharmonic. Masterworks Series highlights include a Tchaikovsky Spectacular, Beethoven’s 5th, Peer Gynt and the Polovtsian Dances, the breathtaking virtuoso violinist Pinchas Zukerman, Beethoven’s Violin Concerto, and Shostakovich’s 5th Symphony.

Pops never sounded so good. The Series begins with the Hoosier feel good cinematic classic Rudy, screened with the Philharmonic performing Jerry Goldsmith’s lush score live. The fun continues with Holiday Pops, Piano Themes from Cinema’s Golden Age, the Purdue Varsity Glee Club singing Broadway, a Cole Porter Celebration in Concert with the Fort Wayne Civic Theatre, and Abba: The Concert.

Family, Freimann, and Chamber Orchestra Series offer treasured themes, beloved repertory, and some fun surprises. And lastly, don’t miss the 75th Birthday Bash Concert in October and stay afterward for a celebratory slice of cake. Please see our staff in the lobby for detailed information about the upcoming 2019-2020 Season, designed just for you, our loyal audiences.

Thank you again and again for your devotion and support.

Sincerely,

Andrew Constantine, Music Director

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Sweetwater Pops Series SATURDAY, JANUARY 26, 2019 | 7:30 p.m. | EMBASSY THEATRE

AN EVENING WITH JAKE SHIMABUKURO Caleb Young, conductor Jake Shimabukuro, ukulele Dave Preston, Guitar / Vocals Nolan Verner, Bass Selections to be announced from the stage

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack

PRELUDE 7

JAKE SHIMABUKURO

Every major artist has that one defining album or performance, but for ukulele master Jake Shimabukuro, his entire career has been filled with such magical achievements. Since he first came to the world’s attention with his deeply beautiful and original take on George Harrison’s “While My Guitar Gently Weeps” in a viral video that dominated YouTube in 2005, the Hawaiian-born Shimabukuro has virtually reinvented the four-string instrument, causing many to call him “the Jimi Hendrix of the ukulele.”

“I just wanted to play the ukulele my way, which turns out to be very different from what everybody else has done,” says Shimabukuro, who started playing the instrument at the age of four and learned the basics from his mother, Carol. “Most people just strummed the ukulele, but I started playing melodies, and a new world opened up – I was singing through the ukulele.”

As soon as music fans got a listen to Shimabukuro’s virtuosic approach to the ukulele, they were hooked. Albums such as Gently Weeps, Peace Love Ukulele and Grand Ukulele topped the Billboard World Music Charts. As a live performer he became one of the hottest tickets around, headlining the Hollywood Bowl, Lincoln Center and the Sydney Opera House (he even performed for Her Majesty Queen Elizabeth II) while making frequent appearances on media outlets like The Today Show, Good Morning America, Jimmy Kimmel Live! and Late Night with Conan O’Brien.

A fifth-generation Japanese-American, Shimabukuro initially gained attention in Hawaii in 1998 as a member of Pure Heart, a ukulele, percussion and guitar trio.

The group's first album won them four Na Hoku Hanohano Awards (the Hawaiian counterpart of the Grammy Awards) from the Hawaii Academy of Recording Arts.

In June 2002 he became the first Hawaiian artist to sign a recording contract with Epic Records International, a division of Sony Music Japan International. Shimabukuro toured extensively in Japan – a practice he continues today – and from the start his albums received extensive airplay on various Japanese radio stations. In 2005, he secured a nationwide U.S. distribution deal for his Hitchhike Records label, which had previously been confined to the Hawaii market. He also did his first nationwide mainland U.S. concert tour, and released a DVD of instructional segments, concert footage, and interviews called Play Loud Ukulele.

In 2016, Shimabukuro recorded the all-original Nashville Sessions at Music City’s famed Ronnie’s Place studio with producer R.S. Field (Steve Earle, Webb Wilder) and the ace rhythm section of bassist Nolan Verner and drummer Evan Hutchings.

And now he’s returned to the same city and studio – and with the same gang, too, (augmented by guitarist Dave Preston) – for his newest record, The Greatest Day, which was released in August of 2018.

Shimabukuro has already been performing some of the material from The Greatest Day live, and he’ll soon work more songs into his set. This past summer, he did an extensive tour of the U.S. and a fall tour of Japan. “I’m really excited to play the new songs in my shows,” he says. “Making this record was one of the highlights I’ve had in the studio. I couldn’t be happier with the sounds and arrangements. But most of all, we had a ton of fun making it.”

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PRELUDE 9

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, FEBRUARY 2, 2019 | 7:30 p.m. | EMBASSY THEATRE

BIZET'S CARMEN

Sponsored by Fort Wayne Philharmonic Friends

MUSIC BY GEORGES BIZET LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY Andrew Constantine, conductor THE CAST Allegra De Vita............................................Carmen Alex Richardson.........................................Don José Timothy Mix................................................Escamillo Michelle Areyzaga ....................................Micaëla David Govertsen.........................................Zuniga Dan Richardson..........................................Moralès & Le Dancaïre Diana Stoic.................................................Frasquita Cassidy Smith............................................Mercédès Jared V. Esguerra........................................Le Remendado Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Fort Wayne Children’s Choir, Jonathan Busarow, director Frances Rabalais, stage director Corey Lee, lighting designer Kevan Loney, projection designer English Titles by Celeste Montemarano 10

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BIZET Carmen ACT I

1 Prelude 2 Scene and Chorus Morales, Chorus 3 Chorus of Street-boys 4 Chorus of Cigarette-girls Carmen 5 Habanera Carmen 6 Scene 7 Duet Micaela, Don José 8 Chorus 10 Seguidilla and Duet Carmen, Don José 11 Finale Entr’acte

ACT II 12 Gypsy Song

13 Chorus

14 Toreador Song

16 Canzonetta

17 Duet

18 Finale

INTERMISSION

ACT III

Entr’acte 20 Trio (Terzetto) 22 Aria 23 Duet 24 Finale Entr’acte

ACT IV

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March and Chorus Duet and final Chorus

Carmen, Frasquita, Mercédès Escamillo Carmen, Don José Carmen, Don José

Carmen, Frasquita, Mercédès Micaela Escamillo, Don José

Carmen, Don José, Chorus

Enjoy complimentary cupcakes after the concert.

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, February 14 at 7:00 p.m.

Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation

Encore Lounge sponsored by:

PRELUDE 11

BIZET'S CARMEN

PROGRAM NOTES | February 2, 2019

Carmen

GEORGES BIZET (b. 1838, Paris, France; d. 1875, Bougival, near Paris) Is Georges Bizet’s Carmen “the perfect opera”? Many musicians and opera connoisseurs over the past century and a half have called it that. And it has certainly been embraced by the public as one of the most popular operas of all time, performed hundreds of times each season at opera houses around the world. Johannes Brahms, who wrote great instrumental music but no operas, said he “would have gone to the end of the earth to embrace the composer of Carmen.” Tchaikovsky, who wrote many, was even more enthusiastic: “I know nothing which in recent years has really seriously captivated me except Carmen. In my opinion, it is a masterpiece in the full sense of the word — that is, one of those rare pieces which are destined to reflect most strongly the musical aspirations of an entire epoch.”

Sadly, Bizet was not to live long enough to hear such lofty praise for his finest creation. He left Carmen’s world premiere at Paris’ L’Opéra Comique on March 3, 1875, convinced it was a failure.

Overwhelmed by disappointment and stress and with a heart weakened by severe throat ailments, he succumbed to two heart attacks on June 3, exactly three months after the first performance. He was only 36. The loss of what he might have written after Carmen is one of musical history’s great tragedies.

A graduate of the renowned Paris Conservatoire, Bizet revealed his gifts early. At age 17, he wrote the enchanting Symphony in C, still a wellloved visitor to concert halls. When he was 19, he was awarded the Prix de Rome: the coveted award that enabled 12

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young French composers, artists, and architects to live and create in Rome for three years. Now a staple at opera houses, his opera The Pearl Fishers (Les Pêcheurs de perles) was premiered in one of Paris’ major theaters just before his 25th birthday.

But regrettably, much of his abbreviated career was frittered away on countless arrangements of other composers’ works — especially those of his mentor Charles Gounod — rather than writing his own. With Carmen, he reached his peak as a composer of the first rank, but then was gone.

The Genesis of Carmen Bizet was a prodigious and adventurous reader. He became captivated by a radically un-prettified novella by Prosper Mérimée, which was published in a French literary journal in 1845.

Mérimée’s story is a gritty slice of life from contemporary Spain featuring an unvarnished portrait of a free-spirited gypsy woman, Carmen, who defies the norms of polite 19th-century society.

She takes her own lovers, runs a smuggling operation, and even smokes cigarettes! She is also a woman of intense personal integrity and courage, who values the freedom to make her own choices in life above all else. One could even see her today as a protofeminist. Irresistibly alluring to men, she intoxicates the naïve Spanish soldier Don José, who wants her to love only him. The conflict between their personalities and allegiances leads to murder.

When the Opéra-Comique approached Bizet in 1873 to compose an opera for them, he insisted on Mérimée’s story as the source for his libretto. But this was a most unpalatable choice to the company’s administrators. Not only did the Opéra-Comique differentiate itself from Paris’ Opéra, the purveyor of serious grand opera, by using spoken

dialogue between its musical numbers, it also emphasized subjects that were suitably amusing but virtuous to appeal to its conservative bourgeois audiences. Not only was Carmen anything but a virtuous heroine, but the entire plot seemed to glorify the lives of the lower classes, free of middle-class strictures. And the ultimate problem: it ended with a brutal murder, Don José’s stabbing of Carmen. Onstage violence and death were absolutely forbidden at the Comique.

Nevertheless, Bizet somehow won the administrators over and in the process decisively broke the mold of what was permissible on this stage.

He was assigned two veteran librettists, Ludovic Halévy and Henri Meilhac, who had already written popular operatic successes. And the story struck a spark with them as well, inspiring a vivid and taut libretto that contributed substantially to the opera’s greatness.

While Bizet beautified a harsh story with his glorious music, the three creators mostly kept faith with Mérimée’s original.

Initial Failure Becomes Triumph Bizet was fortunate in his choice of the first Carmen: Marie Célestine GalliMarié, a brilliant and unconventional singing actress. A contemporary critic wrote of her: “She is small and delicate, moves like a cat, has an impish, pert face, and her whole personality seems unruly and mischievous.” Not at all distressed by the requirements of her role, she became Bizet’s ally and worked closely with him in creating her entrance aria, the “Habañera.”

Far more of a problem was the Comique’s chorus, which in this opera must actually fight, dance, and haul contraband as well as sing. As Halévy remembered, they were accustomed to “standing still in neat lines, their eyes fixed on the conductor, and their thoughts elsewhere.” Claiming their music and the actions accompanying it were impossible to perform, they threatened to strike.

Carmen’s premiere was not quite the disaster legend would have it. The audience grew cooler as the shocking events mounted from act to act, but the many musicians in attendance mostly praised Bizet’s music. However, Bizet judged the opera had failed, and though it ran for a total of 45 performances at the Comique, he never attended another. If he had, he would have witnessed a gradual crescendo of audience enthusiasm. He was already dead before Carmen in the fall of 1875 moved on to the Vienna Opera and there scored an unequivocal triumph.

Its musical numbers now linked with sung recitatives by Ernest Guiraud replacing the French spoken dialogue, it rapidly began its conquest of opera houses throughout the world.

Listening to Carmen Carmen’s greatness rests on many factors beyond its unforgettable protagonist and intoxicating Spanish melodies. With a musical/dramatic inspiration that never flags throughout its four acts, Bizet composed quantities of numbers that have mesmerized listeners beyond traditional opera aficionado. Moreover, he was able to create distinct musical styles to etch the different characters in the story.

Don José’s earnest, passionate music differs so completely from Carmen’s sensual and mercurial style that we know their affair will come to no good.

There is also an extraordinary musical propulsion carrying through that enables the drama to move relentlessly forward with nary a pause. All four acts close with a confrontation between José and Carmen, each building in tension over the previous one until the violent finale.

Certainly, the vivid Spanish flavor throughout contributes strongly to Carmen’s appeal. However, surprisingly, Bizet never set foot in Spain himself, and there were only two genuinely Spanish tunes used in his score.

Spanish and especially gypsy music

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were very popular in Paris at that time; Bizet frequented the cafes and cabarets where this could be heard and masterfully absorbed its characteristics.

Act I The opening Prelude is more than a lively overture containing excerpts from the opera: it is a presentation of the dramatic problem the opera must solve.

In three distinct sections, it begins with the festive Spanish theme of Act IV’s procession of the bullfighters. Next we hear the macho “Toreador’s Song” Escamillo sings in Act II. After returning to the opening music, the bottom suddenly drops out, as the key shifts violently to D minor and an ominous theme explodes in the low strings.

Known as the “Fate Theme,” this melody will be associated with Carmen and especially with José’s fatal infatuation with her. In the words of Susan McClary, “This gaping wound — the violation of prevailing order — must eventually be healed or corrected, whatever the cost.”

Carmen first introduces herself with the immortal “Habañera”; significantly, its key is also D minor. Bizet borrowed the tune from a cabaret song by the Spanish-Cuban composer Sebastián Yradier and drafted the words himself with Galli-Marié’s assistance. The hipswinging rhythm follows that CubanAfrican dance.

The duet “Parlez-moi de ma mère” between Don José and his fiancée Micaëla is in a very French lyrical style that would have been welcomed by the Comique’s audience. Micaëla does not appear in Mérimée’s story; she was inserted by Bizet and his librettists to be the Comique’s required virtuous heroine, a foil to Carmen. But the duet is even more a character portrait of José, showing the seriousness and naïvité that will make him no match for Carmen.

Featuring a sinuous solo flute, Carmen’s 14

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flamenco-flavored “Seguidilla” is as alluring as her first aria. A successful ploy to get José to save her from prison, it is an intimate invitation to join her at Lillas Pastia’s inn outside the city. The enflamed José takes the bait and turns it into a frantic duet.

Act II Adding to Carmen’s musical appeal and often performed in concert excerpts, the orchestral Entr’actes opening each of the remaining acts are stunning examples of Bizet’s ability to choose evocative instrumental colors to establish mood and preview what is to come. Introduced by a marching bassoon solo, the first one we hear uses a theme José will sing a cappella as he approaches the inn for a rendezvous with Carmen after his month in prison.

We are now at Lillas Pastia’s smoky inn, where Carmen and her friends entertain us with the hypnotic “Gypsy Dance.”

Each of its strophic verses accelerates until the tempo of the last is so fast the singing stops and a frenetic, footstomping dance takes over.

Almost immediately, Seville’s star toreador Escamillo enters the scene and brings with him the most famous of Carmen’s tunes: the “Toreador’s Song,” previewed in the opera’s Prelude. Like Carmen, Escamillo is a charismatic performer. Beginning with a bravura orchestral flourish and capped with a macho refrain, his is an aria of action, not repose, as he displays his maneuvers in the bull ring for his enthusiastic fans.

When Carmen accuses Don José of loving his duties as a soldier more than he does her, he sings his famous “Flower Aria,” telling her how the faded flower she had thrown him in Act I sustained him in prison. More than a beautiful aria, this is another revealing character study of the man, deadly serious in his passion.

Significantly, the “Fate Theme” makes

a grim reappearance here. The uneasy harmonies under his final “Je t’aime” disclose José’s unstable temperament.

Act III Act III takes place outside Seville in the gypsy smugglers’ hideout in the mountains. The rural atmosphere is previewed in the loveliest Entr’acte: cool and tranquil music for flute and other woodwinds over harp. It is one of Carmen’s few moments of musical rest.

The relationship between Carmen and José has gone sour. In the “Card Scene,” Carmen joins her friends Frasquita and Mercedès in telling fortunes. But while the others play frivolously, Carmen, fully believing in the cards’ truth, confronts her mortality as each card she uncovers announces Death. In this dark aria, so unlike her previous seductive showpieces, we witness Carmen’s strength of character, which makes her an implacable opponent.

in phrases of gradually intensifying fury. She responds, however, with blunt, almost speech-like phrases that reveal little emotion except annoyance. All the Prelude’s major sections return, as the situation deteriorates. As José finally realizes he’s lost her, the Fate Theme torments him and spurs him to action. In a final ironic twist, the “Toreador’s Song” returns as he stabs her. The “gaping wound” has been closed, but at a terrible cost. Musically and dramatically, this conclusion is the artistic culmination of Bizet’s strategy from the very first notes.

Notes by Janet E. Bedell copyright 2019

FORT WAYNE PHILHARMONIC

ANNUAL FUND

Act IV The entr’acte to Act IV returns us to Seville and the festivities of Escamillo’s bullfight. It uses another borrowed melody: a Spanish polo dance from Manuel García’s operetta El criado fingido.

Fulfilling the musical prophecy of the Prelude, Act IV travels from sunshine and celebration to a tragedy not hidden in the shadows. The Prelude’s dazzling opening theme returns for the superb chorus describing the bullfighters’ procession. The appearance of Escamillo — now happily paired with Carmen — brings back the Prelude’s second section, the “Toreador’s Song.”

Before the final duet, Carmen has been warned José is stalking her, but she refuses to retreat to safety inside the arena. When he enters, the ultimate confrontation begins between them. Bizet sharply characterizes their unbridgeable differences in the music he gives to each. A shell of the proud soldier he originally was, José abjectly begs Carmen to return to him

Like the notes of a symphony – each one important whether loud or soft, short or long – your gift at any level is appreciated and celebrated because it shows your love for music and the community. The Fort Wayne Philharmonic’s artistic, education, and community engagement programs are made possible by generous donors.

Your generosity directly helps the Philharmonic maintain its place as a cultural treasure for this community.

YOU MAKE GREAT MUSIC SOUND CONTACT THE DEVELOPMENT OFFICE AT 260.481.0775 OR BY EMAIL AT INFO@FWPHIL.ORG FOR MORE INFORMATION ABOUT SUPPORTING THE 2019 ANNUAL FUND.

PRELUDE 15

JONATHAN BUSAROW, FWCC EXECUTIVE ARTISTIC DIRECTOR

Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children's Choir. He holds a Bachelor of Music degree in Vocal Performance from Valparaiso University, a Master of Music degree in Choral Conducting from The Ohio State University, and Kodály Certification from the Kodály Institute at Capital University. Mr. Busarow also serves on the faculty of Purdue University Fort Wayne where he teaches voice and choral music education. He has also served as the interim director of choral studies at Purdue Fort Wayne and Valparaiso University.

Mr. Busarow is in frequent demand as a clinician and as a tenor soloist. He has conducted at the American Choral Director’s Association National and Regional Conferences, the Association of Lutheran Church Musicians, the Indiana Music Educators Association Convention, and the Bach Institute at Valparaiso University. Mr. Busarow serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference. In 2015, he received the Arts United Award as the Emerging Leader. In 2018, Jonathan received the Distinguished Decade Award from his alma mater, Valparaiso University. He lives in Fort Wayne with his family, Nicole, Simon, Matthias, and Timothy.

FORT WAYNE CHILDREN’S CONCERT CHOIR Jonathan Busarow, director Forest Baxter Joanna Beights Rachel Cluts Savannah Copeland Lucy Davis Lilly Dugan Nadia Frese Mariah Grim Jillian Hanson Isabella Harber Dara Hinsch Gwen Hofman Destiny Howell Cooper Inman Katie Kieser Olivia Kuhns Paisley Lane Jacob Lantz Faith Lund Elena Matyas Stephen McGovern Thomas McGovern

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Claire Miller Hayden Patterson Molly Pierson Chris Reppert Kara Rose Charlee Rothgeb Olivia Ruckel Benjamin Sarrazine Jacob Speckhard Elizabeth Stachofsky Elise Todd Natalie Todd Megan True Max Vardaman Rachel Wahl Anna Wurschmidt David Wurschmidt Isabella Yates

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ALLEGRA DE VITA, CARMEN

American mezzo-soprano Allegra De Vita, a 2015 Metropolitan Opera National Council Audition Grand Finalist, recently finished her tenure with the Washington National Opera’s Domingo-Cafritz Young Artist Program. In the 2018/19 season, Ms. De Vita will return to Washington National Opera as a principal artist as Siebel in Faust, and will join the roster of the Metropolitan Opera for Suor Angelica. She will also star as Carmen in a concert staging of Bizet’s masterpiece with the Fort Wayne Philharmonic.

Orchestral highlights include Beethoven’s Symphony No. 9 with the Phoenix Symphony, and performances of Handel’s Messiah with the New Haven Symphony.

In the 2017/18 season at WNO, Ms. De Vita performed Rosina in the Emerging Artist Performance of Il Barbiere di Siviglia, Tebaldo in Don Carlo, The Fox in The Little Prince, Zegner Sister 2 in the American Opera Initiative premiere ProvingUp and Ruggiero in the Emerging Artist Performance of Alcina. Elsewhere, she performed Arsamenes in Xerxes, conducted by Nicole Paiement, for her return to Glimmerglass Festival, and Tancredi in Erminio with Opera Lafayette, with performances in both New York and Washington, DC. In summer, 2018, Ms. De Vita performed the role of Agrippina in Jonathan Dawe’s Nero and the Fall of Lehman Brothers with the Montréalbased company Ballet-Opéra-Pantomime. Concert highlights included the Mozart Requiem with The Choral Arts Society of Washington.

In addition to her master’s degree in voice from Rice University, Allegra De Vita holds a BA magna cum laude in biology, with a concentration in neuroscience as well as minors in both voice performance and the honors program from Sacred Heart University. She was also a resident artist for one season at the Academy of Vocal Arts, Philadelphia. Originally from Trumbull, Connecticut, Ms. De Vita studies with Dr. Stephen King.

ALEX RICHARDSON, DON JOSÉ

The past season has been active and demanding for tenor Alex Richardson where he made his Metropolitan Opera debut as the Shepherd in Tristan und Isolde with Simon Rattle and Asher Fisch conducting and later that season performed in Salome; he was soloist with Oratorio Society of New York at Carnegie Hall in Bruckner’s Te Deum and in Uruguay; and was tenor soloist with the New Haven Symphony in Verdi’s Requiem.

Richardson returned to Lincoln Center in an all-Verdi program at Rose Theater; was soloist with the Boston Philharmonic in Beethoven’s Symphony No. 9; and sang with the Southern Florida Symphony in their concert of opera excepts.

Richardson also completed the U.S. premiere in the title role of Amleto (Hamlet) by Franco Faccio with

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Opera Southwest with a recording release and in a concert version with Baltimore Concert Opera to critical acclaim. The season's other engagements include Floyd’s Susannah with Toledo Opera, a return to the Boston Symphony in Szymanowski’s King Roger and New York City Opera concerts as Don José in Carmen.

In past seasons he made his Spoleto USA debut as Váňa Kudrjaš in Káťa Kabanová under the baton of Anne Manson; Molqi in The Death of Klinghoffer with Long Beach Opera; a debut with the Los Angeles Philharmonic in a work by Dutch composer Louis Andriessen; a Boston Symphony Orchestra presentation of Salome under the baton of Andris Nelsons in his debut as Music Director; and an all-Beethoven concert at Tanglewood under the direction of Charles Dutoit.

As a roster member of the Marilyn Horne Foundation, he has sung recital residencies throughout America with On Wings of Song. Mr. Richardson holds degrees from the University of Colorado and The Manhattan School of Music and has been honored by the Metropolitan Opera National Council Auditions and the Licia Albanese-Puccini Foundation. He was a Studio Artist at Central City Opera, apprenticed with The Santa Fe Opera for two seasons and is a former Tanglewood Fellow.

TIMOTHY MIX, ESCAMILLO

Finnish-American baritone Timothy Mix is recognized for the beauty of his voice and his compelling stage presence. In the 2018-2019 season, Mr. Mix makes his company debut with the Bergen National Opera as Albert in Werther, and makes his role debut as Joseph De Rocher in Dead Man Walking at Opera Delaware. On the concert stage, Mr. Mix will be featured in the American premiere of Alexander Zhurbin’s song cycle Tsvetaeva with the Russian Chamber Art Society, sing Caliban in The Tempest with the Los Angeles Philharmonic and sing Escamillo in Carmen with the Fort Wayne Philharmonic.

In the 2017-2018 season, Mr. Mix returned to San Francisco Opera as Monsieur de Brétigny in Manon, Jack Hubbard in the Santa Fe Opera’s new production of Doctor Atomic, and Enrico in Lucia di Lammermoor at Virginia Opera. Concert highlights included Verdi’s Requiem with The Florida Orchestra.

Other career highlights for Tim Mix include his debut at Finnish National Opera as Escamillo in Carmen, Ping in Turandot under the baton of Gustavo Dudamel at the Los Angeles Philharmonic as well as at Portland Opera; Ford in Falstaff, and Edward Gaines in the New York premiere of Richard Danielpour and Toni Morrison’s Margaret Garner, both at New York City Opera. At San Francisco Opera, Tim has portrayed Dancaïre in Carmen, conducted by Nicola Luisotti, Le Bret in Alfano’s Cyrano de Bergerac, Elder Ott in Susannah, Prus in Janáček’s The Makropoulos Case, directed by Olivier Tambosi. Summer festival work has included Capulet in Roméo et Juliette and Tsar Dodon in Rimsky-Korsakov’s The Golden Cockerel with Santa Fe Opera, Belcore in The Elixir of Love, the title role in Il Tabarro, and Tonio in I Pagliacci, all at Opera Theatre of St. Louis.

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An operatic-household name in the greater Baltimore area, where he resides with his wife and son, Tim Mix has performed at Washington National Opera as Renato in Un Ballo in Maschera and Ford; at Lyric Opera Baltimore, in addition to starring in a gala concert, he has performed Sharpless in Madame Butterfly and Marcello in La Bohème, a role he reprised at Annapolis Opera.

MICHELLE AREYZAGA, MICAËLA

As a coveted performer with a diverse repertoire, American soprano Michelle Areyzaga is held in high regard by orchestras and opera companies throughout the United States and abroad. She has performed operatic roles with New York City Opera in Telemann’s Orpheus as well as in their VOX series, and has appeared in leading roles with Chicago Opera Theater, Lyric Opera of Chicago’s In the Neighborhoods programs, Opera Birmingham, Ravinia Festival, and Orquesta Sinfónica del Estado de México.

Michelle Areyzaga’s association with the music of Leonard Bernstein runs deep. She has become well known for her interpretation of his delightful and moving music – from her portrayal of Cunegonde in Candide to her participation in varied programs featuring his works, including musical theater and chamber music/recital works. Areyzaga toured the show Bernstein on Broadway together with Jamie Bernstein (Leonard’s daughter) for six years, performing it with the Cleveland Orchestra, Minnesota Orchestra, and the Israel Philharmonic Orchestra, and the Oregon Bach Festival, among many others. Areyzaga is still often heard performing Bernstein, such as her performances in Las Vegas and at Ravinia in conjunction with the composer’s centennial celebration.

As an orchestral soloist, she has appeared with, in addition to orchestras listed above, Richmond Symphony, Toledo Symphony, Colorado Symphony Orchestra, Grant Park Music Festival, Rochester Symphony, Phoenix Symphony Orchestra, Hartford Symphony, San Antonio Symphony, Rhode Island Philharmonic, Wichita Symphony Orchestra, Cheyenne Symphony Orchestra, and North Carolina Symphony, among others. She sang the first Bach B minor Mass in the country of Costa Rica, under the baton of Maestro John Nelson.

Ms. Areyzaga made her European concert debut as soloist in Vaughan Williams’ Mass in G Minor at England’s York Minster Cathedral, Ely Cathedral, and St. Mary’s Church in Oxford. In Paris, she received standing ovations as soloist in the Lord Nelson Mass with the orchestra of London’s Royal Academy of Music and the St. Charles Singers.

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

Ms. Areyzaga is represented by Alpha Artists Management.

PRELUDE 19

FRANCES RABALAIS, DIRECTOR

Frances Rabalais is an opera director known for her highly emotional and evocative productions of classic operatic repertoire and new opera works alike. Earlier this year, her new production of The Long Walk for Pittsburgh Opera was hailed as a “smart, chaotic success”. In her hometown, New Orleans, she directed the award-winning Great Britten Scenes Program with Loyola University Opera. In 2017, Ms. Rabalais directed two productions of As One, for Pittsburgh Opera and New Orleans Opera. While pursuing advanced studies at the University of Cincinnati College-Conservatory of Music (CCM), Ms. Rabalais directed Il Signor Bruschino in 2016. She also directed The Little Prince with Cincinnati Chamber Opera in 2015. Ms. Rabalais has served as an assistant director with Opera Colorado, Cincinnati Opera, Pensacola Opera, Glimmerglass Opera, Wolf Trap Opera, and is scheduled to assist at Washington National Opera and Des Moines Metro Opera later this season. She was a Resident Artist with Pittsburgh Opera from 2016-2018. During that time, she was the assistant director on ten different operas, including two world premieres.

KEVAN LONEY, PROJECTION DESIGNER

Recent designs include: The Wizard of Oz (Paramount Theatre), All Shook Up (TUTS), Broadway Bares 28 - Game Night (Choreo: Charlie Sutton, BC/EFA), Joseph and the Amazing Technicolor Dreamcoat (Drury Lane Theatre), Tosca, HOLIDAY POPS! (Fort Wayne Philharmonic), Solstice Party! (A.R.T./New York Theatres), Generation Me, Numbers Nerds, Ben Virginia and Me: The Liberace Musical (NYMF), Phases: A Lunar Fantasy (Peabody Essex Museum), The Trial of an American President (The Lion | Off-Bway), Show Boat (CITI Shubert Theatre), Mack and Mabel (Stages Repertory Theatre), Chang(e), This Tree (HERE Arts Center).

Associate Projection Design: The Wiz (TUTS, Des. Aaron Rhyne) This Ain’t No Disco (Atlantic Theatre Company, Des. Aaron Rhyne) 1977, iSkate2.0 (Royal Caribbean Cruises, Des. Aaron Rhyne), CELEBRATION! (Dolly Parton’s Smokey Mountain Adventure, Des. Christopher Ash), Rock and Roll Man (Bucks County Playhouse, Des. Christopher Ash). Animator: The 71st Annual Tony Awards, The 72nd Annual Tony Awards (CBS, Des. The 13th Studios), ANASTASIA (First National Tour, Des. Aaron Rhyne). Graduate of Carnegie Mellon University School of Drama - M.F.A. www.KevanLoney.com

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Ambassador Enterprises Chamber Orchestra Series SATURDAY, FEBRUARY 9, 2019 | 7:30 p.m. | FIRST WAYNE STREET U.M.C.

BEETHOVEN'S 2ND SYMPHONY

Sponsored by Janice Eplett, in memory of Winifred Howe and F. Russell Eplett

Benjamin Rivera, conductor Keven Keys, baritone PISTON Serenata VAUGHAN WILLIAMS Five Mystical Songs

1. Easter

2. I Got Me Flowers

3. Love Bade Me Welcome

4. The Call

5. Antiphon Keven Keys, baritone VAUGHAN WILLIAMS Fantasia on a Theme by Thomas Tallis -- Intermission -BEETHOVEN Symphony No. 2 in D major, Op. 36

I. Adagio Molto - Allegro con brio

II. Larghetto

III. Scherzo: Allegro

IV. Allegro Molto Many thanks to the generous supporters of this event:

Janice Eplett

PRELUDE 23

BEETHOVEN'S 2ND SYMPHONY TEXTS | February 9, 2019

Five Mystical Songs TEXTS RALPH VAUGHAN WILLIAMS EASTER Rise, heart; thy Lord is risen. Sing his praise, without delays, Who takes thee by the hand, that thou likewise With him may’st rise: That, as his death calcined thee to dust, His life may make thee gold, and much more, Just.

Awake, my lute, and struggle for thy part With all thy art.

The cross taught all wood to resound his name, Who bore the same.

His stretched sinews taught all strings, what key Is best to celebrate this most high day.

Consort both heart and lute, and twist a song Pleasant and long: Or since all music is but three parts vied, And multiplied; O let thy blessed Spirit bear a part, And make up our defects with his sweet art.

I GOT ME FLOWERS I got me flowers to strew thy way; I got me boughs off many a tree: But thou wast up by break of day, And brought’st thy sweets along with thee.

The Sun arising in the East, Though he give light, and the East perfume; If they should offer to contest With thy arising, they presume.

Can there be any day but this, Though many suns to shine endeavour?

We count three hundred, but we miss: There is but one, and that one ever.

LOVE BADE ME WELCOME Love bade me welcome; yet my soul drew back, Guilty of dust and sin.

But quick-eyed Love, observing me grow slack From my first entrance in, Drew nearer to me, sweetly questioning, If I lack’d anything.

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“A guest,” I answer’d, “Worthy to be here:” Love said, “You shall be he.”

“I the unkind, ungrateful? Ah, my dear, I cannot look on thee.”

Love took my hand, and smiling did reply, “Who made the eyes but I?” “Truth, Lord, but I have marr’d them: let my shame Go where it doth deserve.”

“And know you not,” says Love, “who bore the blame?”

“My dear, then I will serve.”

[O SACRUM CONVIVIUM] “You must sit down,” says Love, “and taste my meat:” So I did sit and eat.

THE CALL Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death.

Come my Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart: Such a Joy, as none can move: Such a Love, as none can part: Such a Heart, as joys in love.

ANTIPHON Let all the world in every corner sing, My God and King.

The heavens are not too high, His praise may thither fly: The earth is not too low, His praises there may grow.

Let all the world in every corner sing, My God and King.

The Church with psalms must shout, No door can keep them out: But above all, the heart Must bear the longest part.

Let all the world in every corner sing, My God and King.

Words George Herbert

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BEETHOVEN'S 2ND SYMPHONY PROGRAM NOTES | February 9, 2019

Serenata

WALTER PISTON (b. 1894, Rockland, Maine; d. 1976, Belmont, Massachusetts) Composer and teacher Walter Piston was one of America’s most influential musicians during the 20th century.

Simply called Harmony, his book on harmonic theory and practice remains one of the most widely read on the subject in America and beyond. He enjoyed a long relationship with the Boston Symphony Orchestra, which gave the premieres of eleven of his works between 1927 and 1971. He was a member of Harvard University’s faculty for more than thirty years.

Piston had a variety of other talents as well. Before becoming a professional musician, he was a draftsman with a degree in architectural drawing; Harmony is filled with his own meticulous illustrations of instruments.

As a child, he taught himself how to play the piano and violin, and as a soldier in World War I, he mastered the saxophone within a matter of weeks.

Composed in 1956 for the Louisville Orchestra, Piston’s Serenata is a very attractive and appealing work: a miniature symphony in three movements lasting just twelve minutes.

Like many of his instrumental works, it shows influences of both Baroque and Mozartean Classical-era music in its clear textures and energetic rhythmic and contrapuntal writing. It does, however, add a harp to its small orchestra — an instrument that would not be found in 18th century ensembles.

Throughout, it shows Piston’s expert understanding of how to make each instrument and section shine.

In a bouncing, dance-like rhythm, the first movement lives up to its marking “Con allegrezza” — “cheerfully.” Its colorful, often pungent passages for 26

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woodwinds are particularly outstanding.

Marked “Con sentimento,” movement two is an example of Piston’s skill at composing very expressive slow movements. A melancholy theme followed by two variations unfolds in a spacious flow that becomes quite impassioned before returning to the original theme. Marked “Con spirito,” the final movement drives forward with considerable energy, occasionally eased by lyrical passages for strings and woodwind soloists.

Five Mystical Songs Fantasia on a Theme by Thomas Tallis RALPH VAUGHAN WILLIAMS (b. 1872, Down Ampney, England; d. 1958, London) Related to both Charles Darwin and Josiah Wedgewood, founder of the famous pottery firm, Ralph Vaughan Williams was the scion of a prominent English family that expected its sons to be lawyers and clergymen, not musicians. His own path to a composing career was unconventional, and he was almost 38 when he unveiled his first masterpiece, the Fantasia on a Theme by Thomas Tallis.

Vaughan Williams spent his thirties collecting folk songs from all parts of England. In 1904, he undertook another project that also influenced his creative development: the revision of the hymnal of the Anglican Church, making it, in his words, “a thesaurus of all the finest hymn tunes in the world.”

During this two-year labor of love, he immersed himself in the music of such Elizabethan masters as William Byrd, Orlando Gibbons, and Thomas Tallis.

For the hymn text “When, rising from the bed of death,” he chose a stately melody composed by Tallis in 1567. It obviously made a deep impression, for in 1910 it became the theme of his

Fantasia for strings composed for the Three Choirs Festival held in Gloucester Cathedral. Vaughan Williams scored the work for three string ensembles: a large first orchestra, a small second orchestra of nine players, and a string quartet. With them, he created layers of contrasting sonorities that played off the cathedral's vast echoing spaces.

The quartet's first violinist and violist are also featured in luminous solos and duets. At the work's premiere on September 6, 1910, listeners were too involved in the other piece on the program, Elgar's recent oratorio The Dream of Gerontius, to pay much attention. But within a few years, the Fantasia was being played by orchestras throughout Europe.

It begins with a preview of the theme plucked by low strings, followed by a short winding idea in violas and cellos that will also be prominent. Then we hear the Tallis theme played in its entirety by violins, violas, and cellos.

This melody will not return in full until the solo violin sings it near the end.

The body of the piece is composed of meditations on phrases of the theme, new melodies spun from it, and the richly harmonized winding idea, all refracted by the different prisms of Vaughan Williams' three ensembles.

Although the Fantasia is not specifically religious music, it seems to speak to the spirit. As Fuller Maitland, a reviewer of its first performance, wrote: “The work is wonderful because it seems to lift one into some unknown region of musical thought and feeling.”

For the following year’s Three Choirs Festival, held on September 14, 1911 in Worcester Cathedral, Vaughan Williams created a work that was not only overtly spiritual but an expression of Christian faith: the Five Mystical Songs. This was an unusual choice for a man who described himself as an agonistic and a “disappointed theist.” However, he had been greatly moved by the mystical Christian poetry of George Herbert

(1593–1633), an Anglican priest who was also one of the greatest English poets of the 17th century. Selecting five poems from Herbert’s 1633 collection The Temple: Sacred Poems, he set them in a work that can be performed with a variety of forces: for voice and piano alone or, as we will hear it, for baritone soloist with chamber orchestra. An optional chorus can also be included.

Though they are intended to be performed as a set, the five songs are in very different styles ranging from the deep intimacy of the third song, “Love Bade Me Welcome” to the very public proclamation of the fifth song, “Antiphon.” The first two songs, “Easter” and “I Got Me Flowers,” are contrasting settings of portions of Herbert’s poem “Easter.” One of the elements that attracted the composer to this poet’s verse was that Herbert was himself a musician. Musical imagery fills “Easter,” and in the central section of this song that begins with such grandeur, Vaughan Williams gives a very personal response to these words. Moving from the first song’s E-flat Major to a somber E-flat minor, “I Got Me Flowers” is an individual view of Christ’s resurrection.

On Easter morning, the poet brings flowers of grief to the tomb but finds He is no longer there. The minor mode is transformed into radiant major as this greatest of days is proclaimed.

Most intimately beautiful of the songs is “Love Bade Me Welcome,” in which the poet confesses his reluctance to accept Christ’s love. The barrier overcome, the song closes magically with the serene medieval chant melody “O Sacrum Convivium,” which praises the refreshment the Eucharist brings to the believer. With its glorious melismatic lines, “The Call” is the shortest and simplest of the songs — a radiant statement of faith.

Clearly conceived with the chorus in mind, “Antiphon” is a communal song of praise to God in a resplendent D Major.

PRELUDE 27

Symphony No. 2 in D Major LUDWIG VAN BEETHOVEN (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) By 1802, Beethoven's deafness was beginning to trouble him greatly, even though it was not yet noticed by most around him. His doctor suggested a summer in the country, in the village of Heiligenstadt outside Vienna, might prove helpful. Helpful it was for his creativity, but not his deafness. By October, Beethoven was pouring out his anguish at the ailment he feared would destroy all his musical hopes in a letter ostensibly written to his two brothers, but never sent (it was found among his papers after his death): the famous Heiligenstadt Testament. “Yes, that fond hope — which I brought here with me, to be cured to a degree at least — this I must now wholly abandon. … I leave here — almost as I came — even the high courage — which often inspired me in the beautiful days of summer — has disappeared.”

A significant advance over his First Symphony, the Second was composed during those “beautiful days of summer” in 1802 and shines not only with “high courage” but with high spirits, daring, and wit. Now the virile, bold voice was unmistakably Beethoven’s throughout, and the scope and ambition of the symphony was beginning to expand toward the revolutionary "Eroica" Symphony, one year in the future.

However, the Second is a predominantly light-hearted work, rich in musical humor. Yet at its Viennese premiere on April 5, 1803, it was disturbing enough to prompt one critic to write: “Beethoven's Second Symphony is a crass monster, a hideously writhing wounded dragon that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect.”

The main section of the sonata-form opening movement flows directly out of a beautiful, rather lengthy slow introduction. Its first theme emerges 28

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quietly in the cellos and violas under a measured violin tremolo or shake — a prominent musical device throughout this movement. In fact, it is the hyperactive violins that power the intense nervous energy pervading this work. The second theme is as energetic as the first: a brisk, military-sounding tune for the woodwinds above chugging string tremolos.

The second movement in A Major is an early example of Beethoven's beautiful slow movements. Also in sonata form, it is a peaceful pastorale that brings needed repose from the dynamism of the other movements. Here Beethoven plays off the lushness of the strings, which introduce the gracious two-part theme, against the plangency of the woodwinds. The development section moves into a world of gentle pathos in the minor mode.

The sudden alternation of loud and soft is the basis for the scherzo movement’s humor. Witty, too, are the seasick chromatic swells in the low strings.

The trio section pits well-mannered woodwinds against unruly strings that melodramatically insist on a wrong key.

But they are soon conquered and end decorously with the woodwinds.

The very fast finale is that “hideously writhing dragon that refuses to expire,” probably because Beethoven included here the first of his gloriously expanded codas. Rather than a dragon, the two-note motive that launches the humorously gruff opening sounds like the tail-flicking of a very small lizard indeed. The extraordinary closing coda begins with a magical harmonic progression: a loud chord in the D Major home key moving unexpectedly to a hushed chord in B minor that seems to open vistas of a new world.

Notes by Janet E. Bedell copyright 2018

KEVEN KEYS, BARITONE

Keven Keys’ “handsome, mahogany tone” (Washington Post) and beautifully “focused singing” (Chicago Classical Review) have delighted audiences with a wide range of repertoire in both opera and concert literature.

He has appeared with several orchestras throughout the Midwest and beyond, performing Fauré’s Requiem with the Grant Park Symphony, the Bach B Minor Mass with the Kalamazoo Bach Festival, Haydn’s Lord Nelson Mass at the Peninsula Music Festival, Bach cantata BWV 82, Ich habe genug, with the Sherwood Conservatory Orchestra, Vaughn-Williams’ Dona Nobis Pacem, Danielpour’s An American Requiem with the Northwestern University Symphony Orchestra and Mahler’s monumental 8th Symphony with the Colorado Mahlerfest.

Recent appearances have included Mozart’s Coronation Mass with Music of the Baroque and the Duruflé Requiem with the Music Institute of Chicago. His concert repertoire includes Mendelsohn’s Elijah, Handel’s Messiah, and Mozart’s Requiem, with groups including the award-winning Orion Ensemble, the Illinois Philharmonic, Waukegan Symphony, Elmhurst Symphony, Northeastern Illinois University Orchestra, and the Acanthus Chamber Orchestra.

He is also an active recitalist, performing throughout the Midwest.

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Sweetwater Pops Series SATURDAY, FEBRUARY 16, 2019 | 7:30 p.m. | EMBASSY THEATRE

THE SOUNDS OF SIMON AND GARFUNKEL Michael Krajewski, conductor AJ Swearingen, vocals Jonathan Beedle, vocals Selections to be announced from the stage.

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack

PRELUDE 31

MICHAEL KRAJEWSKI

Known for his entertaining programs and clever humor, Michael Krajewski is a much sought-after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Jacksonville Symphony Orchestra. He previously served as Principal Pops Conductor of the Houston Symphony and Atlanta Symphony Orchestra.

As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh and National Symphonies, and numerous other orchestras across the United States.

In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra.

With degrees from Wayne State University in Detroit and the University of Cincinnati CollegeConservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. Michael lives in Orlando, Florida with his wife Darcy.

When not conducting he enjoys travel, photography and solving crossword puzzles.

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AJ SWEARINGEN

AJ Swearingen, born in Bethlehem PA, grew up in a house where the classic country records of Kris Kristofferson, Merle Haggard, Johnny Cash and Willie Nelson were always spinning. "I love that music, but the folk records of the early '70s like Gordon Lightfoot and Simon & Garfunkel are what really fueled my desire to pursue a life in music."

He started playing the guitar and writing songs at the age of thirteen and has performed professionally since his late teens. He recorded six solo albums that showcase his soulful baritone and finger-style acoustic guitar playing.

AJ now performs in the Americana-folk duo, Swearingen and Kelli; an inevitable union marked with a self-produced album in 2013 featuring Swearingen's song "You're Not Here With Me" (also recorded by folk icon Tom Rush). Their sophomore album, The Marrying Kind (released 2017), is replete with full-throttle emotion and steeped in the sounds of Americana and country-folk. Their music is layered with lap-steel guitar, rich harmonies, and character voices that are a modern echo of the singer-songwriters of the ’60s and ’70s. The first single "Annalise" was featured on Gretsch Guitars and The Daily Country touts their honest songwriting and emotional vocals as poignant, yet haunting. The new music video for "The Marrying Kind" will be released early 2018. For more on Swearingen and Kelli, visit: www.swearingenandkelli.com

JONATHAN BEEDLE

For over 40 years, Jonathan Beedle has been a performing musician. Harmony is Jonathan’s forte. “I just gravitated toward harmony from the very beginning,” He says. “The parts just jumped out at me and those are the parts I would sing.”

Collaborations with partners and band mates seasoned Jonathan as a performer.

As a songwriter, Jonathan’s inspiration comes from the artists he was drawn to growing up in Hellertown, Pennsylvania; The Beatles, Johnny Cash, Mike Nesmith, John Prine, Joni Mitchell and many others. His original CD “A Long Day Gone” is a record filled with rich heartfelt songs in the storytelling style he finds so compelling.

Jonathan’s voice was heard in the Season 1 finale of the HBO series Big Love, singing the Civil War-era classic, “Lorena." “Hearing myself singing in the background during a scene with Harry Dean Stanton was a surreal experience and quite a thrill!” he said recently.

Jonathan has performed across the country and has shared the stage with Jimmy Webb, Steve Forbert, The Strawbs, Ellis Paul, and Lucy Kaplansky. jonathanbeedle.com

PRELUDE 33

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June 27, 2019 | 7:30 p.m. in Steuben County Potawatomi Inn at Pokagon State Park in Angola, IN

June 30, 2019 | 7:30 p.m. in Kosciusko County Oakwood Resort at Lake Wawasee in Syracuse, IN

June 28, 2019 | 7:30 p.m. in DeKalb County DeKalb Outdoor Theatre in Auburn, IN

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June 29, 2019 | 7:00 p.m. in Wells County Ouabache State Park in Bluffton, IN

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The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, FEBRUARY 23, 2019 | 7:30 p.m. | RHINEHART MUSIC CENTER, PFW

BARBER AND VAUGHAN WILLIAMS Andrew Constantine, conductor Robert deMaine, cello BUTTERWORTH The Banks of Green Willow BARBER Concerto for Cello and Orchestra, Op. 22 Allegro moderato Andante sostenuto Molto allegro ed appassionato Robert deMaine, cello -- INTERMISSION -VAUGHAN WILLIAMS Symphony No. 5 in D major Preludio Scherzo Romanza Passacaglia Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, March 7 at 7:00 p.m.

Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation

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PRELUDE 35

BARBER AND VAUGHAN WILLIAMS PROGRAM NOTES | February 23, 2019 The Banks of Green Willow GEORGE BUTTERWORTH (b. London, England, 1885; d. Ponzières, France, 1916)

Cello Concerto, opus 22 SAMUEL BARBER (b. 1910, West Chester, Pennsylvania; d.

1981, New York City)

George Butterworth was a bright musical talent cut off too soon: he was killed in August 1916 at the age of 31 in the Battle of the Somme and was posthumously awarded the Military Cross for bravery.

Before he left for the front in 1915, he destroyed many of the compositions he was dissatisfied with lest he not survive to revise them. All that remained were a few lovely orchestral tone poems in the English pastoral tradition, some choral works, and a group of masterly songs.

In the 20th century, composers — stimulated by an exceptional crop of mighty virtuosos including Pablo Casals, Mstislav Rostropovich, and Yo-Yo Ma, made glorious contributions to the concerto repertoire for cello. Among the greatest of these is Samuel Barber’s magnificent Cello Concerto of 1945. It was tailored for the exceptional capabilities of the RussianAmerican cellist Raya Garbousova, who was a protégé of conductor Serge Koussevitzky, music director of the Boston Symphony Orchestra. With funding from philanthropist and amateur cellist John Nicholas Brown, Koussevitzky commissioned Barber, the 35-year-old rising star of American music, to create a showcase for Garbousova’s talents.

Born into a wealthy family, Butterworth went to Eton and Oxford, but at the latter school, friendships with Ralph Vaughan Williams, conductor-to-be Adrian Boult, and others helped lure him away to music. Becoming a member of the Folk Song Society, he joined Vaughan Williams on field trips collecting English folk songs, which exerted a strong influence on the shapes of his own melodies. He also became an enthusiastic Morris dancer.

Written in 1913 for small orchestra and described by Butterworth as an “Idyll,” The Banks of Green Willow is the most popular of his works for small orchestra. It is based on two folk songs he collected in the County of Sussex, England in 1907: “The Banks of Green Willow” and “Green Bushes.” Its premiere took place on February 27, 1914 under Boult’s baton: the first performance of one of the young composer’s pieces by a professional orchestra.

A solo clarinet, soon joined by strings, introduces the “Green Willow” theme which receives a gentle development. Horns bring in a more agitated and passionate interlude based on a theme of Butterworth’s own invention. When this subsides, we hear the second folksong “Green Bushes” sung wistfully by solo oboe accompanied by harp and strings. This brief and poignant work is a truly idyllic portrait of a tranquil pastoral England, soon to be shattered — along with its composer’s promise — by a brutal conflict.

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To ensure the Concerto’s success, Barber worked very closely with Garbousova, tailoring the work to her special abilities.

And since Garbousova possessed a truly remarkable technique — especially in her ability to play in the cello’s highest range — the Cello Concerto turned out to be a work of exceptional difficulty. Undoubtedly, this is the reason why — despite its quality and audience appeal — we hear it so much less frequently than Barber’s technically less demanding Violin Concerto. As he proved in his beloved Adagio for Strings, Barber was America’s great neo-Romantic singer of heartfelt melody, and here his lyrical melodies are toughened by modern touches in rhythm and harmony.

Movement one opens with a nervous, rhythmically spiky motive in the orchestra that will animate the music throughout. Then the flute and English horn introduce the lyrical, rocking principal theme, made spicier by its Scotch-snap (short-long) rhythms. And before long, the violins soar upward with a bit of the silky smooth second theme — a wonderful contrast to the fragments of the nervous motive chattering around it. On her entrance, the cellist expands this motive into an extensive cadenza before settling into the gentle principal theme. The development

section is a rather quiet and subtle discourse about the possibilities of the principal theme and the nervous motive. It closes in a challenging and highly expressive cadenza for the soloist.

In a leisurely siciliano rhythm (derived from Italian pastoral songs), the slow movement begins as a lovely duet in canon between the cello and the oboe, Barber's favorite wind instrument. This wistful music continues in new variations throughout the movement. Here Barber exploits his soloist’s ability to sing sweetly high in violin territory.

In a free rondo form, the finale is propelled by a rhythmically eccentric refrain theme introduced by the cello. The emphasis throughout is on the cellist’s virtuosity as well as, again, her excursions into perilous high-altitude regions. However, at midpoint the cello explores darker emotional territory in a powerful lament, delivered over a ominously stalking pattern in the orchestral cellos and basses and employing dramatic multiplestopped chords. This lament grows to an intense climax in the orchestra. This passage may reflect Barber's response to learning of the bombing of Hiroshima on August 5, 1945, for he informed his patron's wife, Anne Brown, that he completely reworked the finale upon hearing this news. But ultimately, Barber pulls the music back to optimism for the Concerto’s bold finish.

Symphony No. 5 in D Major RALPH VAUGHAN WILLIAMS (b. 1872, Down Ampney, Gloucestershire, England; d. 1958, London) As German bombs rained down on London during World War II’s Blitz, English music lovers packed their concert halls as never before. In a world where citizens never knew whether the next bomb might have their names written on it, music brought a depth of meaning and consolation it rarely achieved in peacetime. When Queen’s Hall, the home of the beloved Proms concert series, was destroyed in 1941, the concerts were promptly transferred to the cavernous Royal Albert Hall. Ralph Vaughan Williams’ second wife, Ursula, recalled that the

Proms were moved up to an earlier hour “so that audiences could take advantage of the daylight to get home before air raids.”

There on June 24, 1943, Vaughan Williams introduced his Fifth Symphony.

Now 70, Vaughan Williams was considered the Grand Old Man of English music. At the beginning of the century, he had tramped through the English countryside collecting traditional folksongs before they were lost in the onrush of the 20th century. From their modal scales and alternation of duple and triple rhythms, he had formulated his own compositional voice: one that reflected the melodic style of his native land rather than the dominant Austro-German musical vocabulary. He had also given the Anglican Church a new English Hymnal, with tunes brought back from England's musical golden age, the 16th-century TudorElizabethan era, as well as some wonderful ones of his own.

In 1935, Vaughan Williams had shocked audiences with a work dramatically different from his signature pastoral style: the brutal and dissonant Fourth Symphony, which seemed to predict the war to come. But in 1943, the otherworldly serenity and beauty of his Fifth Symphony envisioned peace at a time when it seemed World War II would never end. Down-to-earth and plain-spoken, the composer denied he was playing prophet: after all, he explained, he had begun work on the Fifth back in 1938 before the war had started. But it is the gift of artists to be able to remove themselves from their daily surroundings and to express visions the rest of us cannot see. Certainly, the audiences that clamored to hear the Fifth after its premiere seemed to find its calm assurance an inspiring antidote for their war-weariness. Today, the Fifth Symphony is revered as the highest expression of Vaughan Williams' contemplative/visionary style and one of the 20th century's most eloquent symphonies.

The opening Preludio is a mixture of otherworldly serenity and tonal ambiguity.

Two horns repeat a haunting call in D Major, the symphony’s putative home key, but they are undermined by a bass line and violin responses in C. Those responses develop into a gently flowing modal melody, enriched by contrapuntal lines in other strings and woodwinds. About two minutes

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on, the music shifts into E Major: a burst of sunlight with the violins soaring in a radiant affirmation that recalls the “Alleluia” phrase concluding each stanza of Vaughan Williams’ famous hymn “For All the Saints.”

An interlude of faster music of scurrying strings and plaintive woodwinds follows before a return of the opening music with the strings rising to an even more ecstatic “Alleluia.” The movement closes with a mystical coda, then dies out with the horns’ D-Major call still quietly clashing against C. In a lighter emotional mood, the secondmovement Scherzo is both gossamer and sardonic, recalling “Uranus” from The Planets by Vaughan Williams’ good friend Gustav Holst. The strings’ rhythmic vagueness at the beginning contrasts with crisp staccato rhythms later. Wind instruments periodically interject sassy raspberries, like “gargoyles with their tongues out,” in Michael Kennedy's words. A modal brass-chorale melody dominates the middle trio section. This enigmatic music flickers out as softly and quickly as it began.

One of the most beautiful things Vaughan Williams ever wrote, the slow-movement Romanza is the heart of the symphony and its “message.” It incorporates music used in the composer’s operatic setting of John Bunyan's Pilgrim's Progress, not completed until 1951. Over hushed chords in divided strings, the English horn sings a melancholy melody that in the opera accompanies the words: “Upon this place stood a cross, and a little below a sepulcre. Then he said: ‘He hath given me rest by his sorrow, and life by his death.’” Two more important melodic elements follow: soaring music of aspiration in the strings’ richest tones and a winding oriental theme for solo woodwinds. These three strands are alternatively developed. A faster middle section introduces a mood of agitation and anguish; in Pilgrim’s Progress, it accompanies the words, “Save me, Lord, my burden is greater than I can bear.” But serenity prevails, and in a tender coda, the solo violin and horn recall the string and English horn themes.

As annotator Michael Steinberg has pointed out, this symphony is a protracted journey toward the key of D Major, and in the Passacaglia finale, it finally arrives home.

The movement is a series of variations built loosely on a repeating melody introduced 38

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by the cellos (the passacaglia theme).

But the violins immediately introduce a rising countermelody that becomes equally important. At midpoint, the music shifts suddenly to D minor and from 3/4 time to 4/4. Soon we hear again the rising and falling music that opened the work 30 minutes ago. The horn calls are proclaimed by the full brass, finally convincing the rest of the orchestra to join them in D Major. The violin countermelody wafts the music to a close of sublime peace and security.

As Ursula Vaughan Williams recalled from the premiere: “There was a long breath of silence before the applause started. Outside the summer evening was bright and still, and the peace and courage that had laid its spell on the listeners continued into the harder world beyond.”

Notes by Janet E. Bedell copyright 2018

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PRELUDE 39

ROBERT DE MAINE, CELLO

Praised by the New York Times as “an artist who makes one hang on every note,” ROBERT deMAINE is the Principal Cellist of the Los Angeles Philharmonic.

A highly sought-after solo artist and chamber musician, he is a frequent guest artist at many of the world's premier chamber music festivals, including those of Marlboro, Seattle, Great Lakes, Limoges, Heidelberg Schlossfest, Chamberfest Cleveland, Montréal, Seoul’s Ditto Festival, and most recently featured as a soloist at the 2016 Piatigorsky Cello Festival. His playing is noted for its "beautiful singing tone, lapidary technical precision, and a persuasive identification with the idiom of the music at hand."

As a soloist, he performs the great works of the repertoire both old and new from concertos by Haydn, Dvorak, Elgar and Penderecki, as well as more recent works by John Williams and Christopher Theofanidis. As a recitalist the great works for cello and piano as well as the suites of J.S. Bach remain staples of his repertoire, and as one critic noted, his playing was "magnificent" and that his "technical brilliance is surpassed only by the beauty of tones he produces."

DeMaine has appeared on the stages of Carnegie Hall and Lincoln Center, the Kennedy Center, Teatro Colón, Amsterdam’s Concertgebouw, the Berlin Philharmonie, Vienna Konzerthaus, and Moscow's Tchaikovsky Hall, Auditorium du Louvre, Suntory Hall and the Seoul Arts Center, as well as the Shanghai Oriental Arts Center and Conservatory and London's Wigmore Hall, among others. He is the recipient of a career grant from the Helen M. Saunders Foundation, and the gift of a Vuillaume cello from the Cecilia Benner Foundation. His principal teachers include Leonard Rose, Stephen Kates, Steven Doane, Paul Katz, Luis García-Renart and Aldo Parisot.

Masterclasses and additional studies were undertaken with Bernard Greenhouse, János Starker, Boris Pergamenschikow, Felix Galimir, and Jerome Lowenthal.

DeMaine studied at The Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany.

A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s prestigious Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many of the world’s most distinguished conductors, including Neeme Järvi, Rafael Frühbeck de Burgos, Gustavo Dudamel, Esa-Pekka Salonen, Peter Oundjian, Mark Wigglesworth, Joseph Silverstein, Mirga Gražinytė-Tyla, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade. DeMaine has also served as guest Principal Cellist of the Saint Paul Chamber Orchestra, the Toronto Symphony, and the Bergen Philharmonic in Norway. A founding member of the Ehnes Quartet in 2010, he also performs in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu. Robert deMaine has recorded for Naxos, Chandos, Onyx, CBC, DSO, Elysium, and Capstone and has been featured on the BBC, PBS, NPR's Performance Today, the Canadian Broadcasting Company, France Musique, and RAI, among others. His recording of the John Williams Cello Concerto (Detroit Symphony, Leonard Slatkin conducting) was released by Naxos in fall 2015. Robert deMaine is an exclusive Thomastik-Infeld artist and performs on a cello made in 1684 by Antonio Stradivari, the “General Kyd, ex-Leo Stern.”

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PRELUDE 41

From community arts to economic development, we believe great performances and ideas create vibrant communities. That’s why we proudly support the Fort Wayne Philharmonic. Their dedication to excellence brings joy to our hearts and business to our city.

And that is sweet music to our ears.

Come home to

Š 2019 STAR Financial Group

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STAR Family Series SUNDAY, FEBRUARY 24, 2019 | 2:00 p.m. | RHINEHART MUSIC CENTER, PFW

CARNIVAL OF THE ANIMALS Sponsored by Gloria & Jim Nash

Caleb Young, conductor Shelby Lewis, narrator Alexander Klepach, piano Jonathan Mann, piano POULENC The Story of Babar, the Little Elephant SAINT-SAËNS Carnival of the Animals

Introduction and Royal March of the Lion

Hens and Roosters

Wild Donkeys — Fleet Animals Tortoises

The Elephant Kangaroos Aquarium

People with Long Ears

Cuckoo in the Depth of the Woods Aviary PIanists Fossils

The Swan Finale

Many thanks to the generous supporters of this event:

Gloria & Jim Nash

PRELUDE 43

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Photo: Nathan Johnson

Special Event Series SATURDAY, MARCH 2, 2019 | 7:30 p.m. | EMBASSY THEATRE

AN EVENING WITH LESLIE ODOM, JR. Sponsored by Franklin Electric

Caleb Young, conductor Leslie Odom, Jr. Michael Mitchell, piano Orlando Le Fleming, bass Steven Walker, guitar Senfu Stoney, percussion John Davis, drums

Selections to be announced from the stage.

Many thanks to the generous supporters of this event:

PRELUDE 45

LESLIE ODOM, JR.

Tony and Grammy® Award-winning performer, Leslie Odom, Jr., has taken the entertainment world by storm across a variety of media – spanning Broadway, television, film, and music.

A Grammy® Award-winning recording artist, Odom, Jr.’s self-titled debut album was part-funded by a successful Kickstarter campaign and released in 2014

by Borderlight Entertainment, Inc. In June 2016, the album was re-released with additional material and charted at #1 on the Billboard Jazz chart. In winter 2017, he re-released Simply Christmas as a deluxe edition with new arrangements and new songs. The holiday album hit #1 on iTunes and Billboard Jazz Charts.

Best known for his breakout role as ‘Aaron Burr’ in the smash hit Broadway musical, Hamilton, Odom, Jr. received a 2015 Drama Desk Award nomination and won the Tony Award for “Best Actor in a Musical” for his performance. He also won a Grammy® Award as a principal soloist on the original cast recording. He made his Broadway debut in Rent and starred in the stage adaption of Leap of Faith. Off-Broadway he appeared in Venice and the original staging of Hamilton, both at the Public Theater.

He also starred opposite Lin-Manuel Miranda and Karen Olivo in a 2014 City Center Encores! revival of Jonathan Larson’s Tick, Tick...Boom!.

Odom, Jr. was most recently seen on the big screen starring alongside Johnny Depp, Daisy Ridley, Penelope Cruz, Michelle Pfeiffer, and Judi Dench in Kenneth Branagh’s Murder on the Orient Express for Twentieth Century Fox. Previous film work includes the 2012 historical drama, Red Tails, executive produced by George Lucas and co-starring Terrence Howard, Cuba Gooding, Jr., and David Oyelowo, among others.

On the small screen, Odom, Jr. starred on the cult-classic musical drama series, Smash, created by Theresa Rebeck. He had recurring roles on NBC’s Law & Order: Special Victims Unit and CBS’ Persons of Interest and CSI: Miami and made guest appearances on such shows as The Good Wife, Gotham, and Showtime’s House of Lies.

In December 2017, Odom, Jr. returned to the New York City stage in a solo concert at Jazz at Lincoln Center. The cabaret-style performance was crafted around signature songs and music that shaped this artist's journey, all performed with a world-class band in front of a live audience. The show which premiered April 24, 2018, was filmed for broadcast as an hour-long PBS special as part of the 17-time Emmy Award-winning series, Live From Lincoln Center.

This past spring, Odom, Jr. added the title of “Author” to his resume with the release of his book – FAILING UP: HOW TO TAKE RISKS, AIM HIGHER, and NEVER STOP LEARNING. Written in the style of a commencement speech, the book brings together what Odom, Jr. has learned in life so far, tapping into universal themes of starting something new, following your passions, discovering your own potential, and surrounding yourself with the right people. FAILING UP is about unlocking your true potential and making your dreams come true even when it seems impossible.

Odom, Jr. currently resides in Los Angeles with his wife (fellow actress Nicolette Robinson) and daughter.

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Each artist matters.

Discover what matters to you at canterburyschool.org/matters.

Early Childhood, Lower School and Middle School Campus: 5601 Covington Road | Fort Wayne, IN 46804 High School Campus: 3210 Smith Road | Fort Wayne, IN 46804

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Brotherhood Mutual Insurance Company Freimann Series WEDNESDAY, MARCH 6, 2019 | 7:30 p.m. | PARKVIEW PHYSICIANS GROUP ARTSLAB SUNDAY, MARCH 10, 2019 | 2:00 p.m. | RHINEHART MUSIC CENTER, PFW

AND THIS IS MY BELOVED GRIEG (Alan Civil) Suite for Brass Quintet Sarabande Bridal Song Lullaby Ballade Wedding Day at Troldhaugen

Andrew Lott, trumpet

Daniel Ross, trumpet

Alex Laskey, horn

Andrew Hicks, trombone

Chance Trottman-Huiet, tuba REICHA Wind Quintet in C major, Op. 91, No. 1 Allegro moderato Andante Menuetto: Allegro Rondo: Allegro

Luke Fitzpatrick, flute

Orion Rapp, oboe

Campbell MacDonald, clarinet

Dennis Fick, bassoon

Megan Shusta, horn

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-- INTERMISSION -BORODIN String Quartet No. 2 in D major Allegro moderato Scherzo: Allegro Nocturne: Andante Finale: Andante - Vivace

Violetta Todorova, violin

David Ling, violin

Derek Reeves, viola

Edward Stevens, cello

Many thanks to the generous supporters of this event:

FORT WAYNE PHILHARMONIC YOUTH ORCHESTRAS

The Fort Wayne Philharmonic welcomes Troy Webdell as the new Director of its Youth Orchestras program.

Open to all student musicians in the northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestras program auditions students throughout the year for vacant positions.

For more info or to schedule an audition, please contact Troy Webdell, Director of Youth Orchestras, at twebdell@fwphil.org or 260.481.0757

PRELUDE 49

AND THIS IS MY BELOVED

PROGRAM NOTES | March 6 & 10, 2019

Suite for Brass Quintet EDVARD GRIEG (b. 1843, Bergen, Norway; d. 1907, Bergen) Arranged for Brass by Alan Civil Edvard Grieg’s great-grandfather, Alexander Greig, was an independentminded Scotsman who emigrated to Norway from his native Aberdeen in the 1760s after the Scottish clans were destroyed following the Battle of Culloden. There he prospered as a fish merchant, and one hundred years later his great-grandson became the foremost exponent of Norwegian nationalism in music.

However, first young Edvard had to shake off the influences of both German music and Danish culture.

When he showed exceptional musical promise, he was packed off at age 15 to Leipzig because Norway, not yet an independent country, had no conservatories or professional-caliber orchestras. In his early twenties, Grieg met a flamboyant Norwegian composer Rikard Nordraak, who convinced him Norway should be singing her own songs. Already she had a rich musical folk culture and in the Hardanger fiddle of West Norway, a robustly distinctive native instrument. Although he didn’t scour the countryside for indigenous tunes as did Bartók and Vaughan Williams, Grieg made good use of collections of Norwegian folk material, mining them for inspiration for his own melodies.

Not at ease generally with the large musical forms, Grieg excelled as a miniaturist, creating many songs and piano pieces. Since he primarily wrote for piano, strings, and voice, he never composed anything for a brass ensemble. The Suite we’ll hear tonight was arranged for brass quintet

by Alan Civil. Its four movements are drawn from the many short, lyrical 50

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piano pieces Grieg wrote throughout his career. The “Sarabande” is a slowtempo dance that was a regular component in Baroque dance suites.

Then we hear the rustic, up-tempo “Bridal Song,” which comes from Grieg’s opus 17, Norwegian Folksongs and Dances. A very solemn, almost dirge-like “Lullaby” contrasts with the final “Wedding Day at Troldhaugen,” a celebratory march from the Lyrical Pieces of opus 65 that is one of Grieg’s most famous tunes.

Wind Quintet in C Major, Op. 91, No. 1 ANTON REICHA (b. 1770, Prague, now Czech Republic; d. 1836, Paris, France) Anton Reicha survived a difficult childhood and a peripatetic early career to become a prolific composer, a renowned musical theoretician, and the teacher of such famous musicians as Hector Berlioz, Franz Liszt, and César Franck. Left uneducated by his widowed mother, he ran away from home at age ten and was adopted by his uncle, a prominent court musician and composer. From him, Reicha learned to play the piano, violin, and, the instrument that became his favorite, the flute. As a teenager, he moved with his uncle to Bonn, Germany, where he met the young Ludwig Van Beethoven, who had been born the same year and became his lifelong friend.

Pursuing his best career opportunities while fleeing the Napoleonic Wars, Reicha successively lived in Hamburg, Vienna, and ultimately Paris, where he became an influential and often controversial teacher of composition and counterpoint at the Paris Conservatoire. A man of broad intellectual interests, he wrote several major treatises on composition and music theory. And he composed prolifically, but his reluctance to publish many of his works meant that most did not survive his death in 1836.

Today Reicha is known primarily for the many quintets he wrote for woodwinds in Paris between 1815 and 1820. In his autobiography, he explained why he was attracted to these instruments, which had not yet coalesced into a standard chamber ensemble: “There was a dearth … of any good music for wind instruments, simply because the composers knew little of their technique. The effects that a combination of these instruments could produce had not yet been explored. Instrumentalists have made enormous strides in the past twenty years, their instruments have been perfected by the addition of keys, but there was no worthwhile music to show their possibilities.” (Unfortunately, here Reicha was overlooking Mozart’s marvelous music for woodwinds, if not specifically for wind quintets.)

“Such was the state of affairs when I conceived the idea of writing a quintet for a combination of the five principal wind instruments (flute, oboe, clarinet, horn, and bassoon).”

So popular was Reicha’s first quintet, written for Paris’ premier wind soloists, that many more followed — 24 in all.

We will hear the Quintet in C Major, the first of his opus 91 set. Typically, Reicha’s quintets opened with a slow introduction, but the C-Major’s first movement plunges immediately into merry fast-tempo music over a chortling bassoon. Suddenly, this halts for a slower, slightly melancholy interlude: charming music that we’ll not hear again. But a lively flute scale soon brings back the merry music.

A second theme shows off the horn.

Some turbulent harmonies spice up the development section of this melodious sonata form.

First introduced by the clarinet, a winsome, somewhat prim melody dominates the Andante second movement. The bassoon provides contrast with a more forceful and angular theme. Returns of the main theme feature an oboe/flute duo and finally the bassoon.

The third movement begins unusually with the instruments slowly entering one by one until they form a chord; only then can the quick, lilting threebeat rhythm be revealed. Though marked “Minuetto,” this music has little relationship to that courtly dance, but instead is a more playful Scherzo with a rustic peasant air contributed by a bassoon drone. The bassoon leads off a slightly more dramatic trio section.

The rondo-form finale features many returns of an enchanting refrain melody, each of them scored to feature different instrumental soloists. Every instrument is given its opportunity to display its agile virtuosity in this contrapuntally rich movement.

String Quartet No. 2 in D Major ALEXANDER BORODIN (b. 1833, St. Petersburg, Russia; d. 1887, St. Petersburg) “No musician has ever claimed immortality with so slender an offering,” the English musicologist Sir Henry Hadow once said slightingly of Alexander Borodin. Two string quartets, two symphonies, the unfinished opera Prince Igor, the brief tone poem In the Steppes of Central Asia, and a number of songs — these constitute the majority of Borodin’s output. But immortal Borodin indeed became, for he possessed something very special: his own distinctive musical voice and a gift for expressive melody that rivaled Tchaikovsky’s.

When one looks at Borodin’s life, it seems amazing he succeeded in composing as much as he did.

Although he was a charter member of the “Mighty Handful” — the five St. Petersburg composers (including Mussorgsky and Rimsky-Korsakov) who banded together to form a new Russian nationalist style — he was mostly a “weekend composer.” The illegitimate son of a Georgian prince, Borodin as a child was equally drawn to music and chemistry. However, because composing was not yet

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considered a secure profession in Russia, he became one of Russia’s foremost chemists and a devoted scientific teacher and administrator.

Moreover, as a warm and generous personality, Borodin seemed incapable of saying “no” to anyone in his family or his professional life that needed help. Though she was intensely musical and appreciative of his talent, his wife, Ekaterina, was a chronic invalid who drained his energies. Jumping from one obligation to another, the composer slept little and essentially worked himself to death. In 1887 at age 53, he fell dead of a heart attack in the midst of party he had organized for his students.

Writing string quartets was an unusual activity for Russian composers of this period (though Tchaikovsky also tried his hand); the other members of the Mighty Handful devoted their efforts to dramatic, color-saturated tone poems and operas. But Borodin was a cellist, and this fact may have drawn him to string chamber music to express his intimate feelings for his wife.

Written during the summer of 1881 during a rare peaceful retreat in a country dacha, his Second String Quartet was dedicated to her on the 20th anniversary of their marriage.

Its predominant mood of idyllic lyricism and romance has led many commentators to see it as a remembrance of the happy days of their first love after they had met as students in Germany.

Certainly, the cello plays a very prominent role in this Quartet. In the first movement, it immediately introduces the nostalgic, flowing principal theme. The first violin, however, quickly takes it over, and it eventually offers the exotically twisting second theme, which has the central Asian “oriental” quality that is so characteristic of this composer (think of his famous Polovtsian Dances). Nothing disturbs the loveliness and contentment of 52

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this music, not even the stress-free development section. The coda is especially fine, with a little fragment of the principal theme repeating in the viola and the cello ascending on high for the final cadence.

The light and airy second-movement Scherzo reminds us that Mendelssohn was one of Borodin’s earliest idols. The important theme here is the second: a lushly swaying waltz, featuring the two violins in sweet thirds over the cello’s rolling arpeggios. If this melody sounds very familiar, it’s because it was one of many Borodin tunes used in the popular 1950s Broadway musical Kismet.

Rather than a contrasting trio section, Borodin gives us a Mendelssohnian development of the first theme, into which the Kismet theme occasionally intrudes.

The Quartet’s most famous movement, the Nocturne, is often played on its own and has been arranged for orchestra. This love poem centers on a wistfully beautiful melody full of oriental ornamentation, first sung by the cello. (This was used for the song “And this is my Beloved” in Kismet.) A more intense upward-rushing idea in a faster tempo provides contrast. Both themes are woven together in a passionate development. The recapitulation turns the main theme into a lovely echo duet for cello and first violin and later for both violins.

Opening slowly, the finale presents a striking angular theme in two sections: the first delivered in octaves by the two violins, the second by viola and cello. But this promptly turns into a vivacious, quick-tempo movement, with a taste for fast fugal passages. A snake-like chromatic theme, introduced by the first violin, is also important. Besides providing a traditional bravura finish, this movement seems to reflect the frenetic life Borodin lived with Ekaterina after their marriage.

Notes by Janet E. Bedell copyright 2018

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3/2/18 10:21 AM PRELUDE 53

“LET THE MUSIC LIVE FOREVER!”

Are you looking to make a lasting impact that could help guarantee the vibrant future of live symphonic music in Northeast Indiana for generations to come?

Orchestrate your legacy with a planned gift to the Fort Wayne Philharmonic.

Since its earliest days, the Fort Wayne Philharmonic has depended on planned and deferred gifts to help sustain extraordinary artistry, a stellar array of musical programming and invaluable music education resources to your community.

A properly designed planned gift will:

• Provide a meaningful and lasting investment in the arts and community

• Ensure that your assets benefit the people and charities of your choice

• Substantially decrease income and estate tax obligations, while maximizing the amount provided to your heirs through thoughtful tax planning If you believe that the Fort Wayne Philharmonic enriches the quality of life in Northeast Indiana, then a planned gift can become your ultimate commitment of support and enthusiastic love of great music. In appreciation of your generosity and vision, you will become a member of the Laureate Club. With your permission, you will be acknowledged in the Philharmonic’s Prelude program books. Should you wish to remain anonymous, the Philharmonic will acknowledge your gift privately.

To become a member of the Laureate Club, simply inform the office that you have named the Philharmonic as the beneficiary of a bequest in your will.

The Philharmonic is happy to meet with you and your financial advisor to discuss your plans and charitable goals. Contact the Development Office at 260.481.0775 or by email at info@fwphil.org for more information.

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CELEBRATING THE 2018 - 2019 75TH ANNIVERSARY SEASON

THANK YOU, FORT WAYNE Our community has come together for 75 years to support an orchestra of exceptional caliber, artistic accomplishment, and professionalism.

Through performances, educational programs, and engagement, the Fort Wayne Philharmonic has been committed to upholding the value it provides the region and for ensuring that great music is accessible to everyone.

Thank you for playing your part in making the Philharmonic Fort Wayne’s musical home.

PHILHARMONIC 1980s

Ondrejka, Spectrum, Freimann, and More The 1980s were the “Ronald Ondrejka Decade.” Coming to Fort Wayne in 1978 from Santa Barbara, Ondrejka developed several new initiatives, including the Spectrum Series, Children’s Concerts, Freimann String Quartet, and Chamber Series. The latter were made possible by a $1,000,000 endowment gift from the Frank Freimann Charitable Trust.

Ondrejka frequently introduced audiences to cutting edge, 20th century music.

Ronald Ondrejka on the Podium

FROM THE ARCHIVES: Philharmonic Brass Quintet

Dan Ross and Alan Severs with Rotary Valve Trumpets

From the Archives: “Run-outs” On January 17, 1981, the Orchestra performed in Berne, Indiana. This was the first of what were to be many “run-out” concerts in regional communities, including the Orchestra’s debut at Clowes Memorial Hall in Indianapolis.

Briccetti World Premiere Former music director Thomas Briccetti returned for Fort Wayne in 1984 to conduct the premiere of his new orchestral suite.

Freimann’s Fast Success Public response to the Freimann Quartet’s debut on October 9, 1985, was so overwhelming that Wednesday evening performances were expanded to include Thursday and Sunday concerts. Members of the first quartet included Peter deVries, Lenelle Ross, David Johnson, and Samuel Smith.

Someone shouted “FIRE!” Just as violinist Kung-Wha Chung raised her violin to begin playing, a man announced there was a fire in the Embassy and asked everyone to leave the building. The crowd left in an orderly fashion and soon learned there was an electrical fire. The concert was cancelled.

Based in part on Anita Cast’s “History of the Fort Wayne Philharmonic,” compiled for the 50th Anniversary in 1994.

Halloween Harpist Bridgett Stucky and Little Goblin

Volunteer Annie Eckrich and Friends

Ronald Ondrejka with Morton Gould

Philharmonic Docent Visiting Classroom

Inaugural Freimann Quartet: David Johnson, Samuel Smith, Peter deVries, Lenelle Ross

Notable Quotes: “It’s wonderful to see the progression, even from conductor to conductor. The orchestra has grown so nicely. Every concert is better and better. This used to be a pass-through orchestra, but now they are staying.”

- Eloise Guy, Former Philharmonic Assistant Concertmaster and Prominent Educator "For more than 20 years I have been housing out-of-town players who have become like my kids. I follow many of them to their successful destinations and future marriages. It is such a treat for me to belong to the Philharmonic family."

- Annie Eckrich, Philharmonic Volunteer “I was thrilled to get the job with The Phil when I was 22. What I didn’t realize was Fort Wayne would become Home”

- Jim Sparrow, Executive Director, Fort Wayne Ballet "The Fort Wayne Philharmonic has provided me with many memorable performances since my arrival in town some 40 years ago. It has been said that great cities deserve great orchestras and we are extremely fortunate to have one of the best. Bravo!”

- George Bartling, Former Fort Wayne Philharmonic Board Member and Treasurer

PHILHARMONIC 1990s

New Directions and Big Celebrations Ronald Ondrejka retired in April 1993 after 15 years as music director. His successor, Edvard Tchivzhel, brought a strong international flavor to concerts and dynamic conducting. Meanwhile, new youth-based programs emerged, such as the awardwinning Hip Hop Pete, an anti-drug abuse program, and the “Unplugged” series focused on younger audiences. Champagne corks popped in 1994 to celebrate the Fort Wayne Philharmonic’s 50th Anniversary.

Former Music Directors – Igor Buketoff, Hans Schwieger, Thomas Briccetti, 50th Anniversary Gala

Hip Hop Pete, award-winning anti-drug abuse program

Ronald Ondrejka, Fort Wayne Philharmonic

From the Archives: First and Last Ronald Ondrejka chose to reprise his first Fort Wayne concert program at his final appearance. The program included the Carnival Overture

by Dvořák, Symphonic Metamorphoses of Themes by Carl Maria Von Weber by Hindemith, and Symphony No. 9 in C Major, “Great”, by Schubert.

The International Conductor Tchivzhel brought considerable international conducting experience when he arrived in July 1993, having recently defected to the U.S. while touring the U.S. as associate conductor of the U.S.S.R. State Symphony Orchestra.

A Milestone to Celebrate The Philharmonic’s 50th Anniversary celebrations included a gala dinner at the Fort Wayne Hilton, as well as visits from three past music directors: Hans Schwieger, Igor Buketoff, and Thomas Briccetti.

Based in part on Anita Cast’s “History of the Fort Wayne Philharmonic,” compiled for the 50th Anniversary in 1994.

1994-95 Season Brochure Cover

1997-98 Season Program Book Cover

Musicians Celebrate at 50th Anniversary Gala, October 14, 1994

Former Concertmaster Glenn Basham

Former Managers Peter Smith and Christopher Guerin with Anita Cast, 50th Anniversary Gala

Notable Quotes: "I have been a consistent patron of the Philharmonic since 1969 and have enjoyed the orchestra immensely, but never as much as now. Our Philharmonic is better than ever."

- Anita Cast, Former Philharmonic Board and Friends Member and President "I am thrilled with Andrew Constantine’s programming. New/recent music is extremely important to present. One special night for me was the timpani concerto

by Phillip Glass … And the most recent composition the Philharmonic commissioned

by Joel Puckett."

- Tamzon O’Malley, Philharmonic Board member and Community Volunteer "Chris and I have experienced great joy at seeing audiences respond to the magnificent musicianship of our conductors and Orchestra. … Our involvement as supporters and volunteers has been rewarded tenfold by our participation as audience members."

Pete Mallers, Former Philharmonic Board Member and President

STRENGTHENING STUDENTS’ SKILLS STRENGTHENING STUDENTS’ SKILLS

You will not have to wait long to perform on stage in the Department of Theatre. Special projects and performances, set aside specifically for underclassmen, let you show us You will not havefrom to wait your skills right the long start.to perform on stage in the Department of Theatre. Special projects and performances, set aside specifically for underclassmen, let you show us your skills right from the start.

CROSSING THE FINISH LINE Carolynn Gingerich presented CROSSING THE her senior thesis project in FINISH LINE December at Wunderkammer

Carolynn Gingerich presented for the Department of Art and her senior thesis project in Design.

She created marketing for December ata Wunderkammer Catnapolis, feline rescue, café for the Department of Art and retreat, combining herand two Design. She created marketing for passions, cats and graphic design.

Catnapolis, a feline rescue, café and retreat, combining her two passions, cats and graphic design.

MAKING EXCITING MUSIC MAKING EXCITING MUSIC

As an incoming freshmen you will choose an ensemble to perform with starting your first semester. Being involved with your music from the very beginning will elevate your passion and provide As an incoming freshmen you will choose an ensemble to perform windows to a world of opportunity. with starting your first semester. Being involved with your music from the very beginning will elevate your passion and provide windows to a world of opportunity.

EDUCATION EDUCATION WITH PURPOSE WITH PURPOSE CREATE A BRILLIANT FUTURE

CREATE BRILLIANT Elevate yourA passion for the arts.FUTURE Our College of Visual and Performing Arts— including our School of Music—is home to the next generation of artists, Elevate your passionactors, for theand arts.directors.

Our College Visual and Performing Arts— musicians, vocalists, We of graduate performers, designers, including our Schoolmusic of Music—is home the next generation of artists, creators, educators, therapists, andtovirtuosos. musicians, vocalists, actors, and directors. We graduate performers, designers, creators, educators, music therapists, and virtuosos.

LEARN MORE AT PFW.EDU LEARN MORE AT PFW.EDU EA/EOU

EA/EOU

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Youth Orchestras SUNDAY, MARCH 10, 2019 | 2:00 P.M. | RHINEHART MUSIC CENTER, PFW

EARTH IS ALIVE

Sponsored by Fort Wayne Philharmonic Friends

Troy Webdell, conductor Miho Sasaki, guest composer FORT WAYNE PHILHARMONIC JUNIOR STRINGS ENSEMBLE MOZART Allegro from Eine Kleine Nachtmusik AKPABOT Three Nigerian Dances FORT WAYNE PHILHARMONIC YOUTH SYMPHONY ORCHESTRA VAUGHAN WILLIAMS Sea Songs SASAKI

RYUKI: Earth is Alive BRAHMS Academic Festival Overture MARQUEZ Conga del Fuego Nuevo **Plus a performance by the 2019 Student Concerto Competition winner**

Many thanks to the generous supporters of this event: Rea Charitable Trust

PRELUDE 61

MIHO SASAKI (B. 1978)

Japanese composer-pianist Miho Sasaki came to America in 1999 to continue her musical studies and earn her Master of Music degree from Butler University in Indianapolis, Indiana. She has studied piano with Hiromi Iwadate, Ana Briscoe, Panayis Lyras, Andrew Russo, and music composition with Michael Schelle, Elliott Schwartz, Hifumi Shimoyama and Elvis Costello.

Sasaki is a frequent soloist with orchestras and ensembles across the USA and Asia. She recently performed Michael Schelle’s contemporary piano concerto Wright Flight during a two-week concert tour throughout China with South Shore Orchestra (Chicago), and conductor Troy Webdell. In 2010 and 2013, Ms. Sasaki was the featured guest artist for a recital of new American piano music at Aichi Prefectural University of Music and Fine Arts and Nagoya University in Nagoya, Japan.

As a composer, Sasaki’s music has been commissioned and performed by the American Pianists Association, the Indiana Wind Symphony, Trinity University (TX), the Manhattan Chamber Orchestra, and featured during the Finger Lakes NY Summer Chamber Music Festival.

Recent guest composer residencies include the 28th & 30th annual NOW Music Festivals at Capital University (Columbus, OH), the 7th annual BACK COVE Contemporary Music Festival at the Portland Conservatory of Music (Maine), and Conservatorio Superior de Música Félix Tomás Garzón, Córdoba, Argentina. She has also recently completed new commissions from the Fort Smith (AR) Symphony, The Generous Ensemble (Hartford, CT), the Butler University Wind Ensemble, and the ‘Columbian Embassy in Tokyo’ C��������� L��������� chamber music series in Japan.

C�������� L�� I���������� Ms. Sasaki is a recipient of the I����������� P������� prestigious Creative Renewal Arts L���� ��� E��������� Fellowship from the Arts Council M������ ��� A����������� of Indianapolis. Her choral music is published by Colla Voce, Inc. Please R��� E����� visit www.sasakimusic.com to learn T�� more about Miho Sasaki and her music.

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Every step of the way.

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PRELUDE 63

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And making each new day better than the last. It’s the kind of thinking that’s helped us become Magnet® recognized. Why is this important? Because of what it means for you — improved quality of care, better outcomes, and a better experience for you and your family. That’s healthcare we can all believe in.

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The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series SATURDAY, MARCH 16, 2019 | 7:30 p.m. | EMBASSY THEATRE

BEETHOVEN'S 9TH: AN ODE TO JOY Andrew Constantine, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Fort Wayne Children's Choir, Jonathan Busarow, director Ball State University Chamber Choir, Andrew Crow, director Ball State University Concert Choir, Kerry Glann, director Katie Van Kooten, soprano; Corinne Wallace-Crane, mezzo soprano Andrew Owens, tenor; Michael Dean, baritone ADAMS On the Transmigration of Souls

Fort Wayne Philharmonic Chorus

Fort Wayne Children's Choir

Ball State University Chamber Choir, Andrew Crow, director -- INTERMISSION -BEETHOVEN Symphony No. 9 in D minor, op. 125, ("Choral")

I. Allegro ma non troppo; un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Presto - Allegro assai - Allegro assai vivace

Fort Wayne Philharmonic Chorus

Ball State University Concert Choir, Kerry Glann, director

Katie Van Kooten, soprano

Corinne Wallace-Crane, mezzo soprano

Andrew Owens, tenor

Michael Dean, baritone Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, March 28 at 7:00 p.m.

Many thanks to the generous supporters of this event: The Paul Yergens and Virginia Yergens Rogers Foundation

Encore Lounge sponsored by:

PRELUDE 65

BEETHOVEN'S 9TH: AN ODE TO JOY

TEXTS & TRANSLATIONS | March 16, 2019

On the Transmigration of Souls Texts JOHN ADAMS "Missing... " "Remember me. Please don't ever forget me."

"It was a beautiful day."

"Missing: Jennifer de Jesus."

"Missing: Manuel Damotta."

"I see water and buildings... " "We will miss you. We all love you. I'll miss you, my brother."

"Jeff was my uncle" "You will never be forgotten" "Looking for Isaias Rivera."

"Windows on the World" "She looks so full of life in that picture." "it feels like yesterday that I saw your beautiful face... " "I loved him from the start."

"You will never be forgotten."

"I miss his gentleness, his intelligence, his loyalty, his love."

"Shalom" "Remember" The daughter says: "He was the apple of my father's eye."

The father says: "I am so full of grief. My heart is absolutely shattered."

The young man says: " ... he was tall, extremely good-looking, and girls never talked to me

when he was around."

The neighbor says: "She had a voice like an angel, and she shared it with everyone, in good

times and bad."

The mother says: "He used to call me every day. I'm just waiting."

The lover says: "Tomorrow will be three months, yet it feels like yesterday since I saw your

beautiful face, saying, 'Love you to the moon and back, forever."'

The man's wife says: "I loved him from the start.... I wanted to dig him out. I know just

where he is."

"Louis Anthony Williams. One World Trade Center. Port Authority, 66th Floor. 'We love you,

Louis. Come home."'

"Charlie Murphy. Cantor Fitzgerald. 105th Floor. Tower One North. Weight: 180 pounds. Height:

5'11". Eye color: hazel. Hair color: brown. Date of birth: July 9th, 1963. 'Please call... We love

you, Chuck.'"

"My sister" "My brother" "My daughter" "My son" "Best friend to many... " "I love you"

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Symphony No. 9 in D minor Choral Text and Translation LUDWIG VAN BEETHOVEN German text

English translation

O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere anstimmen, und freudenvollere.

Oh friends, not these sounds!

Let us instead strike up more pleasing and more joyful ones!

Freude, schöner Götterfunken, Tochter aus Elysium! wir betreten feuertrunken, himmlische, Dein Heiligtum.

Deine Zauber binden wieder, was die Mode streng geteilt, alle Menschen werden Brüder, wo Dein sanfter Flügel weilt.

Joy, beautiful sparkle of divinity, daughter from Elysium, we enter, burning with fervour, heavenly being, your sanctuary!

Your magic brings together what custom has sternly divided.

All men shall become brothers, wherever your gentle wings hover.

Wem der große Wurf gelungen, eines Freundes Freund zu sein, wer ein holdes Weib errungen, mische seinen Jubel ein!

Ja, wer auch nur eine Seele sein nennt auf dem Erdenrund!

Und wer's nie gekonnt, der stehle weinend sich aus diesem Bund!

Whoever has been lucky enough to become a friend to a friend, Whoever has found a beloved wife, let him join our songs of praise!

Yes, and anyone who can call one soul his own on this earth!

Any who cannot, let them slink away from this gathering in tears!

Freude trinken alle Wesen an den Brüsten der Natur; alle Guten, alle Bösen folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, einen Freund, geprüft im Tod; wollust ward dem Wurm gegeben, und der Cherub steht vor Gott.

Every creature drinks in joy at nature's breast; Good and Evil alike follow her trail of roses.

She gives us kisses and wine, a true friend, even in death; Even the worm was given desire, and the cherub stands before God.

Froh, wie seine Sonnen fliegen durch des Himmels prächt'gen Plan, laufet, Brüder, eure Bahn, freudig, wie ein Held zum Siegen.

Gladly, just as His suns hurtle through the glorious universe, So you, brothers, should run your course, joyfully, like a conquering hero.

Seid umschlungen, Millionen! diesen Kuß der ganzen Welt!

Brüder, über'm Sternenzelt muß ein lieber Vater wohnen!

Be embraced, you millions!

This kiss is for the whole world!

Brothers, above the canopy of stars must dwell a loving father.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.

Do you bow down before Him, you millions?

Do you sense your Creator, O world?

Seek Him above the canopy of stars!

He must dwell beyond the stars.

Translation by Campelli

PRELUDE 67

BEETHOVEN'S 9TH: AN ODE TO JOY PROGRAM NOTES | March 16, 2019

On the Transmigration of Souls JOHN ADAMS (b. 1947, Worcester, Massachusetts) When the New York Philharmonic approached John Adams in January 2002 about creating a work to commemorate the lives lost on September 11, 2001 for the opening concerts of its 2002-03 season, which would fall close to the first anniversary of that terrible tragedy, the composer remembers that he said “yes” without any hesitation.

There were indeed good reasons to refuse. Usually, Adams explained, a commission for such a major work would come at least a year in advance, but this one would need to be accomplished in no more than six months. Nevertheless, “I knew immediately that I very much wanted to do this piece — in fact I needed to do it. … I was probably no different from most Americans in not knowing how to cope with the enormous complexities suddenly thrust upen us. Being given the opportunity to make a work of art that would speak directly to people’s emotions allowed me not only to come to grips personally with all that had happened, but also gave me a chance to give something to others.”

It was hardly surprising that the New York Philharmonic would choose Adams for this special commission, for more than any other American composer working today he has shown an extraordinary gift for taking events right out of the newspapers and turning them into eloquent works of art. In collaboration with the iconoclastic director Peter Sellars, he first stunned audiences with a singing Richard Nixon and a dancing Chairman Mao in his 1987 opera Nixon in China, based on Nixon’s dramatic visit to China in 1972.

This was followed in 1991 by another topical opera, The Death of Klinghoffer, about the hijacking of the cruise ship

Achille Lauro by Palestinian terrorists and the murder of one of its Jewish passengers, as well as Doctor Atomic (2005), about the physicist J. Robert Oppenheimer and the scientific and moral crises surrounding the creation of the first atomic bomb. But creating music in response to 9/11 seemed a far more difficult task for that day was far too recent and its pain not yet cauterized.

Adams decided that this should be quite different from a conventional memorial piece. “I want to avoid words like ‘requiem’ or ‘memorial’ when describing this piece because they too easily suggest conventions that this piece doesn’t share. If pressed, I’d probably call [it] a ‘memory space.’ It’s a place where you can go and be alone with your thoughts and emotions. …

My desire … is to achieve in musical terms the same sort of feeling one gets upon entering one of those old, majestic cathedrals in France or Italy.”

Ultimately, Adams decided on a soundcollage approach that would mingle a large orchestra and mixed chorus, including a children’s chorus, with a pre-recorded tape of voices speaking words and phrases about the event drawn from a variety of sources. “I eventually settled on a surprisingly small amount of text. One is the simple reading of names [of the dead], like a litany, ... starting with the voice of a nine-year-old boy [saying over and over, “Missing”] and ending with two middleaged women.”

The two women at the end repeat an enigmatic phrase: “I see water and buildings”; these were among the last recorded words of Madeline Amy Sweeny, a flight attendant on American Airlines Flight 11, as she tried to tell her supervisor what was happening on her doomed plane. Adams continues: “I mixed this with taped sounds of the city — traffic, people walking, distant

voices of laugher or shouting, … sirens, breaks squealing — all the familiar sounds of the big city which are so common that we usually never notice them.” These ambient street sounds are what we hear at both the beginning and end of Transmigration; it is as though we are still outside the door of Adams’ imaginary cathedral, about to enter and later depart from the sacred space of the music.

Music has a singular capacity to unlock those controls and bring us face to face with our raw, uncensored and unattenuated feelings. That is why during times when we are grieving or in need of being in touch with the core of our beings, we seek out those pieces that speak to us with that sense of gravitas and serenity.”

The composer chose other bits of texts from the New York Times’ remarkable series “Portraits of Grief”: brief, touching biographies of the victims as remembered by family members and friends. Another source was the missing-persons signs that dotted New York in the days and weeks after the tragedy.

Symphony No. 9 in D minor LUDWIG VAN BEETHOVEN (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria)

The completed work was given the evocative title On the Transmigration of Souls. Adams explains its meaning: “‘Transmigration’ means ‘the movement from one place to another’ or ‘the transition from one state of being to another.’ … In this case I mean it to imply the movement of the soul from one state to another. And I don’t just mean the transition from living to dead, but also the change that takes place within the souls of those who stay behind, of those who suffer pain and loss and then themselves come away from that experience transformed.”

For its first audiences in New York in September 2002, On the Transmigration of Souls seems to have had the deep cathartic effect Adams intended; it has since traveled around the United States and to Europe as well.

In 2003, it won the Pulitzer Prize for Music, and in 2005 a recording made at those inaugural performances received three Grammy Awards. But more than most musical works, its effect depends to a large degree on the depth of concentration and feeling its listeners bring to it. “Modern people have learned all too well how to keep our emotions in check,” says Adams, “and we know how to mask them with humor or irony.

In the nearly 200 years since its composition, Beethoven's Symphony No. 9 has become far more than just another symphony. It is now “The Ninth”: an artistic creation, like Shakespeare's Hamlet, in which every age and nearly every culture finds a mirror of its identity, its struggles, and its aspirations. Most listeners would agree with Michael Steinberg that, “explicitly, it seeks to make an ethical statement as much as a musical statement.”

Beethoven always believed music had a higher purpose than merely the making of beautiful sounds, that it could express and inspire human aspirations toward a more exalted life, in closer harmony with neighbors and strangers alike, and ultimately with God. In the Ninth, he drove home this message by crowning his instrumental symphony with an unprecedented choral finale: a setting of Friedrich Schiller's poem “Ode to Joy,” in which joy is defined as a state in which “all men are made brothers.”

The Ninth Symphony comes from the visionary last years of Beethoven's life during which he also created the Missa solemnis and his celebrated late string quartets. He had not written a symphony since the Eighth in 1812. The years that followed had been a period of emotional struggle and artistic stasis.

Only when Beethoven resolved the battle for custody of his nephew Karl in 1820 did his creative powers flow

PRELUDE 69

freely again. By 1822 when he began sketching the Ninth, he was described by a Viennese contemporary, Johann Sporschil, as “one of the most active men who ever lived … deepest midnight found him still working.” Now virtually stone deaf, he had, in biographer Maynard Solomon's words, “reached a stage where he had become wholly possessed by his art.”

Since at least the early 1790s, Beethoven had loved Schiller's “Ode to Joy” (written in 1785 as a drinking song) and considered setting it to music. But as late as the summer of 1823, he was still considering a purely instrumental finale for the Ninth. When he made the bold decision to risk a vocal movement, he edited the poem to make it express a higher joy for mankind than could be found in any tavern.

Premiered at Vienna's Kärtnertor Theater on May 7, 1824, the first performance reportedly moved its audience to tears as well as cheers.

Beethoven was on the podium, but the real conductor was Michael Umlauf; the musicians had been instructed to follow only his beat and ignore the deaf Beethoven's. The performance would probably have sounded terrible to us today: orchestra and singers had had only two rehearsals together of a work that many found beyond their capabilities. And yet the magic of the Ninth somehow won out. At the end of symphony, the alto soloist, Caroline Unger, had to turn Beethoven around to see the audience's tumult; unable to hear them, he had remained hunched over his score.

And what of the wonders of this score? Later composers would write longer first movements, but the Ninth's opening movement, at just 15 minutes, seems the vastest of them all. From the opening trickle of notes, seemingly born from the primordial ooze, emerges the mightiest descending theme.

After moods of struggle, reverie, and provisional triumph, Beethoven appends a huge coda — one quarter 70

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of the movement — that even touches on a ghostly funeral march before the orchestra shouts the principal theme one last time in a powerful unison.

The Scherzo second movement — Beethoven's greatest example of the fierce dance form he refashioned from the 3/4-time minuet — is built out of another descending motive, consisting of just two pitches and a dotted rhythm. From that dotted rhythm and the potential it offers to the timpani to become a major player instead of an accompanist, Beethoven creates a witty, infectious movement of relentless intensity. And if the Scherzo is the apotheosis of a rhythm, the succeeding slow movement is the apotheosis of melody. Here Beethoven builds a double variations movement out of two melodies, one slow and noble, the other like a flowing stream — a musical representation of a heavenly utopia.

The key of D Major finally triumphs over D minor in the exhilarating choral finale, famed for making the cellos and basses speak like human voices as they review the events of the previous movements and then dismiss them in favor of the sublimely simple “Joy” theme. The remainder of the finale then becomes a series of extraordinary variations on this heart-stirring melody, sung by chorus, the solo quartet, and orchestra.

A particularly striking one comes early on: a jaunty military march featuring the tenor soloist.

The other major theme of this huge finale is sung in unison by the tenors and basses at the words “Seid umschlungen, Millionen” — “Be embraced, ye millions.” It opens an extended, awe-struck episode in which the chorus hails the loving Father, creator of the universe, and concludes in a magnificent double fugue in combination with the “Ode to Joy” theme. At the end, Beethoven drives his voices almost beyond their capacities to express his glorious vision of a new world just beyond human reach.

Notes by Janet E. Bedell copyright 2018

ANDREW CROW, DIRECTOR OF CHORAL ACTIVITIES, BALL STATE UNIVERSITY

Dr. Andrew Crow has served on the faculty at Ball State University since 2009. As Director of Choral Activities, he currently leads the Ball State Statesmen and the Chamber Choir. He also teaches conducting and choral literature and supervises the choral conducting program for students pursuing graduate degrees. In addition to teaching, he is also Director of Music Ministries for High Street United Methodist Church. Dr. Crow received the 2017 Mayor’s Arts Award for Arts Leadership in the Muncie community.

Recent opportunities as guest conductor include the Muncie Symphony Orchestra and performances in North Carolina, California, Ohio, and South Dakota.

At the University of Minnesota, Crow earned the degree Doctor of Musical Arts in Conducting following degrees from Temple University and The Ohio State University.

Previous teaching positions include Rutgers University in Camden, New Jersey.

Each summer from 2011 to 2015 he led an intergenerational choir for a project called Musica in Situ that toured to perform choral music in historic and interesting architectural spaces. He consistently contributes scholarship on topics such as intonation, score study, and rehearsal technique for professional organizations in the choral domain. Crow is also an experienced singer, orchestral conductor, and piano technician.

KERRY GLANN, ASSOCIATE DIRECTOR OF CHORAL ACTIVITIES, BALL STATE UNIVERSITY

Kerry Glann serves as Associate Director of Choral Activities at Ball State University in Muncie, Indiana, where he conducts the Concert Choir and Women’s Chorus, prepares opera choruses, and teaches conducting and graduate choral literature. He previously taught at Kent State University and in the public schools of Ohio. He holds degrees in music education and conducting from Bowling Green State University, Kent State University, the University of North Texas. Glann is also Conductor of the Evansville Philharmonic Chorus, Artistic Director of Muncie’s Masterworks Chorale, and Director of Music at First Presbyterian Church in Muncie.

Collegiate choirs under his direction have appeared at conferences of the Indiana Music Education Association, Ohio Music Education Association, and American Choral Directors Association.

An experienced theatre conductor, Glann spent seventeen seasons as musical director of The Huron Playhouse, a professional-grade summer theatre in Huron, Ohio, where he led performances of over thirty productions. He is now on the directing staff of the Bigfork Summer Playhouse in Bigfork, Montana. While running the opera program at Kent State University, he conducted both university and professional opera productions.

PRELUDE 71

BALL STATE UNIVERSITY CHAMBER CHOIR Andrew Crow, conductor Kendall Anvoots Scott Archer Emily Arndt Sarah Bennett James Best Kaitlyn Brokaw Zander Cunningham Jacob Garrett Sally Geib Amber Grooms Alex Gushrowski Katie Hall Emma Helfgott Theodore Hicks Ethan Hutchinson Anna Jirgal Robert Klosterman

Howard Lee Paige Lundy Andrew Martin Danny Miller Samantha Ragusin Savannah Rang Madi Relue Wolff Roos Maxx Schneiderhahn Aidan Strain Emma Tomasik Jordan Tromp Ceven Webb Katharine Wilhelm Winter Yocom

BALL STATE UNIVERSITY CONCERT CHOIR Kerry Glann, conductor Matthew Ambrosen Zac Biddle Lucas Blackwood Joseph Bloom Malik Brown Eryn Calfee Shelby Crouse Elise DeRuby Dalton Dietrich Tara Douglas Alex Finney Emily Foster John Michael Gage Geoffrey Gentry Cenzé Glenn Tommy Guido Jaelyn Hence Gabe Hua Nicole James Madeline King Lydia Kotowski Tyler Kuntz Alix Latta Clayton LeCain-Guffey Rachel Lesh

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Kyle Mann Bryn Marlow Mason Mast Jeremy Mueller Carrington Neal Luca Perillo Matthew Schulte Cana Smith Abby Specht Katelyn Speck Makieya Street Jordan Swingle Ethan Tackett Julia Thorne Jordan Tromp Whitney Twigg Kierstyn U'Ren Kendra Vanderstar Connie Walker Meghan Walls Kyra White Arterus Young Anne Zachodni Christian Zepeda

KATIE VAN KOOTEN, SOPRANO

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

In the 2018-2019 season, Ms. Van Kooten will make her house debut with Arizona Opera as the Countess in Mozart’s Le nozze di Figaro. Concert appearances this season include Beethoven’s Ninth Symphony with the Calgary Philharmonic Orchestra and the Fort Wayne Philharmonic, as well as Verdi’s Requiem with the Eugene Symphony. In the 2017-2018 season, Ms. Van Kooten made her house debut at Dallas Opera as Donna Elvira in Mozart’s Don Giovanni, under the baton of music director Emmanuel Villaume. On the concert stage, she returned to the Boston Symphony Orchestra at the Tanglewood Festival for Beethoven’s Ninth Symphony conducted by Andris Nelsons, a piece with she also sang with the Rochester Philharmonic.

Notable appearances on the concert stage include performances with the San Francisco Symphony for Beethoven’s 9th Symphony with Michael Tilson Thomas and Handel’s Messiah led by Ragnar Bohlin, as well as a New Year’s Eve program with Dmitry Sitkovetsky. She made her Minnesota Orchestra and role debut as the Marschallin in Der Rosenkavalier under the direction of Andrew Litton and returned for Strauss’ Four Last Songs and Mahler’s Symphony No. 4 under the baton of music director Osmo Vänskä. She has sung the Marschallin in excerpts from Strauss’ Der Rosenkavalier alongside Heidi Grant Murphy with the Bellingham Music Festival.

A graduate of the Guildhall School of Music and Drama in London, Ms. Van Kooten studied voice with Rudolf Piernay. She received her bachelor’s degree in vocal performance from Biola University where she studied with Dr. Jeanne Robison and is a graduate and perpetual member of the Torrey Honors Institute.

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PRELUDE 73

CORINNE WALLACE-CRANE

Corinne hails from the Chicago suburb of Plainfield, IL. She’s a full-time chorister at the Lyric Opera of Chicago. Corinne was most recently seen as the Sixth Spirit in Cendrillon (2019), a Nightmaid in My Fair Lady (2017), Fraulein Schweiger and Sister Sophia in The Sound of Music (2014), and the Fourth Page in Tannhauser (2014). She’s also a member of the Grant Park Chorus, and has performed various roles around the country, in Colorado, Wisconsin, Mississippi and Florida.

ANDREW OWENS

Winner of the Zarzuela prize at the Francisco Viñas International Singing Competition, American tenor Andrew Owens has quickly built a reputation as a promising singer of his generation, exhibiting a beautiful Italianate timbre, soaring top notes, and effortless agility. In the 2018-2019 season, Andrew Owens will make his Opera Philadelphia debut as Arturo in Lucia di Lammermoor, and perform Count Almaviva in Il barbiere di Siviglia with Manitoba Opera. He will also return to the Kammeroper Wien and perform Beethoven’s Symphony No. 9 with the Fort Wayne Philharmonic.

In the 2017-2018 season, Mr. Owens returned to Seattle Opera, first as Count Almaviva, then as Bénédict in Béatrice et Bénédict, a role debut. He also performed Almaviva at Greensboro Opera, returned to Theater an der Wien for Snout in A Midsummer Night’s Dream and debuted at Cincinnati Opera as Lucano in L’incoronazione di Poppea. Concert highlights included tenor solos in Handel’s Messiah with the United States Naval Academy in Annapolis, Maryland and the Eugene Symphony in Oregon.

Concert and symphonic engagements of past seasons include the tenor soloist in The Genius of Mozart at the National Concert Hall, Dublin with the RTÉ Symphony Orchestra, the Bamberg Symphony Orchestra for Beethoven’s Symphony No. 9, Schumann’s Szenen aus Goethes Faust with the Cleveland Orchestra, Lukas in Haydn’s The Seasons and First Japanese Envoy in Le Rossignol at the Salzburg Festival, as well as appearances in a Rossini gala concert at the Munich Opera Festival. He has also performed Don Ottavio in a concert version of Don Giovanni with the Annapolis Chamber Orchestra, Puccini’s Messa di Gloria with The Annapolis Chorale, as well as appearances with the Greensboro Symphony and Greensboro Oratorio Society.

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Mr. Owens has had the opportunity to collaborate with some of the world’s most prestigious conductors and directors including James Conlon, Nikolaus Harnoncourt, Bertrand de Billy, Franz Welser-Möst, Ari Pelto, Martin André, Christopher Larkin, George Manahan, Sian Edwards, Moshé Leiser, Patrice Caurier, Peter Konwitschny, Richard Jones, Keith Warner, David Bösch, and Riccardo Frizza.

Mr. Owens is an award recipient from the Marilyn Horne Foundation, won 1st place and honors at the Mario Lanza Competition for Tenors in New York City and Philadelphia, respectively, and is the recipient of the Iris Henwood Richards Apprentice Artist Award at Central City Opera. He is a graduate of the Oberlin Conservatory of Music and the Maryland Opera Studio. Other training programs included the Salzburg Festival Young Singers Project and Music Academy of the West Voice Program. Mr. Owens is a native of Bucks County, Pennsylvania and studies with Jack Li Vigni. He is based in Chicago.

MICHAEL DEAN

Lauded by the New York Times for his “strong appealing bass-baritone,” American Michael Dean has been hailed by the San Jose Mercury News as “the standout, his voice a penetrating wake-up call."

2018-19 season highlights include performances of Mozart’s Great Mass in C Minor and Bach’s St. John Passion at the Bach Festival Society of Winter Park, Beethoven’s Symphony No. 9 with the Fort Wayne Philharmonic, Haydn’s The Creation with the Florida Orchestra, and Verdi’s Requiem with the Eugene Symphony.

In the 2017-18 season Mr. Dean was a soloist in Mozart’s Requiem with the Baltimore Symphony Orchestra, in Handel’s Messiah with the Eugene Symphony and the Milwaukee Symphony Orchestra and returns again to the Bach Festival Society of Winter Park. Dean made his New York Philharmonic debut in the world premiere of Aaron Jay Kernis’ Garden of Light and returned the following season for a concert performance of Street Scene.

On opera stages Mr. Dean has made frequent appearances with the legendary New York City Opera, where he performed the title role in Le nozze di Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Papageno in Die Zauberflöte, and was seen and heard as Jason McFarlane in the “Live from Lincoln Center” broadcast of Lizzie Borden. Dean has received high critical praise for his numerous recordings of baroque opera, including Agrippina, Ottone, Dido and Aeneas, Radamisto, Giustino, and Serse.

Michael Dean is currently the Music Department Chair and Professor of Voice at The University of California, Los Angeles and a member of the voice faculty at the Chautauqua Music Festival.

PRELUDE 75

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

FORT WAYNE PHILHARMONIC ANNUAL FUND Like the notes of a symphony – each one important whether loud or soft, short or long – your gift at any level is appreciated and celebrated because it shows your love for music and the community. The Fort Wayne Philharmonic’s artistic, education, and community engagement programs are made possible by generous donors. Your generosity directly helps the Philharmonic maintain its place as a cultural treasure for this community.

YOU MAKE GREAT MUSIC SOUND

CONTACT THE DEVELOPMENT OFFICE AT 260.481.0775 OR BY EMAIL AT INFO@FWPHIL.ORG FOR MORE INFORMATION ABOUT SUPPORTING THE 2019 ANNUAL FUND.

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THE FORT WAYNE PHILHARMONIC IS PROUD TO PARTNER WITH AUDIENCES UNLIMITED

Connecting special audiences with the arts.

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Are you a musician with a passion for service? We hire musicians and groups for daytime performances in nursing homes. To learn more, visit our website or email myprograms@audiencesunlimited.org.

PRELUDE 77

ANDREW CONSTANTINE, MUSIC DIRECTOR

“The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction.

He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield.

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

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

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

A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated 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 Doctor of Music degree by the University of Leicester for his “contribution to music.”

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Constantine’s repertoire is incredibly broad and, while 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 to keep the flame of belief alive and 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 programs 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 included concerts with 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.

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PRELUDE 79

CALEB YOUNG, ASSOCIATE CONDUCTOR

Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series.

Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival.

In 2016, 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 prestigious Salzburg Festival. Young was also selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross. Young has also served as assistant conductor for the National Music Festival.

Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013, which specializes in performing large scale symphonic works in a chamber orchestra setting. Among its many accomplishments, KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9.

During the 2012-13 season Young 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, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

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BENJAMIN RIVERA, CHORUS DIRECTOR

Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He serves as Chorus Director and regular conductor of the Fort Wayne Philharmonic, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago—featured at Chorus America’s national conference in 2018—Rivera also serves as Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. Last season he served as Associate Conductor of The Washington Chorus, and this season he joins the conducting staff of the Chicago Symphony Chorus.

A professional singer in the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus.

He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings.

Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and in-school residencies, and has presented at the Iowa Choral Directors Association summer conference.

Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among 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 have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. He has also researched choral rehearsal and performance practice in Berlin, Germany.

Dr. 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).

FORT WAYNE PHILHARMONIC CHORUS BOARD OF DIRECTORS OFFICERS Sarah Reynolds, President Sara Davis, Vice President Greg White, Treasurer Carrie Veit, Secretary

BOARD MEMBERS Tom Cain Caitlin Coulter Sara Davis Sandy Hellwege Katy Hobbs Sarah Reynolds

Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White

PRELUDE 81

TROY WEBDELL, DIRECTOR OF YOUTH ORCHESTRAS

American born and trained, Maestro Troy Webdell has enthralled audiences for years with his ability to connect people through the language of music. His innovative programming and balance between contemporary music, world music and the standard orchestral repertoire has created a welcomed niche in the world of classical music.

As an advocate of new music, Webdell has conducted the American and world premieres of numerous works by composers including Anton Garcia Abril, Roxanna Panufnik, Alan Hovhaness, Michael Schelle, Miho Sasaki, Halim El Dabh, Ana Milosavljevic, David DeBoor Canfield, Rudolph Dolmetsch, and Max Lee. Webdell is the founder and conductor of South Shore Orchestra, a regional orchestra located in Valparaiso, Indiana. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus with SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renowned concert halls in over 40 cities including Beijing, Hangzhou, Shanghai, Nanjing, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, and Hong Kong where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia, which also featured the world premiere of Xiao He’s Long Song. Additionally, Webdell has earned awards for his orchestral conducting in the USA, in the genre of musical theatre, receiving outstanding musical/orchestral direction awards for productions of Sweeney Todd: The Demon Barber of Fleet Street and Man of La Mancha.

Webdell’s dedication to music education and his commitment to engage students of all ages into the fabric of music has been evident for over 20 years teaching band and orchestra students in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students have consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China.

Webdell has also been a collaborator in developing El Sistema based youth orchestras, interactive educational symphony concerts, scholarships for college-bound students, and “Unity Event” concerts featuring over 300 community chorus and orchestra musicians.

As a clinician and guest speaker, Webdell has presented clinics at the International Music and Confucianism Symposium (USA) and at the Indiana Music Educators Association (IMEA) Festivals and State Conventions including an instrumental conducting clinic entitled “Conducting Young Musicians Expressively,” and a music composition clinic entitled “Composing Kids!” In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music.

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YOUTH SYMPHONY ORCHESTRA | TROY WEBDELL, CONDUCTOR 1st VIOLIN Mishael Paraiso, Concertmaster* Miranda Bartz, Asst. Concertmaster* Mikhayla Palicte Trinity Forish Jessica Zhou Kennon Nicholson Lucas Valcarcel Court Wagner Daniel Liu Tommy Popp 2nd VIOLIN Lydia Bingamon, Principal* Karissa Brath, Asst. Principal* Juliette Mikautadze Alisha Babu Kyra Waymeister Yebin Jeong Isabel Carrillo Ella Hildebrand Killian Armstrong VIOLA Olivia Creech, Principal* Lawrance McDowell, Asst. Principal* Dillon Jackson Amir Pierre-Louis CELLO Alex Moss, Principal* Shaan Patel, Asst. Principal* Destiny Seelig Maria Tan Edward Sun Daniel Gruber Eamonn Keane Niki Babu Maya Racz

BASS Graydon Brath, Principal* Henri Spoelhof Preston Reeves FLUTE/Piccolo Alyssa Parr, Principal Chloe Morton, Asst. Principal Jessel Mehta Sara DeLong OBOE Jackson Brummett, Principal (+Eng. Hn) Laurel Morton, Asst. Principal Andy Deng CLARINET Isaac Bailey, Principal Ian Trout, Asst. Principal Mallory Neebes Marlena Haefner (+Bass Clarinet) Yehyun Song BASSOON Ashley Plummer, Principal Ben Morton Connor Rybka FRENCH HORN Maiah Deogracias, Principal Megan Merz, Asst. Principal Grayson Welch Hannah Offhaus Shawn Knapp Preston Brent Noah Haefner

TRUMPET Faith Allison, Principal Sam Parnin, Asst. Principal Henry Wellman Liam Row Anna Hildebrand TROMBONE Andrew Schroeder, Principal Aaron Kreie, Asst. Principal Joshua Walz Noah Jeong TUBA Joshua Vandre, Principal PERCUSSION Hailey Sandquist, Principal Caleb Walz Andrew Schweyer PIANO Kevin Wang, Principal HARP Jaedyn Haverstock, Principal * Denotes Premier Strings Musicians

JUNIOR STRINGS ENSEMBLE | TROY WEBDELL, CONDUCTOR VIOLIN Jessica Tian, Concertmaster Lucy Gutman, Asst. Concertmaster Frankie Cai Alexis Deam Kylie Delagrange Dontel Glaspy

Andrew Habig Kaitlyn Jones Lillian Sorg

CELLO Jaemin Kim

PRELUDE 83

FORT WAYNE PHILHARMONIC ORCHESTRA ANDREW CONSTANTINE, Music Director

CALEB YOUNG, Associate Conductor

IONE BREEDEN AUER FOUNDATION PODIUM

BENJAMIN RIVERA, Chorus Director LOUISE BONTER PODIUM

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Associate Concertmaster Michael and Grace Mastrangelo Chair Timothy Tan, Assistant Concertmaster John and Julia Oldenkamp Chair Vacant, 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 Youngsin Seo Alexandra Tsilibes Pablo Vasquez Kristin Westover Lipeng Chen Janet Guy-Klickman Linda Kanzawa Ervin Orban

CHAMBER MUSICIANS 84

VIOLA Derek Reeves, Principal Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III Erin Kipp Erin Rafferty CELLO Edward Stevens, Acting Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Brian Klickman Linda and Joseph D. Ruffolo Family Foundation Chair Martin Meyer

JANUARY / FEBRUARY / MARCH

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger 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

Anne Devine Joan and Ronald Venderly Family Chair

Alex Laskey John D. Shoaff Chair Michael Galbraith Walter D. Griest, MD Family Chair Katherine Loesch

Daniel Ross George M. Schatzlein Chair Akira Murotani Charles Walter Hursh Chair

BASSOON Dennis Fick, Principal

HORN Megan Shusta, Principal Mr. & Mrs. Arthur A. Swanson Chair

TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair

TROMBONE David Cooke, Principal W. Paul and Carolyn Wolf Chair Vacant Second Trombone BASS TROMBONE Andrew Hicks TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Alison Chorn, Principal June E. Enoch Chair

Kevin Kosnik North American Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair

CONTRIBUTING MUSICIANS VIOLIN Jessica Bennett Shana Brath Rachel Brown Nicole DeGuire Amber Dimoff Regan Eckstein Janice Eplett Emelinda Escobar Michael Houff Gert Kumi Alexandra Matloff Taishi Namura Emily Nash Linda Oper Ilona Orban Sam Petrey Anna Poitrowski Joachim Stepniewski Colleen Tan Emily Thompson Marcus Tomer Lauren Tourkow VIOLA Rachel Goff Sara Knight Carl Larson Emily Mondok Charles Pikler Anna Ross Liisa Wiljer

CELLO Martyna Bleke Peter Opie Jose Rocha Heather Scott

HORN Amy Krueger Charlotte O’Connor Lorenzo Robb Renée Vogen

BASS Brad Kuhns Nick Adams

TRUMPET Doug Amos Alex Carter

FLUTE Janet Galbraith Patricia Reeves

TROMBONE Jim Kraft John Grodian Loy Hetrick Brian Johnston Alex Krawczyk Heather Miller David Parrilla

OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder CLARINET Brian Bowman Elizabeth Crawford Daniel Healton Kevin Schempf Krista Weiss Dan Won BASSOON Michael Trentacosti CONTRA-BASSOON Keith Sweger

KEYBOARD Jonathan Mann HARP Lisa Kahn Nancy Lendrim Katie Ventura

TUBA Paul Mergen PERCUSSION Matt Hawkins Ben Kipp Renee Keller David Luidens Jerry Noble Alana Weising Jason Yoder

PRELUDE 85

FORT WAYNE PHILHARMONIC CHORUS BENJAMIN RIVERA, DIRECTOR JONATHAN EIFERT, ASSISTANT DIRECTOR Soprano Joanna Abel Ashley Adamson Alyssa Anzelmo Karen Campbell Sheila Chilcote-Collins Nicole Cocklin Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Miranda Good Crystal Harter Katy Hobbs Carol Jackson Natasha Kersjes Maria Kimes Sara Kruger Kaitlin Lamison Katie Littlejohn Jane Meredith LeeAnn Miguel Meg Moss Kasey Needham Brenda Potter Clarissa Reis Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter

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Alto Nancy Archer Michelle Bonahoom Cathryn Boys Nancy Brown Alison Case Jeri Charles Maeve Cook Caitlin Coulter Cassie Daniels Lenore DeFonso Heidi Folley Joan Gardner Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Susanna Lauer Camille Lively Joanne Lukas Sharon Mankey Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Cecelia Snow Sue Snyder Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum

JANUARY / FEBRUARY / MARCH

Tenor Matthew Bowman Thomas Cain David Courtney Benjamin Cunningham David Eisenhauer Sarah Kindinger John T. Moore David Arthur Persley Mark Richert John Sabo Father Daniel Whelan Greg White Randy Wurschmidt Bass Malachi Abel Thomas Baker John Brennan Thomas Callahan Jon Eifert Joe Foltz Jonathan Haggis Gerritt Janssen Steve Kaduk Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Ian Silver-Gorges David Tovey

SA

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THE D E A V

PHILharmonious i t Fo r w a

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lay

Friday, June 7, 2019 The Clyde Theatre

PHILharmonious is the Orchestra's Gala in support of education and community engagement programs. The theme this year is Play It Forward, celebrating the Philharmonic’s 75th Anniversary and insuring a future filled with glorious music on behalf of all in Northeast Indiana.

Tickets on Sale April 8, 2019 For more information or to sponsor, please contact the Development Office at 260.481.0775 or info@fwphil.org.

PRELUDE 87

A MESSAGE FROM THE FORT WAYNE PHILHARMONIC FRIENDS The Holidays are over, the grey of winter is upon us but the days are getting longer as the Friends plow ahead with our programs. As we have done since 1944, our mission is to be an advocate for the Phil and support its fundraising and education activities while discovering and encouraging musical talent.

One of our programs is the Young Artist Competition which took place this past November. The winner of the senior division and a $1000.00 scholarship is Maya Kilburn from Yorktown, Indiana. Maya is 15 years old and studies violin with Mimi Zweig at Indiana University’s Jacobs School of Music. Maya competed by performing Concerto in D major

by Tchaikovsky and will be performing with the Fort Wayne Philharmonic Orchestra at the April 28 Family series concert. The winner of the junior division and a $500.00 scholarship is Tierra Raiti (13), from Toledo, Ohio. She studies the violin with Penny Kruse, at Bowling Green State University and played the first movement of the Mozart Violin Concerto in G major #3.

Our Board has also approved sponsorship funds for the upcoming Masterworks concert on Saturday February 2, Bizet's Carmen and the annual spring Youth Symphony concert, Earth Is Alive, on Saturday, March 10.

The Friends will start accepting applications for music student scholarships about the middle of March. This scholarship gives financial aid to promising elementary and/or secondary orchestral instrument/vocal students who need assistance in meeting the cost of private lessons for coming 2019-20 academic year. Keep an eye on our website, www.phiharmonicfriends, for the announcement and more information. If you have a young musician in your family (or know someone who does), I strongly encourage you to apply. If you don’t, you’re leaving money on the table.

On that note, stay warm, stay dry and enjoy music played by the finest orchestra in the Midwest, your own hometown Fort Wayne Philharmonic!

Sincerely,

John H. McFann Past President, Philharmonic Friends

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FORT WAYNE PHILHARMONIC FRIENDS OFFICERS President: Executive Committee Vice-President Education: Sara Davis Vice-President Hospitality: Jayne Van Winkle Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds Past President: Cynthia Fyock BOARD MEMBERS ClarAnn Bengs Barbara Boerger Ana Boman Tadd Boman Mary Campbell Emily Elko

Carol Keller Sandra Hellwege Pat Holtvoght Judy Lopshire Nellie Bee Maloley John McFann

Janet Ormiston Marcella Trentacosti Alexandra Tsilibes Julie VanLuen.

FORT WAYNE PHILHARMONIC FRIENDS BUS TRIP TO EVITA Saturday, February 2, 2019 Stranahan Theater Toledo, OH See the Broadway play, Evita.

(Lyrics by Tim Rice, Music

by Andrew Lloyd Webber.)

Total cost of $125* per person includes:

Luxury motor coach transportation and driver’s gratuity

Apple Spice Junction box lunch en route

Reserved matinee balcony seat Wine, appetizers, door prizes and raffle on return trip

For reservations call: ClarAnn Bengs (260) 744-1476 or (260) 413-7740 Mary Campbell (260) 417-5199 Or download a reservation form at www.philharmonicfriends.com

PRELUDE 89

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS BOARD OF DIRECTORS EXECUTIVE COMMITTEE Chuck Surack, Chair Sherrill Colvin, Vice Chair Kendall Dudley Billows, Vice Chair Ben Eisbart Mary Fink, Treasurer Mark Hagerman Vicki James, Secretary Sharon Peters, Vice Chair

Sherrill Colvin Sara Davis Kendall Dudley Billows Ben Eisbart Ron Elsenbaumer Mary Fink Carole Fuller Michael Galbraith Mark Hagerman Jonathon Hancock Leonard Helfrich Vicki James Suzanne Light Carol Lindquist Andrew Lott Eleanor H. Marine Scott Miller

CJ Mills Dan Nieter Tammy O’Malley Sharon Peters Judy Pursley Sarah Reynolds Dar Richardson Melissa Schenkel Jeff Sebeika Carol Shuttleworth Nancy Stewart Chuck Surack Dan Swartz Barbara Wachtman Jeanné Wickens Alfred Zacher

HONORARY BOARD Patricia Adsit Howard L. & Betsy Chapman Will & Ginny Clark Drucilla (Dru) S. Doehrman Leonard M. Goldstein* William N. & Sara Lee Hatlem Diane S. Humphrey

Jane L. Keltsch Dorothy Kittaka William Lee Carol Lehman Elise D. Macomber Michael J. Mastrangelo, MD Dr. Evelyn M. Pauly* Jeanette Quilhot

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1975 1975-1977 1977-1979 1979-1981 1981-1983 90

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

JANUARY / FEBRUARY / MARCH

1983 1983-1985 1985-1987 1987-1989 1989-1991 1991-1993 1993-1995 1995-1997 1997-1999 1999-2001 2001-2003 2003-2005 2005-2007 2007-2011 2011-2013 2013-2015 2015-2017

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

*Indicates Deceased

FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF ADMINISTRATIVE STAFF James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Lorenzo Kleine Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/Staff Arranger Joel Dreyer Stage Manager Dalen Wuest Artistic and Development Coordinator EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Aaron Samra Club Orchestra Program Manager Troy Webdell Director of Youth Orchestras

DEVELOPMENT Vacant Director of Development Hope Bowie Grants and Sponsorship Manager Stephanie Wuest Annual Fund Manager FINANCE & TECHNOLOGY Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk MARKETING & COMMUNICATIONS Emily Shannon Director of Marketing and Public Relations Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager MaryAnne Skora Patron Services Associate Brittany Walsh Patron Services Associate

Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic.

Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777.

Sensory Friendly Kits: Sensory friendly kits are available at the Embassy Theatre; please inquire at the Box Office to check out a kit. Sensory friendly kits contain noise reducing headphones, several small fidget items, a communications deck, identification wristband, a weighted comfort item and sanitizing wipes.

PRELUDE 91

SERIES SPONSORS The Robert, Carrie and Bobbie Steck Foundation Great Performers Series

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

Sweetwater Pops Series

CHUCK SURACK

Founder & President, Sweetwater Sound, Inc. The Fort Wayne Philharmonic is truly one of our most important assets, enhancing northeastern Indiana with hundreds of music and education programs, and making a significant contribution to economic development.

All of us at Sweetwater are looking forward to an exciting season of memorable performances.

STAR Family Series

JIM MARCUCCILLI

Chairman & CEO, STAR Bank

STAR is proud to call Fort Wayne home. As the only bank headquartered in Fort Wayne, we are 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.

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SERIES SPONSORS Ambassador Enterprises Chamber Orchestra Series

ARLAN FRIESEN

President, Ambassador Enterprises “Ambassador Enterprises is proud to support The Fort Wayne Philharmonic and their impactful work in the region. We value the shared experiences that The Phil creates in our community for the people that live, work, grow, and play here. Thank you to the talented people on and off the stage that make each performance possible.”

Brotherhood Mutual Insurance Company Freimann Series

MARK ROBISON

Chairman & President, Brotherhood Mutual Insurance Company “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.”

Steel Dynamics Foundation Regional Patriotic Pops Series

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 Health Regional Holiday Pops Series

MIKE PACKNETT

President & CEO, Parkview Health

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 for a blessed holiday season.

PRELUDE 93

FORT WAYNE PHILHARMONIC SPONSORS The Fort Wayne Philharmonic thanks these sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor.

SERIES SPONSORS The Paul Yergens and Virginia Yergens Rogers Foundation

Chuck & Lisa Surack

The Robert, Carrie, and Bobbie Steck Family Foundation

MAESTOSO | $250,000+

Chuck & Lisa Surack

APPASSIONATO | $150,000 to $249,000 The Paul Yergens and Virginia Yergens

Rogers Foundation

ALLEGRETTO | $50,000 to $149,000 Anonymous (1) The Robert, Carrie, and Bobbie Steck Family Foundation

FOUNDER’S SOCIETY | $25,000 to $49,999

VIRTUOSO SOCIETY | $10,000 to $24,999 June E. Enoch Foundation Janice H. Eplett, in memory of

Winifred Howe and F. Russell Eplett 94

JANUARY / FEBRUARY / MARCH

VIRTUOSO SOCIETY | $10,000 to $24,999 continued

Rick & Vicki James Miller Family Fund O’Malley Charitable Fund

The Donald F. Wood and Darlene M.

Richardson Foundation

STRADIVARIUS SOCIETY | $5,000 to $9,999 Suzanne Light

George & Linn Bartling

James W. Palermo

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Bay Advisors, LLC Bose McKinney & Evans LLP First Merchants Bank

Parkview Field, Home of the Tincaps Tracy & Gretchen Shellabarger

PRINCIPAL’S CIRCLE | $1,000 to $2,499 Anonymous (1) Bill & Anita Cast Andrew Constantine Ben & Sharon Eisbart David & Mary Fink Mark & Mary Kay Hagerman Carol Shuttleworth & Michael Gavin Eleanor H. Marine

Dr. Scott Miller Parrish Leasing, Inc. Purple Blaze Enterprise, LLC Rothberg Logan & Warsco, LLP Alfred Zacher USB Financial Services

PRELUDE 95

FORT WAYNE PHILHARMONIC SPONSORS CONCERTMASTER | $500 to $999 Edward & Kristen Brower

Nancy & David Stewart

FIRST CHAIR | $100 to $499 Mrs. Jill Gutreuter

Alice & Jonathan Hancock

CONTRIBUTOR | $1 to $99 Barbara Wachtman & Thomas Skillman

IN KIND DONATIONS A Party Apart Arby’s BluSpoon Catering Bravas The Clyde Don Hall’s Catering

Keefer Printing Markey’s Rental & Staging McCulloch Auctions — Tim McCulloch

New Haven Print Pizza Hut Subway Taco Bell Wendy’s

AUCTION CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges these sponsors for their generous contributions to our 2018 PHILharmonious Gala Auction. Please call 260.481.0774 for more information on becoming an auction sponsor.

“I” Wood Artist Al Zacher AMC Theatre Anonymous Anita Cast Antionette Lee Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Bradley Gough Camp Timberlake Cap n’ Cork Carole Fuller Casa Ristoranti Italiano Catablu – BluSpoon Charles & Amanda Shephard Chop’s Steaks & Seafood Chuck & Lisa Surack and Sweetwater Christopher James Club Soda Della Terra Photography Diane Humphrey 96

Eleanor Marine Embassy Theatre Free Wind Farm Fort Wayne Ballet Fort Wayne Children’s Zoo Fort Wayne Parks & Recreation Fort Wayne Philharmonic Fort Wayne Philharmonic Board of Directors Fort Wayne Tin Caps Ginny Clark Habegger Furniture Hall’s Restaurants Hoppy Gnome Indianapolis Colts Indianapolis Symphony Orchestra Jophiel Junk Ditch Brewing Company Kay Kohler Loggins Fireplace & Patio Lopshire Flowers Mad Anthony/Shigs in Pit

JANUARY / FEBRUARY / MARCH

Mitch-Stuart Inc. Pam Kelly Papier’s Creative Framing Park Place on Main Parkview Field Parkview Health Paula’s on Main Peg Perego Pyle Style Events Roddy Dammeyer Ruth’s Chris Steak House Sandy Shumaker Schoolhouse Stoneware Sharon Eisbart Corporate Art Six Flags Great America Summit City Bicycles & Fitness Suzie Emley

Tammy O’Malley T&D Printing The Urban Hippie Vera Bradley Vision Scapes Wine Down

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

For information about supporting the Philharmonic’s 2018-2019 Annual Fund, contact the Development Office at 260.481.0775.

ALLEGRETO (GIFTS OF $50,000+) Rick & Vicki James

FOUNDER’S SOCIETY (GIFTS OF $25,000 TO $49,999) Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (2) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs.* Irwin F. Deister, Jr. William N. & Sara Lee Hatlem Tod Kovara

Floyd & Bety Lou Lancia Eleanor H. Marine Dr. Evelyn M. Pauly* Russ & Jeanette Quilhot Virginia Lee Zimmerman

STRADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Drs. David Paul J. & Jenee Almdale George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark & Mary Kay Hagerman Drs. Kevin & Pamela Kelly Doris Klug Mr.* & Mrs.* John Krueckeberg

Chris & Kristen LaSalle Kevin & Tamzon O’Malley Michael & Carla Overdahl Judy Pursley Jeff Sebeika, Subway Carolyn & Larry Vanice Charlie & Jeanné Wickens

CONDUCTOR’S CIRCLE (GIFTS OF $2,500 TO $4,999) Dr. & Mrs.* Alfred Allina Kendall & David Billows Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin Andrew & Jane Constantine David & Mary Fink David S. Goodman Patricia S. Griest Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Dorothy K. Kittaka Antoinette K. Lee

Scott A. & Susan C. Miller James W. Palermo David & Sharon Peters Carolyn & Dick Sage John H. Shoaff & Julie Donnell Carol Shuttleworth & Michael Gavin W. E. Spindler Robert & Donna Streeter Barbara Wachtman & Tom Skillman Joseph L. Weaver Al Zacher Brian Zehr, PPG Pulmonary and Critical Care *Indicates Deceased

PRELUDE 97

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $2,499) Anonymous (4) Tim & Libby Ash Family Foundation Norma & Tom Beadie Holly & Gil Bierman Katherine Bishop Barbara L. Boerger Janellyn & Glenn Borden Roberta Brokaw Barbara Bulmahn Mrs. Virginia Coats Tom & Margaret Dannenfelser Keith & Kyle Davis Sandra K. Dolson George & Ann Donner Sandra K. Dolson Bill & Peggy Dotterweich John & Tamara Dyer Mrs. J. Robert Edwards Emily & Michael Elko Clayton J. Ellenwood Ronald & Linda Elsenbaumer Robert & Carol Fawley Fred & Mary Anna Feitler Susan & Richard Ferguson

Elizabeth Frederick Scott & Melissa Glaze Dave & Sandy Haist Jonathan & Alice Hancock Bob & Liz Hathaway James & Anne Heger Leonard Helfrich Sattar & Marlene Jaboori Ginny & Bill Johnson Dorothy K. Kittaka Floyd A. & Betty Lou Lancia Jim & Barbie Lancia Drs. David & Carol Lindquist Suzanne Light Anne & Ed Martin Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Jim & Gloria Nash Dan & Beth Nieter Josh & Cristina Parrish Norma J. Pinney Joseph & Lindsay Platt

The Rev. C. Corydon Randall & Mrs. Marian Randall Caroll & Bill Reitz Benjamin & Alexia Rivera Dr. Peter M. Rothman Eric & Kimberly Sank Dr. Janet Schafer Melissa & Peter Schenkel Jeanette D. Schouweiler Dr. Darryl & Sharon Smith Nancy & David Stewart Kathleen M. Summers Carol Terwilliger Rachel A. Tobin-Smith Mark Troutman & Ann Wallace Nancy Vendrely Wayne & Helen Waters Herbert & Lorraine Weier Dr. James C. Wehrenberg Lewie Wiese Matthew & Sara Wilcox Leslie & John Williams Dr. & Mrs. Richard E. Zollinger

CONCERTMASTER (GIFTS FROM $500 TO $999) Anonymous (1) Jeane K. Almdale David Anzelmo Dr.* & Mrs. Justin Arata Nancy F. Archer Dr. & Mrs. Thomas Armbuster Mr. & Mrs. William Arnold Richard & Matoula Avdul Mr. & Mrs. Craig Balliet Jim & Ellen Barr Michael & Deborah Bendall Donna & Charlie Belch Larry & Martha Berndt David W. Bischoff Dr. & Mrs. Todd Briscoe Mr. & Mrs. Craig D. Brown Curt & Amy Crouch Dr. & Mrs. Fred W. Dahling Sara Davis Erica Dekko Tim & Ann Dempsey Susan Devito Anita G. Dunlavy Bruce & Ellen England Mr. & Mrs. Herb Fuller G. Irving Latz II Fund Steven & Nancy Gardner Leonard Garrett Jane Gerardot & Jeff Leffers 98

Tim & Ann Gibson Thomas E. Green Mrs. Lois Guess Sharon Gustin Eloise Guy Ms. Susan Hanzel William & Sarah Hathaway Mark & Debbie Hesterman Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Kenneth & Martha Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke Bruce & Mary Koeneman Ed & Linda Kos David Krabach & Susan Steffy Dr. & Mrs. John W. Lee Stephen* & Jeanne Lewis David & Melissa Long Anne C. Longtine & Marco J. Spallone Anne A. Lovett Mr. & Mrs. Duane Lupke Mark & Sarah Masloob Thomas & Dianne May Dr. & Mrs. Michael L. McArdle Lusina McNall Linda Hansen & Tim McElwee

JANUARY / FEBRUARY / MARCH

Mr. & Mrs. Donald T. Mefford Nick & Amber Mehdikhan Paul & Bonnie Moore Kenneth & Linda Moudy J. M. Noonan Paul Oberley Old Crown Brass Band Joan K. Olinghouse Brian & Sue Payne William & Melinda Peiserich Raymond & Betty Pippert Bill & Sue Ransom Dr. & Mrs. Fred L. Rasp Dr. Stephen & Carmen Reed Maryellen M. Rice Kay Safirstein Scot C. Schouweiler & Julie Keller Stephen R. & Anne S. Smith Arthur & Karen Surguine Carl & Cynthia Thies Ronald H. VanDiver Ted & Robin Wagner Barbara Raye Walters

*Indicates Deceased

FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (17) Max M. Achleman* Fran & Irv Adler David & Ellen Ahlersmeyer Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter Mr. & Mrs. Brad Altevogt Ambulatory Medical Management Ms. Mary Jo Ardington Scott & Barbara Armstrong Mel & Ruth Arnold Milton & Barbara Ashby Lonnie & Mary Au Yvonne August Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Mr. & Mrs. A. Gerald Backstrom Linda Balthaser Mr. & Mrs. Craig Balliet Christine Baron Mr. & Mrs. John Batuello Marjorie Baumgartel Michael & Kay Bauserman Amy & John Beatty Matt, Beth, and Grace Bechdol Tony & Pat Becker Mr. & Mrs. Don Bendel Bix & Anita Benson Diana Berich Jim & Gay Berlien Kevin Paul Beuret Mr. H. Stephen Beyer Vivian Bickley Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Joyce Bir David W. Bischoff David Blackwell Sherry L. Blake Bev & Jean Blessing Steve Bloomfield & Linda Tannas Barbara Boggs Virginia R. Bokern* Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Mr. & Mrs. Bruce Bone Bill Borgmann John Bottglia Rebecca Bouse Dennis Bowman Richard & Cathryn Boys Jim & Sue Bradley Ruth A. Braun Dr. Helene Breazeale Mr. & Mrs. David C. Brennan

Evelyn M. Brosch-Goodwin Larry & Judy Farver David Brumm & Dave & Yvonne Fee Kim McDonald Michael & Marcia Flood Geneva Brummett Dick Florea & Sandy Shearer Mr. & Mrs. William & John & Jane Foell Joan Bryant Jeff Frappier Geary Buchanan Mr. & Mrs. William Freeman William & Dorothy Burford Nathan & Angela Freier Carol E. Burns Sheryl A. Friedley Dr. David & Gayle Burns Melinda Fuchs Mr. & Mrs. Gerald Burns Cynthia & Douglas Fyock Family of Scott & Linda Gaff Barbara Bushnell Michael & Janet Galbraith Joyce & Paul Buzzard Elizabeth Garr Mary Campbell Robert & Barbara Gasser Andy & Peg Candor Betsy & Geoff Gephart Shane Cary Doug & Ruby Gerber Jill Case Joy A. Gilbert Janice Cave Michele Gillespie Barbara Chamberlin Roy & Mary Gilliom David & Patricia Childers Mr. & Mrs. Tertuliano Giraldo Steve Christman Robert & Constance Godley Dr. & Mrs. Dennis Chubinski Thomas & Beverly Goff Bruce Cleveland Janelle & Steven Graber David Coats Janet Graham Nelson & Mary Coats Norm & Ronnie Greenberg Mark & Michele Colchin Kristy Greutman Barbara Collins David Griebel & Dr. & Mrs. Nathan Comsia Cathy Niemeyer Matt & Kim Converse James B. Griffith Mike Conyers David & Myra Guilford John & Marcia Crawford Leonard Guthier Wendell & Mary Cree Mary K. Gynn Bob & Margita Criswell Melanie & Robert Hall Dan & Marjorie* Culbertson Susan Halley Miles J. & Lorraine Hook Vince & Dianne Hansen Davis Fund Brian & Barbara Harris Janet Dawson & Jerry Smith Joseph Hayes & Lenore DeFonso Gregory Bowman Tom & Holly DeLong Dennis & Joan Headlee Martha Derbyshire David Heath Vera & Dominick DeTommaso John Heath Mrs. Kathy Dew Jacqueline Heckler Sharon Dietrich Sandy Hellwege George & Nancy Dodd Matt Hendryx Steven Doepker Warren & Ardis Hendryx Gene & Carol Dominique Ms. Jullie Henricks and Mrs. Fred & Joan Domrow Jean Henricks Kirk Dunkelberger Anthony & Susan Henry Ann H. Eckrich Mayor Tom C. & Cindy Henry Ned & Sally Edington Lucille Hess Don & Mary Kay Ehlerding Scott & Catherine Hill Jon Eifert Andrew & Katy Hobbs Susan Eikenberry Bob & Karen Hoffman Cynthia Elick Tom & Jane Hoffman Dr. & Mrs. Robert Ellison Steven & Becky Hollingsworth Lillian C. Embick Philip Hudson Albert & Jeanne Emilian Marlene Huffman Pam & Steve Etheridge Tom & Mary Hufford Pam Evans-Mitoraj Mark & Karen Huntington Pauline Eversole Ed & Mary Lou Hutter PRELUDE 99

Hyndman Industrial Products Inc. George & Jane Irmscher Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Mike Johnson David & Kathleen Johnston Alex & Sharon Jokay Don & Joyce Jordan Larry & Annette Kapp Lois Kaufman-Hunsberger Emily & Ryan Keirns Charles & Carol Keller LuAnn R. Keller Bridget Kelly Kendall & Davis, Inc. Mr. & Mrs. Chris Kidd Sheila D. Kiefer Michael & Sarah Kindinger Ross & Betty King John Kirchhofer Audrey M. Kirk Karen Knepper James & Janice Koday Mr. & Mrs. Arthur Konwinski Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Kevin Kurtz Shelby Lamm Carolyn N. Lane JJ Carroll & Jeff Lane George & Lois Lange Miriam Larmore Scott & Amy Lazoff Drs. Chung & Sage Lee Judge & Mrs. William C. Lee Brad & Donna Lehman Douglas & Minda Lehman Steve & Rhonda Lehman Mrs. Frances LeMay Al & Janey Lindsten Arthur & Marcia Litton Marlene Lobsiger Chuck Logar Dr. Joshua Long Frank T. Luarde Paul & Pauline Lyons Mr. & Mrs. Jim Machock Jerry L. Mackel M.D. Janet & Larry Macklin Peg Maginn Michael & Diane Makarewich Peter & Christine Mallers Harry & Barbara Manges Rob & Natalie Manges 100

Gale Mann Linda Marshall Jane Martin Dr. & Mrs. Naomichi Masaki Cheryl Mathews Elmer & Patsy Matthews David & Kathleen Matz Judith Maxwell Linda McArdle Diane McCammon Susan J. McCarrol Mick & Sue McCollum Mary McDonald John H. & Shelby McFann Debra McKinney Mr. Scott McMeen Alice McRae Samuel & Anita Medici Leanne Mensing Jim & Alice Merz Elizabeth Meyer Jane A. Meyer David & Ann Miller Ed & Martha Miller Kerry A. Miller CJ & Andrea Mills Mr. & Mrs. Carl Moellering David & Linda Molfenter LTC & Mrs. John T. Moore Noel & Diane Moore Ray & Nancy Moore Deborah Morgan Chuck & Becky Morris April & Charles Morrison Marylee Morton Suzon Motz John & Barbara Mueller Mr. & Mrs. David Murphy Kevin & Pat Murphy Ryan C. Murray Steve Naragon & Pam Higgins Sean & Melanie Natarajan Ed Neufer Beverly Norton Margaret Nolan Don & Jenny Oberbillig John O'Connell & James Williams Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O'Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Pat & Mac Parker Penny Pequignot Ms. Nigel Perry Mr. & Mrs. John M. Peters David & Billie Pierre Edwin & Cynthia Powers Marlene Purdy Helen F. Pyles Keith Raftree

JANUARY / FEBRUARY / MARCH

RAM Production Backline John & Diana Reed Paul J. & Lula Belle Reiff Ruth Reighter Jeremy & Clarissa Reis Ann Rettenmaier Carl & Jaci Reuter Dr. & Mrs. Paul Rexroth Sarah & Richard Reynolds Ruth & Phillip Rivard Ms. Rita Robbins Karen Roberts Richard & Ann Robinson Janet Roe John W. Rogers Ron & Rhonda Root Susan Rosenberg Stanley & Enid Rosenblatt Stan & Gretchen Roth Patricia C. Rumon Martin & Rita Runge Marilyn Salon Dr. & Mrs. Thomas E. Sarosi Robert Sausaman Robert & Sarah Savage Jo Ann Schall Dr. & Mrs. Ron Scheeringa Bob & Ramona Scheimann Gail Scheithauer Ms. Mary Francis Schneider Tom & Mary Ellen Schon Chuck & Patty Schrimper Ed & Julia* Schulz Richard & Ruth Schwartz Ken & Mary Scrogham Richard & Suzanne Shankle Ms. Elizabeth Sheets Amanda & Charles Shepard Ms. Cornelia L. Shideler Wayne & Ann Shive Eunice Shoaff David & Ann Silletto David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Mary Jane Slaton Jan Sloan Curt & Dee Smith Keston Smith & Sandra Guffey Lynda D. Smith Mary & Rob Snow Sharon Snow Drs. David A. & Judith J. Sorg Michael E. Sorg Jeff & Sunny Stachera Rachel Starr Mr. & Mrs. Donald D. Stedge Mrs. Lois A. Steere David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork

Angela Boerger & Jeffrey Strayer Brenda Sullivan Jack Swain Daniel Swartz Lynn & David Syler Steven & Ruth Anne Teeple Judge Philip R. Thieme Joe & Larysa Thorsteinson Craig Tidball Larry & Ellen Till Larry & Robin Tinsley Julianne Toenges Jarod Todd Scott & Jenny Tsuleff

Dr. & Mrs. J. Phillip Tyndall Don & Amy Urban Jayne Van Winkle Walter & Martini Vandagriff Karen & David von Loesecke Andrea Waingold Carol Ward Mr. & Mrs. George E. Weatherford John & Pat Weicker Angela Weidler Deborah Weinswig Keitha & Steve Wesner Thomas & Tamara Wheeler Dr. & Mrs. Alfred A. Wick

Ruth Wiegmann John & Nancy Wilhelm Ellen Wilson Hope Wilson Lea B. Woodrum Bette Worley Franklin & Judith Wright Phil & Marcia Wright Stephen & Marsha Wright Dalen & Stephanie Wuest Mr. Galen Yordy Bob & Jan Younger Dodie Zonakis

FOUNDATION AND PUBLIC SUPPORT PHILHARMONIC SOCIETY ($1,000,000+) Edward D. & Ione Auer Foundation APPASSIONATO ($150,000 TO $249,999) Anonymous (1)

English, Bonter, Mitchell Foundation

ALLEGRETTO ($50,000 TO $149,999) Anonymous (2) Arts United of Greater Fort Wayne The Dekko Foundation Foellinger Foundation Steel Dynamics Foundation

The Robert, Carrie, and Bobbie Steck Family Foundation The Paul Yergens and Virginia Yergens Rogers Foundation

FOUNDER’S SOCIETY ($25,000 TO $49,999) Community Foundation of Greater Fort Wayne The Huisking Foundation Indiana Arts Commission Flora Dale Krouse Foundation and PNC Charitable Trusts

Lincoln Financial Foundation W. Gene Marcus Trust National Endowment for the Arts The Rifkin Family Foundation

VIRTUOSO SOCIETY ($10,000 TO $24,999) Edward M. and Mary McCrea Wilson Foundation The Donald F. Wood and Darlene M. Richardson Foundation Edward and Hildegarde Schaefer Foundation O’Rourke Schof Family Foundation

Eric A. & Mary C. Baade Charitable Purposes Trust Olive B. Cole Foundation June E. Enoch Foundation K. Robert Ehrman Endowment Fund Miller Family Fund The Rea Charitable Trust STRADIVARIUS SOCIETY ($5,000 TO $9,999) Ecolab Foundation Journal-Gazette Foundation

The LaFontaine Arts Council Wells County Foundation

PRELUDE 101

CONDUCTOR’S CIRCLE ($2,500 TO $4,999) 3Rivers Credit Union Foundation Community Foundation DeKalb County

BAE Systems Community Investment

PRINCIPAL’S CIRCLE ($1,000 TO $2,499) Adams County Community Foundation Howard P. Arnold Foundation Arthur and Josephine Beyer Foundation Fulton County REMC Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation Gerald M. and Carole A. Miller Family Foundation

Noble County Community Foundation Porter Family Foundation Steuben County Community Foundation Jennie Thompson Foundation Mary E. Van Drew Charitable Foundation Community Foundation of Whitley County

CONCERTMASTER ($500 TO $999) Kosciusko County REMC Operation RoundUp Fund

FIRST CHAIR ($100 TO $499) Psi Iota Xi, Pi Chapter

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Randall L. & Deborah F. Tobias Foundation

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

Thank you!

MULTIPLE COUNTY SUPPORT Parkview Regional Medical Center/ Parkview Health

Steel Dynamics Foundation, Inc. The Dekko Foundation

ADAMS COUNTY Adams County Community Foundation Eichhorn Jewelry Antoinette K. Lee

Porter Family Foundation Joe & Janell Schwartz

DEKALB COUNTY Auburn Moose Family Center Community Foundation of DeKalb County Dr. & Mrs. C. B. Hathaway The James Foundation

David & Pat Kruse Quentin K. & Gladys F. Mavis Music Fund Scheumann Dental Associates

FULTON COUNTY Beacon Credit Union Evans Agency, LLC First Federal Savings Bank Fulton County REMC Joyce Good and Family Indiana Arts Commission

Psi Iota Xi, Eta Mu Peterson, Waggoner & Perkins, LLP RapidView Rochester Metal Products Rochester Telephone Company

KOSCIUSKO COUNTY Aunt Millie’s Bakeries Gale & Joyce Baumgartner Irwin & Jane Deister Lew & LuAnn Derrickson Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation Kosciusko REMC Operation Round-up Fund Fritz Kreutzinger Omer & Susan Kropf The Papers Inc.

Salin Bank & Trust Smoker Craft, Inc. STAR Financial Bank Jim & Patrice Marcuccilli and Tom & Joan Marcuccilli Randall & Deborah Tobias Foundation Wawasee Property Owners Association Monica & Larry Weigand Al Zacher

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NOBLE COUNTY AccuTemp Products, Inc. Airframe Components by Williams, Inc. Alum-Elec Structures, Inc. Black & Ramer Insurance Baker’s Flowers & Gifts LLC Campbell & Fetter Bank City of Kendallville Councilman James & Rhea Dazey Dekko Investment Services Diehm Construction Mr. Larry & Jane Doyle Dr. Chris & Sasha Frazier Freedom Academy Mr. & Mrs. William Freeman Scott R. Frick, CPA, P.C. Dr. Terry & Susan Gaff Tim & Michele Gerst Mr. Randy & Mayor W. SuzAnne Handshoe Tim & Anita Hess – RE/MAX Results Indiana Michigan Power Jansen Chiropractic – Dr. Tom & Linda Jansen and Dr. Gerard & Lori Jansen

Jansen Family Dentistry Jansen Law – Christopher T. & Angela Jansen Dr. Jim & Pam Jansen J.O. Mory, Inc. Noble County Community Foundation Quicktanks, Inc. Shepherd’s Family Auto Group Jennie Thompson Foundation Tri-State Veterinary Clinic & Equine Center Drs. Roush & Will Optometrists – Dr. Alan & Jane Roush and Dr. Craig & Dr. Elizabeth Lichlyter Dr. Gerald & Kara Warrener Wick Fab, Inc. Work Prep, Inc. - Allyson Witt X-Y Tool & Die, Inc. Yoder Kraus & Jessup, P.C. 95.5 FM The Hawk

STEUBEN COUNTY Angola American Legion Post 31 City of Angola Coldwell Banker Roth Wehrly Graber Sandra Agness Croxton & Roe Insurance Services Bill & Pat Culp Joseph F. & Carol Frymier Jim & Karen Huber Indiana Arts Commission Indiana Department of Natural Resources Javets Inc. Kappa Kappa Kappa – Zeta Upsilon Chapter

Lake James Association Gerald M. and Carole A. Miller Family Foundation Psi Iota Xi, Rho Chapter Max & Sandy Robison Charles & Ruth Ann Sheets Steuben County Community Foundation Sweetwater — Chuck & Lisa Surack Trine University Jim & Kathy Zimmerman

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

WELLS COUNTY Anonymous (1) AdamsWells Internet Telecom TV K. Robert Ehrman Endowment Fund

Carol & Larry Ewing Wells County Foundation Troxel Equipment

WHITLEY COUNTY ChromaSource, Inc. Churubusco Family Dentistry — Dr. & Mrs. Richard Zollinger 104

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Community Foundation of Whitley County STAR Financial Bank

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

In Memory of Karen Allina (Gifts in memory of Karen Allina will be added to the Philharmonic Chorus fund, where they will provide support to the work and the future of the Chorus.)

Anonymous (2) Dr. Alfred Allina Rose Atz Marsha Baltes Bryan & LeaAnne Bernstein Sunitha Bhat William & Judith Carrigan Marcia Clupper Dean Cutshall Connie Gibstine Graly & Guido Law Office, LLC Nancy Hamiln Andrew & Katy Hobbs Carol Jackson Ginny & Bill Johnson Justin & Elizabeth Lott Michael Mastrangelo Richard & Merle-Lee Miers Noel & Gloria Phegley Benjamin & Alexia Rivera David & Vivian Slosson John & Judith Stenger Robert & Margaret Vegeler Lewie Wiese Lea B. Woodrum In Memory of Virginia Bokern Margaret Ankenbruck Steven & Jana Ankenbruck Mary Campbell Anita & Bill Cast Lillian C. Embick Eleanor H. Marine Elizabeth & Terrence Neu Russ & Jeanette Quilhot Thomas Remenschneider Paul Spoelhof In Memory of Marjorie R. Cavell Eleanor H. Marine

In Memory of June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Eleanor H. Marine Michael Mastrangelo In Honor of Michael Galbraith MKM architecture + design In Memory of Leonard Goldstein Anita & Bill Cast Eleanor H. Marine In Memory of Winifred F. Howe and F. Russel Eplett Janice Eplett In Memory of Greg Marcus Anita & Bill Cast Eleanor H. Marine In Honor of James W. Palermo Howard & Carol Abrams In Memory of Kathryn R. Parrott Sarah & Sherrill Colvin In Memory of Lynne Salomon Eleanor H. Marine Michael Mastrangelo In Memory of Donna Snyder Barnes & Thornburg LLP Anita & Bill Cast Eleanor H. Marine In Memory of Herbert Snyder Barnes & Thornburg LLP Dave & Sandy Haist Eleanor H. Marine Thomas & Nancy White In Memory of Olga Yurkova Carl & Jaci Reuter Paula Neale Rice Benjamin & Alexia Rivera

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TRIBUTES continued In Honor of Al Zacher’s 90th Birthday The Aichele’s Anonymous (2) Alex and George Azar Norma & Tom Beadie Barbara L. Boerger Julie & Dave Buckner Vernell Fettig Laura, Bill, and Ellen Frankenstein and their families Geoff & Betsy Gephart Lois Harris George Huber Herbert Krumsick Doulas & Ilene Klegon Peter & Christine Mallers Judy Pursley Alfred & Norma Slatin

Norman Thal Andrew Warshauer Marie, Michael, Andrew, Mia, and Daniel Warshauer Bill & Louise Warshauer Employees of the Zacher Co. Steven & Judy Zacher In Memory of Hannah Zacher Alfred & Norma Slatin

ENDOWMENT FUND SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See pages 80-81 for musician chair endowments.

Chorus Director Podium Louise Bonter

Freimann Chamber Series In Memory of Frank Freimann

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

by Liz and Mike Schatzlein

Youth Symphony Walter W. Walb Foundation

Music Library Josephine Dodez Burns and Mildred Cross Lawson Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke

Family Concerts Howard and Betsy Chapman 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: Oscar H. & Elda A. Albers* Marjorie R. Cavell* Frederick Beckman* Charlotte A. Koomjohn* Doris Latz* 106

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Sanford Rosenberg* Lynne Salomon* Alice C. Thompson *Indicates Deceased

ENDOWMENT CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at fwphil.org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at info@fwphil.org for further information.

Comprehensive Campaign: Music for Everyone Anonymous (4) Edward D. & Ione B. Auer Foundation George & Linn Bartling Anita Cast Will & Ginny Clark Sherrill & Sarah Colvin Mr. & Mrs.* Irwin F. Deister Jr. Ben & Sharon Eisbart David & Mary Fink Carole Fuller Mark & Mark Kay Hagerman Family Alex & Jonathan Hancock Leonard Helfrich Rick & Vicki James Suzanne Light Eleanor H. Maine

Michael J. Mastrangelo Dr. Scott Miller Daniel & Beth Nieter Kevin and Tamzon O’Malley Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation Owen & Jean Pritchard Foundation The Robert, Carrie and Bobbie Steck Family Foundation Chuck & Lisa Surack, Sweetwater Barbara Wachtman & Tom Skillman Charlie & Jeanne' Wickens Donald F. Wood & Darlene M. Richardson Paul Yergens and Virginia Yergens Rogers Foundation, Inc. Daryl Yost

LAUREATE CLUB The Philharmonic honors planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level, benefitting both you and your family. The Philharmonic welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

Mr. & Mrs. Donald Hicks Anonymous (23) Tom & Shirley Jones Patricia Adsit Diane Keoun Richard* & Sharon Arnold Mrs. Bruce Koeneman Dick & Adie Baach Tod S. Kovara George & Linn Bartling John Kurdziel Kevin Paul Beuert Antoinette Lee Ana Luisa Boman Jeff Leffers & Jane Gerardot Janellyn & Glenn Borden Naida MacDermid Carolyn & Steven Brody Lockwood* & Eleanor H. Marine Anita Hursh Cast Mick & Susan McCollum Betsy & Howard Chapman John & Shelby McFann Fred & Mary Anna Feitler Donald Mefford Richard & Susan Ferguson John Shoaff & Julie Donnell Mrs. Edward Golden Chuck & Lisa Surack Leonard* & Rikki Goldstein Herbert & Lorraine Weier Jay & Sandra Habig Mr. & Mrs. W. Paul Wolf Susan Hanzel * Indicates Deceased Jeff Haydon 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.

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FINE CHOCOLATES