Fort Wayne Philharmonic Prelude March/April/May 2018

PRELUDE 2 01 8 M a rc h - A p r i l - M ay

PRELUDE FORT WAYNE PHILHARMONIC PROGRAM Design: Brooke Sheridan

Contributing Editors: James W. Palermo, Jim Mancuso

Prelude is created and produced four times per year by the Fort Wayne Philharmonic, 4901 Fuller Drive, Fort Wayne, IN 260.481.0777 - 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.

VOLUME 74 NO. 4

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We believe in supporting the arts.

Every step of the way.

Welcome Letter, Andrew Constantine Fort Wayne Philharmonic YSO Colleen Tan, YSO interim conductor Fort Wayne Philharmonic YCO Marcella Trentacosti, YCO conductor Karen Gibbons-Brown, Fort Wayne Ballet Artistic Director Fort Wayne Civic Theatre Chorus Fort Wayne Civic Theatre Historic Overview Fort Wayne Philharmonic Friends

Andrew Constantine, Music Director Phillip H. Colglazier, Fort Wayne Civic Theatre Executive/Artistic Director Caleb Young, Assistant Conductor Benjamin Rivera, Chorus Director Fort Wayne Philharmonic Orchestra Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Administrative Staff Series Sponsors Sponsors Donors

ARTIST BIOS, ETC., LISTINGS 11 Andre Gaskins 11 Derek Reeves 18 Gavin Hope 19 Jean Meilleur 25 Valentina Lisitsa 29 Fernando Tarango 38 Richard Carsey 38 Randy Jackson

43 44 45 46 46 53 57 57

Andrew Lloyd Webber Rodgers & Hammerstein Manna Nichols Christopher Sloan Eunice Wadewitz Alexander Toradze Luke Fitzpatrick Olga Yurkova

7 Masterworks BEETHOVEN’S “PASTORAL” SYMPHONY Saturday, March 10 13 Youth Orchestras SPRING CONCERT

Sunday, March 11 17 Pops BOWIE AND PRINCE

Saturday, March 17 21 Masterworks MOZART, BEETHOVEN AND SCHUBERT Saturday, April 7 27 Family PETER AND THE WOLF

Sunday, April 8

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74 75 76 78 79 80 82 85

31 Freimann FROM THE EAST

Wednesday, April 11 Sunday, April 15

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Alexander Klepach Violetta Todorova Vivianne Bélanger Debra Welter Orion Rapp Andrew Lott Johanna Bourkova-Morunov Theopolis Smith III

37 Special THE MUSIC OF LED ZEPPELIN Friday, April 13 41 Pops THE MUSIC OF RODGERS & HAMMERSTEIN AND ANDREW LLOYD WEBBER Friday, April 20 Saturday, April 21 49 Masterworks THE LENINGRAD SYMPHONY Saturday, April 28 54 Special BACH IN THE BARN Wednesday, May 2 Thursday, May 3 Friday, May 4 63 Masterworks PICTURES AT AN EXHIBITION Saturday, May 12 3

WELCOME FROM THE MUSIC DIRECTOR Dear Friends: Welcome to the final months of the Philharmonic’s 2017-18 season. I am delighted with the variety and scope of the programming we have for you this spring.

On March 10 two valued members of the Philharmonic move front and center as soloists. Principal Cello Andre Gaskins and Principal Viola Derek Reeves are featured in Richard Strauss’ Don Quixote, on a program that also includes Beethoven’s Symphony No. 6, the Pastoral.

The annual spring collaboration with Fort Wayne Ballet, from March 23-25, is Coppélia, telling the delightful tale of a doctor, a life-size dancing doll, and an infatuated youth, with plenty of mischief and comedy.

Anniversary. What a wonderful opportunity for me personally and the Philharmonic to celebrate this important institution’s landmark achievements.

One of the most dramatic works of the 20th century will be offered on April 28 when the Philharmonic performs Dmitri Shostakovich’s Leningrad Symphony, paired with the great Russian composer’s brilliant 1st Piano Concerto, featuring soloist Alexander Toradze and our own Principal Trumpet, Andrew Lott. The rest of the season includes concerts from the Freimann and Family Series, plus all the Brandenburg Concertos on the Bach in the Barn Series in early May. The Philharmonic recently announced its 75th Anniversary 2018-2019 Season, with an extraordinary line up of artists and repertory. Highlights include the superstar soprano Renée Fleming on Opening Night, Beethoven’s 9th Symphony, a concert version of Bizet’s opera Carmen, the incomparable Wynonna, a multimedia performance called George Gershwin: Rhapsody and Rhythm, Sandi Patty with the Indiana University Singing Hoosiers in a Salute to America, and Holiday Pops.

We move in a completely different direction with The Music of Led Zeppelin on April 13. This high-energy concert of the famous band’s timeless songs includes the Philharmonic with singers and a 4-piece rock band.

Thank you for making the 2017-18 Season such a resounding success. We look forward to seeing you often next season in celebration of the 75th Anniversary.

Sincerely,

I return to lead A Tribute to the Music of Rodgers & Hammerstein and Andrew Lloyd Webber on April 20 and 21 in celebration of Fort Wayne Civic Theatre’s 90th

Andrew Constantine, Music Director

ANDREW CONSTANTINE

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Celebrating 90 Years!

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May 19, 2018 7 p.m.

Tickets on sale at the STAR Bank box office, Ticketmaster.com and 800.745.3000

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

BEETHOVEN’S “PASTORAL” SYMPHONY Saturday, March 10, 2018 | 7:30 p.m.

Embassy Theatre

90th Anniversary Community CELEBRATION Organist Mark Herman • Vaudeville Stage Acts • Black-and-White Movie Screening • Red Carpet Arrival

A nostalgic series celebrating the Embassy’s historic past

Back to the Future Jan. 19, 7:30 p.m.

Wizard of Oz

Jan. 20, 2:30 p.m.

Grease

Jan. 20, 7:30 p.m.

Casablanca

Feb. 10, 7:30 p.m.

Frozen

May 13, 2:30 p.m.

Andrew Constantine, conductor Andre Gaskins, cello Derek Reeves, viola BEETHOVEN Symphony No. 6 in F major, Op. 68 “Pastoral”

Awakening of Cheerful Feelings on Arrival in the Country:

Allegro non troppo

Scene by the Brook: Andante molto mosso

Merry Gathering of the Countryfolk: Allegro

Thunderstorm: Allegro

Shepherd’s Song, Glad and Grateful Feelings After the Storm: Allegretto

BONUS!

Wings

June 17, 2:30 p.m.

Independence Day July 13, 7:30 p.m.

Pirates of the Caribbean

Aug. 24, 7:30 p.m.

The Sound of Music Sept. 21, 7:30 p.m.

90 Years of Film

White Christmas Festival of Trees screenings Nov. 23, 2017 Nov. 22, 2018

-- Intermission --

STRAUSS Don Quixote, Op. 35 Andre Gaskins, cello Derek Reeves, viola Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, March 22, at 7:00 p.m.

We picked movies from the past 90 years— one from every decade in the Embassy’s lifetime. Presented

by Embassy Theatre and Fort Wayne Cinema Center.

Presented by Sweetwater and Chuck and Lisa Surack

Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

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BEETHOVEN’S “PASTORAL” SYMPHONY

SYMPHONY NO. 6 IN F MAJOR, “PASTORAL” Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna, Austria) Beethoven spent most of his adult life as an urban man living in Vienna, but his heart belonged to the country. Even when he was confined to the city, he seldom missed a daily walk on the walls that then encircled Vienna and from which he could gaze off into the surrounding countryside.

During the summers, he escaped town altogether and spent the warm months in outlying villages such as Heiligenstadt, Mödling, and Baden. Musical sketchbook in hand, he roamed the fields and woodlands from dawn to dusk. He looked forward to these rural sojourns, he wrote, “with the delight of a child. No man on earth loves the country more; woods, trees, and rocks give the response which man requires. … Every tree seems to say ‘Holy, Holy.’”

So perhaps it is surprising that we have only one “Pastoral” Symphony from his pen: a work unique among Beethoven’s output for its sense of geniality and relaxation. Almost simultaneously with this piece, written in 1807 and early 1808, the composer was creating his Fifth Symphony: a work that is terse, dramatic, harmonically daring, and driven by a mood of heroic struggle. The Pastoral is its sunnier sibling: leisurely, lyrical, conflict-free, and radiating a joyful acceptance of life.

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Since Beethoven gave descriptive titles to each of the movements, Romantic composers and commentators seized on the work as an early example of program music: a genre that describes scenes and events through music. But this was not Beethoven’s intention, as he suggests in his subtitle for the work as a whole: “Pastoral Symphony, or a recollection of country life. More an expression of feeling than a painting.” And in his sketchbooks he wrote: “Pastoral Symphony: no picture, but something in which the emotions are expressed which

PROGRAM NOTES March 10, 2018

are aroused in men by the pleasure of the country [or] in which some feelings of country life are set forth.”

Movement 1 (“Cheerful impressions awakened by arrival in the country”): The work’s uniquely serene mood emerges instantly in the gracious, slightly naive opening phrase of this sonata-form movement. Unusually for Beethoven, harmonies are simple and straightforward, and they will generally remain so throughout the work. The scoring is gentle: only strings and woodwinds are used in this and the second movement. Notice the ecstatic burbling of the solo clarinet near the end of the movement.

Movement 2 (“Scene by the Brook”): The gentle second movement is the heart of this symphony and one of Beethoven’s most sublime creations.

Arpeggios on muted cellos, violas, and second violins conjure the murmuring sounds of the brook at Mödling, which pervade the entire movement. The lovely themes unfold in leisurely, repetitious fashion in music that is as lazy and intoxicating as a summer day. Real birdcalls appear in an exquisite passage near the end, in which the solo flute, oboe, and clarinet mimic, respectively, the nightingale, quail, and cuckoo.

Movement 3 (“Merry gathering of country folk”): In this scherzo movement, we finally meet the people who populate Beethoven’s pastoral landscape.

According to his amanuensis Anton Schindler, there was an amateur band that played at The Three Ravens Tavern near Mödling, one of the composer’s favorite summer haunts. These musicians weren’t the world’s most polished ensemble, but Beethoven loved them and even composed waltzes for them.

Their spirit and style influenced this jovial peasant-dance movement.

Movement 4 (“Thunderstorm”): In the Pastoral’s most overtly descriptive passage, the dance is suddenly interrupted by the ominous rumbling of thunder in the cellos and double basses.

The timpani, in its only appearance in the

symphony, imitates the crack of thunder, the piccolo shrieks overhead, and two trombones add to the ruckus.

Movement 5 (“Shepherd’s Song: Glad and grateful feelings after the storm”): The storm subsides, and a rainbow appears in the rain-cleansed air.

Beethoven opens his uplifting finale with the yodeling call of a ranz des vaches or Swiss shepherd’s song, from which his “Hymn of Thanksgiving” principal theme immediately develops. When this theme reappears near the end, it gradually sheds its folk simplicity and grows in grandeur to a sublime apotheosis.

DON QUIXOTE, OP. 35 Richard Strauss (b. 1864, Munich, Bavaria; d. 1949, Garmisch-Partenkirchen, West Germany) At the end of the 19th century, the young Richard Strauss rapidly became the most celebrated composer of his day with his extraordinary series of symphonic tone poems written for very large orchestra.

Although his first two tone poems made little impression, the mighty sequence that followed — Don Juan, Death and Transfiguration, Till Eulenspiegel, Also sprach Zarathustra, Ein Heldenleben, and Don Quixote — mesmerized audiences with their graphic power in telling stories through the imaginative and virtuosic manipulation of instrumental sound.

Story-telling came naturally to the young German, for he was an avid reader. Cervantes’ classic Spanish novel Don Quixote (first published in 1605) had probably been percolating in his imagination for many years before October 1896 when he decided to use it for his sixth tone poem. Simultaneously, he began composing Ein Heldenleben (“A Hero’s Life”), and these two works portray the concept of heroic life from very different perspectives. While Ein Heldenleben treats heroism with bombastic seriousness, Don Quixote is wryly tragi-comic, showing the delusions that often drive the would-be hero to excess.

Strauss subtitled this tone poem “Fantastic Variations on a Theme of Knightly Character.” Formally, he constructed the music as a series of ten variations on “a composite theme” to describe the many different episodes in Quixote’s picaresque career. That composite theme is not one, but many.

Strauss gives Quixote three distinct themes, his trusty sidekick Sancho Panza several more, plus yet another for his ideal lady, Dulcinea. Additionally, the tone poem somewhat resembles a cello concerto in that this instrument represents the Don throughout, while a solo viola portrays Sancho Panza and an oboe Dulcinea.

Lasting some 40 minutes, Don Quixote comprises 13 sections: Introduction: Cervantes tells us that Quixote “was nigh fifty years of age, of a hale and strong complexion, lean-bodied and thin faced ... he passed his time in reading books of knight-errantry.” So entranced did the Don become by these stories that he let his farm go to wrack and ruin and “by sleeping little and reading much, the moisture of his brain was exhausted [so] that at last he lost the use of his reason.” Enflamed by his books, he decided to go out into the world and pursue his own knightly quests.

The opening woodwind fanfare is the first of Quixote’s themes, portraying his youthful enthusiasm. Then the violins present his main theme: gallant but with a halting, slightly creaky gait revealing his true age. Meandering violas describe him pouring over his books, and the solo oboe paints a yearning vision of Dulcinea, the ideal woman for whom he will pursue his adventures. The themes grow more confused and entangled, the harmonies more chaotic as he loses his grip on reality.

Theme: Now the cello, Quixote’s alter ego, enters the scene. Then we meet the plump and garrulous squire Sancho Panza, first represented by the woodwinds and tuba, but then by his principal instrument, the viola. At

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least three thematic ideas represent his talkative nature and his fondness for spouting platitudes.

Variation 1: Inspired by Dulcinea’s theme, the Don gallops off on his old nag, Rocinante, followed by his squire.

His addled brain mistakes a group of windmills for giants menacing his lady.

He charges into battle, but is flung violently from his saddle by the windmill arms. A little bruised, he muses refully on Dulcinea.

Variation 2: Unfazed by his first defeat, Quixote charges off to challenge the approaching “Army of Alfanfarón.”

Strauss’ ingenious scoring for bleating woodwinds and brass reveals that they are really a flock of sheep.

Variation 3: Strauss calls this longest section: “Sancho’s conversations, questions, demands and proverbs; Don Quixote’s instructing, appeasings and promises.” During the variation’s first half, the solo viola as Panza dominates the conversation, allowing the Don hardly a word in response. Eventually, Quixote explodes in exasperation, and the trumpet proclaims his heroic vigor.

Now the orchestra soars into a glorious vision of Quixote’s chivalric dreams and ideals in which Dulcinea’s lovely theme is very prominent.

Variation 4: Next the Don spies a group of penitents on the road (muted brass intone an ecclesiastical chant). They are carrying an image of the Virgin Mary, but his crazed mind turns them into a band of brigands abducting a maiden. He attacks, and they promptly knock him senseless.

Thinking him dead, Sancho mourns his master, but the Don revives and Sancho drops off to sleep with a little snore.

Variation 5: This lyrical interlude provides magnificent opportunities for the cellist, eloquently describing Quixote’s nocturnal vigil as he guards his armor and dreams wistfully of Dulcinea. The orchestra conjures the night winds.

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Variation 6: In a rustic comic episode, Sancho tries to convince the Don that a coarse, garlic-breathed village girl is his Dulcinea. The bewildered Don thinks she must have been deformed by some evil power.

Variation 7: One of Strauss’s great orchestral tour-de-forces describes the pair’s blindfolded ride through the air on a magical steed. Despite the orchestra’s exhilarating whirl enhanced by a wind machine, a constant low pedal note reveals the truth: the steed is only a wooden horse and the Don has never actually left the ground.

Variation 8: Finding a boat left at a riverbank, Quixote and Sancho set off across the water. The boat travels into a millstream and capsizes. The cello’s plucked notes illustrate their wet-footed arrival on land. Woodwinds and horns voice their prayer of thanksgiving for their narrow escape.

Variation 9: Now the Don encounteers two monks: a pair of bassoons in pious conversation. But Quixote thinks they are evil wizards and attacks, sending them hustling away.

Variation 10 follows immediately. One of Quixote’s neighbors has decided to rescue him from his mad quest and bring him home to La Mancha. Posing as another knight, he challenges the Don to combat and defeats him (listen for the cello’s high cry of pain), then demands his return home. Over pounding timpani, Quixote and Sancho wearily march the long journey back.

Finale: The quest is over, and Don Quixote lies dying in his bed in La Mancha. The cello’s last great soliloquy muses on his themes with heartbreaking beauty. His life fades away on a downward slide. Luminous chords now close the tale in harmonic serenity.

Notes by Janet E. Bedell copyright 2018

Andre Gaskins, cello Principal Cellist of the Fort Wayne Philharmonic, Andre J. Gaskins enjoys a diverse musical career as cellist, conductor, composer, and music educator. Maintaining an active schedule as a performing cellist, his recording of Martinu’s ‘Concertino’ for the Summit Records label was nominated for a 2004 GRAMMY® Award.

Mr. Gaskins has appeared as solo cellist in historic venues such as as the Grand Philharmonic Hall in St. Petersburg, and in Indianapolis, Richmond, Cincinnati, Ann Arbor, Conception (Chile), Okinawa and Beijing.

Mr. Gaskins has served as the Music Director and Conductor of the Oshkosh Symphony Orchestra, the Columbus Ballet Orchestra, the University of Wisconsin Oshkosh Symphony, the Earlham College Orchestra, and the Youth Orchestra of Greater Columbus.

He has served as Assistant or Associate conductor with the Richmond Symphony, the Columbus State University Philharmonic, and the New World Youth Orchestra.

As an orchestral cellist, Mr. Gaskins served as the principal cellist of the Columbus (GA) Symphony Orchestra, the LaGrange Symphony and the Richmond (IN) Symphony.

He also performs regularly as a substitute with the cello section of the Indianapolis Symphony Orchestra.

Derek Reeves, viola Fort Wayne Philharmonic Principal Violist Derek Reeves began his musical studies at the age of 2½. A graduate of Indiana University, he was the recipient of the prestigious Performer’s Certificate, as well as having earned Bachelor and Master of Music degrees. Before coming to Fort Wayne, he held the positions of Associate Concertmaster of the Charleston Symphony Orchestra, Concertmaster of the Columbus Indiana Philharmonic, and Associate Concertmaster of the Evansville Philharmonic. He has also performed with the Detroit Symphony Orchestra, the Indianapolis Symphony Orchestra, and the Indianapolis Chamber Orchestra.

As a soloist, Mr. Reeves has appeared with the Erie Chamber Orchestra, the Niagara Symphony Orchestra, the Fort Wayne Philharmonic, the Indianapolis Symphony Orchestra, the Columbus Indiana Philharmonic, the Indianapolis Philharmonic Orchestra, the Carmel Symphony Orchestra and the Gateways Festival Orchestra.

As a chamber musician, Mr. Reeves has been the violist of the Philharmonic’s own Freimann Quartet since 2003. He has participated in the Spoleto, Aspen, Gateways, and Prizm International Music Festivals and is also in demand as a recitalist, guest artist, recording studio musician, and arranger.

Mr. Reeves also maintains a robust teaching schedule, teaching viola at IPFW, designing curriculum and teaching for the Philharmonic’s Club Orchestra program, and keeping a private studio of violin and viola students. He performs on a viola made by Mark Womack in 2005 and lives in Fort Wayne with his wife Patricia and son, Preston.

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Moving doesn’t have to mean letting go of your cherished possessions.

Y Youth Orchestra Series

YOUTH ORCHESTRA SPRING CONCERT

Program Support provided by Lincoln Financial Foundation

Sunday, March 11, 2018 | 4:00 p.m.

Auer Performance Hall, IPFW If you’re thinking about your next move but dread the thought of downsizing, at The Towne House you may not have to.

With apartments of up to 1,570 sq. ft. and options for every lifestyle, we offer plenty of space for the things you hold near and dear.

You have the freedom to live as independently as you like – all the while knowing that if your lifestyle changes, our on-site services can change with you.

Call 260.483.3116 to schedule your personal tour.

Youth Concert Orchestra Marcella Trentacosti, conductor LOPEZ Return of the Monarchs

RIMSKY-KORSAKOV/ Dance of the Tumblers ARR. SANDRA DACKOW Youth Symphony Orchestra Colleen Tan, interim conductor GRIEG

Holberg Suite, Selected Movements

MENDELSSOHN Hebrides Overture (Fingal’s Cave)

KABALEVSKY Concerto for Violin and Orchestra Opus 48, Mvt. 1 Mishael Paraiso, violin Youth Symphony Orchestra Concerto Competition Winner DVOŘÁK

The Harrison 1570 sq. ft.

Symphony No. 9 in E minor “From the New World” Adagio-Allegro

Lexington 1090 sq. ft.

With over 23 floorplans to choose from, visit www.townehouse.org/apartments for your perfect floorplan.

2209 St. Joe Center Road, Fort Wayne, IN 46825

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Many thanks to the generous supporters of this event:

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Y

Y

Youth Orchestra Series

FORT WAYNE PHILHARMONIC YOUTH SYMPHONY ORCHESTRA Colleen Tan, Conductor VIOLIN Alisha Babu Miranda Bartz Karissa Brath John Copeland Julia Eifert Wendy Kleintank Grant Hart Kennon Nicholson Miles Nicholson Mikhayla Palicte Mishael Paraiso Lucas Valcarcel Jessica Zhou VIOLA Olivia Creech Leeza Gallagher Jodi Sarno Grace Henschen

CELLO Ethan Hart Alex Moss John Sarno Destiny Seelig Maria Teel Helen Wargo Kyra Warren Moira Halbauer BASS Graydon Brath Henri Spoelhof FLUTE Alyssa Parr Chloe Morton OBOE Jackson Brummett Laurel Morton

BASSOON Benjamin Kammerer Ben Morton CLARINET Stephen Tsai Isaac Bailey Yehyun Song FRENCH HORN Nathan Merz Maiah Deogracias Megan Merz

FORT WAYNE PHILHARMONIC YOUTH CONCERT ORCHESTRA Marcy Trentacosti, Conductor TUBA Spencer Mohre PERCUSSION Allyn Beifus Hailey Sandquist Evelyn Rowdabaugh PIANO Allyn Beifus

TRUMPET Henry Wellman Faith Allison Sam Parnin TROMBONE Aaron Kreie

Colleen Tan, Youth Symphony Orchestra Conductor Colleen Tan is the Director of Orchestras at Canterbury School and performs with the Fort Wayne Philharmonic.

An active violinist and violist, she has performed in the Vatican, Italy, Bermuda, Ireland, Portugal, and with the Washington Concert Opera, Montclaire String Quartet, Cincinnati Ballet, and Harrisburg Symphony. She is a member of the Lake String Quartet, the quartet in residence at Yellowstone National Park. Previously, she was a member of the West Virginia Symphony Orchestra and directed the Youth Strings Ensemble of the West Virginia Youth Symphony. She is the current chairperson for the American String Teachers Association’s State Leadership Committee. She has served as state president for the WV ASTA Chapter, vice president for the WV Orchestra Directors Association, and currently cochairs the Indiana ASTA Certificate Achievement Program exams.

Colleen earned her M.Mus in Violin Performance at University of Cincinnati CollegeConservatory of Music and B.Mus in Violin Performance and Instrumental Music Education at The Catholic University of America. A National Board Certified Teacher in Orchestra for Early Adolescents and Young Adults, she has enjoyed conducting bands, honors orchestras, all-county orchestras and presenting at national ASTA conferences. She maintains a private violin studio in Fort Wayne. Colleen is married to Philharmonic violinist Timothy Tan and they are blessed with two daughters.

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Youth Orchestra Series

VIOLIN 1 Clara Bingamon Yebin Jeong Court Wagner Daniel Liu Juliette Mikautadaze Ella Hildebrand Trinity Forish Lydia Bingamon Isabel Carillo Elisabeth Rowdabaugh Timothy Chan Kieran Niska Andrew Habig Kaitlyn Jones Jessica Tian Frankie Cai Alexis Deam

CELLO Edward Sun Shaan Patel Maria Tan Nikitha Babu Bethany Perkins Joel Hembree Maya Racz Martina Beam Madison Greenfield Daniel Gruber VIOLA Dillon Jackson Amir Pierre-Louis Kylie Johnson Owen Dankert STRING BASS Preston Reeves

OBOE Andy Deng Kevin Wang

FRENCH HORN Hannah Offhaus Lydia Bingamon

BASSOON Benjamin Kammerer Ben Morton Connor Rybka

TRUMPET Faith Allison Rylee Eagleson Ethan Wilson

FLUTE Madilyn Mory Madelyn Myers Sara DeLong Sophia Zhang

TROMBONE Noah Jeong

CLARINET Marlena Haefner Abigail Johnson Melody Sutter Kristen Foti

PERCUSSION Evelyn Rowdabaugh Hailey Sandquist Andy Deng

TUBA Alex Robles

Marcella Trentacosti, Youth Concert Orchestra Conductor Born and raised in Allentown, Pennsylvania, Marcella Trentacosti has been a full-time section violinist in the Fort Wayne Philharmonic since 1976. She graduated from Indiana University with a Bachelor of Music in Education degree and in 2008 completed a Master of Music degree at Bowling Green State University in Ohio.

Marcy has participated in the Rome Festival Orchestra in Rome, Italy; the Civic Orchestra of Chicago; Bach, Beethoven, Breckenridge Music Festival in Breckenridge, Colorado; and has served as Concertmaster of the Marion Philharmonic.

As an educator she has taught at Snider High School, Woodside Middle School, Canterbury School and Blue Lake Fine Arts Camp. In 2012, Marcy received an Arts United Artie Award for “Outstanding Music Educator”. In addition to performing and conducting the Fort Wayne Philharmonic Youth Concert Orchestra since 2010, she maintains a private teaching studio for the IPFW Community Arts Academy, teaches Violin and String Techniques for the IPFW Department of Music, and is the Director & Founder of the IPFW Community Arts Academy Summer String Camp.

Marcy is an active member of Sigma Alpha Iota, in which she has held several offices; American String Teachers Association; and Indiana Music Education Association. Marcy serves on the board of the Philharmonic Friends and is currently faculty adviser for the SAI Zeta Psi Collegiate Chapter.

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Sweetwater Pops Series

BOWIE AND PRINCE

Many thanks to the generous supporters of this event:

Saturday, March 17, 2018 | 7:30 p.m.

Embassy Theatre

We believe in better.

At Parkview, we believe in reaching higher. Doing the unexpected. And making each new day better than the last. It’s the kind of thinking that’s helped us

Caleb Young, conductor Gavin Hope Jean Meilleur Katalin Kiss Stephanie Martin Peter Brennan Jeff Christmas Don Paulton Mitch Tyler

Chuck & Lisa Surack

Lead Vocals Lead Vocals Backing and Feature Vocals Backing and Feature Vocals Guitar, Jeans ‘n Classics Founder Drums Keyboards Electric Bass

Selections to be announced from the stage.

become Magnet® recognized and one of the 15 Top Health Systems* in the country. 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.

Ziggy Stardust, Station to Station, Low, Heroes, Scary Monsters... 1999, Purple Rain, Parade, Sign, The Gold Experience... David Bowie blazed the trail, and whether by design or osmosis Prince soon followed, becoming a maverick himself. These are two of the greatest pop/glam/rock enigmas in music history.

Always unique, interesting and controversial, and never afraid to push their own creative boundaries, their music pleases, challenges and always amazes. Jeans ‘n Classics is very proud to offer a combined night of these two groundbreaking artists, starring Jean Meilleur and Gavin Hope.

We believe in better.

* Source: Truven Health Analytics

Jeans ‘n’ Classics presents the Music of David Bowie & Prince

Now celebrating their 21st anniversary, Jeans ‘n Classics is a star performer in the arts and entertainment scene right across North America. While most definitely not a tribute act, Jeans ‘n Classics faithfully interprets the music of legendary rock and pop albums and artists, with their own special and signature flair. http://jeansnclassics.com 17

Gavin Hope, vocalist

Jean Meilleur, vocalist Originally from Madison, WI, Jean was born and remains a Green Bay Packer fanatic. He moved to Detroit at a young age. Living in the Motor City helped shape his penchant for the Motown, Soul and R&B sounds of the early ’70s.

With his lightning speed comedic timing, skills on the dance floor and a truly exceptional, emotional voice, Gavin Hope is a natural born performer and always a fan favorite.

Gavin’s diverse career includes song, stage, TV and film, and feeds his wanderlust well. This Juno-nominated solo recording artist has been lucky enough to perform all around the world sharing the stage with such greats as Aretha Franklin, Natalie Cole, Jill Scott, James Brown, and Deborah Cox, to name a few.

His theatre highlights include lead roles in the original Canadian companies of RENT and The Lion King (Mirvish), The Tempest (CanStage), As You Like It (CanStage), and Smokey Joe’s Café (Stage West).

Gavin is also known for his work performing as a member of Canadian acapella vocal group The Nylons, with whom he has toured the world and recorded six studio albums (two of which were nominated for Juno Awards).

Gavin is happy to have found another home with the Jeans ’n Classics band as a core vocalist and is thrilled to be performing the fantastic music of Michael Jackson, Earth Wind and Fire, Motown, Prince, Stevie Wonder, Rocky Horror and more, with wonderful orchestras across North America.

Gavin has earned rave reviews for his most recent studio album, For All We Know, in collaboration with pianist Bill King. Smooth, sultry, and very chill, For All We Know is reminiscent of the style of Tony Bennett and Bill Evans, with a new take on some classic jazz standards

by Bennett, Blood Sweat and Tears, and Donny Hathaway among others. Sweet, minimalist, inspiring, soulful and heartfelt, For All We Know is now available on iTunes. http://www.gavinhope.com Jean Meilleur has been a headliner with Jeans ’n Classics for over 20 years. In that time, he has performed with scores of major North American orchestras, lending his distinctive voice to some of the greatest popular music of our time.

Sparks fly in support of the Fort Wayne Philharmonic!

Jean is a prolific songwriter who has been performing professionally for over thirty years. His singing voice can best be described as passionate and provocative, with a robust timbre that is immediately recognizable. His voice stands as a true original. Jean’s voice has been heard over the years on many national radio and television jingles and advertisements.

He was recently chosen as the Canadian voice of Jim Beam Kentucky Straight Bourbon Whiskey.

To quote Jean: “It’s a privilege to share the stage with a symphony orchestra, Peter Brennan’s superb arrangements and a flawless band. To have the opportunity to sing some of the greatest popular music of our time, in my own voice, is a rush beyond compare.”

Celebrating The Philharmonic

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Graig P. Stettner, CFA, CMT

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M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

MOZART, BEETHOVEN, AND SCHUBERT Saturday, April 7, 2018 | 7:30 p.m.

Rhinehart Music Center, IPFW Andrew Constantine, conductor Valentina Lisitsa, piano

MOZART

Overture to The Magic Flute, K. 620

BEETHOVEN Concerto No. 1 for Piano and Orchestra in C major, Op. 15

Allegro con brio Largo

Rondo: Allegro Valentina Lisitsa, piano

-- Intermission --

SCHUBERT Symphony in C major, D. 944 “The Great”

Andante – Allegro, ma non troppo

Andante con moto

Scherzo: Allegro vivace

Allegro vivace Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, April 19 at 7:00pm

Photo Credit: Gilbert Francois

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Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

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MOZART, BEETHOVEN, AND SCHUBERT

OVERTURE TO THE MAGIC FLUTE, K. 620 Wolfgang Amadeus Mozart (b. 1756, Salzburg, Austria; d. 1791, Vienna, Austria) In the last three years of his all-too-brief life, Mozart experienced a steady stream of disappointments. The fickle Viennese public seemed to have lost interest in his music, a major court appointment always eluded him, and he had to borrow large sums of money from his Masonic brother Michael Puchberg to support his wife and children.

Then in the middle of 1791, another fellow Mason, the singer-impresario Emanuel Schikaneder, came to the rescue with a very unusual project. He asked Mozart to create a new singspiel — the Viennese equivalent of a Broadway musical — to present at the Theater auf der Wieden, a venue that catered to the ordinary Viennese public rather than the aristocratic audiences for whom Mozart usually composed. Schikaneder himself wrote the fantastic fairy-tale libretto for Die Zauberflöte, or The Magic Flute as we know it in English, and Mozart clothed it in music of sublime simplicity and wit. It was premiered on September 30, 1791, under Mozart’s baton, just nine weeks before his death. That winter as he lay dying, the composer had the consolation of knowing that The Magic Flute was still playing to enthusiastic, sold-out audiences — the greatest hit of his career.

Schikaneder made the flute — an instrument Mozart once told his father he despised — into a talisman that protects the hero, Prince Tamino. Early in the story, the sinister Queen of the Night presents Tamino with the flute, which she tells him will protect him from danger as he seeks to rescue her beautiful daughter, Pamina, from the powerful priest Sarastro. And at the opera’s end, the magic flute does its job as Tamino plays it while passing through fire and water with his beloved.

Having successfully endured this double ordeal, Tamino and Pamina are hailed as the new rulers of Sarastro’s kingdom.

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PROGRAM NOTES April 7, 2018

As well as high comedy and romance, The Magic Flute possesses a serious ethical side, and we hear both these qualities in its remarkable overture.

As dedicated Masons, Mozart and Schikaneder incorporated some of the symbolism of the Masonic rites into the music and plot of their opera. For Masons, the number three possessed mystical significance. Thus at the beginning and again in the middle of the overture, we hear three noble brass chords in the key of E-flat major, a key using three flats.

The rest of the overture is a merry fugue, in which a sparkling little tune romps through the instruments in this greatest of Mozart’s overtures.

CONCERTO NO. 1 FOR PIANO AND ORCHESTRA IN C MAJOR, OP. 15 Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827 Vienna, Austria) When Beethoven arrived in Vienna in November 1792 to study with the great Haydn and win fame as a piano virtuoso, Mozart had been dead for less than a year. In a city mad for pianists the throne of king of the keyboard was vacant, and Beethoven was quick to fill it. His conquest of Vienna came far more easily and was more lasting than Mozart’s; within a year, he had a host of wealthy noble patrons such as Mozart had only dreamed about and was the most sought-after soloist in town.

Although he had come to Vienna to study composition with Haydn, the pairing didn’t work. Haydn was a better composer than teacher and did not know what to make of the youngster he dubbed “the Grand Mogul” for his arrogance and obstinacy. Nevertheless, Beethoven’s reputation as a composer soon began to catch up with his fame as a pianist. Scholars are not absolutely certain when he wrote his First Piano Concerto (actually his second, since Piano Concerto No. 2 in B-flat was written earlier, but published later), but they focus on the year 1795. He likely

premiered this concerto at a concert in Vienna on December 18, 1795, organized

by Haydn.

Movement 1: Beethoven’s first two piano concertos followed the model of Mozart’s, but this one already shows his own stamp in its sprawling scale and combination of boldness and reverie. It is scored for two trumpets and timpani, as well as woodwinds and strings, as was typical for late-18th century compositions in the “brilliant” key of C major. The very military opening theme begins softly in the strings, but reveals its true character when it is repeated fortissimo by the full orchestra. The orchestra also introduces us to the graceful, downward-curving second theme, but we just hear the first part of it as it keeps seeking a way back to C major. Only when the piano enters will we hear it in its entirety.

Much of the piano’s exposition is devoted to glittering, high-speed passagework to show off Beethoven’s virtuosity, but his poetic side is also on display in some lovely quiet playing toward the end. The development section, begun by solo oboe, also is introspective and quiet. It concludes with bravura double-octave scales hurtling downward to launch the reprise of the opening.

The slow movement is a beautiful rhapsody, which we want to go on forever (as it nearly does). The orchestra is reduced to just strings and the darker winds — clarinets, bassoons, and horns — giving it a special moody coloration.

The piano’s long, melancholy melodies, elegantly decorated, introduce a Romantic world that Mozart never quite entered. In the extended coda at the end comes a wonderful, tender duet for the solo clarinet and the piano.

The pianist launches the rondo finale with a vivacious, high-spirited rondo theme that is easy to recognize on its many returns. This music also includes a perky dialogue between woodwinds and soloist near the end, and a quiet passage for the soloist followed by the oboe, which sets off the boisterous Beethovenian finish all the better.

Symphony in C major, D. 944 “The Great” Franz Schubert (b. 1797, Vienna, Austria; d. 1828, Vienna) We tend to think of Franz Schubert as a Romantic composer of the generation after Beethoven, but in fact he lived his entire life in the Bonn master’s shadow, dying just a year and a half after him.

Too shy to attempt to win Beethoven’s friendship, Schubert worshipped him from afar, faithfully attending concerts of his music. He was in the audience at the first performance of the Ninth Symphony on May 7, 1824, and it is very likely that strengthened his determination to write what he called “a grand symphony,” worthy of Beethoven’s achievements in the field. The result was dubbed the “Great C major” to distinguish it from his more modest Sixth Symphony, the “Little C major.”

Because the symphony’s manuscript bears the date March 1828, musicologists for many years believed it was composed in that last year of the composer’s life.

But recent evidence suggests that it was drafted in the summer of 1825 — just a year after the Ninth’s premiere. Most likely, Schubert returned to the work in 1828 to make final amendments; the manuscript shows many scratched-out and rewritten passages. Sadly, he never heard a performance of the work now acknowledged by many as his greatest.

The symphony languished unperformed until 1839 when Robert Schumann visited Schubert’s brother Ferdinand in Vienna and discovered there a treasure trove of the composer’s works. Looking through the score of this work, he recognized an “entirely new world that opens before us” and marveled at “the heavenly length of the symphony”: at 50 minutes, it has a breadth only Bruckner and Mahler would exceed half a century later. Schumann quickly sent it to Mendelssohn at the Leipzig Gewandhaus Orchestra, and there on March 21, 1839, it finally had its first performance.

Schubert had indeed written a symphony on an epic scale worthy of Beethoven’s nine, but without imitating them. The “Great C major” is like no other symphony before or since: in its orchestral sound,

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its uniquely Schubertian combination of dramatic energy with wistful lyricism, and its uncanny ability to inspire in the listener both awe and love.

The first movement begins with a lengthy introduction that is a crucial part of the entire work, establishing its mood, color, and thematic substance. Two horns sing a simple but majestic melody whose first-measure “do-re-mi” pattern and second-measure dotted rhythm will be repeated in themes throughout the work.

Variations on this tune build excitingly to the main Allegro section. Full of chugging energy, its first group of themes is propelled by those dotted rhythms and dominated by the strings. By contrast, the folkish second theme uses smooth, gently accented rhythms and features oboes and bassoons. The tug-of-war between this woodwind poignancy and the fierce energy of the strings generates the movement’s complex drama. Throughout, quiet but insistent horn and trombone calls remind us of the majestic opening theme. In an expansive coda, the whole orchestra blazes forth that theme.

The tone of mingled pathos and passion intensifies in the second movement in A minor. “I feel myself the most unfortunate, the most miserable being in the world,” Schubert wrote a friend in 1824. “Think of a man whose health will never be right again, and who from despair over the fact makes it worse instead of better, think of a man … whose splendid hopes have come to naught.”

Schubert knew, or at least suspected, that the syphilis he contracted in 1822 was a death sentence. Yet he lived out his remaining years with optimism and boundless creativity, and one can perhaps hear that drama given musical expression in this movement. Over a relentless march beat, a solo oboe sings a plucky melody that Donald Francis Tovey called a “heartbreaking show of spirit in adversity.”

Loudly, the strings mock the oboe’s tune.

This section alternates with another in which the violins deliver a consoling, downward-flowing hymn-like theme.

Upon the return of the oboe music, the two repeated notes that gently end its first phrase erupt into a terrifying crisis of dissonance. After a dramatic pause, cellos offer comfort and the violin hymn returns to complete the recovery. Although the crisis threatens to break out again in the 24 coda, Schubert keeps it at bay.

Valentina Lisitsa, piano

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The third movement is a scherzo in the Beethovenian style, full of rhythmic drive and bold energy. But it contains music that is quintessential Schubert: a middle trio section in the style of an Austrian ländler (the precursor of the waltz) featuring the woodwind band’s most beguiling sonorities. It is one of the most enchanting of his creations.

The finale immediately engulfs us in a whirlwind of fire and speed. The sense of forward momentum is relentless, intensified by 88 consecutive measures of devilishly fast triplets for the strings, spinning under the woodwind’s quietly obsessive second theme. Still greater force emerges from the four repeated notes that innocently begin that theme.

Schubert metamorphoses them into pounding hammer strokes that, in Tovey’s words, are “as powerful and terrible as anything in Beethoven or Michelangelo.”

But Schubert, the lyrical genius, is strong enough to wield them, and with their help, he creates a dramatic finish Beethoven would have surely applauded.

Valentina Lisitsa is not only the first “YouTube star” of classical music; more importantly, she is the first classical artist to have converted her internet success into a global concert career in the principal venues of Europe, the USA, South America and Asia.

The Ukraine-born artist began her musical education in her native city of Kiev at the Lysenko Music School for highly talented children and continued it at the Conservatoire in the city. Not confining herself to the musical world, she also dreamed of a career as a professional chess player.

After immigrating to the USA, Valentina launched herself as a piano-duet partner alongside her husband. Several competition successes and the consequent concert engagements marked the start of her life as a concert artist.

Soon, however, Valentina Lisitsa looked for new ways of enlarging her audience.

Her exceptional sense of new developments and her openness to unconventional approaches proved vital.

She posted her first video on YouTube in 2007, a recording of the Etude Op. 39/6 by Sergei Rachmaninoff. In a broadcast interview, she said, “My first YouTube clip was a lo-fi VHS recording on an awful school piano, and my hands were out of sync with the sound. But even so, my message came across to people. Straight away they started telling me that my interpretations meant something to them, that they changed things, that they stood out.” The views increased staggeringly; more videos followed. The foundation stone of a social-network career unparalleled in the history of classical music was laid. Her YouTube channel now records 346,000 subscribers and 147 million views with an average 75,000 views per day.

During the season 2017-2018 Valentina will be on tour with the Russian State Philharmonic in Great Britain with concerts in London, Edinburgh, Cambridge and Warwick and will play recitals during a South America Tour in Buenos Aires, Porto Alegre, Belo Horizonte and Rio de Janeiro. She is invited to numerous festivals such as Palermo Classica Festival, Festival der Stille, Festival Savoy Truffle in Megève and will make her debuts in Singapore and China. Valentina also will appear in the USA, Korea, South Africa, Spain, France, Germany and Belgium. A Special highlight of the season will be a concert in honor of the King of Taipei.

Valentina continues to be a welcome guest at many famous music festivals. The highlights include her performances at Bristol Proms, Tivoli Festival, Zaubersee Festival Lucerne, Menuhin Festival Gstaad, Heidelberger Frühling, Rheingau Music Festival, Nordlysfestivalen Tromsø, Ankara Piano Festival, Cartagena, and Ravello Music Festival.

Valentina Lisitsa records exclusively for Decca Classics. Her discography contains recordings of every piano concert by Sergei Rachmaninoff, works by Chopin, Glass, Liszt and Scriabin as well as her latest CD, Love Story – Piano Themes from the Cinema’s Golden Age, with major film music from the 1920s.

Valentina Lisitsa is represented worldwide by Natalja Slobodyreva at IMG Artists.

For further information, please visit: http://imgartists.com/artist/valentina_lisitsa www. valentinalisitsa.com

Notes by Janet E. Bedell copyright 2018 25

F STAR Family Series

PETER AND THE WOLF Sunday, April 8, 2018 | 2:00 p.m.

Rhinehart Music Center, IPFW

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

Caleb Young, conductor Fernando Tarango, narrator Fort Wayne Ballet, Karen Gibbons-Brown, artistic director Fort Wayne Philharmonic Youth Symphony Orchestra, Colleen Tan, interim conductor GLINKA

Overture to Russlan and Ludmilla

SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47

II. Allegretto Side-by-Side with Philharmonic

Youth Symphony Orchestra BEETHOVEN Symphony No. 8 in F major, Op. 93

I. Allegro vivace con brio PROKOFIEV Peter and the Wolf, Op. 67 Fort Wayne Ballet Fernando Tarango, narrator HIGDON

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Please see page 14 for the Youth Symphony Orchestra roster and the biography for Colleen Tan, YSO director.

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Š 2017 STAR Financial Group

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Karen Gibbons-Brown, Fort Wayne Ballet Artistic Director Karen Gibbons-Brown trained in ballet, modern, jazz, tap, and theater dance, beginning in Columbia, South Carolina, and later at American Ballet Theatre and David Howard School of Ballet. Her professional experiences, among many, include South Carolina Chamber Dance Ensemble, Ballet Celeste, Bristol Ballet and the Theatre Ballet of San Francisco.

Ms. Gibbons-Brown is known for her work in the classroom and enjoys teaching a variety of dance-related subjects including ballet, pointe, repertoire, terminology, dance history, pedagogy and makeup and hair for stage as well as restaging major classical works.

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

In 2010, renowned choreographer Dean Speer, in his book “On Technique,” identifed Ms. Gibbons-Brown as among the world’s 18 most respected ballet masters, pedagogues, and artistic directors. In 2016 she received the Lifetime Achievement Award from Arts United.

Fernando Tarango, narrator Classically trained tenor Fernando Tarango, has become a crossover artist, spanning the disciplines of professional actor, opera singer, rock band front man, and music educator. He has been on US television commercial campaigns for Old Spice, Anthem Blue Cross, and Southern Comfort, and has been heard on networks such as MTV, VH1, E! and the Oxygen Network.

A graduate of the University of Michigan School of Music and the American Boychoir School, Fernando has been a professional musician since the age of 10. He has toured the world, performed and recorded with GRAMMY® Awardwinning artists and ensembles sung on the GRAMMY® Award-winning recording Bolcolm’s Songs of Innocence.

When not on stage, Fernando empowers young artists with his work as a vocal coach, songwriting coach, music producer and through his classroom songwriting workshops, Sing Your Story.

Fernando has developed and scripted young people’s programming for the Fort Wayne Philharmonic and is a regular host and performer with the Carnegie Hall Link Up Series. He is currently in production for his educational web series, The Perpetual Music Machine, due to air in June of 2018; performs as a bandleader in his original style of Americana Jazz fusion; and recently was offered the role of Jean Valjean in the 2018 Production of Les Misérables for the New Plymouth Operatic Society in New Plymouth, New Zealand.

Fort Wayne Ballet The Auer Academy of Fort Wayne Ballet provides dance education to more than 300 students annually ranging from age 3 to 93. Their classes extend to pre-professional students looking to dance as a career, and children and adults who enroll for the love of dance.

Fort Wayne Ballet’s performance season consists of three mainstage performances at the Arts United Center, three family series performances in the Fort Wayne Ballet studios, and two performances featuring the professional company and their own choreography.

Performances range from the traditional classics such as Romeo and Juliet, Cinderella, and The Nutcracker to contemporary works from renowned choreographers such as José Limon, Edward Stierle and Gerald Arpino. In March 2018, Fort Wayne Ballet continues its collaboration with the Philharmonic in three performances of a full scale production of Coppélia.

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Fort Wayne Ballet’s Community Engagement programs are comprised of in-school programs, in-theatre educational youth performances, and community performances/ outreach. They collaborate with Fort Wayne Community Title One Schools and other area educational entities such as YMCA, to increase the accessibility of arts education to under-served people in the region. Free performances are available throughout the year at locations in downtown Fort Wayne including Taste of Arts Festival, the YMCA of Greater Fort Wayne, and the Allen County Public Library. For more information, visit fortwayneballet.org.

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F Brotherhood Mutual Insurance Company Freimann Series

FROM THE EAST Wednesday, April 11, 2018 | 7:30 p.m. - Parkview Physicians Group ArtsLab Sunday, April 15, 2018 | 2:00 p.m. - Rhinehart Recital Hall IPFW ARUTIUNIAN Armenian Scenes Morning Song Drinking Song Song of Grief Wedding Procession

Andrew Lott, trumpet; Dan Ross, trumpet; Alex Laskey, horn

Andrew Hicks, trombone; Chance Trottman-Huiet, tuba

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JANÁČEK Mládí (Youth) Allegro Andante sostenuto Vivace Allegro animato

Luke Fitzpatrick, flute; Orion Rapp, oboe

Campbell MacDonald, clarinet; Dan Healton, bass clarinet

Michael Galbraith, horn; Dennis Fick, bassoon HUSA Divertimento for Brass

Overture Scherzo Song Slovak Dance

Andrew Lott, trumpet; Dan Ross, trumpet; Alex Laskey, horn

Andrew Hicks, trombone; Chance Trottman-Huiet, tuba

-- Intermission --

PROKOFIEV String Quartet No. 1 in B minor, Op. 50

Allegro Andante molto - Vivace Andante

Violetta Todorova, violin; Olga Yurkova, violin

Derek Reeves, viola; Andre Gaskins, cello

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FROM THE EAST

ARMENIAN SCENES Alexander Arutiunian (b. 1920, Yerevan, Armenia; d. 2012, Yerevan) Now once again an independent country, Armenia is a rugged, mountainous land that sits on the border, geographically and culturally, between Europe and Asia. Adjoining Turkey, it is nevertheless predominantly Orthodox Christian.

First Turkey conquered it, leading to an infamous genocide of Armenian citizens; then, after the Russian Revolution, it was absorbed into the Soviet Union.

Its most prominent composer after the famous Aram Khachaturian was Alexander Arutiunian or Harutyunyan, who was born in its capital city of Yerevan and spent most of his career there. After graduating from the Yerevan Conservatory, he moved to Moscow, where he studied at the Moscow Conservatory and participated in the workshops of the House of Armenian Culture. His graduation piece was a cantata, Motherland, which went on to win the Stalin Prize in 1948. Upon returning to Yerevan, Arutiunian became the artistic director of the Armenian State Philharmonic.

Despite the perilous cultural politics of the U.S.S.R., Arutiunian was very successful for he was deeply attached to Armenian folk music (folk music was always popular with the Soviet regime) and used its characteristics in much of his music. His Trumpet Concerto of 1950 became very popular with trumpeters throughout the world. Almost equally loved is his delightful Armenian Scenes for brass quintet (1984), which was commissioned by an Armenian-American tuba player, Sam Pilafian of Boston, and premiered in Cambridge, Massachusetts.

Antiphonal wake-up calls between the trumpets open the radiant “Morning Song,” whose many ascending lines reflect the rising of the sun in the sky.

Next comes the “Drinking Song,” whose rhythms lurch and sway in dizzy revelry.

It is followed by the beautiful slow-tempo 32 “Song of Grief,” in which the instruments

PROGRAM NOTES April 11 & 15, 2018 imitate each other’s line in the manner of Baroque counterpoint. A drumbeat sets the final “Wedding Procession” in motion; Armenian ornamental melismas adorn its exotic phrases.

MLÁDÍ (YOUTH) Leos Janácek (b. 1854, Hukvaldy, Bohemia, now Czech Republic; d. 1928, Ostrava, Czech Republic) No other composer had a career path quite like Leos Janácek’s. Born to a poor family of musician/teachers in Moravia, he worked for decades in diligent obscurity as a teacher and conductor in Moravia’s capital, Brno. The greatest period of his creativity came after his 60th birthday in the 12 years after his opera Jenufa finally had its triumphant premiere in Prague in 1916. During that extraordinary decade, he wrote his two string quartets, the Sinfonietta, and his finest operas Kát’a Kabanová, The Cunning Little Vixen, The Makropoulos Affair, and From the House of the Dead — most of the works for which he is renowned today.

The wind sextet Mládí (“Youth”) was another exceptional chamber work that came from this miraculous final period of Janácek’s life. He wrote it to celebrate his 70th birthday, and those who knew him described him as extraordinarily youthful and full of vitality at that age.

Much of the secret of this vitality was due to his passionate but platonic love affair with Kamila Stosslová, which was largely conducted through letters. Only half his age, she became his muse and inspiration.

Preparing to collaborate on a biography at this time, Janácek began collecting memories of his youth, part of it spent as a student at Brno’s Augustinian monastery.

These reminiscences prompted Mládí, which is indeed as fresh and youthful as its title suggests. Written during the summer of 1924, Mládí was scored for a somewhat unusual, very bright-toned ensemble of flute (sometimes doubling piccolo), oboe, clarinet, bass clarinet, bassoon, and horn.

All of Janácek’s music, whether vocal or instrumental, sprang from the rhythms of the Czech language he loved so deeply.

And thus, the Allegro first movement is built around a little downward-sighing theme announced at the very beginning by the oboe; it sets the Czech words “Mládí, zlaté mládí” (“Youth, golden youth”). This idea keeps returning between episodes of contrasting music in the minor mode and often faster tempos.

The conclusion of the movement is a high-speed romp joyously recalling this theme over and over.

The bassoon introduces a nostalgic, slightly melancholic theme for the Andante sostenuto second movement, which is treated to a variations process and also interrupted by a fast, playful interlude. The nostalgic theme, however, has the last word, rounded off by a sigh from the flute and mutters of agreement from the bassoon.

Immediately before writing Mládí, Janácek had written a little march for piccolo, bells, and piano or tambourine, which he called the “March of the Bluebirds.” “Bluebirds” referred to the nickname of the Brno monastery boys, Janácek among them, who wore blue coats and marched to a little whistling song. The third-movement scherzo features the shrill voice of the piccolo imitating the whistling. Two slower and tenderly melodic interludes briefly interrupt the march.

Reminiscences of the “Youth, golden youth” theme open the Allegro animato finale. Eventually, a bolder new theme emerges, led by the horn. Janácek’s development of his “Youth” theme is stunningly imaginative throughout, as is his exploitation of all the members of his ensemble, juxtaposing their distinctive color characteristics. The close is a fast, brilliant salute to the “Youth” theme.

DIVERTIMENTO FOR BRASS Karel Husa (b. 1921, Prague, Czechoslovakia; d. 2016, Apex, North Carolina) Winner of both the Pulitzer Prize and the equally prestigious Grawemeyer

Award, Karel Husa died just over a year ago at the age of 95, after an international career that spanned his native Czechoslovakia, Paris, and the United States. After studies at the Prague Conservatory, a French fellowship enabled him to move to Paris, where he studied composition under French composer Arthur Honegger and the legendary Nadia Boulanger. Though Czech authorities tried to entice him to move back, he resisted because of his opposition to the Communist regime there. That resistance launched a strong element of political activism that flavored his most famous composition, Music for Prague 1968.

In 1954, Husa moved with his family to the U.S., eventually becoming an American citizen, and was a professor for 38 years at Cornell University in Ithaca, New York. Wanting to create a musical work to teach his two young children about their Czech heritage, in 1955 he wrote Eight Czech Duets for piano duo for them to play. This modest little piece, drawing on traditional folk melodies as well as similar ones of his own composition, went on to spawn the Divertimento, which in several different arrangements has become one of his most popular pieces.

The first version of the Divertimento came about when the professor of horn at nearby Ithaca College asked Husa to create a work for brass ensemble.

Husa arranged four movements from the Czech Duets into a work for brass and percussion, which was premiered in 1960. Its popularity spurred several other arrangements, including a version for brass quintet, premiered by the Ithaca Brass Quintet on November 20, 1968, which we will hear.

Husa has said that though the first movement, “Overture,” has some of the stately quality of a Baroque French overture, that grandeur should also be toughened up with the feeling of a Czech farmer’s dance. The second movement is a boisterous, rustic “Scherzo.” Husa explains it is based on a humorous Czech song, which translates: “If the farmer had no daughter, the boys wouldn’t go into his yard. / If the gates were made of iron from Styr, they wouldn’t keep me out of the master’s yard.”

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In complete contrast, “Song” or “Elegie” is a solemn slow movement that emphasizes the lower range of the instruments, beginning with its mournful melody introduced by the horn. “Slovak Dance” is the high-energy finale. To an off-the-beat accompaniment, it opens with the tuba playing the traditional Slovak round dance “Vrtena,” which then receives two variations, growing faster and faster. The momentum is briefly calmed by an interlude featuring the two trumpets over an intricate rhythm accompaniment. Then two more variants on “Vrtena” appear, and the movement ends in wild excitement.

STRING QUARTET NO. 1 IN B MINOR, OP. 50 Sergei Prokofiev (b. Sontsovka, Ukraine, 1891; d. Moscow, U.S.S.R., 1953) Though he wrote music in all the major classical categories, Sergei Prokofiev — unlike his Russian colleague Shostakovich — was not particularly drawn to the string quartet medium. His opportunity to compose his first quartet came in 1929–30 during the years he spent in the West before returning to the Soviet Union in 1934. Hearing him in a concert in Los Angeles, Elisabeth Sprague Coolidge — a musical patroness who generously supported many of the important composers of the first half of the 20th century — commissioned a quartet from him. Written in a town outside Paris, it was premiered at the Library of Congress in Washington, D.C., on April 25, 1931.

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Feeling he needed to study the best before attempting this assignment, Prokofiev turned to Beethoven’s impressive quartet oeuvre and imbued his First Quartet with classical formal principles. However, what makes this work so unique is the new tone of emotional seriousness and complexity he brought to it. By this time, Prokofiev was trying to shed the “enfant terrible” image he had created as an impetuous young composer who had approached his early work with a spirit of aggressive bravado and technical showmanship.

In the First Quartet, ironic detachment and sarcasm were replaced by deep emotional expressiveness and a

willingness to explore the dark feelings he’d experienced when having to flee his country during the Russian Revolution.

Its final movement is among the most moving music he ever wrote.

The Allegro first movement opens with the first violin playing a theme very typical of this composer — angular, high-spirited, sassy, and driven by an equally characteristic rhythmic ostinato in the other instruments. After this is expounded and developed, there comes a pause before a new mood is introduced: a winding, introspective second theme, led by the violin and given an intricate contrapuntal treatment. And we hear a third theme, too: a very assertive, slightly march-like tune bristling with spiky dissonances. The return of the sassy theme ushers in a rather elaborate development section, in which all four instruments pursue their own takes on this theme, as well as muse on the introspective theme and hint at the dissonant march. The recapitulation brings more changes to all these themes, then wraps up quickly.

A NIGHT AT THE MOVIES @THE CLYDE THEATRE

GALA & AUCTION FRIDAY, JUNE 1, 2018 AT 6:00 P.M.

Movement two is most unusual in that it begins as a soulful, dark-toned slow movement, then abruptly shifts into a fast scherzo. That soulful opening, in fact, is a kind of preview of the final movement.

Suddenly, viola and cello blow it away with a fast, gruff-sounding scherzo theme. This driving, abrasive music is twice interrupted by trio sections, the first led by the cello, that try in vain to lighten the propulsive energy.

Using a slow tempo for a last movement is an unorthodox choice, but Prokofiev makes his Andante finale the Quartet’s most powerful movement. Over a continuous accompanimental figure, throbbing with grief, the viola returns to the mood of the second movement’s opening to build a solemn and deeply expressive theme, soon joined by the violin. This music grows in intensity and contrapuntal density between all the instruments. A new theme suggests a mysterious romantic dance. Urged on by the cello, a new version of the first theme ushers in a development section in which both themes combine passionately, leading to an anguished climax. The remainder of the movement becomes steadily bleaker and more subdued, then abruptly dies away altogether.

Notes by Janet E. Bedell copyright 2018

The Fort Wayne Philharmonic will present PHILharmonious: A Night at the Movies at the newly renovated Clyde Theatre. It’s a gala night of great food, drink, and music, all in support of Philharmonic education and community engagement programs.

Tickets go on sale April 2.

For more information, call 260.481.0774, email swuest@fwphil.org, or visit fwphil.org.

FORT WAYNE PHILHARMONIC 1808 Bluffton Rd, Fort Wayne, IN

Andrew Constantine, Music Director

Online @WBOI.ORG Download t he WBOI Mobile App

Special Events Series

THE MUSIC OF LED ZEPPELIN Friday, April 13, 2018 | 7:30 p.m.

Embassy Theatre Richard Carsey, Conductor, Arranger Randy Jackson, Vocals Dan Clemens, Bass Powell Randolph, Drums George Cintron, Guitar Allegra, Electric Violin

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Richard Carsey, conductor Richard Carsey is a conductor, pianist and actor. In 2014-15, he toured the US as Music Director of Cameron Mackintosh’s new production of The Phantom of The Opera. Other national tours include the Broadway revival of La Cage Aux Folles with George Hamilton and the new musical Little House on the Prairie, featuring Melissa Gilbert. Carsey has a long association with the Skylight Opera Theatre in Milwaukee, WI, as Principal Conductor, and served as Artistic Director for nine seasons. Highlights of his tenure include the world premiere and television broadcast of Richard Wargo’s opera Ballymore; a PBS broadcast of The Mikado; and the world premiere of the opera The Rivals by Kirke Mechem. For six seasons he was the Principal Pops Conductor of the Racine Symphony, and has conducted Syracuse Opera, Sheboygan Symphony, and Lyric Opera Cleveland. Recently he was Keyboard and Cover Conductor for the Radio City Christmas Spectacular at Radio City Music Hall in NYC.

Randy Jackson, vocals and guitar Randy Jackson is the lead singer/guitarist for the rock band Zebra. Randy’s first foray into recording success began with the self-titled Zebra debut album, released on Atlantic Records in 1983. Critically acclaimed for its lush rock sounds, due in large part to Jackson’s searing lead vocals and soaring guitar leads, the album sold 75,000 copies the first week. “Who’s Behind The Door” and “Tell Me What You Want,” written by Jackson, received serious notice in the press, and helped to form legions of Zebra fans almost instantly. The latest Zebra release, “Zebra IV,” was also produced and engineered by Jackson.

Randy toured as keyboardist, guitarist and backing vocalist in 1989 with the original, reunited Jefferson Airplane, their last tour together. He has also worked extensively in the area of musical software and hardware development.

MARK YOUR CALENDAR WITH OUR SUMMER PATRIOTIC POPS REGIONAL SERIES

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Wed., June 27, 2018 | 7:30 p.m. in Kosciusko County Oakwood Resort at Lake Wawasee in Syracuse, IN

Fri., June 30, 2018 | 7:00 p.m. in Wells County Ouabache State Park in Bluffton, IN

Thurs., June 28, 2018 | 7:30 p.m. in Steuben County Potawatomi Inn at Pokagon State Park in Angola, IN

Wed., July 4, 2018 | 8:30 p.m. in Noble County Bixler Lake Park in Kendallville, IN

Fri., June 29, 2018 | 7:30 p.m. in DeKalb County DeKalb Outdoor Theater in Auburn, IN

For more information go to FWPHIL.ORG

Sweetwater Pops Series

THE MUSIC OF RODGERS & HAMMERSTEIN AND ANDREW LLOYD WEBBER Friday, April 20, 2018 | 7:30 p.m.

Saturday, April 21, 2018 | 7:30 p.m.

Embassy Theatre Andrew Constantine, conductor Phillip Colglazier, stage director Eunice Wadewitz, music director, Fort Wayne Civic Theatre Manna Nichols, special guest vocalist Christopher Sloan, special guest vocalist Amy Baxter Knispel, soloist Stephanie Carlson, soloist Tom Didier, soloist Stuart Hepler, soloist Stephanie Longbrake, soloist Timothy Miles, soloist ACT I -- The Music of Rodgers & Hammerstein The Carousel Waltz (Carousel) ........................................................................................... Orchestra

Music by Richard Rodgers. Orch., Don Walker There Is Nothin’ Like a Dame (South Pacific) .......................................................... Men’s Chorus

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett A Wonderful Guy (South Pacific)............................................................... Stephanie Longbrake

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett Some Enchanted Evening (South Pacific)...................................................................Tom Didier

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett Program continued on page 42.

Many thanks to the generous supporters of this event:

Anonymous (1) Chuck & Lisa Surack

41

THE MUSIC OF RODGERS & HAMMERSTEIN AND ANDREW LLOYD WEBBER

Memory (Cats) ................................................................................................................Manna Nichols

Music by Andrew Lloyd Webber

Program continued from page 41.

Sunset Boulevard (Sunset Boulevard) ....................................................................... Stuart Hepler

Music by Andrew Lloyd Webber, lyrics by Don Black and Christopher Hampton

I Have Dreamed (The King And I).....................................Manna Nichols & Christopher Sloan

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett

With One Look (Sunset Boulevard) ...................................................................Stephanie Carlson

Music by Andrew Lloyd Webber, lyrics by Don Black and Christopher Hampton

Shall We Dance? (The King And I)................................. Amy Baxter Knispel & Timothy Miles

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett I Enjoy Being a Girl (Flower Drum Song)..............................................................Manna Nichols

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett

All I Ask of You (The Phantom of the Opera).................Manna Nichols & Christopher Sloan

Music by Andrew Lloyd Webber, lyrics by Charles Hart Music of the Night (The Phantom of the Opera) ..........................................Christopher Sloan

Music by Andrew Lloyd Webber, lyrics by Charles Hart Love Changes Everything (Aspects of Love) ................................................................ Company

Music by Andrew Lloyd Webber, lyrics by Don Black and Charles Hart

A Fellow Needs a Girl (Allegro).................................................................................... Stuart Hepler

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett Do I Love You Because You’re Beautiful? (Cinderella).........Stephanie Longbrake & Tom Didier

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett The Surrey with the Fringe on Top (Oklahoma!)................................................... Timothy Miles

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett People Will Say We’re in Love (Oklahoma!)..................... Stephanie Carlson & Stuart Hepler

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett Oh, What a Beautiful Mornin’ (Oklahoma!)...................................................... Christopher Sloan

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett Oklahoma (Oklahoma!)...................................................................................................... Company

Music by Richard Rodgers, lyrics by Oscar Hammerstein II

Orch., Robert Russell Bennett

-- Intermission -ACT II -- The Music Andrew Lloyd Webber Evita Suite (Evita)................................................................................................................ Company

Lyrics by Tim Rice, music by Andrew Lloyd Webber Don’t Cry For Me, Argentina (Evita)...............................................................Amy Baxter Knispel

Lyrics by Tim Rice, music by Andrew Lloyd Webber Starlight Sequence (Starlight Express) .......................................................................... Company

Music by Andrew Lloyd Webber, lyrics by Richard Stilgoe Jellicle Ball (Cats).................................................................................................................Orchestra

Music by Andrew Lloyd Webber 42

Andrew Lloyd Webber Andrew Lloyd Webber is the composer of some of the world’s best-known musicals including Cats, Evita, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, The Phantom of the Opera (which celebrated its 30th anniversary on Broadway in 2018) and Sunset Boulevard.

When a revival of Sunset Boulevard joined School of Rock – The Musical, Cats and Phantom on Broadway in February 2017, Lloyd Webber became the only person to equal the record set in 1953 by Rodgers and Hammerstein with four shows running concurrently.

As well as The Phantom Of The Opera and Cats, his productions include the groundbreaking Bombay Dreams, which introduced the double Oscar-winning Bollywood composer AR Rahman to the Western stage.

His awards, both as composer and producer, include seven Tonys, seven Oliviers, a Golden Globe, an Oscar, the Praemium Imperiale, the Richard Rodgers Award for Excellence in Musical Theatre, a BASCA Fellowship, the Kennedy Center Honor and a GRAMMY® for Best Contemporary Classical Composition for Requiem, his setting of the Latin Requiem mass which contains one of his best-known compositions, “Pie Jesu.” He owns seven London theatres including the Theatre Royal, Drury Lane and the London Palladium.

He was knighted by Her Majesty The Queen in 1992 and was created a life peer in 1997.

He is passionate about the importance of music in education and the Andrew Lloyd Webber Foundation has become one of Britain’s leading charities supporting the arts and music. In 2016 the Foundation funded a major new national initiative which endowed the American Theatre Wing with a $1.3 million, three-year grant to support theatre education opportunities for underserved young people and public schools across the U.S. 43

Rodgers & Hammerstein After long and highly distinguished careers with other collaborators, Richard Rodgers (composer) and Oscar Hammerstein II (librettist/lyricist) joined forces to create the most consistently fruitful and successful partnership in the American musical theatre.

Before his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with lyricist Lorenz Hart on a series of musical comedies that epitomized the wit and sophistication of Broadway in its heyday. Prolific on Broadway, in London and in Hollywood from the ‘20s into the early ‘40s, Rodgers & Hart wrote more than 40 shows and film scores. Among their greatest were On Your Toes, Babes in Arms, The Boys From Syracuse, I Married An Angel, and Pal Joey.

Throughout the same era Oscar Hammerstein II (1895-1960) brought new life to a moribund artform: the operetta. His collaborations with such preeminent composers as Rudolf Friml, Sigmund Romberg and Vincent Youmans resulted in such operetta classics as The Desert Song, Rose-Marie, and The New Moon. With Jerome Kern he wrote Show Boat, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly-acclaimed 1943 all-black revision of Georges Bizet’s tragic opera Carmen.

Oklahoma!, the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers’ musical comedy and Hammerstein’s operetta. A milestone in the development of the American musical, was followed by Carousel, Allegro, South Pacific, The King and I, Me And Juliet, PIpe Dream, Flower Drum Song and The Sound of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen, State Fair, and one for television, Cinderella. Collectively, the musicals of Richard Rodgers and Oscar Hammerstein II earned 42 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two GRAMMY® Awards and 2 Emmy Awards.

In 1998, Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century and in 1999 they were jointly commemorated on a U.S. postage stamp.

Despite Hammerstein’s death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, No Strings, earned him two Tony Awards for music and lyrics, and was followed by Do I Hear A Waltz?, Two By Two, Rex, and I Remember Mama.

Richard Rodgers died on December 30, 1979, less than eight months after his last musical opened on Broadway. In March of 1990, Broadway’s 46th Street Theatre was renamed The Richard Rodgers Theatre in his honor.

In 1995, Hammerstein’s centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, “Some Enchanted Evening.” The ultimate tribute came the following season, when he had three musicals playing on Broadway simultaneously: Show Boat (1995 Tony Award winner, Best Musical Revival); The King And I (1996 Tony Award winner, Best Musical Revival); and State Fair (1996 Tony Award nominee for Best Score).

In 2002, the Richard Rodgers Centennial was celebrated around the world, with tributes from Tokyo to London, from the Hollywood Bowl to the White House, featuring six new television specials, museum retrospectives, a dozen new ballets, half a dozen books, new recordings and countless concert and stage productions (including three simultaneous revivals on Broadway, matching Hammerstein’s feat of six years earlier), giving testament to the enduring popularity of Richard Rodgers and the sound of his music.

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Manna Nichols Manna Nichols is very excited to return home for this special collaborative concert with The Fort Wayne Philharmonic to celebrate the Civic Theatre’s 90th Anniversary! A product of Fort Wayne Community Schools and the Fort Wayne Civic Theatre, Manna grew up attending various In The Wings Civic Theater performances, First Presbyterian shows, IPFW theater productions, and eventually went on to perform at some of the theaters which so inspired her. Her first time attending a Broadway touring show was right here at the Embassy Theatre!

Manna is a proud member of Actors Equity Association and the Screen Actors Guild. A selection of her professional stage credits include: Broadway/First National Tour: Allegiance (Kei & Hannah u/s), The King & I (Tuptim); Off-Broadway: Tokio Confidential, Death for Five Voices, Frog Kiss; Regional: My Fair Lady at Arena Stage (Eliza), South Pacific at The Guthrie (Liat), Guys & Dolls at Goodspeed (Sarah), Miss Saigon with Kansas City Starlight Tour, Walnut Street Theatre, & The Fulton Theatre (Kim), The King & I at North Shore Music Theatre (Tuptim) & Walnut Street Theatre (Barrymore Award Winner), Les Misérables at Pioneer Theatre Company & Maine State Music Theatre (Eponine).

Manna would like to thank her family, friends, and teachers for their continued support and encouragement. Ms. Nichols is wearing gowns by Catherine Deane. Praise to God. Insta: Manna_Nichols Twitter: @MannaNichols www.MannaNichols.com

Christopher Sloan

A BRIEF HISTORIC OVERVIEW OF THE FORT WAYNE CIVIC THEATRE

Christopher Sloan is so happy to be back in Fort Wayne celebrating The Civic Theatre where he got his start on the stage. Christopher played the role of The Emcee in the national tour of Sam Mendes/ Rob Marshall’s Tony Award-winning revival of Cabaret. Mr. Sloan reprised this performance at regional theaters around the United States and Canada playing opposite the likes of pop star Debbie Gibson and former Miss America Kate Shindle. For this role, he was nominated for Best Actor in a Musical by both The Independent Reviewers of New England (IRNE) Awards and BroadwayWorld Awards. Some of Mr. Sloan’s favorite roles include Sir Robin in Monty Python’s Spamalot, Carmen Ghia in The Producers, Corny Collins in Hairspray and The Scarecrow in The Wizard of Oz. He also toured the country with The Music of Andrew Lloyd Webber opposite GRAMMY® Award winner Petula Clark. On television, a few of his credits include being The Gay Stephen Colbert on Comedy Central and recurring roles on The Guiding Light, As the World Turns and Cinemax’s The Knick. He co-starred in the film Caroline by Committee which won Most Inspiring Short Film at the Nantucket Film Festival. As a writer, Christopher is the co-author of New York City’s longest-running burlesque murder mystery, Lady L’Amour’s Final Bow. He also writes original works for his musical/sketch comedy show, Chris & Gavin, performed regularly in New York cabarets and most recently at The Scranton Fringe Festival. Christopher is a graduate of Otterbein College and a proud member of Actors’ Equity Association. This performance is dedicated to his husband, Jeremy.

Eunice Wadewitz, Music/Education Director Fort Wayne Civic Theatre Eunice Wadewitz was born in Brazil and grew up in Fort Wayne. She received her degree in keyboard area performance from DePauw University School of Music and has spent her whole career in one form of music or another. She began teaching piano and playing piano five hours a day for tea time at the L’Orangerie Lounge in the Downtown Hilton. She then moved on to become choir and handbell choir director as well as organist for several churches - positions she held over a period of 23 years. In 1998, Eunice took a full time position as music and education director at the Civic Theatre, which keeps her busy rehearsing, conducting and playing keyboard for all of the musicals, running the In The Wings Arts-In-Education Program, writing grants to fund the education department, and acting as administrative assistant for fundraisers.

CIVIC THEATRE 90TH ANNIVERSARY CHORUS

46

Gayle Goodrich Kavin Ley Betsy Ley Nikki Matyas Simon May Dennis Meehan Daniel Meredith Prentis Moore Rebecca Nelson

In 1931 these dedicated volunteers changed their name to the Old Fort Players and continued to move from venue to venue, later in the year moving into the 800 seat Majestic Theatre in downtown Fort Wayne. In 1940 tax exempt status was awarded by the state and the company changed the name to the Fort Wayne Civic Theatre.

A total of 231 productions were mounted at the Majestic Theatre until the city condemned the building. Then the organization moved into the Palace Theatre where the Civic Theatre remained until 1969. When the Palace could no longer support the Civic Theatre, the company moved for three years into the Maiden Lane building, which was too small to serve the company well. In 1973, the Fine Arts Foundation (precursor to Arts United) completed construction of the Performing Arts Center, designed by Louis Kahn (renamed to the Arts United Center in 2005) and the Civic Theatre moved to that facility which is now home to their offices and main stage productions.

Notable productions & projects Civic presented the 1988 World Premiere of Fahrenheit 451, a musical version of the Ray Bradbury classic.

The educational and outreach program “In The Wings” has provided more than 136,000 free theatrical experiences to at-risk and economically disadvantaged youth and families, school and senior groups and social service agencies since 1988.

In 1992, the Civic Theatre brought back one of their famous former performers, Jane Lanier, in a production of Love Letters. Jane performed on Broadway as a dancer and actor and is a professional choreographer. She was nominated in 1989 for the Tony Award as Best Actress in a featured role (Musical) for Jerome Robbins’ Broadway. Jane returned to Civic in 2015 as the Director and Choreographer of Disney’s Mary Poppins.

The 2008-2009 Season featured the Midwest Premiere of Frankenstein the musical starring Broadway’s Star Steve Blanchard. Executive /Artistic Director Phillip H. Colglazier worked closely with the Off-Broadway Producer and former Executive Director of the Embassy Douglas C. Evans to bring this production to Fort Wayne.

In 2015, two new initiatives were launched providing performances of family friendly shows for unique audiences. “Project Lights Up” performances for individuals with disabilities and their families provide sensory-friendly experiences in a welcoming atmosphere. “Operation Science Theatre” provides tickets to military, veterans and their families, with preshow activities explaining the science behind the scenes.

Civic Theatre Chorus

Terri Amstutz Jamie Andorfer Nancy H. Button Bobbi Jo Carroll Brad Davis Paul R. Faulkner Joe Foltz Jordan Gameon Peyton Godfrey

In 1927 the Fort Wayne Community Theatre Guild was formed. That year the volunteer group produced two shows. In 1928 another group, the Fort Wayne Civic Theatre Guild, comprised of many of the same people as the original group, began producing shows.

They had no permanent home and mounted three to five shows each season.

Jen Poiry-Prough Carleen Reynolds Adam Karal Sahli Curtis Shaw Andrew Sherman Jazmine Thompson Kate Toenges Kirby A. Volz

The ninth decade of Fort Wayne Civic Theatre saw continued artistic and economic growth. The organization has a full-time staff of eight business and theatre professionals. However, at the heart of the theatre’s success are the 700 volunteer experiences provided each season. Volunteers, giving over 30,000 hours annually, are involved in all aspects of the theatre including serving on the Board of Directors, appearing on stage, assisting in the creation of scenic, lighting, costumes, and more.

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Department of Music presents

M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

THE LENINGRAD SYMPHONY

IPFW Bands Concert Final Showcase Event Thursday, Apr. 19

7:30 p.m.

Auer Performance Hall

Spring Choral Concert – “A Celebration of Life” Friday, Apr. 20 7:30 p.m.

Auer Performance Hall

Department of Theatre presents Shakespeare’s young star-crossed lovers, must navigate the hatred of their feuding families in a vain attempt to be together. This production will focus on the influences Romeo and Juliet’s families exert on them while subtly referencing and exploring our own current state of affairs in the United States.

Written by William Shakespeare Directed by Bev Redman

Apr. 20–Apr. 28

Saturday, April 28, 2018 | 7:30 p.m.

Embassy Theatre Andrew Constantine, conductor Alexander Toradze, piano Andrew Lott, trumpet SHOSTAKOVICH Concerto No. 1 for Piano, Trumpet & Strings in C minor, Op. 35

Allegro moderato Lento Moderato

Allegro con brio Alexander Toradze, piano

Andrew Lott, trumpet

-- Intermission --

SHOSTAKOVICH Symphony No. 7 in C major, Op. 60 “Leningrad”

Allegretto

Moderato (poco allegretto) Adagio

Allegro non troppo Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, May 10, at 7:00 p.m.

Alexander Toradze’s biography is on page 53. Andrew Lott’s biography is on page 60.

Williams Theatre

IPFW BOX OFFICE 260-481-6555 ipfw.edu/tickets

Many thanks to the generous supporters of this event:

The Paul Yergens and Virginia Yergens Rogers Foundation

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THE LENINGRAD SYMPHONY

CONCERTO NO. 1 FOR PIANO, TRUMPET & STRINGS IN C MINOR, OP. 35 Dmitri Shostakovich (b. 1906, St. Petersburg, Russia; d. 1974, Moscow) Dmitri Shostakovich began his career as famous for his skills as a pianist as for his composing. After the success of his First Symphony in 1926, written when he was only 19, he was off to Warsaw the next year to compete in the renowned International Chopin Competition for pianists. Winning only an honorable mention there was a blow that stung him for many years afterward. By 1930, Shostakovich had virtually given up his solo career; highly strung and sensitive to a fault, he suffered agonies before each performance. Such refined sensitivity was far better suited to a creative career than to a performing career.

However, Shostakovich’s successes as a composer in the early 1930s brought renewed demand for live appearances.

Putting hours into regaining his technical facility, in 1933 he composed two new works to show it off: the 24 Piano Preludes and his First Piano Concerto.

Brilliant and playful, the Concerto was warmly received at its first performance on October 4, 1933, with the Leningrad Philharmonic led by the great Yevgeny Mravinsky backing the composer-soloist.

In Elizabeth Wilson’s biography of the composer, his friend and fellow pianist Mikhail Druskin gave a vivid portrait of the young Shostakovich’s mercurial temperament, which is mirrored throughout this Concerto. “From his adolescent years, he was very observant and showed curiosity for all sides of life.

He had a keen eye for the ridiculous. ... He loved satirical literature. ... Shostakovich was unpredictable and given to sudden vacillations of mood; at one moment, jolly and easy, the next pensive; then suddenly he would switch off altogether.”

During the early years of Stalin’s rule, creative artists in Leningrad still lived 50

PROGRAM NOTES April 28, 2018 on the edge, unafraid to take risks.

Russian scholar Boris Schwarz believes that Shostakovich’s First Piano Concerto was an example of this: “a challenge to the traditional Russian concerto style.”

Scored for an orchestra of strings and an often satirical-sounding trumpet part nearly as prominent as the piano’s, it provocatively unites virtuosity with a madcap, irreverent spirit.

In the first movement, the pianist is immediately confronted with an impudent rival: the trumpet taunting his fleet scales. Nevertheless, he launches an initially sober principal theme in Bachian contrapuntal style. However, when the pianist introduces the ascending second theme, it is not Romantic and melodious as a good Russian second theme should be, but thoroughly comical; the violins shriek with laughter and the trumpet plays along. The development section is a whirlwind of crazy comic energy.

For the slow movement, Shostakovich temporarily replaces comedy with melancholy. A sad waltz in 3/4 time, it begins with the violins playing a plaintive, tear-stained melody. Gradually, the pianist leads the way to a great declamatory climax of passionate scales in octaves. When the opening music returns, the long-silent trumpet, playing with a mute snarling its tone, becomes the soloist.

Though listed as a separate movement, number three is really a grave prelude to the finale. Between another edition of Bach-style counterpoint for the piano, the orchestra interjects dark, brooding music.

But the light suddenly switches on as the comic finale begins, in which everyone cuts loose in a display of clownish pranks.

Here the trumpet aspires to push the pianist out of the spotlight, and in the end — with a series of manic fanfares — he succeeds in that quest, Shostakovich the composer finally defeating Shostakovich the pianist.

SYMPHONY NO. 7 IN C MAJOR, OP. 60 “LENINGRAD” Dmitri Shostakovich On Sunday, June 22, 1941, the city of Leningrad — the once and future St. Petersburg — was at its most beautiful.

It was the height of the famous “White Nights”: the summer-solstice period when the sun hardly sets on this city of the far north and a luminous twilight bathes its historic buildings at midnight. Dmitri Shostakovich was planning to attend a soccer game with friends. He adored the game, and pictures of him cheering and grinning broadly from the stands make a delightful contrast with the usual images of a solemn, suffering creator. On the way to the stadium, he heard on the radio the stunning news that Hitler — despite his pact with Stalin — had invaded the U.S.S.R. The Germans swiftly overran an unprepared Russia and by July were approaching Leningrad. By late summer, they had choked off all access to the city.

On September 4th, bombardment began, and the siege of Leningrad — which would last 900 days until January 1944 — had officially begun. Hitler’s plan was to wipe the city off the face of the earth. No one will ever know how many Leningraders died, the majority from starvation, during that ordeal, but one million, or one-third the pre-war population, is the figure most often given. But the city refused to capitulate, and Shostakovich’s Symphony No. 7, “Leningrad”, became the symbol of its resistance.

Anxious to defend his beloved hometown, the composer volunteered for the army, but was turned down and finally put in the defensive Home Guard. He dug antitank trenches and mounted the roof of the St. Petersburg Conservatory as a fireman to put out incendiary strikes. But the Soviet authorities were not about to allow their most gifted young composer to die fighting a rooftop blaze; despite his willingness, they found every excuse to keep him away from hazardous duty.

For Shostakovich had a much more important role to play for the U.S.S.R. In July 1941, he began composing his Seventh Symphony, which he would dedicate “to the city of Leningrad” on its title page. As the situation deteriorated

and major artistic and academic figures were evacuated, Shostakovich refused to leave. By the end of September, he had composed three movements of his massive work. At this point, the government stepped in and ordered him out: he and his family were evacuated to Kuibyshev, near the Ural Mountains.

This dislocation temporarily stalled work on the Symphony. Living with his family in one cramped room, Shostakovich found it nearly impossible to work while his two small children played noisily nearby. Only in December, when he was able to move into two rooms, was he able to compose the finale.

Immediately, the Seventh Symphony became as much a political event as an artistic one. Seeing they might have a major morale-boosting and international propaganda tool here, the Soviet authorities quickly arranged for its premiere by the evacuated Bolshoi Theatre Orchesta in Kuibyshev on March 5, 1942, broadcast throughout the U.S.S.R. as well as abroad. Russia’s wartime ally, America, also clamored for performances.

Delivery of the score from Kuibyshev to New York City became a top-priority military effort. Transferred to microfilm, it traveled by plane to Iran, by automobile across the Middle East to Cairo, by air again to Brazil, and then on a U.S. naval aircraft to New York. America’s top conductors fought fiercely for the right to lead the premiere; the winner was Arturo Toscanini, who introduced it on a radio broadcast by the NBC Symphony heard by millions on July 19, 1942.

The most remarkable of the Seventh’s early performances came on August 9, 1942 in besieged Leningrad herself. By this time, the Leningrad Radio Symphony had been reduced by casualties to fewer than 20 able-bodied members, but with its enlarged brass and percussion sections, the Seventh requires an orchestra of more than 100. Players were even tracked down and brought back from the front to fill the ranks; all musicians were allocated more than their usual starvation rations to give them strength to play the 75-minutelong work. Since Leningrad was under constant heavy bombardment, the Soviet military brought in thousands of 51

artillery weapons to hammer the German siege forces into silence on the day of the concert. Inside the Great Hall of the Philharmonic, a packed audience listened — many with automatic weapons at their sides, more with tears in their eyes — to Shostakovich’s stirring epic of suffering and courageous resolve.

Listening to the Music Shostakovich initially gave each of the four movements titles, which he later suppressed; he called the Allegretto first movement “War”. The music opens with a forceful, vehement theme in C major delivered in a firm unison by the strings, suggesting the strength and courage of the Leningraders. This is the principal theme of this 28-minute-long movement.

The second theme is quite different: a gentle, spacious melody introduced by violins and memorably sung by solo oboe; it seems to describe a world of peace soon to be shattered.

Then begins the Symphony’s most famous section: a protracted crescendo lasting more than ten minutes. Far in the distance, we hear the military rattle of a snare drum, then a mechanical, almost inane melody. Repeated over and over in different instrumental combinations, this “invasion theme” builds relentlessly to a climax of deafening power and brutality. Many commentators have seen this music as a malign reincarnation of Ravel’s Boléro, and Shostakovich himself was well aware of the resemblance. “Let them accuse me,” he said, “but that’s how I hear war.”

However, the quiet music that succeeds this cataclysm, the composer explained, is really more important than this musical tour de force: “The reprise is a funeral march or, rather, a requiem for the victims of the war.” The peaceful second theme returns, but now becomes music of mourning, intoned by a solo bassoon over a grunt of plucked low strings sketching the invasion theme. Wearily, the violins and flutes sing the once forceful opening theme. In the background, the military march mutters away.

Shostakovich originally called his second movement “Memories”, and he described it as “a very lyrical scherzo.” It provides 52

some emotional relaxation after the emotional onslaught of the preceding movement. The second violins open softly with a wistful, nostalgic dance. It is filled with a wailing two-note motive that is like a fingerprint in Shostakovich’s music; some commentators have interpreted this motive as a musical code signifying Stalin’s oppression. Suddenly, this pensive music is interrupted by a shrill E-flat clarinet shoving the music into a new meter and mood. A fierce, sardonic dance ensues, full of harshly bright timbres including xylophone and brass. When the wistful dance returns, it features a new dark companion, the bass clarinet.

The composer wrote that the third movement is “a passionate Adagio,” the dramatic center of the work. Although it originally bore the title “Our Country’s Wide Spaces,” Shostakovich revealed it was actually inspired by his nocturnal wanderings in Leningrad when the White Nights reveal its monuments and houses in their most haunting aspect. A spirit of loneliness and wonder fills this music.

We first hear widely spaced wind chords, then a very grand and rangy melody for the violins. One of the composer’s great flute solos follows, a melody of sweet innocence and clarity. This lyrical music is succeeded by a louder, weightier middle section, its driving energy and determination struggling against the heavy drag of a syncopated accompaniment. The widely spaced chords and the flute melody, now sung warmly by the violas, return. This is Shostakovich’s song of love and grief for his city.

The “Victory” finale issues from the slow movement without pause. At first, the music is quiet and tentative, but a soft martial summons from oboe and muted cornet soon energize it. Massed strings initiate a brooding chorale filled with ponderous repeated notes. The eight horns and then the other brass lead the orchestra to a climax of military might and resolve prophesying victory to come. But it will be difficult to achieve, Shostakovich tells us, as his C-major triumph struggles to wrest itself from the grip of C-minor death and destruction.

Notes by Janet E. Bedell copyright 2018

Alexander Toradze, piano Alexander Toradze is universally recognized as a masterful virtuoso in the grand Romantic tradition. With his unorthodox interpretations, deeply poetic lyricism, and intense emotional excitement, he lays claim to his own strong place in the lineage of great Russian pianists.

Mr. Toradze appears with the leading orchestras of North America, including the New York Philharmonic, Met Orchestra, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Minnesota Orchestra, Houston Symphony, Montreal Symphony, Toronto Symphony, Detroit Symphony, Pittsburgh Symphony, Baltimore Symphony, Cincinnati Symphony, Seattle Symphony, and National Symphony of Washington DC. Overseas, he appears regularly with the Mariinsky Orchestra, La Scala Philharmonic, Bavarian Radio Symphony, St. Petersburg Philharmonic, Orchestre National de France, City of Birmingham Symphony, London Symphony and Israel Philharmonic. In June 2003, he made his triumphant debut with the Berlin Philharmonic Orchestra conducted by Vladimir Jurowski.

In November 2014, Toradze was reengaged at the Mexico National Symphony for Prokofiev’s Piano Concerto No. 2 just eight months following his lauded Shostakovich Concerto No. 2 there. He has performed recently with the Swedish Radio Orchestra, Czech Philharmonic, Orchestre National de France, Pacific Symphony, Montreal Symphony, London Symphony, BBC Philharmonic, Dresden Philharmonic, Galicia Symphony, Toronto Symphony, Seattle Symphony and London Philharmonic, among others. Mr. Toradze regularly participates in summer music festivals including Salzburg, the White Nights in St. Petersburg, London’s BBC Proms concerts, Edinburgh, Rotterdam, Mikkeli (Finland), the Hollywood Bowl, Saratoga, and Ravinia.

In 2012, the label Pan and the HR (HessischerRundfunk) released a highly acclaimed recording of Mr. Toradze performing Shostakovich Piano concertos with Frankfurt Radio orchestra and PaavoJarvi. Mr. Toradze’s recording of all five Prokofiev concertos with Valery Gergiev and the Kirov Orchestra for the Philips label is considered definitive among critics. Additionally, International Piano Quarterly named his recording of Prokofiev’s Piano Concerto No. 3 “historically the best on record” (from among over seventy recordings). Other highly successful recordings have included Scriabin’s Prometheus: The Poem of Fire with the Kirov Orchestra and Valery Gergiev, as well as recital albums of the works of Mussorgsky, Stravinsky, Ravel, and Prokofiev for the Angel/EMI label.

Born in 1952 in Tbilisi, Georgia, Alexander Toradze graduated from the Tchaikovsky Conservatory in Moscow and soon became a professor there. In 1983, he moved permanently to the United States. In 1991, he was appointed as the Martin Endowed Chair Professor of Piano at Indiana University South Bend, where he has created a teaching environment that is unparalleled in its unique methods. The members of the multi-national Toradze Piano Studio have developed into a worldwide touring ensemble that has gathered great critical acclaim on an international level. In the 2002-2003 season, the Studio appeared in New York performing the complete cycle of Bach solo concerti, as well as Scriabin’s complete sonata cycle. The Studio has also performed projects detailing the piano and chamber works of Rachmaninoff, Prokofiev, Dvorak, and Stravinsky, in Rome, Venice, and Ravenna, Italy; the Klavier Festival Ruhr and Berlin Festivals in Germany; and in Boston, Chicago, and Washington, D.C. For more information, please visit www.toradzepianostudio.org.

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Special Events Series

BACH IN THE BARN - THE BRANDENBURG CONCERTOS, EVENING # 1

BACH IN THE BARN - THE BRANDENBURG CONCERTOS, EVENING # 2

Wednesday, May 2, 2018 | 7:30 p.m.

Joseph Decuis Farm, 6755 East 900 South, Columbia City, IN 46725

Thursday, May 3, 2018 | 7:30 p.m.

Joseph Decuis Farm, 6755 East 900 South, Columbia City, IN 46725

Caleb Young, conductor Luke Fitzpatrick, flute Olga Yurkova, violin Alexander Klepach, harpsichord Violetta Todorova, violin

Caleb Young, conductor Luke Fitzpatrick, flute Vivianne Bélanger, flute Violetta Todorova, violin

Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

C.P.E. BACH Sinfonia in F major, H. 665

Allegro di molto Larghetto Presto BACH Brandenburg Concerto No. 5 in D major, BWV 1050

Allegro Affettuoso Allegro Luke Fitzpatrick, flute Olga Yurkova, violin Alexander Klepach, harpsichord

-- Intermission --

J. C. BACH

Symphony in D major, Op. 3, No. 1

BACH Brandenburg Concerto No. 1 in F major, BWV 1046

Allegro Adagio Allegro Menuet Polonaise Menuet Violetta Todorova, violin Many thanks to the generous supporters of this event:

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Special Events Series

Robert J. Parrish, Harriet A. Parrish, and David T. Parrish Foundation

Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

VIVALDI Concerto in G major, RV 151 “Sinfonia alla rustica” Presto Adagio Allegro BACH Brandenburg Concerto No. 3 in G major, BWV 1048

Allegro Allegro HANDEL

Overture to Xerxes, HWV 40

-- Intermission --

BACH Brandenburg Concerto No. 4 in G major, BWV 1049

Allegro Andante Presto Luke Fitzpatrick, flute

Vivianne Bélanger, flute

Violetta Todorova, violin HAYDN Symphony No. 49 in F minor “La passione” Adagio

Allegro di molto Menuet Presto Many thanks to the generous supporters of this event:

Robert J. Parrish, Harriet A. Parrish, and David T. Parrish Foundation

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Luke Fitzpatrick, flute Lauded by the South Florida Classical Review for his “vivacious and buoyant” playing, flutist Luke Fitzpatrick is the Principal Flute of the Fort Wayne Philharmonic. During the summer, Luke plays principal flute with Des Moines Metropolitan Opera.

In the spring of 2017, he played principal flute with Sarasota Opera.

BACH IN THE BARN - THE BRANDENBURG CONCERTOS, EVENING # 3

Participating in summer music festivals is one of Luke’s greatest joys as a musician. He has spent summers at the National Orchestral Institute, National Repertory Orchestra, Music Academy of the West, Aspen Music Festival, the National Symphony’s Summer Music Institute, and the Chautauqua Music Festival.

Friday, May 4, 2018 | 7:30 p.m.

Joseph Decuis Farm, 6755 East 900 South, Columbia City, IN 46725

While living in Los Angeles, Luke developed a passion for chamber music and collaborated with artists such as GRAMMY®-nominated pianist Jean-Yves Thibaudet and the Ebene Quartet.

Special Events Series

Sponsored by Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation

Caleb Young, conductor; Derek Reeves, viola; Debra Welter, viola; Luke Fitzpatrick, flute Orion Rapp, oboe; Andrew Lott, trumpet; Johanna Bourkova-Morunov, violin PURCELL

Suite from Abdelazer, Z. 570

BACH Brandenburg Concerto No. 6 in B-flat major, BWV 1051

Allegro

Adagio ma non tanto Allegro Derek Reeves, viola; Debra Welter, viola C.P.E. BACH Sinfonia in C major, H.659

Allegro assai Adagio Allegretto

-- Intermission --

BACH Brandenburg Concerto No. 2 in F major, BWV 1047

Allegro Andante

Allegro assai Luke Fitzpatrick, flute; Orion Rapp, oboe Andrew Lott, trumpet; Johanna Bourkova-Morunov, violin HANDEL Suite No. 2 in D major from Water Music, HWV 349

Allegro

Alla Hornpipe Minuet Lentement Bourée

Now based in Fort Wayne, Luke is spending more time pursuing outreach and his love for teaching. He is the co-founder of the Bonita Boyd International Masterclass program and will this year be in his second summer as director.

Luke’s teachers include Bonita Boyd, Jeanne Baxtresser, Alberto Almarza, and Jim Walker.

Olga Yurkova, violin Olga Yurkova, Principal Second Violin, joined the Fort Wayne Philharmonic in 1998 when she moved to the United States from Russia.

She holds a Doctor of Music and Violin Performance from Moscow Tchaikovsky Conservatory and has toured extensively in Italy, Spain, Belgium, Turkey, France, Romania, Korea and other countries. Olga is a first prize-winner of several international competitions and festivals including: The International Violin Competition in Budapest, Tenth International Music Festival in Korea, International String Quartet Competition in Tallinn (Estonia), as well as violin competitions in Russia and Moldova. She was Concertmaster of the National Chamber Orchestra of Moldova and a Soloist and Concertmaster with the Symphony Orchestra of Europe. In the U.S., she was invited to many festivals as a Concertmaster and Principal Violinist including Ash Lawn-Highland Festival and the Colorado Music Festival. Olga is also Assistant Professor of Music at Grace College.

Artist biographies on the pages that follow. Please see Derek Reeves biography on page 11.

Many thanks to the generous supporters of this event:

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Robert J. Parrish, Harriet A. Parrish, and David T. Parrish Foundation

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Alexander Klepach, harpsichord Alexander Klepach, Principal Pianist of the Fort Wayne Philharmonic, began his musical studies at age 5 in his hometown of Dnepropetrovsk, Ukraine.

He gave his first public recital at age 8 and made his first appearance with a symphony orchestra at age 12. He was educated at the Special Music School in Kiev and graduated from the Moscow Tchaikovsky Conservatory in 1986 with a Doctor of Music degree in Piano Performance. Strongly opposed to the communist regime, Klepach wasn’t allowed to perform abroad and was forcefully recruited into the Soviet Red Army. After the collapse of the Soviet Union in 1992, Klepach performed with the National Philharmonic of Moldova, the Symphony Orchestra of Europe in Madrid, and The National Chamber Orchestra of Russia as a piano and harpsichord soloist. He has concertized throughout Europe, Asia and the United States and has performed as recitalist with his wife, Olga Yurkova. He came to the United States in 1998 and has been with the Philharmonic since 1998.

Violetta Todorova, violin In the spring of 2016, Violetta Todorova was named the Concertmaster of Fort Wayne Philharmonic. An emerging voice of her generation, Ms. Todorova holds prizes from the International Competition for Young Violinists in Estonia and the All-Russian Competition for Young Violinists in Nizhny-Novgorod, Russia and has appeared as a soloist with various orchestras and ensembles across the US, Russia, Finland, and Sweden. She has also held the Concertmaster position with the Illinois Symphony, has been an Assistant Concertmaster with the Northwest Indiana Symphony, and a part of the Colorado Symphony Orchestra.

Originally from Saint Petersburg, Russia, Ms. Todorova started playing violin at the age of five. After her studies at the St. Petersburg Conservatory Preparatory School, she attended Interlochen Arts Academy and DePaul University School of Music in Chicago, where she earned her Bachelor (summa cum laude) and Master (with distinction) Degrees in violin performance, studying with one of the world’s top concert violinists and pedagogues, Ilya Kaler. During her studies at DePaul, she also served as an assistant concertmaster of the Civic Orchestra of Chicago.

Ms. Todorova has also been a guest concertmaster with the Chicago Arts Orchestra, Kalamazoo Symphony Orchestra, Orchestra Iowa, South Shore Orchestra, and Lincolnwood Chamber Orchestra. In 2013, Ms. Todorova co-founded 42nd Parallel, a self-conducted orchestra in Chicago. Passionate about bringing classical music to new audiences, members of the ensemble offer performances in a variety of nontraditional venues, including black box theaters and churches.

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Vivianne Bélanger, flute, piccolo Vivianne Bélanger joined the Fort Wayne Philharmonic as the Second Flute in 2012. She is also the second flute-piccolo in the Drummondville Symphony Orchestra in Canada and previously was a member of the Civic Orchestra of Chicago. In addition, Vivianne has performed with ensembles such as the Detroit Symphony Orchestra, the Chicago Symphony Orchestra, the Lexington Philharmonic, the Kitchener-Waterloo Symphony Orchestra, the Ostrich Symphony Orchestras and I’Orchestre de la Francophonie.

A native of Montreal, Canada, Vivianne began playing the flute at age nine. In the years to follow, her passion for music grew, leading to a Bachelor of Music Performance from the McGill University Schulich School of Music, in 2006. She went on to earn her Master of Music Performance and a Certificate in Performance from DePaul University. Her teachers include Mathieu Dufour, Denis Bluteau and Carolyn Christie.

While performing is her first love, Vivianne has discovered joy in the world of teaching.

She is associate flute instructor at the Indiana University-Purdue University Fort Wayne (School of Music). An orchestral player and chamber musician, Vivianne has a great desire to expand her repertoire and deepen her understanding of the flute.

Debra Welter, viola Debra Welter is the Assistant Principal Violist of the Fort Wayne Philharmonic. She has held this position since 1995 and is also a frequent guest on the Freimann Chamber Music series.

Originally from Racine, Wisconsin, she earned her Bachelor of Music degree from DePaul University and her Master of Music degree from the University of Akron, both in Viola Performance. Her principal teachers were Roland Vamos and Rami Solomonow. Before joining the Fort Wayne Philharmonic, Deb served as Principal Violist of the Evansville Philharmonic. She has also been a member of the Cleveland Chamber Symphony, Akron Symphony, South Bend Symphony and the Civic Orchestra of Chicago. She has participated in the Aspen Music Festival, Bowdoin Summer Music Festival and the Spoleto Festival (Charleston, South Carolina). She also served as Librarian of the Fort Wayne Philharmonic from 1998 to 2007. In addition to performing with the orchestra, Deb also maintains a small private teaching studio.

Deb is married to David Welter who is a Program Manager for Regal-Beloit and occasionally plays clarinet with the orchestra. When not performing or teaching, Deb enjoys being a “swim mom” to their son Noah, a competitive swimmer for the SWAC and Woodside Middle School swim teams. Other interests include vegetarian cooking, swimming and downhill skiing.

Deb’s viola is a 2008 Landolfi copy made by William Bartruff of Minneapolis, Minnesota. Fun fact: Deb can be found on the silver screen in the orchestra scene of the movie “Home Alone 2: Lost in New York”.

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Orion Rapp, oboe Orion Rapp holds the Margaret Johnson Anderson Principal Oboe Chair with the Fort Wayne Philharmonic, a position he has held since the fall of 2013. He has also served as Principal Oboist of the Illinois Symphony Orchestra since 2009, where he is regularly featured as a soloist. Orion maintains an active performance career outside of Indiana. He has performed as principal oboist with San Diego Symphony, the Mansfield Symphony Orchestra, and the Opera in the Ozarks Opera Orchestra.

Orion has also performed with the San Diego Lyric Opera, and the La Jolla Music Society Summerfest Orchestra.

Orion made his New York debut in 2013 in a production of Benjamin Britten’s opera “The Rape of Lucretia.” An avid educator, Orion regularly coaches chamber music and teaches oboe reed-making at the historic Interlochen’s Summer Arts Camp. In addition, he has taught undergraduate chamber music at Rutgers University, and for three years was a conductor and woodwind coach for the Youth Orchestra of Central Jersey in Princeton, New Jersey.

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

Andrew Lott, trumpet Andrew Lott became the Principal Trumpet of the Fort Wayne Philharmonic in the 2015 Season and joined the brass faculty at IPFW as Trumpet Professor in 2016. Andy received his bachelor’s degree in music from Baylor University in 2012 where he was a student of Wiff Rudd. He was a member of the first Baylor Trumpet Ensemble to win 1st place at the National Trumpet Competition (2011) as well as placing 3rd in 2012 in the same category. While in Texas, Andy performed as Lead Trumpet with the Baylor Jazz Ensemble and Waco Jazz Orchestra and subbed with the Dallas Wind Symphony. He can be heard on Baylor Wind Ensemble recordings and his solo from Steven Bryant’s Concerto for Wind Ensemble can be found on YouTube. In the summer of 2012 Andy toured with the brass ensemble EuroBrass playing concerts across Germany.

For his master’s degree, Andy attended Indiana University on a full scholarship as Associate Instructor of Trumpet where he taught undergraduate students and performed in the Associate Instructor Brass Quintet. He performed as Principal Trumpet of the IU Philharmonic Orchestra, Lead Trumpet of the Latin Jazz Ensemble and Principal Trumpet of the IU New Music Ensemble. In addition to being Principal Trumpet of the Fort Wayne Philharmonic and Trumpet Professor at IPFW, Andy is a regular substitute with many surrounding orchestras and is a regular in the Indianapolis recording scene for Hal Leonard and many others.

Andy’s primary teachers include Bert Truax (Dallas Symphony, retired), Wiff Rudd (Baylor), John Rommel (Indiana), as well as Edward Carroll and all the faculty at the Chosen Vale Center for Advanced Musical Studies, where he spends his summers. In his free time, Andy enjoys home improvement projects, training his two Border Collies, 60 Charlie and Ollie, and spending time with his wife, Rachel, a Mary Kay Sales Director.

Johanna Bourkova-Morunov, violin Johanna (“Yana”) Bourkova-Morunov is the Associate Concertmaster of the Fort Wayne Philharmonic, after serving as Assistant Concertmaster in the 2011-12 season. Previous positions include section first violin with the Honolulu Symphony Orchestra and Assistant Concertmaster of the Richmond Symphony Orchestra (Virginia).

Yana is a native of St. Petersburg, Russia. She began her violin studies at the age of six and traveled extensively, performing throughout Russia, Europe and the US. She is a laureate of the St. Petersburg Open Competition of Young Violinists and the International Violin Competition in Murcia, Spain, as well as the Society of American Musicians Competition. She studied at the St. Petersburg RimskyKorsakov State Conservatory Junior College for two years until her family moved to the US, where she began studying at the Music Institute of Chicago. Yana attended Oberlin Conservatory and later Northwestern University School of Music where she graduated summa cum laude in 2004. She received her Master of Music degree at the University of Wisconsin-Madison. She has served as Concertmaster of Northwestern University Symphony Orchestra, UW-Madison Symphony Orchestra, the Mannes College for Music Orchestra and Aspen Music Festival Sinfonia.

Yana has been a featured soloist with the Fort Wayne Philharmonic for Masterworks and Summer series. She is an active chamber musician and frequently performs at the Fort Wayne Philharmonic Freimann Chamber Music series.

Yana is married to the Philharmonic’s second oboist, Pavel Morunov, and together they are raising two lively toddler daughters.

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

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M The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

the arts are the highest form of expression.

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

Call Kameron Helmuth 260-461-7107 or visit a branch near you. pnc.com ©2018 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

PICTURES AT AN EXHIBITION

Concert sponsored by the O’Malley Charitable Fund

Saturday, May 12, 2018 | 7:30 p.m.

Embassy Theatre Andrew Constantine, conductor Theopolis Smith III, Artist RAVEL

La Valse

CHADWICK

Tam O’Shanter; Symphonic Ballade

-- Intermission --

MUSSORGSKY Pictures at an Exhibition (arr. Maurice Ravel)

Promenade Gnomus Promenade

Il vecchio castello (The Old Castle) Promenade Tuileries Bydlo Promenade

Ballet of the Chicks in Their Shells

Samuel Goldenberg and Schmuyle

The Market-Place at Limoges Catacombs

Cum mortuis in lingua mortua (With the Dead, In the Language of the Dead)

The Hut on Fowl’s Legs (Baba Yaga)

The Great Gate of Kiev

Theopolis Smith III, Artist Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, May 24 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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PICTURES AT AN EXHIBITION

LA VALSE Maurice Ravel (b. 1875, Ciboure, France: d. 1937, Paris, France) Maurice Ravel originally conceived La Valse in 1906 as the tone poem Wien (“Vienna”): “a sort of apotheosis of the Viennese waltz,” he called it, in tribute to Johann Strauss. However, by the time he came to write it in 1919–1920, World War I had destroyed that enchanted world, along with the Austrian Hapsburg empire.

Though pushing 40 and of frail physique, Ravel had struggled to play his patriotic role for France. Repeatedly turned down by the army and air force, he became a truck driver behind the front lines.

When he was demobilized, his health was broken. The death of his beloved mother early in 1917 sent him into a long depression. La Valse was written by a man who had experienced horrors both on the battlefield and in his personal life.

There was no longer any possibility of creating a Romantic apotheosis, only, in Ravel’s words, “the impression of fantastic and fatal whirling.”

Like his beloved Daphnis and Chloé, La Valse was originally intended as a ballet for the flamboyant Russian impresario Serge Diaghilev and given the subtitle “choreographic poem.” But when Ravel and a colleague played it in a two-piano version for Diaghilev in April 1920, he dismissed it with a backhanded compliment: “It’s a masterpiece ... but it’s not a ballet. It’s a portrait of a ballet, a painting of a ballet.” However, La Valse has been subsequently choreographed several times, with George Balanchine creating a particularly successful version in the 1950s.

Ravel provided a brief synopsis for his ghostly dance, in which nostalgia and horror are superbly blended: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees ... an immense hall peopled with a whirling crowd. ... The light of the chandeliers bursts forth at 64

PROGRAM NOTES May 12, 2018 the [first] fortissimo. ... An imperial court, about 1855.”

The music opens ominously with the dark rumble of low strings and bassoons, and a nightmarish thud in 3/4 time delivered by basses and timpani. A few waltz strains gradually penetrate the mists, then shine forth brilliantly. The ominous dark music returns, and, whirling faster, the waltzes begin to collide with each other in wild harmonic and rhythmic confusion.

Finally, even the 3/4 beat breaks down in an orgy of self-destruction — the most violent ending in Ravel’s music. In just 12 minutes, we have experienced the most vivid sound portrait imaginable of the end of an era.

TAM O’SHANTER; SYMPHONIC BALLADE George W. Chadwick (b. 1854, Lowell, Massachusetts; d. 1931, Boston) George W. Chadwick was the dean of the group of American composers that emerged in New England during the late 19th-century and included Edward McDowell, Amy Beach, and John Knowles Paine. All were trained in Europe, but upon returning to this country, they — and especially Chadwick — began developing a distinctively American style for music — most noticeable in their melodies, rhythms, and harmonies — that would culminate a generation and a half later in the voice of Aaron Copland.

In his early twenties, the ambitious Chadwick went to Germany where he studied with prominent teachers at both the Leipzig and Munich conservatories.

Returning to Boston, he became a teacher at the New England Conservatory of Music and in 1897 its director; there he transformed the school into a full-fledged conservatory on the European model.

He also became a prolific composer in all musical genres, but especially strong in the orchestral medium. Chadwick developed a close relationship with the newly formed Boston Symphony Orchestra, for whom he wrote two

symphonies. These were followed by a series of innovative programmatic works, the last and most colorful of which is the Tam O’Shanter Symphonic Ballade of 1915.

This vividly told, excitingly scored tone poem was inspired by the Scottish poet Robert Burns’ (1759–1796) famous narrative poem Tam o’Shanter. Published in 1791, it tells of supernatural events that befall the farmer Tam o’Shanter, as he drunkenly rides home after staying too late in the taverns of the Scottish town of Ayr. At the wizard hour of midnight, Tam rides by the old ruined church of Alloway Kirk and discovers to his horror that it is filled with a diabolical party. Burns continues the story: “Though he was terrified with a blaze streaming from the kirk, yet as it is a well-known fact, that to turn back on these occasions is running by far the greatest risk of mischief, he prudently advanced on the road. When he had reached the gate of the kirk-yard, he was surprised and entertained, through the ribs and arches of an old gothic window, … to see a dance of witches merrily footing it round their old sooty, blackguard master, who was keeping them all alive with the power of his bagpipe.”

The youngest and most attractive of the witches is wearing a shift or sark too short to cover her properly.

Enthusiastically, Tam cries out, “Weel done, Cutty [short] Sark!” This alerts the infernal crowd to his presence, and they pursue him furiously as he rides away on his fleet gray mare, Meg, to seek the safety of the bridge across the river Doon, which they cannot cross. As he reaches the bridge, “the pursuing, vengeful hags were so close at his heels, that one of them actually sprung to seize him: but it was too late; nothing was on her side of the stream but the horse’s tail, which immediately gave way to her infernal grip … but the farmer was beyond her reach. However, the unsightly, tail-less condition of the vigorous steed was … an awful warning to the Carrick farmers not to stay too late in Ayr markets.”

Chadwick’s tone poem begins with “a short and stormy introduction,” which sets the eerie atmosphere of the tale. Then the horns introduce Tam’s own jaunty theme, full of Scottish snap rhythms. A massive drumroll ominously crescendos and dies

away as Tam, to an easy trotting gait, begins his fateful ride home.

As he approaches Alloway, we hear trombones intoning a solemn chorale theme, based on the Scottish hymn “Martyrs”. A series of Scottish dance tunes, growing in frenzy, portray the witches’ revelry. The horns shout out Tam’s foolish cry, “Weel done, Cutty Sark!,” stirring the witches to vengeful action against him. However, after all this intense drama, the tone poem’s last section is a beautiful, quiet coda, reflecting on the moral of this tale and recalling many of the earlier themes.

And there’s a hint of sorrow, too, for poor Meg, condemned to live out her life without her fine, swishing tale.

PICTURES AT AN EXHIBITION Modest Mussorgsky/arr Maurice Ravel (b. 1839, Karevo, Ukraine; d. 1881, St. Petersburg, Russia) When one of his closest friends, the artist and architect Victor Hartman, died of an aneurism at age 39 in 1873, a devastated Modest Mussorgsky helped organize an exhibition of Hartman’s paintings in St. Petersburg early the next year. He then decided to “draw in music” (his words) ten of them in a work for solo piano that he composed rapidly during June 1874.

Apparently, he had no plans to orchestrate his Pictures at an Exhibition, and the work was not even published until after his death.

It remained little known outside of Russia.

All this changed in 1922 when Russian conductor Serge Koussevitzky commissioned Maurice Ravel, one of the greatest orchestrators of the 20th century, to score Pictures for his Paris ensemble. Working with love and respect for Mussorgsky’s music, the Frenchman created a masterpiece in a new genre, in which uncommon instruments like the tuba, alto saxophone, and celesta enrich a glowing orchestral canvas. Several other composers have subsequently produced orchestrations of Pictures, but Ravel’s remains the touchstone.

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The following movement descriptions draw on the words of Russian art critic Vladimir Stassov, friend to both Hartman and Mussorgsky: Promenade: Mussorgsky depicts “himself … as he strolled through the exhibition, joyfully or sadly recalling the talented deceased artist … he does not hurry, but observes attentively.” This music returns throughout the piece as a linking device, changing to reflect the composer’s different responses to the pictures. By 1874, Mussorgsky had grown fat, and we hear this in the music’s stately, lumbering gait.

Gnomus: “A fantastic lame figure on crooked little legs … This gnome is a child’s toy, fashioned, after Hartman’s design, in wood for the Christmas tree … in the style of the nutcracker, the nuts being inserted in the gnome’s mouth. … The gnome accompanies his droll movements with savage shrieks.”

Il vecchio castello (“The Old Castle”): This is a sketch of a medieval Italian castle; a troubadour is singing in the foreground. Above the strumming of the guitar, the alto saxophone with a bassoon partner sings the troubadour’s song in dark sepia tones.

Tuileries: Stassov wrote that this highspirited episode is based on a picture of children playing with their nurse in Paris’ Tuileries Gardens.

Bydlo (“Polish Cart”): This melancholy piece, featuring solo tuba, portrays a heavy Polish ox-drawn wagon. Low strings and bassoons depict the groaning of its wheels. Mussorgsky intended this to begin loudly, but Ravel gradually builds the volume, then lets it fade as the wagon rumbles toward us, then moves away.

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Ballet of the Unhatched Chicks: “In 1870, Hartman designed the costumes … for the ballet Trilbi at the Maryinsky Theatre. … In the cast were a number of boy and girl pupils . . . arrayed as canaries. Others were dressed up as eggs.” Hartman’s sketches in which the children’s arms and

legs protrude from the egg shells inspired this chirping piece of high woodwinds and celesta.

Samuel Goldenberg and Schmuÿle: “Victor Hartman gave Mussorgsky two of his sketches from real life, those of the rich and the poor Jew” from Sandimir, Poland.

Mussorgsky named the two and richly characterized the haughty rich man (in low unison strings and winds) Goldenberg dismissing the whining pleas (muted trumpet solo) of the poor Schmuÿle.

Limoges—The Market: “Old women quarreling at the market in Limoges.”

Catacombae and “Con mortuis in lingua mortua” (Catacombs and “With the Dead in a Dead Language”): In the solemn tones of low brass this bursts immediately from Limoges. Hartman’s picture shows the artist, a friend, and a guide examining the Paris catacombs by lamplight. A pile of skulls is heaped in one corner; Mussorgsky imagines that they begin to glow from within.

The Hut on Hen’s Legs (Baba-Yaga): Powerful and grotesque, “this piece is based on Hartman’s design for a clock in the form of Baba-Yaga’s hut on hen’s legs, to which Mussorgsky added the ride of the witch in her mortar.” Baba-Yaga is a Russian fairytale witch who lures children into the woods, eats them, then crushes their bones in a giant mortar in which she rides through the woods.

Baba-Yaga soars upward into …

The Great Gate of Kiev: The grand finale, based on the “Promenade” music, depicts Hartman’s competition design for a ceremonial arch in Kiev to commemorate Tsar Alexander II’s escape from an assassination attempt. It is “in the massive old Russian style in the form of a Slavonic helmet.” Kiev is the historic seat of Russian orthodoxy; Mussorgsky incorporates a Russian orthodox hymn tune sung by the woodwinds. Ringing with church bells and brass fanfares, the work climaxes in a blaze of Slavic glory.

Notes by Janet E. Bedell copyright 2018

Theopolis Smith III, artist

A MESSAGE FROM THE PHILHARMONIC FRIENDS Our mission and purpose at the Philharmonic Friends is to support the orchestra, discover and encourage musical talent, and to promote musical education for all ages.

Our mission and purpose at the Philharmonic Friends is to support

Theoplis Smith III, also known as “Phresh Laundry,” is a primarily self-taught artist whose work comes from an innate need and desire to create. Smith’s practice is incredibly unique both for its skill and its unlikely beginnings. As a young child, he found himself drawn toward the arts, and has slowly but surely pieced together an original form of painting with certain connections to popular culture forms of representation like comic books, and the quick sketches of caricature, paired with the long history of traditional portraiture. Smith has been refining his practice over the last couple of years. His art brings broad appeal, while staying fresh and keeping a varied approach to the formal aspects of the work.

THRILLING MUSIC RENOWNED SOLOISTS VERSATILE ARTISTRY

the orchestra, to discover and encourage musical talent, and to Artists’ Competition on March 26.

This past musical year, weeducation hosted theforYoung promote all ages.

The winner of the senior division and a $1000.00 scholarship was Lydia RheaFriends (16), ahave cellist from Fishers.

Indiana.

She played her competition The several community education programs that are supported the generosity of theConcerto William in & Bonnie piece, the first by movement of the Cello B minorHefner

by Dvorak, Foundation. are grateful for the Foundation’s continued support. with the Fort We Wayne Philharmonic Orchestra on April 30 at the Family Concert in the Auer Performance Hall on the IPFW campus. The next Our nationalwill award-winning Instrument Loan Program that competition be held November 18. Check our website ensures for details. any child who wants to learn to play a musical instrument will have one available to use for lessons, either privately or within a school music curriculum. The We are established currently seeking chairpersons the following programs.

This an excellent Friends the Instrument Loanforprogram in the three early 1990’s.

There areismore than opportunity to use your talents to serve not only the Philharmonic Friends, but the entire Fort 200 instruments available on a first come, first served basis. The majority of the inventory Wayne community: consists of string instruments in various sizes along with a few brass and woodwind instruments.  Our mission Our national winningFriends Instrument Program ensures that any child who wants to and purposeaward at the Philharmonic is to support Loan the orchestra, andaencourage talent, andwill to promote learndiscover to play musicalmusical instrument have one available. musical educationStudent for all ages. Scholarship gives financial aid to promising elementary and/or The Friends a half  Before orchestral each of theinstrument/vocal Masterworks concerts, thewho Friends Musically secondary students needhost assistance in Speaking, meeting the costhour of This past year, we hosted the Young Artists’ Competition on March 26. discussion led by Caleb Young, Assistant Director of the orchestra. These sessions are sure private for coming 2018-19 academic The winnerlessons of the senior division and a $1000.00 scholarship was Lydiayear. Applications are online March 1, 2018 to Rheato (16), a cellistGo from Indiana. She played her competition your appreciation of the Masterworks concerts.

June 1,enhance 2018. toFishers. www.philharmonicfriends.com piece, the first movement of the Cello Concerto in B minor by Dvorak, Playgrounds are way to enjoy serving with the Friends. I have heard the  with Instrument the Fort Wayne Philharmonic Orchestra on another April 30 at the Family Concert in theSpeaking Auer Performance Hall on the IPFW The next Musically has become socampus. popular that our lastages) few programs had standing playground called a “petting zoo” as children (of all have the opportunity to room handle competition will be held November 18. Check our website for details. only.

Beplay sureato check instrument out this pre-concert program the Masterworks and musical with guidance from abefore musician.

Lots of fun! concerts!

We are currently seeking chairpersons for the following programs. This an excellent Musically Speaking will enhance your three enjoyment ofisthe evening’s concert. opportunity to use your talents to serve not only the Philharmonic Friends, but the entire Fort Waynea community: Also, word of thanks to the William J. & Bonnie L. Hefner Foundation, without whose support Our support of the orchestra is funded by our ongoing fundraising efforts. Our last bus  Our national winning Instrument Loan of Program that anyprograms child who wantswould to over the last award several years, many our ensures education not have been possible. trip to to see a Broadway was a sellout and a great success. We have a learnToledo to play a musical instrument will have one musical available.

Speaking, a half hour  Before each of the Masterworks Friends host Musically bus trip planned for Julyconcerts, to thetheAnn Arbor Street Art Fair.

These trips sell out fast, so get led by Caleb Young, Assistantheld Director of the orchestra. These sessions are sure Thisdiscussion past season, the Friends fundraisers; first was a bus trip Toledo, to see your today!

Flyers aretwo available at thethe Philharmonic Desk into the lobby.Ohio Contact toreservation enhance your appreciation of the Masterworks concerts.

The was to the Stranahan Theatre, just a short drive the musical, Kinky ClarAnn Bengs (260) 744-1476 with questions.

Playgrounds are another way Boots. to enjoy serving withtrip the Friends.

I have heard the  Broadway Instrument called a “petting zoo” We as children all ages) have the opportunity to handle and playground a spectacular show! were(ofserved a box lunch from Bagel Station on the trip to Toledo, and play a musical instrument with guidance from a musician. Lots of fun! andyou winehave and ahors d’oeuvres on theyet? return trip with generous prizes to boot.at $10 – This Do Friends cookbook Playing with Food isdoor clearance priced a word of thanks the William J.more & Bonniethan L. Hefner Foundation, without whoseover support200 musicians, staff, board and isAlso, a great buy.

Ittocontains 600 recipes from over the last several years, many of our education programs would not have been possible. members of our the major community.

You may tastedfor thethe recipes on theIIIbus to Toledo at Symphony golftrip outing held inorJuly.

The second, fund raiser, washave the Swing This past season, theevents.

Friends heldNo two fundraisers; the first was bus trip to Toledo, Ohio to see other Friends home out should beaouting, without recipes for buffalo balls, grape salad, or in We thought we would be rained for the but the Orchard Ridge country club was not the Broadway musical, Kinky Boots. The trip was to the Stranahan Theatre, just a short drive homemade baklava.

Find out allalunch the things you on can do with and dryer andpath a spectacular show!

We were served a box from Bagelgolfing Station the trip Toledo,coffee the of the storms.

We had great day and atogood time atfilters the cocktail partysheets. as well. and wine and hors d’oeuvres on thethan return trip withrecipes! generous door prizes boot.

This cookbook is more just It’s anto accumulation of our Fort Wayne culture. the Symphony III golf outing held into July.these programs, please visit our Thejoin second, our major fund raiser, wasFriends the Swing forand ToWe Philharmonic lendtoyour talents Join thethe Fort Wayne lend talents to these and other programs. thought we would be rained Philharmonic out for the outing, but Friends the Orchard Ridge countryyour club was not in the path the storms.

We had a great day golfing and athe good time at thebe cocktail party as well. website www.philharmonicfriends.com You'll glad you did. on You will make some interesting You canofat order the cookbook or join Philharmonic Friends the Friends’ website at www.philharmonicfriends.com. friends and enhance your ofthese our programs, wonderful To join the Philharmonic Friends andappreciation lend your talents to pleaseorchestra! visit our website at www.philharmonicfriends.com You'll be glad you did. You will make some interesting

friends andFyock enhance your appreciation of our wonderful orchestra!

Cynthia

President President

Renée Fleming OPENING NIGHT WITH RENÉE FLEMING

OFFICERS President: Cynthia Fyock; Vice-President Education: Sara Davis; Vice-President Hospitality: Jayne Van Winkle; Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions; Treasurer: Sarah Reynolds

October 6, 2018

SUBSCRIPTIONS NOW ON SALE FOR THE 75TH ANNIVERSARY 2018-2019 SEASON.

FWPHIL.ORG 2 6 0. 481 .07 7 7

BOARD MEMBERS ClarAnn Bengs Anna Boman Tad Boman Mary Campbell

Carol Dellinger Sandra Hellwege Pat Holtvoight Kelly Hudson

Judy Lopshire Nellie Bee Maloley John McFann Tamzon O’Malley

Janet Ormiston Marcella Trentacosti Alexandea Tsilibes

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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.”

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 “ELEGIAC, ROMANTIC, recently helped the orchestra celebrate AND JOYOUS” its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as

MUSIC DIRECTOR the Music Director of the Fort Wayne

ANDREW CONSTANTINE’S Philharmonic in Indiana from a field of

NEW RECORDING more than 250 candidates.

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.”

Constantine’s repertoire is incredibly broad and, while embracing the standard 70 classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His

FOR SALE IN THE EMBASSY LOBBY.

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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Phillip H. Colglazier, Fort Wayne Civic Theatre Executive/Artistic Director Phillip H. Colglazier has worked for the Fort Wayne Civic Theatre for twenty years and was honored at the Indiana Arts Leadership Awards as the 2008 Arts Administrator by the Indiana Coalition for the Arts. He has directed and choreographed numerous productions for the Civic Theatre since 1993. Phillip has served as the Fort Wayne Civic Theatre’s Executive/Artistic Director since 2000 after serving one year as the Managing Director of Edyvean Repertory Theatre in Indianapolis.

Prior to ERT, he worked at the Fort Wayne Civic Theatre as Interim Executive Director, Development/Education Director, Guest Director and Choreographer. In 1995, he began guest directing for the Fort Wayne Civic Theatre with the production Pump Boys and Dinettes. While serving as the Interim Director for seven months he directed three highly successful productions, The Taffetas, Joseph and the Amazing Technicolor Dreamcoat, and created, directed, choreographed an original musical revue, Mama’s Turn, for Mother’s Day weekend.

Phillip’s other playwright credits include scripts for Middle Country USA Amusement Park Music Revues and Renaissance scripts, Dream Believers – an AIDS Benefit Concert, a full-length drama Best Intentions, and a full-length comedy murder mystery The Marquee Quest. In 2011, the Fort Wayne Civic Theatre premiered his dramatic comedy …before I wake… Phillip was instrumental in the creation of the Northeast Indiana Playwright Festival for the Civic Theatre from 2009-2017.

He last appeared on the Fort Wayne Civic Theatre stage as Zach in A Chorus Line, and he played the supporting role of Pat Gilbert in State Fair, having won an Anthony Award for his performance. He had the starring role of the King of Siam in The King and I, as P.T. Barnum in the circus musical Barnum, Ken Gorman in Rumors, and Matt in The Fantastiks playing opposite Heather Headley, Tony Award winner for her role in AIDA. In 1990-93, Phillip was the television Producer/Host for WFFT-TV Super 55 FOX’s 90-minute children’s show, Happy’s Place. That same year, the Indiana Arts Commission accepted Phillip as an Approved Artist. The following year, he choreographed the opening season for the Fort Wayne Fury Power Dance Team. In 1989-90 he was hired by the Fort Wayne Ballet as a Resident Artist, Company Member and Education Outreach Coordinator.

Before his return to Fort Wayne, Phillip appeared in a Broadway Revue in Seoul, Korea, under the direction of Baayork Lee (the original Connie Wong in A Chorus Line). While in Europe he performed under the direction of Gillian Lynne in the Vienna, Austria’s company of CATS and with RAI UNO’s television program FANTASTICO 5 in Rome, Italy. You may have seen him dancing with Mattel’s Barbie in the 1988 and 1989 Macy’s Thanksgiving Day Parade on NBC. Phillip has worked as the off-Broadway Box Office manager for Ensemble Studio Theatre in N.Y.C., as the promotions consultant for Midsummer Mime Theatre in Indianapolis, and as the Entertainment Director for Middle Country USA Family Amusement Park located near Indianapolis. He earned his membership in the Actor’s Equity Association by performing the roles of Paul in A Chorus Line and Chino in West Side Story at Beef-N-Boards Dinner theatre in Indianapolis.

Before Phillip moved to New York City, he performed during the summers at King’s Dominion in Doswell, Virginia, and Opryland USA in Nashville, Tennessee, while on break from Ball State University where he received a B.S. in Speech Communication and Theatre. Phillip is a native of Fort Wayne, a Snider High School graduate and got his 72 start on the Civic Theatre stage at the age of 15 in South Pacific starring Joan Goldner.

Keefer

Caleb Young, Assistant Conductor Caleb Young joined the Philharmonic as Assistant Conductor in the fall of 2016. He serves as cover conductor to all Masterworks and other selected programs, and conducts various concerts throughout the season including Pops, Family, Education, and ballet.

Young also serves as founder and conductor of KammerMahler, a daring mobile chamber orchestra.

Founded in 2013, KammerMahler focuses on presenting the music of Mahler in a fresh and intimate medium.

KammerMahler has recorded and released the World Premiere album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9.

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 Salzburg Festival. During the festival’s Don Giovanni production, he filled in last minute, conducting the off-stage banda with members of the Vienna Philharmonic. Young has also been selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross, and as Assistant Conductor for the National Music Festival.

Young has conducted the Fort Worth Symphony, the Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations such as the St. Louis Symphony, Atlanta Opera, Portland Symphony, National Music Festival and the Jacobs School of Music at Indiana University.

A native of Asheville, North Carolina, Caleb started his musical training on piano at the age of three.

Young received his master’s degree in orchestral conducting from Indiana University Jacobs School of Music, studying with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

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 has served as Chorus Director and regular conductor of the Fort Wayne Philharmonic since 2013, 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 since 2000, Rivera also serves as Music Director and Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. He took on the position of Associate Conductor of GRAMMY®-winner The Washington Chorus this past fall.

A member of 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 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 Doctor of Musical Arts 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 in 2001; conducting African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. In 2011, he researched choral rehearsal and performance practice in Berlin, Germany.

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).

THE PHILHARMONIC CHORUS BOARD OF DIRECTORS OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Carrie Viet, Secretary 74

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

Katy Hobbs Nathan Pose Sarah Reynolds Carrie Veit Greg White 75

FORT WAYNE PHILHARMONIC ORCHESTRA ROSTER

ANDREW CONSTANTINE, Music Director IONE BREEDEN AUER FOUNDATION PODIUM

CHAMBER MUSICIANS

CALEB YOUNG, Assisant Conductor BENJAMIN RIVERA, Chorus Director LOUISE BONTER PODIUM

VIOLIN Violetta Todorova, Concertmaster Frank Freimann Chair Johanna Bourkova-Morunov, Associate Concertmaster Michael and Grace Mastrangelo Chair Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair David Ling Youngsin Seo Alexandra Tsilibes Pablo Vasquez Kristin Westover Lipeng Chen Janet Guy-Klickman Linda Kanzawa Ervin Orban Timothy Tan

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Bruce Graham Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Theodore E. Chemey III Erin Maughan Erin Rafferty CELLO Andre Gaskins, Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair Jane Heald David Rezits Edward Stevens

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

Vacant Linda and Joseph D. Ruffolo Family Foundation Chair

ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

Martin Meyer

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann

VIOLA Derek Reeves, Principal

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Debra Welter, Assistant Principal Charles and Wilda Gene Marcus Family Chair

Brian Kuhns Andres Gil Joel Braun

Cynthia Greider Georgia Haecker Halaby Chair BASSOON Dennis Fick, Principal Anne Devine Joan and Ronald Venderly Family Chair

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

TROMBONE Vacant, Principal W. Paul and Carolyn Wolf Chair

Alex Laskey John D. Shoaff Chair

Vacant Second Trombone

Michael Galbraith Walter D. Greist, MD Family Chair

BASS TROMBONE Andrew Hicks

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

TUBA Chance Trottman-Huiet, Principal Sweetwater Sound and Chuck and Lisa Surack Chair TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Alison Chorn, Acting Principal June E. Enoch Chair

Kirk Etheridge Acting North American Van Lines funded by Norfolk Southern Foundation Chair Ben Kipp Acting 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 Yu-Fang Chen Nicole DeGuire Amber Dimoff Doug Droste Regan Eckstein Janice Eplett Michael Houff Gert Kumi Alexandra Matloff Aaron Mossburg Caleb Mossburg Linda Oper Ilona Orban Eleanor Pifer Joachim Stepniewski Colleen Tan Lauren Tourkow VIOLA Rachel Goff Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

CELLO Brian Klickman Iris Ji Martin Meyer Peter Opie Jose Rocha Heather Scott Yoonhae Swanson BASS Brad Kuhns Garry Wasserman FLUTE Kayla Burggraf Janet Galbraith Alistair Howlett Patricia Reeves Mihoko Watanabe OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder Aryn Sweeney CLARINET Elizabeth Crawford Daniel Healton Kevin Schempf Rajesh Soodeen Krista Weiss Dan Won

BASS CLARINET Elizabeth Crawford Daniel Healton Dan Won Ed Renz BASSOON Marat Rakhmatullaev Michael Trentacosti CONTRA-BASSOON Steve Ingle Alan Palider Keith Sweger HORN Gene Berger Kurt Civilette Charlotte O’Connor Kenji Ulmer TRUMPET Matt Anklan Alessandro Bonotto Alex Carter Douglas Hofherr Greg Jones Dan Price TROMBONE Darren Castellanos Rachel Castellanos Jim Kraft

John Grodian Loy Hetrick Alex Krawczyk David Parrilla TUBA Manny Colburn Matt Lyon Paul Mergen PERCUSSION Matt Hawkins Renee Keller Kevin Kosnik David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann SAXOPHONE Matt Cashdollar Ed Renz Farrell Vernon HARP Katie Ventura

77

FORT WAYNE PHILHARMONIC BOARD OF DIRECTORS

ADMINISTRATIVE STAFF

BOARD OF DIRECTORS OFFICERS Chuck Surack, Chair Ben Eisbart, Immediate Past Chair Sherrill Colvin, Vice Chair Sharon Peters, Vice Chair Barb Wachtman, Vice Chair Vicki James, Secretary George Bartling, Treasurer

George Bartling Anita Cast Sherrill Colvin Ben Eisbart Dennis Fick Mary Fink Carole Fuller Cynthia Fyock Michael Galbraith Mark Hagerman Jonathan Hancock

Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Suzie Light Kevin Lowe Eleanor Marine Nick Mehdikhan Scott Miller Daniel P. Nieter Tammy O’Malley

Sharon Peters Judy Pursley Eric Sank Melissa Schenkel Carol Shuttleworth Nancy Stewart Chuck Surack Barb Wachtman Jeanné Wickens Alfred Zacher

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

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

PAST CHAIRMEN OF THE FORT WAYNE PHILHARMONIC 1944-1945 1945-1947 1947-1948 1948-1950 1950-1951 1951-1953 1953-1955 1955-1958 1958-1960 1960-1962 1962-1964 1964-1967 1967-1968 1968-1972 1972-1973 1973-1975 1975-1977 1977-1979 1979-1981 1981-1983 78

James W. Palermo Managing Director Roxanne Kelker Executive Assistant to the Managing Director and Music Director ARTISTIC OPERATIONS Jim Mancuso General Manager Scott Stolarz Director of Operations

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

FORT WAYNE PHILHARMONIC ADMINISTRATIVE STAFF

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*

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

Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Joel Dreyer Stage Manager Lorenzo Kleine Artistic and Development Coordinator EDUCATION Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Patricia Reeves Youth Orchestra Manager

DEVELOPMENT Clarissa Reis 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 Doug Tuck Interim Director of Marketing and Public Relations Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager Dalen Wuest Patron Services Associate MaryAnne Skora Patron Services Associate

Derek Reeves Lead Instructor, Club Orchestra program Aaron Samra Club Orchestra Program Manager

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SERIES SPONSORS

SERIES SPONSORS

The Robert, Carrie and Bobbie Steck Foundation Great Performers Series

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.”

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

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

Sweetwater Pops Series

CHUCK SURACK

MARK MILLETT

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.

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.”

Founder & President, Sweetwater Sound, Inc.

Parkview Health Regional Holiday Pops Series

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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President & CEO, Steel Dynamics

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.

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FORT WAYNE PHILHARMONIC SPONSORS

The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260.481.0784 to become a sponsor.

FORT WAYNE PHILHARMONIC SPONSORS

VIRTUOSO SOCIETY | $10,000 to $24,999 continued Rick & Vicki James

Jeff Sebeika, Subway

Miller Family Fund

SERIES SPONSORS

O’Malley Charitable Fund

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

STRADIVARIUS SOCIETY | $5,000 to $9,999 Anonymous (1)

MAESTOSO | $250,000+

Jim & Gloria Nash

Madge Rothschild Foundation Chuck & Lisa Surack

James W. Palermo Russ & Jeanette Quilhot

ALLEGRETTO | $50,000 to $149,999 George & Linn Bartling

Anonymous (1) Robert, Carrie, and Bobbie Steck Family Foundation

The Paul Yergens and Virginia Yergens Rogers Foundation

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

VIRTUOSO SOCIETY | $10,000 to

Suzanne Light

Alfred Zacher, in memory of Hannah Zacher

$24,999

June E. Enoch Foundation Janice Eplett, in memory of Winifred F. Howe and F. Russell Eplett

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CONDUCTOR’S CIRCLE | $2,500 to $4,999 Anonymous (1)

Anita & Bill Cast

Allina Anesthesiology, P.C.

Mark & Mary Kay Hagerman

Brotherhood Mutual Insurance Company

Parkview Field, Home of the TinCaps 83

FORT WAYNE PHILHARMONIC SPONSORS

COMPOSER’S CIRCLE | $1,000 to $2,499 Crumpet the Trumpet Ben & Sharon Eisbart David & Mary Fink

Mr. & Mrs. Michael Gavin Eleanor H. Marine MedPartners

Dr. Scott Miller Parrish Leasing, Inc. Purple Blaze Enterprise, LLC.

For information about supporting the Philharmonic’s 2017-2018 Annual Fund, contact the Development Office at 260.481.0775.

Anonymous (1) Vicki & Rick James

UniFirst, Inc.

Chuck & Lisa Surack, Sweetwater Sound

SECTION PLAYER | $100 to $299

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999)

Alice & Jonathan Hancock

Anonymous (2) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs. Irwin F. Deister Jr. June E. Enoch*

IN KIND DONATIONS A Party Apart Barnes & Thornburg, LLP Bravas Ann Eckrich IPFW

Joseph Decuis Wagyu Farm Keefer Printing NIPR Pizza Hut Benjamin Rivera

Taco Bell WANE TV WOWO 107.5 FM WLDE 101.7 FM

AUCTION CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges these sponsors for their generous contributions to our 2017 PHILharmonious Gala Auction. Please call 260.481.0774 for more information on becoming an auction sponsor.

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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.

FOUNDERS SOCIETY (GIFTS OF $25,000+)

CONCERTMASTER | $500 to $999 Nancy & David Stewart

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS

“I” Wood Artist Al Zacher Alicia Pyle AMC Theatre Annie Eckrich Arrow Fence Auburn Cord Duesenberg Automobile Museum Belmont Beverage Biaggi’s Ristorante Italiano Black Canyon Bradley Gough Vicky Carwein & Bill Andrews Catablu - BluSpoon Cinema Center Clarissa Reis Club Soda Cork ‘n Cleaver Crazy Pinz David Rezits Della Terra Photography Diane Humphrey Don Hall’s Eleanor Marine Embassy Theatre Fort Wayne Ballet Fort Wayne Children’s Zoo Fort Wayne Komets

Fort Wayne Mad Ants Fort Wayne Museum of Art Fort Wayne Parks & Recreation Fort Wayne Philharmonic Fort Wayne Philharmonic Board of Directors Fort Wayne Philharmonic Friends Ginny Clark Glass Trek Studio Granite City Hide Out 125 Holiday World & Splashing Safari Indiana Beach Indianapolis Colts Indianapolis Symphony Orchestra J K O’Donnell’s Leonard Helfrich & Nancy Stewart Mad Anthony/Shigs in Pit Melissa Schenkel Mitch-Stuart Inc. Oyster Bar Painting Fun Spot Pam Kelly Papier’s Creative Framing

Park Place on Main Parkview Field, Home of the TinCaps Parkview Health Paula’s on Main Peg Perego Pelka Ceramics Penny French Deal Pizza Hut PNC Bank San Martin Designs Schoolhouse Stoneware Sharon Eisbart Corporate Art SkyZone Fort Wayne Smoothie King Chuck & Lisa Surack and Sweetwater The Golden Tucanos Brazilian Grill UltraZone Family Entertainment Center UniFirst Inc. Vera Bradley Vision Scapes Lawn & Landscape Wine Down

William N. & Sara Lee Hatlem Tod Kovara Eleanor H. Marine Virginia Lee Zimmerman

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999) Drs. David Paul J. & Jeneen Almdale George & Linn Bartling David & Janet Bell Ben & Sharon Eisbart Mark O. Flanagan Mark & Mary Kay Hagerman Stephen Hinkle Drs. Kevin & Pamela Kelly

Kevin & Tamzon O’Malley Michael & Carla Overdahl Judy Pursley Russ & Jeanette Quilhot Jeff Sebeika, Subway Herb & Donna Snyder Charlie & Jeanné Wickens

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

Greg Marcus* Dr. Michael Mastrangelo Dr. Scott Miller James Palermo David & Sharon Peters Carolyn & Dick Sage John H. Shoaff & Julie Donnell Philip & Rebecca Smith W. E. Spindler Carolyn & Larry Vanice Barbara Wachtman & Tom Skillman Joseph L. Weaver Al & Hannah* Zacher Brian Zehr, PPG Pulmonary and Critical Care

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Bill Andrews & Vicky Carwein Nancy Archer Tim & Libby Ash Family Foundation Norma & Tom Beadie Janellyn & Glenn Borden Tom & Margaret Dannenfelser Keith & Kyle Davis George & Ann Donner

Emily & Michael Elko Clayton Ellenwood Fred & Mary Anna Feitler Susan & Richard Ferguson Scott & Melissa Glaze Leonard Helfrich Sattar & Marlene Jaboori Dorothy K. Kittaka

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COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) continued Floyd & Betty Lou Lancia Drs. Carol & David Lindquist Kevin & Nicole Lowe Scott & Donna Mattson Mr. & Mrs. Donald T. Mefford Greg & Barbara Myers Joseph & Lindsay Platt Linda Pulver The Rev. C. Corydon Randall & Mrs. Marian Randall

The Rothman Family Foundation Melissa & Peter Schenkel Nancy & David Stewart Kathleen M. Summers Nancy Vendrely Wayne & Helen Waters Lewie Wiese Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (3) Holly & Gil Bierman Katherine Bishop Roberta Brokaw Barbara Bulmahn Dr. & Mrs. Jerald Cooper Tim & Ann Dempsey Sandra K. Dolson The Dyer Family Foundation Robert & Carol Fawley

Fort Wayne Philharmonic Chorus Bob & Liz Hathaway Alice & Jonathan Hancock Anne & James Heger Ginny & Bill Johnson Suzanne Light Susan & David Meyer Kathryn A. Miller Josh Parrish

Norma J. Pinney Caroll & Bill Reitz Benjamin & Alexia Rivera Kay Safirstein Dr. Janet Schafer Dr. Darryl & Sharon Smith Carol Ann Terwilliger Rachel A. Tobin-Smith Herbert & Lorraine Weier Deborah Weinswig Matthew Wilcox

ENCORE CIRCLE (GIFTS OF $750 TO $999) Anonymous (1) Dr. & Mrs. Todd Briscoe Mr. & Mrs. Craig D. Brown John & Janice Cox

Sara Davis Anita G. Dunlavy Bruce & Mary Koeneman Ed & Linda Kos

Anne & Ed Martin Paul & Bonnie Moore Mark Troutman & Ann Wallace

CONCERTMASTER (GIFTS FROM $500 TO $749) Jeane K. Almdale Dr.* & Mrs. Justin Arata Mr. & Mrs. William Arnold Richard & Matoula Avdul Frederick Beckman* Michael & Deborah Bendall Richard & Cathryn Boys Joan Baumgartner Brown Mrs. Virginia Coats Wanda Crouse Dr. & Mrs. Fred W. Dahling Erica Dekko Dr. James Dozier Mrs. J. Robert Edwards Bruce & Ellen England Mr. & Mrs. Herb Fuller Roy & Mary Gilliom Leonard & Rikki Goldstein

Mr. & Mrs.* G.L. Guernsey Mrs. Eloise Guy Ms. Susan Hanzel William & Sarah Hathaway Warren & Ardis Hendryx Mr. & Mrs. Kenneth Johnson Marcia & Andy Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund Dr. & Mrs. John W. Lee Stephen* & Jeanne Lewis Anne A. Lovett Thomas & Dianne May Lusina McNall Nick & Amber Mehdikhan April & Charles Morrison Paul Oberley

Old Crown Brass Band Joan K. Olinghouse Brian & Sue Payne Mr. & Mrs. William Peiserich William & Sue Ransom Dr. Stephen & Carmen Reed Ltc. Ret. Richard* & Beverly Reeves Jeremy & Clarissa Reis Maryellen M. Rice Scot C. Schouweiler & Julie Keller Wayne & Ann Shive Stephen R. & Anne S. Smith Ronald VanDiver Ted & Robin Wagner Virginia & Don Wolf

FIRST CHAIR (GIFTS FROM $300 TO $499)

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Anonymous (3) Scott & Barbara Armstrong Mr. & Mrs. Craig Balliet Dr. Sunil Babu Mike & Kay Bauserman Matthew & Elizabeth Bechdol Tony & Pat Becker Larry & Martha Berndt David W. Bischoff

Jon Bomberger & Kathryn Roudebush Rebecca Bouse Tom Cain John & Jill Case Dan & Marjorie* Culbertson George & Nancy Dodd Dr. & Mrs. John Dyer Lillian C. Embick

Albert & Jeanne Emilian Dr. Joseph P. Fiacable Dick Florea & Sandy Shearer John & Jane Foell Jeff Frappier Cynthia & Douglas Fyock Linda Gaff Leonard Garrett Robert & Barbara Gasser

Robert & Constance Godley Thomas E. & Donna J. Green Lois Guess Linda Hansen & Tim McElwee Mayor Tom C. & Cindy Henry Mark & Debbie Hesterman Andrew & Katy Hobbs Ellen & Bishop Holliman Mr. & Mrs. Arnold Huge Jennifer Jacobson Larry & Annette Kapp John & Lorene Kelley Kendall & Davis, Inc. Dr. & Mrs. Daniel Krach Kevin Kurtz Carolyn N. Lane Steve & Rhonda Lehman

Mr. & Mrs. Duane Lupke Paul & Pauline Lyons Peg Maginn Peter & Christine Mallers John & Shelby McFann Leanne Mensing David & Linda Molfenter Noel & Diane Moore LTC & Mrs. John T. Moore Kenneth & Linda Moudy Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Pat & Mac Parker Mr. & Mrs. John M. Peters Raymond & Betty Pippert Keith Raftree Dr. & Mrs. Fred L. Rasp

Paul J. & Lula Belle Reiff Martin & Rita Runge Douglas & Laura Runyan Robert & Ramona Scheimann Chuck & Patty Schrimper Fort Wayne Alumnae Chapter of Sigma Alpha Iota Sharon Singleton Matt & Cammy Sutter Carl & Cynthia Thies Scott & Jenny Tsuleff Don & Amy Urban Kari & Jeannine Vilamaa Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy

SECTION PLAYER (GIFTS OF $100 TO $299) Ambulatory Medical Management Anonymous (15) Max M. Achleman John & Mary Ackerman Irving Adler Larry & Francine Allen Dr. Michael & Alysia Alter Thomas & Maryanne Alter Mr. & Mrs. Brad Altevogt Ms. Mary Jo Ardington Dr. & Mrs. Thomas Armbuster Mel & Ruth Arnold Mr. & Mrs. Lonnie Au Dick & Adie Baach David & Beverly Baals Gerald Backstrom Jim & Ellen Barr Greg Batterton Mr. & Mrs. John Batuello Marjorie Baumgartel Donna & Charlie Belch Carol M. Bennett Bix & Anita Benson Janet Bergeron Jim & Gay Berlien Diana Berich Kevin Beuret Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Matthew & Tracy Bilodeau Robert & Mary Binns Mr. & Mrs. Arlan Birkey David W. Bischoff David Blackwell Sherry L. Blake Steve Bloomfield & Linda Tannas Barbara L. Boerger Barbara Boggs Virginia Bokern Dr. Charles & Nonda Bolyard Mr. & Mrs. Bruce Bone Bill Borgmann Brian Bostwick John Bottiglia Dennis Bowman

Anne Marie Bracht Jim & Sue Bradley Ruth Braun Dr. Helene Breazeale John P. Brennan & SuzAnne Runge Evelyn M. Brosch-Goodwin Richard & Gloria Brown Dave Brumm & Kim McDonald Geneva Brummett William & Joan D. Bryant Geary Buchanan William & Dorothy Burford Dr. David & Gayle Burns Mr. & Mrs. Gerald Burns Joyce & Paul Buzzard Mary Campbell Andy & Peg Candor Bonnie Carroll Jim & Diane Carter Shane Cary Barbara Chamberlin Jeri Charles Kathy Choka Arlene Christ* Steve Christman Dr. & Mrs. Dennis Chubinski Bruce Cleveland Nelson & Mary Coats Barbara Collins Matt Converse Wendell & Mary Cree Bob & Margita Criswell Amy Crouch Miles J. & Lorraine Hook Davis Fund Janet Dawson & Jerry Smith Lenore DeFonso Tom & Holly DeLong Vera & Dominick DeTommaso Kathy Dew Sharon Dietrich Gene & Carol Dominique Fred & Joan Domrow Mr. & Mrs. Donald Duff Mr. & Mrs. Rodney Dunham

Fred & Tina Eckart Ned & Sally Edington Don & Mary Kay Ehlerding Jon Eifert Susan Eikenberry Cynthia Elick Mr. & Mrs. George Emmert EPCO Products Inc. Pam & Steve Etheridge Pam Evans-Mitoraj Jan Evrard Larry & Judy Farver Mr. & Mrs. David Fee Susan Fox Nathan & Angela Freier Francis & Ann Frellick Peggy Frey Sheryl A. Friedley Melinda Fuchs Michael & Janet Galbraith Elizabeth Garr Jane Gerardot & Jeff Leffers Geoff & Betsy Gephart Tim & Ann Gibson Joy A. Gilbert Robert & Constance Godley William & Mary Goudy Janelle & Steven Graber Janet Graham Leah Grant Marcia Grant Don & Kate Griffith James B. Griffith David & Myra Guilford Sharon Gustin Mary K. Gynn Jennifer Hagerty Melanie & Robert Hall Brian & Barbara Harris Melissa Hartman Marcia Haskins Paul J. Haughan* Joseph Hayes & Gregory Bowman Dennis & Joan Headlee John Heath Jacqueline Heckler Cynthia Heffelfinger

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Mr. & Mrs. Martin Heiny Sandy Hellwege Matt Hendryx Anthony & Susan Henry Lucille Hess Pamela Higgins Scott & Catherine Hill Andrew & Katy Hobbs Tom & Jane Hoffman Doug & Karla Hofherr Mr. & Mrs. Andrew Hosey Winifred Howe* Philip Hudson Mark & Karen Huntington Ed & Mary Lou Hutter Hyndman Industrial Products Inc. George & Jane Irmscher Jocelyn Ivancic Carol Jackson Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Gordon Johnson Stephen Johnson Alex & Sharon Jokay Don & Joyce Jordan Scott Kardys Lois Kaufman-Hunsberger Erick Keirn LuAnn R. Keller Bridget Kelly Dale Kelly* Chris & Angie Kidd Sheila D. Kiefer Sarah Kindinger Priscilla King Linda J. Kirby John Kirchhofer Audrey M. Kirk William G. Knorr James & Janice Koday Mr. & Mrs. Fred Kohler Mr. & Mrs. Arthur Konwinski Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Shelby Lamm JJ Carroll & Jeff Lane Drs. Chung & Sage Lee Brad & Donna Lehman Douglas & Minda Lehman Frances LeMay & Peter D. Smith Arthur & Marcia Litton Raymond & Mary Lou Loase Marlene Lobsiger Chuck Logar Anne C. Longtine & Marco J. Spallone Jerry L. Mackel M.D. Janet & Larry Macklin Michael & Diane Makarewich Mr. & Mrs. Steven Malloris Dr. & Mrs. Richard Manalis Harry & Barbara Manges

Ellen* & Eric Mann Linda Marshall Jane Martin Roy & Sharon Martin Dr. & Mrs. Naomichi Masaki Mark & Sarah Masloob Cheryl Mathews Elmer & Patsy Matthews David & Kathleen Matz Judith Maxwell Dr. & Mrs. Michael L. McArdle Diane McCammon Susan J. McCarrol Mick & Sue McCollum Mary McDonald Debra McKinney Alice McRae Elizabeth Meyer David & Ann Miller Edward Miller Kerry A. Miller Mr. & Mrs. Carl Moellering Ray & Nancy Moore Chuck & Becky Morris Meg Moss Suzon Motz John & Barbara Mueller Kevin & Pat Murphy Steve Naragon & Pam Higgins Ed Neufer Beverly Norton John O’Connell & James Williams Don & Jenny Oberbillig Harold & Martha* Oechsle Ron & Nancy Orman Mrs. Mary Jane Ormerod Betty O’Shaughnessey Dr. C. James & Susan J. Owen Emmanuel & Noemi Paraiso Penny Pequignot Ms. Nigel Perry Gary & Alice Peterson Marianne Platt R. W. Poorman Edwin & Cynthia Powers Marvin & Vivian Priddy Marlene Purdy Helen F. Pyles RAM Production Backline Roger & Catherine Rang John & Diana Reed Anne Rettenmaier Madonna Reynolds Sarah & Richard Reynolds Mr. & Mrs. David Ridderheim Alan & Pat Riebe Ruth & Phillip Rivard Ms. Rita Robbins Karen Roberts Janet Roe Mr. & Mrs. John W. Rogers Ron & Rhonda Root Stanley & Enid Rosenblatt Gretchen Roth Drs. Alan & Jane Roush Marilyn Salon

Dr. & Mrs. Thomas E. Sarosi Robert & Sarah Savage Samuel Savage Gail Scheithauer Ms. Mary Francis Schneider Tom & Mary Ellen Schon Ed & Julia Schulz Richard & Ruth Schwartz Andrew Scriven Ken & Mary Scrogham Richard & Suzanne Shankle Elizabeth Sheets Ms. Cornelia L. Shideler Norma Shondell David T. & Nancy Sites Dick Sive & Ramona Naragon-Sive Curt & Dee Smith Keston Smith Lynda D. Smith Sharon M. Snow Mary & Rob Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Salvador Soto Jeff & Sunny Stachera Don & Linda Stebing Starla Steckbeck Mr. & Mrs. Donald D. Stedge Michael & Barbara Stedge Lois A. Steere Elizabeth Stehulak David & Beth Steiner Tom & Mary Jane Steinhauser Annetta Stork Jeffery Strayer Brenda Sullivan Michael & Cheryl Summers Arthur & Karen Surguine Lynn Syler Tim & Colleen Tan Steven & Ruth Anne Teeple Judge Philip R. Thieme Joe & Larysa Thorsteinson Martin Tierney Larry & Ellen Till Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Walter & Martini Vandagriff Dave & Sharon vonGunten Karen & David Von Loesecke Carol Ward Mr. & Mrs. George E. Weatherford Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick John & Nancy Wilhelm Ellen Wilson Stephen & Marsha Wright Dalen & Stephanie Wuest Susan Wygant Bob & Jan Younger Jeanne Zehr

FOUNDATION AND PUBLIC SUPPORT

PHILHARMONIC SOCIETY | $1,000,000+ Edward D. & Ione Auer Foundation

MAESTOSO | $250,000+ Madge Rothschild Foundation

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

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

ALLEGRETTO | $50,000 to $149,999 Anonymous (2) 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 Lincoln Financial Foundation

W. Gene Marcus Trust National Endowment for the Arts PNC Charitable Trusts The Rifkin Family Foundation

VIRTUOSO SOCIETY | $10,000 to $24,999 Olive B. Cole Foundation June E. Enoch Foundation K. Robert Ehrman Fund Charles W. Kuhne Charitable Trust Miller Family Fund The Rea Charitable Trust

Edward M. and Mary McCrea Wilson Foundation The Donald F. Wood and Darlene M. Richardson Foundation Edward and Hildegarde Schaefer Foundation

STRADIVARIUS SOCIETY | $5,000 to $9,999 3Rivers Credit Union Foundation Journal-Gazette Foundation

Ian and Mimi Rolland Foundation Wells County Foundation

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Community Foundation DeKalb County BAE Systems Community Investment

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COMPOSER’S CIRCLE | $1,000 to $2,499 Adams County Community Foundation Arthur and Josephine Beyer Foundation Fulton County REMC Fulton County Community Foundation Kenneth & Lela Harkless Foundation

REGIONAL PARTNERS continued

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 Huser Charitable Foundation Kosciusko County REMC Operation RoundUp Fund Quentin K. & Gladys F. Mavis Music Fund Gerald M. and Carole A. Miller Family Foundation

Psi Iota Xi - Pi Chapter Randall L. & Deborah F. Tobias Foundation Unity Performing Arts Foundation

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 Steel Dynamics Foundation, Inc.

ADAMS COUNTY Anonymous (3) Adams County Community Foundation

Michael Bauserman Bunge North America Eichhorn Jewelers

Gilpin, Inc. Antoinette K. Lee Porter Family Foundation

William & Mary Goudy William & Sarah Hathaway David & Pat Kruse Metal Technologies, Inc. Kenneth & Kelly Metzger Psi Iota Xi, Eta Xi Chapter

Quentin K. & Gladys F. Mavis Music Fund Scheumann Dental Associates Norman & Peg Yoder

Joyce Good Peterson, Waggoner & Perkins, LLP. Psi Iota Xi, Eta Mu Chapter Rapid View Thomas & Janet Ravencroft Rochester Telephone Company

Rochester Metal Products Violet Seiwert Zimmerman Bros.

Funeral Homes

DEKALB COUNTY Anonymous (1) Auburn Arts Commission, Inc. Auburn Moose Family Center Community Foundation of DeKalb County DeKalb Outdoor Theater

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Mike’s Car Wash Omer & Susan Kropf The Papers Inc. Dr. & Mrs. Fred L. Rasp Salin Bank & Trust STAR Financial Randall & Deborah Tobias Foundation

Warsaw Performing Arts Center Wawasee Boat Co. Inc. Wawasee Property Owners Association

Airframe Components

by Williams AMI Investments Baker’s Fruit & Flower Farm Black & Ramer Insurance Campbell & Fetter Bank Community State Bank City of Kendallville Dekko Investment Services Mr. & Mrs. Larry Doyle Dr. & Mrs. Chris Frazier Mr. & Mrs. William Freeman Scott R. Frick, CPA, P.C

Councilman & Mrs. James Dazey Mayor Suzanne & Randy Handshoe The Hawk, 95.5 FM Tim & Anita Hess – RE / MAX Results Jansen Family Dentistry J.O. Mory, Inc. Kammerer Design & Fabrication Dr.’s Craig & Elizabeth Lichlyter

Dr. Kevin & Nicole Lowe, Parkview Oncology Parkview Noble Hospital Dr. Alan & Mrs. Roush Shepherd’s Family Auto Group Steward Brimner, Peters & Lear Sylvan Cellars Jennie Thompson Foundation Tri State Veterinary Clinic Wible Lumber Work Prep, Inc. Yoder & Kraus PC

Kappa Kappa Kappa – Zeta Upsilon Chapter Lake James Association Pokagon State Park Psi Iota Xi, Rho Chapter Tusie & Chuck Sheets

Steuben County Community Foundation Trine University Jim & Kathy Zimmerman

STEUBEN COUNTY Joseph F. & Carol Frymier Jim & Karen Huber Indiana Arts Commission Indiana Department of Natural Resources Javets Inc.

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

WELLS COUNTY Anonymous (1) K. Robert Ehrman Fund

FULTON COUNTY Akron Area Arts League Beacon Credit Union Wendell Bearss First Savings Federal Bank Fulton County Community Foundation Fulton County REMC

Anonymous (1) Anita & Bill Cast In memory of Edward & Linda Dahm Lew & LuAnn Derrickson Kenneth & Lela Harkless Foundation Bud & Mary Hursh

NOBLE COUNTY

REGIONAL PARTNERS

Parkview Regional Medical Center/ Parkview Health

KOSCIUSKO COUNTY

Mr. & Mrs. Lawrence Ewing Ouabache State Park

Wells County Foundation

Daniel Menu & Party Consulting Kappa Kappa Kappa – Alpha Iota Chapter STAR Financial Bank

The Donald F. Wood and Darlene M. Richardson Foundation Dr. & Mrs. Richard Zollinger

WHITLEY COUNTY 80/20 Inc. Churubusco Family Dentistry ChromaSource, Inc. Community Foundation of Whitley County

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

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 June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Michael Mastrangelo In Honor of Sherrill Colvin Glenn & Janellyn Borden In Memory of Greg Marcus Anita & Bill Cast In Memory of Winifred F. Howe and F. Russell Eplett Janice Eplett In Honor of Eleanor Marine Dr. Rudy & Rhonda Kachmann Sarah & Sherrill Colvin In Memory of Anthony Palermo Lillian C. Embick In Memory of David Platt for the Youth Symphony Jane & Frank Walker In Memory of Ltc. Ret. Richard Reeves Beverly Reeves In Honor of Nancy Stewart’s Birthday Liz Frederick In Honor of Al Zacher’s Birthday Marie Warshauer & the boys

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In Memory of Hannah Frankenstein Zacher Anonymous (1) Fritz & Sally Aichele Scott & Suzanne Amstutz Barrett McNagny LLP Norma & Tom Beadie Brian & Carrie Bean Barbara L. Boerger Bridget Bonham CBRE Sturges Lisa Clarke CME Corporation Allen & Harriet Cohen Georgia Cook Ward & Marjorie Crago Kathy Denig Philip & Patricia Didier Shawn Matheny Dresser Vernell Fettig Laura, William, & Ellen Frankenstein Elizabeth Frederick Haller & Colvin, P.C. Amy Isaacs Dr. Robert & Kris Jensen Dr. Rudy & Rhonda Kachmann Jane L. Keltsch Mary Lawrence Likens Families Mr. & Mrs. Duane Lupke Peter & Christine Mallers Eleanor Marine Michael & Marlene Myrick Joy Neuenschwander Richard Nickolson Margaret Nolan Kevin & Tamzon O’Malley Linda & Robert Marshall Pat & Mac Parker Elizabeth Patterson Reinhard Pollach Judy Pursley David & Miriam Resnick The Robertson Family Jim Rubin & Faye Weitzman Ann Sanderson Alfred & Norma Slatin George Slenski Deb & Eric Stoll Julio Tierno Mark Troutman & Ann Wallace Cindy Veatch Norma Wallman Robert Wartenbe Matthew & Susan Wojewuczki Patricia Wyneken The Zaremba Family

Irene & James Ator Virginia Bokern Laurie Bryant Karl & Patricia Buchmiller Stuart & Cathy Cleek Philip & Ann D’Amico David & Patricia Durflinger

Barbara & Ildefonso Fantone Fred & Mary Anna Feitler Marcia Grant Ken & Marty Johnson Mary Kay Loney Eleanor H. Marine Ervin & Cynthia Orban

Lenette & Ron Pike Marcus & Stephanie Priest Jeff & Daisy Saito Howard & Marilyn Steele Terry & Julie Taira Rudy Wuttke

In Memory of Ernest Zala (Gifts honoring Ernest Zala’s fifty-seven years as a Philharmonic musician will fund the Ernest Zala Youth Orchestra’s Concertmaster Chair and will provide merit-based scholarships for Youth Orchestra string players. To contribute, please contact the Development Office at 481-0775.)

Dessie Arnold & Richard Dunbar Irene & Jim Ator Virginia Bokern Bob & Margaret Brunsman Dr. Carol Buttell Andy & Peg Candor Nena & Willard Clark Andrew & Jane Constantine Brenda & David Crum George & Ann Donner Delores Dunham

Betsy & Geoff Gephart Ronald Heilman Deborah & Andrew Hicks Colleen J. Hohn Bridget Kelly Eleanor H. Marine Christina & Stephen Martin Don & Eleanor Martin Wayne Martin & Nancy Olson-Martin Lee McLaird

Akira Murotani & Alexandra Tsilibes Ervin & Cynthia Orban Barbara Mann Ramm Robert & Nancy Rhee Cathy Tunge & Steve Kiefer Carolyn & Larry Vanice Kristin Westover Cathleen Westrick Mr. & Mrs. Ray Wiley Tim & Sandy Zadzora

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

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Benjamin Franklin

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

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ENDOWMENT FUND SPECIAL ENDOWMENTS The Philharmonic gratefully acknowledges these special endowments, which are in addition to the musician chair endowments. See page 76-77 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 Family Concerts Howard and Betsy Chapman

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

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

BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Frederick Beckman* Gloria Fink* Henrietta Goetz* Joyce Gouwens* John Heiney* Charlotte A. Koomjohn*

Doris Latz* Sanford Rosenberg* 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 creis@fwphil.org for further information.

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Mr. & Mrs. Max Achleman Mr. & Mrs. James Ackley Dr. Verna Adams Patricia Adsit, in memory of Gaylord Adsit

Mr. & Mrs. Walter Ainsworth Mr. & Mrs. Oscar Albers Sabah Al-Saud Howard & Jeane Almdale Mr. & Mrs. James Almdale

Brad Altevogt, in memory of Jeff Altevogt Mr. & Mrs. Dale Amstutz Dorothy Anglin, in memory of James Anglin

Bob & Pat Anker Dr. & Mrs. James Arata Drs. William & Mary Ellen Argus Dr. & Mrs. Thomas Armbuster Dessie Arnold & Richard Dunbar Jr., in memory of Eddy & Beth Lydy Brown Mr. & Mrs. Melvin Arnold Mr. & Mrs. Richard Arnold, in memory of George & Esther Hull Karen & Gerald Arthur Barbara & Milton Ashby Irene & Jim Ator Mr. & Mrs. Edward Auer Virginia Ayers Adie & Dick Baach Mary A. Bach A. Gerald & Pauline Backstrom H. Norman Ballinger, in memory of Ann Ballinger Linda Balthaser Mr. & Mrs. James Barrett III R. Janice Barton Mr. & Mrs. Glenn Basham Norma & Thomas Beadie Arthur A. Beal Mr. & Mrs. Glen Beams Mr. & Mrs. John Beatty Dennis & Nancy Becker Mary & Joseph Becker Mike & Ellen Becker Pat & Tony Becker Mr. & Mrs. Charles Beckman Betty & Frederick Beckman Nancy Bellinger Mr. & Mrs. William Benford Mr. & Mrs. Phillip Bennett Colleen & Jim Benninghoff Colleen Smith Benninghoff Trust Robert & Vera Benninghoff Bonita & William Bernard Bethel United Methodist Church – Chancel Choir Brenda Betley George Bewley Holly & Gil Bierman The Reverend Dr. Virgil Bjork, in honor of the Masson Robertson Family in memory of Frances Mae Bjork Mr. & Mrs. William Black Sherry Blake Connie & Darrell Blanton Dr. & Mrs. Peter Blichert Bob & Judy, in honor of Ervin Orban, in honor of Christine Thompson, in honor of David Borsvold, in honor of Deb & Andrew Hicks, in honor of Eric Schweikert, in honor of Braham Dembar, in honor of Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of

musicians, especially Will & Ginny Clark those who are soloists Mr. & Mrs. Beresford Clarke Jocelyn & Jim Blum Don Cleary Ann & David Bobilya Willis Clouse Phyllis Boedeker Mr. & Mrs. Lowell Coats Virginia & Richard Bokern, in Mr. & Mrs. John Coe memory of Loved Ones Nancy Cole Jim & Lois Boomer Annelie & Bob Collie, in Janellyn & Glenn Borden memory of Capt. Otto Sid & Bonnie Bostic Eichrodt, in memory Rebecca Bouse of “Suse” Gitterman Eichrodt, Patricia Boyle, in memory of in memory of Judge Turner, in B.C. Boyle, in memory of Mary memory of Mrs. Zula Collie A.J. Boyle Sherrill & Sarah Colvin, in J. Charles Braden memory of Herbert Cooper Charlotte D. Bradley Gwendolyn & Donald Converse Kim & Dwight Brandon J. Philip & Susan Cooling Cook Robert Braun Patricia Cook Dr. Helene Breazeale, in honor Mr. & Mrs. Herbert Cooper of Andrew Constantine Harry Crawford David & Faye Brennan Dr. & Mrs. John Crawford Martha Brenner, in memory of Rosemarie & Stephen Crisafulli Elsa Brenner Kathleen & Robert Crispin Dr. Wm. Lloyd Bridges Dawn, Dave & Nate Crofton Dr. Glenn Brinker & Ms. Willi Patricia & Robert Cross Ratliff, in honor of Mr. & Mrs. Brenda & David Crum John Brinker Michael Crump Carolyn Brody Dr. & Mrs. John Csicsko Mrs. Robert Brokaw, in memory Mr. & Mrs. King Culp of Harriet Parrish Joseph Culver Roberta Brokaw, in memory of Gloster Current Jr. Miriam Louise Brokaw Bill & MaryAnn Dahlman Joan Baumgartner Brown Albert & Yvonne Dahm Barbara & John Bruce Edward & Linda Dahm Beverly & Larry Brunke Mr. & Mrs. George Davis Bob & Margaret Brunsman Janet Davis Rosemary Bucklin Mr. & Mrs. Ronald Davis James Bueter Ted Davis Barbara J. Bulmahn Judy & Wayne Dawes John & Paula Bullman Cathleen & David Debbink Mr. & Mrs. Wayne Burnside Cindy & Mark Deister Karen Butler Gwen & Dick DeKay Sean Butler & Paula George Martha & William Derbyshire Dr. Carol Buttell Jane & Tom Dickson Joyce & Paul Buzzard Roslyn Didier Mr. & Mrs. Thomas Callison Beverly Dildine Princess Cameron Mr. & Mrs. John Dillard Kevin Campbell Mr. & Mrs. Lloyd Doehrmann Isa & Elizabeth Canavati Mr. & Mrs. Richard Doermer Alan Candioto Mr. & Mrs. Fred Doloresco Peg & Andy Candor Nancy & Harley Donnell Mr. & Mrs. John Cantrell Mr. & Mrs. Richard Donnelly Richard Carlson George & Ann Donner Mr. & Mrs. Lyle Cary Mr. & Mrs. Barry Dorman Anita & Bill Cast, in memory of Dr. Robert Doyal Charles Walter Hursh Mr. & Mrs. George Drew Brian & Vicki Castle Douglas Driscoll Donald & Sally Caudill Mr. Richard Dunbar Jr. Kim Caudill Delores Dunham Mr. & Mrs. M. Stuart Cavell Phyllis Dunham Charles Caylor, MD Dr. & Mrs. John Dyer Mrs. Harold Caylor Dot & Bill Easterly Mr. Michael Cayot Lawrence Eberbach Elizabeth & Howard Chapman Mr. & Mrs. Thomas J. Eckrich Charles Chidester, in memory of Mr. & Mrs. John Edris Jr. Jean Chidester Dr. & Mrs. J. Robert Edwards Mr. & Mrs. C. Gregory Childs Ben & Sharon Eisbart

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Cynthia Elick Mr. & Mrs. C.B. Ellis Jr. Constance Ellis Madelane & Ralph Elston Thomas Elyea Lillian C. Embick, in memory of Byron L. Embick Bruce & Ellen England English, Bonter, Mitchell Foundation June Enoch Dr. & Mrs. James Epps Richard Erb Mr. & Mrs. Walter Erxleben Rev. James & Helen Eshleman James Evans Trust Mr. & Mrs. Charles Eversole Dow & Angelique Famulak Dorothy Faulkner Mr. & Mrs. Robert Fay Mary Anna Feitler Susan & Richard Ferguson Vernell & Peter Fettig Charles Fine Gloria Fink Mr. & Mrs. Richard Fink Betty Fishman Margaret & Mark Flanagan Jr. Cleon Fleck Richard E. Ford Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn Theresa & Michael Franke Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C. William Goebel Mr. & Mrs. Edward Goetz Jr. Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm 96 Mrs. Hugo Gottesman

Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty Dave & Sandy Haist Dr. & Mrs. Fouad Halaby Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B. F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD

David Kaminsakas, MD Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD Robert Swint, Sr., MD Gregory Tomlinson, MD Ravi Vaela, MD Stacie Wenk, MD Carl Wrobleski, MD Christopher Zee-Cheng, MD Ronald Heilman John Heiney, in memory of Janet Heiney, in memory of S. Marie Heiney Leonard Helfrich Jerome Henry Dr. & Mrs. T.L. Herendeen Nancy & Philip Hershberger, MD Deborah & Andrew Hicks James & Dorothy Hilmert Ann Hoard Jenny & Andrew Hobbs Mark Hochstetler & Mary Maloney Dr. & Mrs. Arthur Hoffman Donald Hoffman Dr. & Mrs. Gregory Hoffman Colleen J. Hohn Hook Drug Foundation John & Dawn Hopkins Nancy & Tuck Hopkins Jody & Jim Horein Suzanne & Michael Horton Barbara & Phillip Hoth Mrs. Rod Howard Mary & Tom Hufford Amanda Hullinger & Family Diane Humphrey David & Nancy Hunter Leonard Iaquinta Gordon & Marie Iddles Martha Herbert Izzi Jo Bess Jackson, on behalf of The Windrose Ensemble Ms. Ruthie Jackson Marlene Jessup Sheila & David Joest Ginny & Bill Johnson Mary & George Johnson, in memory of M. Johnson Anderson Mr. & Mrs. Kenneth Johnson Mr. & Mrs. M. James Johnston Barbara Jones Mr. & Mrs. Christopher Jones Mr. & Mrs. Joseph Jones Mr. & Mrs. Thomas Jones Richard Juergens, MD

Philip & Phyllis Kaiser Dr. & Mrs. Martin Kaplan Dr. & Mrs. Gerry Kaufman Dr. & Mrs. Carleton Keck Marcile Keck Keefer Printing Company, Inc. Leslie Keeslar Mr. & Mrs. David Keim Dale Kelly Pamela Kelly, MD & Kevin Kelly, MD Mr. & Mrs. Geoffrey Kelsaw Jane Keltsch, in memory of Donald Keltsch Dr. & Mrs. Norman Kempler Diane Keoun Craig & Diane Keoun Dr. & Mrs. S. Bruce Kephart Anne Kern Mr. & Mrs. Ross King Dr. & Mrs. Robert Kittaka, in memory of Mr. Kizo KometanI, in memory of Kumako Kittaka, Beloved Mother John & James Knight Foundation Mr. & Mrs. Lynn Koehlinger Mary Koehlinger Bruce & Mary Koeneman John Korte Tod Kovara, in memory of Earl Kovara, in memory of Judy Ann Kovara Fritz & Joan Kraber Bil & Shirley Kransteuber Krouse Foundation Hedi & Irwin Krueger Keith Kuehnert Mr. & Mrs. Don E. Lahrman Mr. & Mrs. Rex Lamm Mr. & Mrs. Theron Lansford Dr. & Mrs. William LaSalle Janet & Bud Latz Mr. & Mrs. William Latz William Lawson Doretta Laycock Pat Leahy Mr. & Mrs. Ivan Lebamoff Ruth Lebrecht Dr. Chung-Seng & Sage Lee Antoinette & H.S. Lee John Lee, MD Judith & William Lee Mr. & Mrs. Joseph Leeuw Dr. & Mrs. Robert Leininger Mr. & Mrs. Gerald LeMasters Mr. & Mrs. James Lewellen Paul Liechty David & Carol Lindquist Mr. & Mrs. Nocholas Litchin David & Melissa Long Anne Longtine & Marco Spallone Judy & Gerald Lopshire Eleanor Ludy Duane & Carol Lupke Margaret & Doug Lyng Mr. & Mrs. William Macomber

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

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

Poinsatte-Altman Foundation Mr. & Mrs. Howard Polk Mrs. H. Leslie Popp Jr. Vivian Purvis David Quilhot Mr. & Mrs. A. Russell Quilhot, in memory of Mr. & Mrs. Byron Holmes Somers Barbara Mann Ramm Dr. & Mrs. Fred Rasp Mrs. J. E. Rawles Betty Rayl John Reche Dr. & Mrs. John Reed Mr. & Mrs. Thomas Rehrer Paul & Lula Belle Reiff Carroll & Bill Reitz Laura Ress Robert & Nancy Rhee Nancy Rieke Willis & Anne Ritter Ann & Dick Robinson Mr. & Mrs. Don Robinson Max & Sandy Robinson Phyllis Roby Mr. & Mrs. Richard Roese David & Kathy Rogers Nancy Rogers Ian & Mimi Rolland Sanford Rosenberg Trust Philip & Barbara Ross Madelon Rothschild Drs. Roush & Roush, Inc. Emily & Matt Roussel Bette Sue Rowe Phillip & Ruth Ruder Mr. & Mrs. Joseph Ruffolo Carol Lynn Rulka Deb & Bob Rupp Rabbi Richard & Lois Safran Richard & Carolyn Sage Lynne Salomon Dr. & Mrs. Joel Salon Alma Salzbrenner Ann & Morrie Sanderson Nancy & Tom Sarosi Saturday Club Schaefer Foundation Patricia Schaefer Liz & Mike Schatzlein, in honor of George Schatzlein Timothy Scheidt Letha Scherer Kathleen & Dale Schipper Mr. & Mrs. Donald Schmidt Phillis Schmidt, in memory of Eugene Schmidt, MD Jeanne Schouweiler, in memory of Edwin Schouweiler William Schreck Schust Foundation Mike Scott Mr. & Mrs. Frank Sechler Mr. & Mrs. Daniel Serban Mr. & Mrs. William Serstad Shearson Lehman Hutton Inc. Erin Sheehan 98

Joan & Don Sherman Roqua Shideler, in memory of Jack Shideler Jr. John Shoaff & Julie Donnell, in memory of John Shoaff Mr. & Mrs. Thomas Shoaff Mack Short Mary & Robert Short Carol Shuttleworth & Michael Gavin Dr. & Mrs. James Sidell C. David & Ann Silletto Pauline Ware Silva Mark & Sharon Simmons Roberta & Robert Simmons Hank & Marilyn Skinner Sledd Foundation Mr. & Mrs. Walter Sloffer Michael Slutsky & Jean Tipton, in memory of Tasha Tipton Dr. Edra Smiley Mr. & Mrs. Daniel Smith Herbert & Donna Snyder Byron Somers Foundation Carol Baxter Somerville Thelma Somerville Kathryn & Ray Sommers Shari & Jim Sousley William Spindler Mr. & Mrs. Arthur Spirou Barbara Spreen Square D Company Staehle Foundation Ronald Stagg Star Financial Bank – Deposit Services Howard & Marilyn Steele Mr. & Mrs. Allen Steere

Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc. Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Lois A. Steere, in memory of Mr. & Mrs. Robert Walda Allen C. Steere Jane & Frank Walker Mr. & Mrs. A. James Stein Mr. & Mrs. John Walley Todd & Janet Stephenson Mr. & Mrs. James Walper Rev. & Mrs. Daniel Stewart Esther Walter Nancy & David Stewart Robert & Irene Walters Marjorie Stewart, in memory of Nathan & Natalie Wanstrath Carlton Stewart Marie & David Warshauer Amy Stone Michael & Ruth Wartell Robert Stouffer Bob & Martha Wasson Edith Stout Mrs. Richard Waterfield Mr. & Mrs. Leo Stroncczek Helen & Wayne Waters James & Jeanne Mr. & Mrs. Herbert Weier Leita Stump Dorothy Weiss Styles Beyond Salon Mr. & Mrs. Paul Welker Carl Suedhoff Jr. Nicholas Werdell James Suelzer Lynn Wernet Thomas Summerill Kristin Westover Kathleen Summers Cathleen Westrick Mrs. Thomas Summers Mrs. Charles Weyrick Sunriver Music Festival Friends Catherine White The Bowerman Family of Perry & Jackie White Sunriver Dana Wichern Sunset Drive Neighbors, in Dr. & Mrs. Alfred Wick memory of Betty McQuillan Mr. & Mrs. Ray Wiley Chuck & Lisa Surack & William Willennar Foundation Sweetwater Sound, in honor Fred & Marion Williams of Samuel Gnagey Eloise Willis

Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf Melody Wolff Lawrence & Lea Woodrum Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright

Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek

Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger Comprehensive Campaign: Music for Everyone Ben and Sharon Eisbart Eleanor Marine Chuck & Lisa Surack & Sweetwater

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.

Anonymous (22) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman* Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch* Fred & Mary Anna Feitler Richard & Susan Ferguson Mrs. Edward Golden Leonard & Rikki Goldstein Jay & Sandra Habig Susan Hanzel Jeff Haydon Mr. & Mrs. Donald Hicks

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

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.

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.

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Sunrooms

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Room Additions

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Decks

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Pergolas

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Interior Remodeling

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Basement Finishing