2015-2016 Prelude 4

FORT WAYNE PHILHARMONIC PROGRAM

MAR, APR & MAY | 2016

PRELUDE

PRELUDE

VOLUME 72, NO. 4 2015/16 SEASON M A R , A P R & M AY/2 01 6

FORT WAYNE PHILHARMONIC PROGRAM

Editor: Brooke Sheridan Contributing Editors: Melysa Rogen, Jim Palermo, JIm Mancuso, Adrian Mann Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department, 4901 Fuller Drive | 260•481•0777 | fwphil.org.

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Welcome Letter, Andrew Constantine Youth Symphony Orchestra Roster Fort Wayne Children's Choir Roster IPFW Choral Union Roster IPFW University Singers Roster Jonathan Busarow, FWCC Director Andrew Constantine, Music Director Chia-Hsuan Lin, Conductor Benjamin Rivera, Chorus Director

ARTIST BIOS

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Eric Wyrick, violin Andre Gaskins, cello Dennis Fick, bassoon Luke Fitzpatrick, flute Michael Ludwig, violin Rene Ruiz, narrator Brad Price, Illustrator Rebekah Rexroth, piano

64 David Cooke, YSO Director 65 Board of Directors 65 Administrative Staff 66 Orchestra Roster 68 The Phil Chorus Roster 69 Series Sponsors 71 Donors 75 Sponsors

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Christine Arand, soprano Christopher Pfund, tenor Keith Phares, baritone Kelly Corcoran, conductor Chris Botti, trumpet Thomas Hooten, trumpet

7 MASTERWORKS LEGENDS AND FAIRY TALES

SATURDAY, MARCH 12 13

CHAMBER ORCHESTRA SERIES BAROQUE FAVORITES SATURDAY, APRIL 2

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MASTERWORKS SIBELIUS AND BRAHMS SATURDAY, APRIL 9

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FAMILY FAIRY TALE FANTASIA SUNDAY, APRIL 17

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MASTERWORKS CARMINA BURANA SATURDAY, APRIL 23

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POPS CHRIS BOTTI: LIVE IN CONCERT SATURDAY, APRIL 30

51 FREIMANN SCHUBERT'S OCTET WEDNESDAY, MAY 4

SUNDAY, MAY 8 55

MASTERWORKS RUSSIAN CLASSICS SATURDAY, MAY 14

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WELCOME FROM THE MUSIC DIRECTOR A great deal to talk about in our final Prelude of the season here at the Fort Wayne Philharmonic, a season that has been packed with fabulous music making and much appreciated by your good selves!

Masterworks concerts in March, the 12th at the Embassy Theater, and April, the 9th at Auer Performance Hall of IPFW, feature some old favorites that have not been with us for a while and several absolute gems that I think will quite surprise you. In our Legends and Fairy Tales concert the merry pranks of Till Eulenspiegel bring out the best of Richard Strauss as well as every department of the orchestra. Ravel’s Mother Goose Suite contains some of the most delectable musical story telling ever, whilst the pairing of Rozsa’s Sinfonia Concertante and Reznicek’s Donna Diana Overture keep the tale in central Europe. Watch out for our two special soloists in the Rozsa, Principal Cello Andre Gaskins and violinist Eric Wyrick, who performed with us as guest concertmaster last season. Another guest soloist I’m delighted to welcome to Fort Wayne is violinist Michael Ludwig who will join us for the glorious concerto by Sibelius in April. You’ll also hear Sibelius’ stirring tone poem Finlandia, along with the the Symphony No. 3 by Brahms.

i GO: plug in

Baroque Favorites at the First Wayne Street Methodist Church on April 2nd brings another welcome return for Chia-Hsuan Lin to conduct an evening of real gems including, the Arrival of the Queen of Sheba, by Handel, and Bach’s Brandenburg Concerto No. 3. Our own Dennis Fick will be featured in Boismortier’s Bassoon Concerto and newly appointed Principal Flute, Luke Kirkpatrick, in Bach’s Orchestral Suite No. 2. Then later in the month, April 17th at 2:00 P.M. in the Auer Performance Hall of IPFW, more fairy tales, this time on our Family Concert Series. Featuring music by Grieg, Beethoven and Elmer Bernstein amongst others, the event will also showcase Rene Ruiz as narrator, Brad Price as illustrator, and pianist Rebekah Rexroth.

Octets are a grouping that have come together let’s say, infrequently. But chamber music enthusiasts have a rare opportunity to hear Schubert’s masterpiece for eight performers either on Wednesday, May 4th at 7:30 P.M. in the Fort Wayne History Center or Sunday, May 8th at 2:30 P.M. in the Recital Hall of the Rhinehart Performing Arts Center. It’s truly gorgeous music and I really would like to urge you hear it.

Our final Sweetwater Pops concert of the season brings to Fort Wayne a master of the trumpet, Mr. Chris Botti, who has toured the globe with his enormously popular show. His inimitable blend of contemporary and jazz influences are sure to delight everyone on Saturday, April 30th at the Embassy Theatre.

Our final two Masterworks programs of the season are real powerhouse events that we are all looking forward to, especially me! April 23rd at the Embassy Theatre will feature Carl Orff’s immensely popular Carmina Burana when we’ll pack the stage with soloists, huge orchestra, chorus and children’s choir, alongside Bartok’s symphonic masterpiece, the Concerto for Orchestra. Closing night on May 14th is our Russian Classics when we feature Tchaikovsky’s passionate Romeo and Juliet Overture-Fantasy, Arutunian’s smokey, jazz-imbued Trumpet Concerto with brilliant guest soloist Thomas Hooten and, perhaps, the finest symphony of the twentieth century, Prokofiev’s Symphony No. 5. Don’t miss these!

And let the music set you free.

Have you heard? Listening to your favorite tunes is actually good for you, helping to lower stress levels and increase endorphins.

It’s one easy thing you can do right now to improve your wellbeing. For more healthy ideas, log on to parkviewGO.com.

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So much to thank you all for, I know, but most meaningfully we thank you for your tremendous support of the Fort Wayne Philharmonic. We exist not only to play great music, but to play great music for you! This only gets better and better as we see the audiences continue to grow at our events. Clearly, Fort Wayne realizes the Philharmonic is the place to be!

Music Director, Andrew Constantine

© 2015, Parkview Health PH-A-189

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MADGE ROTHSCHILD FOUNDATION

Heating up with pride to cast our support for the Fort Wayne Philharmonic!

LEGENDS AND FAIRY TALES Sponsored by Wirco, Inc. Saturday, March 12 | 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Eric Wyrick, violin Andre Gaskins, cello REZNIČEK

Overture to Donna Diana

RÓZSA Sinfonia Concertante for Violin, Cello & Orchestra, Op. 29 Eric Wyrick, violin Andre Gaskins, cello

-- Intermission --

RAVEL Suite from Ma Mère l'Oye (Mother Goose)

Pavane of the Sleeping Beauty

Tom Thumb

Laideronnette, Empress of the Pagodas

Conversations of Beauty and the Beast

The Enchanted Garden STRAUSS

Till Eulenspiegels lustige Streiche, Op. 28

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, March 24 at 7:00 P.M.

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M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS masterworks

SATURDAY, march 12, 2016

Overture to Donna Diana Emil Nikolaus von RezniČek (b. 1860, Vienna, Austria; d. 1945, Berlin, Germany) Some composers owe their immortality to just one work. In the case of Austrian composer Emil von Rezniček, that work is very short and light as a feather: the Overture to his comic opera Donna Diana. Like the next composer on this program, Miklós Rózsa, he was trained at the Leipzig Conservatory in Germany before moving on to a busy career as both composer and conductor.

He wrote many operas —interestingly including two based on the Till Eulenspiegel story that Richard Strauss glorified in the tone poem we’ll hear at the concert’s end — but they are all forgotten now.

Though it was a considerable popular success at its premiere in 1894 in Prague, Donna Diana almost disappeared too. Set in Barcelona, the opera revolves around Donna Diana, the beautiful daughter of the wealthy Don Diego, who, though pursued by many suitors, refuses to give her hand to any of them because she prefers her freedom. Don Cesar (the tenor, of course) decides to pay her back by pretending to ignore her beauty. This intrigues Donna Diana, who finds that the more he refuses her, the more attracted she becomes. Finally, she succumbs and tells her father that “I choose him who conquered pride through pride.”

The opera’s vivacious sonata-form Overture has survived this flimsy plot. It sparkles with the spirit of mischievous plotting, along with a suave theme for the strings that predicts that Donna Diana will find she has a heart after all.

Sinfonia Concertante for Violin, Cello and Orchestra, op. 29 Miklós Rózsa (b. 1907, Budapest, Hungary; d. 1995, Los Angeles, California) The Hungarian-born composer Miklós Rózsa titled his autobiography Double Life, for he very successfully combined a career as one of Hollywood’s most sought-after film score creators with a parallel one as a highly respected composer of classical concert music.

From the 1940s through the 1960s, if you were shooting a film noir or a wide-screen epic, you wanted Rózsa to write the music that would capture its atmosphere. He was nominated for Oscars many times and won three: for Alfred Hitchcock’s classic thriller Spellbound, for the film noir A Double Life, and for the ultimate film epic Ben Hur.

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So prized was Rózsa in his movie career that in 1952 he convinced MGM to give him a contract with a clause stipulating that he would be free for three months every summer to devote himself exclusively to his classical career. The first work he wrote after signing this contract was his Violin Concerto for the famed violinist Jascha Heifetz.

Though Heifetz was as legendary for his prima donna personality as for his fabulous technique, the working relationship between the two went smoothly and Heifetz loved the concerto.

Matters did not go so smoothly with Rózsa’s second vehicle for Heifetz: the Sinfonia Concertante for Violin and Cello. This time, it was Heifetz’s close friend and frequent artistic partner cellist Gregor Piatigorsky who approached the composer, asking for a work they could play together. Rózsa enthusiastically wrote the Sinfonia during the summer of 1958 at his beloved retreat in Rapallo, Italy. Simultaneously, he was working on the score for Ben Hur. However, when the three artists met for the first play-through of the new work, Heifetz wasn’t happy. The first movement began with a substantial passage featuring just the cellist. “I can’t wait as long as that,” moaned the violinist.

“Give him about four bars and then I’ll take over.”

Worse still, the second movement, a theme and variations, also began with the cellist presenting the lengthy theme. “Do you expect me to stand there like an idiot all that time?” complained Heifetz. “Yes, Jascha,” Piatigorsky shot back, “we expect you to stand there like an idiot!”

Heifetz’s objections led to a protracted series of revisions of the work, including a completely new second movement, as Rózsa tried to soothe the violinist’s ego — and Piatigorsky’s as well.

Ultimately, though the two virtuosos finally embraced and performed the revised first movement, they never played the entire work. The first performance waited for two less famous string players to tackle it with the Chicago Symphony in September 1966.

Though Rózsa had left his native land while still in his early twenties, he retained his deep attachment to Hungarian folk music, and it strongly colors the very appealing melodies that fill his Sinfonia Concertante. The music throughout combines the rugged bite of Hungarian music that we know from Bartók’s works with the warm lyricism of the late-Romantic style.

The sonata-form first movement explodes out of a drum roll with the cellist attacking the vigorous Magyar first theme, soon to be joined by the violin. The very lyrical second theme goes to the violin; it is wistful and gentle, a strong contrast to the first. A lengthy development section

explores both these themes and is rich in drama, some of it reminiscent of Rózsa’s other contemporary project Ben Hur. It concludes with an extraordinary double cadenza for the two soloists, in which they intertwine in elegant, intricate counterpoint. The wistful theme returns in the woodwinds to open the recapitulation section, which builds steadily to a powerful conclusion.

To Heifetz’s consternation, the cellist introduces the winding, slightly mournful theme of the Andante second movement; this theme is hauntingly colored by exotic Hungarian melodic intervals. The violin has to wait patiently until the first variation to join in. The variations — different analysts count five, six or seven of them — are extremely varied in character. The third is a kinetic, witty dance; the fourth dramatic and passionately soulful, led off by the full orchestra in Hollywood-epic mode. The sustained lyricism of the two soloists brings this long movement to an extremely beautiful close.

Like the first movement, the sonata-form finale is explosive, opening with a fierce orchestral introduction. The violinist then proposes a rustic Hungarian round-dance theme. The cellist in turn offers a contrasting romantic melody that is sad and sweet. The development section is driving and virtuosic, culminating in another, though briefer double cadenza for the soloists.

Though the sweet second theme opens the recapitulation, the rustic folkdance theme soon takes over, building to a rhythmically exciting, applause-worthy conclusion.

Suite from Ma Mère l'Oye (Mother Goose)

Maurice Ravel (b. 1875, Ciboure, France; d. 1937, Paris, France) Although he remained a bachelor all his life, Maurice Ravel adored children. Two of his small friends were Mimie and Jean Godebski, the offspring of Cipa and Ida Godebski, a Polishborn couple whose Paris apartment and country house, La Grangette, in the Loire valley was a gathering place for Ravel and many of his artistic colleagues. A child at heart himself, Ravel told them stories, invented ingenious toys and games, and sent them funny postcards when he was away.

The composer’s ultimate gift — completed at La Grangette in 1910 — was a five-part piano work for four hands entitled Ma Mère l’oye, or Mother Goose after Charles Perrault’s 17thcentury collection of fairy tales. He hoped they would learn it for performance, but Jean and Mimie found the work a bit too advanced for their modest skills. Instead Jeanne Leleu, age six (who would have a successful career as a pianist) and Geneviève Duroy, age seven, gave Mother Goose’s first performance in Paris on April 20, 1910 before a distinguished audience.

Everyone was charmed, and by 1911 Ravel had turned it into a ballet with a few additional

numbers and orchestrated with the consummate skill that was one of his greatest talents. But most often one hears Mother Goose in its orchestral suite version — as we will tonight — containing just the original five pieces.

Ravel wrote of this enchanting music, “My intention of awaking the poetry of childhood … naturally led me to simplify my style and thin out my writing.”

And nothing could be simpler or lovelier than “The Pavane of Sleeping Beauty,” with which the suite opens. This is a dream-like dance with a slowly circling theme played by various woodwind soloists, delicately punctuated by plucked strings.

“Tom Thumb” (or “Petit Poucet” in French), is more of a nightmare for its tiny hero lost in the woods. Ravel quotes Perrault in the score: “He thought he would easily find his way thanks to the bread he had scattered wherever he had passed, but he was quite surprised when he couldn’t see even a single crumb. Birds had come along and eaten every bit.” Wandering lines in muted strings grope their way through the forest, while the plaintive sounds of oboe and English horn evoke the child’s tears. Cheeping and trilling solo violins, flute, and piccolo reveal the culprits.

In 1889 at the Paris World Exhibition, Ravel first heard a Javanese gamelan orchestra, and it inspired a lifelong fascination with the exotic Orient. In “Laideronnette, Empress of the Pagodas,” he conjures up the bell-like magic of gamelan music using the sparkling high timbres of Western instruments and the Asian pentatonic scale (the scale using just the five black notes between C and C an octave above). Laideronnette, meaning “the little ugly one,” is the heroine of a tale by the Baronesse D’Aulny; she has been made ugly by an evil spell, but the happy ending will restore her beauty. The scenario Ravel included in the score reads: “She undressed and entered her bath. At once, mandarins and mandarinettes set to singing and to playing instruments. Some had lutes made of nutshells, some had viols made from the shells of almonds, for their instruments had to be in proportion to their own scale.”

“Conversations of Beauty and the Beast” is based on one of the most famous of French fairy tales, written in the 18th century by Marie Leprince de Beaumont. In this sumptuously romantic waltz, Beauty is portrayed by a silky-voiced clarinet and the Beast by the ungainly contrabassoon.

Eventually, their jarringly different voices unite in a love duet. A sweep of the harp and eerie high notes in the violin mark the undoing of the spell, and the Beast is transformed into a handsome prince, nobly sung by solo cello.

The Mother Goose Suite ends with a glorious apotheosis: a child’s vision of paradise, “The Fairy Garden.”

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Till Eulenspiegels lustige Streiche, Op. 28 Richard Strauss (b. 1864; Munich, Bavaria; d. 1949, GarmischPartenkirchen, Germany) After the high seriousness of his first four tone poems, Richard Strauss felt the need to lighten up. In 1894-95, another legendary anti-hero seized his imagination: the peasant rogue Till Eulenspiegel. The real Till lived in 14thcentury Brunswick, Germany and died in his bed, some say of the Black Fever. Many stories sprang up about him in the following centuries, and Strauss had read the Belgian Charles de Coster’s 1865 version as well as seen a recent opera on the subject. Strauss also considered a Till opera, but the recent failure of his opera Guntram suggested the orchestral tone-poem genre might be a better fit. Till Eulenspiegel’s Merry Pranks, After the Old Rogue’s Tale, Set in Rondo Theme for Large Orchestra — to give the composer’s unwieldy full title! — premiered in Cologne on November 5, 1895, and has been celebrated ever since for its exuberant delineation of character and orchestral wizardry.

Till is a true folk hero: a crafty, quick-witted peasant who delights in making fools of the rich, learned, and powerful. Strauss gave his career a new ending: death on the gallows. But that was

After a “once-upon-a-time” string opening, Till’s major theme is introduced: a mocking (and devilishly hard to play) horn theme, repeated by other woodwind instruments. Till’s own instrument, the small, squeaky-toned clarinet in D, soon enters with the shorthand version of his theme: a quick down-and-up flip. Till rides pell-mell through the marketplace on a (presumably stolen) horse, masquerades as a priest with an unctuously pious viola tune, enjoys a little love scene (solo violin), and other adventures; the music graphically portrays his narrow escapes and cackling laugh. But at the height of his deviltry, with his themes running riot in the orchestra, the law closes in. With an ominous drum roll and heavy blasts of horns and trombones, his judges pronounce the death sentence, while the Till clarinet squeaks his defense. Till’s body flies up on the gallows. But Strauss provides a happy epilogue: a reprise of the once-upon-a-time opening music and a last laugh from Till’s irrepressible spirit.

Notes by Janet E. Bedell copyright 2016

artist biography eric wyrick v iolin

Eric Wyrick is recognized as an exceptional soloist, chamber musician and orchestral leader.

He been the Concertmaster of the New Jersey Symphony Orchestra since 1998. Mr Wyrick is an Artistic Director and member of the Orpheus Chamber Orchestra with whom he has performed internationally since 1988.

Wyrick has held concertmaster positions with the American Symphony Orchestra, the Bard Festival Orchestra, EOS and L’Opera Français New York. He has been guest concertmaster with the Seattle Symphony, Orchestra of St. Lukes and the Fort Wayne Philharmonic.

In addition to annual New Jersey Symphony solo appearances, Wyrick has appeared as a soloist with Danish Radio Orchestra, Orchestre de Toulouse, the Hudson Valley Philharmonic and the San Angelo Symphony Orchestra, as well as solo television appearances

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masterworks

Principal Cellist of the Fort Wayne Philharmonic, Andre J. Gaskins enjoys a diverse musical career as cellist, conductor, composer and music educator.

Maintaining an active schedule as a performing cellist, his recording of Martinu’s ‘Concertino’ for the Summit Records label was nominated for the 2004 Grammy Awards, in the category of ‘Best Performance by a small ensemble (with or without conductor)’.

Solo appearances with orchestra have included performances with the Indianapolis Chamber Orchestra, the Central Jersey Symphony, the Richmond Philharmonic, the Columbus Symphony Orchestra, the Richmond Symphony Orchestra, the Pro Arte Chamber Orchestra, the Fort Smith Symphony, the Carmel Symphony Orchestra and the Butler Symphony Orchestra. Mr. Gaskins has appeared as solo cellist from historic venues as the Grand Philharmonic Hall in St. Petersburg, Russian Federation to the cities of Indianapolis, Richmond, Cincinnati, Ann Arbor, Concepcion (Chile), Okinawa (Japan) and Beijing (China).

Mr. Gaskins has served as the Music Director and Conductor of the Oshkosh Symphony Orchestra, the Columbus Ballet Orchestra, the University of Wisconsin Oshkosh Symphony, the Earlham College Orchestra and the Youth Orchestra of Greater Columbus. He has served as Assistant or Associate conductor with the Richmond Symphony, the Columbus State University Philharmonic and the New World Youth Orchestra.

masterworks

Born in New York City, Wyrick started playing the violin at 4 and began studying at The Juilliard School with Dorothy DeLay at 6. His professional orchestral career began with the Hudson Valley Philharmonic at age 14. As an undergrad he was appointed concertmaster of the Christmas String Seminar under the direction of Alexander Schneider.

artist biography andre gaskins cello

not because he loved the character less — he simply loved a dramatic ending more.

in the American Playhouse production of Andre’s Mother, in the Dance in America presentation of Chausson’s Poème for American Ballet Theater on PBS, and as a featured soloist in the BBC’s “Great Composers” series playing Mozart’s Violin Concerto No. 5. In addition to Maestro Constantine, Wyrick has collaborated as soloist with Neeme Jaarvi, Jacques Lacombe, Zdenic Macal, Michel Plasson and Gunther Schuller.

An active chamber musician, Wyrick can be heard frequently with the NJSO Chamber Players and, as he comes from a large family of musicians, performs regularly with the Wyrick Chamber Players.

Mr. Wyrick has been newly appointed to the faculty of Princeton University as Lecturer of Music/Violin.

He also studied conducting with David Effron and composition with David Dzubay.

An aspiring film composer, Mr. Gaskins has composed and performed original music for short films, documentaries and commercials. His music has been heard in commercials produced for American Express, Valspar and Chevrolet.

Mr. Gaskins has been a faculty member of the Schwob School of Music at Columbus State University, the University of Wisconsin Oshkosh, Eastern Illinois University, Earlham College and the Brevard Music Center.

In February of 2012, Mr. Gaskins made his Carnegie Hall debut, performing in Weill Recital Hall.

Raúl Prieto Ramírez “One of the most brilliant and talented organists on the international concert scene.”

Perm News, Russia

As an orchestral cellist, Mr. Gaskins served as the principal cellist of the Columbus (GA) Symphony Orchestra, the LaGrange Symphony and the Richmond (IN) Symphony. He also performs regularly as a substitute with the cello section of the Indianapolis Symphony Orchestra.

While pursuing doctoral studies at Indiana University, he served as the teaching assistant to world-renowned cellist, Janos Starker.

TAKE THEIR BREATH AWAY ­— PLAN YOUR NEXT EVENT WITH THE PHIL!

Call Ed Stevens at 260 481-0766 or email estevens@fwphil.org to reserve tickets for your event today!

10 April 2016 5:00 p.m.

Trinity Episcopal Church 611 W. Berry St. Fort Wayne Free Admission

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Fully Accredited Ready to Engage Anticipating Your Arrival

baroque favorites Saturday, April 2 | 7:30 P.M. First Wayne Street United Methodist Church Chia-Hsuan Lin, conductor Dennis Fick, bassoon • Luke Fitzpatrick, flute HANDEL

"Entrance of the Queen of Sheba," from Solomon, HWV 67

ALBINONI

Adagio in G minor for Organ and Strings

BACH Suite No. 2 in B minor for Orchestra, BWV 1067

Overture Rondeau Sarabande

Bourrée I & II

Polonaise & Double Menuet Badinerie Luke Fitzpatrick, flute

-- Intermission --

TELEMANN Overture in D major, TWV 55: D21 Ouverture

Menuet I & II BOISMORTIER Concerto in D major for Bassoon & Strings, Op. 26, No. 6

Allegro Largo Allegro Dennis Fick, bassoon PACHELBEL

Because you love art and performance

just as much as we do.

Canon in D major

BACH Brandenburg Concerto No. 3 in G major, BWV 1048

[Allegro] Allegro PURCELL

Chacony in G minor, Z. 730 M A R , A P R & M AY 2 0 1 6

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CHAMBER PROGRAM NOTES chamber orchestra series chamber

saturday, april 2, 2016

“Entrance of the Queen of Sheba” from Solomon, hwv 67 George Frideric Handel (b. 1685, Halle, Saxony, now Germany; d. 1759, London, England) In March 1749 when he premiered his last oratorio, Solomon, in London, the 64-year-old George Frideric Handel was at the peak of his celebrity in his adopted country of England. When his long sequence of operas in the Italian language lost their popularity in the 1730s, he had reinvented himself with a series of splendid sacred oratorios in the English language, of which the most famous is Messiah (1742).

The subject of King Solomon, ancient Israel’s greatest king, may well have been chosen as a tribute to George II, whose long reign had also brought England unprecedented prosperity.

Though we don’t know who compiled its libretto, its story is drawn from the Old Testament books of II Chronicles and I Kings. The oratorio is divided into three parts. Part I celebrates Solomon’s building of the great temple at Jerusalem, while Part II dramatizes his wisdom as he judges the famous case of the two women claiming to be the mother of the same baby. In Part III, the exotic Queen of Sheba arrives at Solomon’s court, and he demonstrates the splendors of his kingdom to her in an elaborate musical masque.

The brief, bustling “Sinfonia” that opens Part III has become known as “The Entrance [or Arrival] of the Queen of Sheba” and is one of Handel’s most popular excerpts. It’s in the style of a Baroque concerto grosso movement, in which a recurring refrain or ritornello for the full orchestra links contrasting “solo” sections for a small group of instruments, in this case an ensemble of brightvoiced oboes.

Adagio in G minor for Organ and Strings Remo Giazotti (b. 1910, Rome, Italy; d. 1998, Pisa, Italy) Attributed to: Tomaso Albinoni (b. 1671, Venice, Italy; d. 1751, Venice) Who actually wrote the famous Adagio in G minor for Organ and Strings? It has long been attributed to the Italian Baroque composer Tomaso Albinoni, a colleague of Antonio Vivaldi in early 18th-century Venice. The son of a wealthy merchant, Albinoni was a prolific composer of both instrumental music and operas, most of which have been forgotten.

In fact, he is best known today for the beautiful Adagio in G minor, a work he would surely not have recognized as his own.

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Instead, the Adagio may have been created partly or totally by the 20th-century Italian musicologist and composer Remo Giazotti. A scholar of Albinoni’s music, Giazotti claimed that shortly after the end of World War II while trying to compile a catalogue of Albinoni’s compositions, he had been sent some fragments of an Albinoni score — perhaps of a lost trio sonata —from Dresden’s Saxon State Library, which had been destroyed by Allied bombs in 1945. He then re-constructed this Adagio from just the surviving bass line and the first six measures and published it in 1958. But a few years later, he declared that the Adagio was completely his own composition.

Whatever its true origin, the Adagio in G minor has become a beloved work, used frequently in film scores such as Gallipoli and Flashdance. Its poignant melody and sumptuous use of the string instruments tear at the heartstrings.

Suite No. 2 in B minor for Orchestra, BWV 1067 Johann Sebastian Bach (b. 1685, Eisenach, Thuringia, now Germany; d.

1750, Leipzig, Saxony) Scholars are not sure when and where Johannn Sebastian Bach’s four orchestral suites were written. Their secular nature and courtly style suggest the period of 1717 to 1723 when Bach served as kapellmeister at the princely court of Cöthen and created many of his secular instrumental works, including the Brandenburg Concertos. But recent scholarship suggests Bach may have written at least some of them, including the one we hear at this concert, during his later period in Leipzig.

In addition to his duties providing music for the services of St. Thomas Church in Leipzig, from 1729 to 1737 and again after 1739 Bach directed the city’s Collegium Musicum, a voluntary association of professional musicians and university students.

The Collegium gave weekly concerts — in summer in an outdoor garden and in winter at Zimmermann’s coffee house. Here Bach could put aside sacred texts and create instrumental music in a lighter style.

The Second Suite is the most intimate of the four and the only one written in a minor key: B minor, a key Bach particularly favored for flute music. And indeed this Suite sounds like a flute concerto, so much does it spotlight its only wind instrument.

Originally developed by the French composer Lully in Louis XIV’s court some 60 years earlier, the dance suite form was still very popular in Bach’s day. It included a grandly ceremonial French-style overture, followed by a series of short contrasting dances associated with different European folk traditions. Comprising almost half the work, the

Second Suite’s Overture partly follows tradition, with slow outer sections enclosing a faster, fugal middle section. But here the fugue soon gives way to the solo flute leading what sounds very much like a lively concerto first movement.

Among the dances that follow, the gravely beautiful Sarabande stands out as an example of Bach’s compositional learnedness translated into a most appealing form. Unusually, a Polonaise — the elegant three-beat court dance of Poland — is also included, and it has a variation in which the flute rhapsodizes freely above the melody in the cello. Finally, Bach offers up a Badinerie (“playfulness”) as a sweet after-dinner surprise: a fast virtuoso outing for the flute that has become a familiar encore piece for James Galway and other flute virtuosos.

Overture in D Major, TWV55: D21 Georg Philipp Telemann (b. 1681, Magdeburg, Saxony, now Germany; d.

1767, Hamburg, now Germany) During the first half of the 18th century, Georg Philipp Telemann was Germany’s most admired composer, with a popularity rivaling Handel’s in England and far exceeding Bach’s. When the post of Kantor or music director of the Thomaskirche in Leipzig fell open in 1722, Telemann was the Leipzig City Council’s first choice to fill the vacancy. When both he and a second candidate were unable to take the job, the councilors regretfully settled on Bach as a third choice!

Many music lovers of the period found Bach’s music too old-fashioned, learned, and exhausting to listen to, while Telemann’s music was preferred as more progressive, more melodic, and more grateful to the ears. But throughout the 19th century, Bach’s star steadily rose while Telemann’s descended below the horizon. Only in the 20th century, as scholars and performers began delving deeper into the riches of the Baroque period, did they rediscover Telemann and begin to appreciate again the qualities that had so endeared him to his contemporaries.

As the director of music for nearly 50 years at several churches and the opera house in the Free City of Hamburg rather than an employee of a princely court, Telemann was probably the first major musician to become deeply involved in making music more accessible to a broader middle-class public. Extremely prolific, he wrote approximately 125 instrumental suites in the French Baroque style — the form we also heard in Bach’s Orchestral Suite No. 2 — though he often called them Overtures. The Overture in D Major was written for Ludwig VIII, the Landgrave of Hessen-Darmstadt in southwestern Germany.

Telemann emphasized its French origins not only with his choice of dances but also by giving a French title to each movement. The scoring is for pairs of oboes and horns plus strings, and Telemann makes striking use of their contrasting colors throughout.

The opening Ouverture in the French style alternates between slow stately music built on dotted rhythms and much livelier music with a

dancing beat. Then come two Minuets: the first very grand and courtly, the second much lighter and featuring the woodwinds.

Concerto in D Major for Bassoon and Strings, op. 26, no. 6 Joseph Bodin de Boismortier (b. 1689, Thionville, Lorraine, France; d. 1755, Roissy-en-Brie, France) In the 18th century, most musicians required a secure court position or a rich patron in order to survive. Joseph Bodin de Boismortier, however, was a pioneer in forging a free-lance career without any outside assistance and becoming a wealthy man solely through the publication of his music to a wide audience of both amateurs and professionals. Loved for the elegance and tunefulness of his music, he wrote prolifically for both voices and instruments.

Composed in 1729, his Bassoon Concerto in D Major is believed to be the first concerto for a solo instrument written by a Frenchman. Ever pragmatic in order to meet the needs of different musical ensembles, Boismortier stipulated that it could be played by either a bassoon, a cello, or a viola da gamba, depending on what was available.

This innovative concerto was attached to a set of five sonatas written for either of these instruments alongside a continuo of harpsichord and cello.

The Allegro first movement opens with a simple yet bold descending motive for the orchestra that contrasts with the bassoon’s more animated solo passages. Known for his fine melodies, Boismortier also includes an attractive lyrical theme for his soloist here.

Melodic appeal reigns supreme in the Largo second movement, which capitalizes on the bassoon’s ability to become a mellow baritone singer. The Allegro finale is a charming dance in three beats that skillfully balances the bassoon’s agility against the orchestra’s graceful poise.

Canon in D Major Johann Pachelbel (b. 1653, Nuremburg, Bavaria; d. 1706, Nuremburg) About 25 years ago, Johann Pachelbel’s beguiling Canon for Strings suddenly became one of classical music’s greatest hits, clogging the airwaves of radio stations across the country.

After centuries of obscurity as a composer known only to Baroque specialists, Pachelbel became a household name overnight. And the newfound popularity of his Canon was even more amazing because the work was actually a rather learned contrapuntal exercise combining the Baroque techniques of passacaglia and strict canon.

Born and dying in Nuremburg, Bavaria, Pachelbel was one of the greatest musicians of the generation before Bach and Handel. A renowned organ virtuoso and Lutheran church musician, he wrote prolifically for the organ, harpsichord, choral and solo voices, and to a lesser extent

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for string instruments. His music and teaching methods were a major influence on the young Bach’s development.

The Canon in D Major is a technical tour de force combining a repeating passacaglia bass line, played by cellos and basses, with a rigorously exact canon for three violin parts above. The entire piece is built over the repetitions of the angular eight-note pattern we hear, under a descending scale, at the beginning. Then each of the violin parts enter, their notes precisely imitating each other over the course of the entire piece.

As complicated as this may sound, actually listening to this music is anything but. Known for the clarity and simplicity of his style, Pachebel concocted a lovely descending melody that gradually grows livelier and more elaborate as the piece progresses. The Canon is a mesmerizing example of Baroque counterpoint — the art of weaving together independent melodic lines — in a most appealing guise.

Brandenburg Concerto No. 3 in G Major, BWV 1048 Johann Sebastian Bach Like Vivaldi’s The Four Seasons, J. S. Bach’s six Brandenburg Concertos did not win widespread fame until the age of the phonograph. Even the Margrave of Brandenburg, a Prussian principality near Berlin, to whom Bach sent these works in March 1721 with a florid dedication, seems never to have had them played by his court orchestra, nor did he send Bach any acknowledgement or payment. But, fortunately, he did preserve them in his court library; otherwise these masterpieces of Bach’s secular instrumental art might have been lost to us as were many of the works he wrote for the court of Cöthen between 1717 and 1722.

Prince Leopold, Bach’s employer at Cöthen, was an accomplished musician, and his court boasted an orchestra of approximately 18 very able musicians. Much of Bach’s finest secular music was composed for Cöthen. But by 1721, he was growing restless and began to look around for other opportunities. He had met the Margrave of Brandenburg when he traveled to that court to purchase a new harpsichord, and the nobleman had expressed an interest in seeing more of his music. Now he gathered together six of his best concertos, each scored for a different ensemble of instruments, to send to the Margrave as an advertisement of his artistry.

The Third Concerto stands apart from the others in not having a solo group set against the orchestra.

Instead, it has nine string players over a continuo bass — three violins, three violas, and three cellos — all of whom become soloists in their turn in a remarkably rich and complex string texture. It is also unusual in having only two fast movements, the customary slow movement being omitted. In its place are simply two chords, which may have signaled an improvised cadenza by one or more of the instrumentalists.

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In the first movement, Bach derives all his material from the bold opening orchestral ritornello and particularly its curling three-note motive, which pervades the entire piece. His contrapuntal genius spins off every conceivable combination of calls, responses, and limitations among the instruments. The final movement is a buoyant dance in gigue rhythm; tossing motives from one instrumental group to another, the music maintains a non-stop, breathless flow.

Chacony (Chaconne) in G minor, Z. 730 Henry Purcell (b. 1659, London, England; d. 1695, London) Despite his short lifetime, Henry Purcell is still revered today as perhaps England’s greatest native-born composer. The son of a chorister in the Chapel Royal, he was raised as a Child of the Chapel, receiving the best musical education available in the land. So precocious was Purcell that at age 20 he was appointed organist at Westminster Abbey.

The Restoration of the Stuart monarchy in 1660 after Oliver Cromwell’s short-lived Puritan republic ushered in a brilliant musical and literary period at the English court in which Purcell flourished. Having come out of exile in France, Charles II wanted French and Italian sophistication in his music, and Purcell assimilated these styles easily, mingling them with his own distinctive voice. He was a born dramatist in music as he proved with his opera Dido and Aeneas and such theatrical scores as King Arthur and The Fairy Queen. He was a superb melodist, whether writing for a vocal or instrumental soloist or building up layers of polyphonic lines. His anthems and other sacred music rank among the glories of that literature.

Scholars are not sure when Purcell’s noble Chacony or Chaconne in G minor was composed, but believe it may have been written in the early 1680s after he had been appointed composer to the court’s string orchestra, the Twenty-Four Violins. It is a splendid example of the chaconne or passacaglia form in which a repeating melody or pattern is used as the foundation of an entire work. In Purcell’s Chacony, we hear the stately descending theme at the beginning; Purcell then builds a series of remarkable variations on it culminating in a grand restatement at the end. Though this mesmerizing music may have originally been intended for a solemn dance, its craft, originality, and expressive power place it in the realm of concert music of the highest level.

Notes by Janet E. Bedell copyright 2016

artist biography dennis fick , bassoon chamber

Dennis Fick is the Principal Bassoon of the Fort Wayne Philharmonic, and has been with the orchestra since 1978.

A graduate of the UCLA School of Music, Fick’s previous positions include Principal Bassoon of the National Symphony Orchestra of Peru, the Amigos de la Musica Chamber Orchestra of Lima, Peru, the Honolulu Symphony, and the Jerusalem Symphony. He was Assistant Principal Bassoon of the Kansas City Philharmonic. Fick has appeared as soloist with the Fort Wayne Philharmonic on numerous occasions, as well as with other orchestras. Born in Los Angeles, he

began playing bassoon at age 11 and also plays piano. His other interests include SCUBA diving and motorcycle riding.

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

Luke holds three music performance degrees, receiving a Bachelor's degree from the Eastman School of Music, a Master's degree from Carnegie Mellon University, and an Artist Diploma from the Colburn School in Los Angeles, CA. His teachers at these institutions have included Bonita Boyd, Jeanne Baxtresser, Alberto Almarza, and Jim Walker.

Now based in Fort Wayne, Luke is excited to build a successful and inspiring teaching studio, committed to training and educating flute players of all ages and abilities. Luke has enjoyed teaching the flute for years, and past teaching highlights include Eastman’s “Music for All” outreach initiative and the Music Academy of the West's MERIT (Music Education Reinforces Intellect and Talent) program, where Luke served as a mentor to young musicians. While at Colburn, Luke was a teaching fellow under the instruction of Dr. Robert Duke, and was a flute teacher in Colburn’s exciting new Jumpstart band program, giving private lessons, master classes, sectionals, and various coachings. Luke also maintained a small studio in Los Angeles.

In addition to orchestral music, Luke loves performing chamber music, and has collaborated with artists such as Grammy®nominated pianist Jean-Yves Thibaudet and the Ebene String Quartet.

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

Luke has won top prizes in many competitions including 1st prize in the Alexander & Buono International Flute Competition, and the Rochester Flute Association’s Emerging Artist competition. He has also been named a winner of the Pittsburgh Concert Society Young Artist Competition as well as a finalist in the Byron Hester and NSO Young Soloists competitions, and a prizewinner in the Chicago Flute Club Competition.

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MADGE ROTHSCHILD FOUNDATION

sibelius and brahms

Fort Wayne Philharmonic Masterworks Radio Broadcast Schedule Thursdays at 7PM on Classical 94.1WBNI Dec 3

Dvorak's New World Symphony

Jan 21

Tchaikovsky's Violin Concerto

Feb 4

Midwinter Mozart

Mar 3

An Evening with George Gershwin

Mar 24

Legends and Fairy Tales

Apr 21

Sibelius and Brahms

May 5

Carmina Burana

May 26 Russian Classics

Saturday, April 9 | 7:30 P.M. Rhinehart Music Center, IPFW Andrew Constantine, conductor Michael Ludwig, violin Fort Wayne Philharmonic Youth Symphony Orchestra, David Cooke, director BRAHMS Symphony No. 3 in F major, Op. 90

Allegro con brio Andante Poco allegretto Allegro

-- Intermission --

SIBELIUS Finlandia, Op. 26 Side-by-side with Fort Wayne Philharmonic Youth Symphony Orchestra SIBELIUS Concerto in D minor for Violin & Orchestra, Op. 47

Allegro moderato Adagio di molto Allegro; ma non tanto Michael Ludwig, violin Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, April 21, at 7:00 P.M.

Metropolitan Opera Saturdays at 1PM on Classical 94.1 WBNI

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M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS SATURDAY, april 9, 2016 Symphony No. 3 in F Major, Op. 90 Johannes Brahms (b. 1833, Hamburg, Germany, May 7, 1833; d. 1897, Vienna, Austria) Many of the major works of Johannes Brahms’ maturity were composed in summertime in beautiful rural settings overlooking tranquil lakes and alpine peaks. But during the summer of 1883, his Third Symphony was written in a more urban location: a lofty studio overlooking the German Rhineland city of Wiesbaden. The urge to create this work had come on the composer while visiting Wiesbaden and, rather than lose inspiration traveling to a vacation retreat, he stayed on. And there was another compelling reason to stay: a rich-voiced contralto named Hermine Spies. Brahms had just met her and was captivated by her marvelous voice and vivacious personality. Another of this confirmed bachelor’s romantic friendships ensued, even though Fräulein Spies was young enough to be the 50-year-old Brahms’ daughter. He wrote many songs for her, and she became his favorite interpreter of the Alto Rhapsody.

And so even without mountain views, the summer of 1883 was a particularly happy one, and the Third Symphony, his shortest, was born with ease.

The least often performed of Brahms’ four, it is his most refined and densely constructed symphony: one in which he distills the maximum possibilities from every motive and theme, even bringing them back in new guises in later movements. This sturdy intellectual foundation is overlaid with some of his loveliest melodies, clothed in exquisite orchestral colors. But it is easier for conductors and orchestras to dazzle audiences with the other symphonies than with this subtle creation, all four of whose movements end quietly.

The first movement opens with three rising chords that spell out F-A (flat)-F, a personal motto for Brahms that pervades much of the symphony. Years earlier, Brahms and his close friend, violinist Joseph Joachim, had experimented with musical mottos symbolizing their bachelor status. Joachim’s was F-A-E for “Frei aber einsam” (“Free but lonely”), and he soon married. Brahms countered with F-A-F, “Frei aber froh” (“Free but glad”). But now in his Third Symphony, the A has become A-flat, shifting the F-major home tonality to minor.

Is there perhaps a hint of ambiguity about his motto as Brahms pays court to Hermine Spies?

The F-A-F motto spawns a ruggedly masculine principal theme, striding across a big range. But soon the music becomes more subdued and proposes a romantic waltz, led by clarinet and

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bassoon, as the second theme. This melody is later taken up in the development section, which also features a brooding treatment of the first theme led by the first horn. The movement’s concluding coda begins big, but surprisingly, the masculine theme turns tender and lyrical for a hushed close.

Brahms scholar Malcolm MacDonald calls the second movement “one of Brahms’ most inspired sublimations of folksong style.” Clarinets and bassoons introduce the principal melody “of simple gravity and hymn-like seriousness.” But pay special attention to the second theme: a melancholy duet for clarinet and bassoon emphasizing triplet rhythms and accompanied by a persistent short-long rhythm; this music will appear again in the finale. The movement’s closing coda is exceedingly beautiful, exploiting the orchestra’s most diaphanous colors.

Another intermezzo-style movement, the thirdplace Poco allegretto, features one of Brahms’ loveliest tunes, sung first by the cellos; it is a bittersweet mix of Romantic yearning and regret so characteristic of this composer. Brahms gives it many variants, with radiant new orchestrations.

The struggle between minor and major becomes fierce in the sonata-form finale, which resolves all that has gone before. It opens in F minor with a mysterious, scurrying theme. This is followed by a solemn new version of the clarinet-bassoon duet theme from movement two. The development section tackles the first theme in moods both meditative and heroic, but most of the drama is saved for the duet theme, its short-long rhythm grown monumental. In the closing coda, this theme is transformed yet again: played very slowly in the woodwinds over shimmering strings.

From this miraculously floats the F-A-F motto and the work’s bold opening theme; serenely, it ripples down through the orchestra like a benediction.

Finlandia Jean Sibelius (b. 1865, Hämmenlina, Finland; d. 1957, Järvenpää, Finland) The year 1899 opened ominously for Finland, at that time a dependency of the mighty Russian Empire. Under Czar Nicholas II, the Finns began feeling the weight of Russian rule as never before, and in February the Russian government issued the so-called February Manifesto, removing Finland’s autonomy and severely curtailing the rights of free speech and assembly. An ardent patriot, Jean Sibelius was increasingly active in the fight for Finnish freedom, and his music became a rallying point for the movement, providing a cultural camouflage for underground political activity.

For the evening of November 4th, the Finnish press association announced a “Press Pension Celebration” — a series of “Historical Tableaux,” with texts by Eino Leino and Jalmari Finne, and music by Sibelius — ostensibly to raise money for journalists’ pensions, but more importantly to rally support for a free press. Sibelius composed introductory music for six historical scenes, the last of which was significantly titled “Finland Awakes!” But not wishing to provoke the Russian censors, he changed the title to Finlandia, when he revised it a year later as a free-standing tone poem. Although he called it a “relatively insignificant piece,” it became his most popular work and its central melody an unofficial national anthem for the Finns.

The text that originally accompanied this music saluted Finnish progress during the 19th century and included these words: “The powers of darkness menacing Finland have not succeeded in their terrible threats. Finland awakes.” And the musical plan of this nine-minute work powerfully expresses this idea. Dark, savage chords for trombones and horns suggest a giant force trying to rouse itself. As the tempo accelerates, the music awakens to bustling, purposeful activity; this soon gives birth to a gravely beautiful hymn melody in the woodwinds: an anthem for a free Finland.

Concerto in D minor for Violin & Orchestra, Op. 47 Jean Sibelius Despite all the acclaim he received as a composer, Sibelius nursed a hidden wound over a musical accomplishment that had eluded him. In his diary in 1915 he wrote: “Dreamt I was twelve years old and a virtuoso.” Sibelius loved the violin above all instruments and had in his youth striven hard to conquer its difficulties. But he had begun too late — age 14 — and lacked the physical coordination and temperament to become a virtuoso. In his early 20s, he tried for a position with the Vienna Philharmonic; failing the audition, he returned to his hotel room and wept for his lost dream.

But in his late thirties, Sibelius fulfilled the dream vicariously by writing one of the most magnificent of all violin concertos and, more over, one bristling with the greatest virtuoso demands. The external stimulus came from violinist Willy Burmeister, concertmaster of the Helsinki Philharmonic.

Responding to Burmeister’s urging, Sibelius — fresh from the triumph of his Second Symphony — began composing the concerto in 1902, but barely completed the work in time for its premiere in Helsinki on February 8, 1904. Despite the dour portraits of the composer in old age, Sibelius in his younger days was a bon vivant with a fondness for liquor and Helsinki’s café life; hell raising with the boys often got in the way of his composing schedule. Rushing to finish the concerto, he completely forgot Burmeister, turning instead to a less able fiddler Viktor Novácek. Novácek was the first but not the last to go down in flames because of the work’s formidable difficulties, and the premiere was not a success. Realizing his mistake,

Sibelius revised the work in 1905, making the solo part slightly easier. But again he unaccountably passed over Burmeister; the concerto as we hear it today was premiered by Karl Halir with the Berlin Philharmonic, led by Richard Strauss, on October 29, 1905.

This work falls into the category of the soloistdominated concerto, like Mendelssohn’s or Bruch’s, rather than the more symphonically conceived concertos of Beethoven and Brahms.

But it boasts greater musical complexity and a more interesting role for the orchestra — clothed in the dark, wind-dominated colors that are Sibelius’ trademark — than most virtuoso vehicles.

As Sibelius’ biographer Erik Tawaststjerna wrote, “There was some conflict of interest; the imaginary virtuoso saw himself dominating the horizon while the composer sought to balance his claims with those of a symphonic perspective.” Soloist and orchestra alternate in the foreground, often following different agendas.

Over the shimmer of muted orchestral violins, the soloist opens the first movement, in the key of D minor, with a long solo melody that steadily grows in intensity and passion, sweeping over the instrument’s full range. From its component elements the movement grows. The mood suggests a Scandinavian bard, reciting one of the Norse sagas Sibelius loved so well. At first subservient, the orchestra eventually asserts itself in a tutti of grim power, introducing an ominous theme. The soloist returns to embroider on this in a passage of rich double stops. The orchestra wraps up the exposition with a bold striding theme, partnered by a lighter idea for woodwinds.

In an innovative stroke, Sibelius now interjects a long and introspective cadenza for the soloist, exploring the ideas of its opening song; this takes the place of a conventional development. As it concludes, a solo bassoon quietly reprises the opening solo in a shadow image of the violin’s soaring tones. A sudden acceleration of tempo combines the orchestra’s striding and lyricalwoodwind themes, followed by a spectacular close for the soloist playing brawny chords and ferocious octave scales.

In B-flat major, the second movement combines lyricism and drama within a very slow tempo. After a haunting introduction by pairs of woodwinds, the violin sings an expansive, soulful melody opening deep in its range. The orchestra then proposes a stormy idea, derived from the woodwind introduction; with the violin in obbligato, this strives passionately upward to a climax. The orchestra then quietly reprises the opening solo melody while the violin independently soars to another climax.

In Donald Francis Tovey’s memorable phrase, the D-major finale is “a polonaise for polar bears.”

Over the rumble of timpani and low strings on the polonaise rhythm, the violin launches a robust dance, characterized by some of the most fiendish multiple-stopping ever devised.

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Sibelius provided no comfort to the fidder: “It must be played with absolute mastery, fast … but no faster than it can be played perfectly,” he instructed. A second theme, introduced by the orchestra, delights in lively cross-rhythms.

Over an epic Sibelian orchestral swell the

Notes by Janet E. Bedell copyright 2016 masterworks

youth symphony orchestra roster 2015/2016 dav id cooke c on d u c tor masterworks

Violin 1 Kate Ward Anna Stout Elizabeth Ward Analiese Helms Morgan Bland Mikayla Surface Jelena Nguyen Violin 2 Mishael Paraiso Sara Diem Reyanna Carter Michael Rowlett Christina Park Julie Kim Miranda Bartz Lauren Schmidt

Viola Sabrina Richert Jodi Sarno Dana Kiefer Parker Henschen Cello Paul Ward John Sarno Caleb Remocaldo Maria Teel Flute Hildie Matter Asiann Mitchell Maiya Rizzo Oboe David Zoschnick Mary Grace O’Neal Rachel Gripp

artist biography michael ludwing v iolin

soloist triumphantly fulfills the composer’s dream of virtuosity.

Clarinet Joe Crawford Tucker Germain Stephen Tsai Bassoon Aaron Webb Kristen Kays French Horn Chase Carter Abigail Smith Nathan Merz Claire Braun Trumpet Josh Shepler Jarod Lewis

Trombone Austin Horn Samuel Bolduc Tuba Spencer Mohre Percussion Allyn Beifus Samuel Fromholt Piano Mikayla Surface Harp Michaela Yaste

Hailed by Strad Magazine for his “effortless, envy-provoking technique… sweet tone, brilliant expression, and grand style,” Michael Ludwig enjoys a multi-faceted career as a soloist, recording artist, and chamber musician.

A highly sought-after soloist, he has performed on four continents, including appearances with the Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Pops, KBS Symphony in Seoul, Korea, Beijing Symphony, and the Shanghai Philharmonic Orchestra, collaborating with such conductors as JoAnn Falletta, Sir Georg Solti, and John Williams among others. He has recorded with the London Symphony Orchestra, Royal Scottish National Orchestra, Lithuanian National Symphony, Buffalo Philharmonic, and Virginia Symphony.

In addition to the United States, Ludwig has performed throughout Europe and Asia, including concerts in Germany, Spain, Poland, Portugal, Israel, China, and South Korea.

Ludwig’s discography includes recordings of the Beethoven Violin Concerto, Bruch Scottish Fantasy, and Dvořak Romance with the Virginia Symphony, as well as the Wieniawski Concerto No. 2, Corigliano Red Violin Concerto, and Suk Fantasy with the Buffalo Philharmonic. Ludwig's recording of the Corigliano Red Violin Concerto with JoAnn Falletta and the Buffalo Philharmonic is "hot, sharp, and close to the edge" writes critic Norman Lebrecht. His recording of the rarely performed Dohnanyi Violin Concertos with the Royal Scottish National Orchestra has received extraordinary reviews worldwide, and

has revived interest in these neglected romantic works. Ludwig's discography has drawn critical acclaim from both sides of the Atlantic. Fanfare magazine writes: "His phrasing is so sensitive--it could serve as an object lesson to every budding violinist." And BBC Music Magazine praises his "persuasive playing, silky tone, sensitivity to colour and flair for golden-age' style." Ludwig’s new recordings released in 2014 include the works of Joseph Achron for violin and piano, as well as the Bartok Portrait No. 1 with the Buffalo Philharmonic, both for the NAXOS label.

As a chamber musician, Michael has shared the stage with numerous acclaimed artists, such as Christoph Eschenbach, Wolfgang Sawallisch, Yefim Bronfman, Sarah Chang, and Jean-Yves Thibaudet. His recording of the world premiere of Marcel Tyberg's Piano Trio in F Major was released by NAXOS in August 2010. His chamber music performances include appearances at the Prague Spring Music Festival, New Hampshire Music Festival, and a benefit appearance for the Terezin Music Foundation at Symphony Hall in Boston.

Auditions & placements for the 2016-17 choir season begin in May! Students in 3-12 grade, Fall 2016 MAY 17-18 Peabody Public Library, Columbia City and MAY 23-26 IPFW Rhinehart Music Center 6 children per 30-minute session For more information or to register, please call the Children’s Choir Office, 260.481.0481 Fort Wayne Children’s Choir · IPFW Rhinehart Music Center 2101 E. Coliseum Blvd. · Fort Wayne, IN 46805

WILLS • TRUSTS • ESTATES Tracy Troyer, Attorney • Leah Good, Attorney 6303 Constitution Drive, Fort Wayne, IN 46084 260-440-3241 www.TroyerGood.com

TroyerGood_216230 1/6 pg sq.

70 josh sz

KPC Media Group PROOF Corrections must be made by 12:00

Michael Ludwig has been featured numerous times on Performance Today, a program that reaches approximately 1.2 million listeners on 230 radio stations nationwide.

Ludwig’s media credits include live broadcasts at WRTI (Philadelphia) and WAMC (Albany, NY), as well as an appearance on the program “From the Top.” He has been featured on Bulgarian National Radio, Balkan Bulgarian Television, and the Korean Broadcasting System.

Michael studied violin with his father, Irving Ludwig, who was a violinist in the Philadelphia Orchestra and Music Director of the Lansdowne Symphony Orchestra.

For further information, please visit: http://www.MichaelLudwig.com

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Proud supporters of the Fort Wayne Philharmonic From community arts to economic development, we believe great performances and ideas create vibrant communities. That’s why we proudly support the Phil. Its dedication to excellence brings joy to our hearts and business to our city. And that is sweet music to our ears.

starfinancial.com Š 2015 STAR Financial Group

fairy tale fantasia

Sponsored by Jim and Gloria Nash Sunday, April 17 | 2:00 P.M. Rhinehart Music Center, IPFW David Cooke, conductor Rene Ruiz, narrator Brad Price, illustrator Rebekah Rexroth, piano RoxSteady Music, producer GRIEG Piano Concerto in A minor, Op. 16

Allegro moderato molto e marcato Rebeka Rexroth, piano WALTON

Crown Imperial (Coronation March)

BEETHOVEN

Symphony No. 8 in F major, Op. 93 Allegretto scherzando

SHOSTAKOVICH

Festive Overture, Op. 96

COPLAND

The Red Pony Morning on the Ranch

GRIEG

Peer Gynt: Suite No. 1: In The Hall Of The Mountain King

BEETHOVEN

Symphony No. 5 in C minor, Op. 67 Allegro con brio

BERNSTEIN

Themes from The Magnificent Seven

Rebekah Rexroth is the winner of the 2015 Young Artists Competition managed and funded by the Fort Wayne Philharmonic Friends. For more information, visit www.PhilharmonicFriends.com

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artist biography rene ruiz narrator

PERSONALIZED CARE

family

Rene Ruiz is an accomplished voice actor, announcer and audiobook narrator. He has recorded voice spots and announcements for the Walt Disney World Co., Universal Studios Orlando and live productions in Las Vegas.

He has narrated several audiobook titles for Penguin Random House and Audible.com including "Succeeding When You're Supposed to Fail," "Makers" and "The Launch Pad." He is also the English voice for the Penguin Random House language education series "Living Language". Rene is also an award-winning director and singer. He conceived and directed the Off-Broadway acappella concept show "Toxic Audio" which explored the boundaries of the human voice and it won the Drama Desk

FROM HEAD Award for "Unique Theatrical Experience."

He still works and coaches a cappella groups around the country, encouraging students to find new ways to express themselves using their voices. More information can be found at www.reneruizvoice.com.

artist biography brad price , illustrator Brad Price is an American illustrator, painter and designer who is a romantic, a backpacker, an impressionist and a lover of high places. Through drawing and painting, he makes an emotional visit to the scene.

His style emphasizes contrast and bold and complementary color. Price attributes much of his development as an artist to his admiration and study of New Mexico's early masters.

The brush strokes are bold and directional in nature. They set up a rhythmic movement that directs the eye, guiding the viewer through the composition. According to Price, art is experience and the sharing of experience. It is creating something new and beautiful for the world and then sharing that moment with others. Price earned a Degree in Graphic Design and also a Masters in Divinity. He has exhibited

TO TOE AND

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in galleries across the United States and South America and is also a published cartoonist and book designer. More information can be found at www.bradprice.net.

PEDIATRIC SPECIALTIES | PULMONOLOGY | RHEUMATOLOGY SPORTS MEDICINE | SURGICAL ONCOLOGY TRANSPLANTATION | TRAUMA SURGERY

artist biography rebekah re x roth , piano Rebekah Rexroth is the youngest of eight musical children. She grew up in Auburn Indiana in a house continuously filled with music and knew that she too would get to play an instrument once her hands grew big enough. She began flute lessons when she was four years old and the following year she began piano lessons. Rebekah has fallen in love with both of her instruments and feels blessed to be studying flute with Patricia Reeves and piano with Dawn Hopkins. She began competing on piano when she was in eighth grade, and through many competitions, Rebekah has realized that she loves sharing music with people. Performing is one of her passions.

Rebekah is currently seventeen years old and is looking forward to what the world of music

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has to offer in the future. Last year she began teaching piano lessons, and she looks forward to them every week. She also enjoys teaching dance, traveling, and spending time with her family and friends.

If you’re looking for a new primary care physician, visit LutheranHealth.net/FindADoc or call (844) LHN-DOCS. Lutheran Health Network includes hospitals that are directly or indirectly owned by partnerships that proudly include physician owners, including certain members of the hospitals’ medical staffs.

MADGE ROTHSCHILD FOUNDATION

carmina burana

Sponsored by Jeff Sebeika in memory of Fran & Bob Sebeika Saturday, April 23 | 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Fort Wayne Philharmonic Chorus, Benjamin Rivera, director Fort Wayne Children’s Choir, Jonathan Busarow, director IPFW Choral Union & IPFW University Singers, Vaughn Roste, director Christine Arand, soprano Christopher Pfund, tenor Keith Phares, baritone BARTÓK Concerto for Orchestra Introduzione: Andante non troppo - Allegro vivace Givoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante - Presto

-- Intermission --

ORFF Carmina Burana FORTUNA IMPERATRIX MUNDI

O Fortuna Fortune plango vulnera

PRIMO VERE (In Springtime) Veris leta facies Omnia Sol temperat Ecce gratum UF DEM ANGER

Tanz Floret silva Chramer, gip die varwe mir Reie Were diu werlt alle min

Programming continued on page 30.

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carmina burana

M A S T E RW O R K S P R O G R A M N O T E S

Saturday, April 23

MASTERWORKS

Programming continued from page 39.

SATURDAY, april 23, 2016

masterworks

IN TABERNA

Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus COUR DAMOURS

Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer com puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime BLANZIFLOR ET HELENA

Ave formosissima FORTUNA IMPERATRIX MUNDI

O Fortuna Tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, May 5, at 7:00 P.M.

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Concerto for Orchestra Béla Bartók (b. 1881, Nagyszentmiklós, Hungary; d. 1945, New York City) As Fascism swept over Europe on the eve of World War II, many of the continent’s leading musicians fled, either to save their lives or for reasons of conscience. Béla Bartók was one of the latter: he despised the Nazis and everything they stood for. His was a painful choice, for spiritually and artistically he drew all his nourishment from his native land; leaving Hungary for America in late 1940 was thus a bitter exile from which he never recovered.

The five years Bartók spent in the United States before succumbing to leukemia at age 64 were tormented by illness, financial insecurity, and anxiety about the war. For two years, he wrote nothing of importance and claimed he no longer had any desire to compose. In 1943, his fellow Hungarian emigrés, conductor Fritz Reiner and violinist Joseph Szigeti, grew anxious about his plight and prevailed upon Serge Koussevitzky, music director of the Boston Symphony and a champion of new music, to commission a work from him for Boston. But they urged the maestro to be very careful in his approach, for Bartók would absolutely refuse if he thought this was an act of charity. Koussevitzky visited the ailing composer in the hospital and offered him $1,000 to write what was to become his most popular work — the Concerto for Orchestra.

The commission proved to be a miraculous tonic both for Bartók’s health and his creativity.

Leaving the hospital for the healthful clime of Saranac Lake in the Adirondacks, he composed the Concerto for Orchestra between August and October 1943. More commissions poured in, and Bartók’s creative drought was over. The Concerto’s premiere by Koussevitzky and the Bostonians on December 1, 1944 was a triumph, and its brilliant writing and greater accessibility finally made Bartók a popular composer.

As an introduction to the work, Bartók wrote: “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and lugubrious death-song of the third, to the life assertion of the last one.” Instead of writing a concerto that showed off the abilities of a soloist, Bartók displayed the virtuosity of a whole orchestra. Its five movements center on a tragic “Elegia,” and its finale is a celebratory Hungarian round dance.

Pay special attention to the first movement’s slow introduction, for it previews the bitter twisting theme — in flutes and muted trumpets, then loudly in the strings — that will later reappear in

the third-movement “Elegia.” It accelerates into the boldly outlined theme of the main Allegro vivace section.

Seriousness is interrupted by the second movement, “Game of Pairs,” in which duos of bassoons, oboes, clarinets, flutes, and muted trumpets present five wry little dances with the dry accompaniment of a side drum. After a serene brass chorale, the pairs return with elaborations of the dances; notice the surging string and harp accompaniment under the trumpets.

The “Elegia” returns to the tragic mood and music of the first movement’s introduction. Surrounding the thematic core are passages of what Bartók called “night music”: eerie swirls of woodwinds and strings with oboe and piccolo bird cries.

The fourth-movement “Intermezzo” alternates two folk-like themes: a chirpy one led by solo oboe and a swooning romantic one for violas and strings. Midway comes a rude interruption: the endlessly repeated march theme from Shostakovich’s Seventh Symphony, which had recently become a worldwide hit. The mad tempo and raspberries blown by the brass leave no doubt about Bartók’s dislike of this piece!

With his blazing finale, Bartók achieves “lifeassertion” with a high-speed round dance. Here the string’s virtuosity is demonstrated in their wild perpetual-motion playing, while the brass rejoice in some of the most intricate fugal writing the composer ever created. Wrestling with cancer during the bleakest days of the war, Bartók showed a heroic faith in affirming the ultimate triumph of life and creativity.

Carmina burana Carl Orff (b. 1895, Munich, Germany; d. 1982, Munich) Is there any music that grabs us from the very first chord with the sheer visceral force of Carl Orff’s Carmina Burana? Issuing fortissimo from the depths of the orchestra and rooted in a blow-tothe-gut thud of timpani, this chord is followed by a blazing dissonance from the chorus, and we are off on a wild musical adventure that will hold us in its grip for the next hour.

Flush with the work’s success at its premiere, a staged production at the Frankfurt Opera on June 8, 1937, Orff wrote to his publisher: “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed.

With Carmina Burana, my collected works begin.”

For Orff, this was the beginning of a new musical path. Instead of the rich harmonies of the 19th century and the elaborate harmonic systems

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replacing tonality of the 20th, he had opted for music in its purest and most elemental form — rhythm, melody, and vocal-instrumental color — that is, music that bypasses the brain and goes straight to the emotions. However, though he followed this path for the rest of his long career, Carmina Burana is his only work still embraced by audiences everywhere.

Orff was a man of the theater and the classroom: a born musical communicator and proselytizer.

Believing every child was innately musical, he developed teaching methods and an array of simple instruments that helped children connect music to speech, dance, and folk traditions.

His method was eventually enshrined in the Orff Institute and is still influential today. As a composer, he initially wrote in a late-Romantic idiom and was also intrigued by the twelvetone system of Arnold Schoenberg. But all this changed when in 1935 he came across Johann Schmeller’s 1847 edition of medieval poems, the “Carmina burana” or “Songs from Beuern” (“Beuern” being a variant of the German word for Bavaria). For Orff, their pungent earthiness demanded a radical change of course.

The “Carmina burana” had been drawn from a collection of poems found in a Benedictine monastery in the Bavarian Alps near Munich and later transferred to the Bavarian Court Library.

They were created by the wandering university students and minor clergy who flourished during the 11th, 12th, and early 13th centuries in France, England, and Germany and were known as the golliards, for their supposed master, the mythical Bishop Gollas, a medieval stand-in for Satan. In a religious era that stressed denial of the flesh in preparation for the world to come, the golliards formed a robust counterculture that uninhibitedly celebrated the earthly pleasures of wine, women, food, and laughter. Hailing from many lands, they sang their poems in the universal language of Latin or occasionally in the vernacular. They traveled from town to town, scandalizing and delighting the common folk with their learned spoofs of church texts, sensuous love poems, and obscene verses that opened the door to a forbidden world. For men living 800 or more years ago, their orientation seems startlingly contemporary.

In setting 24 of the Beuern songs Orff consciously returned to the primitive roots of music.

Elaborate forms and complex harmonies went out the window. Instead, he emphasized powerful rhythms and evocative folk-like melodies that work their magic through repetition in simple strophic settings. Orff’s contemporary touch was his dazzling exploitation of the colors of the large modern orchestra. To emphasize his driving, heavily accented rhythms, he wrote for a big battery of percussion instruments (played by five percussionists), ranging from the delicate sparkle of glockenspiel to the crude force of the bass drum. He also pushed his chorus and especially his three soloists — soprano, baritone, and tenor — to the extreme limits of their ranges to intensify the emotional impact.

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The songs are arranged in three broad groups: “Spring”/”On the Green,” “In the Tavern,” and “The Court of Love.” Framing the whole is the choral invocation to “Fortune, Empress of the World,” which depicts humankind as helpless riders on the wheel of fortune — now swinging upward to happiness and riches, later plummeting down to ruin and despair. The various songs illustrate the stages of the wheel.

The opening chorus, “O Fortuna,” epitomizes Orff’s techniques. After that electric opening, the chorus delivers this text forcefully in unison. As in most of the songs, a constant rhythmic ostinato pattern in the orchestra propels the music forward.

Later, harsh blows from the bass drum and the gong accelerate the drive.

The section celebrating the coming of “Spring” provides strong contrast with delicate, luminous vocal and instrumental timbres. In “The Merry Face of Spring,” the tremor of high woodwind birds introduces a simple unison melody for the chorus over the heavy swinging of two chords. Its archaicsounding melody, built on a pentatonic (five-note) scale, suggests the music the medieval poets might have actually used. An orchestral round dance for the scene on the green plays rhythmic games with constantly changing meters — four beats, three beats, two beats — à la Stravinsky, who was an important influence on Orff. “Floret silva nobilis” is an infectious, folksong-inspired chorus; listen here for the musical depiction of the lover riding away in the tenors and timpani.

Only men are allowed “In the Tavern.” This raucous, ribald section features the male chorus and the baritone soloist as an inebriated, blasphemous priest. The most striking song here is “Olim lacus colueram,” the “Lament of the Roasted Swan.”

Singing in a squealing high register (known as falsetto), the tenor is the hapless swan, “now black and roasting fiercely.”

The voices of women and children dominate “The Court of Love,” in which courtly odes grow quite explicit. Here the radiant tones of the soprano soloist are introduced. Her warm lower range is exploited in the exquisite “In trutina,” Carmina’s loveliest song, while at the very top of her range she abandons herself totally to passion (“Dulcissime”).

The “Court of Love” ends in a grandly sonorous choral hymn to the “glorious virgin” — but here she is not the Virgin Mary, but rather Venus, the goddess of physical love. Its drumbeats propel us back to the opening “O Fortuna” chorus. Fortune’s wheel has made a complete revolution, and our medieval adventure ends where it began with a lusty thud of timpani.

Notes by Janet E. Bedell copyright 2016

CARMINA BURANA – TEXTS AND TRANSLATIONS FORTUNA IMPERATRIX MUNDI O FORTUNA O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

FORTUNE EMPRESS OF THE WORLD O FORTUNE O Fortune, Like the moon You are changeable, ever waxing and waning.

Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is in vain and always fades to nothing, shadowed and veiled you plague me too; now through the game I bring my bare back To your villainy.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Fate is against me in health and virtue, driven on and weighted down, always enslaved.

So at this hour without delay pluck the vibrating strings; since Fate strikes down the strong man, everyone weep with me!

FORTUNE PLANGO VULNERA Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis.

Verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata.

I BEMOAN THE WOUNDS OF FORTUNE I bemoan the wounds of Fortune with weeping eyes, for the gifts she made me she perversely takes away.

It is written in truth, that she has a fine head of hair, but, when it comes to seizing an opportunity, she is bald.

In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

On Fortune’s throne I used to sit raised up, crowned with the many-colored flowers of prosperity; though I may have flourished happy and blessed, now I fall from the peak deprived of glory.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus

The wheel of Fortune turns: I go down, demeaned; another is raised up; far too high up

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rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.

sits the king at the summit – let him fear ruin! for under the axis is written Queen Hecuba.

PRIMO VERE VERIS LETA FACIES Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur. Ah!

SPRING THE MERRY FACE OF SPRING The merry face of spring turns to the world, sharp winter now flees, vanquished; bedecked in various colors Flora reigns, the harmony of the woods praises her in song. Ah!

Flore fusus gremio Phoebus novo more risum dat, hoc vario iam stipate flore Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. Ah!

Lying in Flora’s lap Phoebus once more smiles, now covered in many-colored flowers, Zephyr breathes nectarscented breezes.

Let us rush to compete for love’s prize. Ah!

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. Ah!

In harp-like tones sings the sweet nightingale, with many flowers the joyous meadows are laughing, a flock of birds rises up through the pleasant forests, the chorus of maidens already promises a thousand joys. Ah.

OMNIA SOL TEMPERAT Omnia Sol temperat purus et subtilis, novo mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.

THE SUN WARMS EVERYTHING The sun warms everything, pure and gentle, once again it reveals to the world April’s face, the soul of man is urged towards love and joys are governed by the boy-god.

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

All this rebirth in spring’s festivity and spring’s power bids us to rejoice; it shows us paths we know well, and in your springtime it is true and right to keep what is yours.

Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. quisquis amat taliter, volvitur in rota.

Love me faithfully!

See how I am faithful: With all my heart and with all my soul, I am with you Even when I am far away.

Whoever loves this much turns on the wheel.

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ECCE GRATUM Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia, iamiam cedant tristia!

Estas redit, nunc recedit Hyemis sevitia. Ah!

BEHOLD, THE PLEASANT SPRING Behold the pleasant and longed-for spring brings back joyfulness, violet flowers fill the meadows, the sun brightens everything, sadness is now at an end!

Summer returns, now withdraw the rigors of winter. Ah!

Iam liquescit et decrescit grando, nix et cetera, bruma fugit, et iam sugit, Ver Estatis ubera; illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera. Ah!

Now melts and disappears ice, snow, and the rest, winter flees, and now spring sucks at summer’s breast: A wretched soul is he who does not live or lust under summer’s rule. Ah!

Gloriantur et letantur in melle dulcedinis qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis. Ah!

They glory and rejoice in honeyed sweetness who strive to make use of Cupid’s prize; At Venus’ command let us glory and rejoice in being Paris’ equals. Ah!

UF DEM ANGER TANZ

ON THE GREEN DANCE

FLORET SILVA Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus? Ah!

THE NOBLE WOODS ARE BURGEONING The noble woods are burgeoning with flowers and leaves, Where is the lover I knew? Ah!

hinc equitavit, eia, quis me amabit?

He has ridden off!

Oh! Who will love me? Ah!

Floret silva undique, nah mime gesellen ist mir wê.

Gruonet der walt allenthalben, wâ ist min geselle alse lange? der ist geriten hinnen, owî, wer soll mich minnen?

The woods are burgeoning all over, I am pining for my lover, The woods are turning green all over, why is my lover away so long? Ah! He has ridden off, Oh woe, who will love me? Ah!

CHRAMER, GIP DIE VARWE MIR Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete.

SHOPKEEPER, GIVE ME COLOR Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will

Seht mich an, jungen man! lat mich iu gevallen!

Look at me, young men!

Let me please you!

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Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen.

Good men, love women worthy of love!

Love ennobles your spirit and gives you honor.

Seht mich an...

Look at me, etc.

Wol dir werlt, das du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche.

Hail, world, so rich in joys!

I will be obedient to you because of the pleasures you afford.

Seht mich an...

Look at me, etc.

REIE Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

ROUND DANCE Those who go round and round are all maidens, they want to do without a man all summer long. Ah! Sla!

Chume, chum, geselle min, ih enbite harte din.

Come, come, my love, I long for you.

Suzer rosenvarwer munt, chum unde mache mich gesunt.

Sweet rose-red lips, come and make me better.

Swaz hie gat umbe,

Those who go round, etc.

WERE DIU WERLT ALLE MIN Were diu werlt alle min von dem mere unze an den Rin, des wolt ih mih darben, daz diu ch端negin von Engellant lege an minen armen. Hei!

IF ALL THE WORLD WERE MINE If all the world were mine from the sea to the Rhine, I would do without it if the Queen of England would lie in my arms. Hey!

IN TABERNA ESTUANS INTERIUS Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.

IN THE TAVERN BURNING INSIDE Burning inside with violent anger, bitterly I speak my heart: Created from matter, of the ashes of the elements, I am like a leaf played with by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

If it is the way of the wise man to build foundations on stone, then I am a fool, like a flowing stream, which in its course never changes.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis. quicquid Venus imperat, labor est suavis,

I am carried along like a ship without a steersman, and in the paths of the air like a light, hovering bird; chains cannot hold me, keys cannot imprison me, I look for people like me and join the wretches.

The heaviness of my heart seems a burden to me;

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Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; que nunquam in cordibus habitat ignavis.

it is pleasant to joke and sweeter than honeycomb; whatever Venus commands is a sweet duty, she never dwells in a lazy heart.

Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

I travel the broad path as is the way of youth, I give myself to vice, unmindful of virtue, I am eager for the pleasures of the flesh more than for salvation, my soul is dead, so I shall look after the flesh.

OLIM LACUS COLUERAM Cignus ustus cantat:

ONCE I LIVED ON LAKES The roasted swan sings:

Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram.

Once I lived on lakes, once I looked beautiful when I was a swan.

Miser, miser! modo niger et ustus fortiter!

Misery me!

Now black and roasting fiercely!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer,

The servant is turning me on the spit; I am burning fiercely on the pyre; the steward now serves me up.

Miser, miser! etc.

Misery me! etc.

Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video:

Now I lie on a plate, and cannot fly anymore, I see bared teeth:

Miser, miser! etc.

Misery me! etc.

EGO SUM ABBAS Ego sum abbas Cucaniensis et consilium meum est cum bibulis, et in secta Decii voluntas mea est,

I AM THE ABBOT I am the abbot of Cockaigne and my assembly is one of drinkers, and I wish to be in the order of Decius,

et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit:

and whoever searches me out at the tavern in the morning, after Vespers he will leave naked, and thus stripped of his clothes he will call out:

Wafna, wafna! quid fecisti sors turpissima?

Nostre vite gaudia abstulisti omnia!

Haha!

Woe! Woe! what have you done, vilest Fate?

The joys of my life you have taken all away!

Haha!

IN TABERNA QUANDO SUMUS In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus.

Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur.

WHEN WE ARE IN THE TAVERN When we are in the tavern, we do not think how we will go to dust, but we hurry to gamble, which always makes us sweat, What happens in the tavern, where money is host, you may well ask, and hear what I say.

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Quidam ludunt, quidam bibunt, quidam indiscrete vivunt.

Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur.

Ibi nullus timet mortem, sed pro Baccho mittunt sortem:

Some gamble, some drink, some behave loosely.

But of those who gamble, some are stripped bare, some win their clothes here, some are dressed in sacks.

Here no-one fears death, but they throw the dice in the name of Bacchus.

Primo pro nummata vini ex hac bibunt libertini: semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis sexies pro sororibus vanis, septies pro militibus silvanis.

First of all it is to the wine-merchant that the libertines drink, one for the prisoners, three for the living, four for all Christians, five for the faithful dead. six for the loose sisters, seven for the footpads in the wood.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus.

Tam pro papa quam pro rege bibunt omnes sine lege.

Eight for the errant brethren, nine for the dispersed monks, ten for the seamen, eleven for the squabblers, twelve for the penitent, thirteen for the wayfarers.

To the Pope as to the king they all drink without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.

The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the swift man drinks, the lazy man drinks, the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the stupid man drinks, the wise man drinks,

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit iste, bibit ille, bibunt centum, bibunt mille.

The poor man drinks, the sick man drinks, the exile drinks, and the stranger, the boy drinks, the old man drinks, the bishop drinks, and the deacon, the sister drinks, the brother drinks, the old lady drinks, the mother drinks, this man drinks, that man drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant cum immoderate bibunt omnes sine meta, quamvis bibant men te leta, sic nos rodunt omnes gentes et sic erimus egentes.

Qui nos rodunt confundantur et cum iustis non scribantur.

Six hundred pennies would hardly suffice, if everyone drinks immoderately and immeasurably.

However much the cheerfully drink we are the ones whom everyone scolds, and thus we are destitute.

May those who slander us be cursed and may their names not be written in the book of the righteous.

Io, io, io! ...

Io, io, io!

COUR D’AMOURS AMOR VOLAT UNDIQUE Amor volat undique, captus est libidine.

Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima.

THE COURT OF LOVE CUPID FLIES EVERYWHERE Cupid flies everywhere seized by desire.

Young men and women are rightly coupled.

The girl without a lover misses out on all pleasures, she keeps the dark night hidden in the depth of her heart; it is a most bitter fate.

DIES, NOX ET OMNIA Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer.

DAY, NIGHT, AND EVERYTHING Day, night, and everything is against me, the chattering of maidens makes me weep, and often sigh, and, most of all, scares me.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, you are making fun of me, you do not know what you are saying, spare me, sorrowful as I am, great is my grief, advise me at least, by your honor.

Tua pulchra facies, me fey planszer milies, pectus habens glacies, a remender statim vivus fierem per un baser.

Your beautiful face, makes me weep a thousand times, your heart is of ice.

As a cure, I would be revived by a kiss.

STETIT PUELLA Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit.

Eia.

A GIRL STOOD A girl stood in a red tunic; if anyone touched it, the tunic restled.

Eia!

Stetit puella, tamquam rosula; facie splenduit, os eius floruit.

Eia.

A girl stood like a little rose: her face was radiant and her mouth in bloom.

Eia!

CIRCA MEA PECTORA Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Ah!

IN MY HEART In my heart there are many sighs for your beauty, which wound me sorely. Ah!

Manda liet, manda liet, min geselle chumet niet.

Mandaliet, mandaliet, my lover does not come.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Ah!

Your eyes shine like the rays of the sun, like the flashing of lightening which brightens the darkness. Ah!

Mandaliet, etc.

Mandaliet, etc.

Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Ah!

May God grant, may the gods grant what I have in my mind that I may loose the chains of her virginity, Ah!

Mandaliet, etc.

Mandaliet, etc.

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SIE PUER CUM PUELLULA Sie puer cum puellula moraretur in cellula, felix coniunctio.

Amore sucrescente, pariter e medio propulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

IF A BOY WITH A GIRL If a boy with a girl tarries in a little room, happy is their coupling.

Love rises up, and between them prudery is driven away, an ineffable game begins in their limbs, arms and lips.

VENI, VENI, VENIAS Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!

COME, COME, O COME Come, come, O come, do not let me die, hyrca, hyrce, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!

Beautiful is your face, the gleam of your eye, your braided hair, what a glorious creature!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Redder than the rose, whiter than the lily, lovelier than all others, I shall always glory in you!

IN TRUTINA In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia.

Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.

IN THE BALANCE In the wavering balance of my feelings set against each other lascivious love and modesty.

But I choose what I see, and submit my neck to the yoke; I yield to the sweet yoke.

TEMPUS EST IOCUNDUM Tempus est iocundum, o virgines, modo congaudete vos iuvenes.

Oh, oh, oh! totus floreo, iam amore virginali totus ardeo! novus, novus novus amor est, quo pereo!

THIS IS THE JOYFUL TIME This is the joyful time, O maidens, rejoice with them, young men!

Oh, oh, oh!

I am bursting out all over!

I am burning all over with first love!

New, new love is what I am dying of!

Mea me confortat promissio, mea me deportant negatio.

Oh, oh, oh! etc.

I am heartened by my promise, I am downcast by my refusal.

Oh! oh! oh! etc.

Tempore brumali vir patiens, animo vernali lasciviens.

Oh, oh, oh! etc.

In the winter man is patient, the breath of spring makes him lust.

Oh! oh! oh! etc.

Mea mecum ludit virginitas, mea me detrudit simplicitas.

Oh, oh, oh! etc.

My virginity makes me frisky, my simplicity holds me back.

Oh! oh! oh! etc.

Veni domicella, cum gaudio, veni, veni, pulchra, iam pereo.

Oh, oh, oh! etc.

Come, my mistress, with joy, come, come, my pretty, I am dying!

Oh! oh! oh! etc.

DULCISSIME Dulcissime, Ah! totam tibi subdo me!

SWEETEST ONE Sweetest one! Ah! I give myself to you totally!

BLANZIFLOR ET HELENA AVE FORMOSISSIMA Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa!

BLANCHEFLEUR AND HELEL HAIL, MOST BEAUTIFUL ONE Hail, most beautiful one, precious jewel, Hail, Pride among virgins, glorious virgin, Hail, light of the world, Hail, rose of the world, Blanchefleur and Helen, noble Venus!

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CANTER 24094 Philharmonic Book 4 ad.indd 1

1/26/16 3:06 PM

choral rosters fort wayne children's choir, ipfw choral union & university singers

the Valparaiso University Chorale. Prior to his appointment at Valparaiso University, he served as a graduate teaching assistant at The Ohio State University and has worked at several churches in Ohio and Indiana.

masterworks

fort wayne children's choir roster Fort Wayne Children’s Choir, Concert Choir • Jonathan Busarow, Director • Irene Ator, Accompanist Chloe Barber Daniel Beights Zoe Berkes Tatihana Black Greta Boettjer Anna Corley Lacey Darnell Kristen Davis Ian Devine

Jordan Dollarhite Anna Duly Madison Duvall Nora Foltz Delaney Fosnaugh Madeline Gerig Riley Grim Allison Gutierrez Emma Hallman

Rebekah Hammond Jaylynn Kim Elizabeth Lawler Jackson McKinney Alli McQueen Katie North Graham Phillips Samuel Poor Anna Popkov

Alexis Rios Alyssa Rivas Emily Robinson Shelby Schlicker Kathleen Simunek Jill Solloway Sydney Spilker Rebekah Staples Kathleen Suelzer

Ava Thuringer Sarah Wahl Elizabeth Weber Abby Westropp Delaney Wilson John Woods III

In frequent demand as a clinician and as a tenor soloist, Mr. Busarow has been invited to conduct at the American Choral Directors Association National Conference, the Indiana Music Educators Association Convention, and the Bach Institute at Valparaiso University. He also serves as the Reading Session Chair for the American Choral Directors Association Central Division Conference and as the Children’s Choir

Vaughn Roste, director

masterworks

Emily Schwartz- Kierns Sunny Stachera TENOR Garret Butler Gerrit Janssen Catherine Martin Kenneth Stahl

BASS Dylan Brown Gene Faley Jay Farlow Evan Keenan Stan Kessler John Niedich Brandon Vargas

IPFW university singers Vaughn Roste, director SOPRANO Julia Bokern Karlea Boleyn Shelby Fallis Brianna Gamble Emily Hernandez Caitlyn Kahn Adrienne Martin Alana Miller Ashlee Miller Olivia Oetting Molly Rea

Madelyn Rohrbach Sonia Salas Zoe Volz Annalee Walter Shelby Weaver Kassie Yenser Sydne Zuber ALTO Alexandra Bohnke Jenna Coleman Georgia Gladding

Alisabeth Grossman Naomi Ifer Shyanna Jimenez Mackenzie Kankovsky Kristina Kellen Moriah Landon Grace Linn Anjelica Mojica Ashley Olson Maleea Roy Shelby Spencer Christie Timmons

artist biography j onathan busarow, fwcc director Jonathan Busarow is the Executive Artistic Director of the Fort Wayne Children’s Choir and directs the Treble Choir, Concert Choir, and Chamber Singers. Mr. Busarow also serves on the voice faculty at Indiana University - Purdue University - Fort Wayne. Previously, he served as director of the Valparaiso University Men’s Choir and instructor of voice. Additionally, he served as the sabbatical replacement for his mentor, Dr. Christopher M. Cock, directing

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Mr. Busarow holds a Bachelor of Music degree in vocal performance from Valparaiso University, and a Master of Music degree in Choral Conducting from The Ohio State University as well as a Kodály Certification from the Kodály Institute at Capital University.

He has music education licensure from Ohio State University. Mr. Busarow has studied conducting with Christopher Cock, Dennis Friesen-Carper, Lenki Igo, Lilla Gabor, Robert J. Ward, and Hilary Apfelstadt.

artist biography CHRISTINE ARAND SOPRANO

IPFW CHORAL UNION SOPRANO ALTO Andrea Egeland Denise Downs Samantha Garner Kimberly Galligan Elvira Gonzalez Ann Marlin Ilse Heim Julia Nixon Tyshawna Herron Karen Parkinson Judy Kessler Cher Phelps- Rachel Griswold Klopfenster Kelli Roush Kailey Wieringa

Repertoire & Standards Chair of the Indiana Choral Directors Association.

TENOR Kristopher Andorfer Jesus Brito Josiah Hawkins Ryan Lengacher Brandon Melia Andrew Nesler Jonathan Warner BASS Jonathan Casey Joseph Foltz

Ryan Girardot De’Andre Martin Eric Smead Stephen Stachofsky Joel Steinbacher Jared Stephens Cameron Taylor Jack Willke

Christine Arand began her professional career in Europe creating the leading role of Lise in Les Enfants Terribles by Philip Glass. The production toured to major European venues, including the Acropolis in Athens, and later continued its run at the Brooklyn Academy of Music, Spoleto USA, San Francisco, and Los Angeles. The opera, the third in Glass’ “Cocteau Trilogy” was released in 2005 on Harmonia Mundi OMM label. She made her British debut as Salomé in Massenet’s Hérodiade with Dorset Opera, and returned to sing Liu in Turandot.

Recent engagements have included Cecilio in Lucio Silla with Chicago Opera Theatre. Current engagements include Antonia in Les contes d’Hoffmann with Hawaii Opera Theatre; and Carmina Burana with Fort Wayne Philharmonic.

Ms. Arand made her debut at the Chatelet in Paris alternating the roles of the Baroness and Maria in the Sound of Music; as well as Eliza Doolittle in My Fair Lady. She made her Carnegie Hall debut in the world premiere of David N. Childs’ Requiem; and was heard in Carmina Burana and Mozart’s Requiem with the National Chorale.

Described as “an up-and-coming diva” by The New York Times, Ms. Arand made her Broadway debut as Musetta in Baz Luhrmann’s acclaimed production of La bohéme. She followed this with another featured role on Broadway as Maria in the Tony Award Winning Best Musical Revival Nine at the Eugene O’Neill Theatre. With Lincoln Center Theater, she was the legendary chanteuse, Yvette Gilbert, in the play, Belle Époque, about the life and loves of Toulouse Lautrec, and with City Center Encores! in Kismet.

Ms. Arand’s Broadway triumphs were preceded by notable operatic portrayals beginning with Gilda in Rigoletto, and Violetta in La traviata, at the new Kimmel Center for the Performing Arts in Philadelphia; Susanna in Le nozze di Figaro with Arizona Opera and Ft. Worth Opera; Agrippina in Palermo; Nanetta in Falstaff for the Pine Mountain Music Festival; Tiny in Mark Lamos’ production of Paul Bunyan with Glimmerglass Opera; and covering Zdenka in Arabella for San Francisco Opera.

Ms. Arand received a scholarship to Northwestern University where she earned degrees in both music and painting. A Fellowship to the Juilliard Opera Center brought her to New York. Ms. Arand first gained critical notice as Poppea in Frank Corsaro’s production of L’incoronazione di Poppea. She brought distinction to such roles as Baby Doe in The Ballad of Baby Doe, Laurie in The Tender Land, and again in Corsaro’s new production of Le nozze di Figaro as Cherubino. While at Juilliard, several premieres including the U.S. premiere of Tan Dun’s Lament: Autumn Wind, and the world premiere performance of Menagerie by Courtney Evans.

In addition, she was a finalist in the Metropolitan Opera National Council Auditions.

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artist biography C H R I STO P H E R P F U N D TENOR masterworks

Universally recognized for his irreverent portrayals of the Roasting Swan in Carmina Burana, tenor Christopher Pfund has made the role a pillar of his career, performing it with countless orchestras across North America.

In recent seasons he has performed Carmina Burana with the symphony orchestras of Alabama, Des Moines, Cleveland, Colorado, Fort Wayne, Hartford, Houston, Indianapolis, Jacksonville, Nashville, Philadelphia, Pittsburgh, Reading, and San Diego. He repeated the role during the 2014-2015 Season in a return to the Cleveland Orchestra, as well as with the Symphonies of Phoenix, West Michigan, and Thunder Bay (Ontario). He will also create the role of Rev. Eugene Hendrix in a world-premiere concert performance of Gregory Vajda’s opera Georgia Bottoms with the Huntsville Symphony Orchestra.

In addition to his signature concert role, Mr. Pfund has appeared in concert performing Beethoven’s Symphony No. 9 with the Charlotte and Stamford Symphonies; Handel’s Messiah with the Buffalo Philharmonic, National Arts Centre Orchestra, Rochester Philharmonic, Syracuse Symphony, and Virginia Symphony; and Haydn’s Creation with

the Louisiana Philharmonic. He also appeared at Carnegie Hall during the 2013-2014 Season with the Rochester Philharmonic as a part of the Spring for Music Festival as Sir Gower Lackland in a concert performance of Howard Hanson’s Merry Mount.

Pfund has recorded the title role in Britten’s Albert Herring on the Vox label and Distant Playing Fields: Vocal Music of Amy Beach and William Maye on Newport Classics.

A Colorado native, Christopher Pfund holds degrees from both the University of Northern Colorado and Manhattan School of Music. He was an opera apprentice with the Santa Fe, Glimmerglass and Chautauqua operas, and was a 20th Century Song Recitalist at the Banff Centre.

artist biography KEiTH PHARES BARITONE masterworks

A noted interpreter of Mozart and bel canto repertoire as well as Benjamin Britten and many of today’s living composers, Keith Phares is regarded as one of his generation’s most versatile artists.

Engagements this season have included Zurga in Les pêcheurs de perles with Seattle Opera. Future engagements include Ravenal in Show Boat with Kentucky Opera; Carmina Burana with Fort Wayne Philharmonic; Charlie in Three Decembers, and Hurstwood in the world premiere of Sister Carrie with Florentine Opera; the Count in Le nozze di Figaro with Opera Saratoga; and Elder Tull in the world premiere of Riders of the Purple Sage with Arizona Opera.

Continuing his commitment to bring the works of living composers to the stage, he sang the title role of Elmer Gantry, by Robert Aldridge, in a co-production with Nashville Opera and Montclair State University. Mr. Phares offered Five Movements for My Father in a program of chamber

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music by Susan Kander at Weill Hall in New York - his performance coinciding with the commercial release of this work on the Loosecans Music label.

A graduate of the Juilliard Opera Center, he was a national winner of the 1998 Metropolitan Opera National Council Auditions and a finalist in the 1999 Eleanor McCollum Competition of the Houston Grand Opera. He also has been recognized with a Richard Gaddes Grant from the Opera Theatre of Saint Louis and the 2000 Richard F. Gold Career Grant from the Juilliard School of Music.

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chris botti: Live in concert Saturday, April 30 | 7:30 P.M. Embassy Theatre Kelly Corcoran, conductor Chris Botti, trumpet Lee Pearson, drums Richie Goods, bass Ben Butler, guitar Geoffrey Keezer, piano Sy Smith, vocals George Komsky, vocals Caroline Campbell, violin Selections to be announced from the stage

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artist biography Kelly Corcoran conductor

artist biography chris botti trumpet

Pops

Pops

The 2015/16 season marks Kelly Corcoran’s ninth season with the Nashville Symphony. During this time, she has conducted the Nashville Symphony in hundreds of performances, including the Symphony’s Classical and Pops Series, and has served as the primary conductor for the orchestra’s education and community engagement concerts. Corcoran served as Associate Conductor for seven seasons and was recently named Director for the Nashville Symphony Chorus. Corcoran is a passionate advocate for music education and a member of the Advisory Council for Nashville’s Music Makes Us initiative.

Always interested in creating something new and collaborating with others, Corcoran is Artistic Director & Conductor of Intersection, an exciting new contemporary music ensemble dedicated to challenging the traditional concert experience with concerts for all ages. Corcoran created and founded the Nashville Philharmonic Orchestra twelve years ago and continues to serve on the board.

Corcoran has appeared as a guest conductor with many major orchestras including The Cleveland Orchestra as well as the Atlanta, Colorado, Charleston, Charlotte, Detroit, Houston, Knoxville, Memphis, Milwaukee, National and Utah Symphonies, the Naples Philharmonic, and Louisville Orchestra often with return engagements. Abroad, Corcoran has conducted the Orquesta Sinfónica UNCuyo in Mendoza, Argentina, the Bournemouth (UK) Symphony and competed in the VIII Cadaqués Orchestra International Conducting Competition in Spain.

Interested in many musical styles, Corcoran has worked with a range of artists such as Bela Fleck, Brad Paisley, Amy Grant and Chris Botti and has conducted the film scores to many movies including Psycho and Casablanca in concert. She also serves as a regular conductor with The Legend of Zelda: Symphony of the Goddesses tour.

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Originally from Massachusetts and a member of the Tanglewood Festival Chorus for more than 10 years, Corcoran received her Bachelor of Music in vocal performance from The Boston Conservatory and her Master of Music in instrumental conducting from Indiana University.

She made her professional conducting debut in 2004, conducting the National Symphony Orchestra where she studied with her primary mentor, Leonard Slatkin. Corcoran studied with and shared concerts with Marin Alsop as Honorable Mention for the Taki Concordia Conducting Fellowship. She also attended the Lucerne Festival’s master class in conducting, focusing on contemporary orchestral literature with Pierre Boulez.

Strengthening the Fabric of Our Community

Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest-selling American instrumental artist.

His success has crossed over to audiences usually reserved for pop muisc and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and Grammy Awards®. Most recently, his latest album Impressions won the Grammy® for Best Pop Instrumental Album at the 2013 55th Grammy Awards®. Performing worldwide and selling more than four million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre.

Impressions, Botti’s 2012 Columbia Records and Grammy® winning release, is the latest in a stellar parade of albums – including When I Fall In Love (2004), To Love Again: The Duets (2005), Italia (2007), and the CD/DVD Chris Botti in Boston Over the past three decades, Botti has recorded (2009) – that has firmly established him as a clarion and performed with the best in music, including voice in the American contemporary music scene.

Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Playing with his uniquely expressive sound and Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, soaring musical imagination, Botti is joined on the Joni Mitchell, John Mayer, Andrea Bocelli, Joshua disc by featured artists Andrea Bocelli, Vince Gill, Bell, Aerosmith’s Steven Tyler and even Frank Herbie Hancock, Mark Knopfler, and David Foster Sinatra. Hitting the road for as many as 300 days in a warm, intimate celebration of melodic balladry. per year, the trumpeter has also performed with many of the finest symphonies and at some of the With Impressions and the albums that preceded world’s most prestigious venues from Carnegie it, Chris Botti has thoroughly established himself Hall and the Hollywood Bowl to the Sydney Opera as one of the important, innovative figures of the contemporary music world.

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Wednesday, May 4 | 7:30 P.M. Fort Wayne History Center Sunday, May 8 | 2:30 P.M. Rhinehart Music Center, IPFW PAGANINI Cantabile for Violin and Harp, Op. 17 Anne Preucil Lewellen, harp Olga Yurkova, violin ROPARTZ Prelude, Marine et Chansons

Prélude Marine Chansons Vivianne Belanger, flute Anne Preucil Lewellen, harp Olga Yurkova, violin Debra Welter, viola Deborah Nitka Hicks, cello

-- Intermission --

SCHUBERT Octet in F major, Op. 166 Adagio - Allegro Andante un poco mosso Allegro vivace Andante & Variations Menuetto & Trio Andante molto - Allegro Campbell MacDonald, clarinet Michael Lewellen, horn Dennis Fick, bassoon David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello Adrian Mann, double bass M A R , A P R & M AY 2 0 1 6

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freimann PROGRAM NOTES freimann wednesday, may 6 & sunday, may 8, 2016 Cantabile for Violin and Harp, Op. 17 Niccolo Paganini (1782 - 1840)

Octet in F Major, Op. 166 Franz Schubert (1797 - 1828)

As rumor would have it, a young Niccolo Paganini made a deal with the devil in order to gain his unrivaled mastery of the violin.

Whether this actually happened, or was just a rumor put forth by a brilliant marketing strategy, the mystique definitely won over audiences across Europe. However, when it came to his death in 1840, this association resulted in him being denied a Catholic burial in Genoa, Italy - the city of his birth.

When studying classical music, all to often the question of “what if” seems to cross the mind.

“What if Beethoven didn’t lose his hearing,” “what if Mozart hadn’t died so young” “what if Berlioz didn’t frequently get high on opium.”

The question surrounding Schubert is what if this immensely talented composer made some better life choices and avoided the disease of syphilis taking his life by the age of 32.

Particularly diabolical are Paganini’s 24 Caprices for solo violin which have become staples for any young virtuosi. However, the devil must have given Paganini a day off when he wrote up this short lyrical melody. Originally written for violin and guitar (both instruments he was quite adept at playing), the piece can also be heard on harp or piano providing the gentle moving accompaniment line. Yet despite its simplistic start there are still plenty of challenges to keep the violinist sweating.

Prelude, Marine, et Chansons Joseph Guy Ropartz (1864 - 1955) Unlike Schubert who is also featured in this program, the French composer Joseph Guy Ropartz had plenty of time to compose music since he lived until the age of 91. Even with his long life, he never gained the longevity and popularity of some of his colleagues.

There could be two reasons for this: one was a dedication to his Breton heritage that some would have considered trite. The second could be his direct influence from the not particularly popular Cesar Franck, rather than going with the Ravel and Debussy school which paved the way for the majority of French musical innovation in the 20th Century.

The Prelude, Marine et Chanson, composed in 1928 is scored for flute, harp, violin, viola and cello. The flute takes center stage as the other instruments appear mostly accompanimental or in direct conversation with the flute. The harmonies are mostly pleasant and pastoral with a few harsher moments mixed in, that almost seem as if the composer was toying with German chromaticism before quickly retreating back to the pleasant realm of French romanticism.

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Regardless, as if anticipating his early demise, Schubert decided to grace classical music lovers with a plethora of music in the years before his death. Many of these compositions became his most celebrated works including the mysterious “Unfinished Symphony,” his song cycle Die Schoene Mullerin, the powerful D Minor String Quartet “Death and The Maiden” and this Octet.

Friday, April 8 •7:30pm

Written in 1824 and commissioned by the clarinettist Ferdinand Troyer, the piece was meant to replicate a septet written by Beethoven for strings and winds. Schubert added a second violin part to round out the string section but kept true to the other instrumentation. Written in six movements and despite clocking in at just over an hour to perform, the listener likely won’t be checking their watch too often. Instead they will become lost in the depth of emotion and variety of character present in the different movements.

An observation that makes this Octet stand out is that while Schubert can sometimes be guilty of extending a phrase or repeating an idea a very, very, very long time in order to create an expansiveness to his works, he refrains from the practice in this Octet. His Cello Quintet in C Major, or his “Great” C Major Symphony come to mind as examples of the composer’s long-winded nature. Instead, Schubert chooses variety and even brevity (relatively-speaking) in this composition when it comes to sticking with one particular melody or idea. Also, the fact that the clarinet and violin both seem in competition with each other for the spotlight throughout the work helps keep things interesting.

Friday, May 6 •7:30pm

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russian classics Saturday, May 14 | 7:30 P.M. Embassy Theatre Andrew Constantine, conductor Thomas Hooten, trumpet

TCHAIKOVSKY

Romeo and Juliet Overture-fantasy

ARUTIUNIAN Concerto for Trumpet and Orchestra in A-flat major Thomas Hooten, trumpet

-- Intermission --

PROKOFIEV Symphony No. 5 in B-flat major, Op. 100

Andante Allegro moderato Adagio Allegro giocoso

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on Thursday, May 26, at 7:00 P.M.

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M A S T E RW O R K S P R O G R A M N O T E S MASTERWORKS SATURDAY, may 14, 2016 Romeo and Juliet Overture-Fantasy Piotr Ilyich Tchaikovsky (b. 1840, Votkinsk, Russia; d. 1893, St. Petersburg, Russia) Though now more than 400 years old, Shakespeare’s Romeo and Juliet still reigns as the most compelling of all love stories. And it holds as much allure for composers as for movie directors. “God! What a fine subject!” wrote the French composer Hector Berlioz. “How it lends itself to music!”

In 1869, the 28-year-old Tchaikovsky was just recovering from the breaking off of his only love affair with a woman — the fascinating Belgian opera singer Desirée Artôt — when he was urged to use this subject to transform his pain into art by his fellow Russian composer Mily Balakirev. This renunciation had been difficult for Tchaikovsky, and soon after, he was seen at the opera house listening to Artôt with tears streaming down his face.

A member of the five Russian nationalist composers known as the “Mighty Handful,” Balakirev became more famous for the compositions he inspired in others than for his own works, and the young Tchaikovsky was one of his protégés. On a long walk together, he suggested Romeo and Juliet as the perfect program for a symphonic poem and followed that up with a letter detailing how the work should be laid out. Tchaikovsky latched onto the idea immediately, but used his own artistic discretion about Balakirev’s suggestions. The first version of his Fantasy-Overture was written in just six weeks at the end of 1869. But when he heard it performed in Moscow in March 1870, Tchaikovsky decided it needed considerably more work.

In revisions made soon after, he added the brooding opening that so perfectly establishes a mood of tender pathos, and before publishing it in 1880, he devised the startling conclusion that confirms the tragic denouement with eight searing B-major chords.

The musical events of Tchaikovsky’s first masterpiece convey virtually all the dramatic elements of Shakespeare play except the scenes of comic relief. Some commentators have linked the dark chant-like theme that opens the work with the character of Friar Laurence who marries the young lovers. This theme plays an important role in the middle development section — striving in the horns against the jagged principal theme representing the battles between the Capulets and Montagues, just as in the play Laurence tries vainly to bring the families together. Notice how craftily Tchaikovsky introduces his famous love theme, one of the most inspired this great melodist ever wrote. He first presents it with very subdued scoring — an English horn solo over violas — saving its full passion for later when it returns soaring aloft in the violins.

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Concerto for Trumpet and Orchestra in A-flat major

Alexander Arutiunian (b. 1920, Yerevan, Armenia, U.S.S.R.; d. 2012, Yerevan) Alexander Arutiunian may not be a household name in America, but he is certainly renowned among trumpet players worldwide. For in 1950, he created perhaps the most popular Trumpet Concerto of the 20th century: a work that displays a trumpeter’s virtuosity superbly against colorful orchestral writing that capitalizes on Arutiunian’s Armenian background and specifically the style of the traditional music of the Armenian ashughner or folk minstrel.

Alongside the more famous Aram Khachaturian, Arutiunian represented the vigor of Armenian culture even though it had then been subsumed into the U.S.S.R. His initial musical training was in his homeland before moving on to Moscow at the end of World War II for further polishing. His graduation piece, a cantata called Motherland, won him the coveted Stalin Prize in 1949, and his career was launched. The Trumpet Concerto soon followed and was adopted by the Soviet trumpet virtuoso Timofei Dokschitzer, who introduced it all over the world. In 1954, Arutiunian was appointed as the artistic director of the Armenian State Philharmonic and served in that post until 1990.

He was honored with the titles People’s Artist of Armenia in 1962 and People’s Artist of the U.S.S.R. in 1970.

The Trumpet Concerto is in one 15-minutelong continuous movement, although it subdivides into five distinct sections, some of them equivalent to movements. It opens with a vigorous orchestral motive and a brilliant fanfare-like proclamation from the trumpet before moving on to the Allegro energico “first movement,” which features a vivacious, memorable theme introduced by the soloist.

The tempo then slows, and the solo clarinet presents a more lyrical theme with an exotic Armenian flavor, which the trumpet soon adopts.

This section builds to a peak of almost Hollywood romanticism before the Allegro energico tune returns in the woodwinds for a lively development.

Once again, the tempo slows and the dynamic hushes for a variant of the Armenian theme, now played softly and moodily by the muted trumpet, in a section that stands in for a slow movement.

The vigorous motive we heard at the Concerto’s opening returns in the orchestra, tossed from one section to another. Then the trumpet gives a final exuberant reprise of its big tune and segues into a virtuoso cadenza before the work’s quick, decisive conclusion.

Symphony No. 5 in B-Flat Major, Op. 106 Sergei Prokofiev (b. 1891, Sontsovka, Ukraine; d. 1953, Moscow, U.S.S.R.)

present the more flowing and optimistic second theme. The exposition section closes with a grand fanfare-like theme for full orchestra envisioning the victory to come.

The premiere of Prokofiev’s Symphony No. 5 in Moscow on January 13, 1945 was an occasion charged with emotion. The great Soviet pianist Sviatoslav Richter vividly recalled the moment as Prokofiev mounted the podium: “He stood like a monument on a pedestal. And then, when [he] had taken his place … and silence reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited, and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us — including Prokofiev — had reached some kind of shared turning point.”

Working out all these themes, the development section reaches a powerful climax, out of which the principal theme, now triumphant rather than wistful, is trumpeted forth by the brass. To cymbal crashes and blows on the gong, the movement reaches a staggering conclusion — expressive of Russia’s will to prevail — mighty enough to close a symphony. But there’s still much more to come.

Richter’s observation was correct. The cannons that interrupted the start of the Fifth Symphony were celebrating the news that the Soviet Army was crossing the Vistula River into the territory of Nazi Germany. The end of World War II was now assuredly in sight. The music that followed this joyful roar proved worthy of the moment, and 40 minutes later, the audience set off its own explosion. For with his longest and arguably greatest symphony, Prokofiev had summed up the mood of the Russian people at this momentous time in their history with music that paid tribute both to the terrible suffering they had experienced and to the victory that would soon be theirs.

Prokofiev, too, had reached a personal turning point. Since he returned from the West to the U.S.S.R. in 1936, he had struggled to adjust to Stalin’s cultural whims. Now for a brief moment, he was at the apex of his career: no longer a suspiciously watched foreigner, but the voice of the Russian people. Later, Prokofiev commented that the Fifth Symphony was “very important not only for the musical material that went into it, but because I was returning to the symphonic form after a break of 16 years. The Fifth Symphony is the culmination of an entire period of my work. I conceived of it as a symphony on the greatness of the human soul.”

Oddly, it had been easier to be a composer in the Soviet Union during World War II then in the years before or after: Stalin was too busy prosecuting the war to worry about subversive artists. Retreats far from the front lines were set aside for Soviet creators, and Prokofiev had spent most of 1944 at a “House of Creative Work” near Ivanovo, west of Moscow, with other leading composers, including Shostakovich, Glière, and Khachaturian. Buoyed by the news of the successful Normandy invasion in June, Prokofiev wrote the Fifth very rapidly during the summer and early fall.

The sonata-form first movement, in the home key of B-flat major, is unusual for being a slow movement, and in fact slow tempos dominate the Symphony. It opens with the haunting principal theme sung in octaves by flutes and bassoon. Strings then reveal its beauty with lush harmonies. A wartime mood prevails with drums and dark brass adding military color and weight.

As the tempo quickens slightly, flute and oboe

Leaving memories of the war behind, movement two is a wry, ironic scherzo in D minor set to propulsive rhythms. Prokofiev originally intended this music for his ballet Romeo and Juliet, written a decade earlier, and it is a very characteristic expression of his black-comedy vein. A solo clarinet sings the winding, sassy principal theme.

The scherzo music segues smoothly into a slightly slower trio section, opened by oboe and clarinet singing a downward sliding tune. Subtle, imaginative scoring characterizes this section, which has an elusive, slightly macabre mood.

Many commentators have suggested that the third-movement Adagio — the heart of this symphony — was patterned after the grief-laden third movement of Shostakovich’s Fifth Symphony.

The success of the Shostakovich work, written nearly a decade earlier, had made it a model of the ideal symphony for Soviet composers. But though Prokofiev’s Adagio is also music of mourning, it is more sensuous and artful than Shostakovich’s blunt cry of pain. Its quality of lyric tragedy is embodied in its beautiful, poignant principal theme, introduced by the woodwinds but soon passed to its rightful owners, the strings. The gorgeous string writing here is vintage Prokofiev, as first violins soar to the stratosphere, arcing against the second violins not far below. The movement’s middle section is darker and more turbulent in its depiction of wartime suffering. Two funeral-march themes — one emphasizing jagged dotted-rhythms and associated with strings, the other for winds and containing a sinister trill — strive against each other. This rises to a climax of shattering volume and dissonance before the ethereal close.

After a brief recall of the melody that launched the symphony (heard most clearly in richly divided cellos), the Allegro giocoso finale shakes off the sorrows of war and exuberantly prepares for peace. Its manic, almost comic mood is a violent contrast to the Adagio. Over rollicking horns, the clarinet leads with a theme of Prokofievian drollery, followed by a chirpy idea for oboes, and finally a jauntily optimistic tune for flute. The development transforms the clarinet theme into a smoother, very Slavic melody for low strings, which is given lively fugal treatment. With whirring, clattering percussion and the Slavic tune blazing in the brass, the symphony closes with a joyful noise.

Program Notes by Janet E. Bedell copyright 2016

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artist biography thomas hooten T rumpet masterworks

Thomas Hooten is Principal Trumpet of the Los Angeles Philharmonic Orchestra.

He can be heard on numerous Los Angeles Philharmonic recordings, including Mahler’s Ninth Symphony and Lutoslawski’s Symphony No. 1. He has also recorded Scriabin’s Poem of Ecstasy and Gandolfi’s Garden of Cosmic Speculation with the Atlanta Symphony.

Of the Los Angeles Philharmonic’s recent performance of Mahler’s Fifth Symphony, Los Angeles Times critic Mark Swed wrote, “The symphony begins with a terrifying trumpet solo. Thomas Hooten nailed it.”

Prior to joining the Los Angeles Philharmonic, Hooten served as Principal Trumpet in the Atlanta Symphony from 2006-2012, where he was awarded the first ever Mabel Dorn Reeder Honorary Chair, a $10,000 merit-based award for “excellence in musical artistry, leadership, collegiality and community engagement.” He released Trumpet Call, his first solo album, in 2011.

Hooten has appeared as a soloist with the Atlanta Symphony Orchestra, the Saint Paul Chamber Orchestra, the United States Air Force Band, Keystone Winds, and the Richmond Symphony Orchestra. As an orchestral and chamber musician, he has performed with such ensembles as the National Symphony Orchestra, Harrisburg Symphony, Washington Symphonic Brass, Arlington Symphony, and the Baltimore Symphony. He has given master classes and recitals at Juilliard, Northwestern University, Indiana University, Mannes School of Music, San Francisco Conservatory, the Universities of Kentucky and Illinois, and many other locations throughout the United States. Hooten has appeared as a guest principal with the Saint

Louis Symphony, at the Grand Teton Music Festival, and with the Los Angeles Philharmonic.

Hooten began his career in 2000 with a trumpet/cornet position in “The President’s Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. While with the Marine Band, Hooten won the 2nd trumpet audition with the Richmond (VA) Symphony, where he continued to perform through 2004. He went on to join the Indianapolis Symphony as Assistant Principal Trumpet for two years, and subsequently won the Principal Trumpet auditions for both the Houston and Atlanta Symphonies.

Hooten has served on the faculty for The Aspen Music Festival, acting as a guest artist and teacher. While in Atlanta, he shared a studio with his wife Jennifer Marotta at Kennesaw State University, where they provided lessons, master classes, and performance coachings to a diverse range of professional and student musicians. A native of Tampa, Florida, he earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University. His primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen.

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

-The Times of London Born in the north-east of England, Andrew Constantine began his musical studies on the cello. Despite a seemingly overwhelming desire to play football (soccer) he eventually developed a passion for the instrument and classical music in general. Furthering his playing at Wells Cathedral School he also got his first sight and experience of a professional conductor; “for some reason, the wonderful Meredith Davies had decided to teach in a, albeit rather special, high school for a time. Even we callow youths realized this was worth paying attention to!” After briefly attending the Royal Northern College of Music in Manchester, a change of direction took him to the University of Leicester where he studied music, art history and politics. A chance discovery at an early age of a book about the great conductor John Barbirolli in his local library had instilled in him yet another passion – conducting. Later, as he began to establish his career, the conductor’s widow Evelyn Barbirolli, herself a leading musician, would become a close friend and staunch advocate of his work.

His first studies were with John Carewe and Norman Del Mar in London and later with Leonard Bernstein at the Schleswig-Holstein Music Festival in Germany. At the same time, he founded the Bardi Orchestra in Leicester.

With this ensemble he performed throughout Europe and the UK and had his first taste and experience of conducting an enormous range of the orchestral repertoire.

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

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human beings I have ever met”. In turn, Musin described Andrew Constantine as, “A brilliant representative of the conducting art”.

Earlier in 1991 Constantine won first prize in the Donatella Flick-Accademia Italiana Conducting Competition. This led to a series of engagements and further study at the Accademia Chigiana in Siena and a year working as assistant conductor for the late Giuseppe Sinopoli. His Royal Festival Hall debut in 1992 with the London Philharmonic was met with unanimous critical acclaim and praise. The Financial Times wrote: “Definiteness of intention is a great thing, and Constantine’s shaping of the music was never short of it.” The Independent wrote: “Andrew Constantine showed a capacity Royal Festival Hall audience just what he is made of, ending his big, demanding program with an electrifying performance of Prokofiev’s Symphony No. 5.”

Described by the UK’s largest classical radio station, Classic FM, as “a Rising Star of Classical Music,” Andrew Constantine has worked throughout the UK and Europe with many leading orchestras including, The Philharmonia, Royal Philharmonic, London Symphony Orchestra, St. Petersburg Philharmonic and Danish Radio Orchestra. He was awarded an Honorary Degree of Doctor of Music by the University of Leicester for his “contribution to music.”

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

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

In 2004, he was awarded a highly prestigious British NESTA Fellowship to further develop his

international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience.

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

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

As performing musicians our responsibility is to not shirk away from the challenge, but keep the flame of belief alive and to be a resource and supporter of all music educators.” Another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. In these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of Tchaikovsky: REVEALED.

In 2004, Andrew Constantine was invited by the great Russian maestro Yuri Temirkanov to become Assistant Conductor of the Baltimore Symphony Orchestra. Within a year he became Associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As Temirkanov has said, “He’s the real thing. A serious conductor!” In 2007 he accepted the position of Music Director of the Reading Symphony Orchestra in Pennsylvania – after the RSO considered over 300 candidates and recently helped the orchestra celebrate its 100th Anniversary as they continue to perform to capacity audiences. In addition, in 2009 he was chosen as the Music Director of the Fort Wayne Philharmonic in Indiana from a field of more than 250 candidates.

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

Engagements in 2014 included concerts with the Orchestra Sinfonica Siciliana in Italy and, the NWD Philharmonie in Germany.

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conductor

chorus director

chia-hsuan lin

benjamin rivera

Lauded for her clarity and elegance on the podium, Ms. Lin has shared her talents in many diverse musical settings throughout the world.

Ms. Lin began her first season as assistant conductor with the Fort Wayne Philharmonic in 2014 and had directed many educational, and community out-reach performances. Earlier in 2014, she conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and was chosen a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania.

Ms. Lin’s versatility extends from chamber music and symphonic orchestral repertory to opera and theatre works. In 2014 she conducted a performance of Mark Adamo’s Little Women at Northwestern University and previously led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the College-Conservatory of Music of the University of Cincinnati. She served as music director of the University of Cincinnati Symphony Orchestra and later participated in the 2012 Cabrillo Festival of Contemporary Music in California. In celebration of the Taiwanese premiere of J. S. Bach’s MatthäusPassion, Ms. Lin returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus in a lecture series

by Bach specialist Helmuth Rilling. The summer of 2011 took her to Italy where she served as assistant conductor of opera at the CCM Spoleto Music Festival.

Ms. Lin received her first musical training as a pianist in Taiwan at age three. At age nine

she began studies as a percussionist and later performed with the renowned Taipei Percussion Group from 2003 to 2010. Ms. Lin received her undergraduate degree in percussion and her graduate degree in conducting from the National Taiwan Normal University, where she studied with Apo Hsu. Under the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati. In 2012 Ms. Lin received the Foreign Study Award for Music from the Taiwan Education Bureau to begin doctoral studies with Victor Yampolsky at Northwestern University.

Ms. Lin has furthered her education through masterclasses and workshops, including sessions with the Richmond Symphony Orchestra, the Baltimore Chamber Orchestra and the Romanian Royal Camerata, as well as with conductors Günther Herbig, Jorma Panula, Imre Palló, Steven Smith, Helmuth Rilling, Gábor Hollerung, Mei-Ann Chen, Harold Farberman, Markand Thakar, Israel Yinon, and Douglas BostockMs. Lin currently holds the Jack & Mary Ann Frable Associate Conductor Chair with the Richmond Symphony Orchestra.

“The purpose of this organization shall be to support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra, Inc. in its fundraising and educational endeavors, while striving also to discover and encourage musical talent.”

THE PHILHARMONIC FRIENDS BOARD OFFICERS Vice-President Education: Sara Davis Vice-Presidents Fundraising: Susan Lehmann Vice-President Hospitality: Jayne Van Winkle Treasurer: Sarah Reynolds Vice-President Marketing: Cynthia Fyock Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions BOARD MEMBERS Mary Campbell Suzi Hanzel Sandra Hellwege Pat Holtvoigt 62

Naida MacDermid Nellie Bee Maloley Nan Nesbitt

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Tamzon O'Malley John McFann Janet Ormiston

Benjamin Rivera has been artistic director and conductor of Cantate Chicago since December of 2000. He has prepared and conducted choruses at all levels, from elementary school through adult, in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. He prepared the Fort Wayne (IN) Philharmonic Chorus and members of Cantate for a performance of William Walton’s Belshazzar’s Feast in March of 2013. He was appointed director of the Fort Wayne Philharmonic Chorus in the fall of the same year. He has also served as Guest Chorus Director of the Grant Park Music Festival in Chicago.

In his nineteenth season as a member of the Chicago Symphony Chorus, including twelve seasons as bass section leader, Rivera also sings professionally with Chicago a cappella, the Grant Park Chorus, and many other ensembles.

He is a frequent soloist, appearing with these ensembles and others, most often in sacred and concert works. He has sung across the U.S., and can be heard on numerous recordings.

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

Association summer conference.

Especially adept with languages, Benjamin Rivera frequently coaches German and Spanish, among several others. He holds degrees in voice and music theory from North Park University and Roosevelt University, respectively, and a DMA in choral conducting from Northwestern University. His studies also have included the German language in both Germany and Austria, for which he received a Certificate of German as a foreign language in 2001; conducting and African American spirituals with Rollo Dilworth; and workshops, seminars, and performances in early music.

In 2011, he researched choral rehearsal and performance practice in Berlin, Germany.

Benjamin Rivera is a member of the American Choral Directors Association (ACDA), the American Guild of Musical Artists (AGMA), Chorus America, and the College Music Society (CMS).

the phil chorus board of directors OFFICERS Katy Hobbs, President Sarah Reynolds, Vice President Greg White, Treasurer Sara Davis, Secretary BOARD MEMBERS Tom Cain Sara Davis

Lenore Defonso Sandy Hellwege

Katy Hobbs Nathan Pose

Sarah Reynolds Greg White

Ruth Springer Marcella Trentacosti Alexandra Tsilibes

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youth symphony orch. conductor david cooke David began his musical studies at the age of 9 in his hometown of Canton, Ohio. He received a B.M in trombone performance from The Ohio State University and a M.M. in trombone performance with an emphasis on orchestral conducting from the Cleveland Institute of Music. David has performed with the Cleveland Orchestra, Columbus (Ohio) Symphony and the Indianapolis Symphony Orchestra. He is currently in his 26th year as principal trombonist with the Fort Wayne Philharmonic. In addition to his regular duties, he has performed as soloist, and as guest conductor on numerous occasions with the Philharmonic. David studied conducting with Craig Kirchhoff, Harvey Benstein, Carl Topilow, Louis Lane, and J. Ted Wenger.

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

conducing the university orchestra and wind ensemble, and serving as conductor for the Fort Wayne Area Community Band.

He is currently in his 23rd season as conductor of the IPFW Community Orchestra.

David previously held this interim position in the 1998-99 academic year. David has served, during separate seasons, as the conductor of the Fort Wayne Youth Symphony. In August of 2012, he was appointed Music Director of the Youth Symphony.

For the 2003/2004 academic year Cooke was appointed Interim Director of Instrumental Studies at Indiana-Purdue University at Fort Wayne. His duties included teaching studio trombone, coaching brass chamber music,

David lives in Fort Wayne with his husband, Kyle, their 2 dogs, Ollie and Gizmo, and 2 cats, Tina and Milly. He loves the music of Prince and insists that he is the biggest Ohio State football fan you will ever know!

George Bartling Sarah Bodner Earl D. Brooks, II Vicky Carwein Anita Cast Keith Davis Ben Eisbart Dennis Fick Michael Galbraith Leonard Helfrich Katy Hobbs Vicki James Pamela Kelly Carol Lindquist Greg Marcus Eleanor Marine

Nick Mehdikhan Timothy Miller Tamzon O’Malley Sharon Peters Dr. Lance Richey Melissa Schenkel Jeff Sebeika Rob Simon Philip Smith Nancy Stewart Chuck Surack Barb Wachtman Daryl Yost Alfred Zacher Mary Ann Ziembo

HONORARY BOARD Patricia Adsit Mrs. James M. Barrett III Howard and Betsy Chapman Will and Ginny Clark Dru Doehrman June E. Enoch Leonard M. Goldstein William N. and Sara Lee Hatlem

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

Carolyn and Dick Sage Lynne Salomon Herbert Snyder Howard and Marilyn Steele Zohrab Tazian Ronald Venderly W. Paul Wolf Don Wood

ADMINISTRATIVE STAFF Jim Palermo Managing Director

keefer

Roxanne Kelker Executive Assistant to the Managing Director and Music Director artistic operations Jim Mancuso General Manager Christina Brinker Director of Operations Timothy Tan Orchestra Personnel Manager Adrian Mann Orchestra Librarian/ Staff Arranger Ryan Pequignot Stage Manager

education Jason Pearman Director of Education and Community Engagement Anne Preucil Lewellen Education and Ensemble Coordinator Joseph Kalisman Youth Orchestra Manager Derek Reeves Instructor, Club Orchestra program development Angela Freier Assistant Director of Development Sarah Kimou Grants and Sponsorship Coordinator

finance & technology Beth Conrad Director of Finance Kathleen Farrier Accounting Clerk Angelyn Begley Technology Coordinator marketing & communications Melysa Rogen Director of Marketing and PR Ed Stevens Sales Manager Brooke Sheridan Publications and Graphics Manager Doug Dennis Patron Relations Manager

Clarissa Reis Annual Fund Coordinator

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the phil orchestra roster andrew constantine music director Ione Breeden Auer Podium

Violin

Viola

Bass

David Ling, Acting Concertmaster Frank Freimann Chair

Derek Reeves, Principal

Adrian Mann, Principal

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

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Bruce Graham

Andres Gil

Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair Olga Yurkova, Principal Second Wilson Family Foundation Chair Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair Marcella Trentacosti Wayne L. Thieme Chair Timothy Tan Alexandra Tsilibes

Joel Braun

Theodore E. Chemey III

Luke Fitzpatrick, Principal Rejean O’Rourke Chair

Erin Rafferty

Cello Andre Gaskins, Principal Morrill Charitable Foundation Chair Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair

Pablo Vasquez

Jane Heald

Kristin Westover

David Rezits

Dessie Arnold

Edward Stevens

Zofia Glashauser

Joseph Kalisman

Janet Guy-Klickman

Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

Linda Kanzawa Ervin Orban

Brian Kuhns

Debra Graham S. Marie Heiney and Janet Myers Heiney Chair Erin Maughan

Flute

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Timpani

Campbell MacDonald, Principal Howard and Marilyn Steele Chair

Andrew Lott, Principal Gaylord D. Adsit Chair

Eric Schweikert, Principal William H. Lawson Chair

Daniel Ross George M. Schatzlein Chair

Percussion

Bassoon Dennis Fick, Principal

Horn

Adam Johnson

Michael Lewellen, Principal Mr. & Mrs. Arthur A. Swanson Chair

Bass Trombone

J. Richard Remissong John D. Shoaff Chair

Hillary Feibel Mary-Beth Gnagey Chair

Katherine Loesch

Oboe Orion Rapp, Principal Margaret Johnson Anderson Chair Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair

English Horn

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

Michael Galbraith Walter D. Greist, MD Family Chair

Scott Verduin, Principal June E. Enoch Chair

Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair

Akira Murotani Charles Walter Hursh Chair

Anne Devine Joan and Ronald Venderly Family Chair

Vivianne BĂŠlanger Virginia R. and Richard E. Bokern Chair

Leonid Sirotkin Marilyn M. Newman Chair

chamber musicians

Trumpet

Cynthia Greider Georgia Haecker Halaby Chair

benjamin rivera chorus director

Johanna Bourkova-Morunov, Acting Associate Concertmaster Michael and Grace Mastrangelo Chair

Clarinet

Kirk Etheridge Patricia Adsit Chair

Harp Anne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

Andrew Hicks

Tuba Samuel Gnagey, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

Contributing Musicians VIOLIN

VIOLA

OBOE

Jenna Anderson Nathan Banks Nicole DeGuire Regan Eckstein Janice Eplett Paul Hauer Michael Houff Victoria Moore Caleb Mossburg Irina Mueller Michael O'Gieblyn Ilona Orban Kristine Papillon Eleanor Pifer Colleen Tan Lauren Tourkow Jessica Wiersma

Melissa Lund Ziegler Katrin Meidell Emily Mondok Anna Ross Liisa Wiljer

Jennet Ingle Aryn Sweeney Sarah Thelen

CELLO Heather Scott Gena Taylor

BASS Brad Kuhns John Tonne

FLUTE Janet Galbraith Alistair Howlett Patricia Reeves

Organ Irene Ator Robert Goldstine Chair

Piano Alexander Klepach English, Bonter, Mitchell Foundation Chair

CONTRABASSOON Alan Palider Keith Sweger

PERCUSSION Matt Hawkins Renee Keller Ben Kipp Kevin Kosnik Jerry Noble

CLARINET

HORN

Elizabeth Crawford Dan Healton Spencer Prewitt

Gene Berger Kurt Civilette Kenji Ulmer

KEYBOARD

BASS CLARINET

TRUMPET

SAXOPHONE

Brittany Hendricks Douglas Hofherr Greg Jones Larry Powell Alan Severs

Matt Cashdollar Ed Renz Dave Streeter Farrell Vernon

Elizabeth Crawford Daniel Healton Spencer Prewitt

Jonathan Mann

BASSOON

HARP

Marat Rakhmatullaev Michael Trentacosti

Caitlin Mehrtens

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the phil chorus roster

series sponsors

Benjamin Rivera chorus director Jonathan Eifert assistant director soprano Ashley Adamson Karen Campbell Maria Chase Sheila Chilcote-Collins Kaitlin Clancey Elaine Cooper Nicoline Dahlgren Sara Davis Kathy Dew Ruth Fearnow Katy Hobbs Carol Jackson Jill Jeffery Natasha Kersjes Sara Kruger Carol Anne McMillen Jane Meredith LeeAnn Miguel Meg Moss Clarissa Reis Karma Remster

Rita Robbins Mary Snow Sherrie Steiner Sue Stump Christina Thomson Carrie Veit Sarah Vetter Alto Nancy Archer Cathryn Boys Ronnie Brooks Jeri Charles Caitlin Coulter Lenore DeFonso Joan Gardner Ronnie Greenberg Cheryle Griswold Sandra Hellwege Darah Jones Jody Jones Sharon Mankey

Tara Olivero Sarah Reynolds Paula Neale Rice Sabrina Richert Cindy Sabo Lynn Shire Hope Swanson Smith Sue Snyder Ruth Trzynka Frédérique Ward Gretchen Weerts Nancy Weigelt Mary Winters Lea Woodrum tenor Michael Bienz Garrett Butler Thomas Cain David Courtney Sarah Kindinger John T. Moore

Nathan Pose Mark Richert John Sabo Greg White BASS Thomas Baker John Brennan Thomas Callahan Jon Eifert Kris Gray Gerrit Janssen Fred Miguel Michael F. Popp Ewing Potts Keith Raftree Gabriel Selig Kent Sprunger

robert wagner & MARLENE BUESCHING

the madge rothschild foundation During her lifetime, Madge Rothschild’s philanthropy in support of many local charities was frequent and generous, but, far more often than not, was done anonymously.

Aware of her mortality, Madge established The Madge Rothschild Foundation and at death willed her remaining estate to it in order that her support for various local charitable organizations would be continued. The Fort Wayne Philharmonic was one of the charities she supported, remarking, “Without The Phil, there would be so much less culture in this city for us to be proud of and for me to enjoy with others.”

chuck surack founder and president, sweetwater sound, inc.

The Phil is truly one of our most important assets, enhancing northeastern Indiana in the areas of culture, education, and economic development. All of us at Sweetwater are looking forward to an exciting season of memorable performances.

colorful Design/Build, Maintenance, Irrigation, Floral Studio Bruce Ewing | 124 North Thomas Road | 260.432.2785 | bruceewinglandscaping.com

jim marcuccilli PRESIDENT & CEO, STAR BANk

STAR is proud to call Fort Wayne home. As a local company, we’re dedicated to making our city an ideal place to raise a family. That is why we created Family of STARs, our community involvement initiative that supports family-oriented programming. The Phil Family Music Series is one of those underwriting commitments. (The three-part Family Series is held in IPFW’s Auer Performance Hall). The programs showcase classical music to families in a fun, relaxed setting. The perfect fit for a culturally rich family experience.

series sponsors

annual fund individuals

mark robison chairman & president, brotherhood mutual insurance company

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

For information about supporting The Phil’s 2015/16 Annual Fund, contact the Development Office at 260•481•0775.

FOUNDERS SOCIETY (GIFTS OF $25,000+) Anonymous (1) Gloria Fink*

"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."

Mark Millett president & CEO, Steel dynamics

Mr. & Mrs. Russell Quilhot Chuck & Lisa Surack, Sweetwater Sound

VIRTUOSO SOCIETY (GIFTS OF $10,000 TO $24,999) Anonymous (1) Wayne & Linda Boyd Howard & Betsy Chapman Dr. June E. Enoch Leonard & Rikki Goldstein William N. & Sara Lee Hatlem

Diane S. Humphrey Drs. Kevin & Pamela Kelly Eleanor H. Marine Ian & Mimi Rolland Herb & Donna Snyder Jeff Sebeika, Subway

STADIVARIUS SOCIETY (GIFTS OF $5,000 TO $9,999)

st e e l dy n a m i c s

patriotic pops 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.”

Dr. & Mrs. Alfred Allina Drs. David Paul J. & Jeneen Almdale Nancy Archer George & Linn Bartling David & Janet Bell Mrs. Virginia Coats

Andrew & Jane Constantine Ben & Sharon Eisbart Mark O. Flanagan Tod Kovara Mr. & Mrs. Victor Porter The Rifkin Family Foundation

CONDUCTOR’S CIRLCE (GIFTS OF $2,500 TO $4,999)

Mike Packnett president & ceo, parkview medical center parkview regional medical center

holiday pops

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 the physicians and the clinical, administrative and support staff members, and from my wife, Donna, and me, heartfelt wishes to you and yours for a blessed and joyous holiday season.

Tim & Libby Ash Anita & Bill Cast Will & Ginny Clark Sarah & Sherrill Colvin John H. Shoaff & Julie Donnell Mr. & Mrs. Irwin F. Deister Jr. Ann H. Eckrich Patricia S. Griest Dr. Rudy & Rhonda Kachmann Drs. Carol & David Lindquist

Greg Marcus Michael Mastrangelo Kevin & Tamzon O’Malley Dr. Evelyn M. Pauly Carolyn & Dick Sage Ms. Carol Shuttleworth & Mr. Michael Gavin Barbara Wachtman & Tom Skillman Daryl Yost Al & Hannah Zacher

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Anonymous (1) Norma & Tom Beadie Katherine Bishop Earl & Melanie Brooks Joan Baumgartner Brown Kathy Callen Tom & Margaret Dannenfelser George & Ann Donner

Fred & Mary Anna Feitler Susan & Richard Ferguson Fredrica Frank* Leonard Helfrich Sattar & Marlene Jaboori Dorothy K. Kittaka

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COMPOSER’S CIRCLE continued (GIFTS OF $1,250 TO $2,499) Mr. & Mrs. John Krueckeberg Greg & Barbara Myers Rosemary Noecker Kathryn & Michael Parrott Linda Pulver The Rev. C. Corydon Randall &

Mrs. Marian Randall The Rothman Family Foundation

FIRST CHAIR (GIFTS FROM $300 TO $499) Melissa & Peter Schenkel Philip & Rebecca Smith Nancy & David Stewart Wayne & Helen Waters Lewie Wiese Virginia Lee Zimmerman Dr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Anonymous (1) Holly & Gil Bierman Dr. & Mrs. James G. Buchholz Keith & Kyle Davis The Dyer Family Foundation Elizabeth A. Frederick Ginny & Bill Johnson Floyd & Betty Lancia Lyman & Joan Lewis Mr. & Mrs. Donald T. Mefford

Timothy & Jennifer Miller Norma J. Pinney Carol & Bill Reitz Dr. Joseph Schneider Kathleen M. Summers Rachel A. Tobin-Smith Carolyn & Larry Vanice Nancy Vendrely Herbert & Lorraine Weier

ENCORE CIRCLE (GIFTS OF $750 TO $999) Glenn & Janellyn Borden Mr. & Mrs. Craig D. Brown Anita G. Dunlavy Emily & Michael Elko Mr. & Mrs. Daniel C. Ewing Diane Keoun David B. Lupke

Anne & Ed Martin Paul & Bonnie Moore Paul A. Oberley David & Sharon Peters Robert Simon Norma Thiele Kari & Jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (5) Jeane K. Almdale Dr. & Mrs. Richard N. Avdul Larry & Martha Berndt Elizabeth Bueker Margaret L. & Richard F. Bugher Barbara Bulmahn Andy & Peg Candor John & Janice Cox Dr. & Mrs. Fred W. Dahling Sara Davis Clayton Ellenwood Bruce & Ellen England Steven & Nancy Gardner Scott & Melissa Glaze Shirley H. Graham Mrs. Eloise Guy Bob & Liz Hathaway William & Sarah Hathaway Anne & James Heger Mark & Debbie Hesterman Mr. & Mrs. Kenneth Johnson Stephen & Roxanne Kelker Richard & Mary Koehneke G. Irving Latz II Fund

Dr. & Mrs. John W. Lee Stephen & Jeanne Lewis Senator David & Melissa Long Frank Luarde Peter & Christine Mallers Thomas & Dianne May Lusina McNall Jim & Alice Merz Susan & David Meyer Sean & Melanie Natarajan Mr. & Mrs. Maurice O’Daniel Brian & Sue Payne William & Sue Ransom Dr. & Mrs. Stephen Reed LTC Ret. & Mrs. Richard Reeves Lance & Carol Richey Alan & Pat Riebe Benjamin & Alexia Rivera Anne & David Silletto Mr. Marco Spallone & Ms. Anne Longtine Jane C. Thomas Mr. John Ulmer Angela & Dick Weber Virginia & Don Wolf Mary Ann & Mike Ziembo

Anonymous (2) Michael & Mary Jo Amorini Scott & Barbara Armstrong Linda Balthaser Frederick Beckman Michael & Deborah Bendall Jon Bomberger & Kathryn Roudebush Dr. & Mrs. Robert Burkhardt Dan & Marjorie Culbertson Mark A. Crouch Ann & Tim Dempsey George & Nancy Dodd Bill & Dot Easterly Mrs. Philip W. Eherenman Albert & Jeanne Emilian Pauline Eversole Dan & Nancy Fulkerson Linda Gaff Robert & Barbara Gasser Robert & Constance Godley Mr. & Mrs. Thomas E. Green Lois Guess Warren & Ardis Hendryx Tom & Mary Hufford Mr. & Mrs. Arnold Huge Marcia & Andy Johnson Larry & Annette Kapp Jane L. Keltsch Mr. John A. Kirchhofer Bruce & Mary Koeneman Ed & Linda Kos Steve & Rhonda Lehman

Dr. & Mrs. Richard D. Lieb Anne A. Lovett Paul & Pauline Lyons Peg Maginn April & Charles Morrison Suzon Motz Martha L. Noel Janet Paflas Mac & Pat Parker Mr. & Mrs. William Peiserich Mr. & Mrs. Delmar J. Proctor Cindy & Fred Rasp Paul J. & Lula Belle Reiff Jeremy & Clarissa Reis Sarah & Richard Reynolds Maryellen Rice Martin & Rita Runge Robert & Ramona Scheimann Mary Schneider Scot C. Schouweiler & Julie Keller Chuck & Patty Schrimper Wayne & Ann Shive Fort Wayne Alumnae Chapter of Sigma

Alpha Iota Stephen R. & Anne S. Smith Lois A. Steere Carol Ann Terwilliger Carl & Cynthia Thies Scott & Jenny Tsuleff Don & Amy Urban Michael J. Vorndran & Joshua Long Lorraine & Shepard* Weinswig

SECTION PLAYER (GIFTS OF $100 TO $299) Anonymous (7) Max M. Achleman Ambulatory Medical Management Terry & Phil Andorfer Dr. & Mrs. Justin Arata Ms. Mary Jo Ardington Thomas Armbuster Mel & Ruth Arnold Mr. & Mrs. William Arnold Dick & Adie Baach Dave & Bev Baals Mike & Kay Bauserman Amy & John Beatty Tony & Pat Becker Beth & Don Bieberich Matthew Bilodeau Robert & Mary Binns David W. Bischoff Sherry L. Blake Barbara L. Boerger Virginia Bokern Rebecca Bouse Dennis Bowman Jim & Sue Bradley Dr. Helene Breazeale Dr. & Mrs. Todd Briscoe Mr. Mike Britten

Ms. Evelyn Brosch-Goodwin David N. Brumm &

Kimberly S. MacDonald William & Joan D. Bryant William & Dorothy Burford Dr. David & Gayle Burns Marguerite W. Burrell Philip Burt Joyce & Paul Buzzard Mary Campbell Anne & Michael Cayot Arlene Christ Willard & Nena Clark Mr. & Mrs. J. Nelson Coats Robert & Annelie Collie Mr. & Mrs. Richard Cook John Crawford Jane Dehaven Tom & Holly DeLong Vera & Dominick DeTommaso Carol Diskey Daryle L. Doden Fred & Joan Domrow Phyllis Dunham Dr. & Mrs. John Dyer G. Edwards Don & Mary Kay Ehlerding Cynthia Elick

Lillian C. Embick Pam Evans-Mitoraj Mr. & Mrs. Larry Farver Dr. & Mrs. Joseph P. Fiacable David & Mary Fink Michael & Marcia Flood John & Jane Foell Nathan & Angela Freier Sheryl A. Friedley Leonard Garrett Daniel & Sara Gebhart Geoff & Betsy Gephart Edward & Henrietta Goetz William & Mary Goudy Mr. & Mrs. Ronald Greek Norm & Ronnie Greenberg Don & Kate Griffith James B. Griffith David L. Guilford Mary K. Gynn Mark Hagerman Melanie & Robert Hall Jonathan & Alice Hancock Brian & Barbara Harris Paul J. Haughan Dennis & Joan Headlee

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SECTION PLAYER continued (GIFTS OF $100 TO $299) Jacqueline Heckler Mayor Tom C. & Cindy Henry Tom & Jane Hoffman Douglas E. & Karla K. Hofherr Phil & Sharon Howard Winifred Howe Ed & Mary Lou Hutter George & Jane Irmscher Mr. & Mrs. Arlin Jansen Mark & Dianne Jarmus Alex & Sharon Jokay Gwen Kaag James R. Karlin LuAnn R. Keller Bridget Kelly Dale Kelly Sheila D. Kiefer William G. Knorr James & Janice Koday Kay & Fred Kohler Dr. & Mrs. Daniel Krach Carolyn Krebs Hedi Krueger Paula Kuiper-Moore JJ Carrol & Jeff Lane Drs. Chung & Sage Lee Peter Smith & Frances LeMay Dale & Virginia Lutz Cameron & Meg MacKenzie Janet & Larry Macklin Mr. & Mrs. Michael Makarewich Nellie Bee Maloley Cheryl Mathews David Matz Dr. & Mrs. Michael L. McArdle Susan J. McCarrol Mary McDonald Mr. & Mrs. Ralph McDowell John H. & Shelby McFann Scott McMeen

Alice McRae Leanne Mensing Elizabeth Meyer Dr. Ken & Jan Modesitt David & Linda Molfenter Al & Cathy Moll Ray & Nancy Moore Deborah Morgan Chuck & Becky Morris Dr. David Moser Kenneth & Linda Moudy John & Barbara Mueller Kevin & Pat Murphy Ms. Mary Musson Ed Neufer Ron & Ruth Nofzinger David & Sally Norton Betty O’Shaughnessey C. James & Susan J. Owen Emmanuel & Noemi Paraiso Edwin* & Maxine Peck Penny Pequignot Mr. & Mrs. John M. Peters Gary & Alice Peterson Raymond & Betty Pippert Marvin & Vivian Priddy Helen F. Pyles JoEllen & Donald Reed John & Diana Reed Emma Reidenbach Dennis L. Reynolds Ruth & Phillip Rivard Janet Roe Stanley & Enid Rosenblatt Douglas & Laura Runyan Marilyn Salon Nancy & Tom Sarosi Jan & Steve Sarratore Harold Schick Sylvia Schmidt

Mary Ellen Schon Beverly & Dick Schweizer David Seligman Mr. & Mrs. Richard Shankle Phyllis Shoaff Lt. Col. & Mrs. Tom Sites Ramona & Dick Sive Curt & Dee Smith Darryl R. Smith Lynda D. Smith Stan & Linda Sneeringer Sharon Snow Betty Somers Drs. David A. & Judith J. Sorg Michael E. Sorg Mr. & Mrs. Donald D. Stedge David & Beth Steiner Thomas & Mary

Jane Steinhauser Annetta Stork Matt & Cammy Sutter Tim & Colleen Tan Lois Teders Horn Judge Philip R. Thieme Tom & Maureen Thompson Dr. & Mrs. J. Phillip Tyndall Jayne Van Winkle Daniel & June Walcott Dr. James Wehrenberg John & Pat Weicker Keitha & Steve Wesner Dr. & Mrs. Alfred A. Wick Ellen Wilson Hope Wilson Betty J. Woodmansee Lea B. Woodrum Marcia & Phil Wright Mr. Galen Yordy Bob & Jan Younger Brian & Kyla Zehr

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

Series Sponsors

Madge Rothschild Foundation

Maestoso $250,000+

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

Founder’s Society $25,000 to $49,999

Virtuoso Society $10,000 to $24,999

Connecting special audiences with the arts.

260.424.1064 | AudiencesUnlimited.org M A R , A P R & M AY 2 0 1 6

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

Concertmaster $500 to $999

Drs. Kevin & Pamela Kelly

Britton Marketing & Design Group Christopher James Menswear Club, Car, Limousine, & Trolley Downtown Improvement District Joseph Decuis Monarch Capital Management, Inc.

The Miller Family Foundation Mr. & Mrs. Russell Quilhot

Stradivarius Society $5,000 to $9,999

Nancy Archer

Jeff Sebeika, Subway

Conductor’s Circle $2,500 to $4,999 Pain Management & Anti-Aging Center,

Dr. Alfred Allina Parrish Leasing Inc. PBS 39 Travel Leaders

Composer’s Circle $1,000 to $2,499

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Old National Insurance Ottenweller Co., Inc. String Shift The Oyster Bar Web Industries Inc.

Section Player $100 to $299 Jim and Gloria Nash

Alpha Rae Personnel, Inc. Brotherhood Mutual Insurance Co. Fort Wayne Parks & Recreation Hagerman Construction Corp.

Indiana Wesleyan University – Fort Wayne

Old Crown Brass Band Parkview Field Paul Davis Restoration & Remodeling Unified Wealth & Retirement Planning UniFirst Vision Scapes

First Chair $300 to $499 AEGIS Sales & Engineering Inc. ChromaSource Inc. Club Soda Erika’s Spa & Wellness Club Hyndman Industrial Products, Inc.

BAE Systems BKD Debrand Fine Chocolates Janice Eplett MedPartners

Jehl & Kreilach Financial Management Shambaugh, Kast, Beck, & Williams, LLP Ueber & Friedrich Dentistry Wells Fargo Advisors

Ambulatory Medical Management Leonard J. Andorfer & Co., LLP Aunt Millie’s Bakeries Belmont Beverage Bone Asset Management Bradley Gough Diamonds Brown Equipment Co. Cali Nails Catablu Grille Certified Burglar & Fire Alarm Systems Crazy Pinz Dekko Investments Design Collaborative EPCO Products Fort Wayne Tin Caps Friendly Fox Hakes & Robrock Design-Build Inc.

Jophiel Clothing Longhorn Steakhouse Masolite Metro Real Estate Mike’s Carwash Moose Lake Products Co., Inc. Northeast Indiana Building Trades Paula’s on Main Rudy’s Shop Sheridan Stables John Shoemaker SkyZone Smoothie King Tomkinson BMW Two EE’s Winery Ultrazone Family Entertainment Center

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

MULTIPLE COUNTY SUPPORT Indiana Michigan Power Olive B. Cole Foundation Parkview Regional Medical Center/

Parkview Health

Star Financial Bank Steel Dynamics Foundation, Inc

ADAMS COUNTY Adams County Community Foundation Bunge North America Decatur Rotary Club

Eichhorn Jewelers Gilpin, Inc. Janet & Larry Macklin Ellen Mann

Porter Family Foundation Psi Iota Xi (Alpha Delta) Jim & Bertie Shrader Sandra Striker

ALLEN COUNTY Jonathan Atkins Dr. & Mrs. Justin Arata George & Linn Bartling Craig & Diana Bartscht Amy & John Beatty Leaanne Bernstein Sarah Bodner Charles Bolyard Joan Baumgartner Brown Richard Brown Anita & Bill Cast Carolyn Colpetzer City Of Fort Wayne Jane Dehaven Matthew & Kris Derby Downtown Improvement District Teresa Dustman Ann H. Eckrich Suzie Fast Hagerman Construction Corp.

Robert Hoffman Stanley & Mary Hursh Martha Jones Dr. Rudy & Rhonda Kachmann Gerald & Marie Kanning Stephen & Roxanne Kelker Drs. Kevin & Pamela Kelly Russ & Marcia Kirby Ronald & Patricia Kohart Joellen Lauer Drs. Carol & David Lindquist Paul & Pauline Lyons John Martin Michael Mastrangelo Diane McCammon Douglas McCoy John H. & Shelby McFann Roger & Rachel McNett Susan & David Meyer Greg & Barbara Myers Mike & Pat Miller

Ray & Nancy Moore Mr. & Mrs. Terence O’Neil Ms. Nigel Perry PNC Mr. & Mrs. David Ridderheim Alan & Pat Riebe Madonna Ryan Richard Scheumann Grant & Stephanie Schultz John Smith Nancy & David Stewart Mr. & Mrs. Robert Streeter Mrs. Carol Ward Wayne & Helen Waters Jeanne Weber Rush Wells Fargo Advisors Donna Windmiller David Winters Daryl Yost

DEKALB COUNTY Auburn Moose Family Center Auburn Dental Associates Gary & Lisa Bowser John & Cheryl Chalmers Gerald Chapp DeKalb County Community Foundation DeKalb County Council

on Aging Erica Dekko

Phyllis Dunham William & Mary Goudy C. Bishop Hathaway William & Sarah Hathaway Greg & Emma Henderson David & Pat Kruse Steve & Linda Kummernuss Metal Technologies Inc. Foundation Margery Norris

Kevin & Tamzon O’Malley Dr. & Mrs. Keith Perry Dr. & Mrs. James Roberts Scheumann Dental Associates Richard & Suzanne Shankle Gary Sible Rosemary Sprunger Mayor Norman & Peggy Yoder

FULTON COUNTY Psi Iota Xi (Eta Mu)

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Ronnie Shreffler

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KOSCIUSKO COUNTY Mr. & Mrs. Russell Anderson Mr. & Mrs. Donn Baird Aunt Millie’s Bakeries Mrs. Carol B. Bennett James H. Benninghoff Al Campbell Bill & Anita Cast Georgia Cook Thomas & Nancy Cottrell Edward & Linda Dahm Gretchen & Greg Dahm Tom & Sandi Druley David & Judith Eckrich Richard & Susan Ferguson Mr. Alan Fox Michael Glasper Dr. & Mrs. Lloyd Hagedorn Mr. & Mrs. Vaughn Hankins Kenneth & Lela

Harkless Foundation

Bruce & Sabine Hopkins Mrs. Hope Huber Stanley & Mary Hursh Needham & Mary Lou Hurst Rosalie Hurst Harriet Inskeep Dr. Rudy & Rhonda Kachmann Phillip & Janet Keim Dan & Sarah Kitch Kosciusko County

Community Foundation Kosciusko REMC Operation Round Up Program Lakeland Community

Artist's Corp.

Floyd A. & Betty Lou Lancia Mr. & Mrs. Max Laudeman Jim & Pat Marcuccilli Mr. & Mrs. Paul Mast Mr. & Mrs. William F. McNagny

Dave & Dorothy Murphy Walter & Ann Palmer Dr. & Mrs. Ronald Pancner Mr. & Mrs. Paul Phillabaum Richard & Susan Pletcher Prickett’s Properties, Inc. Maryellen Rice Ian & Mimi Rolland Ms. Mary Roth Ann Strong Dick & Linda Tillman Wawasee Property Owners Association Mr. Larry Weigand Dr. & Mrs. Leamon D. Williams Tod & Sandy Wolfrum Alfred & Hannah Zacher Robert & Karen Zarich

NOBLE COUNTY Dr. & Mrs. Craig Atz Greg & Sheila Beckman Arthur & Josephine

Beyer Foundation Gregory & Michele Bricker

Kappa, Kappa, Kappa, Inc. – Alpha Iota Chapter Dr. & Mrs. Kenneth Cripe Erica Dekko Bishop & Ellen Holliman

Kendallville Party Store Noble County Community Foundation Jennie Thompson Foundation

STEUBEN COUNTY Anonymous (1) Donald & Janet Ahlersmeyer American Legion Angola Post 31 Mr. Ron Ball Glen & Chris Bickel Mr. & Mrs. Robert Bigelow Ray & Marianne Bodie James & Lynn Broyles Chuck & Maureen Buschek Cameron Memorial

Community Hospital City of Angola, Richard

Hickman, Mayor Judith Clark-Morrill Foundation Coldwell Banker Roth

Wehrly Graber

Mrs. Margie Deal First Federal Savings

Bank of Angola Susan Hanzel Jim & Karen Huber Patricia Huffman Thomas & Cheryl Hughey Mr. & Mrs. Roger Kaiser Leo & Marlene Kuhn Lake James Association Mr. & Mrs. Wally Leuenberger Mr. & Mrs. Ralph McDowell Gerald & Carole Miller

Family Foundation Steve & Jackie Mitchell Stan & Jean Parrish

Psi Iota Xi (Rho Chapter) Max & Sandy Robison Fred & Bonnie Schlegel Mr. & Mrs. Charles Sheets Erik & Laura Sorensen Steuben County

Community Foundation Steuben County REMC Round Up Foundation Trine University Norma Warren Jim & Kathryn Zimmerman Dale & Judy Zinn

WELLS COUNTY AdamsWells Internet Telecom TV Bluffton Rotary Club Mr. & Mrs. Doug Gerber

Mrs. Diane Humphrey L.A. Brown Co. Richard & Donna Scheumann

Mr. & Mrs. Kenneth Steffen Troxel Equipment Wells County Foundation

WHITLEY COUNTY 80/20 Inc. Copp Farm Supply Mr. & Mrs. Harold Copp Fred Geyer J & J Insurance Solutions

Performance PC, LLC Rex & Holly Schrader Mr. & Mrs. Nicholas Steill Pamela Thompson John Underwood

Mr. & Mrs. Jeffrey Walker Whitley County

Community Foundation Dr. & Mrs. Richard Zollinger

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foundation and public support

Composer’s Circle (continued) $1,000 to $2,499

Edward D. & Ione Auer Foundation

DeKalb County Community Foundation Greater Fort Wayne Chamber of Commerce Foundation Kenneth & Lela Harkless Foundation Kosciusko County Community Foundation MAXIMUS Foundation

Maestoso $250,000+

Concertmaster $500 to $999

Philharmonic Society $1,000,000+

Dekko Foundation

Madge Rothschild Foundation

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

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

Steel Dynamics Foundation Yergens Rogers Foundation

Lincoln Financial Foundation W. Gene Marcus Trust PNC Charitable Trusts

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

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

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

Chorus Director Louis Bonter

Youth Symphony Walter W. Walb Foundation

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

by Liz and Mike Schatzlein

Family Concerts Howard and Betsy Chapman

Music Director Podium Ione Breeden Auer Foundation Guest Violinist Chair Nan O’ Rourke

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

The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates: Jennie Thompson Foundation

Composer’s Circle $1,000 to $2,499 Adams County Community Foundation Howard P. Arnold Foundation

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

Bequests

Conductor’s Circle $2,500 to $4,999 Ann and Gordon Getty Foundation

Soft Rock 103.9 Summit City Radio WANE-TV WOWO-FM WLDE-FM Patricia Weddle

Special Endowments

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Stradivarius Society $5,000 to $9,999 3Rivers Credit Union Foundation Ecolab Foundation Journal Gazette Foundation

Arts Consulting Group, Inc. Linda Branan Barnes & Thornburg LLP IPFW Keefer Printing NIPR Benjamin Rivera

endowment fund

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

Greater Fort Wayne Indiana Arts Commission

Noble County Community Foundation

in kind donations

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

Auburn Arts Commission

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

Arthur A. Beal Charlotte D. Bradley Beverly Dildine Gloria Fink Henrietta Goetz

Joyce Gouwens John Heiney Sanford Rosenberg Alice C. Thompson

Arthur and Josephine Beyer Foundation Judith Clark-Morrill Foundation

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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, we will share the full list of Endowment Contributors in our first program book of each season. A full Endowment Fund listing is available year round on the website at fwphil. org. To learn more about specific naming opportunities or to discuss how you might make your own unique contribution to the future of the Fort Wayne Philharmonic, please contact the Development office by phone at 260.481.0775, or by email at creis@fwphil.org for further information. tributes We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated.

In Memory of Dr. Richard D. Lieb Anonymous (1) Brian & Vicki Castle Bruce & Ellen England Fred & Mary Anna Feitler David & Kathy Fuller

Janelle & Steven Graber Dr. & Mrs. C. Bishop Hathaway David & Suzanne Hathaway Melvin & Sandra Hathaway William & Sarah Hathaway

Bil & Shirley Kransteuber Sidney & Belva Meyer Philip & Barbara Ross Styles Beyond Salon Nathan & Natalie Wanstrath

Jane & Frank Walker In Honor of Hannah & Al Zacher (60th Wedding Anniversary)

Debra Hazel Carolyn & Dick Sage

Martha Herbert Izzi

Mike Scott Barbara Spreen Star Financial Bank –

Deposit Services Bob & Sherry Tilkins

Ken & Kathy Welig Mike & Cindy Wright

In Memory of Maria Offerle Mike & Ellen Becker Kim & Dwight Brandon Kathy Caudill Theresa & Michael Franke Carol & Joe Offerle

Anonymous (26) Patricia Adsit Richard & Sharon Arnold Dick & Adie Baach George & Linn Bartling Fred Beckman Kevin Paul Beuert Janellyn & Glenn Borden Carolyn & Steven Brody Anita Hursh Cast Betsy & Howard Chapman June E. Enoch Fred & Mary Anna Feitler Richard & Susan Ferguson

Gloria Fink* Henrietta Goetz* Mrs. Edward Golden Leonard & Rikki Goldstein Joyce Gouwens* Jay & Sandra Habig Susan Hanzel Jeff Haydon John Heiney* Mr. & Mrs. Donald Hicks Tom & Shirley Jones Diane Keoun Mrs. Bruce Koeneman Tod S. Kovara

Doris Latz Antoinette Lee Jeff Leffers & Jane Gerardot Naida MacDermid Eleanor H. Marine Mick & Susan McCollum John & Shelby McFann Donald Mefford John Shoaff & Julie Donnell Chuck & Lisa Surack Herbert & Lorraine Weier Mr. & Mrs. W. Paul Wolf * Indicates Deceased

Please contact the Development Office at 260•481•0775 or by email at info@fwphil.org to find out more about specific planned giving strategies and arrangements.

Michael, Andrew, Daniel, Adam, Joshua & Theo (children & grandchildren)

In Memory of Shepard Weinswig Donald & Sally Caudill Dow & Angelique Famulak

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

The Phil is proud to honor our planned giving donors with membership in the Laureate Club. A planned gift can provide an ideal opportunity to support the orchestra you love at a higher level and can benefit both you and your family. The Phil welcomes the opportunity to assist you and your advisors in planning a contribution that suits your particular needs.

In Memory of David Platt for the Youth Symphony

Marie & David Warshauer Judy & Steven Zacher

laureate club

Fort Wayne ’ s oWn LocaL 146 stagehands .

Working behind the scenes to provide your entertainment since 1908.

Oxford proudly supports the Fort Wayne Philharmonic.

Oxford is independent and unbiased — and always will be.

We are committed to providing families generational estate planning advice and institutions forward-thinking investment strategies.

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