2015-2016 prelude 1

FORT WAYNE PHILHARMONIC PROGRAM OCTOBER/NOVEMBER 2015

O C T N O V 2 0 1 5 3

7 MASTERWORKS RACHMANINOFF AND DVOŘÁK SATURDAY, OCTOBER 3

13 FREIMANN BRAHMS' SEXTET NO. 1 WEDNESDAY, OCTOBER 14 SUNDAY, OCTOBER 18

17 MASTERWORKS BEETHOVEN'S EIGHTH SYMPHONY SATURDAY, OCTOBER 24

25 FAMILY HALLOWEEN SPOOKTACULAR SUNDAY, OCTOBER 25

29 POPS DISNEY IN CONCERT: TIM BURTON'S THE NIGHTMARE BEFORE CHRISTMAS SATURDAY, OCTOBER 31

33 CHAMBER ORCHESTRA LORD NELSON MASS SATURDAY, NOVEMBER 14

EDITOR: Brooke Sheridan CONTRIBUTING EDITORS: Melysa Rogen, 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.

Printed by Keefer Printing Company, 3824 Transportation Drive | 260•424•4543.

We make every effort to provide complete and accurate information in each issue. Please inform us of any discrepancies or errors, so we can assure the quality of each issue.

TABLE OF CONTENTS

5 Welcome Letter, Andrew Constantine 40 The Phil Friends 41 Andrew Constantine, Music Director 43 Chia-Hsuan Lin, Assistant Conductor 44 Benjamin Rivera, Chorus Director 45 Board of Directors

45 Administrative Staff 46 Orchestra Roster 48 The Phil Chorus Roster 50 Series Sponsors 52 Donors 57 Sponsors

P R E L U D EFORT WAYNE PHILHARMONIC PROGRAM

V O L U M E 7 2 , N O . 1 2 0 1 5 / 1 6 S E A S O N O C T O B E R / N OV E M B E R

3 Fort Wayne Locations • debrand.com • 260.969.8335

GIANTCARAMEL APPLES

Available October through early November

Seasonal Only!

ARTIST BIOS

11 Johannes Moser, cello 21 David Ling, violin 21 Olga Yurkova, violin 21 Derek Reeves, viola 22 Andre Gaskins, cello 30 Tim Burton, director

31 Danny Elfman, composer 38 Rosalind Lee, soprano 38 Angela Young Smucker, mezzo-soprano 39 Alan Taylor, tenor 39 Dan Richardson, bass

O C T N O V 2 0 1 5 5

WELCOME FROM THE MUSIC DIRECTOR

Welcome back to the Fort Wayne Philharmonic for a Fall of music and music making as splendid as you will find just about anywhere in the country. We have fabulous soloists, both international and home grown, great singing, music from the “big screen”, music in intimate settings and a celebration of the young talent of Fort Wayne with our Youth Symphony and Youth Concert orchestras.

Opening night features the outstanding talents of the great cellist Johannes Moser in what most people regard, yours truly included, as the pinnacle of the repertoire for the instrument, the Concerto in B minor by Dvořák. Then, to conclude the concert we have Rachmaninoff’s hypnotic and, at times, almost primal Symphonic Dances: two masterpieces by two of the leading figures from central and eastern Europe – both written in the USA.

Our second Masterworks programme on October 24th at IPFW features not only much loved classics by Beethoven, his defiant and heroic Egmont Overture as well as the more urbane yet equally energetic Symphony No. 8, but also little known gems by figures from the generation before Beethoven, Christian Cannabich and Francesco Geminiani. And another dynamic masterpiece at the core of this programme will have you, and the players, on the edges of your seats: Elgar’s Introduction and Allegro for Strings is unique in how it pits the soloists of a string quartet against the massed strings of a full symphony orchestra and is unparalleled for its resonance and dynamism.

Sandwiched between these two Masterworks shows is the little bit of intimacy I mentioned earlier as we present our first Freimann chamber music concert of the season. Brahms’ warm and lyrical Sextet No. 1 is the core of a programme that also includes music for wind quintet and percussion. Catch it first at the Fort Wayne History Center on Wednesday, October 14th and then treat yourself to a repeat the following Sunday, the 18th, at the Rhinehart Music Center at IPFW.

The extended ‘Philharmonic Family’ would also like to invite you to celebrate Fort Wayne’s youthful talent on Sunday, October 25th when both the Youth Symphony and Youth Concert Orchestras will perform their annual Fall Concert in the Auer Performance Hall of IPFW. Sibelius, Copland, Bach and so much more besides.

Rounding out the month of October – the 31st to be precise - is our first offering of the season in our Sweetwater Pops. Tim Burton’s The Nightmare before Christmas is the perfect pairing of music and visuals to set you on your Halloween way!

Into November and our opening Chamber Orchestra concert features great choral music by Haydn, his Nelson Mass, when The Phil’s very own chorus comes to the fore along with an array of superb soloists. Prior to this the orchestra will put you in a lighter, more Italian mood with music by Rossini, Britten and Respighi. That’s Saturday, November 14th at the First Wayne Street Methodist Church, 7:30 P.M.

For the greatest music, it’s always The Phil!

Andrew Constantine, Music DirectorGO 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 well-

being. For more healthy ideas, log on to parkviewGO.com.

And let the music set you free.

parkview .comGO

GO: plug in i

© 2015, Parkview Health PH-A-189

O C T N O V 2 0 1 5 7

RACHMANINOFF AND DVOŘÁKSaturday, October 3, 2015 | 7:30 P.M.Embassy Theatre

Andrew Constantine, conductorJohannes Moser, celloFrank Almond, guest concertmaster

SMETANA Overture to The Bartered Bride

DVOŘÁK Concerto in B minor for Violoncello & Orchestra, Op. 104 Allegro Adagio ma non troppo Finale: Allegro moderato Johannes Moser, cello

-- Intermission --

RACHMANINOFF Symphonic Dances, Op. 45 Non allegro - Lento - Tempo I Andante con moto (Tempo di valse) Lento assai - Allegro vivace

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm onThursday, October 15 at 7:00 P.M.

MADGE ROTHSCHILD FOUNDATION

PNC is proud to be a

part of the Fort Wayne

Philharmonic. Because

we believe in and support

everything the arts can

accomplish.

Call (888)PNC-BANKOr visit us at a nearby branch locationpnc.com

©2015 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

that art can make us see the world differently.

O C T N O V 2 0 1 5 9O C T N O V 2 0 1 58

OVERTURE TO The BarTered BrideBEDRICH SMETANA(b. 1824, Litomysl, Bohemia, 1824; d. 1884, Prague)

Antonín Dvořák may be the most famous of Czech composers, but Bedrich Smetana, his senior by 17 years, was the man who first brought the distinctive Czech folk idiom into the concert hall and opera house. The son of a well-to-do brewer, Smetana in his early years found little opportunity for his musical ambitions in Bohemia — then a backwater of the Austrian Empire and dominated by Austro-German musical traditions and artists — and moved abroad to pursue his career. But when a competition for an opera in Czech was announced in 1861 as well as plans for the Provisional Theatre in Prague, he felt the time was ripe to return from Sweden where he’d become a successful pianist, conductor, and teacher.

In 1863, he won the competition with his first opera, The Brandenburgers in Bohemia, and swiftly moved on to a second, The Bartered Bride. The story is a warmly comic slice of life in a rural Czech village. Marenka and Jeník are in love, but Marenka’s ambitious parents favor a match with the witless and unattractive Vasek, son of the wealthy farmer Mícha. The village marriage broker induces Jeník to renounce his sweetheart for the substantial sum of 300 gulden; Jeník agrees, with the proviso that Marenka shall marry no one but a son of Mícha. Marenka’s parents are delighted while the girl is broken-hearted at her lover’s apparent betrayal. But Jeník has the last laugh. He reveals that he is the long-lost son of Mícha, Vasek’s elder half-brother, and is recognized joyfully by his father. Meanwhile, Vasek finds his true calling as a circus clown and runs off with a pretty tightrope walker. True love triumphs after all — with a bonus of 300 gulden!

Premiered on May 30, 1866 (with the 24-year-old Dvořák playing viola in its orchestra), The Bartered Bride initially displeased the wealthy Prague audience, who found its rural tale too down-market for their cosmopolitan tastes. But after a number of revisions, Smetana’s engaging score, inspired by the earthy songs and dances of Bohemia, won favor not only in Prague but throughout Europe. Its vivacious overture, composed in 1863 before Smetana had written the opera, is surely one of the most popular of all curtain raisers. From its opening gesture of a jubilant crowd on carnival day, to its bustling string fugues suggesting the village gossips at work, it perfectly establishes the mood of the high-spirited comedy to follow.

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

M A S T E R W O R K S

SATURDAY, OCTOBER 3, 2015

CONCERTO IN B MINOR FOR VIOLONCELLO & ORCHESTRA, OP. 104ANTONíN DVOŘÁK(b. 1841, Nelahozeves, Bohemia; d. 1904, Prague)

Dvořák’s two most popular orchestral works — the “New World” Symphony and the Cello Concerto — were both “made in America” during the three

years the composer spent as director of the National Conservatory in New York City. But while the symphony partly draws its inspiration “from the New World,” the concerto is definitely “from the Old World.” In fact, many commentators hear in this work an expression of Dvořák’s homesickness for his beloved Bohemia. In a letter to his mentor and friend Johannes Brahms written from New York in December 1894 as he was composing this work, Dvořák alluded to his yearning for Bohemia: “I left five children in Prague, and my only boy Otakar and my wife are here, and so we are often homesick. If I can write something, that is the only recovery for me.”

The composer had been lured to America by Mrs. Jeannette Thurber, a passionate arts patron and wife of a multi-millionaire grocery magnate. A visionary who had already launched an opera company producing opera in English, she now created a conservatory in New York City that was intended to launch an American school of composition and train talented musicians of all backgrounds, with special attention to African Americans. She offered Dvořák the princely sum of $15,000 per annum (around a quarter of a million in today’s dollars) to head the National Conservatory and teach its advanced composition students. For three seasons from 1892 to 1895, the composer spent most of his time in New York and threw himself wholeheartedly into the task of encouraging an indigenous American musical voice.

But by late 1894, Dvořák was longing to return home. The Czech cellist Hanus Wihan had been begging Dvořák for a concerto, and when the composer heard Victor Herbert — a prominent cellist before he became the toast of Broadway — play his new Second Cello Concerto with the New York Philharmonic, inspiration struck. In November 1894, he began his Cello Concerto, and by February 9, 1895, the score was largely completed. One of his masterpieces, it remains today perhaps the greatest of all cello concertos. So impressed was Brahms that he exclaimed to cellist Robert Hausmann, for whom he had written his Double Concerto for Violin and Cello: “Why on earth didn’t I know that one could write a cello concerto like this? Had I known, I would have written one long ago!”

The first movement opens mysteriously and with barely suppressed excitement as clarinets (one of the signature instruments of this work) and other woodwinds murmur the principal theme; this quickly builds to a fortissimo declaration by the violins. The second major theme, a marvelous, flowing melody with a touch of sentimentality, is introduced a few moments later by the solo horn; it will reveal its full personality a bit later when sung by the cello. After the orchestra’s exposition, the soloist enters with a very grand statement of the principal theme in bold chords.

The development section of this sonata-form movement is striking in that, instead of being a dramatic working out of thematic fragments, it centers on a lengthy slower-tempo version of the principal theme by the cellist and solo flute

Symphonic danceS, OP. 45SERGEI RACHMANINOFF(b. 1873, Semyonovo, Russia; d. 1943, Beverly Hills, California)

By 1940, Sergei Rachmaninoff, then 67 and in failing health, believed his composing career was over. Since fleeing Russia during the Bolshevik Revolution in late 1917 for refuge in Western Europe and America, he had managed to create only five substantial works, including his popular keyboard masterpiece Rhapsody on a Theme of Paganini.

Many factors contributed to Rachmaninoff’s creative drought. Exile from Russia had turned his life upside down: he had forfeited a considerable fortune there, and in America was forced to turn to arduous annual tours as a concert pianist to support his family. One of the greatest pianists of our century, he soon rebuilt his fortune, but a life on Pullman cars shuttling from one concert hall to the next exacted a heavy price on his composing. Pondering his predicament, he wrote: “Perhaps the incessant practice and eternal rush inseparable from life as a concert artist takes too much toll of my strength; perhaps I feel that the kind of music I care to write is not acceptable today. And perhaps my true reason for adopting the life of an interpreter rather than that of a creator … is none of these. For when I left Russia, I left behind the desire to compose: losing my country I lost myself also. To the exile whose musical roots, traditions and background have been annihilated, there remains no desire for self-expression.”

But the desire for self-expression still smoldered. In the summer of 1940 as Rachmaninoff recuperated

from minor surgery at a rented estate near Huntington, Long Island, it blazed up again for the last time. On August 21, he startled his friend Eugene Ormandy, conductor of his favorite Philadelphia Orchestra, with news of a new composition. Ormandy happily accepted the new work, and Rachmaninoff rushed to orchestrate it, completing it just in time for its premiere by the Philadelphians on January 3, 1941.

His swan song, Symphonic Dances is a retrospective work that sums up Rachmaninoff’s musical and personal philosophy. Yet it is also an astonishingly youthful creation that shows the composer at the peak of his powers. With its incisive dance rhythms, it was intended for the ballet, to be choreographed by Rachmaninoff’s friend, the great Russian choreographer Michel Fokine, but Fokine’s sudden death in 1942 sadly killed that possibility. Here Rachmaninoff creates a wondrous kaleidoscope of instrumental colors, from the mellow crooning of an alto saxophone to the dry-bones clatter of a xylophone. Prone to sentimental excess in his younger days, he maintains a careful balance between emotion and detachment as he surveys the world with the wisdom of a man approaching life’s end.

First Movement: Softly, the violins establish the incessant chugging rhythm of the first dance. Woodwinds trace a three-note descending idea that soon grows into the nervously driven main theme. Then the tempo slows for a peaceful oasis. Here Rachmaninoff gives us the last of his heart-stoppingly beautiful tunes, introduced by the mellow alto saxophone, a visitor from Big Band jazz. Violins soon sweep up this gorgeous melody, steeped in the flavor of Russian folk song. In the closing coda, the strings sing a lovely Russian chant-like melody: a theme from the composer’s First Symphony, a bitter failure in his youth but now recalled with tranquility through a radiant mist of bells, harp, and piano.

Movement two’s dance is a phantasmic waltz, like something heard in a dream. It is introduced by ominous brass chords that return to disturb its flow. With difficulty the orchestra tries to launch the waltz; finally, the English horn succeeds in establishing the swaying melody. Occasionally, the waltz blossoms lushly in the divided strings, but biting harmonies constantly undercut any sentimentality.

The finale opens with the weary sighs of old age. Here Rachmaninoff’s old nemesis, the “Dies Irae” (“Day of Judgment”), a Gregorian funeral chant he used so often in his music, returns as the composer contemplates death. The music seems to describe man’s final struggle for life and then its end, as woodwinds vanish upward over a harp glissando. Music of mourning issues from the depths of the orchestra. But the tempo soon accelerates to a dance of triumph. The “Dies Irae” chant sounds again in the brass, but is vanquished by a rhythmically vivacious Orthodox chant melody rising from low strings and woodwinds. This is the song “Blagosloven Yesi, Gospodi” from Rachmaninoff’s choral masterpiece All-Night Vigil, telling of Christ’s resurrection. Here the composer seems to be joyfully proclaiming his own faith in resurrected life. At the end of the score, he wrote the words: “I thank Thee, Lord!”

Notes by Janet E. Bedell copyright 2015

in haunting duet. Here, Dvořák explores the darker, more introspective side of his hitherto extroverted theme. Ringing with brass fanfares, the movement finally comes to a glorious close that begs for applause.

The slow movement stresses the cello’s ability to sing with the pathos and feeling of the human voice. Its heart is a poignant central section for the soloist and woodwind companions, introduced by four stormy orchestral measures. Here, we are listening to a paraphrase of Dvořák’s song “Leave Me Alone” of 1887. The composer had just learned of the serious illness of his wife’s elder sister, Josefina Kaunitzová, and this quote from a favorite song of hers pays tribute to an old love. In the 1860s, Josefina, a beautiful young actress, had come with her sister Anna for piano lessons with Dvořák. The composer fell hopelessly in love with her, but, as there was no reciprocation, he — like Mozart with his Constanze — married the younger sister.

Shortly after Dvořák returned to Bohemia in the spring of 1895, Josefina died. The composer returned to his nearly completed concerto and appended a remarkable grieving epilogue to its finale. This rondo-form movement begins merrily, though, with a vivacious rondo refrain, jingling with triangle. But there are more bittersweet moments here than one usually finds in concerto finales, including an impassioned duet for the cello with solo violin. As the movement seems to be drawing to a close, it flows instead into the epilogue in which we hear a wistful reminiscence of the first movement’s theme and of Josefina’s song from the second. Then, Dvořák pulls himself together and delivers a fast, electric finish.

Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists”, German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic and Israel Philharmonic Orchestras as well as the Chicago Symphony, London Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Royal Concertgebouw, Tokyo Symphony, Philadelphia and Cleveland Orchestras. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Jarvi and Semyon Bychkov, Yannick Nézet-Séguin and Gustavo Dudamel.

Johannes grows increasingly renowned for his efforts in expanding the reach of the classical genre, as well as his passionate focus on new music, and over the next season, Johannes is looking forward to working on a number of new works with Julia Wolfe, Andrew Norman and Anna Clyne, amongst others. In October 2012 he premiered “Magnetar”, a concerto for electric cello by Enrico Chapela, which Johannes performed with the Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel and in the 2013-14 season, Johannes continued this relationship with the Los Angeles Philharmonic by performing Michel van der Aa's cello concerto “Up-close”.

Johannes is committed to reaching out to young audiences, from kindergarten to college and beyond. From his 2010 American tour with toy pianist Phyllis Chen “Sounding Off: A Fresh Look at Classical Music”, to outreach activities on campuses and performances in alternative venues, Johannes aims to present classical music in terms with which listeners of all ages can connect.A dedicated chamber musician, Johannes has played with: Joshua Bell, Emanuel Ax, Leonidas Kavakos, Menahem Pressler, James Ehnes, Midori and Jonathan Biss. He has also performed at many festivals including the Verbier, Schleswig-Holstein, Gstaad and Kissinger festivals, the Mehta Chamber Music Festival and the Colorado, Seattle and Brevard music festivals.

In 2014, Johannes was announced as recipient of the prestigious 2014 Brahms prize, along with his brother, pianist Benjamin Moser. Johannes has received two ECHO Klassik awards and the Preis der Deutschen Schallplattenkritik for his recordings on Hänssler Classics. His concerto debut disc, which features the complete works of Saint-Saëns for cello and orchestra with the Stuttgart Radio Symphony Orchestra, was honoured as one of Classics Today’s Top 10 CDs of 2008. Following an album of works by Britten, Bridge and Bax, a disc of Martinu, Hindemith and Honegger concerti received great acclaim and was listed for the prestigious “Preis der Deutschen

Schallplattenkritik”. The latest concerto album of the Britten Cello Symphony and the Shostakovich Cello Concerto No. 1 with WDR Cologne and Pietari Inkinen was released in January 2012.

Born into a musical family in 1979 as a dual citizen of Germany and Canada, Johannes began studying the cello at the age of eight and became a student of Professor David Geringas in 1997. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations.

A voracious reader of everything from Kafka to Collins, and an avid outdoorsman, Johannes Moser is a keen hiker and mountain biker in what little spare time he has.

A R T I S T B I O G R A P H Yj O H A N N E S M O S E R

C E L L O

MASTERWORKS

IPF

W D

ep

art

me

nt

of

Th

ea

tre

ipfw.edu/theatreIPFW is an Equal Opportunity/Equal Access University

Williams Theatre October 2–11, 2015Sign Language Interpreted Sunday, Oct. 4

This wild musical ride aboard an ocean liner bound from New York to London is peppered with iconic songs and rousing tap dance numbers. In pursuit of his love, Hope Harcourt, Billy Crocker engages the help of some very colorful characters,singing classic

Cole Porter songs like “Anything Goes,” “You’re the Top,” and “Blow, Gabriel, Blow.”

Directed by Craig A. Humphrey, Musical Direction by Mindy CoxChoreography by Brittney CoughlinMusic and Lyrics by Cole Porter.

Admissionq $5 IPFW Students/H.S.

Students/Children under 18

q All Others $18 and under

IPFW Box Office260-481-6555

TTD: 260-481-4105 ipfw.edu/tickets

Monday–Friday 12:30–6:30 p.m.

Gates Athletics Center

Also JoinUs For...

God’s EarNovember 13-21

RoadFebruary 19-27

A Midsummer Night’s Dream

April 22-30

Presented by the Fort Wayne Philharmonic Friends

Wine Tasting, cheese & crackers and Entertainment featuring Alicia Pyle at the piano

Wednesday, October 14, 2015 5:30 - 7:30 PM

at Country Heritage Winery & Vineyard*

$40 per person

R.S.V.P. to Susan Lehmann - (260) 755-0041 [email protected]

or online at www.fwphilfriends.com by October 10, 2015

* 185 County Rd 68, LaOtto, IN 46873 Just north of Huntertown on Hwy 3 (Lima Rd)

MUSICALLY SPEAKING IS PRESENTED BY THE PHILHARMONIC FRIENDS

If you or your company would like to sponsor an evening of Musically Speaking, contact

Susan Lehmann at 260-755-0041 or [email protected] Benefits include an ad in the Prelude, free concert tickets and more.

PLAYING WITH FOOD

STILL A FEW COPIES LEFT!

NOW CLEARANCE SALE PRICED ONLY $10/COPY

Order by calling Marylou Hipskind 260-485-0945 ([email protected])

The books are also available at the Box Office and online at

www.fwphilfriends.com

Playing with Food makes a great holiday gift.

October 4th, 2015 10:00 AM Holy Eucharist

Trinity Episcopal Church611 West Berry Street, Fort Wayne, IN

COMPOSED BYWayne Peterson

WORDS BYLarry Griffin

MAJOR UNDERWRITERSDonald Wood & Darlene RichardsonWilliam & Anita Hursh Cast

Celebrating the 150th Anniversary of the Laying of the Cornerstone in 1865

FOR CHOIR, SOLOISTS, ORCHESTRA & ORGANMEDITATIONSTrinity Episcopal Church Presents

TRINITYFW.ORG

O C T N O V 2 0 1 5 13

BRAHMS' SExTET NO. 1Wednesday, October 14, 2015 | 7:30 P.M.Fort Wayne History Center

Sunday, October 18, 2015 | 2:30 P.M.Rhinehart Music Center, IPFW

DE MEY Musique de tables Eric Schweikert Scott Verduin Alison Chorn

KLUGHARDT Wind Quintet in C major, Op. 79 Allegro non troppo Allegro vivace Andante grazioso Adagio - Allegro molto vivace Luke Fitzpatrick, flute Orion Rapp, oboe Cynthia Greider, clarinet Michael Lewellen, horn Dennis Fick, bassoon

-- Intermission --

BRAHMS String Sextet No. 1 In B-flat major, Op. 18 Allegro ma non troppo Andante, ma moderato (Tema con variazioni) Scherzo: Allegro molto Rondo: Poco allegretto e grazioso David Ling, violin Olga Yurkova, violin Derek Reeves, viola Debra Welter, viola Andre Gaskins, cello Deborah Nitka Hicks, cello

WE UNDERSTAND WHY YOU SUPPORT THE PHIL

Brotherhood Mutual Insurance Company shares your appreciation for talent, dedication, and hard work. That’s why we support the Fort Wayne Philharmonic, which understands the need to entertain, educate, and inspire the community through classical music.

We salute the Phil for its continued work to plant a lifelong love of music in the hearts of all.

www.brotherhoodmutual.com

Insurance and payroll services for America’s Churches and Related Ministries

O C T N O V 2 0 1 514

muSique de TaBleS THIERRY DE MEY(b. 1956)

For those that aren’t fluent in French the name of the piece is exactly as you read it: “Table Music.” One could easily mistake the name as a reference to the practice of sharing music on a table that was popular during the early baroque and renaissance era but no, this is literally three musicians playing three small tables as their instruments.

De Mey is a living Belgian composer who was born in Brussels in 1956. He is prolific in both film music and dance works. Many of these include specific choreography to be performed along with the music. He also began his own contemporary music ensemble Maximalist! and has been an active player in modern music throughout Belgium and Europe.

Musique de tables, composed in 1987 for the dance company Ultima Vez, is as much a choreographed dance as it is a percussion piece. The hands of the musicians are instructed to strike and sweep the table with specific gestures often resting on various poses and emphasizing the motion as much as the rhythm. Even the page turns are choreographed as part of the composition. In some interpretations the performers sit in the dark with only the light focused on their hands, as if they were representing six dancers performing a tightly choreographed dance.

Contemporary percussion music often embraces the theatrical side of music as much as the sound, and De Mey’s “Table Music” seems to focus more on the former. As an observer I couldn’t help be reminded of children’s clapping games taken to a much more precise and complex level. Sometimes these types of theatrics can come across as humorous, but any listener can appreciate the complexity and preparation involved in putting together a performance piece such as this.

WIND QUINTET IN C MAjOR OP. 79AUGUST KLUGHARDT(b. 1847 - d. 1902)

August Klughardt is a name that remains in relative obscurity, however not due to lack of talent of the composer. This late 19th century composer’s music is full of charm, color, and character. Perhaps he was able to pick up these positive traits from being surrounded by the music of Liszt and Wagner. Yet he never embraced the “New German School” trends of massive tone poems and extended harmony which may have kept music historians from adding his name to the movers and shakers list

of late romanticism. Instead, chamber music seemed to capture Klughardt’s attention more than anything for he penned over 8 works for various smaller configurations and generally shied away from the large-scale symphonic poems popular with his colleagues and mentors.

This work, in a traditional four movement structure, features each instrument of the quintet in a prominent fashion. Klughardt’s lyrical writing resembles the works of Schumann and Brahms more closely than Wagner and Liszt. The first movement opens with a pastoral quality setting a cheerful tone to the work, while the second movement is a pleasant dance with almost none of the late romantic German darkness that otherwise might be heard by other composers during the time. The third movement is a gentle Andante that is reminiscent of the beginning of the piece with the fourth movement opening with probably the only few somber notes of the work. But Klughardt doesn’t keep the mood dark for very long before erupting into a cheerful and vivacious finale.

The work demands a capable ensemble as no instrument can hide for very long without gaining some melodic or prominent material. The last movement alone represents a significant challenge with numerous fast passages that combine both smooth and staccato lines. The work, completed in 1901, only one year before the composer’s death, earns its place as a significant entry into the woodwind chamber music canon.

STRING SExTET NO. 1 IN B-FLAT MAjOR, OP. 18JOHANNES BRAHMS(b. 1833 – d. 1897)

Anyone who studies Brahms has no doubt read about the composer’s often crippling obsession with perfection. He held his predecessors in such high regard that when it came to writing symphonies or for the revered string quartet configuration perfected by Haydn and Beethoven, he treaded lightly and cautiously. In fact, he didn’t write his first string quartet until 1865 and well into his 30’s. However, Brahms obviously had an interest in string writing because he wrote two sextets in his 20s which feature double violas and double celli. The results were two of the most lush and gut-wrenchingly beautiful pieces of music ever written.

His first String Sextet, written in 1860 in the key of B-Flat major, starts out weaving a melody that is almost mischievous in its use of time signature. The melody can easily be interpreted in a four beat structure yet is written in 3/4 time. Maybe it is this deception that adds to

f r e i m a n n P R O G R A M N O T E S

F R E I M A N N

WEDNESDAY, OCTOBER 14 & SUNDAY, OCTOBER 18, 2015

SCHOOL

THE MOST OUTSTANDING COLLEGE PREP EXPERIENCE IS CLOSER THAN YOU CAN IMAGINE.VISIT CANTERBURYSCHOOL.ORG OR CALL 260.407.3553 TO SCHEDULE A VISIT.

Need-based financial assistance available.

A R T I S T • A T H L E T E • S C H O L A R

Come visit. Be inspired.

260.407.3553

canterburyschool.org/arts

CANTERBURY

CANTER 24091 Philharmonic March 2015 ad.indd 1 8/12/15 8:36 AM

the haunting yet beautiful cello line that makes the listener want to curl up in the fetal position and just let the music sing them to sleep. The second movement is a dramatic “not quite” marche funebre. With a driving accompaniment in the lower strings the theme established by the viola develops into some remarkable variations. The third is a playful scherzo that seems to be an homage to some of Beethoven’s more clever rhythmic tricks with frequent metric displacements. The final movement is almost an extension of the first with a return to the warm, almost lullaby-esque melodies heard earlier in the work. Yet, this time there is an energy woven throughout that makes for a satisfying finale.

While the upper strings are given plenty to shine and show off their technical skills, it is no doubt the presence of the additional middle and lower voices that give this music its incredible depth. Brahms beefing up the lower strings is part of what makes many of his symphonies so effective and perhaps this chamber music was a sort of experimentation ground that helped the composer find his potential. And when he finally did feel brave enough to tackle the string quartet, the hesitation hardly seems justified.

Notes by Ed Stevens, copyright 2015





$40 per person







PLAYING WITH FOOD







O C T N O V 2 0 1 5 17

BEETHOVEN'S EIGHTH SYMPHONYSponsored by The Phil Friends

Saturday, October 24, 2015 | 7:30 P.M.Rhinehart Music Center, IPFW

Andrew Constantine, conductorFreimann Quartet David Ling, violin Olga Yurkova, violin Derek Reeves, viola Andre Gaskins, cello

BEETHOVEN Overture to Egmont, Op. 84

CANNABICH Symphony No. 63 in D major

ELGAR Introduction and Allegro, Op. 47 Freimann Quartet

-- Intermission --

GEMINIANI Concerto Grosso No. 12, D minor, after Corelli, Op. 5, No. 12 ("La Follia")

BEETHOVEN Symphony No. 8 in F major, Op. 93 Allegro vivace con brio Allegretto scherzando Tempo di menuetto Allegro vivace

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm onThursday, November 5 at 7:00 P.M.

MADGE ROTHSCHILD FOUNDATION

On Sale Now!Thursday

November 5, 20157:30PM

Embassy Theatre | 800-745-3000

Tickets also available at the Embassy Box Office,All outlets, and at www.ticketmaster.com

Presented by EMBASSY

O C T N O V 2 0 1 5 19O C T N O V 2 0 1 518

OVERTURE TO egmonTLUDWIG VAN BEETHOVEN(b. 1770, Bonn, Germany; d. 1827, Vienna, Austria)

In the story of the Dutch Count Lamoral van Egmont, executed by the Spanish in 1568 for leading a movement to free the Netherlands from Spanish rule, Beethoven found the kind of hero he always idealized and could have happily honored in his “Eroica” Symphony. The history of Egmont and the aspirations of the 16th-century Netherlanders to break the yoke of Spanish Hapsburg tyranny — a story which also figures in Schiller’s famous play Don Carlos and Verdi’s opera Don Carlo — was very much in the air in Vienna at this time. Goethe had seized on it as an appropriate subject for a theatrical drama, and in turn, Schiller touched up Goethe’s play for its Viennese premiere on May 14, 1810.

It was customary then for composers to create overtures and incidental music to enhance spoken dramas, and Beethoven also provided such scores for The Ruins of Athens and King Stephan. When he was asked to participate in the production of Egmont, he readily assented. He even waived any fee for his work (though he later sold the music to a publisher) and wrote that he took on the assignment “only out of devotion to [Goethe].” In addition to the famous overture, Beethoven created two songs, four entr’actes, a melodrama to accompany a spoken scene, and a final Siegessymphonie or Victory Symphony, as Egmont goes triumphantly to his death on the scaffold, confident that his cause will win in the end. (In fact, the Dutch had to wait nearly a century for their freedom from Spain.)

Beyond his generalized admiration for men like Egmont who lived and died for their ideals, the composer found contemporary relevance in this story from the already distant past. In 1809, Napoleon had invaded Austria and even bombarded and occupied Vienna. By 1810, this foreign conqueror had been driven from Austrian soil, but the bitter memories of that occupation were still fresh for the composer.

A virile, martial portrait of the play’s protagonist, the famous overture touches on Egmont’s tragic fate in the dark, ominous chords of its F-minor slow introduction. Egmont’s heroic struggle against oppression is sketched in the Allegro main section. Then, after a quiet bridge passage comes

the exhilarating coda, now in F major. This is the music of the Victory Symphony, the play’s finale, with Egmont’s triumph-in-death shouted out by the entire orchestra, dominated by the brass and topped by exuberant flourishes of the piccolo.

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

M A S T E R W O R K S

SATURDAY, OCTOBER 24, 2015

SYMPHONY NO. 63 IN D MAjORCHRISTIAN CANNABICH(b. 1731, Mannheim, now Germany; d. 1798, Frankfurt am Main, Germany)

Born just three months before Haydn, Christian Cannabich was even more famous as a conductor and orchestra trainer than he was as a composer, though he wrote more than 70 symphonies and numerous popular ballets. That is because as music director from 1774 to his death in 1798 of the Mannheim Orchestra, the court ensemble of the Elector of the Rhine Palatinate in western Germany, he turned the group into the finest orchestra in Europe. The Englishman Charles Burney, a friend of Mozart’s and one of the most widely traveled musical observers, called it an army of generals, “equally fit to plan a battle as to fight it.”

Attracted by the Orchestra’s fame and the well-funded musical life at the Elector’s court, in 1777 the young Mozart came to Mannheim in search of a position. Cannabich, who had met him as a child prodigy, received him cordially, and the two struck up a warm friendship. Mozart was so mightily impressed by Cannabich that he wrote to his father: “Cannabich, who is the best director that I have ever seen, has the love and awe of those under him.” (Unfortunately, despite Cannabich’s assistance, Mozart did not succeed in joining the court musical establishment.)

The Mannheim Orchestra was a large orchestra for its day and staffed with superb musicians for all the instrumental sections. Cannabich’s symphonies capitalize on this fact; they feature especially rich scoring for all the instruments, not just the strings, and boast quantities of very attractive melodies in the pleasing galant style of the day.

We will hear the Symphony No. 63 in D Major, which features prominent parts for trumpets and timpani; D Major was a key in which the valveless trumpets of the period sounded particularly effective. Launched by an upward-vaulting gesture known as the “Mannheim rocket,” movement one opens with an

imposing slow introduction featuring the splendor of the trumpets as well as extremely colorful writing for the woodwinds. Then it accelerates into a forceful Allegro in sonata form, with a charming contrasting second theme again showing off the woodwinds. This is music reflecting the grandeur of the Mannheim court.

One of the woodwinds, an oboe, steps forward to sing an enchanting theme for the gracious Andante moderato second movement in A Major. Later, a solo clarinet will appropriate that theme as well. The trumpets return for the merry D-Major finale with a comic-opera mood in a brisk Presto tempo.

inTroducTion and allegro, OP. 47SIR EDWARD ELGAR(b. 1857, Broadheath, England; d. 1934, Worcester, England)

In 1904, Edward Elgar’s publisher and close friend August Jaeger (immortalized in the Enigma Variation’s beautiful “Nimrod” variation) urged the composer to write a work for the newly formed London Symphony Orchestra. “Why not a brilliant quick string scherzo, or something for those fine strings only? a real bring down the house torrent of a thing such as Bach could write. ...”

A violinist himself, Elgar happily took up the challenge, but produced a work of greater scope than a scherzo: a full symphonic Allegro movement, incorporating a fugue in place of a development section and preceded by an introduction featuring the sort of deeply expressive melody that was becoming an Elgar trademark. His Opus 47 became a tribute not just to the LSO’s string section, but to the string family itself and its special musical powers: its sensuous beauty, facility in brilliant passage work, and capacity for floating a plangent melody.

Strangely, this beautiful work was poorly received at its first performance in London on March 8, 1905, with Elgar himself conducting the LSO, and did not establish itself in the repertoire until well after his death. Yet Elgar doggedly believed in the work. “That’s good stuff,” he told his wife. “Nothing better for strings has ever been done — and they don’t like it!” Elgar’s younger colleague Ralph Vaughan Williams, however, did like it. The Introduction and Allegro became a model for his famous Fantasia on a Theme by Thomas Tallis, written five years later, even to the combination of string quartet and string orchestra.

After a bold G-minor opening by the full ensemble, the quartet’s viola introduces a simple but haunting melody that is completed by the quartet’s first violin. Elgar called this

his “Welsh tune,” a melody he’d heard in his imagination during a seaside holiday in South Wales. Whether it is based on an actual folk melody or is purely Elgar’s invention has never been established. But it is a very personal, nostalgic creation: a tribute, Elgar wrote, to “that sweet border land [western England] where I have made my home.”

G minor changes to G major for the longer Allegro section. Its opening exposition features three themes: the first gracefully arcing, the second energetically chugging. The expansive third theme is pure Elgar, marked with his signature tempo nobilmente — meaning to him “warm, dignified, with strong feeling.” The fugal development section is a vigorous, scampering scherzando with playful flourishes. After all the themes return, Elgar brings back his trump card, the Introduction’s haunting “Welsh tune.” This melody, so gentle and wistful in its first appearance, is now taken up fortissimo by the full ensemble for a close of true Elgarian grandeur.

CONCERTO GROSSO NO. 12, D MINOR, AFTER CORELLI, OP. 5, NO. 12 "LA FOLLIA"ARCANGELO CORELLI/ ARRANGED BY FRANCESCO GEMINIANI

No composer had a first name better suited to his music than Arcangelo Corelli, who indeed wrote string music of angelic beauty. Born in 1653 in the generation before Bach, Telemann, and Handel to a wealthy family living near Bologna, he was blessed with fame in his own lifetime, a fame that lasted long after his death as his works continued to be eagerly circulated throughout Europe.

As well as composing, Corelli was an outstanding violin virtuoso and perhaps the most influential violin teacher of his era. And he lived at the perfect moment for creating music for strings, when master instrument makers like Stradivari, Guarneri, and Amati were bringing these instruments to full perfection. Serving as music master first for Queen Christina of Sweden and then for the fabulously wealthy arts patron Cardinal Pietro Ottobani, Corelli became the most admired and imitated musician of his day. His solo sonatas, trio sonatas, and concerti grossi — all for string instruments with keyboard support — embodied the musical ideals of the middle Baroque period.

Born in Tuscany in 1687 just two years after Handel, Francesco Geminiani was a pupil of Corelli’s and himself became a superb violin virtuoso as well as an eminent teacher. In 1714, he emigrated from Italy to London and spent the rest of his very successful career

O C T N O V 2 0 1 5 21O C T N O V 2 0 1 520

A R T I S T B I O G R A P H YD A V I D L I N G

V I O L I N

Acting Concertmaster David Ling has played violin with The Phil for eleven years. He began his studies at age 5 in his hometown of Canton, Ohio, and went on to receive a Bachelor of Music degree from Oberlin College. He also has a Master of Music degree from Cleveland Institute of Music and a Doctor of Musical Arts from the State University of New York, Stony Brook. He has played with the Grant Park Orchestra, the Canton Symphony and participated in the Aspen and Tanglewood music festivals. Ling also plays piano and cites

yoga and the works of Carl Jung as some of his other interests.

MASTERWORKS

primarily in England and occasionally in Ireland (he died in Dublin in 1762).

The cult of Corelli was huge in England, sometimes exceeding even the passion for Handel’s music. To meet the demand for more works by Corelli, Geminiani in 1726 published his brilliant arrangements for concerto grosso ensemble of Corelli’s remarkably forward-looking Opus 5 of 1700, which was originally conceived as 12 sonatas for violin and continuo.

The last of the Opus 5 concertos is “La Follia,” a theme and variations on a tune of that name, which may have originated in Portugal in the 15th century and in early 17th century Spain became associated with frenzied singing and dancing. During the Baroque period, variations on “La Follia” were a mini-obsession as Alessandro Scarlatti and J.S. Bach, among many, created works based on it. In Opus 5, Corelli created 25 scintillating variations on the tune in a stunning variety of tempi and moods. And Geminiani’s arrangement for Baroque orchestra intensified the sonic brilliance of this irresistible fantasy.

SYMPHONY NO. 8 IN F MAjOR, OP. 93LUDWIG VAN BEETHOVEN

In his respected and entertaining guide to Beethoven’s symphonies, British musicologist George Grove said of the Eighth Symphony: “The hearer has before him not so much a piece of music as a person.” That person, of course, is Beethoven himself, but not the serious, brooding artiste of his portraits. No, the Eighth is a musical image of the composer in the mood he called “aufgeknöpft”: “unbuttoned.” In his “unbuttoned” state, Beethoven was given to explosive pranks — once up-ending a bowl of pasta over a waiter’s head at a favorite restaurant — silly puns, and practical jokes on his friends accompanied by howls of laughter. And in the summer of 1812 when much of this Symphony was written, he was often in this antic mood.

Troubled with a cranky digestion, he spent the summer at Teplitz, a fashionable spa in Bohemia. There he relaxed with friends and met the poet Goethe, who described him as “an utterly untamed personality.” But the more serious Beethoven was also on the scene at Teplitz; here he wrote his famous letter to the “Immortal Beloved,” yearning for a permanent union with a mysterious woman, now believed to have been the married and unattainable Antonie Brentano. And in October, as he was finishing the Eighth, he revealed another side of his mercurial nature as he descended on Linz and his younger brother Johann who had formed an illicit union with his housekeeper.

Now quite properly buttoned up, Beethoven denounced the woman to the Bishop of Linz and commandeered the police to throw her out of the city. Fortunately, Johann married his lady just in the nick of time.

The lighter side of these wild personality shifts animates the Eighth, the second shortest of Beethoven’s symphonies. The composer doesn’t waste a second, immediately hurling his terse principal theme at us as the Allegro vivace first movement begins. This sonata form is an extraordinary mixture of grace and bluster: a bull in a china shop. The grace appears in a second theme for violins, but the bluster upsets its flow with aggressive rhythms, rude sforzando jabs, and ungainly octave pogo jumps. These harry the poor opening idea throughout the development section, which ultimately explodes in one of Beethoven’s rare triple fortes at the beginning of the recapitulation. Buried in the mayhem is the reprise of that hapless theme, now in the cellos and bassoons.

Instead of a slow movement, Beethoven offers a merry second movement, which lives up to its expressive marking “scherzando”: “joking.” This is a send-up of the marvelous mechanical devices of his friend Johann Nepomuk Maelzel, inventor of the metronome. To the tick-tick-tick of the woodwinds, the violins play like little automatons, periodically pausing to rewind themselves in a whir of 64th-notes. In the final seconds, the machine breaks down altogether in a rattle of B-flats.

Because he has already played his Scherzo card, Beethoven reverts to the old courtly minuet for his third movement. But its aggressive, heavy-footed accents wouldn’t be welcome in a proper court and remind us that this composer was reputedly a clumsy dancer.

Even though it is not so very long, Donald Francis Tovey rightly calls the finale “one of Beethoven’s most gigantic creations.” The violins open with a nervously scurrying theme that is soon ambushed by a loud, dissonant C-sharp, definitely NOT part of the key. Soon with a startlingly sudden shift to A-flat major, a beautiful second theme leaps in. After a thundering F-major chord has restored us to the home key, the nervous theme is extremely reluctant to venture out again. The movement’s most remarkable feature is its lengthy coda. Here the nervous theme is whipped from pillar to post and eventually chased by an angry chorus of nasty C-sharps into the distant key of F-sharp minor. Trumpets yell at it in F major until it scrambles home. Beethoven completes his pranks with the most hilariously overextended final cadence in the symphonic repertoire.


O L G A Y U R K O V AV I O L I N

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

violinist including Ash Lawn-Highland Festival and the Colorado Music Festival. Olga is also Assistant Professor of Music at Grace College.

D E R E K R E E V E SV I O L A

Derek Reeves, principal violist, has played with or performed as soloist with symphony orchestras throughout the United States, Europe and Japan. Born in Okinawa, Japan, Reeves began his musical studies at age 2½ and made his Carnegie Hall debut while still in high school. At Indiana University, he earned Bachelor and Master of Music degrees in Violin Performance and served as Concertmaster for four of the school’s five orchestras. He also served as Concertmaster of the Columbus (Indiana) Philharmonic and as Associate Concertmaster of the Evansville Philharmonic. Reeves won the Detroit Symphony Orchestra fellowship in 1997 and performed with that orchestra for two years. He has been Associate Concertmaster of the Charleston Symphony Orchestra and was a member of the New World Symphony in Miami Beach. Reeves is director

of Club O, The Phil’s educational outreach at the Fort Wayne Boys and Girls Clubs, and also serves as adjunct faculty at IPFW. He enjoys running, yoga and biking. He and his wife, Patricia, have a son, Preston.

A R T I S T B I O G R A P H YA N D R E j . G A S K I N S

C E L L O

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.

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. 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.

MASTERWORKS

Ball State University

Friday, January 22, 2—8 p.m.

Saturday, February 6, 9 a.m.—5 p.m.Winds, strings, and percussion only

Sunday, February 7, 1—6 p.m. Voice and keyboard only

Monday, February 15, noon—8 p.m.

2016 Undergraduate Audition DatesApplication deadline:

Friday, January 8, 2016.

To prepare for your audition, please review guidelines at

bsu.edu/music/auditions.

O C T N O V 2 0 1 5 25

HALLOWEEN SPOOKTACULARSponsored by Vera Bradley

Sunday, October 25, 2015 | 2:00 P.M.Rhinehart Music Center, IPFW

Chia-Hsuan Lin, conductorChristopher J. Murphy, directorJeffery Moore, narratordAnce.Kontemporary

STRAVINSKY Firebird: Suite (1919 Version): Infernal Dance

RACHMANINOFF Tempo di Valse from Symphonic Dances, Op. 45 dAnce.Kontemporary

BERLIOZ Dream of a Witches’ Sabbath from Symphonie Fantastique

GRIEG In the Hall of the Mountain King from Peer Gynt, Op. 46

SAINT-SAËNS Danse macabre, Op. 40

HUMPERDINCK Witch’s Ride, from Hänsel und Gretel

WILLIAMS Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone

© 2

015

Vera

Bra

dley

Des

igns

, Inc

.

at Jefferson Pointeverabradley.com

15-105-0916 Philharmonic Spooktacular Ad 2015_FNL.indd 1 8/12/15 4:01 PM

starfinancial.com© 2015 STAR Financial Group

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.

Proud supportersof the Fort WaynePhilharmonic

harmoniousBruce Ewing | 124 North Thomas Road | 260.432.2785 | bruceewinglandscaping.com

Design/Build, Maintenance, Irrigation, Floral Studio

O C T N O V 2 0 1 5 29

DISNEY IN CONCERT:TIM BURTON'S The nighTmare Before chriSTmaSSaturday, October 31, 2015 | 7:30 P.M.Embassy Theatre

Directed by Tim BurtonMusic & Lyrics by Danny Elfman

Featured Singers:Jack Skellington Danny Elfman Lock Paul ReubensSally Catherine O’Hara Shock Catherine O’HaraMayor Glenn Shadix Barrel Danny ElfmanOogie Boogie Ken Page Santa Claus Ed Ivory

THIS IS HALLOWEEN JACK’S LAMENT WHAT’S THIS? TOWN MEETING SONG JACK’S OBSESSION KIDNAP THE SANDY CLAWS

-- Intermission --

MAKING CHRISTMAS OOGIE BOOGIE’S SONG SALLY’S SONG POOR JACK FINALE

Presentation made under license from Buena Vista Concerts, a division of ABC Inc. © All rights reserved

(260) 432-8176 Sweetwater.comVisit us at Sweetwater!

5501 U.S. Hwy 30 W | Fort Wayne, IN 46818Hours: M–Th 9–9 • F 9–8 • Sat 9–7

The Finest PianosFrom stunning full-sized concert grands to a huge selection of home models, you’ll find the piano you’ve always wanted in the Piano Showroom at Sweetwater.

See our entire selection of amazing pianos online at Sweetwater.com/Pianos

We are the region’s exclusive Yamaha

acoustic and Clavinova dealer!

Is Proud to Sponsor

POPS SERIESTHE

We’re honored to sponsor the Pops Series and hope you enjoy these exciting performers in concert with the Fort Wayne Philharmonic.

Sweetwater is committed to the arts in our community, and we thank you for supporting the Sweetwater Pops Series.

Share the power and beauty of a piano with

your family.

We carry the trusted Brands: Roland Foresta, Yamaha,

Kurzweil, and more!

We have an amazing selection of digital

and acoustic pianos.

Sweetwater offers piano lessons to help

you play your best.

THEPianoat Sweetwater

S H OWROOM

O C T N O V 2 0 1 530

A R T I S T B I O G R A P H YT I M B U R T O N

D I R E C T O R

TIM BURTON, widely regarded as one of the cinema’s most imaginative filmmakers, has enjoyed great success in both the live-action and animation arenas. Most recently Burton directed and produced the critically acclaimed “Frankenweenie” which was a 2012 Academy Award® nominee for Best Animated Picture.

Earlier in 2012 Burton directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothic thriller “Dark Shadows,” based on the cult favorite television show. He also produced the fantasy horror “Abraham Lincoln: Vampire Hunter” which was directed by Timur Behmambetov.

In 2010, he directed “Alice in Wonderland,” an epic fantasy based on the classic story by Lewis Carroll, and starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, and Mia Wasikowska in the title role. The film earned more than a billion dollars at the worldwide box office, making it the second-highest-grossing release of 2010. “Alice in Wonderland” also received a Golden Globe nomination for Best Picture – Musical or Comedy, and won two Academy Awards®, for Best Art Direction and Best Costume Design.

Burton was previously honored with an Academy Award® nomination for Best Animated Feature for the 2005 stop-motion film “Corpse Bride,” which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama “Big Fish.” More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on “Sweeney Todd: The Demon Barber of Fleet Street,” which also won the Golden Globe for Best Film – Musical or Comedy. Depp earned an Oscar® nomination for his performance in the title role of Burton’s 2007 film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and Alan Rickman.

Burton began his film career in animation, and, in 1982, directed the stop-motion animated short “Vincent,” narrated by Vincent Price, which was an award winner on the film festival circuit. He made his feature film directorial debut in 1985 with the hit comedy “Pee-wee’s Big Adventure.”

In 1988, Burton helmed the inventive comedy hit “Beetlejuice,” starring Michael Keaton as

the title character. He then reteamed with Keaton on the action blockbusters “Batman,” which became the top-grossing film of 1989 and also starred Jack Nicholson as the Joker, and “Batman Returns,” also starring Michelle Pfeiffer and Danny DeVito.

In 1990, Burton directed, co-wrote and produced the romantic fantasy “Edward Scissorhands,” which was acclaimed by both critics and audiences. The film also marked the start of his successful cinematic partnership with Johnny Depp, who delivered a poignant performance in the title role. Their subsequent collaborations include the Burton-directed films “Ed Wood,” also starring Martin Landau in an Oscar®-winning portrayal of Bela Lugosi; “Sleepy Hollow,” adapted from the classic tale by Washington Irving; and the 2005 worldwide smash “Charlie and the Chocolate Factory,” which was based on Roald Dahl’s beloved book and grossed more than $470 million worldwide.

Burton’s additional directing credits include the all-star sci-fi comedy “Mars Attacks!,” which he also produced, and the 2001 remake of “Planet of the Apes,” which marked his first collaboration with producer Richard Zanuck.

Burton also conceived and produced the stop-motion animated feature “The Nightmare Before Christmas,” which remains an enduring holiday favorite. In addition, he has produced such films as “Cabin Boy,” “Batman Forever,” and the animated features “James and the Giant Peach” and “9.”

In 2010, the filmmaker released The Art of Tim Burton, a 430-page book comprising more than 40 years of his personal and project artwork. In November of that year, the Museum of Modern Art (MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Toronto, Los Angeles, Paris, and Seoul.

POPS

A R T I S T B I O G R A P H YD A N N Y E L F M A N

C O M P O S E R

Over the last 30 years, four-time Oscar nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’sBig Adventure, Elfman has scored a broad range of films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas, Alice in Wonderland, David O. Russell’s award-winning films Silver Linings Playbook and American Hustle, Sam Raimi’s Oz: The Great and Powerful, Mr. Peabody and Sherman, the Errol Morris documentary The Unknown Known: The Life and Times of Donald Rumsfeld, and Tim Burton’s Big Eyes. Most recently he has provided the music for Fifty Shades of Grey and Marvel’s Avengers: Age of Ultron.

A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big

Adventure. 25 years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony entitled Serenada Schizophrana for Carnegie Hall, an overture called The Overeager Overture for the Hollywood Bowl, and, Iris—a Cirque du Soleil show. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.”

POPS

From funding over $5 million in grants and sponsorships in 2014, to supporting our associates who volunteered more than 99,000 hours last year alone, Old National is passionately committed to community engagement. It’s also the reason why we are a proud supporter of the Fort Wayne Philharmonic.

oldnational.com

Strengthening the Fabric of Our Community

HOME FOR THE HOLIDAYSSponsored by Indiana Michigan Power and Old National Wealth Management

december 11, 12 & 19

CALL 260 481-0777 OR GO ONLINE TO FWPHIL.ORG TODAY FOR BEST

PRICING AND AVAILABILITY!

O C T N O V 2 0 1 5 33

lord nelSon maSSSaturday, November 14, 2015 | 7:30 P.M.First Wayne Street UMC

Andrew Constantine, conductorFort Wayne Philharmonic Chorus, Benjamin Rivera, directorRosalind Lee, sopranoAngela Young Smucker, mezzo-sopranoAlan Taylor, tenorDan Richardson, bass-baritone

ROSSINI Overture to Il signor Bruschino

BRITTEN Matinées musicales, Op. 24 (after Rossini) March Nocturne Waltz Pantomime Moto perpetuo (Solfeggi e gorgheggi)

RESPIGHI Suite III from Ancient Airs and Dances Anon. (late 16th century): Italiana Giovanni Battista Besardo (17th century): Arie di Corte Anon. (late 17th century): Siciliana Lodovico Roncalli (1692): Passacaglia

-- Intermission --

HAYDN Mass, Hob. XXII:11, D minor ("Lord Nelson Mass") Kyrie Gloria Credo Sanctus & Benedictus Agnus Dei Fort Wayne Philharmonic Chorus Rosalind Lee, soprano Angela Young Smucker, mezzo-soprano Alan Taylor, tenor Dan Richardson, bass-baritone

Managing money for people with…

more important things to manage.Managing money is more than simply trading stocks and bonds. It’s planning for life’s milestones, in your life and in the lives of those you care about most. We invest the time to understand your goals and the discipline to manage your assets accordingly.

Old National is a Top 100 Wealth Management Firm* with over $8 billion in assets under management. Let us handle the details so you can focus on the more important things in life.

*Ranking based on total fiduciary assets as of 3/31/2015 as reported by Trust Performance Report. Investment instruments utilized by Old National Wealth Management are not FDIC insured, are not deposits or other obligations of Old National Wealth Management, Old National Bank, its parent company or affiliates and involve investment risk including the possible loss of principal invested.

Fort Wayne 116 E Berry St 260-310-6663

O C T N O V 2 0 1 5 35O C T N O V 2 0 1 534

OVERTURE TO il Signor BruSchinoGIOACCHINO ROSSINI(b. 1792, Pesaro, Italy; d. 1868, Passy, near Paris, France)

With all the gloriously elaborate arias Rossini gave us in his operas, we tend to think of him first and foremost as the master of the voice. But he was also the master of the orchestra, as the continuing popularity of his overtures attests. By age 37, he’d written his canon of 38 operas, and of these, only a handful —The Barber of Seville, The Italian Girl in Algiers, La Cenerentola, primarily — remain in the active repertoire. Yet how many more of Rossini’s overtures continue to flourish, even as the operas they once opened have been forgotten! Once the perfect curtain raiser for the theatre, now they are the perfect warm up for an evening of symphonic music.

In addition to his effortless musical gifts, Rossini was a wit and bon vivant (his love of fine food ballooned him from a trim young man to a very obese one during his long retirement), and when a younger composer once inquired what was the best way to write an overture, he replied as follows. “Wait till the evening of the day the opera is scheduled for performance. Nothing excites the imagination more than necessity, the presence of a copyist waiting for the music, and the pressing of an impresario in despair tearing out his hair. In my day in Italy, all impresarios were bald by the age of 30!”

Premiered in January 1813, when Rossini was only 20 years old, Il Signor Bruschino is a light-hearted one-act farce composed for Venice. It involves two young lovers Florville and Sofia’s efforts to get rid of an unwanted suitor, the younger Signor Bruschino, with Florville actually impersonating his usually absent young rival to paint him in the most unattractive colors. The sudden arrival of the elder Signor Bruschino on the scene simply adds to the complications.

The overture follows the surefire formula Rossini had invented for himself, but with a memorable twist. First we hear a rumbling, conspiratorial motive low in the strings. Soon this idea is joined by something never before heard by audiences in Rossini’s time: the motive answered by the second violins wrapping out the rhythm with their bows against their music stands. This charming comic effect will return frequently throughout the rest of the overture. Twice we also hear miniature versions of the composer’s trademark: the famous slow-building Rossini crescendo, as instrument after instrument is progressively added to build a little adrenaline rush. As Rossini later told the composer Saint-Saëns: “They criticize me for the crescendo in

my overtures, but forget that if I had dared leave it out, the opera would never be performed!”

CHAMBER ORCHESTRA SERIES PROGRAM NOTES

C H A M B E R O R C H E S T R A S E R I E S

SATURDAY, NOVEMBER 14, 2015

maTinéeS muSicaleS, OP. 24BENJAMIN BRITTEN(b. 1913, Lowestoft, England; d. 1976, Aldeburgh, England)

Both Rossini and Benjamin Britten, the pre-eminent British composer of the 20th century, were masters of vocal music and especially of opera. Though their individual styles were very different, Britten biographer Christopher Palmer identifies the qualities that undoubtedly drew the Englishman to Rossini’s music. “Rossini exhibits many of the qualities Britten admired in the music of others — fertile, spontaneous, uncomplicated invention, warmth, melodiousness and color.”

In 1936, Britten recast Rossini melodies for large orchestra in his suite Soirées Musicales, its title borrowed from the Italian’s series of playful songs created in his old age for his popular salon evenings in Paris. Five years later in 1941, Britten was temporarily living in America during the opening years of World War II and became friends with the ballet impresario Lincoln Kirstein. Kirstein commissioned him to create another Rossinian suite, which became the Matinées Musicales, to pair with his original Soirées Musicales for a ballet to be choreographed by the legendary George Balanchine for the American Ballet Company.

Taking mostly intimate pieces for voice and piano and tranforming them into music for a large, highly colored modern orchestra involved much more than simply new arrangements; it forced Britten to compose considerable music of his own, though always in the spirit of Rossini. The Suite opens with a whimsical, quick-tempo “March” drawn from a Pas de Six in Rossini’s last opera William Tell and featuring sassy scoring for brass and woodwinds. Next we hear “Nocturne,” a lovely romantic piece based on Rossini’s song “La Pesca” (“Fishing”). It is accented charmingly by an instrument not yet invented in Rossini’s day, the celesta.

Britten creates a rambunctious “Waltz” out of Rossini’s song “L’orgia” (“Revelry”). “Pantomime” turns the song “Il rimprovero” (“Reproach”) into a subtle tour de force for the woodwind instruments, both solo and in imaginatively colored ensembles. To conclude, the effervescent, brilliantly scored “Moto perpetuo” (“Perpetual Motion”) is subtitled “Gorgheggi e solfeggi” or “Bird Warblings and Solfeggios.”

SUITE III FROM ancienT airS and danceS,OTTORINO RESPIGHI(b. 1879, Bologna, Italy; d. 1936, Rome, Italy)

Long before there was an early-music movement, in a time when even Vivaldi’s The Four Seasons had been almost completely forgotten, Ottorino Respighi became fascinated with Italian and French music of the Renaissance and Baroque eras. Pouring over 16th-century lute and 17th-century guitar pieces, he decided to do his bit to rescue such lovely melodies from oblivion by freely arranging some of them for small orchestra. Under the title Antiche danze ed arie (“Ancient Airs and Dances”), he created three suites, the first in 1917 and the one we hear tonight in 1931. A related work is his popular The Birds, another suite for chamber orchestra compiled in 1927 from Renaissance and Baroque keyboard pieces.

While today’s transcribers of early music take careful account of recent scholarship about the instrumental sounds and performance practices of the earlier era, Respighi had no such knowledge or inhibitions and happily — and very beautifully — recreated his lute songs in the sensuous instrumental colors and rich harmonizations of his own day. A pupil of Nikolai Rimsky-Korsakov, he was a master of spectacular orchestral effects, as anyone familiar with his sumptuous tone poems The Pines of Rome, The Fountains of Rome, and Roman Festivals can attest. But the Ancient Airs and Dances show a more delicate side of Respighi’s art, especially the Third Suite which is scored for strings alone.

Pizzicato cellos accompanying the melody remind us of the original lute in the gracious opening Italiana, based on an anonymous lute composition of the 16th century. Longer and more complex is the second movement Arie di corte or “Songs of Courtship”; it is based on six lute songs composed by Jean-Baptist Besard (1567–c. 1617). Respighi focuses most attention on the melancholy first song, “It is sad to be in love with you,” which returns at the movement’s close; doleful violas dominate this heartfelt air. It is followed by two quick songs run together (“Farewell forever, shepherdess” and “Lovely eyes that see clearly”), the richly chorded and slow-tempo “The Skiff of Love,” and two more quick airs, “What divinity touches my soul” (in feathery pizzicato) and “If it is for my innocence that you love me.”

Based on another anonymous 16th-century lute piece, the third movement is anachronistically called a Siciliana by Respighi after the later pastoral Baroque dance with prominent dotted rhythms, believed to have originated in Sicily. Its melancholy grace is enhanced in its second verse by delicate descending scale patterns in the lower strings. Finally, Respighi closes with a sonorous arrangement of a much later work from 1692: a Passacaglia (a form built on a repeating melodic-harmonic pattern, here introduced by the first violins) for guitar by Lodovico Roncalli. Sweeping multi-stopped

string chords conjure the full-bodied tones of the guitar and the grandeur of the high- Baroque era.

MASS IN D MINOR: MISSA IN ANGUSTIIS ("LORD NELSON MASS")JOSEPH HAYDN(b. 1732, Rohrau, Austria; d. 1809, Vienna, Austria)

For most of his career, Joseph Haydn served the fabulously wealthy Austrian/Hungarian noble family of Esterházy as its chief court composer. However, in the early 1790s, he was able to escape for several years and become a freelance composer. His two multi-year sojourns in London won him the greatest successes of his career as he dazzled the London public and even the royal family with his twelve magnificent London Symphonies. Nevertheless, when Prince Nicholas II assumed the Esterházy title in 1795, he managed to lure Haydn back with an offer no composer — especially a sexagenarian worried about providing for his old age — could refuse: a handsome salary, the freedom to live in his own home in Vienna for much of the year, and lodgings and all personal needs provided for while he was in residence at the Esterházy palace. And Haydn’s duties would be extremely light: all he would have to do for the Prince (who had a particular passion for sacred music) would be to write one mass setting every year to celebrate the name day of the Prince’s wife, Princess Marie Hermenegild.

These terms were congenial to Haydn in every way. While absent from the court, he had plenty of time to create his two giant choral masterpieces, The Creation and The Seasons, and his final and greatest string quartets, Opuses 76 and 77. The six late masses for the Esterházys also rank with these works among the supreme creations of the composer’s long and prolific career. Haydn scholar H.C. Robbins Landon calls them “enormous symphonies to the glory of God.” A devout Catholic, Haydn combined his personal devotion, his love for choral writing (enriched by his exposure to Handel’s music in London), and his mastery of symphonic form and orchestration to create these masses, each one strikingly different from its siblings.

There was an additional factor that added to Haydn’s joy in fulfilling these annual commissions. Princess Marie was a lovely and charming woman with a musical and diplomatic sensitivity considerably exceeding her husband’s. She adored Haydn and he adored her in return; she often interceded on the composer’s behalf when he clashed with her crusty and overbearing consort. Paying tribute to her name day (a September Sunday honoring the Virgin Mary) became an act of love more than duty.

The third of these masses, the Missa in Angustiis (“Mass in Troubled Times”), is unique in that it was the only mass setting Haydn wrote in a minor key: D minor. The choice of this dark and dramatic key reflected the year in which it was written: 1798. This was a time of ongoing wars as the young Napoleon began his quest to dominate

O C T N O V 2 0 1 536

III

Europe and continually menaced the rival power of Austria. And since Austria’s generals were greatly inferior to him, Austria kept losing battle after battle. At last, in September 1798, while Haydn was composing this Mass, came a piece of good news: Horatio Nelson, the heroic commander of the English navy — England was one of Austria’s chief allies against France — had defeated the French navy at the Battle of the Nile. With its prominent parts for trumpets and drums and frequent fanfare motives, the Missa in Angustiis reflected this time of constant military alert with its alternating moods of fear and triumphant joy.

When Lord Nelson paid a visit to the Esterházy family in 1800, the Missa in Angustiis was performed for him and received a new, less formal title by which it is generally known today: the “Nelson” Mass. Nelson was reportedly so moved by the work that he gave Haydn a watch in exchange for the pen with which the composer had written the score.

Much of what had made the London Symphonies such masterpieces was transferred into the “Nelson” Mass. Haydn employed a symphonic structure and span here so that each main section of the mass is like a contrasting movement in a symphony. The vocal soloists are no longer given separate arias as had been the custom in the 18th century, but are integrated freely into the texture alongside the chorus. And the orchestra is given much greater importance, providing extended and impressive introductions to such sections as “Et incarnatus” and “Benedictus.”

With its pealing military fanfares, fierce choral cries, and minor key, the “Kyrie” has a uniquely somber and anxious emotional quality reflecting a continent at war. The soprano soloist’s airy coloratura contrasts vividly with the solid homophonic utterances of the chorus.

Moving to D major, the “Gloria” is something altogether different. Its opening section praising

God is joyous, exuberant, almost dancelike. Its most extraordinary section is the setting of “Qui tollis peccata mundi” (“Who bears the sings of the world”), a deeply felt Adagio dominated by the dark, weighty voice of the bass soloist. The final section, “Quoniam tu solus,” returns to the joyful melody of the opening and closes in lavish fugal counterpoint for the chorus.

The “Credo” opens as a two-part canon between sections of the chorus, echoing the proclamation of the tenets of Christian belief. Here and throughout this movement, Haydn frequently has the chorus singing in unison to place maximum emphasis on the text. “Et incarnatus” about the birth and death of Christ is a superbly conceived passage opened by an eloquent orchestral prelude and a beautiful solo for the soprano. This poignant music then explodes into the joy of the Resurrection, topped by the soprano’s ecstatic coloratura.

The “Sanctus” opens solemnly with crescendos of awe from the chorus, then erupts in a lively setting of “Pleni sunt coeli.” Back in war-torn D minor, the “Benedictus” is one of the Mass’s most remarkable movements, featuring an imposing, militant orchestral prelude and a lovely, earnest solo for the soprano, echoed by the chorus. It is as though “He who comes in the name of the Lord” were a military hero, sent to save a beleagered nation. The movement builds to a powerful climax before a reprise of “Pleni sunt coeli.”

The “Agnus Dei” (“Lamb of God”) unfurls a tender melody with beautiful arching lines for the alto and soprano soloists, eventually joined by the rest of the solo quartet. After all the anxiety underlying this Mass, Haydn gives the closing “Dona nobis pacem” (“Give us peace”) a celebratory contrapuntal setting in which the chorus confidently proclaims their faith that peace will come at last.


I

II

TExTS/TRANSLATIONS

Kyrie eleison. Lord have mercy.Christe eleison. Christ have mercy.Kyrie eleison. Lord have mercy.

Gloria in excelsis Deo Glory to God in the highest, et in terra pax hominibus bonae voluntatis. and on earth, peace towards men of good will. Laudamus te, benedicimus te, We praise You, we bless You,adoramus te, glorificamus te. we adore You, we glorify You.Gratias agimus tibi propter magnam gloriam tuam. We give thanks to You for Your great glory. Domine Deus, rex coelestis, Lord God, heavenly king, Pater omnipotens, Father almighty,Domini Fili unigenite, Lord, the only-begotten Son,Jesu Christe altissime, Jesus Christ, the most high,Domine Deus, Agnus Dei, Filius patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You, who takes away the sins of miserere nobis, suscipe the world, have mercy upon us,

deprecationem nostram. receive our prayers.Qui sedes ad dexteram patris, You, who sits at the right hand of themiserere nobis. Father, have mercy upon us.

Quoniam tu solus sanctus, tu solus For You alone are holy, You alone areDominus, tu solus altissimus, Jesu Christe. the Lord, You alone are the Lord, O Jesus Christ.

Cum sancto spiritu in gloria With the Holy Spirit, in the glory ofDei Patris. Amen. God the Father. Amen.

Credo in unum Deum, I believe in one God,Patrem omnipotem, factorem Father almighty, maker ofcoeli et terrae, visibilium heaven and earth, and of all thingsomnium et invisibilium. visible and invisible.Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum, et ex Patre only begotten Son of God, who was natum ante omnia secula. begotten by his Father before all worlds.

Deum de Deo, lumen de lumine, God of God, light of light,Deum verum de Deo vero, very God of very God,genitum, non factum, begotten, not made, beingconsubstantialem Patri, of one substance with the Father,per quem omnia facta sunt. by whom all things were made.Qui propter nos homines et propter nostram salutem Who, for us, and for our salvationdescendit de coelis. descended from heaven.

Et incarnatus est de Spiritu And was incarnate by the HolySancto ex Maria virgine, et homo factus est. Spirit of the Virgin Mary, and was made man.Crucifixus etiam pro nobis sub And was also crucified for us underPontio Pilato, passus et sepultus est. Pontius Pilate, suffered, and was buried. Et resurrexit tertia die And on the third day, He rose again secundum scripturas, according to the Scriptures,et ascendit in coelum, and ascended into heaven, andsedet ad dexteram Patris. sits on the right hand of the Father.Et iterum venturus est And He shall come again,cum gloria, judicare vivos with glory, to judge both the livinget mortuos, cujus regni non erit finis. and the dead, whose kingdom shall have no end. Et in Spiritum sanctum, And in the Holy Spirit,Dominum et vivificantem, the Lord and giver of life, whoqui ex Patre et Filio precedit. proceeds from the Father and Son.Qui cum Patre et Filio simul Who, with the Father and Sonadoratur et conglorificatur. is worshipped and glorified,qui locutus est per Prophetas. Who spoke by the Prophets.Et unam sanctam catholicam And one holy, catholic,et apolstolicam ecclesiam. and apostolic Church.Confiteor unum baptisma I acknowledge one baptismin remissionem peccatorum, for the remission of sins,Et expecto resurrectionem mortuorum, And I expect the resurrection of the dead,et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

Sanctus, sanctus, sanctus, Holy, holy, holy,Dominus Deus Sabaoth, Lord God of Sabaoth,pleni sunt coeli et terra heaven and earth aregloria ejus. filled with His glory.Osanna in excelsis. Hosanna in the highest.

Benedictus qui venit Blessed is he who comesin nomine Domine. in the name of the Lord.Osanna in excelsis. Hosanna in the highest.

Agnus Dei, qui tollis Lamb of God, who takes away thepeccata mundi, sins of the world,miserere nobis. have mercy on us.

Dona nobis pacem. Grant us peace.

II

IV

V

O C T N O V 2 0 1 5 39O C T N O V 2 0 1 538

A L A N T AY L O RT E N O R

Hailed for his “ringing and confident tenor,” Alan Taylor, a native of Atlanta Georgia, is a graduate of Northwestern University (M.Mus.) and Samford University (B.Mus.) under the tutelage of W. Stephen Smith. He is a two-time winner of Samford’s Concerto-Aria competition and the National Association of Teachers of Singing audition, and won first place in the Federation of Music Clubs annual collegiate competition.

He has been the tenor soloist for Bach’s Magnificat, Mozart’s Coronation Mass, Vaughan Williams’ Serenade to Music, Britten’s Saint Nicholas, and Charpentier’s Messe de Minuit pour Noël. He was featured in recital at the Aspen Music Festival with pianist Kenneth Merrill and has sung for Maestri Nicholas McGegan and Jane Glover.

Taylor’s opera credits include title roles in Britten’s Albert Herring, the Chicago premiere of Musto’s Bastianello as well as Alfredo

in J. Strauss’s Die Fledermaus, Arnalta in Monteverdi’s L’incoronazione di Poppea, and Ralph Rackstraw in Sullivan's H.M.S. Pinafore, praised for his “delightfully pretty singing.” He maintains voice and piano studios and is a member of the Chicago Symphony Chorus, Grant Park Chorus, and Chicago’s historic Saint James Episcopal Cathedral and its choir.

D A N R I C H A R D S O NB A S S - B A R I T O N E

Bass-baritone Dan Richardson is known for his "clean, clear, declarative" tone and "lovely core sound and earnest musicianship."

Recently, Mr. Richardson appeared as Elijah with Choral Union in Mendelssohn's Elijah, Figaro in Le nozze di Figaro with the Salt Creek Chamber Orchestra, as Papageno with Candid Concert Opera, and performed with the New Millennium Orchestra as Death in Viktor Ullmann's the Emperor of Atlantis on the Pritzker Pavilion Stage at Millennium Park.

He has also performed with the Florentine Opera, Opera Omaha, Opera Louisiane, Des Moines Metro Opera, the Cedar Rapids Opera Theatre, Sarasota Opera, and the Lyric Opera of Chicago, where he performed the role of Don Bartolo for their “Opera in the Neighborhoods” production of Rossini's The Barber of Seville.

As a concert soloist Mr. Richardson has performed with the Fox Valley Orchestra, Milwaukee Symphony Orchestra, The Virginia Consort, the Milwaukee Ballet, Music by the Lake, and the Grant Park Chorus.

CONTINuEDfrOM PAgE 38.

She has also worked with GRAMMY-nominated Seraphic Fire and GRAMMY-winning ensembles: Chicago Symphony Chorus, Oregon Bach Festival Chorus, and Conspirare.

Ms. Smucker holds degrees from Valparaiso University and the University of Minnesota and

was awarded acceptance into the 2015 NATS Intern Program while serving as an adjunct voice instructor at Valparaiso University (2008-2015).

A R T I S T B I O G R A P H YR O S A L I N D L E E

S O P R A N O

Rosalind Lee, soprano, has been described as "a beautiful soprano with a glowing voice." Among many other performances, Ms. Lee sang the "Echo" in "Flößt, mein Heiland" from Bach’s Christmas Oratorio with Kathleen Battle under the baton of Raymond Leppard and was the soprano soloist in the Vivaldi Gloria under Bernard Labadie, both with the Indianapolis Symphony Orchestra. Ms. Lee has presented Beethoven’s magnificent concert aria, Ah! Perfido with the Civic Orchestra of Chicago and has appeared as a soloist in numerous other concert works including Bach’s Magnificat, Brahms' Ein Deutsches Requiem, Gounod’s St. Cecilia Mass, Haydn’s Paukenmesse, Mozart’s Vesperae solennes de confessore, Orff’s Carmina Burana, Schubert’s Mass in G, and the Chicago premiere of Mollicone’s Beatitude Mass. Ms. Lee is very pleased to be making her debut with the Fort Wayne Philharmonic in this performance of Haydn’s Missa in Angustiis (Lord Nelson Mass). Other upcoming appearances include performances of Brahms' Ein Deutsches Requiem, a concert of opera selections called “Seasons of Song” at Governor’s State University and her debut with Haymarket Opera Company in a concert performance of Stradella’s oratorio San Giovanni Battista.

On the opera stage, Ms. Lee has appeared in Verdi’s La Traviata (Annina) at Music by the Lake. She has also appeared in the ensemble of many productions with Lyric Opera of Chicago, including the recent productions of Carousel, The Sound of Music and Porgy & Bess.

Ms. Lee is pleased to appear regularly with the Chicago Symphony Chorus, the Grant Park Festival Chorus, and the choruses of Soli Deo Gloria’s Chicago Bach Project and Music of the Baroque. She's also very proud to be heard singing in the Chicago Symphony Chorus on Chicago Symphony Orchestra's 2010 GRAMMY-winning recording of Verdi's Messa da Requiem, under the baton of Maestro Riccardo Muti and again with them on the soundtrack of Dreamwork's film, Lincoln, under the direction of Maestro John Williams.

CHAMBER

A N G E L A Y O U N G S M U C K E RM E z z O - S O P R A N O

Angela Young Smucker has earned praise for her “rich, secure mezzo-soprano” (Chicago Tribune) and her "powerful stage presence" (The Plain Dealer). Her performances in concert, stage, and chamber works have made her a highly versatile and sought-after artist.

Highlights of the 2015-16 season include debut performances with Spire Chamber Ensemble in the Duruflé Requiem and Handel’s Messiah, the Fort Wayne Philharmonic’s Lord Nelson Mass (Haydn), and with the San Diego Pro Arte Voices as featured soloist in Copland’s In the Beginning. Ms. Smucker will make return appearances with Bach Collegium San Diego in Handel’s Messiah and Monteverdi’s Vespers; Indianapolis Chamber Orchestra under the baton of new conductor Matthew Kraemer; and Chicago Bach Ensemble lead by Baroque specialist Rubén Dubrovsky.

Concert work from past seasons includes Mozart’s Coronation Mass (Music of the Baroque), Mendelssohn’s Elijah (Chicago Symphony Orchestra, Oregon Bach Festival), Haydn’s Creation (Oregon Bach Festival),

Mozart’s Requiem, Vivaldi’s Gloria, Handel’s Israel in Egypt, and Duruflé’s Requiem. Ms. Smucker has also appeared on Garrison Keillor’s A Prairie Home Companion, WFMT’s Impromptu, and WTTW’s Chicago Tonight.

Ms. Smucker’s work as a chamber artist has earned high praise. Her debut performances with French Baroque ensemble Les Délices were chosen as a 2013 “Cleveland Favorite” by The Plain Dealer.

CONTINuED ON PAgE 39.

O C T N O V 2 0 1 5 41O C T N O V 2 0 1 540

MESSAGE FROM THE PHIL FRIENDS

Welcome to the 2015/16 Season of the Fort Wayne Philharmonic! Our annual Friends Membership Drive is just wrapping up and we invite all of you to join. We need more volunteers with time, talent, imagination and the skills to put ideas into action. Check off your area of interest on the program insert, fill out the reverse side, and send to the address provided. If you’d like to be a member of our board, call 260•481•0770 or e-mail [email protected].

The Fort Wayne Philharmonic Friends was first known as the Women's Committee, then as the Philharmonic Volunteers and have been around since 1944. Over all these years our mission has remained the same: to be an advocate for The Phil and support its fundraising and education activities while discovering and encouraging musical talent. Below is a list of what we’ve been doing over the summer, what’s going to happen during the next few months and some of our ongoing activities:

• The first annual Swing for the Symphony golf outing was held on August 20 at the Orchard Ridge Country Club.

• Our first Instrument Playground of the season was held August 29 at Taste of the Arts.

• In July, our Scholarship Committee awarded almost $4,000 to twenty-five applicants for the 2015/16 school year.

• The second Vines & Vibes will be held on October 14 at Country Heritage Winery with Alicia Pyle providing the vibes. See the ad on page 10 for more details.

• The Friends are again pleased to be able to sponsor the October 24 Masterworks.

• Another Symphony of Style fashion show is being planned for April 19, 2016. Keep an eye on this space and our web site www.fwphilfriends.com for more information.

• Our nationally recognized Instrument Loan program is busy serving young musicians throughout the area.

• The Friends continue to sponsor Musically Speaking before the Masterworks concerts.

• We also provide overnight housing for out-of-town musicians; refreshments for the Friday Masterworks rehearsals and between Holiday Pops matinee and evening performances; and dozens of trips to and from the airport for the Music Director, visiting artists and other transportation needs

This kind of support for The Phil and the community is only possible through your generouscontributions. If you want to see it continue, please consider joining us, attending ourfundraisers and participating on our board.

Again, thank you all for your past help and enjoy another season of first class symphonicmusic from the Fort Wayne Philharmonic!

THE PHILHARMONIC FRIENDS BOARD OF DIRECTORS

OFFICERSVice-President Education: Sara DavisVice-Presidents Fundraising: Susan Lehmann, Elizabeth LehmannVice-President Hospitality: Jayne Van WinkleVice-President Marketing: Cynthia FyockRecording Secretary: Patty ArataCorresponding Secretary: Kathie Sessions

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

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

BOARD MEMBERSSuzi HanzelSandra HellwegePat HoltvoigtNaida MacDermidNellie Bee MaloleyNan NesbittTamzon O'MalleyJohn McFannJanet OrmistonRuth SpringerMarcella TrentacostiAlexandra Tsilibes

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.

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

make the artshappen

Phot

o co

urte

sy o

f Mus

ic fo

r All

ASSISTANT CONDUCTOR

CHIA-HSUAN LIN

Chia-Hsuan Lin is pleased to begin her second season as Assistant Conductor with the Fort Wayne Philharmonic.

Lauded for her clarity and elegance on the podium, Chia-Hsuan has shared her talents in many diverse musical settings throughout the world. She recently conducted the Peninsula Music Festival Orchestra as one of three young talents chosen for the Emerging Conductor Program, and she was a semi-finalist in the 2013 Jeunesses Musicales International Conducting Competition in Bucharest, Romania. Earlier this year, Chia-Hsuan conducted a performance of Mark Adamo’s Little Women at Northwestern University. She led the 2012 Mainstage Opera production of Mozart’s Don Giovanni at the University of Cincinnati, where she also 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 Bach’s St. Matthew Passion, Chia-Hsuan returned to Taipei in 2011 to conduct the Academy of Taiwan Strings and Taipei Philharmonic Chorus for a lecture series by conductor and Bach scholar Helmuth Rilling. In the summer of 2011, she traveled to Italy to serve as Assistant Conductor of Opera at the CCM Spoleto Music Festival.

Chia-Hsuan first received 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. Chia-Hsuan received her undergraduate degree in percussion and graduate degree in conducting from National Taiwan Normal University, where she studied with Apo Hsu. Her musical training continued in the United States after being selected to study with Harold Farberman as a Fellow of the Conductor Institute at Bard College. Under

the tutelage of Mark Gibson, she earned a graduate degree at the College-Conservatory of Music of the University of Cincinnati, and in 2012, Chia-Hsuan received the Foreign Study Award for Music from the Taiwan Education Bureau to begin her doctoral degree with Victor Yampolsky at Northwestern University. Chia-Hsuan has furthered her education through masterclasses and workshops, including sessions with the Richmond Symphony Orchestra, 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, Markand Thakar, Israel Yinon, and Douglas Bostock.

MASTERWORKS:

MIDWINTER MOzART jAN 23 7:30 P.M. | Andrew Constantine, conductorBoris Slutsky, piano

fREIMANN:

MOzART’S CLARINET QUINTETjAN 27 & 31 7:30 P.M. & 2:30 P.M. | Freimann Quartet

CHAMBER ORCHESTRA:

ROYAL MOzARTFEB 6 7:30 P.M. | Andrew Constantine, conductorFort Wayne Philharmonic Chorus

WARM YOUR WINTER WITH OUR MIDWINTER MOzART FESTIVAL

CALL TODAY! 260 • 481 • 0777 | FWPHIL.ORG

O C T N O V 2 0 1 5 45

CHORUS DIRECTOR

BENJAMIN RIVERA

Patricia AdsitMrs. James M. Barrett IIIHoward and Betsy ChapmanWill and Ginny ClarkDru DoehrmanJune E. EnochLeonard M. GoldsteinWilliam N. and Sara Lee Hatlem

Diane HumphreyJane L. KeltschWilliam LeeCarol LehmanElise D. MacomberAlfred MaloleyMichael J. Mastrangelo, MDDr. Evelyn M. PaulyJeanette Quilhot

Carolyn and Dick SageLynne SalomonHerbert SnyderHoward and Marilyn SteeleZohrab TazianRonald VenderlyW. Paul WolfDon Wood

HONORARY BOARD

ADMINISTRATIVE STAFF

Jim PalermoManaging Director

Roxanne KelkerExecutive Assistant to the Managing Director and Music Director

ARTISTIC OPERATIONS

Jim MancusoGeneral Manager

Christina BrinkerDirector of Operations

Timothy TanOrchestra Personnel Manager

Adrian MannOrchestra Librarian/Staff Arranger

Ryan PequignotStage Manager

EDUCATION

Jason PearmanDirector of Education and Community Engagement

Anne Preucil LewellenEducation and Ensemble Coordinator

Joseph KalismanYouth Orchestra Manager

Derek ReevesInstructor, Club Orchestra program

DEVELOPMENT

Sarah KimouGrants and Sponsorship Coordinator

Clarissa ReisAnnual Fund Coordinator

FINANCE & TECHNOLOGY

Beth ConradDirector of Finance

Kathleen FarrierAccounting Clerk

Angelyn BegleyTechnology Coordinator

MARKETING & COMMUNICATIONS

Melysa RogenAssistant Director of Marketing and PR

Ed StevensSales Manager

Brooke SheridanPublications and Graphics Manager

Doug DennisPatron Relations Manager

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

BOARD OF DIRECTORS

George BartlingSarah BodnerEarl D. Brooks, IIVicky CarweinAnita CastKeith DavisBen EisbartDennis FickMichael GalbraithLeonard HelfrichKaty HobbsVicki JamesPamela KellyCarol LindquistGreg MarcusEleanor Marine

Nick MehdikhanTimothy MillerTamzon O’MalleySharon PetersDr. Lance Richey (Intern) Melissa SchenkelJeff SebeikaRob SimonPhilip SmithNancy StewartChuck SurackBarb WachtmanDaryl YostAlfred ZacherMary Ann Ziembo

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

BOARD MEMBERSTom Cain Sara DavisLenore Defonso Sandy Hellwege

Katy Hobbs Nathan Pose Sarah Reynolds Greg White

OFFICERSKaty Hobbs, President Sarah Reynolds, Vice PresidentGreg White, Treasurer Sara Davis, Secretary

HEAT RESISTANT FABRICATIONS & CASTINGSQ U A L I T Y • S E R V I C E • V A L U E

w w w . w i r c o . c o m

Heating up with pride to cast our support for

the Fort Wayne Philharmonic!

O C T N O V 2 0 1 5 47O C T N O V 2 0 1 546

VIOLINDavid Ling, Acting Concertmaster Frank Freimann Chair

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

Rotating, Assistant Concertmaster John and Julia Oldenkamp Chair

Olga Yurkova, Principal Second Wilson Family Foundation Chair

Betsy Thal Gephart, Assistant Principal Second Eleanor and Lockwood Marine Chair

Marcella Trentacosti Wayne L. Thieme Chair

Timothy Tan

Alexandra Tsilibes

Pablo Vasquez

Kristin Westover

Dessie Arnold

Zofia Glashauser

Janet Guy-Klickman

Linda Kanzawa

Ervin Orban

VIOLADerek Reeves, Principal

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

Bruce Graham

Debra Graham S. Marie Heiney and Janet Myers Heiney Chair

Theodore E. Chemey III

Erin Rafferty

CELLOAndre Gaskins, Principal Morrill Charitable Foundation Chair

Deborah Nitka Hicks, Assistant Principal Judith and William C. Lee Family Chair

Jane Heald

David Rezits

Edward Stevens

Joseph Kalisman

Greg Marcus Linda and Joseph D. Ruffolo Family Foundation Chair

BASSAdrian Mann, Principal

Kevin Piekarski, Assistant Principal Giuseppe Perego Chair

Brian Kuhns

Andres Gil

Joel Braun

FLUTELuke Fitzpatrick, Principal Rejean O’Rourke Chair

Vivianne Bélanger Virginia R. and Richard E. Bokern Chair

Hillary Feibel Mary-Beth Gnagey Chair

OBOEOrion Rapp, Principal Margaret Johnson Anderson Chair

Pavel Morunov Fort Wayne Philharmonic Friends' Fellow Rikki and Leonard Goldstein Chair

ENGLISH HORNLeonid Sirotkin Marilyn M. Newman Chair

CLARINETCampbell MacDonald, Principal Howard and Marilyn Steele Chair

Cynthia Greider Georgia Haecker Halaby Chair

BASSOONDennis Fick, Principal

Anne Devine Joan and Ronald Venderly Family Chair

ANDREW CONSTANTINE MUSIC DIRECTORIone Breeden Auer Podium

CHIA-HSUAN LIN ASSISTANT CONDUCTORBENjAMIN RIVERA CHORUS DIRECTOR

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

J. Richard Remissong John D. Shoaff Chair

Michael Galbraith Walter D. Greist, MD Family Chair

Katherine Loesch

TRUMPETVacant, Principal Gaylord D. Adsit Chair

Daniel Ross George M. Schatzlein Chair

Akira Murotani Charles Walter Hursh Chair

TROMBONEDavid Cooke, Principal W. Paul and Carolyn Wolf Chair

Adam Johnson

BASS TROMBONEAndrew Hicks

TUBASamuel Gnagey, Principal Sweetwater Sound and Chuck and Lisa Surack Chair

TIMPANIEric Schweikert, Principal William H. Lawson Chair

PERCUSSIONScott Verduin, Principal June E. Enoch Chair

Alison Chorn NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair

Kirk Etheridge Patricia Adsit Chair

HARPAnne Preucil Lewellen, Principal Fort Wayne Philharmonic Friends Chair

ORGANIrene Ator Robert Goldstine Chair

PIANOAlexander Klepach English, Bonter, Mitchell Foundation Chair

VIOLINJenna AndersonNathan BanksNicole DeGuireRegan EcksteinJanice EplettPaul HauerMichael HouffVictoria MooreCaleb MossburgIrina MuellerLInda OperIlona OrbanKristine PapillonEleanor PiferColleen TanJessica Wiersma

VIOLARachel GoffMelissa Lund ZieglerKatrin MeidellEmily MondokAnna RossLiisa Wiljer

CELLOJonathan MannGena Taylor

BASSBrad KuhnsJohn Tonne

FLUTEAlistair HowlettPatricia Reeves

OBOEJennet IngleAryn SweeneySarah Thelen

CLARINETElizabeth CrawfordDan HealtonSpencer Prewitt

BASS CLARINETElizabeth CrawfordDaniel HealtonSpencer Prewitt

BASSOONMichael Trentacosti

CONTRA-BASSOONAlan PaliderKeith Sweger

HORNGene BergerKurt CiviletteKenji Ulmer

TRUMPETEdmund CordBrittany HendricksDouglas HofherrLarry PowellAdam StrongAaron Trammel

PERCUSSIONColin HartnettRenee KellerKevin KosnikJerry Noble

SAxOPHONEFarrell Vernon

CONTRIBUTING MUSICIANS

THE PHIL ORCHESTRA ROSTER

THE PHIL CHORUS ROSTER

SOPRANOMicaela BasilliciSheila Chilcote-CollinsNicoline DahlgrenSara DavisNatasha KersjesMeg MossClarissa ReisSue StumpKaitlin ClanceyAshley AdamsonKaren CampbellElaine CooperKathy DewRuth FearnowKaty HobbsJoanna JessupCarol Anne McMillenJane MeredithLeeAnn MiguelKarma RemsterRita Robbins

Mary SnowSherrie SteinerMichelle UrbanCarrie VeitMarshelle Schutte

ALTONancy ArcherLenore DeFonsoRachael HartmannSandra HellwegeJody JonesPaula Neale RiceSabrina RichertCindy SaboLynn ShireRuth TrzynkaFrédérique WardMary WintersCathryn BoysRonnie BrooksJeri Charles

Joan GardnerRonnie GreenbergCheryle GriswoldSharon MankeySarah ReynoldsSue SnyderGretchen WeertsLea Woodrum

TENORThomas CainC. Alin CassSarah KindingerJohn SaboGreg WhiteGarrett ButlerJohn T. MooreNathan PoseMark Richert

BASSThomas BakerThomas Callahan Kris GrayGerrit JanssenFred MiguelEwing PottsGabriel SeligKent SprungerJohn BrennanJon EifertMichael F. PoppKeith Raftree

BENjAMIN RIVERA CHORUS DIRECTORjONATHAN EIFERT ASSISTANT DIRECTOR

How do you get to Carnegie Hall?Practice, Practice, Practice and $$$!

IPFW Box Office260-481-6555

TTD: 260-481-4105 ipfw.edu/ticketsMonday–Friday

12:30–6:30 p.m.Gates Athletics Center

Symphonic Wind Ensembles ConcertHighlighting the works of award-winning guest composer-in-residence John Mackey.

Thursday, Oct. 8 at 7:30 p.m.Daniel Tembras, ConductorAuer Performance Hall

Wind Ensemble at Carnegie HallThe IPFW Symphonic Wind Ensemble will be representing IPFW (for the first time) with a performance at the world famous Carnegie Hall in New York City as part of the 2016 New York Wind Band Festival. Upcoming fall concerts are excellent opportunities to see the Symphonic Wind Ensemble as they prepare for their upcoming performance in Carnegie Hall.

Contributions to help make this trip possible for the IPFW Symphonic Winds are needed and appreciated. So much of our

success is due to your generous donations. Thank you!

Donate Now Online: ipfw.edu/carnegie-hall

Symphonic Wind Ensembles ConcertFeaturing the “Acrostic Song” from Final Alice by Pulitzer Prize winner David del Tredici.

Thursday, Dec. 3 at 7:30 p.m.Daniel Tembras, Conductor Auer Performance Hall

SERIES SPONSORS

ROBERT WAGNER

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.”

SERIES SPONSORS

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.

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.

"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 ROBISONCHAIRMAN & PRESIdENT, BROTHERHOOd MuTuAl INSuRANCECOMPANy

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.”

steel dynamics

PATRIOTIC POPS

MARK MIllETTPRESIdENT & CEO,STEEl dyNAMICS

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.

MIKE PACKNETTPRESIdENT & CEO,PARKvIEW MEdICAlCENTER

parkview regional medical center

HOLIDAY POPS

O C T N O V 2 0 1 5 53O C T N O V 2 0 1 552

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•0774.

ANNUAL FUND INDIVIDUALS

FOUNDERS SOCIETY (GIFTS OF $25,000+)

Anonymous (2)Gloria Fink*Diane S. Humphrey

Russ & Jeanette QuilhotChuck & Lisa Surack, Sweetwater Sound

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

Anonymous (1)Wayne & Linda BoydHoward & Betsy ChapmanJune E. EnochLeonard & Rikki GoldsteinWilliam N. & Sara Lee Hatlem

Drs. Kevin & Pamela KellyEleanor H. MarineIan & Mimi RollandHerb & Donna SnyderJeff Sebeika, Subway

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

Dr. & Mrs. Alfred AllinaDrs. David Paul J. & Jeneen AlmdaleNancy ArcherGeorge & Linn BartlingDavid & Janet Bell

Andrew & Jane ConstantineDrs. Kevin & Pamela KellyTod KovaraMr. & Mrs. Victor PorterThe Rifkin Family Foundation

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

Tim & Libby AshAnita & Bill CastWill & Ginny ClarkSarah & Sherrill ColvinJohn H. Shoaff & Julie DonnellMr. & Mrs. Irwin F. Deister Jr.Ann H. EckrichMark O. FlanaganPatricia S. GriestSusan HanzelDr. Rudy & Rhonda Kachmann

Drs. Carol & David LindquistGreg MarcusMichael MastrangeloKevin & Tamzon O’MalleyDr. Evelyn M. PaulyCarolyn & Dick SageMs. Carol Shuttleworth & Mr. Michael GavinBarbara Wachtman & Tom SkillmanDaryl YostAl & Hannah ZacherBrian & Kyla Zehr

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) Norma & Tom BeadieKatherine BishopJoan Baumgartner BrownKathy CallenTom & Margaret DannenfelserGeorge & Ann Donner

Ben & Sharon EisbartFred & Mary Anna FeitlerSusan & Richard FergusonFredrica Frank*David S. GoodmanSattar & Marlene JabooriGinny & Bill Johnson

Dorothy K. KittakaMr. & Mrs. John KrueckebergMr. & Mrs. Robert LeeperGreg & Barbara MyersRosemary NoeckerKathryn & Michael ParrottLinda PulverThe Rev. C. Corydon Randall & Mrs. Marian Randall

The Rothman Family FoundationMelissa & Peter SchenkelPhilip & Rebecca SmithWayne & Helen WatersLewie WieseVirginia ZimmermanDr. & Mrs. Richard Zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) Dr. & Mrs. James G. BuchholzBeth ConradDr. & Mrs. Jerald CooperKeith & Kyle DavisThe Dyer Family FoundationMr. & Mrs. Ronald B. FosterElizabeth A. FrederickLeonard HelfrichFloyd A. & Betty Lou LanciaLyman & Joan LewisMr. & Mrs. Donald T. Mefford

Timothy & Jennifer MillerNorma J. PinneyCarol & Bill ReitzDr. Joseph SchneiderJohn & Barb SniderKathleen M. SummersRachel A. Tobin-SmithCarolyn & Larry VaniceNancy VendrelyHerbert & Lorraine Weier

ENCORE CIRCLE (GIFTS OF $750 TO $999) Glenn & Janellyn BordenMr. & Mrs. Craig D. BrownAnita G. DunlavyEmily & Michael ElkoMr. & Mrs. Daniel C. EwingDiane KeounDavid B. Lupke

Anne & Ed MartinBonnie & Paul MooreMr. & Mrs. Joseph L. Nave, Jr.Linda & Alan RichardsRobert SimonNorma ThieleKari & Jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) Anonymous (3)Jeane K. AlmdaleJohn BalesFrederick A. BeckmanLarry & Martha BerndtElizabeth BuekerMargaret L. & Richard F. BugherBarbara BulmahnMary CampbellVirginia CoatsJohn & Janice CoxDr. & Mrs. Fred W. DahlingSara DavisDr. & Mrs. J. Robert EdwardsClayton EllenwoodBruce & Ellen EnglandSteven & Nancy GardnerRoy & Mary GilliomScott & Melissa GlazeShirley H. GrahamMrs. Eloise GuyBob & Liz HathawayWilliam & Sarah HathawayAnne & James HegerMr. & Mrs. Mark HestermanMark & Karen HuntingtonMr. & Mrs. Kenneth Johnson

Stephen & Roxanne KelkerRichard & Mary KoehnekeG. Irving Latz II FundDr. & Mrs. John W. LeeStephen & Jeanne LewisFrank LuardeDavid B. LupkePeter & Christine MallersAnne & Ed MartinThomas & Dianne MaySusan & David MeyerBonnie & Paul MooreSean & Melanie NatarajanPaul OberleyMr. & Mrs. Maurice O’DanielBrian & Susan PayneWilliam & Sue RansomDr. & Mrs. Stephen ReedLTC Ret. & Mrs. Richard ReevesAlan & Pat RiebeAnne & David SillettoMr. Marco Spallone & Ms. Anne LongtineNancy & David StewardJane C. ThomasMr. John UlmerAngela & Dick WeberVirginia & Don Wolf

O C T N O V 2 0 1 5 55O C T N O V 2 0 1 554

FIRST CHAIR (GIFTS FROM $300 TO $499) Anonymous (1)Michael & Mary Jo AmoriniScott & Barbara ArmstrongLinda BalthaserAmy & John BeattyMichael & Deborah BendallDr. & Mrs. Robert BurkhardtAndy & Peg CandorBob & Margita CriswellAnn & Tim DempseyGeorge & Nancy DoddBill & Dot EasterlyMrs. Philip W. EherenmanAl & Jeanne EmilianPauline EversoleDan & Nacy FulkersonLinda GaffRobert & Barbara GasserMr. & Mrs. Thomas E. GreenLois GuessWarren & Ardis HendryxTom & Mary HuffordMr. & Mrs. Arnold HugeMarcia & Andy JohnsonLarry & Annette KappMr. John A. KirchhoferBruce & Mary Koeneman

Ed & Linda KosDr. & Mrs. Richard D. LiebAnne A. LovettPaul & Pauline LyonsPeg MaginnLusina McNallSuzon MotzCathy A. NiemeyerPaul A. OberleyJanet PaflasMr. & Mrs. Delmar J. ProctorPaul J. & Lula Belle ReiffMaryellen RiceRobert & Ramona ScheimannMary SchneiderScot C. Schouweiler & Julie KellerChuck & Patty SchrimperFort Wayne Alumnae Chapter of Sigma Alpha IotaStephen R. & Anne S. SmithLois A. SteereCarol Ann TerwilligerCarl & Cynthia ThiesMichael J. Vorndran & Joshua LongLorraine & Shepard WeinswigSteve & Keitha Wesner

SECTION PLAYER (GIFTS OF $100 TO $299) Anonymous (6)Irving AdlerMax M. AchlemanMs. Jean AltevogtTerry & Phil AndorferKeith & Lynn AppleDr. & Mrs. Justin ArataMs. Mary Jo ArdingtonThomas ArmbusterMel & Ruth ArnoldMr. & Mrs. William ArnoldJohn & Dianna Thornhill AuldRichard & Matoula AvdulDick & Adie BaachDave & Bev BaalsPatricia BarrettMike & Kay BausermanTony & Pat BeckerKevin BeuretBeth & Don BieberichHolly & Gil BiermanMatthew BilodeauRobert & Mary BinnsSherry L. BlakeVirginia BokernJon Bomberger & Kathryn RoudebushDennis BowmanDavid & Joan BoyerSue & James C. BradleyDr. Helene BreazealeMr. & Mrs. David Brennan

John P. Brennan & SuzAnne RungeDr. & Mrs. Todd BriscoeMr. Mike BrittenMs. Evelyn Brosch-GoodwinDavid N. Brumm & Kimberly S. MacDonaldWilliam & Joan D. BryantWilliam & Dorothy BurfordDr. David & Gayle BurnsMarguerite W. BurrellPhilip BurtJoyce & Paul BuzzardAnne & Michael CayotMr. & Mrs. David ChildersArlene ChristWillard & Nena ClarkNelson & Mary CoatsRobert & Annelie CollieMr. & Mrs. Richard CookJohn CrawfordWendell & Mary CreeDan & Marjorie CulbertsonJane DehavenTom & Holly DeLongVera & Dominick DeTommasoCarol DiskeyDaryle L. DodenGene & Carol DominiqueFred & Joan DomrowGeorge Drew & Janet ArnoldPhyllis DunhamDr. & Mrs. John DyerDon & Mary Kay Ehlerding

Cynthia ElickLillian C. EmbickPam & Steve EtheridgePam Evans-MitorajMr. & Mrs. Larry FarverDr. & Mrs. Joseph P. FiacableJohn & Jane FoellDavid & Mary FinkDaniel & Sara GebhartGeoff & Betsy GephartRobert & Constance GodleyEdward & Henrietta GoetzWilliam & Mary GoudyMr. & Mrs. Ronald GreekNorm & Ronnie GreenbergDon & Kate GriffithJames B. GriffithDavid L. GuilfordMary K. GynnMark HagermanDr. & Mrs. Charles Frederick HaighMelanie & Robert HallJonathan & Alice HancockBrian & Barbara HarrisPaul J. HaughanDennis & Joan HeadleeJacqueline HecklerMarsha HellerMayor Tom C. & Cindy HenryTom & Jane HoffmanDouglas & Karla HofherrPhil & Sharon HowardWinifred HoweDr. & Mrs. Joseph HuguenardEd & Mary Lou HutterGeorge & Jane IrmscherJocelyn IvancicMr. & Mrs. Arlin JansenGordon & Julie JohnsonSharon & Alex JokayGwen KaagJames R. KarlinLuAnn R. KellerBridget KellyDale KellyJane L. KeltschCarol & Norman KemplerDr. & Mrs. Bruce KinseyRichard & Audrey KirkWilliam G. KnorrJames & Janice KodayKay & Fred KohlerDr. & Mrs. Daniel KrachHedi KruegerPaula Kuiper-MooreJJ Carrol & Jeff LaneDrs. Chung & S. Sage LeeSteven & Rhonda LehmanMs. Frances LemayRaymond & Mary Lou LoaseDale & Virginia LutzJanet & Larry MacklinNellie Bee MaloleyCheryl MathewsDavid MatzDr. & Mrs. Michael L. McArdleSusan J. McCarrol

John H. & Shelby McFannScott McMeenAlice McRaeLeanne MensingElizabeth MeyerMr. & Mrs. Jerry R. MeyerCarolyn MillerAl & Cathy MollRay & Nancy MooreDeborah MorganDr. David MoserKenneth & Linda MoudyJohn & Barbara MuellerMs. Mary MussonEd NeuferMartha L. NoelRon & Ruth NofzingerDavid & Sally NortonJay & Jill NusselBetty O’ShaughnesseyC. James & Susan J. OwenMr. & Mrs. ParaisoMac & Pat ParkerEdwin & Maxine PeckMr. & Mrs. John M. PetersRaymond & Betty PippertMarvin & Vivian PriddyHelen F. PylesDr. & Mrs. George F. RappDr. Donald & JoEllen ReedJohn & Diana ReedEmma ReidenbachJeremy & Clarissa ReisMr. & Mrs. Robert RelitzThomas RemenschneiderAnne RemingtonDennis L. ReynoldsBenjamin & Alex RiveraJanet RoeMs. Rita RobbinsJim & Phyllis RonnerStanley & Enid RosenblattMartin & Rita RungeJames M. SackMarilyn SalonNancy & Tom SarosiJan & Steve SarratoreHarold SchickMary Ellen SchonDavid SeligmanMr. & Mrs. Richard ShanklePhyllis ShoaffLt. Col. & Mrs. Tom SitesRamona & Dick SiveCurt & Dee SmithDarryl R. SmithDelois SmithLynda D. SmithSharon SnowBetty SomersMichael SorgThomas & Mary Jane SteinhauserAnnetta StorkMatt & Cammy SutterTim & Colleen TanLois Teders HornJudge Philip Thieme

O C T N O V 2 0 1 5 57O C T N O V 2 0 1 556

Tom & Maureen ThompsonScott & Jenny TsuleffDr. & Mrs. J. Phillip TyndallDonald & Amy UrbanMr. & Mrs. David Van GilderJayne Van WinkleDaniel & June WalcottDr. James C. WehrenbergPat & John Weicker

Dr. & Mrs. Alfred A. WickEllen WilsonHope WilsonLea B. WoodrumMarcia & Phil WrightMr. Galen YordyGlen & Janice YoungBob & Jan Younger

CONTRIBUTOR(GIFTS OF $1 TO $99)

Anonymous (6)Ms. Candis AllweinMilton & Barbara AshbyWalt & Sue AspThe Baggett FamilyStan & Karen BarkerMr. & Mrs. Thomas BarnettMr. & Mrs. James BarrMr. & Mrs. John BatuelloMarjorie BaumgartelMr. Jim BerlienH. Stephen BeyerDavid W. BischoffBarbara BoergerMr. & Mrs. John P. BoergerBarbara BostonGarrett ButlerMs. Judith ButlerDr. Carol A. ButtellMr. Bryan ChristieMr. & Mrs. John CoeMs. Barbara CollinsElaine & Jon CooperAvon CrismoreTamara DahlingMr. & Mrs. Paul & Kathleen DahmMr. Jonathan M. DalbyMiles J. & Lorraine Hook Davis FundDr. William DeansMr. & Mrs. Douglas D. DellerMs. Martha DerbyshireMrs. Shirley DeschlerMr. & Mrs. Larry DubachMrs. Carol EnsleyMr. Wayne ErxlebenDr. & Mrs. John FallonVernell FettigMs. Michele FortuneFrancis & Ann FrellickMs. Vida GarnderMr. & Mrs. Stephen GardtElizabeth GarrMs. Sharon GillenMr. & Mrs. Tertuliano GiraldoL. Judith GlasgowJohn & Carol GlassMs. Bonean GoreMs. Nancy E. GossettMs. Janelle GraberPaul & Tauna Griffith

Ms. Madonna HackbushMr. & Mrs. Jeff HallCarol HallerPatricia HarrisFran HeadingSandra HellwegeGreg & Emma HendersonMs. Julie Henricks & Mrs. Jean HenricksInge HermannDonald HicksSteve Naragon & Pam HigginsJames & Dorothy HilmertMr. Robert HoffmanWilliam HolmanMs. Betty J. HoodMr. & Mrs. Jeff & Stacey HudsonPatricia J. JacksonMarian I. KellerMr. Maurice C. KeltschRuss & Marcia KirbyMr. & Mrs. A.D. KleinYvette KlevenGeorge L. KnightArlene & George KonleyMr. & Mrs. John KrukJanet LantzMary LaRocqueJames LaroweMr. & Mrs. Robert E. LaymanGalen LehmanMr. & Mrs. Duane LupkeNorma LymanMr. & Mrs. Jim MachockMs. Pat MacWhorterDennis M. MahoneyMr. & Mrs. Michael MakarewichJim & Pat MallersHarry & Barbara MangesElmer & Patsy MatthewsConie McCoyMary McDonaldDawn McDowellMr. & Mrs. Ralph McDowellMs. Denise A. MericleLaura MiglioreKathryn MillerKerry A. MillerMoake Park GroupMr. & Mrs. John MolitorMs. Marilyn Molyneux

Mrs. Mary Helen MooreMarjorie MoorheadChristine MoringMargaret NolanMr. Gregory R. NorrisMs. Catharine NortonJoan OlinghouseRon & Nancy OrmanMs. Joyanne OutlandMs. Carol Anne PattersonMr. & Mrs. Jay D. & Shirley J. PlatteMs. Nigel PerryEdwin & Cynthia PowersMike, Sue & Alana PriesMs. Kim RandinelliMax & Sandy RobinsonMr. & Mrs. Gerson RosenbloomGretchen RothDr. Janet SchaferDr. Ronald & Sylvia ScheeringaMr. Dale SchermanSylvia SchmidtMr. & Mrs. Paul SheetsMs. Cornelia L. ShidelerKay & Kent SimmonsShirley SlaterMs. Marjorie SmithMr. Paul SmithMrs. Mary SnowNorman & Joanne SnowMr. Kenneth StahlDon & Linda StebingJames Stegman & Donald McIntyreDavid & Beth SteinerRex & Jo StinsonDan & Krista StockmanIda Mary StringerHerbert & Bonnie StuelpeDavid SultDolores SzymanskiMr. & Mrs. Steven B. TeepleAnn & Mark TroutmanJim TurcovskyMs. Patricia UrbergMrs. Carol WardMs. Ann WeissThomas & Tamara WheelerMr. & Mrs. Norman H. WilliamsMs. Deborah WilligMr. John D. WilsonMr. Greg Yonke

The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260•481•0774 to join our family of sponsors.

SPONSORS

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

The Huisking Foundation, Inc.

Drs. Kevin & Pamela Kelly

SERIES SPONSORS

Madge Rothschild Foundation

O C T N O V 2 0 1 558

VIRTUOSO SOCIETY (CONTINUED) $10,000 to $24,999

The Miller Family Fund

Russ and Jeanette Quilhot

STRADIVARIUS SOCIETY $5,000 to $9,999

Nancy Archer

Mildred Roese and Gloria Nash Charitable Fund

Jeff Sebeika

CONDUCTOR’S CIRCLE $2,500 to $4,999

BAE SystemsBKDDebrand Fine ChocolatesMedPartnersPain Management & Anti-Aging Center, Dr. Alfred Allina

Parrish Leasing Inc.PBS 39SubwayTravel Leaders

COMPOSER’S CIRCLE $1,000 to $2,499

Alpha Rae Personnel, Inc.Brotherhood Mutual Insurance Co.Fort Wayne Parks & RecreationHagerman Construction Corp.Indiana Wesleyan University – Fort Wayne

Jehl & Kreilach Financial ManagementPapillion InspirationsShambaugh, Kast, Beck, & Williams, LLPUeber & Friedrich DentistryWells Fargo Advisors

CONCERTMASTER $500 to $999

Britton Marketing & Design GroupChristopher James MenswearClub, Car, Limousine, & TrolleyDowntown Improvement DistrictJoseph DecuisMonarch Capital Management, Inc.

Old Crown Brass BandParkview FieldPaul Davis Restoration & RemodelingUnified Wealth & Retirement PlanningVision Scapes

FIRST CHAIR $300 to $499

AEGIS Sales & Engineering Inc.ChromaSource Inc.Club SodaErika’s Spa & Wellness ClubHyndman Industrial Products, Inc.

Old National InsuranceOttenweller Co., Inc.String ShiftThe Oyster BarWeb Industries Inc.

SECTION PLAYER $100 to $299

Ambulatory Medical ManagementLeonard J. Andorfer & Co., LLPAunt Millie’s BakeriesBelmont BeverageBone Asset ManagementBradley Gough DiamondsBrown Equipment Co.Cali NailsCatablu GrilleCertified Burglar & Fire Alarm SystemsCrazy PinzDekko InvestmentsDesign CollaborativeEPCO ProductsFort Wayne Tin CapsFriendly FoxHakes & Robrock Design-Build Inc.

Jophiel ClothingLonghorn SteakhouseMasoliteMetro Real EstateMike’s CarwashMoose Lake Products Co., Inc.Northeast Indiana Building TradesPaula’s on MainRudy’s Shop Sheridan StablesJohn ShoemakerSkyZoneSmoothie KingTomkinson BMWTwo Ee’s WineryUltrazone Family Entertainment Center

Securities off ered through LPL Financial, Member FINRA/SIPC. Investment advice off ered through Strategence Capital, a registered investment advisor and separate entity from LPL Financial.

Strategence Capital was founded with the goal of assisting our clients in every aspect of their fi nancial lives. As an independent investment fi rm, we focus on where you want to go and how to pursue your dreams. Call or visit us online to learn more.

Graig P. Stettner, CFA, CMT

Tim Stoller, AAMS, AIF, CRPS

Financial guidance that puts you on the podium.

260.236.0385 strategencecapital.com260.236.0385 strategencecapital.com

O C T N O V 2 0 1 5 61O C T N O V 2 0 1 560

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!

REGIONAL PARTNERS

MULTIPLE COUNTY SUPPORT

Indiana Michigan PowerOlive B. Cole FoundationParkview Regional Medical Center/ Parkview Health

Star Financial BankSteel Dynamics Foundation, Inc.

ADAMS COUNTY

Adams County Community FoundationBunge North AmericaDecatur Rotary ClubEichhorn JewelersGilpin, Inc.Janet & Larry Macklin

Ellen MannMr. & Mrs. Victor PorterPsi Iota Xi (Alpha Delta)Mr. & Mrs. James ShraderSandra Striker

ALLEN COUNTY

Jonathan AtkinsDr. & Mrs. Justin ArataGeorge & Linn BartlingCraig & Diana BartschtAmy & John BeattyLeaanne BernsteinSarah BodnerCharles BolyardJoan Baumgartner BrownRichard BrownAnita & Bill CastCarolyn ColpetzerCity Of Fort WayneJane DehavenMatthew & Kris DerbyDowntown Improvement DistrictTeresa DustmanAnn H. EckrichSuzie FastHagerman Construction Corp.Robert HoffmanStanley & Mary HurshMartha JonesDr. Rudy & Rhonda KachmannGerald & Marie KanningStephen KelkerDrs. Kevin & Pamela KellyRuss & Marcia KirbyRonald & Patricia KohartJoellen Lauer

Drs. Carol & David LindquistPaul & Pauline LyonsJohn MartinMichael MastrangeloDiane McCammonDouglas McCoyJohn H. & Shelby McFannRoger & Rachel McNettSusan & David MeyerGreg & Barbara MyersMike & Pat MillerRay & Nancy MooreMr. & Mrs. Terence O’NeilMs. Nigel PerryPNCMr. & Mrs. David RidderheimAlan & Pat RiebeMadonna RyanRichard ScheumannGrant & Stephanie SchultzJohn SmithNancy & David StewartMr. & Mrs. Robert StreeterMrs. Carol WardWayne & Helen WatersJeanne Weber RushWells Fargo AdvisorsDonna WindmillerDavid WintersDaryl Yost

DEKALB COUNTY

Auburn Arts Commission, Inc.Auburn Moose Family CenterAuburn Dental AssociatesVon & Nancy BaumBeverly BlechGary & Lisa BowserJohn & Cheryl ChalmersGerald ChappRita CollinsDeKalb County Community FoundationDekalb County Council On AgingDeKalb Outdoor TheaterErica DekkoPhyllis DunhamWilliam & Mary Goudy

C. Bishop HathawayWilliam & Sarah HathawayGreg & Emma HendersonDavid & Pat KruseSteve & Linda KummernussMetal Technologies Inc. FoundationMargery NorrisKevin & Tamzon O’MalleyDr. & Mrs. Keith PerryDr. & Mrs. James RobertsScheumann Dental AssociatesRichard & Suzanne ShankleGary SibleRosemary SprungerMayor Norman & Peggy Yoder

FULTON COUNTY

Psi Iota Xi (Eta Mu)Ronnie Shreffler

KOSCIUSKO COUNTY

Mr. & Mrs. Russell AndersonMr. & Mrs. Donn BairdAunt Millie’s BakeriesMrs. Carol B. BennettJames H. BenninghoffAl CampbellBill & Anita CastGeorgia CookThomas & Nancy CottrellEdward & Linda DahmGretchen & Greg DahmTom & Sandi DruleyDavid & Judith EckrichRichard & Susan FergusonMr. Alan FoxNorman GrandosMichael GlasperRhonda GipsonDr. & Mrs. Lloyd HagedornMr. & Mrs. Vaughn HankinsKenneth & Lela Harkless FoundationBruce & Sabine HopkinsMrs. Hope HuberStanley & Mary HurshNeedham & Mary Lou HurstRosalie HurstHarriet InskeepPhyllis JamesDr. Rudy & Rhonda KachmannPhillip & Janet Keim

Dan & Sarah KitchKosciusko County Community FoundationKosciusko REMC Operation Round Up ProgramLakeland Community Concert AssociationFloyd A. & Betty Lou LanciaMr. & Mrs. Max LaudemanJim & Pat MarculccilliMr. & Mrs. Paul MastGarth & Susie McClainMr. & Mrs. William F. McNagnyDr. Dane & Mary Louise Miller Family FoundationDave & Dorothy MurphyWalter & Ann PalmerDr. & Mrs. Ronald PancerMr. & Mrs. Paul PhillabaumRichard & Susan PletcherPrickett’s Properties, Inc.Maryellen RiceIan & Mimi RollandMs. Mary RothAnn StrongDick & Linda TillmanWawasee Property Owners AssociationMr. Larry WeigandDr. & Mrs. Leamon D. WilliamsTod & Sandy WolfrumJames YoungAlfred & Hannah ZacherRobert & Karen Zarich

NOBLE COUNTY

Dr. & Mrs. Craig AtzGreg & Sheila BeckmanArthur & Josephine Beyer FoundatonGregory & Michele BrickerKappa, Kappa, Kappa, Inc. – Alpha Iota ChapterDr. & Mrs. Kenneth Cripe

Erica DekkoMs. Ellen HollimanKPC Media GroupNoble County Community FoundationJennie Thompson Foundation

O C T N O V 2 0 1 5 63

STEUBEN COUNTY

Anonymous (1)Sandra AgnessDonald & Janet AhlersmeyerAmerican Legion Angola Post 31Mr. Ron BallGlen & Chris BickelMr. & Mrs. Robert BigelowRay & Marianne BodieJames & Lynn BroylesLaura BuellChuck & Maureen BuschekCameron Memorial Community HospitalJames & Wanda CarperCity of Angola, Richard Hickman, MayorJudith Clark-Morrill FoundationColdwell Banker Roth Wehrly GraberMrs. Margie DealFirst Federal Savings Bank of AngolaFrank GraySusan HanzelLinda HawkinsJim & Karen HuberPatricia HuffmanThomas & Cheryl HugheyMr. & Mrs. Roger KaiserKappa, Kappa, Kappa, Inc. – Zeta Upsilon

Velma KenningLeo & Marlene KuhnLake James AssociationMr. & Mrs. Wally LeuenbergerMr. & Mrs. Ralph McDowellGerald & Carole Miller Family FoundationSteve & Jackie MitchellStan & Jean ParrishMiles & Judith PerkinsPsi Iota Xi (Rho Chapter)Max & Sandy RobisonSatek WineryFred & Bonnie SchlegelJoseph SeyferMr. & Mrs. Charles SheetsErik & Laura SorensenDick & Karen SpakeSteuben County Community FoundationSteuben County REMC Round Up FoundationTrine UniversityLinda WagonerNorma WarrenB. Lynn Wernet CPAJim & Kathryn ZimmermanDale & Judy Zinn

WELLS COUNTY

AdamsWells Internet Telecom TVAlmco Steel Products Corp.Bluffton Rotary ClubMr. & Mrs. Doug GerberMrs. Diane HumphreyL.A. Brown Co.Grace MoserPretzels, Inc.Richard & Donna ScheumannMr. & Mrs. Kenneth SteffenTroxel EquipmentUnited REMCWells County FoundationPhillip Zent

FOUNDATION AND PUBLIC SUPPORT

ALLEGRETTO $50,000 to $149,999

Anonymous (1)Steel Dynamics Foundation

Foellinger Foundation

CONDUCTOR’S CIRCLE $2,500 to $4,999

Ann and Gordon Getty Foundation Jennie Thompson Foundation

PHILHARMONIC SOCIETY $1,000,000+

Edward D. & Ione Auer Foundation

MAESTOSO $250,000+

Dekko Foundation Madge Rothschild Foundation

APPASSIONATO $150,000 to $249,999

Anonymous (1)Arts United of Greater Fort Wayne

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

FOUNDER’S SOCIETY $25,000 to $49,999

Community Foundation of Greater Fort WayneIndiana Arts Commission

Lincoln Financial FoundationPNC Charitable TrustsW. Gene Marcus Trust

VIRTUOSO SOCIETY $10,000 to $24,999

Olive B. Cole FoundationThe Huisking FoundationThe Miller Family Fund

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

STRADIVARIUS SOCIETY $5,000 to $9,999

Journal Gazette FoundationRobert, Carrie, and Bobbie Steck Foundation

Wells County FoundationWells Fargo Charitable Trusts

COMPOSER’S CIRCLE $1,000 to $2,499

Adams County Community FoundationHoward P. Arnold FoundationArthur and Josephine Beyer FoundationJudith Clark-Morrill FoundationDekalb County Community Foundation

Greater Fort Wayne Chamber of Commerce FoundationKenneth & Lela Harkless FoundationKosciusko County Community Foundation





$40 per person







PLAYING WITH FOOD







WHITLEY COUNTY

Copp Farm SupplyMr. & Mrs. Harold CoppRonald DavisFred GeyerJ & J Insurance SolutionsPerformance PC, LLCMr. & Mrs. Nicholas SteillPamela ThompsonJohn UnderwoodMr. & Mrs. Jeffrey WalkerWhitley County Community FoundationDr. & Mrs. Richard Zollinger

O C T N O V 2 0 1 5 65

ENDOWMENT FUND

Chorus Director Louis Bonter

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

Music Library Josephine Dodez Burns and Mildred Cross Lawson

Music Director Podium Ione Breeden Auer Foundation

Guest Violinist Chair Nan O’ Rourke

Youth Symphony Walter W. Walb Foundation

Family Concerts Howard and Betsy Chapman

Young People’s Concerts The Helen P. Van Arnam Foundation

Philharmonic Preschool Music Program Ann D. Ballinger

Radio Broadcasts Susan L. Hanzel

SPECIAL ENDOWMENTS

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

Charlotte D. BradleyBeverly DildineGloria FinkHenrietta Goetz

Joyce Gouwens John HeineySanford RosenbergAlice C. Thompson

BEQUESTS

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

CONTRIBUTORS

Due to space limitation we will share the full list of endowment contributors in our first program book of each season. We're grateful for each gift that has helped build our endowment and appreciate your ongoing contributions.

Ms. Dessie Arnold & Mr. Richard DunbarMilton & Barbara AshbyMr. & Mrs. John BeattyDennis & Nancy BeckerTony & Pat BeckerMary & Joseph BeckerNancy BellingerBonita & William BernardMr. & Mrs. George BewleyMs. Sherry BlakeMrs. Virginia BokernMs. Roberta BrokawKaren ButlerMr. & Mrs. T. Andrew CandorBryan & Vicki CastleMr. Michael Cayot Janet DavisWilliam & Martha DerbyshireGeorge & Ann DonnerBen & Sharon EisbartBruce & Ellen EnglandMr. & Mrs. Fred FeitlerDavid & Kathy Fuller

Betsy & Geoff GephartMr. Edward GoetzJames & Ann GolmMr. & Mrs. Robert GouwensRon & Nicole GreekDr. & Mrs. C HathawayDr. & Mrs. William HathawayDavid & Suzanne HathawayMr. & Mrs. Melvin HathawayDeborah Nitka HicksThomas & Mary HuffordDavid & Nancy HunterJess & Marlene JessupBil & Shirley KransteuberKeith KuehnertMs. Ruth LebrechtDrs. David & Carol LindquistMr. Greg MarcusJulie & Bob MehlMr. & Mrs. Victor MartinStephen & Christina MartinSidney & Belva Meyer

Lutheran Health Network Access Corporate Wellness

Occupational Medicine

medpartnersonline.com

COMPOSER’S CIRCLE (CONTINUED) $1,000 to $2,499

MAXIMUS FoundationDr. Dane & Mary Louise Miller FoundationGerald & Carole Miller Family FoundationSteuben County Community FoundationMary E. VanDrew Charitable FoundationWhitley County Community Foundation

CONCERTMASTER $500 to $999

Auburn Arts CommissionNoble County Community Foundation

IN KIND DONATIONS

Arts Consulting Group, Inc. Linda BrananBarnes & Thornburg LLPIPFWKeefer PrintingSummit City RadioWANE-TVWAJI-FMWLDE-FMWFWI-FMPatricia Weddle

Bradley Miller Akira Murotani & Alexandra Tsilibes Mr. & Ms. Ervin OrbanRon PhilipsRichard PhillipsMrs. Vivian PurvisMr. & Mrs. John RecheWilliam & Carroll ReitzPhilip & Barbara RossMr. & Mrs. Robert RuppMr. & Mrs. William SchreckRobert & Mary ShortMrs. Jane C Thomas

Cyndy & Jim TaberMichael & Janet TuckerJane & Frank WalkerRobert & Irene WaltersNathan & Natalie WanstrathBob & Martha WassonMs. Kristin WestoverMs. Cathleen WestrickGene Marcus Charitable TrustOld Bethel United Methodist Church – Chancel ChoirO'Rourke-Schof FoundationStyles Beyond Salon

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 CastleBruce & Ellen EnglandFred & Mary Anna FeitlerDavid & Kathy FullerDr. & Mrs. C. Bishop HathawayDavid & Suzanne Hathaway

Melvin & Sandra HathawayWilliam & Sarah HathawayBil & Shirley KransteuberSidney & Belva MeyerPhilip & Barbara RossStyles Beyond SalonNathan & Natalie Wanstrath

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. Please contact the Development Office at 260•481•0774 or by email at [email protected] to find out more about specific planned giving strategies and arrangements.

Anonymous (26)Patricia AdsitRichard & Sharon ArnoldDick & Adie BaachGeorge & Linn BartlingFred BeckmanKevin Paul BeuertJanellyn & Glenn BordenCarolyn & Steven BrodyAnita Hurst CastBetsy & Howard ChapmanJune E. EnochFred & Mary Anna FeitlerRichard & Susan FergusonGloria Fink*Henrietta Goetz*Mrs. Edward GoldenLeonard & Rikki GoldsteinJoyce Gouwens*Jay & Sandra HabigSusan Hanzel

Jeff HaydonJohn Heiney*Mr. & Mrs. Donald HicksTom & Shirley JonesDiane KeounMrs. Bruce KoenemanTod S. KovaraDoris LatzAntoinette LeeJeff Leffers & Jane GerardotNaida MacDermidEleanor H. MarineMick & Susan McCollumJohn & Shelby McFannDonald MeffordJohn Shoaff & Julie DonnellChuck & Lisa SurackHerbert & Lorraine WeierMr. & Mrs. W. Paul Wolf

* Indicates Deceased

LAUREATE CLUB

keeferA great place to live

when you’re not done living.Just because you’re ready to take life a

little easier doesn’t mean you’re ready to stop enjoying life all together. If so, then The Towne House is the perfect place for you.

The Towne House represents the very finest in senior living, and it’s more affordable than people think. If you’re the kind of person who needs a little help to live but isn’t giving up on life, welcome home. Call us today to schedule your personal tour.

www.TowneHouse.org260-483-3116

2209 St. Joe Center RoadFort Wayne, IN 46825

Philhramonic Prelude_1/4 Ad.indd 1 7/23/15 2:25 PM

In Memory of David Platt for the Youth Symphony

Jane & Frank Walker

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.

CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES

317.843.5678 ✦ WWW.OFGLTD.COM/THEPHIL

2015-2016 prelude 1

Documents