Page 1

PRELUDE M A RC H, A P R I L & M AY 2 0 1 9



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

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

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

July 4, 2019 | 8:30 p.m. in Noble County Bixler Lake Park in Kendallville, IN

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

For more information, visit FWPHIL.ORG






Design: Brooke Sheridan Contributing Editors: James W. Palermo, Jim Mancuso, Emily Shannon Prelude is created and produced four times per year by the Fort Wayne Philharmonic 4901 Fuller Drive, Fort Wayne, IN 260.481.0770 - FWPHIL.ORG The Philharmonic makes every effort to provide complete and accurate information in each issue. Please inform the office of any discrepancies or errors. Programs and artists are subject to change.

4 43 58 60 61 62 63 64 66 68 70 71 72 74 7 7

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

ARTIST BIOS & LISTINGS 8 Sandi Patty 8 Chris Albanese 9 IU Singing Hoosiers 1 5 Joel Puckett 16 Freimann Quartet 16 Violetta Todorova 1 7 David Ling



1 1 Masterworks SIBELIUS 2 Saturday, April 6

17 17 20 2 1 21 22 23

Derek Reeves Ed Stevens Norman Huynh Cineconcerts Brady Beaubien Justin Freer John Williams


28 32 32 50 50 51 56

Stewart Goodyear Shelby Lewis Maya Kilburn Richard Glazier Natalie Cordone Michael Andrew Paul Huang

Special BACH IN THE BARN Wednesday, May 1 Thursday, May 2 Friday, May 3

39 Freimann SHINING RIVER Wednesday, May 8 Sunday, May 12

18 Special Events HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT 49 Pops Wednesday, April 10 RHAPSODY & RYHTHM: THE Thursday, April 11 GERSHWIN CONCERT EXPERIENCE Saturday, May 11 25 Masterworks THE FANTASTIC SYMPHONY 53 Masterworks Saturday, April 27 DVOŘÁK AND JANÁČEK Saturday, May 18 3 1 Family SPORTS IN MUSIC: FASTER HIGHER STRONGER! Sunday, April 28


WELCOME FROM THE MUSIC DIRECTOR Dear Friends of the Philharmonic: “Where words fail, music speaks,” said the great Danish writer Hans Christian Andersen. Andersen’s words remind us that we musicians perform symphonic tales that are timeless, expressing love, passion, heartache, and sublime beauty. These are the most exalted feelings found in the greatest creations of western civilization. We begin with the annual Fort Wayne Ballet collaboration, March 22-24. Prokofiev’s hauntingly beautiful score is perfectly set to the classic fairy tale about Cinderella and her charming prince. Then on March 30 the Philharmonic honors Indiana’s rich artistic traditions with the IU Singing Hoosiers joined by the legendary Sandi Patty, in a musical tribute to the USA. The April 6 Masterworks pairs newer American works with Sibelius’s soaring Symphony No. 2. And, on April 10 and 11, the Philharmonic collaborates with our friends at the Embassy Theatre in a screening of Harry Potter and the Chamber of Secrets™ while the orchestra performs John Williams’ otherworldly score, live. I am excited to be welcoming Stewart Goodyear to perform Grieg’s Piano Concerto on April 27, combined in concert with Berlioz’s Fantastic Symphony, a psychedelic portrait of obsessions and dreams, ecstasy and despair. And on May 11 the orchestra offers a multimedia concert that celebrates the ingenious musical legacy of George and Ira Gershwin, including their most popular songs, combined with rare family home videos, photos, and recordings. Family Series concerts, Freimann Chamber Music concerts, and Bach in the Barn at Joseph Decuis Farm demonstrate the amazing versatility of our fine musicians. I urge you to attend Bach in the Barn as it is one of the most intimate and romantic listening experiences one could ever imagine. Audiences are seated at candlelit tables, with wine and desserts included in the ticket price. We close the winter season on May 18, side by side with the Fort Wayne Philharmonic Youth Symphony Orchestra, in music by Dvořák and Janáček. Dazzling fanfares, twelve additional trumpet players, and Czech folk tunes will bring the concert season to a brilliant conclusion. But, don’t forget to attend PHILharmonious, the Gala on June 7 in support of youth education and community engagement programs. 4


My colleagues in the orchestra and I wish to express our gratitude to the Board of Directors and dedicated volunteers for making this 2018-19 Season so special and unique. Recognition must be given to Anita Cast, Nancy Stewart, and Barb Wachtman for planning such a memorable 75th Anniversary. Every detail was beautifully conceived and effortlessly executed. Take a bow! Finally, sincere thanks to our loyal audiences, for without you, none of these classics could come to life. Sincerely,

Andrew Constantine Music Director

2019 | 2020 SEASON


The Paul Yergens and Virginia Yergens Rogers Foundation

Masterworks Series Ambassador Enterprises

Chamber Orchestra Series Brotherhood Mutual Insurance Company

Freimann Series STAR

Family Series Sweetwater

Pops Series



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 become Magnet® recognized. Why is this important? Because of what it means for you — improved quality of care, better outcomes, and a better experience for you and your family. That’s healthcare we can all believe in.

We believe in better.



Sweetwater Pops Series

SATURDAY, MARCH 30, 2019 | 7:30 p.m. | EMBASSY THEATRE

SANDI PATTY'S SALUTE TO AMERICA Caleb Young, conductor Sandi Patty, Vocals Indiana University Singing Hoosiers, Chris Albanese, director Jay Rouse, Music Director for Sandi Patty, piano Randy Melson, bass; Adam White, drums SMITH Star-Spangled banner

WILLIAMS Hymn to the Fallen

TRADITIONAL (Arr. Krogstad) Battle Hymn of the Republic


THIELE & WEISS What a Wonderful World

TRADITIONAL (Arr. Kirkland) Salute to the Armed Forces

COPLAND An Outdoor Overture -- INTERMISSION -GOULD American Salute

TRADITIONAL (Arr. Dragon) America the Beautiful

BEETHOVEN (Arr. Hamilton) Joyful, Joyful We Adore Thee

TRADITIONAL (Arr. Dragon) The Yellow Rose of Texas

MOHR & MAYS (Arr. Krogstad) Love In Any Language

RODGERS & HAMMERSTEIN You'll Never Walk Alone from Carousel

GABRIEL & MARTIN (Arr. Hamilton) His Eye Is On the Sparrow

BERLIN (Arr. Clydesdale) God Bless America

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack



As one of the most highly acclaimed performers of our time with five Grammy® awards, four Billboard Music Awards, three platinum records, five gold records, and eleven million units sold, Sandi Patty is simply known as “The Voice.” Sandi was introduced to the world with her iconic rendition of The Star Spangled Banner during the rededication of the Statue of Liberty in 1986. Virtually overnight, she became one of the country’s best-loved performers. Sandi is the most awarded female vocalist in contemporary gospel music history, with 40 Dove Awards, and is a member of the Gospel Music Hall of Fame. She has released over 30 albums during her prolific career. While her forty-year career is heavily rooted in inspirational music, Sandi has had the opportunity in more recent years to extend her career outside the genre, as she has performed with symphonies around the world. In addition to her musical career, she is the author of eight books, including the upcoming autography The Voice. “I am grateful for the many opportunities God has given in my life and for how He has allowed me to spread my wings,” says Sandi. “Singing is my way to tell my story of hope, life, and love.”


Chris Albanese is an assistant professor of choral conducting at the Indiana University Jacobs School of Music where he conducts the Grammy-nominated Indiana University Singing Hoosiers and teaches courses in choral conducting. A native of Cleveland, OH, Mr. Albanese comes to Indiana University by way of San Francisco, where he was a member of the ensemble Chanticleer, under the direction of William Fred Scott. As a conductor, Mr. Albanese has appeared with the Indianapolis Opera, Carmel Symphony, and notable guest artists including Sylvia McNair and Tim Noble. At the University of Cincinnati, College-Conservatory of Music, Mr. Albanese served as conductor of the University of Cincinnati Men’s Chorus, while also leading the University Men’s and Women’s Choruses for performances of Vaughan Williams’ Serenade to Music, Jeffrey Van’s A Procession Winding Around Me, and preparing the choruses for CCM’s North-American university premiere of Arthur Honegger’s Joan of Arc at the stake. Additionally, he served the roles of chorus master and assistant conductor for CCM’s mainstage and undergraduate opera productions, respectively. Mr. Albanese received his BM in Music Education and Vocal Performance from the University of Dayton, an MM in Vocal Performance from Northwestern University, and DMA in Choral Conducting from the University of Cincinnati, College-Conservatory of Music. 8



The Grammy-nominated Indiana University Singing Hoosiers have a long and storied tradition of excellence in the contemporary vocal arts, performing popular contemporary vocal music ranging from The Great American Songbook, jazz, Broadway, to contemporary choral repertoire and the hits of today. The current ensemble, under the direction of Chris Albanese, is comprised of 81 student singers and instrumentalists from the IU Jacobs School of Music along with students from various majors across Indiana University. As Indiana University's ambassadors of song, The Singing Hoosiers have entertained millions in 18 states and more than 26 countries, including Europe, Australia, Asia, and the Caribbean, and have collaborated with notable guests including Sylvia McNair, Tim Noble, the Indianapolis Symphony, and the Cincinnati Pops under the direction of Erich Kunzel.

IU SINGING HOOSIERS 2018-2019 ROSTER Soprano 1 Alexa Bruetman Allison Bystron * Rachel Dutler Hannah Hanscom Natalie Lyons Jenni Miller Paige Penry Shelby Rebuck Lexi Schneider Grace Toriello August Tuggle

Alto 2 Carly Bias Jenna Billingsley Katherine Bodor Kristina Dolan Meredith Hardy Lizzie Kaboski Madelyn Merrell Sydney Morrow Lilian Rona * Sophie Rhoads Taylor Smith

Soprano 2 Samantha Amidon Olivia Begeman Emma Bowen Addie Cook Maddi Cushman Erin Erickson Julianne Fowler Andrea Garcia Sarah Harpring Marielle Hug * Kyra Kornfield Felicity Kratky Kaitlyn Phillips Ellie Sistevaris

Tenor 1 Bruce Bell Elijah Bowen Lucas DeBard * Gage Griffin Drew Steinmetz

Alto 1 Kieran Brown Annie Bruggenschmidt Samantha Copeland Claire Finke Marlee Goodman Natalie Lunts Alexandra Moyer Julia Ponella Emily Smith Rachel Staffin Carly van Dongen April Varner * Megan Wallace

Tenor 2 Mark Birmingham Alex Dlugosz Ian Dutler Alex Hopkins Michael Impicciche Sam Knotts Brandon Park Jake Swinford

Bass 1 William Brady Jordan Burger David Carton Matthew Creek Nick Falter Sam Feldt Jacob Foy * Kyle Kempin Brian Loring Alex Miller Matthew Neely Michael Winner

Bass 2 Garrett Godsey Eli Gold Lucas Goodin Tyler Randazzo Nolan Snyder Jake Williger * section leader

AUDITIONS MAY 20-23, 2019

To learn more & reserve your time, call the FWCC office (260) 481-0481 June audition dates available by appointment. A M PL E T UI T I O N ASS I STA NC E •


We believe in supporting the arts. Every step of the way.



The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series


SIBELIUS 2 Andrew Constantine, conductor; Freimann String Quartet TOWER Made in America PUCKETT Short Stories: Concerto for String Quartet and Orchestra Part I: 1 . Somewhere Near the End 2. Introit 3. The Priests (Brief pause) Part II: 4. Recitative 5. Mother and Child (Brief pause) Part III: 6. Sonno Agitato 7. The Bridge 8. Ma Fin Violetta Todorova, violin; David Ling, violin; Derek Reeves, viola Edward Stevens, cello


SIBELIUS Symphony No. 2 in D major, Op. 43 I. Allegretto II. Andante ma rubato III. Vivacissimo IV. Finale: Allegro moderato Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, April 18 at 7:00 p.m. Many thanks to the generous supporters of this event:

Encore Lounge sponsored by:

The Paul Yergens and Virginia Yergens Rogers Foundation



PROGRAM NOTES | April 6, 2019 Made in America JOAN TOWER (b. 1938, New Rochelle, New York) A quiet revolution has taken place in classical music over the past few decades: at long last women have successfully begun to infiltrate the male-dominated fields of conducting and composing. Joan Tower is both, but it is her creative work that has won her a prominent place in the American contemporary music scene. Her vibrant, energetic, and often highly dramatic music has been commissioned and performed by major orchestras from New York to Tokyo. “Creating ‘high-energy’ music is one of my special talents,” Tower says. “I like to see just how high I can push a work’s energy level without making it chaotic or incoherent.” Certainly, high energy fills her 2005 piece Made in America, whose recording by the Nashville Symphony won three major prizes at the 2008 Grammy® Awards. Its birth had an unusual history. In 2001, a group of smaller American orchestras wanted to commission a new piece from a nationally known composer. Individually, their budgets were too small for something from a composer as renowned as Tower, but they found strength in numbers. Ultimately, 65 orchestras representing all 50 states banded together for the project they called “Made in America.” Adopting that name, Tower created this vibrant, challenging work that was performed in all 50 states between 2005 and 2007 — and many more times thereafter. Peeping out from the piece is the beloved American hymn “America the Beautiful.” In her program note, Joan Tower explains why: “I crossed a fairly big bridge at the age of nine when my family moved to South America (La Paz, Bolivia), where we stayed for nine years. I had to learn a new language, a new culture, and how to live at 13,000 feet! It was a lively culture with many saints’ days celebrated through music and dance, but the large Inca population in Bolivia was generally poor, and there was little chance of moving up in class or work position. “When I returned to the United States, I was proud to have free choices, upward mobility, and the chance to try to become who I wanted to be. I also enjoyed the basic luxuries of an American citizen that we often take for granted: hot running water, blankets for the cold winters, floors that are not made of dirt, and easy modes of 12


transportation, among other things. So when I started composing this piece, ‘America the Beautiful’ kept coming into my consciousness and eventually became the main theme of the work. The beauty of the song is undeniable, and I loved working with it as a musical idea. … This theme is challenged by other more aggressive and dissonant ideas that keep interrupting and unsettling it, but ‘America the Beautiful’ keeps resurfacing in different guises (some small and tender, others big and magnanimous) as if to say, ‘I’m still here, ever changing, but holding my own.’ A musical struggle is heard throughout the work. Perhaps it was my unconscious reacting to the challenge of how do we keep America beautiful.” Short Stories: Concerto for String Quartet and Orchestra JOEL PUCKETT (b. 1977, Atlanta, Georgia) Hailed as “visionary” by The Washington Post and “an astonishingly original voice” by The Philadelphia Inquirer, Joel Puckett is one of the most performed composers in America. His flute concerto, The Shadow of Sirius, has received more than 200 performances, and its recording on Naxos was nominated for a 2016 Grammy® Award. His opera The Fix about the rise and fall of the 1919 Chicago White Sox has just received its world premiere by the Minnesota Opera. He is the Chair of Music Theory, Ear Training, and Piano Skills at Baltimore’s Peabody Conservatory of Music. Puckett’s Fanfare for the 15th Night opened the Philharmonic’s 75th Anniversary Gala Concert at the beginning of the season. Now we will hear his beautiful, variegated Short Stories, an eight-part concerto for the unusual combination of string quartet and orchestra. It was commissioned by the University of North Carolina at Greensboro, University of Michigan, University of Texas, Northwestern University, and the University of Colorado, and is dedicated to Kevin Geraldi. Jacob Wallace has prepared the following note on Short Stories for the composer: “What makes the construct of the short story so unique among other literary devices is the demands placed on the author to create a meaningful narrative. It must describe the relationships between characters, present conflict, and resolve it in a remarkably short span. It takes a deft writer to properly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but actually are revealed to be intertwined. Much like these works of literature, Short Stories is a study in structure. On the surface, it appears to be eight vignettes strung together into a concerto. Upon listening, however, the work’s movements

reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of ‘game of pairs.’ “The external movements serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as influential on the work’s structure. Between the external movements, Puckett presents three pairs of linked movements. Each one highlights two of the solo voices, which are then featured at the section’s close with a virtuosic cadenza. The final internal groups — the sixth and seventh movements — take the independent duo cadenzas and superimpose them. It is only at this climactic moment that we hear that the concerto’s primary theme — the basis for both the first and last movements — is the combination of elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars. “The opening — amusingly titled ‘Somewhere near the end’ — introduces the notion of pairs in its own way. There is a diametric conflict between both the soloists and the ensemble as the two groups play almost exclusively in isolation. The harmonic language also poses friction. … The effect is that of a series of dramatic wailings that set the stage for the soloists. “The first internal section, ‘Introit’ and ‘The Priests’ is based on ancient liturgical materials, including the Catholic Mass’s ‘Kyrie,’ passed from instrument to instrument. The dramatic beginning of ‘The Priests’ makes a contrast with its bold brass and wind chorale (‘Regina Coeli’). “The contrasting middle pairing (‘Recitative’ and ‘mother and child’) has a basis in the recitative and aria forms of Baroque opera. … This middle section is the longest single segment, floating slowly past in a cloudy, dreamlike E-flat Major. … “The pleasant dream of the middle section is roused by ‘sonno agitato’ — literally ‘restless sleep.’ … The pulse quickens and the ensemble spills over, out of control, into ‘The Bridge,’ a cadenza for the soloists. Here the previous duo cadenzas are pressed into conflict with each other. However, as the soloists play together, the argument between them is sated … and becomes florid and virtuosic variations. … The energetic realization of the work’s opening motive ushers in the ebullient finale ‘Ma fin,’ a nod to Guillaume de Machaut’s rondeau ‘ma fin est mon commencement’ — literally, ‘my beginning is my end.’”

Symphony No. 2 in D major, Op. 43 JEAN SIBELIUS (b. 1865, Hämeenlinna, Finland; d. 1957, Järvenpää, Finland) As the 20th century was born, Finland found herself in a desperate battle for survival. Throughout the 19th century, she had been an autonomous grand duchy of Russia, with the Russian rulers generally respecting her independence. But under the last of the tsars, Nicholas II, the weight of Russian autocracy pressed heavily on the Finns, crushing their rights. In response, a new spirit of Finnish nationalism blazed up. Finns, many of whom — including Jean Sibelius himself — spoke Swedish rather than Finnish, rediscovered their native language and their mighty Norse sagas of the Kalevala. And, as Sibelius scholar Erik Tawaststjerna wrote, “Finland found a focus for her identity in the arts” and especially in her greatest composer, who appeared just when his nation needed him most. Although he was born to a family of Swedish extraction, Sibelius was a passionate Finn patriot, and his music introduced a new voice to Europe, as stern, majestic, and uncompromising as the Finnish landscape itself. In 1900, he gave his people a virtual national anthem with Finlandia. In 1897, the Finnish senate voted him an annual stipend, which continued throughout his long lifetime. However, the Second Symphony is tempered by southern winds: it was born during the composer’s sojourn in Italy in 1901. Supported by money raised for the purpose by his close friend Axel Carpelan, Sibelius spent that winter and spring in the Italian sun. “Now I am living completely in the world of the imagination — nothing disturbs me,” he gratefully wrote Carpelan. Perhaps because of its Italian birth, this most popular of Sibelius’ symphonies mostly wears a happier, brighter garb than his First. Many listeners, especially among the Finns, insisted the work was a portrayal of the Finnish struggle against Russia, a program Sibelius denied. But perhaps there is more of that struggle than the composer realized in this highly dramatic symphony that achieves a resounding victory through a fierce display of musical energy and determination. About his symphonic method Sibelius famously wrote: “It is as though the Almighty had thrown the pieces of a mosaic down from the floor of heaven and told me to put them together.” The opening movement demonstrates this method, as Sibelius first presents small, seemingly unrelated chunks of melodic ideas — fragments of his mosaic. Only as they are gradually assembled do we begin


to see a picture. Even the strings’ hesitant opening chords are an important piece of the puzzle: their three notes rising stepwise establish a pattern for many of the themes to come. The woodwinds respond with a mirror image: a folk dance tune built from three descending notes. A moment later, the woodwinds introduce an expression of vehement resolve with a memorable fist-shaking gesture. The solo oboe sings a plaintive version of this theme to open the development section, in which Sibelius reveals the close relationship between his terse themes as he juxtaposes and combines them. This grows to an imposing climax of brass chords that, in a Sibelian trademark, swell, fade, then swell again. Movement two moves away from the D-Major home key to darker D minor. At first, the music is imprisoned in the orchestral cellar: over a drum roll and a spooky pizzicato tune for basses and cellos, the bassoons croon a mournful theme. This is followed by the blackest of brass fanfares, with the voice of death in the horns’ harsh, baleful cry. The strings gently offer a tender, grief-laden theme; Sibelius labeled this “Christus” in his early sketches. “Christus” attempts to offer consolation without succeeding in lightening the tragic mood.



Movement three is a fast scherzo. Juxtaposed against the frenzy of the strings is a slower trio section featuring a bittersweet repeated-note melody for oboe. Both scherzo and trio return, but the trio’s second appearance is transformed into a bridge to the finale, preparing us for the expansive melody — using the three-note ascending pattern that opened the symphony — that is this work’s most famous. Sibelius may have detested the Russian government, but there was one Russian he adored — Tchaikovsky. “There is a lot of that man in me,” he admitted. The threenote ascending pattern expands into a luscious, soaring melody of which the Russian would have been proud. The finale’s other important theme is a sad, minormode woodwind march above agitated strings, which Sibelius’ wife revealed as her husband’s musical response to her sister’s suicide. These two themes, along with several subsidiary ones, carry the symphony to a heart-pounding apotheosis. Here is no Scandinavian reticence but an expression of unbounded faith — perhaps a vision of Finland, free at last. Notes by Janet E. Bedell © 2019


Joel Puckett is one of the most performed composers in America. Hailed as “visionary” (Washington Post) and “an astonishingly original voice” (Philadelphia Inquirer), his music has been performed by the leading artists of our day and is consistently recognized by organizations such as the American Composers Forum, BMI, Chorus America, National Public Radio, and the American Bandmasters Association. Puckett’s music attracts diverse performers and listeners through its emotional energy and commitment. Melding tradition with innovation, his distinctive style grows from his power to create transcendent experiences using charismatic musical language. The Fix, a grand opera commissioned by Minnesota Opera, will premiere in the March 2019, with a libretto by Academy Award and Tony Award winner, Eric Simonson. The work depicts the rise and fall of the 1919 Chicago White Sox. It is a tragedy ripe with power, romance and redemption, set against the backdrop of America’s favorite pastime. Puckett’s earlier commissions have been premiered and performed worldwide, to exuberant critical acclaim. His flute concerto, The Shadow of Sirius, premiered in 2010 and has received more than 200 performances and been recorded multiple times, including 2015’s Naxos Surround Sound disc, “Shadow of Sirius,” which received a 2016 Grammy Nomination. Currently the Chair of Music Theory, Ear Training, and Piano Skills at the Peabody Conservatory in Baltimore, Puckett presents workshops nationwide and frequently serves as an adjudicator at competitions for rising composers. His music is represented worldwide by Bill Holab Music.



History ​​ October of 1984, the Frank In Freimann Charitable trust donated one million dollars to the Philharmonic endowment fund. The purpose of the gift was to develop staff, create the Freimann String Quartet, and underwrite the Freimann Chamber Music Series. The Philharmonic’s quartet was renamed the Freimann String Quartet, and the series was established on October 9, 1985. Peter Devries, first violin, Lenelle Ross, second violin, David Jones, viola, and Samuel Smith, cello, made up the first quartet. It was a superb, spirited ensemble. Frank M. Freimann was chief executive officer and president of Magnavox corporation. During his lifetime, Mr. Freimann made significant gifts to the Fort Wayne Philharmonic and took an active interest in its development. He was one of the Orchestra’s founders and served as its President from 1945 through 1947. He died on March 30, 1968. Information provided by Anita Cast.

VIOLETTA TODOROVA, VIOLIN An emerging voice of her generation, Violetta Todorova has performed as a soloist with orchestras and ensembles across the USA, Russia, Europe and Asia. She is currently the Concertmaster of the Fort Wayne Philharmonic and an Artist Violin professor at Taylor University. In February 2019, she won the Arts United Emerging Artist Award. She also holds top prizes from a number of violin competitions, including the International Competition for Young Violinists in Estonia and the All-Russian Competition for Young Violinists in Nizhny-Novgorod, Russia. Originally from Saint Petersburg, Russia, Todorova started playing violin at the age of five. After her studies at the St. Petersburg Conservatory Preparatory School, Todorova attended Interlochen Arts Academy and DePaul University School of Music in Chicago, where she earned her Bachelor's (summa cum laude) and Master's (with distinction) Degrees in violin performance. After graduation, Todorova held the Concertmaster position with the Illinois Symphony, and was a member of the Colorado Symphony Orchestra. Todorova’s musical interests extend beyond classical music to such genres as 16


rock and jazz. Her collaboration with the owner of House Harp in Michigan was featured in the New York Times magazine and she has appeared in the role of a violinist in the pilot episode of the television series “Boss,” directed by Gus Van Sant.

DAVID LING, VIOLIN David Ling began his studies at age 5 in Canton, Ohio, and went on to receive a Bachelor of Music degree from Oberlin College. He also has a Master of Music degree from Cleveland Institute of Music and a Doctor of Musical Arts from the State University of New York, Stony Brook. He has played with the Grant Park Symphony and the Canton Symphony. Ling also plays piano and cites his other interests as history and Jungian psychology.

DEREK REEVES, VIOLA Fort Wayne Philharmonic Principal Violist Derek Reeves began his musical studies at the age of two and a half. 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. Prior to coming to Fort Wayne, he was Associate Concertmaster of the Charleston Symphony Orchestra, Concertmaster of the Columbus Indiana Philharmonic, and Associate Concertmaster of the Evansville Philharmonic. 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 The Purdue University Fort Wayne School of Music, designing curriculum and teaching for the Phil’s “Club O” program, and keeping a private studio of violin and viola students as well. He performs on a viola made by Mark Womack in 2005 and lives in Fort Wayne with his wife, Patricia, and son, Preston.

EDWARD STEVENS, CELLO Cellist Ed Stevens is currently acting principal of the Fort Wayne Philharmonic and has served as a full-time section player since 2008. From La Grange Park, Ill, Ed began learning cello at the age of five and earned a Bachelor of Music Performance from Illinois Wesleyan University and a Master of Music Performance from Indiana University. Previously he held positions in the Evansville Philharmonic, the National Repertory Orchestra and the Illinois Symphony. Ed has become known for being equally comfortable performing orchestral and chamber music from the concert stage as well as rock and other genres in various venues around the region. Currently he plays with the popular local band Moser Woods and has founded a multi-genre string ensemble called String Shift that specializes in “out-of-the-box” performances.

R����������� C�������� D������ I������’� E������. S��������� O������������ E��������

I������’� C������. C��������� L��������� C�������� L�� I���������� I����������� P������� L���� ��� E��������� M������ ��� A����������� R��� E����� T��

F��� W����


S���� B���

W���������, DC


WEDNESDAY, APRIL 10, 2019 | 7:30 p.m. | EMBASSY THEATRE THURSDAY, APRIL 11, 2019 | 7:30 p.m. | EMBASSY THEATRE

HARRY POTTER AND THE CHAMBER OF SECRETS™ IN CONCERT Presented in partnership with the Embassy Theatre Produced by CineConcerts Norman Huynh, conductor Justin Freer President/Founder/Producer Brady Beaubien Co-Founder/Producer Director of Production Jeffery Sells Head of Publicity and Communications Andrew Alderete General Manager, Nicolas Rehm Brand/Marketing/IP Acquisition, Ma’ayan Kaplan Brand/Marketing Manager, Brittany Fonseca Brand/Marketing and PR Manager, Molly Kossoff Brand/Marketing and Social Media Manager, Si Peng Office Manager, Gabe Cheng Worldwide Representation WME Entertainment Music Preparation JoAnn Kane Music Service Music Editing Ed Kalnins Playback Operation and Synthesizer Production, iMusicImage Sound Remixing Justin Moshkevich, Igloo Music Studios Merchandise by FireBrand “Harry Potter and the Chamber of Secrets” film credits Directed by Chris Columbus Produced by David Heyman Written by Steve Kloves Based on “Harry Potter and the Chamber of Secrets” by J.K. Rowling



Starring: Daniel Radcliffe Rupert Grint Emma Watson Kenneth Branagh John Cleese Robbie Coltrane Warwick Davis Richard Griffiths Richard Harris Jason Isaacs Alan Rickman Fiona Shaw Maggie Smith Julie Walters Music by John Williams Cinematography by Roger Pratt Edited by Peter Honess Produced by Heyday Films, 1492 Pictures Distributed by Warner Bros. Pictures About Warner Bros. Consumer Products Warner Bros. Consumer Products, a Warner Bros. Entertainment Company, is one of the leading licensing and retail merchandising organizations in the world. HARRY POTTER characters, names and related indicia are © & TM Warner Bros. Entertainment Inc. WIZARDING WORLD trademark and logo © & TM Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s19)

The Historic Embassy Theatre and Fort Wayne Philharmonic Proudly Partner for the Presentation of this concert.



Norman Huynh is currently in his second season Associate Conductor for the Oregon Symphony. The recipient of the 2015 Felix Mendelssohn-Bartholdy Scholarship, he worked closely with the late Kurt Masur. He has previously conducted the Baltimore Symphony, Toledo Symphony, Charlotte Symphony, Naples Philharmonic, Virginia Symphony, Macon Symphony, and the Peabody Symphony Orchestra. He made his international conducting debut with the Princess Galyani Vadhana Youth Orchestra in Bangkok, Thailand and has also conducted the Leipzig Symphony. He previously served as assistant conductor for the Spoleto Festival USA, the Portland Symphony Orchestra in Maine, Opera Carolina, the Lyric Opera of Baltimore, the Peabody Opera Theatre, and The Peabody Singers. He co-founded the Occasional Symphony, an organization renowned for playing innovative musical programs in unique venues throughout the city of Baltimore. Huynh received his Master’s Degree in orchestral conducting at the Peabody Institute of the Johns Hopkins University where he studied with Gustav Meier, Markand Thakar, Edward Polochick and Marin Alsop.

Each artist matters. Discover what matters to you at Early Childhood, Lower School and Middle School Campus: 5601 Covington Road | Fort Wayne, IN 46804 High School Campus: 3210 Smith Road | Fort Wayne, IN 46804



CINECONCERTS CineConcerts is one of the leading producers of live music experiences performed with visual media. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations that redefine the evolution of live experience. Recent and current live concert experiences include Rudy in Concert, The Harry Potter Film Concert Series, Gladiator Live, The Godfather Live, It's a Wonderful Life in Concert, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, Breakfast at Tiffany's in Concert, and A Christmas Dream Live. Justin Freer has quickly become one of the most sought-after conductors of film music with a long list of full symphonic live to projection projects. He has appeared with some of the world's leading orchestras including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, San Francisco Symphony and Sydney Symphony Orchestra. From full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming, CineConcerts is at the forefront of live entertainment.


A Stanford graduate and All-American Athlete, Beaubien studied cognitive neuroscience before founding Interlace Media – an award winning motion graphics company. Interlace is a premiere CG animation and creative agency for feature films. They have defined the global campaigns of over 100 major Hollywood movies, including Avatar, X-Men, Rio, Ice Age, and Die Hard franchises. Beaubien co-founded CineConcerts, a company dedicating to reinventing the experience of theatrical presentation and orchestral music. He is currently producing Gladiator Live, The Godfather Live, DreamWorks Animation in Concert, It’s a Wonderful Life, Breakfast at Tiffany’s, Star Trek: The Ultimate Voyage, and The Harry Potter Film Concert Series. He had spearheaded Cineconcerts invention of new genres and its creative presentations of cherished film and television content, including writing Star Trek: The Ultimate Voyage, a project that celebrates 50 years of iconic material. He works to ensure Cineconcerts inspires a return to communal entertainment and continues to offer modern audiences and the world's youth a chance to re-connect with concert halls and local orchestras. As a designer Beaubien co-designed Matsuhisa Paris at the Le Royal Monceau-Raffles and designed the Citrus building on Melrose Ave. This new architectural addition to the Hollywood cityscape represents a commitment to the metropolitan and interconnected providence of Los Angeles. At The Citrus, advanced materials and technology merge with wood, concrete and glass in an organic and modernist design. Mr. Beaubien has partnered with award winning sushi chef, Nobu Matsuhisa, to bring his new restaurant concept - Umeda - into the building. Mr. Beaubien also designed the restaurant.



American composer/conductor Justin Freer was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and is a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen. Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinsen and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world. He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, Aliens in the Attic. As a conductor Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic and the Philadelphia Orchestra. He is also one of the only conductors to have ever conducted in both the ancient Colosseum and Circus Maximus in Rome. Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife and serene reflection.” Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting hundreds of full length music score performances live with film for such wide ranging titles as Gladiator, The Godfather, Breakfast at Tiffany’s, It’s A Wonderful Life, Rudy and the entire Harry Potter Film Franchise. Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.

Quality, Experience, Understanding Hilliard Lyons 127 West Berry Street | Suite 800 Fort Wayne, IN 46802 | 260.424.4481 | J.J.B. Hilliard, W.L. Lyons, LLC | Member NYSE, FINRA, & SIPC




In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG and The Post. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards and fifty-one Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-four Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer.

BUILDING BETTER COMMUNITY Ambassador Enterprises is a philanthropic equity firm investing for the glory of God. Learn more at

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December, 1993, after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra entitled “On Willows and Birches.”



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

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

Carolynn Gingerich presented for the Department of Art and her senior thesis project in Design. She created marketing for December Catnapolis,ata Wunderkammer feline rescue, café for Department of Art andthe retreat, combining herand two Design. She created marketing for passions, cats and graphic design. Catnapolis, a feline rescue, café and retreat, combining her two passions, cats and graphic design.


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


CREATE BRILLIANT Elevate yourA passion for the arts.FUTURE Our College of Visual and Performing Arts— including our School of Music—is home to the next generation of artists, Elevate your passionactors, for theand arts.directors. Our College Visual and Performing Arts— musicians, vocalists, We of graduate performers, designers, including our Schoolmusic of Music—is home the next generation of artists, creators, educators, therapists, andtovirtuosos. musicians, vocalists, actors, and directors. We graduate performers, designers, creators, educators, music therapists, and virtuosos.





The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

SATURDAY, APRIL 27, 2019 | 7:30 p.m. | EMBASSY THEATRE

THE FANTASTIC SYMPHONY Andrew Constantine, conductor Stewart Goodyear, piano BERLIOZ Queen Mab Scherzo from Roméo et Juliette, Op. 17 GRIEG Piano Concerto in A minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Stewart Goodyear, piano

-- Intermission --

BERLIOZ Symphonie fantastique (Fantastic Symphony), Op. 14 1. Rêveries, Passions 2. Un bal (A Ball) 3. Scène aux champs (Scene in the Country) 4. Marche au supplice (March to the Scaffold) 5. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath) Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, May 9 at 7:00p.m.

Many thanks to the generous supporters of this event:

Encore Lounge sponsored by:

The Paul Yergens and Virginia Yergens Rogers Foundation



Queen Mab Scherzo from Roméo et Juliette, Op. 17 HECTOR BERLIOZ (b. 1803, La Côte-Saint-André, France; d. 1869, Paris) Berlioz first saw Romeo and Juliet, as well as Hamlet, in 1827, and even though he knew hardly any English at the time, it changed his life. “This sudden and unexpected revelation of Shakespeare overwhelmed me,” he recalled in his Mémoirs. “The lightning-flash of his genius revealed the whole heaven of art to me.” Shakespeare’s impact on Berlioz was intensified by the appeal of the young Irish actress, Harriet Smithson, who portrayed Juliet and Ophelia. However, Berlioz had to wait until 1839 when the unexpected gift of 20,000 francs from the violin virtuoso Nicolò Paganini gave him the freedom to create his own ambitious musical treatment. And ambitious it was! In seven months of frenzied creativity, he composed a seven-part work lasting an hour and a half and utilizing a huge orchestra, double chorus, and three soloists. Its form was as original as everything this radically Romantic artist did; he called it a “choral symphony,” but it is really a marvelous hybrid of opera, oratorio, and orchestral tone poem. Berlioz chose a virtuosic scherzo to express Romeo’s ill-fated friend Mercutio’s witty ode to Queen Mab, the malicious little fairy of folk legend who disturbs lovers’ dreams. One of the greatest of all orchestral scherzos, it is extraordinary for its feather-light, imaginative scoring and its overall sense of otherworldly fantasy. Musical ideas fly at extreme velocity from one instrumental group to another. Listen for the eerie solo English horn and flute combination over violin harmonics in the slower Trio section, the weirdly clanging harps, and the soft chiming of antique cymbals in the final moments. The return of the Scherzo music is expanded into two colorful episodes drawn from Shakespeare’s speech: horns conjure Mab’s visit to a sleeping soldier, climaxing in a burst of instrumental cannon fire, and then in delicate music featuring the antique cymbals, Mab makes a young maiden dream of love. 26


Concerto for Piano and Orchestra in A minor, Op. 16 EDVARD GRIEG (b. 1843, Bergen, Norway; d. 1907, Bergen) When the adolescent Edvard Grieg showed exceptional musical promise, he was sent off at age 15 to Leipzig, Germany because Norway — not yet an independent country — had no conservatory to train him. Although he chafed at Leipzig’s rigid pedagogy and at German music in general, Grieg did eventually find a sympathetic teacher in Ernst Wenzel, who had been a friend of Robert Schumann. Wenzel passed on his love of Schumann’s music to the young Norwegian, and when in 1858 Grieg heard a performance of Schumann’s Piano Concerto played by Schumann’s wife, Clara, he was enthralled by the work. Ten years later, while composing his own Piano Concerto in the same key of A minor, he would draw on Schumann’s concerto for inspiration. Although Grieg’s Piano Concerto followed the traditional form of the Romantic Germanic concerto, it was the subtle use of Norwegian folk influences plus his own genius that kept the work from being a clone of Schumann’s. The Concerto was the product of youth and happiness: composed during the idyllic summer of 1868, which the 25-year-old composer, his young bride, Nina, and their infant daughter spent in rural Denmark. It was a notable success at its first performance in Copenhagen in April 1869. This is a work that glories in its multitude of appealing themes — very personally Grieg’s own — and its highly successful blending of tender lyricism with virtuoso display. Its first movement dispenses with the customary orchestral exposition: just a dramatic drumroll galvanizes the soloist into action. His vertiginous three-octave plunge begins with a three-note melodic pattern — a descending half-step, following by a descending third — that is common in Norwegian folk music and became known as the “Grieg motive.” Woodwinds then introduce the folklike principal theme, animated by crisp dotted rhythms. It also has a smoothly lyrical second idea, which the piano makes more rhapsodic with swirls of arpeggios. In a slightly slower tempo, cellos sing a romantically melancholic second theme. After a brief development, the opening music is reprised, coming to a sudden halt for a big cadenza for the soloist.

The slow movement travels far from the home key of A minor into the very distant D-flat Major. Muted strings open with a weary theme, saturated in sorrow; notice the eloquent contributions here from the solo horn and cello. The piano’s wistful response is woven of exquisite fast figurations. In a new phase, the piano passionately declares the pain implied in this melody before the movement dies out in elegiac beauty. A short bridge passage intervenes to return the key of D-flat to A minor before the piano launches the finale’s stomping main theme in the style of the Norwegian halling dance. Providing an interlude of repose, the flute sings a hauntingly lovely melody in a slower tempo; the piano gives it sensitive treatment with downward slip-sliding chords. Reprising his opening dance music, Grieg builds excitement to a brief solo cadenza of double-handed octaves. Then the soloist transforms the 2/4 halling into a sparkling 3/4 waltz. But Grieg has an even better idea for his finish. He brings back the haunting second theme, now in a splendid apotheosis in A Major. As annotator Michael Steinberg pointed out, Tchaikovsky and Rachmaninoff would later imitate this crowd-pleasing device, but Grieg did it first. Symphonie fantastique (Fantastic Symphony), Op. 14 HECTOR BERLIOZ “What a ferment of musical ideas there is in me! ... Now that I have broken the chains of routine I see an immense plain laid out before me which academic rules once forbade me to enter. Now that I have heard that awe-inspiring giant, Beethoven, I know where the art of music now stands, now I have to take it to that point and push it yet further. ... There are new things to be done and plenty of them.” Hector Berlioz wrote these words to a friend in 1829, and a year later, he embodied them in his first symphony, the still astounding Symphonie fantastique. Also titled “Episode in an Artist’s Life,” it was created just three years after his idol Beethoven’s death and, in its way, was as revolutionary as the “Eroica” or the Ninth symphonies. It is the first true program symphony: a work in which the music is generated not primarily by abstract musical rules and forms, but by an extra-musical plot. Beethoven had made some tentative steps in this direction with his “Pastoral” Symphony, but Berlioz leapt far ahead of him, paving the way for Liszt’s descriptive works, Mahler’s symphonies,

and ultimately Richard Strauss’ graphic tone poems. The symphonic plot is based on Berlioz’s consuming, unfulfilled passion for the Irish actress Harriet Smithson, whom he first saw when she appeared in productions of Shakespeare’s Hamlet and Romeo and Juliet in Paris in 1827. His ardor for her burned even though they did not meet until 1832. (They married in 1833 — a disastrous union that proved one should never try to turn fantasy into reality.) Here, somewhat abridged, is Berlioz’s storyline: [Movement one:] “An artist, afflicted with a passionate imagination sees for the first time a woman who embodies all the charms of the ideal being he has dreamed of, and he falls hopelessly in love with her. By some strange trick of fancy, the beloved vision never appears ... except in association with a musical idea [the work’s idée fixe] whose character — passionate but also noble and reticent — he finds similar to the one he attributes to his beloved ...” [Movement two:] “The artist finds himself in the most varied situations — in the midst of the tumult of a festivity, in the peaceful contemplation of the beauty of nature — but everywhere he is, in the city, in the country, the beloved vision appears before him and troubles his soul.” [Movement three:] “Finding himself in the country at evening, he hears in the distance two shepherds piping a ranz des vaches [a Swiss herding song] in dialogue. ... This pastoral duet, the quiet rustling of the trees gently disturbed by the wind ... come together to give his heart an unaccustomed calm. ... But what if she were deceiving him! The distant sound of thunder — solitude — silence.” [Movement four:] In despair, “the artist poisons himself with opium. The dose of the narcotic, too weak to kill him, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he loved, that he is condemned, led to the scaffold, that he is witnessing his own execution. ... At the end of the march, the first four measures of the idée fixe reappear like a last thought of love interrupted by the fatal blow.” [Movement five:] “He sees himself at the Sabbath in the midst of a frightful assembly of ghosts, sorcerers, monsters of every kind, all come together for his funeral. .... The beloved melody appears again, but it has lost its character of nobility and


reticence; now it is no more than the tune of an ignoble dance, trivial and grotesque: it is she come to the sabbath. ... Funeral knell, burlesque parody of the ‘Dies Irae’ [the famous Catholic chant for the dead used in so many classical compositions], Sabbath round-dance. ...” Berlioz called the five movements inspired by this program: “Reveries and Passions,” “A Ball,” “In the Country,” “March to the Scaffold,” and “Dream of the Witches’ Sabbath.” All of the symphony’s innovations — the radical orchestration, eerie harmonies, eccentric rhythms, and the idée fixe representing the beloved, which recurs in all movements (a precursor to Wagner’s leitmotif) — derive from Berlioz’s imaginative search for the right musical devices to express this Romantic fantasy. The full idée fixe is presented as a long, yearning melody in the violins and flutes at the beginning of the first movement’s Allegro section. Its most striking reappearances come in the “March to the Scaffold,” where, sung by a solo clarinet, it is

abruptly silenced by the fall of the guillotine; and in the “Witches’ Sabbath” finale, where a shrieking E-flat clarinet presents a demonic version. But Berlioz’s most extraordinary innovation is his use of the orchestra, which, in Michael Steinberg’s words, “sounds and behaves like nothing heard before. His orchestra is as new as Paganini’s violin and Liszt’s piano.” Berlioz introduces instruments unknown in previous symphonies: English horn (movement three), two harps (movement two), the grotesque E-flat clarinet (finale), and a fantastic array of percussion including an unprecedented four timpani (movements 4 and 5). And he uses traditional instruments in ways seldom heard before: listen for the snarling stopped horns at the beginning of “March to the Scaffold” and the bonerattling sound of violins being played with the wood of the bow in the “Witches’ Sabbath.” Even today, nearly 200 years after its composition, the Symphonie fantastique retains its radical edge and its ability to set our spines tingling! Notes by Janet E. Bedell © 2019


Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, Stewart Goodyear is an accomplished young pianist as a concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with major orchestras of the world. He has recently performed in recital at the Rheingau Musik Festival, McCarter Theatre, the Phillips Collection (Washington, D.C.), and the AT&T Performing Arts Center in Dallas. Mr. Goodyear's discography includes Beethoven's Complete Piano Sonatas and Diabelli Variations for the Marquis Classics label. For the Steinway and Sons label, Mr. Goodyear recorded Tchaikovsky First Piano Concerto and Grieg's Piano Concerto, Rachmaninov’s Piano Concertos No. 2 and 3, and his piano transcription of Tchaikovsky's "The Nutcracker." Mr. Goodyear's recording of Ravel's piano works was released on the Orchid Classics label in the spring of 2017, and his new recording "For Glenn Gould," that combines repertoire performed by Gould in his US and Montreal debuts, was released March 2018 on Sono Luminus. Highlights of the 2018-19 season are a UK tour with Chineke!, return engagements with the Philadelphia Orchestra, Toronto, Vancouver and Victoria Symphony orchestras, and three recitals for the Chamber Music Society of Detroit. His new concerto, "Ur-," was commissioned by The Royal Conservatory of Music in Toronto and premiered by the Toronto Symphony January 2019. Mr. Goodyear's cello concerto, commissioned by the National Arts Centre Orchestra in Ottawa, will be premiered in the 2019-20 season. 28



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

And that is sweet music to our ears.

Come home to

Š 2019 STAR Financial Group



STAR Family Series


SPORTS IN MUSIC: FASTER HIGHER STRONGER! Caleb Young, conductor; Maya Kilburn, violin; Shelby Lewis, narrator KEY Star Spangled Banner TCHAIKOVSKY Violin Concerto in D major, Op. 35 III. Finale: Allegro vivacissimo Maya Kilburn, violin WILLIAMS Summon The Heroes SIBELIUS The Lonely Ski Trail Shelby Lewis, narrator SENFTER & GUENTHER (Ford) Kernkraft 400 VANGELIS Theme from Chariots of Fire REINEKE Casey at the Bat Shelby Lewis, narrator WILLIAMS Olympic Fanfare

Many thanks to the generous supporters of this event:



Shelby Lewis is an actress, educator, and director now based in Fort Wayne. Notable performance credits include As You Like It (Rosalind), King Lear (Goneril), Alice in Wonderland (Alice), Romeo and Juliet (Juliet), and A Midsummer Night’s Dream with the Fort Wayne Philharmonic. Most recently, she was seen in local productions of Present Laughter at First Presbyterian Theatre and in Shakespearemachine’s Macbeth as Lady Macbeth. Shelby has trained in Los Angeles, New York, and Paris in various forms of choreographic theatre and voice work. She is a resident member of two professional theatre companies, Parallel 45 Theatre and the Interlochen Shakespeare Company, and a union member of SAGAFTRA. Her voiceover work includes commercials, narration, animation, and several audiobooks through Shelby directed two productions this past year and teaches as a guest artist at Interlochen Arts Academy and Blue Lake Fine Arts Camp. She holds a B.F.A. in Acting from Carnegie Mellon School of Drama and a M.A. in Theatre Education from University of Northern Colorado. Her Master’s thesis focused on disability inclusion and access in theatre, and she looks forward to extending those principles throughout all areas of the arts. She is the artistic director of Summit City Music Theatre’s current season where she directed a Deaf-friendly production of You’re a Good Man Charlie Brown in April 2019.


A native of Muncie Indiana, Maya Kilburn is 15 years old and currently studies with Mimi Zweig at the Indiana University Jacobs School String Academy. She began playing violin at age 4 working first with Anna Vayman and continuing with Chin Mi Kim. Maya has won first prize in a number of concerto competitions including the Southeast Missouri Symphony Orchestra’s national “Rising Star,” Carmel Symphony, both junior and senior divisions of the Fort Wayne Philharmonic, and junior divisions of the Muncie Symphony and New World Youth Orchestra. She has also won second prize in the Louisville Symphony (twice), the Carmel Symphony (twice), and the Fort Wayne Philharmonic (twice) senior division competitions. As a result, she has had many opportunities to play concerti with orchestra, most recently performing four concerto appearances in 2018. In 2017, Maya won a national 3rd prize in the MTNA Junior Strings Competition, and in 2018 competed as a semi-finalist in the Johansen International Violin Competition. She has been active performing and touring with the IU String Academy Violin Virtuosi. Highlights include a 3-week concert tour throughout Argentina, performances at Circle Theatre in Indianapolis and the Indiana Landmarks Center, and opportunities to perform with such artists as David Chan, Atar Arad and Joseph Swenson. She has also performed in master class and lessons for internationally renowned violinists such as Pamela Frank, Vadim Gluzman, Noah BendixBalgley, Jinjoo Cho, Henryk Kowalski, and Sarah Kapustin. Maya has performed on many recitals with her parents in the Midwestern US, Japan, and Central America, and has been featured on both radio and television broadcasts. In the spring of both 2017 and 2018, she was a featured guest at the Universidad National de Costa Rica and the La Castella Arts School in San Jose, Costa Rica, where she performed recitals and taught masterclasses.



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

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.

The Harrison 1570 sq. ft.

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.

Lexington 1090 sq. ft.

With over 23 floorplans to choose from, visit for your perfect floorplan.

2209 St. Joe Center Road, Fort Wayne, IN 46825 CherishedPosessions_PhilHarmonic_FullPage.indd 1

3/2/18 10:21 AM PRELUDE 33

Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation Bach in the Barn


BACH IN THE BARN 1 Caleb Young, conductor TELEMANN Overture from Tafelmusik I Lentement - Vite - Lentement J.S. BACH (Arr. Mann) Sheep May Safely Graze from Cantata 208 LULLY Suite from Armide et Renaud I. Ouverture II. Menuet III. Rondeau IV. Entrée V. Menuet VI. Unnamed VII. Premier Air VIII. Second Air --INTERMISSION-REBEL Les Éléments I. Le Chaos II. Louré I III. Chaconne IV. Ramage V. Rossignolo VI. Louré II VII. Tambourins I et II VIII. Sicilienne IX. Air pour l’Amour X. Caprice



Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation Bach in the Barn


BACH IN THE BARN 2 Caleb Young, conductor Luke Fitzpatrick, flute TELEMANN Overture from Tafelmusik III Lentement - Presto - Lentement GLUCK Ballet Music From “Don Juan” Andante grazioso, Moderato, Risoluto e moderato, Allegretto From “Orpheus” Lento, Reigen seliger Geister, Ballett From “Alceste” Allegretto From “Armida” Gavotte, Sarabande, Sicilienne, Gavotte -- INTERMISSION – C.P.E. BACH Flute Concerto in D minor, H. 425 (W. 22) I. Allegro II. Un poco andante III. Allegro di molto Luke Fitzpatrick, flute

Many thanks to the generous supporters of this event: Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation


Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation Bach in the Barn


BACH IN THE BARN 3 Caleb Young, conductor Josefien Stoppelenburg, soprano TELEMANN Overture from Tafelmusik II Lentement - Vite - Lentement J.S. BACH (Arr. Mann) "Little" Fugue in G minor, BWV 578 VIVALDI “La Follia” (Madness) --INTERMISSION-HANDEL Da tempeste il legno infranto from Giulio Cesare, HWV 17 HANDEL Tu del ciel ministro eletto from The Triumph of Time and Truth, HWV 46a HANDEL Tornami a vagheggiar from Alcina, HWV 34 VIVALDI Alleluia, RV 626 HANDEL Disserratevi o porte d'Averno from La Resurrezione, HWV 47 Josefien Stoppelenburg, soprano

Many thanks to the generous supporters of this event: Robert J. Parrish, Harriet A. Parrish and David T. Parrish Foundation



2019 | 2020 SEASON




Don’t Miss our Summer Patriotic Pops Concerts


Jun 27 Jun 28 Jun 29 Jun 30 Jul 3 Jul 4

260.481.0777 FWPHIL.ORG

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




Brotherhood Mutual Insurance Co. Freimann Series


SHINING RIVER MAHONEY Shining River Anne Preucil Lewellen, harp; Luke Fitzpatrick, flute WILSON Woofin’ the Cat Suite Anne Preucil Lewellen, harp; Luke Fitzpatrick, flute MILHAUD Rêves de Jacob, Op. 294 Animé Mystérieux Modéré Modérément animé Modérément animé Orion Rapp, oboe; Violetta Todorova, violin Derek Reeves, viola; Edward Stevens, cello Adrian Mann, bass -- INTERMISSION -BRUCKNER String Quartet in C minor, WAB 111 Allegro moderato Andante Scherzo: Presto Rondo: Schnell Violetta Todorova, violin; David Ling, violin Derek Reeves, viola; Edward Stevens, cello

Many thanks to the generous supporters of this event:



PROGRAM NOTES | May 8 & 12, 2019 Shining River SHAFER MAHONEY (b. 1969, Albany, New York) Shining River is a beautifully colored chamber piece with the luminous delicacy of French impressionism. Though Shafer Mahoney originally wrote this sound portrait of a river sparkling in the sunshine for flute and guitar, he later created this arrangement for flute and harp, which intensifies the work’s Gallic quality since this is an instrumental combination French composers have particularly loved. Beginning slowly in the haunting lowest range of the flute, Shining River traces the river’s steady flow through constant use of a trochaic (stressed/unstressed) rhythmic motive. After earning a bachelor’s degree at Princeton University, Mahoney returned to his native New York State to study at the Eastman School of Music in Rochester, where he was awarded a Ph.D. in composition. Since 2006, he has been a professor of composition at New York’s renowned Juilliard School of Music. He has won two very prestigious awards for his music: the Bearns Prize and ASCAP’s Morton Gould Award. Woofin’ the Cat Suite CAMERON WILSON (b. 1964, Canada) Only the narrowest stretch of the North Atlantic Ocean separates Scotland and Ireland from the Canadian Maritime Provinces: the significantly named Nova Scotia, Prince Edward Island, Newfoundland, and New Brunswick. With the continual migration of Scottish and Scots-Irish settlers into these provinces, a new variety of Maritime-Celtic musical culture has flourished. Canadian composer Cameron Wilson’s Woofin’ the Cat Suite for flute and harp engagingly reflects this lively Celtic hybrid. The Suite combines three traditional melodies from Scotland, Nova Scotia, and Prince Edward Island, ending in a rollicking virtuoso dance. Cameron Wilson is a composer, arranger, and violinist whose music is as eclectic as the groups he plays with. A violinist in the Vancouver Symphony Orchestra, he also plays with the gypsy-jazz quartet Van Django, the Celtic group the Wahs, Latin-American ensemble Mariachi del Sol, and his own quirky Joe Trio. “I’ve never really thought in one kind of vein,” he says. Among his many compositions is The History of Canada, a very popular concerto for storyteller and orchestra he created with Canada’s Poet Laureate Stuart McLean for the CBC Radio Orchestra. 40


Rêves de Jacob, Op. 294 DARIUS MILHAUD (b. 1892, Aix-en-Provence, France; d. 1974, Geneva, Switzerland) Darius Milhaud was born in the beautiful old city of Aix-en-Provence in southern France, and though he became an indefatigable traveler and absorbed the sounds of many disparate cultures into his music, he always remained a true son of Provence. Much of Milhaud’s prodigious musical output was created at his yellow stucco-walled country home, L’Enclos, outside Aix. In Paris, he was a founding member of the group of radical French composers of the post-World War I generation known as “Les Six,” but the sophisticated music of the boulevards rarely stimulated him. Far more influential was the sunbaked landscape of Provence, with its sharp color contrasts and its distinctive melodies. In 1940 as the Nazis occupied France, the Jewish Milhaud and his wife were forced to flee from their home in Aix and settle in America. There Milhaud found a professorship at Mills College near San Francisco and stayed there for the rest of the war. When he was able to return to France in 1947, he retained his teaching post and split his time between the two countries. From Milhaud’s American connections came the score for the ballet Les Rêves de Jacob (“The Dreams of Jacob”), which was composed in 1948 and premiered in the summer of 1949 at the renowned Jacob’s Pillow Dance Festival in the Massachusetts Berkshires. The ballet was commissioned by the American arts patroness Elizabeth Sprague Coolidge, who also supported the creation of a more famous ballet, Aaron Copland’s Appalachian Spring. As he grew older and especially after facing the barbarous anti-Semitism of the Nazis, Milhaud embraced his Jewish heritage more deeply and created a number of works that incorporated Jewish stories and themes. Les Rêves is based on the dreams of Jacob, the progenitor of the Israelites, as told in the Old Testament Book of Genesis. It provides a clever link to the name of the festival for which it was written: Jacob’s Pillow. The first dream is taken from Genesis 28: “And Jacob went out from Beer-sheba, and went toward Haran. And he lighted upon the place and tarried there all night … and he took one of the stones of the place and put it under his head and lay down in that place to sleep. And he dreamed, and behold, a ladder set up on the earth, and the top of it reached to heaven; and behold, the angels of God ascending and descending on it. And, behold, the Lord stood beside him, and said: ‘I am the Lord, the God of Abraham, thy father, and the God of Isaac. The land whereon thou liest, to thee will I give it, and to thy seed. … And in thee and in thy seed shall all the families of the earth be blessed.’”

In Genesis 32, another dream is described: Jacob’s struggle with the Angel. “And Jacob was left alone. And a man wrestled with him until the breaking of the day. … Then he said, ‘Let me go, for the day has broken.’ But Jacob said, ‘I will not let you go unless you bless me.’ And he said, ‘What is your name?’ And he said, ‘Jacob.’ Then he said, ‘Your name shall no longer be called Jacob, but Israel, for you have striven with God and with men and have prevailed.’ … So Jacob called the name of the place Peniel, saying, ‘For I have seen God face to face, and yet my life has been delivered.’” For his five movements describing these two dreams and their prophecy for Israel, Milhaud chose an unusual quintet ensemble of oboe, violin, viola, cello, and double bass. With its piercing timbre so different from the strings, the oboe represents, wrote the composer, the voice of God. For “Jacob’s Ladder,” the longest of the movements, Milhaud makes particularly imaginative use of the strings as well as constant ascending and descending scale patterns to portray this ethereal dream. “Prophecy” features an ink-black pairing of the cello and bass. Some influences from jazz, which Milhaud adored, animate the “Struggle with the Angel,” while the closing “Israël (Hymne)” is a noble, exotically colored ode to the land Jacob will found. String Quartet in C minor, WAB 111 ANTON BRUCKNER (b. 1824, Ansfelden, Austria; d. 1896, Vienna) Though he was to become one of the greatest and certainly one of the most original symphonists of the 19th century, Anton Bruckner lacked many of the personality traits that other major composers possessed. Musical genius he certainly had, but the selfconfidence and fierce ambition was missing. Born in Ansfelden, Upper Austria, a village outside the provincial city of Linz, he spent his young adulthood serving as the organist at the magnificent St. Florian Monastery nearby. Shy and self-effacing when dealing with other people, he flourished in the privacy of the organ loft, playing that instrument with stunning virtuosity and a flair for improvisation. Despite the fact that he had already written much promising church music at St. Florian, in 1855 at the age of 31 Bruckner — believing he still had much to learn about compositional craft — became a pupil of the pedagogue Simon Sechter, a professor of composition and counterpoint at the Vienna Conservatory so famous Franz Schubert had tried to study with him. Bruckner dutifully continued these lessons for six years — until he was 37 — even though the exacting Sechter would not allow him to do any composing during this time beyond student exercises.

When Bruckner finally “graduated” from Sechter and after rigorous examination at the Conservatory received his certification (Johann Herbeck, one of the judges, said “He should have examined us!”), he said he felt like “a chained dog who has suddenly been released.” Yet still he did not feel he was ready to embark on a symphonic composing career. Moving on to the position of chief organist at the cathedral in Linz, he embarked on yet more lessons, studying traditional formal principles and orchestration with Otto Kitzler, a conductor and principal cellist with the municipal theater orchestra in that city. Ironically, after his long apprenticeship in the received musical wisdom, he then proceeded to avoid the rules in his pathbreaking symphonies! For Kitzler, Bruckner wrote his only string quartet in 1862–63. He considered it to be strictly a study piece, and so it was probably never performed during his lifetime. Only discovered in his surviving exercise books after World War II, it did not receive a public performance until 1951 in Berlin. This C-minor Quartet was the product of Bruckner’s exhaustive studies of the major quartets of Haydn, Beethoven, Schubert, Mendelssohn, and others, and so it frequently imitates elements of their styles. And it faithfully follows the core classical forms of sonata, scherzo, and rondo. In the Allegro moderato first movement, the violin alone, followed later by the cello, introduces a twisting, melancholic theme, to which all the instruments respond with a full-bodied answer. Bruckner then energetically shows off his mastery of contrapuntal (independent instrumental lines) writing in a style reminiscent of Mendelssohn’s. This exposition section is repeated. Then the music moves on to an intricately contrapuntal, harmonically probing development section recalling Beethoven. Plaintive murmurs lead back to the melancholic theme and the recapitulation. This mood of slightly sorrowful introspection continues in the beautiful Andante second movement with its gracefully winding lines and subtle harmonic colors. Notice the marvelous part Bruckner created for the cello in its deepest range here. More animated and rhythmic music brings contrast to the middle section before the return of the introspective music. A vivacious Scherzo dance follows with whirling scale passages. It encloses a slower trio section in the style of the ländler, the rural Austrian dance that would evolve into the Viennese waltz. An impetuous little chase theme between the instruments launches the refrain of the Rondo finale, which will keep returning after clearly differentiated episodes of other music. This movement is actually a combination sonata-rondo form in that there is a brief, harmonically roving development section imbedded in the middle. Bruckner wraps up his one foray into string-quartet writing with a boldly assertive flourish.

Notes by Janet E. Bedell © 2019 PRELUDE 41


Are you looking to make a lasting impact that could help guarantee the vibrant future of live symphonic music in Northeast Indiana for generations to come? Orchestrate your legacy with a planned gift to the Fort Wayne Philharmonic.

Since its earliest days, the Fort Wayne Philharmonic has depended on planned and deferred gifts to help sustain extraordinary artistry, a stellar array of musical programming and invaluable music education resources to your community. A properly designed planned gift will: • Provide a meaningful and lasting investment in the arts and community • Ensure that your assets benefit the people and charities of your choice • Substantially decrease income and estate tax obligations, while maximizing the amount provided to your heirs through thoughtful tax planning If you believe that the Fort Wayne Philharmonic enriches the quality of life in Northeast Indiana, then a planned gift can become your ultimate commitment of support and enthusiastic love of great music. In appreciation of your generosity and vision, you will become a member of the Laureate Club. With your permission, you will be acknowledged in the Philharmonic’s Prelude program books. Should you wish to remain anonymous, the Philharmonic will acknowledge your gift privately. To become a member of the Laureate Club, simply inform the office that you have named the Philharmonic as the beneficiary of a bequest in your will.

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




THANK YOU, FORT WAYNE Our community has come together for 75 years to support an orchestra of exceptional caliber, artistic accomplishment, and professionalism. Through performances, educational programs, and engagement, the Fort Wayne Philharmonic has been committed to upholding the value it provides the region and for ensuring that great music is accessible to everyone. Thank you for playing your part in making the Philharmonic Fort Wayne’s musical home.


Great Strides Into The Millennium Music director Edvard Tchivzhel’s tenure came to a close during the 2007-2008 Season. Famed musician and faculty member at the Indiana University Jacobs School of Music Jaime Laredo was named as artistic advisor and the search committee set to work considering the more than 270 applications received for the vacant position, ultimately selecting the British born conductor Andrew Constantine.

Artistic Advisor Jaime Laredo, 2009

Andrew Constantine Named Music Director in 2009

Philharmonic Friends Excellence Award, 2009 League Conference

From the Archives: New Friends Philharmonic volunteers officially changed their name to the Fort Wayne Philharmonic Friends in 2002. The Friends have contributed countless funds and volunteer hours to the Orchestra, promoting significant education programs, scholarships, and loaning nearly 100 instruments annually to area students.   Play Ball In 2009, shortly after the hometown Class A Minor League baseball team was renamed TinCaps and began playing at the new Parkview Field, the Philharmonic decided to “play ball” at a Family Series concert that featured a video about the new stadium and baseball cards of Fort Wayne Philharmonic musicians. Head Start in Music An award-winning pre-school music program was introduced that included musical instruments for children and CDs about classical music, culminating with a visit by a Philharmonic trio.

JL Nave III Hired as CEO in 2006

Holiday Pops

Philharmonic Musicians "Baseball" Cards, 2009

Brooklyn Dodgers Legend Carl Erskine, Casey at the Bat

Philharmonic String Quartet Performs at Zoo

Notable Quotes: “My performance (as a guest conductor) came and went in a flash but lives on in infamy thanks to a review in the News-Sentinel: “…Bizet’s simple symphonic dance doesn’t really need a conductor—a metronome clicking one-two, one-two, will do— but Ferguson deserved the applause he got for keeping a steady beat and knowing the score so well.” - Rich Ferguson, Former Board Member, Current Supporter, on Guest Conducting in the 1980s “I remember the awe-inspiring experience as a singer at my first rehearsal with the Phil Chorus in the 1975-76 Season.” - Sarah Reynolds, Fort Wayne Philharmonic Chorus and Friends Volunteer “The ultimate reward for the volunteer’s hard work always began on a Saturday night in Fort Wayne when the maestro stepped up to the podium, and our own dedicated, gifted Orchestra began to play. Magic!” - Diane Keoun, Former Fort Wayne Philharmonic Friends Volunteer


Critical Leadership, Innovation and Excellence Officially beginning his tenure as music director during the 2010-2011 Season, Andrew Constantine quickly made his mark. Constantine and the Board have worked with Staff leadership to revitalize the Orchestra, resulting in exciting new programs, larger audiences, and a stronger financial underpinning. The first commercial recording of the Philharmonic features the music of Austrian American composer Walter Bricht and has been received with critical acclaim. This era also includes more multi-media and concert opera performances.

Patriotic Pops at Parkview Field

From the Archives:

Conductor Workshop Debuts

Live at Lunch: Surprise and Delight

Life Lessons Through Music Club Orchestra, more commonly known as “Club O,” is now offered in three Title 1 Fort Wayne Community Schools. Part of the El Sistema movement, the program is designed to increase self esteem and personal discipline while imparting “life lessons” by teaching violin and playing in an orchestra. Fabulous PHILharmonious After a hiatus of more than five years, the Orchestra recreated a major fundraiser in June 2017, naming it PHILharmonious. Chaired by Carole Fuller and Ben Eisbart, PHILharmonious raises vital funds for youth education and community engagement programs. A Strong Downbeat In the spring of 2015, the Fort Wayne Philharmonic hosted its first International Conductor Workshop, which has been held each subsequent year. The Workshop brings aspiring young conductors to Fort Wayne to hone their skills. Past attendees have hailed from all over the United States and several foreign countries.

Michael Daugherty's Hell's Angels

Bizet's Carmen, In Concert

Youth Orchestra Hires New Director, Troy Webdell

Cirque Mechanics, Daredevil Antics

Club Orchestra Transforms Lives

Notable Quotes: “I have always had a love for all types of music but until about 35 years ago I had never experienced going to a Fort Wayne Philharmonic concert. It was amazing! Now I serve on the Philharmonic Board and enjoy working to make all children experience the joy I did when I went to my first concert. Music can heal the soul!”  - Vicki James, Fort Wayne Philharmonic Board Member and Supporter “It was one of the greatest honors of my life to serve as this Orchestra’s president for 20 years. I’ve heard orchestras all over the U.S. and the quality here is consistently as high or higher than orchestras in much larger cities. Happy 75th, Fort Wayne Philharmonic!” - Christopher Guerin, President, Fort Wayne Philharmonic from 1985 –2005

Today is the day the arts take center stage. _

We’re proud supporters of the arts, and big fans of the people behind them. Thank you, Fort Wayne Philharmonic, for helping to make Northeast Indiana a beautiful place. Call Kendall Dudley Billows (260) 461-7436 or visit a branch near you.

Š2019 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC CON PDF 0618-0106



Sweetwater Pops Series

SATURDAY, MAY 11, 2019 | 7:30 p.m. | EMBASSY THEATRE

RHAPSODY & RHYTHM: THE GERSHWIN CONCERT EXPERIENCE Caleb Young, conductor; Richard Glazier, piano & host Natalie Cordone, vocalist; Michael Andrew, vocalist Gershwin Songbook Medley I Got Rhythm Stairway to Paradise Clap Yo’ Hands Swanee ’S Wonderful Rialto Ripples The Man I Love I’ve Got a Crush on You But Not For Me Concerto in F III. Allegro agitato -- INTERMISSION -An American in Paris: Suite Let’s Call the Whole Thing Off A Foggy Day Nice Work if You Can Get It Slap That Bass Summertime Love is Here to Stay Someone to Watch Over Me Embraceable You Rhapsody in Blue for Piano and Orchestra

Many thanks to the generous supporters of this event:

Chuck & Lisa Surack



Every artist has an epiphany. For classically-trained, award-winning pianist Richard Glazier, it happened at age nine, when he saw the film “Girl Crazy” with a score by George & Ira Gershwin. He was so excited by the music he heard, he was prompted to write a fan letter to famed lyricist Ira Gershwin. After corresponding with each other for three years, Gershwin invited his young friend, then 12, to meet him in Beverly Hills. During their visit, Ira asked Glazier to play a Gershwin tune on the piano that once belonged to his brother, legendary composer George Gershwin. Fueled by Ira’s encouragement and interest, Glazier dedicated himself to the Gershwin repertoire and the American Popular Songbook, eventually becoming one of the genre’s leading authorities. Early Life Born in Indianapolis, Indiana, Glazier began studying piano when he was 6 years old. Glazier earned his Bachelor and Master degrees in Piano Performance from Indiana University School of Music and a Doctorate of Musical Arts from the Cleveland Institute of Music. In 2007, CIM awarded him its prestigious Alumni Achievement Award for his contributions to American Popular Song. He has also won several major international piano competitions. Concert Career Glazier’s passion for the rich cultural heritage of early 20th century American music has led him to create special programs celebrating the golden age of Broadway and Hollywood. He plays incredible piano arrangements, then tells the history behind the songs. His programs often include vintage images and rare film clips. Glazier is also committed to performing for those less fortunate---people who seldom have the chance to hear live music. Television Specials Glazier has had three nationally broadcast television specials on PBS. The shows have won multiple awards, including four Telly Awards for Outstanding Achievement in entertainment, documentary and cultural programming. He has been featured on the PBS NewsHour and has produced six CDs for Centaur Records. Richard Glazier is a Steinway Artist.


From Off-Broadway to world class Performing Arts Centers, Ms. Cordone has played to packed houses around the country. Equally comfortable in front of a sweeping orchestra, big band or in an intimate cabaret venue, she has had the pleasure of connecting with viewers in all kinds of settings. From opera to musical theatre, film to commercials, and concerts to corporate events, Natalie has traveled the world entertaining audiences. In 2017, Natalie won Best Featured Actress in a Musical for her portrayal in the Rogers & Hammerstein show, Some Enchanted Evening. She also recently starred with the Greensboro Symphony & Orlando Philharmonic Orchestras, The Gershwin Big Band Experience, and made her debut performance at the Orlando Shakespeare Theatre. She has also conceived and starred in seven original cabarets like, Oh, The Places You’ll Go!, which is based on her love of travel. Natalie also produces and stars in the group, Side by Side: A Vocal Variety Duo. Along with her partner, she is currently touring the country with their five original shows, including their hit, 50


Side by Side: A Steve Lawrence & Eydie Gorme Tribute. You can learn more and see video of the shows at and find them on Facebook. In her spare time, Natalie loves to travel and play with her Italian Greyhound, Peyton. She also enjoys teaching and coaching young artists. She is currently the guest Vocal Director for her alma mater, Wake Forest University.


For two years, Michael Andrew was the headline singer and bandleader at the world-famous Rainbow Room atop Rockefeller Center in New York City where he entertained audiences nightly and hosted a live Radio Broadcast, “LIVE FROM THE RAINBOW ROOM.” He was the band-leader and singer at Merv Griffin’s “Coconut Club” in The Beverly Hilton in California. While on “Larry King Live,” Merv called Michael Andrew “one of the great singers of all time.” Michael performs as a guest artist with symphonic orchestras across the country and recently performed with Michael Feinstein and the Pasadena Pops and with the Philly Pops, Charlotte Symphony, and Orlando Philharmonic Orchestras. His own bands, SWINGERHEAD and THE ATOMIC BIG BAND continue to be in demand at events around the country. Andrew has played a singer in the movies Heartbreakers and Bobby Jones, Stroke of Genius and produced music for several films including Inglourious Basterds and recent German released films, 13 Minutes and Rico, Oskar und die Tieferschatten. Michael Andrew starred in the world premiere of the new musical, The Nutty Professor written by Marvin Hamlisch and Rupert Holmes, directed by Jerry Lewis. He received rave reviews from the press including: “…terrific lead performance”Time Magazine; “…astonishing…” -The Tennessean; “Andrew creates his own glittering path…” -ArtsNash; “Star-Making… Andrew’s virtuoso performance is startling in its complexity…clearly this is a role he was born to play.” - Broadway World; “One of the best talents to come down the pike in 50 years” - Jerry Lewis (




The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

SATURDAY, MAY 18, 2019 | 7:30 p.m. | EMBASSY THEATRE

DVOŘÁK AND JANÁČEK Andrew Constantine, conductor Paul Huang, violin; Fort Wayne Youth Symphony, Troy Webdell, director DVOŘÁK Slavonic Dance No. 1 In C Major, Op. 46 Slavonic Dance No. 3 In Ab Major, Op. 46 Side by Side with Fort Wayne Youth Symphony DVOŘÁK Violin Concerto in A minor, Op. 53 I. Allegro, ma non troppo II. Adagio, ma non troppo III. Finale: Allegro giocoso, ma non troppo Paul Huang, violin -- INTERMISSION -DVOŘÁK Slavonic Dance No. 2 In E Minor, Op. 46 Slavonic Dance No. 4 In F Major, Op. 46 Slavonic Dance No. 5 In A Major, Op. 46 JANÁČEK Sinfonietta I. Allegretto II. Andante - Allegretto III. Moderato IV. Allegretto Be sure to tune in to the broadcast of this concert on WBNI-94.1 FM on Thursday, May 30 at 7:00 p.m. Many thanks to the generous supporters of this event:

Encore Lounge sponsored by:

The Paul Yergens and Virginia Yergens Rogers Foundation



PROGRAM NOTES | May 18, 2019 Slavonic Dances, OP. 46 ANTONÍN DVOŘÁK (b. 1841, Nelahozeves, Bohemia, (now Czech Republic); d. 1904, Prague) Antonín Dvořák’s first set of Slavonic Dances was the music that finally launched his fame beyond the borders of his native Bohemia. Behind their success is a heartwarming story of one great musical master taking time to help another. By the mid-1870s, Johannes Brahms, already securely established as one of Europe’s leading composers, was serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Since the Czech Republic was then a dependency of Austria, Dvořák was one of the candidates. Deeply impressed by his music, Brahms went to his own publisher, the prestigious Simrock of Berlin, and urged the firm to take on the young Czech. Moreover, he used his considerable clout to secure performances for Dvorák’s music. Thus began another illustrious career and a devoted friendship between the two men that lasted until Brahms’ death. Simrock had recently reaped substantial profits from Brahms’ Hungarian Dances. In 1878, the firm asked Dvořák to create a similar set, based on his own native dance traditions; the Czech responded with the eight Slavonic Dances of opus 46. Orchestrated in bright primary colors, they remain among the most popular of all his works. Though they may sound like genuine folk tunes, all the melodies in the Slavonic Dances are Dvořák’s own inventions. And despite their uncomplicated surface appeal, these dances are rather complex and sophisticated in their construction. Each dance consists of two or more dance themes of contrasting mood and character and using different keys, modes (Major and minor being freely mixed) and tempos. Their basic form resembles a rondo, with alternating refrain and episodes. The opening and closing dances of the set (Nos. 1 and 8) are irresistibly high-spirited dances in the style of the furiant, the boldest Czech folk dance. Though they are in 3/4time, listen for the delicious cross-rhythms throughout that suggest 2/4; this rhythmic conflict is an important characteristic of the furiant. A Ukrainian dumka, Dance No. 2 has a split personality: a sentimental slowish dance in E minor, paired with a much livelier one in G 54


Major inspired by a leaping dance from Brno (Janáček’s home town) called the vovcacka. No. 3 is a Czech polka in 2/4 with mellow writing for horns and trumpets. No. 4 is the rather stately dance in 3/4-time known as the sousedská; its companion dance is more mischievous, with clucking-hen effects. The fifth dance is a fast and lively skocná: a hopping dance in two beats from the Czech countryside. This performance will omit the sixth and seventh dances and finish with the vivacious No. 8, another highly rhythmic furiant. Violin Concerto in A minor, Op. 53 ANTONÍN DVOŘÁK As you read earlier, Brahms’ generosity and energy in promoting the career of his younger colleague Dvořák is one of music’s heartwarming stories. And Brahms did still more. He introduced Dvořák to his close friend, the violin virtuoso Joseph Joachim, with whom he’d just created his monumental violin concerto. In 1879, Dvořák too wrote a violin concerto and, dedicating the work to Joachim, sent it to him for review. Although Joachim accepted the score warmly, he urged major revisions, and the Czech largely rewrote the work in 1880. Two more years elapsed before he heard again from Joachim, who again suggested significant changes. Why was Joachim both intrigued and dissatisfied with this concerto? He complained to Dvořák that the orchestral part was “rather heavily scored.” But, as a worshipper of the classical, well-built German forms at which Brahms excelled, Joachim was probably bothered more by Dvořák’s unorthodox first movement: an “unbalanced” sonata form in which Dvořák broke off the recapitulation of his opening material — the moment of satisfying “home-coming” we wait for — after a few seconds and moved directly into a bridge to the slow movement. Despite Joachim’s pleas, the Czech refused to change this, and that may be why Joachim never played the concerto in public. The young Czech violinist Frantisek Ondríček instead gave the world premiere in Prague on October 14, 1883. But if Dvořák’s architecture was a bit weak, his work possessed the qualities a concerto really needs to succeed with performers and the public: vivacious energy, heartfelt emotion, grateful and showy writing for the violin, and, most of all, an unending succession of superb melodies. Flouting classical convention that demanded a lengthy orchestral exposition before the soloist appeared, Dvořák allows the violin to jump in after just five measures of the orchestra’s rhythmically bold, dancelike introduction to the first movement.

And if the orchestra wants to stress rhythm, the soloist’s rich, double-stopped song affirms immediately that melody will be equally important. Indeed, Dvořák’s melodic invention is so prodigal that he immediately spins new tunes off that principal theme, and after introducing his second theme a few minutes later — a mellow, Brahmsian duet for solo violin and oboe — he throws away that attractive music for the rest of the movement. And later he frustrates our hopes of hearing the rich opening theme one more time by chopping off the recapitulation and substituting a meditative bridge to the second movement. The slow second movement in F Major is sheer beauty poised on a tender, soulful melody for the soloist. Lest this loveliness cloy, Dvořák interjects dramatic, passionate episodes in F minor. The violin is mounted like a perfect jewel in an exquisite orchestral setting. The refrain of the rondo-form finale is an infectious high-register tune for the soloist above orchestral violins in the syncopated rhythms of the Czech dance the furiant. Engaging as it is, it has stiff competition from a host of other tunes. Midway through, you will feel the rhythmic change from three beats to two as Dvořák introduces a slower, wistful episode in the style of the dumka, a Czech-Ukrainian lament. Then all the tunes repeat, and even the dumka melody learns to dance in the effervescent conclusion. Sinfonietta LEOS JANÁČEK (b. 1854, Hukvaldy, Moravia; d. 1928, Ostrava, Czechoslovakia) In 1917, Leos Janácek, age 62, met Kamila Stösslová, a very attractive married woman 38 years his junior and fell deeply in love with her. Documented in a series of passionate love letters published in the 1980s, their relationship transformed his creative career while threatening his own 40-year marriage. Though she was not at all musical herself, Kamila became his muse. “In the thought that I have you, that you are mine, rests all my joy in life,” he wrote her. “I know that my compositions will be more passionate, more rapturous. … The fire you’ve set alight in me is necessary to me.” Indeed, this fantasy love (it seems not to have been consummated) ignited the composer’s genius as never before. During the final 11 years of his life, he wrote most of his greatest compositions, including his operas Kát’a Kabanová, The Cunning Little Vixen, The Makropoulos Case and The House of the Dead; his two strikingly original string quartets, and his most spectacular orchestral work, the Sinfonietta. Strictly a special occasion piece since its enormous orchestra

is expanded by many additional brass players, it provides a stunning summation for the Philharmonic’s 75th Anniversary Season. The Sinfonietta was inspired by Janáček’s love for his adopted home city of Brno, capital of Moravia, and his patriotic pride in his new nation of Czechoslovakia, liberated from the Austrian Empire at the end of World War I. And more specifically it was sparked by his visit with Kamila to a park in Písek in 1925, where they heard a military band playing brass fanfares. When shortly thereafter, the composer was asked to write some music for the annual national festival of the Sokol Gymnastic Society (competitive gymnastics was adored in the new country), he remembered those fanfares and developed his own into a five-movement work of vignettes from Brno past and present. Completed in April 1926 and dedicated to the newly established Czech Armed Forces, it was named by him the “Military Sinfonietta.” The large ensemble Janácek chose for this work seems to contradict the diminutive term “sinfonietta,” which implies something lighter and looser in structure than a fullscale symphony. To a large orchestra with exceptionally full brass and woodwind sections as well as percussion (including glockenspiel and harp) and strings, he added a fanfare ensemble of nine trumpets, two tenor tubas, and two bass trumpets, which is used in the first and last movements. However, in the spirit of a sinfonietta, a bright, optimistic spirit fills the work and aerates the massive instrumental forces. And the opening fanfares present a symphonic motto theme that returns along with other motives to link the movements together. A man of the theater first and foremost, Janáček apparently needed a dramatic scenario to inspire even his instrumental works. As he wrote: “I maintain that a pure musical note means nothing unless it is pinned down in life, blood, locale. Otherwise it is a worthless toy.” However, the Sinfonietta is more abstract and generalized than a piece of pure program music. Basically, its theme is Brno, both as Janácek remembered it from his childhood and as the bustling city he saw in the 1920s. He summed up his feelings about the city thus: “I prided myself on Brno. I belonged to it. And the blare of the victorious trumpets, the holy peace of the Queen’s Monastery, … the shadows of the night, the breath of the green hill, and the vision of the secure growth and greatness of the town arose in my Sinfonietta from this recognition, from my Brno.” Janáček gave each movement a specific title pinpointing its inspiration. A few words about this composer’s powerfully idiosyncratic style. He always built his melodies from evocative motivic fragments — repeated, varied, and used in combination. They were often intensified by driving repeated rhythmic


patterns or ostinatos. A man of the 20th century though born in the 1850s, he allowed his harmonies and keys freedom to range widely. And he used instrumental colors with great originality and vibrancy, often exploiting their extreme registers, both high and low. The brilliant opening movement, “Fanfare,” is scored for just the 13 added brass and percussion. The lower instruments lay down a solemn pattern over which the nine trumpets blaze forth their motto fanfare. Janácek creates a thrilling conclusion by piling the instruments together in overlapping imitative entrances. Named “The Castle” for the Spilberk fortress overlooking the city, movement two has a split personality suggesting both present and past. Lively dance rhythms establish a mischievously playful ostinato in the woodwinds perhaps representing Brno’s children. A solo oboe, followed by horn, contributes a more lyrical theme recalling the castle’s history. Growing more vigorous, the dancing ostinatos eventually bring back a reprise of movement one’s motto theme. A haunting coda blends both elements into a dreamlike memory.

Movement three, “The Queen’s Monastery,” refers to the old monastery outside Brno to which the composer came for his musical education during his childhood. It begins gently and nostalgically with a lovely theme in muted strings. After the trombones make a syncopated intervention, the music becomes more energetic, culminating in a wild Prestissimo the composer said should be played “like the wind.” Brno’s contemporary energy is portrayed in “The Street.” Trumpets introduce its rhythmically lively theme, which is repeated over and over in new scorings. That persistent chattering theme then changes its character to become a smooth, lyrical melody for flutes over a whirling string ostinato to open the finale, “The Town Hall.” This music gradually increases in force and propulsion until it brings back movement one’s mighty fanfares, now intensified by trills high in the woodwinds and strings. All the instruments now lock together to produce one of classical music’s most unforgettable conclusions as Janácek rejoices in the freedom and prosperity of his newly independent city and country. Notes by Janet E. Bedell © 2019


Recipient of the​​​​ prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is ​quickly​gaining attention for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as “an artist with the goods for a significant career” following his recital debut at the Kennedy Center. During the 2018-19 season, Mr. Huang will make debuts at the Hong Kong Chamber Music Festival, Santa Fe Chamber Music Festival, and return to the Palm Beach Chamber Music Society with the Emerson String Quartet and pianist Gilles Vonsattel for a performance of the Chausson Concerto for Violin, Piano, and String Quartet. His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded “Four Songs of Solitude” for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014. Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York and in Washington, D.C. at the Kennedy Center. Other honors include First Prize at the 2009 International Violin Competition Sion-Valais (Tibor Varga) in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, the 2013 Salon de Virtuosi Career Grant, and the 2014 Classical Recording Foundation Young Artist Award. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor’s and Master’s degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. 56


Proud to sponsor Fort Wayne Philharmonic performances in long-term care facilities in partnership with Audiences Unlimited

Live, Here.

For the best of your life.

260-749-9655 Like us on Facebook!




“The poise and hushed beauty of the London Philharmonic’s playing was one of the most remarkable qualities of Constantine’s direction. He has an exceptional gift for holding players and listeners on a thread of sound, drawing out the most refined textures.” Edward Greenfield. -The Times of London Born in the northeast of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work. His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester. With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire. A British Council scholarship took Constantine to the Leningrad State Conservatory in 1991 where he studied with the legendary pedagogue Ilya Musin. He cites Musin as being the strongest influence on his conducting, both technically and philosophically. “Essentially he taught how to influence sound by first creating the image in your head and then transferring it into your hands. And, that extracting your own ego from the situation as much as possible is the only true way of serving the music. He was also one of the most humble and dedicated human beings I have ever met.” In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art.” Earlier in 1991, Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.” Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Doctor of Music degree by the University of Leicester for his “contribution to music.” 58


Constantine’s repertoire is incredibly broad and, while embracing the standard classics, spans symphonic works from Antheil and Bliss to Nielsen and Mahler. His affinity for both English and Russian music has won him wide acclaim, particularly his performances of the works of Elgar and Vaughan Williams. His “Made in America” series in 2013/14 at the Fort Wayne Philharmonic included works by eight US composers, four of whom are still living, and one world premiere. In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. This is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable; we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but to keep the flame of belief alive and be a resource and supporter of all music educators.” Another project created by Constantine, geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programs the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED. In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007, he accepted the position of music director of the Reading Symphony Orchestra in Pennsylvania - after the RSO considered over 300 candidates - and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates. Other orchestras in the US that he has worked with include the Baltimore Symphony, Buffalo Philharmonic, Rochester Philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival Orchestra and Phoenix Symphony. Again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as “the best concert in the last ten years.” Other recent engagements included concerts with the New Jersey Symphony, a return to the St. Petersburg Philharmonic, the Filarmonica de Gran Canarias, and recordings with the BBC National Orchestra of Wales and the Royal Scottish National Orchestra.





Caleb Young joined the Fort Wayne Philharmonic as Assistant Conductor in the fall of 2016. For the 75th Anniversary Season Young has been promoted to Associate Conductor. He serves as cover conductor to all Masterworks and other selected programs and conducts various concerts throughout the season including pops, education, family, ballet, film and other specials. Young is dedicated to attracting younger audiences to the Philharmonic, pioneering the “Music and Mixology” series. Young has conducted the Oregon Symphony, Fort Worth Symphony Orchestra, Columbus Symphony Orchestra, Toledo Symphony Orchestra, Russian National Orchestra, and the Asheville Ballet. He has assisted and covered such organizations as the Cincinnati Symphony, St. Louis Symphony, Van Cliburn Competition, Atlanta Opera, Portland Symphony and the National Music Festival. In 2016, Young was selected by members of the Vienna Philharmonic for the American Austrian Foundation’s (AAF) Ansbacher Conducting Fellowship Prize, which takes place during the prestigious Salzburg Festival. Young was also selected as a participant conductor in the Cabrillo Festival of Contemporary Music, where he performed and worked with Marin Alsop and James Ross. Young has also served as assistant conductor for the National Music Festival. Young serves as founder and conductor of KammerMahler, a mobile chamber orchestra, founded in 2013, which specializes in performing large scale symphonic works in a chamber orchestra setting. Among its many accomplishments, KammerMahler recorded and released the world premier album of Klaus Simon’s arrangement of Mahler’s Symphony No. 9. During the 2012-13 season Young served as the Music Director of the Indiana Youth Musicians, where he conducted the youth orchestra and coached chamber music. A native of Asheville, North Carolina, Young started his musical training on piano at the age of three. He received his master’s degree in orchestral conducting from Indiana University’s Jacobs School of Music, where he studied with David Effron and Arthur Fagen. Other teachers include Demondrae Thurman and John Ratledge.

RECORDING NOW AVAILABLE For Sale in the Embassy Lobby! The Philharmonic’s first-ever commercial recording is available for purchase by the British label Toccata Classics. This album of ultra-romantic music by Viennese composer Walter Bricht can also be ordered on and iTunes. Order your copy today. 60



Benjamin Rivera has prepared and conducted choruses at all levels—from elementary school through adult, volunteer and professional—in repertoire from sacred polyphony and chant, choral/orchestral masterworks, and contemporary pieces to gospel, pop, and folk. He serves as Chorus Director and regular conductor of the Fort Wayne Philharmonic, and has appeared multiple times as Guest Chorus Director of the Grant Park Music Festival in Chicago and Guest Music Director of Chicago a cappella. Artistic director and conductor of Cantate Chicago—featured at Chorus America’s national conference in 2018—Rivera also serves as Choirmaster of the Church of the Ascension and High Holidays Choir Director at Temple Sholom, both featuring fully professional ensembles. Last season he served as Associate Conductor of The Washington Chorus, and this season he joins the conducting staff of the Chicago Symphony Chorus. A professional singer in the Chicago Symphony Chorus for over twenty seasons—including twelve as bass section leader—Rivera also sings professionally with the Grant Park Chorus. He sang for many years with Chicago a cappella and several other ensembles, appearing as a soloist on numerous programs, and singing on dozens of recordings. Rivera has been on the faculty of several colleges and universities, directing choirs and teaching conducting, voice, diction, music theory, and history. In addition, he has adjudicated competitions (solo and ensemble), led master classes and in-school residencies, and has presented at the Iowa Choral Directors Association summer conference. Especially adept with languages, Benjamin Rivera frequently coaches German, Spanish, and Latin, among others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies have also included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music. He has also researched choral rehearsal and performance practice in Berlin, Germany. Dr. Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

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

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

Cynthia Sabo John Sabo Sunny Stachera Carrie Veit Greg White



American born and trained, Maestro Troy Webdell has enthralled audiences for years with his ability to connect people through the language of music. His innovative programming and balance between contemporary music, world music and the standard orchestral repertoire has created a welcomed niche in the world of classical music. As an advocate of new music, Webdell has conducted the American and world premieres of numerous works by composers including Anton Garcia Abril, Roxanna Panufnik, Alan Hovhaness, Michael Schelle, Miho Sasaki, Halim El Dabh, Ana Milosavljevic, David DeBoor Canfield, Rudolph Dolmetsch, and Max Lee. Webdell is the founder and conductor of South Shore Orchestra, a regional orchestra located in Valparaiso, Indiana. In 2015, Maestro Webdell and the SSO performed a sold out celebration concert in Chicago’s Symphony Center for the 70th anniversary of the end of World War II. The concert featured a 600 member Chinese chorus with SSO performing Xian Xinghai’s Yellow River Cantata, the American premiere of Roxanna Panufnik’s Since We Parted, and was broadcast internationally via radio from Chicago to China. Webdell’s interest in world music and culture has taken him on multiple orchestral concert tours throughout China to conduct in renowned concert halls in over 40 cities including Beijing, Hangzhou, Shanghai, Nanjing, Ningbo, Jiaxing, Shaoxing, Quanzhou, Fuzhou, and Hong Kong where his interpretations of the Chinese classical music repertoire have been received with critical acclaim. His orchestral concerts have been nationally televised and broadcast on CCTV throughout China and the USA. In January 2018, Webdell was invited to conduct the inaugural concert at the opening of the new Ulanhot Grand Theatre in Ulanhot, Inner Mongolia, which also featured the world premiere of Xiao He’s Long Song. Additionally, Webdell has earned awards for his orchestral conducting in the USA, in the genre of musical theatre, receiving outstanding musical/orchestral direction awards for productions of Sweeney Todd: The Demon Barber of Fleet Street and Man of La Mancha. Webdell’s dedication to music education and his commitment to engage students of all ages into the fabric of music has been evident for over 20 years teaching band and orchestra students in the Crown Point Community School Corporation and Portage Township School Corporation in Indiana. His students have consistently earned Gold ratings at ISSMA contests, including the All-Music Orchestra Award for excellence in all areas of chamber, jazz, and ensemble performance. In 2017, Webdell was named the Honorary Director of Orchestral Programs for the Nanjing Qinxing Arts Academy in Nanjing which has recently become one of the largest music academies in China. Webdell has also been a collaborator in developing El Sistema based youth orchestras, interactive educational symphony concerts, scholarships for college-bound students, and “Unity Event” concerts featuring over 300 community chorus and orchestra musicians. As a clinician and guest speaker, Webdell has presented clinics at the International Music and Confucianism Symposium (USA) and at the Indiana Music Educators Association (IMEA) Festivals and State Conventions including an instrumental conducting clinic entitled “Conducting Young Musicians Expressively,” and a music composition clinic entitled “Composing Kids!” In 2015, Webdell was awarded the “Global Harmony Through Music” award from the Confucius Institute (Beijing) for his work and dedication to create cultural understanding and acceptance through music.



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

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

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

JUNIOR STRINGS ENSEMBLE | TROY WEBDELL, DIRECTOR VIOLIN Jessica Tian, Concertmaster Lucy Gutman, Asst. Concertmaster Frankie Cai Alexis Deam

Kylie Delagrange Dontel Glaspy Andrew Habig Kaitlyn Jones Lillian Sorg

CELLO Jaemin Kim



CALEB YOUNG, Associate Conductor



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



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

BASS Adrian Mann, Principal Anita Hursh Cast Chair Honoring Adrian Mann Kevin Piekarski, Assistant Principal Giuseppe Perego Chair Brian Kuhns Andres Gil Joel Braun FLUTE Luke Fitzpatrick, Principal Rejean O’Rourke Chair Vivianne Bélanger Virginia R. and Richard E. Bokern Chair Hillary Feibel Mary-Beth Gnagey Chair OBOE Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair ENGLISH HORN Leonid Sirotkin Marilyn M. Newman Chair

CLARINET Campbell MacDonald, Principal Howard and Marilyn Steele Chair Cynthia Greider Georgia Haecker Halaby Chair

Anne Devine Joan and Ronald Venderly Family Chair

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

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

BASSOON Dennis Fick, Principal

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

TRUMPET Andrew Lott, Principal Gaylord D. Adsit Chair

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

TIMPANI Eric Schweikert, Principal William H. Lawson Chair PERCUSSION Alison Chorn, Principal June E. Enoch Chair Kevin Kosnik North American Van Lines funded by Norfolk Southern Foundation Chair Kirk Etheridge Patricia Adsit Chair HARP Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair ORGAN Irene Ator Robert Goldstine Chair PIANO Alexander Klepach Robert & Harriet Parrish Chair

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

CELLO Martyna Bleke Peter Opie Jose Rocha Heather Scott Thor Sigurdson

BASSOON Michael Trentacosti

BASS Brad Kuhns Nick Adams

HORN Amy Krueger Charlotte O’Connor Lorenzo Robb Renée Vogen

FLUTE Janet Galbraith Patricia Reeves OBOE Jennet Ingle Stephanie Patterson Jonathan Snyder CLARINET Brian Bowman Elizabeth Crawford Daniel Healton Kevin Schempf Krista Weiss Dan Won

CONTRA-BASSOON Alan Palider Keith Sweger

TRUMPET Doug Amos Alex Carter

PERCUSSION Matt Hawkins Ben Kipp Renee Keller David Luidens Jerry Noble Alana Weising Jason Yoder KEYBOARD Jonathan Mann HARP Lisa Kahn Nancy Lendrim Katie Ventura

TROMBONE Jim Kraft John Grodian Loy Hetrick Alex Krawczyk Heather Miller David Parrilla TUBA Paul Mergen


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

Clarissa Reis Mary Snow Sherrie Steiner Carrie Veit Sarah Vetter Alto Nancy Archer Michelle Bonahoom Cathryn Boys Nancy Brown Alison Case Jeri Charles Maeve Cook Caitlin Coulter Cassie Daniels Lenore DeFonso Heidi Folley Joan Gardner Ronnie Greenberg Sandra Hellwege Darah Herron Karen Hirschy Joy Jolley Jody Jones Susanna Lauer Camille Lively

Joanne Lukas Sharon Mankey Cheryle Phelps-Griswold Katie Reilly Sarah Reynolds Paula Neale Rice Rita Robbins Cindy Sabo Hope Swanson Smith Cecelia Snow Sue Snyder Ann Morrison Spinney Sunny Stachera Frédérique Ward Mary Winters Lea Woodrum Tenor Matthew Bowman Thomas Cain David Courtney Benjamin Cunningham David Eisenhauer

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

FORT WAYNE PHILHARMONIC YOUTH ORCHESTRAS The Fort Wayne Philharmonic welcomes Troy Webdell as the new Director of its Youth Orchestras program. Open to all student musicians in the northeast Indiana region who have not yet graduated high school, the Fort Wayne Philharmonic Youth Orchestras program auditions students throughout the year for vacant positions. | 260.481.0757 66


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


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

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.


A MESSAGE FROM THE PHILHARMONIC FRIENDS For this final message of the season, Im not going to repeat the mission statement you typically find in these letters. Instead, I’m going to list what we’ve done over the last year. If this is your first time here, the following will tell you who the Philharmonic Friends are, and what we do. Our scholarship committee awarded almost $10,000 to 25 successful applicants to assist them in taking private music lessons. However, the number of applicants has declined in recent years. If you have a young musician in your family (or know someone who does), I strongly encourage you (and them) to apply. If you don’t, you’re leaving money on the table. We are currently taking applications. (See The deadline is June 1, 2019. • The Friends sponsored Bizet’s Carmen, on February 2nd and the Youth Orchestras' Concert on March 10th. If you’ve never been to a Youth Orchestras concert, please go. It’s a real treat to listen to such talented young musicians • Over $6000 in underwriting was made available to the Youth Orchestras for Philharmonic musician coaching of their players, the purchase of music scores, senior scholarships and tuition assistance. •

The Friends Young Artist Competition was held at the Rhinehart Music Center on Saturday, November 17 with $2500 in scholarship money available for awards. The senior division winner, Maya Kilburn, will be playing with the Fort Wayne Philharmonic at the Family Concert series on April 28.

• Our nationally award winning Instrument Loan Program currently has almost 60 instruments placed with students who might not otherwise have the opportunity to experience the joy of learning to play music. • We put on three Instrument Playgrounds at Family Concerts, and one at the August Taste of the Arts where hundreds of children had the opportunity to handle a musical instrument. • The Friends sponsor the Musically Speaking before Masterworks concerts with the help of some generous underwriters. • We provide housing for out-of-town musicians; refreshments for the Friday Masterworks rehearsals and between Holiday Pops matinee and evening performances; and many trips to and from the airport for the Music Director, visiting artists and other transportation needs. • Finally, a big THANK YOU to the William J. & Bonnie L. Hefner Foundation whose assistance has made many of our educational programs possible. The Friends couldn’t have accomplished any of this without our volunteers and the generosity of our community. With your continued help, the Friends will have the footing to enter their 76th year of support and service to your own, hometown, Fort Wayne Philharmonic. Sincerely,

John H. McFann, Past President, Philharmonic Friends OFFICERS President: Executive Committee Vice-President Education: Sara Davis Vice-President Hospitality: Jayne Van Winkle Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions Treasurer: Sarah Reynolds Past President: Cynthia Fyock 68


BOARD MEMBERS ClarAnn Bengs Barbara Boerger Ana Boman Tadd Boman Mary Campbell Emily Elko Carol Keller Sandra Hellwege

Pat Holtvoght Judy Lopshire Nellie Bee Maloley John McFann Janet Ormiston Marcella Trentacosti Alexandra Tsilibes Julie VanLuen.


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

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

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

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

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

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

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 70

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

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

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

Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Fort Wayne Philharmonic employee, contract photographer or the media. Your attendance at Fort Wayne Philharmonic events serves as permission for the use of your image, or the image of your family members, by the Fort Wayne Philharmonic. Content Disclaimer: Fort Wayne Philharmonic does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects that might have a bearing on patron comfort, please contact the box office at 260.481.0777. Sensory Friendly Kits: Sensory friendly kits are available at the Embassy Theatre; please inquire at the Box Office to check out a kit. Sensory friendly kits contain noise reducing headphones, several small fidget items, a communications deck, identification wristband, a weighted comfort item and sanitizing wipes.


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

The Paul Yergens and Virginia Yergens Rogers Foundation Masterworks Series

Sweetwater Pops Series


Founder & President, Sweetwater Sound, Inc. The Fort Wayne Philharmonic is truly one of our most important assets, enhancing northeastern Indiana with hundreds of music and education programs, and making a significant contribution to economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.

STAR Family Series


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.



SERIES SPONSORS Ambassador Enterprises Chamber Orchestra Series


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

Brotherhood Mutual Insurance Company Freimann Series


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


President & CEO, Steel Dynamics

At Steel Dynamics, we believe that the right people in the right place are our greatest strength. And it’s in those communities where our co-workers live and work where we provide support through our Steel Dynamics Foundation. In northeastern Indiana, we’re pleased to support the Fort Wayne Philharmonic which enriches the life of tens of thousands …“bringing music to our ears.”

Parkview Health Regional Holiday Pops Series


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.


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

Chuck & Lisa Surack

The Robert, Carrie, and Bobbie Steck Family Foundation

MAESTOSO | $250,000+

Chuck & Lisa Surack

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

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

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

VIRTUOSO SOCIETY | $10,000 to $24,999 June E. Enoch Foundation



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

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

The Donald F. Wood and Darlene M. Richardson Foundation

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

George & Linn Bartling

James W. Palermo

CONDUCTOR’S CIRCLE | $2,500 to $4,999 Bay Advisors, LLC Janice H. Eplett, in memory of Winifred Howe and F. Russell Eplett Bose McKinney & Evans LLP

First Merchants Bank Parkview Field, Home of the Tincaps Tracy & Gretchen Shellabarger

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

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


FORT WAYNE PHILHARMONIC SPONSORS CONCERTMASTER | $500 to $999 Edward & Kristen Brower Cosmopolites Business & Professional Women's Club

Nancy & David Stewart

FIRST CHAIR | $100 to $499 Mrs. Jill Gutreuter Alice & Jonathan Hancock

Jeremy & Clarissa Reis

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

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

Don Hall’s Catering Keefer Printing Markey’s Rental & Staging

McCulloch Auctions — Tim McCulloch New Haven Print Pizza Hut

Subway Taco Bell Wendy’s

AUCTION CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges these sponsors for their generous contributions to our 2018 PHILharmonious Gala Auction. Please call 260.481.0774 for more information on becoming an auction sponsor. “I” Wood Artist Al Zacher AMC Theatre Anonymous Anita Cast Antionette Lee Baker Street Belmont Beverage Biaggi’s Ristorante Italiano Bradley Gough Camp Timberlake Cap n’ Cork Carole Fuller Casa Ristoranti Italiano Catablu – BluSpoon Charles & Amanda Shephard Chop’s Steaks & Seafood Chuck & Lisa Surack and Sweetwater Christopher James Club Soda Della Terra Photography Diane Humphrey 76


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

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

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

FORT WAYNE PHILHARMONIC ANNUAL FUND INDIVIDUALS The Fort Wayne Philharmonic gratefully acknowledges the following individuals for their generous gifts received within the past twelve months. Every attempt is made to include donors who supported the Philharmonic during that time. Please contact the office if errors have been made. For information about supporting the Philharmonic’s 2018-2019 Annual Fund, contact the Development Office at 260.481.0775.

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

FOUNDER’S SOCIETY (GIFTS OF $25,000 TO $49,999) Anonymous (1)

Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman Mr. & Mrs.* Irwin F. Deister, Jr. William N. & Sara Lee Hatlem Tod Kovara

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

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

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

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

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


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

Fred & Mary Anna Feitler Susan & Richard Ferguson Elizabeth Frederick Scott & Melissa Glaze Dave & Sandy Haist Jonathan & Alice Hancock Bob & Liz Hathaway James & Anne Heger Leonard Helfrich Sattar & Marlene Jaboori Ginny & Bill Johnson Jim & Barbie Lancia Drs. David & Carol Lindquist Suzanne Light Anne & Ed Martin Michael Mastrangelo Scott & Donna Mattson Susan & David Meyer Kathryn Miller Greg & Barbara Myers Jim & Gloria Nash Dan & Beth Nieter Josh & Cristina Parrish Norma J. Pinney

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

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



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

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

*Indicates Deceased

FIRST CHAIR (GIFTS FROM $100 TO $499) Anonymous (19) Max M. Achleman* Fran & Irv Adler David & Ellen Ahlersmeyer Dr. Michael & Alysia Alter Thomas E. Alter & Maryanne Alter Mr. & Mrs. Brad Altevogt Ambulatory Medical Management Ms. Mary Jo Ardington Scott & Barbara Armstrong Mel & Ruth Arnold Milton & Barbara Ashby Lonnie & Mary Au Dick & Adie Baach David & Beverly Baals Dr. Sunil Babu Mr. & Mrs. A. Gerald Backstrom Linda Balthaser Mr. & Mrs. Craig Balliet Christine Baron Cheryl Bartkavage Mr. & Mrs. John Batuello Marjorie Baumgartel Michael & Kay Bauserman Amy & John Beatty Matt, Beth, and Grace Bechdol Tony & Pat Becker Mr. & Mrs. Don Bendel Bix & Anita Benson Diana Berich Jim & Gay Berlien Norb & Melissa Berninger Kevin Paul Beuret Mr. H. Stephen Beyer Vivian Bickley Mr. & Mrs. Don Bieberich Stan & Janalee Bieberich Joyce Bir David Blackwell Sherry L. Blake Bev & Jean Blessing Steve Bloomfield & Linda Tannas Mr. & Mrs. John P. Boerger Barbara Boggs Virginia R. Bokern* Dr. Charles & Nonda Bolyard Jon Bomberger & Kathryn Roudebush Mr. & Mrs. Bruce Bone Bill Borgmann John Bottglia Rebecca Bouse Dennis Bowman Richard & Cathryn Boys Jim & Sue Bradley Ruth A. Braun Dr. Helene Breazeale

Mr. & Mrs. David C. Brennan Pauline Eversole Evelyn M. Brosch-Goodwin Larry & Judy Farver David Brumm & Dave & Yvonne Fee Kim McDonald Michael & Marcia Flood Geneva Brummett Dick Florea & Sandy Shearer Mr. & Mrs. William & John & Jane Foell Joan Bryant Jeff Frappier Geary Buchanan Mr. & Mrs. William Freeman William & Dorothy Burford Nathan & Angela Freier Carol E. Burns Sheryl A. Friedley Dr. David & Gayle Burns Melinda Fuchs Mr. & Mrs. Gerald Burns Cynthia & Douglas Fyock Family of Scott & Linda Gaff Barbara Bushnell Michael & Janet Galbraith Joyce & Paul Buzzard Elizabeth Garr Mary Campbell Robert & Barbara Gasser Andy & Peg Candor Betsy & Geoff Gephart Shane Cary Doug & Ruby Gerber Jill Case Joy A. Gilbert Janice Cave Michele Gillespie Barbara Chamberlin Roy & Mary Gilliom David & Patricia Childers Mr. & Mrs. Tertuliano Giraldo Steve Christman Robert & Constance Godley Dr. & Mrs. Dennis Chubinski Thomas & Beverly Goff Bruce Cleveland Janelle & Steven Graber David Coats Janet Graham Nelson & Mary Coats Norm & Ronnie Greenberg Mark & Michele Colchin Kristy Greutman Barbara Collins David Griebel & Dr. & Mrs. Nathan Comsia Cathy Niemeyer Matt & Kim Converse James B. Griffith Mike Conyers David & Myra Guilford John & Marcia Crawford Leonard Guthier Wendell & Mary Cree Mary K. Gynn Bob & Margita Criswell Melanie & Robert Hall Dan & Marjorie* Culbertson Susan Halley Miles J. & Lorraine Hook Vince & Dianne Hansen Davis Fund Brian & Barbara Harris Janet Dawson & Jerry Smith Joseph Hayes & Lenore DeFonso Gregory Bowman Tom & Holly DeLong Dennis & Joan Headlee Martha Derbyshire David Heath Vera & Dominick DeTommaso John Heath Mrs. Kathy Dew Jacqueline Heckler Sharon Dietrich Sandy Hellwege Steven Doepker Matt Hendryx Gene & Carol Dominique Ms. Julie Henricks Fred & Joan Domrow Anthony & Susan Henry Kirk Dunkelberger Mayor Tom C. & Cindy Henry Ann H. Eckrich Lucille Hess Ned & Sally Edington Scott & Catherine Hill Don & Mary Kay Ehlerding Andrew & Katy Hobbs Jon Eifert Bob & Karen Hoffman Susan Eikenberry Tom & Jane Hoffman Cynthia Elick Steven & Becky Hollingsworth Dr. & Mrs. Robert Ellison Philip Hudson Lillian C. Embick Marlene Huffman Albert & Jeanne Emilian Tom & Mary Hufford EPCO Products Mark & Karen Huntington Pam & Steve Etheridge Ed & Mary Lou Hutter Pam Evans-Mitoraj PRELUDE 79

Hyndman Industrial Products Inc. George & Jane Irmscher Mark & Dianne Jarmus Jill Jeffery Mr. & Mrs. Addison Johnson Mike Johnson David & Kathleen Johnston Alex & Sharon Jokay Don & Joyce Jordan Larry & Annette Kapp Lois Kaufman-Hunsberger Emily & Ryan Keirns Charles & Carol Keller LuAnn R. Keller Bridget Kelly Kendall & Davis, Inc. Mr. & Mrs. Chris Kidd Sheila D. Kiefer Michael & Sarah Kindinger Ross & Betty King John Kirchhofer Audrey M. Kirk Karen Knepper James & Janice Koday Arthur & Elaine Konwinski Dr. & Mrs. Daniel Krach Carolyn Krebs Toni Kring & Larry Hayes Hedi Krueger Sara Kruger Georgia Kuhns Paula Kuiper-Moore Kevin Kurtz Shelby Lamm Carolyn N. Lane JJ Carroll & Jeff Lane George & Lois Lange Miriam Larmore Scott & Amy Lazoff Drs. Chung-Seng & S. Sage Lee Judge & Mrs. William C. Lee Brad & Donna Lehman Douglas & Minda Lehman Steve & Rhonda Lehman Mrs. Frances LeMay Al & Janey Lindsten Arthur & Marcia Litton Marlene Lobsiger Chuck Logar Dr. Joshua Long Frank T. Luarde Paul & Pauline Lyons Mr. & Mrs. Jim Machock Jerry L. Mackel M.D. Janet & Larry Macklin Peg Maginn Michael & Diane Makarewich Peter & Christine Mallers Harry & Barbara Manges Rob & Natalie Manges 80


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

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

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

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

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

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

English, Bonter, Mitchell Foundation

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

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

FOUNDER’S SOCIETY ($25,000 TO $49,999) Community Foundation of Greater Fort Wayne The Huisking Foundation Indiana Arts Commission and National Endowment for the Arts

Flora Dale Krouse Foundation and PNC Charitable Trusts Lincoln Financial Foundation W. Gene Marcus Trust The Rifkin Family Foundation

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

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

The LaFontaine Arts Council Wells County Foundation


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

BAE Systems Community Investment

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

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

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

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



Randall L. & Deborah F. Tobias Foundation

REGIONAL PARTNERS The Philharmonic gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy of their own communities. The Philharmonic is honored to perform for enthusiastic audiences throughout the Northeast Indiana region and welcomes and values each contribution that makes these concerts and education performances possible. Thank you! MULTIPLE COUNTY SUPPORT Parkview Regional Medical Center/ Parkview Health

Steel Dynamics Foundation, Inc. The Dekko Foundation

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

Porter Family Foundation Joe & Janell Schwartz

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

David & Pat Kruse Quentin K. & Gladys F. Mavis Music Fund Psi Iota Xi - Alpha Rho Chapter Scheumann Dental Associates

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

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

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

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


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

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

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

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

WABASH COUNTY First Farmers Bank and Trust

Honeywell Foundation

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

Carol & Larry Ewing Wells County Foundation Troxel Equipment

WHITLEY COUNTY ChromaSource, Inc. Churubusco Family Dentistry — Dr. & Mrs. Richard Zollinger 84


Community Foundation of Whitley County STAR Financial Bank

TRIBUTES The Philharmonic gratefully acknowledges the following friends who have recently contributed gifts in honor of loved ones. All memorial, honorariums, and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and appreciated. In Memory of Karen Allina (Gifts in memory of Karen Allina will be added to the Philharmonic Chorus fund, where they will provide support to the work and the future of the Chorus.) Anonymous (2) Dr. Alfred Allina Rose Atz Marsha Baltes Bryan & LeaAnne Bernstein Sunitha Bhat William & Judith Carrigan Marcia Clupper Dean Cutshall Connie Gibstine Graly & Guido Law Office, LLC Nancy Hamiln Andrew & Katy Hobbs Carol Jackson Ginny & Bill Johnson Justin & Elizabeth Lott Michael Mastrangelo Richard & Merle-Lee Miers Noel & Gloria Phegley Benjamin & Alexia Rivera David & Vivian Slosson John & Judith Stenger Robert & Margaret Vegeler Lewie Wiese Lea B. Woodrum

In Memory of June E. Enoch Honorary Retired Pi Chapter of Psi Iota Xi Eleanor H. Marine Michael Mastrangelo

In Memory of Virginia Bokern Margaret Ankenbruck Steven & Jana Ankenbruck Mary Campbell Anita & Bill Cast Lillian C. Embick Eleanor H. Marine Elizabeth & Terrence Neu Russ & Jeanette Quilhot Thomas Remenschneider Paul Spoelhof

In Memory of Kathryn R. Parrott Sarah & Sherrill Colvin

In Memory of Marjorie R. Cavell Eleanor H. Marine

In Memory of Herbert Snyder Barnes & Thornburg LLP Dave & Sandy Haist Eleanor H. Marine Thomas & Nancy White PRELUDE 85

In Honor of Michael Galbraith MKM architecture + design In Memory of Leonard Goldstein Anita & Bill Cast Eleanor H. Marine In Memory of William Haines Kimberley Haines In Memory of Winifred F. Howe and F. Russell Eplett Janice Eplett In Memory of Greg Marcus Anita & Bill Cast Kenneth & Martha Johnson Eleanor H. Marine In Memory of Naida MacDermid Fred & Mary Anna Feitler Kenneth & Martha Johnson In Honor of James W. Palermo Howard & Carol Abrams

In Memory of Lynne Salomon Eleanor H. Marine Michael Mastrangelo In Memory of Donna Snyder Barnes & Thornburg LLP Anita & Bill Cast Eleanor H. Marine

TRIBUTES continued In Memory of Olga Yurkova Kenneth & Martha Johnson Fred & Mary Anna Feitler Svetlana Hagan Carl & Jaci Reuter Paula Neale Rice Benjamin & Alexia Rivera In Honor of Al Zacher’s 90th Birthday The Aichele’s Anonymous (2) Alex and George Azar Norma & Tom Beadie Barbara L. Boerger Julie & Dave Buckner Vernell Fettig Laura, Bill, and Ellen Frankenstein and their families

Geoff & Betsy Gephart Lois Harris George Huber Herbert Krumsick Doulas & Ilene Klegon Peter & Christine Mallers Judy Pursley Alfred & Norma Slatin Norman Thal Andrew Warshauer Marie, Michael, Andrew, Mia, and Daniel Warshauer Bill & Louise Warshauer Employees of the Zacher Co. Steven & Judy Zacher In Memory of Hannah Zacher Alfred & Norma Slatin

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

Freimann Chamber Series In Memory of Frank Freimann

Philharmonic Center Rehearsal Hall In honor of Robert and Martina Berry, by Liz and Mike Schatzlein

Youth Symphony Walter W. Walb Foundation

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

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

BEQUESTS The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Oscar H. & Elda A. Albers* Marjorie R. Cavell* Frederick Beckman* Charlotte A. Koomjohn* Doris Latz* 86


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

ENDOWMENT CONTRIBUTORS The Fort Wayne Philharmonic gratefully acknowledges and thanks the many contributors to its Endowment Fund, who for generations have been a lasting financial bedrock for the institution. The Endowment Fund ensures the Philharmonic’s future for succeeding generations as a symphonic ensemble, an educational leader, and a cultural ambassador for the entire Northeast Indiana region. Due to space limitation, the full list of Endowment Contributors will be shared in the first and last Prelude program books of each season. A full Endowment Fund listing is available year round on the website at 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 for further information. Comprehensive Campaign: Music for Everyone Anonymous (4) Edward D. & Ione B. Auer Foundation George & Linn Bartling Anita Hursh Cast Will & Ginny Clark Sarah & Sherrill Colvin Sara Davis Mr. & Mrs.* Irwin F. Deister Jr. Ben & Sharon Eisbart David & Mary Fink Carole Fuller Mark & Mark Kay Hagerman Family Alice & Jonathan Hancock

Leonard Helfrich Rick L. & Vicki L. James Suzanne Light Carol & David Lindquist Eleanor H. Maine Michael J. Mastrangelo Scott A. Miller, MD Dan & Beth Nieter Kevin & Tamzon O'Malley James W. Palermo Parkview Health Robert J. Parrish, Harriet A. Parrish and David T. Parrish Charitable Foundation David & Sharon Peters Owen & Jean Pritchard Foundation

Judy Pursley Sarah & Richard Reynolds Carol Shuttleworth & Michael Gavin The Robert, Carrie and Bobbie Steck Family Foundation Chuck & Lisa Surack, Sweetwater Barbara Wachtman & Tom Skillman Charlie & Jeanne’ Wickens Donald F. Wood & Darlene M. Richardson Paul Yergens and Virginia Yergens Rogers Foundation, Inc. Daryl Yost

Endowment Contributors: 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

Alexander Klepach, in honor of Brian Prechtl, in honor of Bradley Thachuk, in honor of our musicians, especially those who are soloists Jocelyn & Jim Blum Ann & David Bobilya Phyllis Boedeker Virginia & Richard Bokern, in memory of Loved Ones Jim & Lois Boomer Janellyn & Glenn Borden Sid & Bonnie Bostic Rebecca Bouse Patricia Boyle, in memory of B.C. Boyle, in memory of Mary A.J. Boyle J. Charles Braden Charlotte D. Bradley Kim & Dwight Brandon Robert Braun Dr. Helene Breazeale, in honor of Andrew Constantine David & Faye Brennan Martha Brenner, in memory of Elsa Brenner Dr. Wm. Lloyd Bridges Dr. Glenn Brinker & Ms. Willi Ratliff, in honor of Mr. & Mrs. John Brinker Carolyn Brody Mrs. Robert Brokaw, in memory of Harriet Parrish Roberta Brokaw, in memory of Miriam Louise Brokaw Joan Baumgartner Brown Barbara & John Bruce Beverly & Larry Brunke Bob & Margaret Brunsman Rosemary Bucklin

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 Mason 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


James Bueter Barbara J. Bulmahn John & Paula Bullman Mr. & Mrs. Wayne Burnside Karen Butler Sean Butler & Paula George Dr. Carol Buttell Joyce & Paul Buzzard Mr. & Mrs. Thomas Callison Princess Cameron Kevin Campbell Isa & Elizabeth Canavati Alan Candioto Peg & Andy Candor Mr. & Mrs. John Cantrell Richard Carlson Mr. & Mrs. Lyle Cary Anita & Bill Cast, in memory of Charles Walter Hursh Brian & Vicki Castle Donald & Sally Caudill Kim Caudill Mr. & Mrs. M. Stuart Cavell Charles Caylor, MD Mrs. Harold Caylor Mr. Michael Cayot Elizabeth & Howard Chapman Charles Chidester, in memory of Jean Chidester Mr. & Mrs. C. Gregory Childs Will & Ginny Clark Mr. & Mrs. Beresford Clarke Don Cleary Willis Clouse Mr. & Mrs. Lowell Coats Mr. & Mrs. John Coe Nancy Cole Annelie & Bob Collie, in memory of Capt. Otto Eichrodt, in memory of “Suse” Gitterman Eichrodt, in memory of Judge Turner, in memory of Mrs. Zula Collie Sherrill & Sarah Colvin, in memory of Herbert Cooper Gwendolyn & Donald Converse J. Philip & Susan Cooling Cook Patricia Cook Mr. & Mrs. Herbert Cooper Harry Crawford Dr. & Mrs. John Crawford Rosemarie & Stephen Crisafulli Kathleen & Robert Crispin Dawn, Dave & Nate Crofton Patricia & Robert Cross Brenda & David Crum Michael Crump Dr. & Mrs. John Csicsko Mr. & Mrs. King Culp Joseph Culver Gloster Current, Jr. Bill & MaryAnn Dahlman Albert & Yvonne Dahm Edward & Linda Dahm Mr. & Mrs. George Davis Janet Davis Mr. & Mrs. Ronald Davis Ted Davis Judy & Wayne Dawes Cathleen & David Debbink Cindy & Mark Deister Gwen & Dick DeKay Martha & William Derbyshire Jane & Tom Dickson



Roslyn Didier Beverly Dildine Mr. & Mrs. John Dillard Mr. & Mrs. Lloyd Doehrmann Mr. & Mrs. Richard Doermer Mr. & Mrs. Fred Doloresco Nancy & Harley Donnell Mr. & Mrs. Richard Donnelly George & Ann Donner Mr. & Mrs. Barry Dorman Dr. Robert Doyal Mr. & Mrs. George Drew Douglas Driscoll Mr. Richard Dunbar, Jr. Delores Dunham Phyllis Dunham Dr. & Mrs. John Dyer Dot & Bill Easterly Lawrence Eberbach Mr. & Mrs. Thomas J. Eckrich Mr. & Mrs. John Edris, Jr. Dr. & Mrs. J. Robert Edwards Ben & Sharon Eisbart Cynthia Elick Mr. & Mrs. C.B. Ellis, Jr. Constance Ellis Madelane & Ralph Elston Thomas Elyea Lillian C. Embick, in memory of Byron L. Embick Bruce & Ellen England English, Bonter, Mitchell Foundation June Enoch Dr. & Mrs. James Epps Richard Erb Mr. & Mrs. Walter Erxleben Rev. James & Helen Eshleman James Evans Trust Mr. & Mrs. Charles Eversole Dow & Angelique Famulak Dorothy Faulkner Mr. & Mrs. Robert Fay Mary Anna Feitler Susan & Richard Ferguson Vernell & Peter Fettig Charles Fine Gloria Fink Mr. & Mrs. Richard Fink Betty Fishman Margaret & Mark Flanagan, Jr. Cleon Fleck Richard E. Ford Mr. & Mrs. John Forss, in honor of David Crowe Fort Wayne Philharmonic Chorus The Phil Friends Ron & Marilyn Foster Dr. Thomas & Sue Fowler-Finn Theresa & Michael Franke Gus Franklin Frank Freimann Charitable Trust, in honor of Frank Freimann Frances & Avis Frellick David & Kathy Fuller Fred & Grace Gage Mr. & Mrs. Neil Gallagher Mr. & Mrs. William Garvey Mark Garvin Mr. & Mrs. Robert Gasser Dr. & Mrs. Basil Genetos Betsy & Geoff Gephart Mr. & Mrs. Miles Gerberding

Mr. & Mrs. August Gerken William Gharis Jack & Catherine Ginther Susan & Mark GiaQuinta Michael & Carol Gibson Jay & Kathy Gilbert Suzanne Gilson Guy & Lucia Glenn Mrs. William Goebel, in memory of Dr. C. William Goebel Mr. & Mrs. Edward Goetz, Jr. Mr. & Mrs. Edward Golden Myron Goldman Rikki & Leonard Goldstein Robert Goldstine L. Ann & James Golm Mrs. Hugo Gottesman Mr. & Mrs. Robert Gouwens Janelle & Steven Graber Joan & Bill Graham Nancy Graham-Sites J.P. Graney Ron & Nicole Greek Robert Green Norman & Ronnie Greenberg Dr. & Mrs. Robert Greenlee Mrs. Walter Griest, in memory of Walter Griest, MD Ella & Lester Grile Mr. & Mrs. Merle Grimm Donald Grissom, in memory of Doty Grissom Thomas Grote Ann Grover Grueninger Travel Ruth & Christopher Guerin Mr. & Mrs. Gerald Guernsey Mr. & Mrs. Victor Guess Neola & Gerry Gugel Kirk Gutman Bob & Jill Gutreuter Joyce & Alfred Gutstein Eloise & Robert Guy Kenton Hagerman Mr. & Mrs. Mark Hagerman Mr. & Mrs. Theodore Hagerman Michael Haggarty Dave & Sandy Haist Dr. & Mrs. Fouad Halaby Barbara & Don Hall Mr. & Mrs. Jeffrey Hall Nadine Hall Mrs. William B. F. Hall Mr. & Mrs. Robert Haller Mrs. John Hamilton Barbara Hanna Susan Hanzel Thomas Harker Mildred Hartman Ruth Haslacher Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway Mr. & Mrs. William Hatlem Carl & Silvia Hausmann Jeff Haydon Judy & Tom Hayhurst Mary Ann Haynie Debra Hazel The Heart Center Medical Group Sanjiv Aggarwal, MD

Ravi Bathina, MD Steven Behrendsen, MD Richard Cardillo, MD Manuel Cernovi, MD Kent Farnsworth, MD Revati Ghatnekar, MD Gary Hambel, MD Peter Hanley, MD Mark Hazen, MD Elizabeth Isbister, MD Sushil Jain, MD Mark Jones, MD David Kaminsakas, MD Andrew Katz, MD Steven Ko, MD C. Casey Kroh, MD Scott Mattson, D.O. Sudheer Meesa, MD Rebecca Minser, MD Steven Orlow, MD Sanjay Patel, MD Fred Rasp, MD Subhash Reddy, MD Stephen Reed, MD Stanley Rich, MD Abdul Sankari, MD Robert Swint, Sr., MD Gregory Tomlinson, MD Ravi Vaela, MD Stacie Wenk, MD Carl Wrobleski, MD Christopher Zee- Cheng, MD Ronald Heilman John Heiney, in memory of Janet Heiney, in memory of S. Marie Heiney Leonard Helfrich Jerome Henry Dr. & Mrs. T.L. Herendeen Nancy & Philip Hershberger, MD Deborah & Andrew Hicks James & Dorothy Hilmert Ann Hoard Jenny & Andrew Hobbs Mark Hochstetler & Mary Maloney Dr. & Mrs. Arthur Hoffman Donald Hoffman Dr. & Mrs. Gregory Hoffman Colleen J. Hohn Hook Drug Foundation John & Dawn Hopkins Nancy & Tuck Hopkins Jody & Jim Horein Suzanne & Michael Horton Barbara & Phillip Hoth Mrs. Rod Howard Mary & Tom Hufford Amanda Hullinger & Family Diane Humphrey David & Nancy Hunter Leonard Iaquinta Gordon & Marie Iddles Martha Herbert 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 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 Lois A. Steere, in memory of Allen C. Steere Mr. & Mrs. A. James Stein Todd & Janet Stephenson Rev. & Mrs. Daniel Stewart Nancy & David Stewart Marjorie Stewart, in memory of Carlton Stewart Amy Stone Robert Stouffer Edith Stout Mr. & Mrs. Leo Stroncczek James & Jeanne Leita Stump Styles Beyond Salon Carl Suedhoff Jr. James Suelzer Thomas Summerill Kathleen Summers Mrs. Thomas Summers Sunriver Music Festival Friends The Bowerman Family of Sunriver Sunset Drive Neighbors, in memory of Betty McQuillan Chuck & Lisa Surack & Sweetwater Sound, in honor of Samuel Gnagey Mr. & Mrs. Art Surguine Mr. & Mrs. Arthur Swanson Swiss Re David Swanson Cyndy & Jim Taber Dr. & Mrs. Robert Taylor Mr. & Mrs. Zohrab Tazian Edvard & Luba Tchivzhel Mr. & Mrs. Harry Tharp Philip & Betty Thieme, in memory of Wayne Thieme Jane C. Thomas Christine Thompson, in memory of Mary Isabel Cook, in honor of Blanche & Jabe Luttrell Alice C. Thompson Mr. & Mrs. Francis Thompson Josephine Thompson Madeleine Thompson Amy Throw & Family Sonja Thurber Bob & Sherry Tilkins Jeff & Barb Tillman Mr. & Mrs. Joshua Tourkow Dr. & Mrs. Herbert Trier Linda & Dennis Troy Michael & Janet Tucker Cathy Tunge & Steve Kiefer Betty Turen Nancy Vacanti & Abigail Kesner The Helen P. Van Arnam Foundation, Inc.

Mr. & Mrs. Robert Vegeler Mr. & Mrs. Ronald Venderly Jan Vick Dulcy Vonderau Cathy Voors Virginia Wade The Walter W. Walb Foundation Mr. & Mrs. Robert Walda Jane & Frank Walker Mr. & Mrs. John Walley Mr. & Mrs. James Walper Esther Walter Robert & Irene Walters Nathan & Natalie Wanstrath Marie & David Warshauer Michael & Ruth Wartell Bob & Martha Wasson Mrs. Richard Waterfield Helen & Wayne Waters Mr. & Mrs. Herbert Weier Dorothy Weiss

Mr. & Mrs. Paul Welker Nicholas Werdell Lynn Wernet Kristin Westover Cathleen Westrick Mrs. Charles Weyrick Catherine White Perry & Jackie White Dana Wichern Dr. & Mrs. Alfred Wick Mr. & Mrs. Ray Wiley William Willennar Foundation Fred & Marion Williams Eloise Willis Elizabeth Wilson Wilson Family Foundation Dianne & George Witwer Mr. & Mrs. Don Wolf Mr. & Mrs. W. Paul Wolf Melody Wolff Lawrence & Lea Woodrum

Mack Wootton Beth Perrins Wright Mary Lou Wright Mike & Cindy Wright Phillip & Marcia Wright Mary Jo Yentes Mr. & Mrs. Alan Yoder Laura York Daryl Yost Victoria Young Hannah & Alfred Zacher Judy & Steven Zacher Tim & Sandy Zadzora Drs. Christopher Zee-Cheng & Barbara Nohinek Father Tom Zelinski Larry & Diane Zent Dr. & Mrs. Richard Zollinger

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 (23) Patricia Adsit Richard* & Sharon Arnold Dick & Adie Baach George & Linn Bartling Kevin Paul Beuert Ana Luisa Boman Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman 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 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 to find out more about specific planned giving strategies and arrangements.



“I hope there is a DeBrand in heaven!!!”

“Delicious and classy, it’s chocolate perfection.” Fort Wayne & Indianapolis Locations

“Love this place!! Fantastic chocolates and excellent customer service!!” HHHHH

“Official chocoholic — by far the best I have had.”

Profile for Fort Wayne Philharmonic

Fort Wayne Philharmonic Prelude 4 March - May 2019  

Orchestra program book

Fort Wayne Philharmonic Prelude 4 March - May 2019  

Orchestra program book