FORT WAYNE PHILHARMONIC PROGRAM JAN, FEB & MAR | 2016

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9 MASTERWORKS midwinter mozart SatUrdaY, janUarY 23

17 FREIMANN mozart'S CLarinet QUintet wedneSdaY, janUarY 27 SUndaY, janUarY 31

21 POPS jaKe SHimaBUKUro: UKULeLe wizard SatUrdaY, janUarY 30

27 CHAMBER roYaL mozart SatUrdaY, feBrUarY 6

37 FAMILY YoUng perSon'S gUide to tHe orCHeStra SUndaY, feBrUarY 14

41 MASTERWORKS an eVening witH george gerSHwin SatUrdaY, feBrUarY 20

49 FREIMANN BartÓK'S String QUartet no. 6 wedneSdaY, marCH 2 SUndaY, marCH 6

53 POPS CLaSSiCaL mYSterY toUr: a triBUte to tHe BeatLeS SatUrdaY, marCH 5

editor: Brooke Sheridan ContriBUting editorS: melysa rogen, jim palermo, jim mancuso, adrian mann

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TABLE OF CONTENTS

5 Welcome Letter, Andrew Constantine 39 marcy trentacosti, Youth Concert orchestra director 39 Yout Concert orchestra roster 56 the phil friends 58 Andrew Constantine, Music Director 60 Chia-Hsuan Lin, assistant Conductor 61 Benjamin rivera, Chorus director

63 Board of directors 63 administrative Staff 64 orchestra roster 66 the phil Chorus roster 67 Series Sponsors 69 donors 73 Sponsors

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ARTIST BIOS

12 Boris Slutsky, piano 23 john Varineau, conductor 24 jake Shimabukuro, ukulele 33 alexia Kruger rivera, soprano 33 Sarah ponder Brock, mezzo-soprano 34 erich Buchholz, tenor

34 daniel eifert, bass 38 Christopher J. Murphy, narrator 45 jodie deSalvo, piano 54 martin Herman, conductor 54 Classical mystery tour

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WELCOME from tHe mUSiC direCtor

And as if by magic we find ourselves at the mid-point of the Fort Wayne Philharmonic’s 2015/16 season. How did that happen? So much great music behind us yet, thankfully, so much truly wonderful music still to come. With this is the enormously encouraging fact that more and more people are discovering the beauty of live music making from your orchestra. Ticket sales and attendance this year are showing a dramatic increase over recent years. there’s nothing that i and the musicians enjoy more than performing for the appreciative audience that you are. However, the growing attendance causes us all to feel even more certain that what we bring to the community, all the energy and commitment we put into our preparation, is becoming more and more recognized and more and more valued. thank you for being our loyal advocates and supporters!

Masterworks audiences in this period enjoy two evenings devoted entirely to the music of one composer. Dangerous programming you might think but when it’s two enormously popular figures such as Mozart and Gershwin, I think we all know that we are in for a very special evening. As part of our Midwinter Mozart Festival i have the privilege of leading the orchestra in a selection of his greatest works including, the Symphony No. 40 and the Piano Concerto No. 21 with my good friend and one of the most thoughtful musicians I know, Boris Slutsky. On February 20th we welcome back Chia-Hsuan Lin to conduct a program of Gershwin greats to include, of course, Rhapsody in Blue with Fort Wayne favorite Jodie de Salvo as soloist, as well as An American in Paris and selections from porgy and Bess!

if you’ve never heard jake Shimabukuru before, give yourself the earliest Christmas present ever and get along to the embassy theatre on january 30th! the ukulele has never sounded like this before, as audiences around the world will testify. Jake brings a selection of some of his most popular numbers whilst John Varineau leads the orchestra in a beautiful medley of orchestral favorites. Then, whilst still intended for our “Pops” audience, though I suspect the Embassy will be ‘packed to the gunnels’, we move ahead to March 5th and a very special evening. A CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLES is one of the most popular and successful tribute shows ever. I can only imagine how much fun this is going to be - and I know how Fort Wayne loves its Brits!

Jumping back in the calendar somewhat, February 6th brings an intimate evening at the First Wayne Street Methodist Church with the Philharmonic and Philharmonic Chorus. Our tremendous chorus master, Benjamin Rivera, leads a program ‘under Royal construction’ to include Beethoven’s King Stephen Overture, Handel’s Coronation anthem Zadok the Priest and mozart’s Coronation Mass.

Becoming even more intimate, our freimann concerts in this period include january 27th and 31st (fort wayne History Center at 7:30pm and rhinehart recital Hall at 2:30pm ) for more of our mozart Midwinter Festival when you can hear the truly sublime Clarinet Quintet and march 2nd and 6th (fort Wayne History Center at 7:30pm and Rhinehart Recital Hall at 2:30pm ) when the Freimann Quartet will dazzle you with Bartok’s String Quartet No.6!

Finally, another one of our offerings which is growing in popularity is the Family Series and on february 14th you can treat yourself (and your young ones!) to Britten’s A Young Person’s Guide to the Orchestra. This is one of those rare things, a masterpiece which both informs, entertains and uplifts. that’s 2:00pm at the auer performance Hall in ipfw.

more musical gems from your fort wayne philharmonic. i’ll see you there!

Andrew Constantine.GO

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MIDWINTER MOzARTSponsored by 80/20 Inc.

Saturday, January 23 | 7:30 P.M.Rhinehart Music Center, IPFW

Andrew Constantine, conductorBoris Slutsky, piano

MOZART overture to Don Giovanni, K. 527

MOZART Concerto no. 21 in C major for piano & orchestra, K. 467 Allegro maestoso Andante Allegro vivace assai Boris Slutsky, piano

-- Intermission --

MOZART Symphony no. 40 in g minor, K. 550 Molto allegro Andante Menuetto: Allegretto Allegro assai

Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm onThursday, February 4 at 7:00 P.M.

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MASTERWORKS

OvERTURE TO Don Giovanni, K. 527woLfgang amadeUS mozart(b. 1756, Salzburg, austria; d. 1791, Vienna, austria)

In 1786, just as Mozart’s popularity in Vienna went into a slump, the city of Prague, capital of the then-austrian province of Bohemia, came to the rescue. Mozart’s new comic opera The Marriage of Figaro had been such a spectacular success at the prague opera House that the city’s musical leaders begged the composer to visit as soon as possible. arriving in early January 1787, he found the city gripped by Figaro-mania. He described a ball given in his honor: “I looked on … with the greatest pleasure while all these people flew about in sheer delight to the music of my Figaro, arranged for contradances and german dances. for there, they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. … Certainly a great honor for me!” not surprisingly, the prague opera House offered a commission for a new opera, and it turned out to be one of his greatest masterpieces: Don Giovanni, premiered in Prague on October 29, 1787.

the story of don juan, the prodigious Spanish womanizer who seduces thousands of women throughout southern europe, dated back at least to the late 16th century. the great french dramatist molière created a play about him in the 17th century, and in the 18th, the composer Glück composed a ballet score while the forgotten giuseppe gazzaniga had produced a one-act opera in Venice earlier in 1787. Librettist Lorenzo da ponte actually cribbed from gazzaniga’s libretto to create his longer story for mozart. da Ponte and Mozart called their work a “dramma giocoso” because, to an unprecedented degree, it combined comedy with a very serious drama of crime and punishment.

In the opera’s first scene, the Don is discovered escaping from the bedchamber of the noble Donna Anna, with both the lady and her father, the Commendatore, in furious pursuit. Both men draw their swords, and the Don kills the older man. through the remainder of the plot, Donna Anna and her fiancé, Don Ottavio, trail the libertine seeking revenge. But it is the ghost of the Commendatore himself who brings divine retribution. In a fit of bravado, Don Giovanni invites his memorial statue to supper. to the horror of the don’s comic servant, Leporello, the statue appears at the appointed hour and drags his murderer down to Hell.

In its two parts, the opera’s riveting overture encapsulates both the tragic and the comic aspects of this dramma giocoso. First, we hear a slow introduction in D minor, full of darkness and foreboding. Its whirling scale passages terrifyingly portray the supernatural forces that will ultimately destroy the Don; this music will return in the opera’s final scene when Don giovanni meets his doom. then the tempo accelerates to Allegro, and the key brightens to d major for music of comic verve. But it also has more weight than do the overtures for Mozart’s more purely comic operas and with its dashing fanfares seems a portrait of the virile don himself.

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, JANUARY 23, 2016

CONCERTO NO. 21 IN C MAJOR FOR PIANO & ORCHESTRA, K. 467 woLfgang amadeUS mozart

During the concert season of 1784–85, Mozart was at the peak of his popularity as a piano virtuoso in Vienna. and unlike today’s concert pianists, he created his own repertoire. From 1784 to 1786, the continual demand for new works with which to dazzle his audiences brought forth 12 of the greatest piano concertos ever written — concertos in which Mozart was not content simply to cater to popular taste. instead, he enjoyed stretching both himself and his audiences, and his piano Concerto in C major, K. 467 is a splendid example of his ability simultaneously to seduce and challenge his listeners.

Even before Swedish director Bo Widerberg made its slow movement the theme music of his film Elvira Madigan in the 1970s, this was one of the most popular of mozart’s concertos. But when it was premiered on March 10, 1785, the composer’s father, Leopold, was so alarmed by its dissonance that he thought the overworked copyist must have made an unusual number of mistakes. After all, his son was notorious for barely meeting his deadlines and had just completed the score the day before the premiere. But the notes were correct. In the sublime slow movement, Mozart demonstrated what the poet Baudelaire put into words a century later: “The Beautiful is always strange.”

this second movement is a soaring aria sung by pianist and orchestra, always hushed and breathing a nocturnal, dreamlike atmosphere. The orchestration is exquisite: muted strings magically blended with poignant woodwinds. But listen closely: in this song without words, soothing

SYMPHONY NO. 40 IN G MINOR, K. 550woLfgang amadeUS mozart

During the summer of 1788 in an amazing burst of inspiration spanning just six weeks, mozart composed his last three symphonies: No. 39 in E-flat major, No. 40 in G minor, and no. 41 (“jupiter”) in C major. ironically, this creative surge occurred during a low ebb in the composer’s fortunes. His popularity with the Viennese public as a pianist and a composer had waned, pupils were scarce, a major court appointment was still beyond his grasp, and he had begun to borrow large sums of money from his masonic brother michael puchberg to support his wife and children — and a rather extravagant lifestyle.

to add to mozart’s frustrations, it seems that plans for the concerts to premiere these magnificent new works — the crown of his symphonic achievement — eventually fell through; today it is not clear when, if ever, in his lifetime the last three symphonies were performed. However, Mozart/Haydn scholar H.C. robbins Landon believes there is evidence that the g-minor Symphony may have been performed at concerts in april 1791, if not at an earlier date as well.

of the last three symphonies, only the g minor seems to reflect the turmoil Mozart was actually experiencing in his life as he wrote it. Its minor key — unusual for Mozart outside of his operas — harmonic daring, and pervading spirit of anger, pain, and unrest set this symphony apart from its fellows.

mary ann feldman, former annotator for the minnesota orchestra, believes that in this symphony the composer was also reacting to larger cultural and political issues beyond his own personal situation. “The Symphony No. 40 was composed on the eve of the French

consonances constantly tumble into dissonances. Its harmonies always yearn toward keys far from the home key of F major. And its gentle flow is troubled by a nervous accompaniment.Of course, this concerto also has two other movements, and the first especially matches the slow movement’s greatness. Expansive and leisurely, it is a remarkably subtle military march, with its stealthy opening “a tiptoed march in stocking feet” (Cuthbert girdlestone). Listen for the charming gesture of oboe, bassoon, and flute gently beckoning the pianist onto the stage for his first solo.

The finale is a comic-opera rondo with a sly refrain and merrily mischievous contributions from the woodwinds. Here Mozart wakes his audience from the yearning dream of his slow movement and sends them home smiling.

Revolution. Another year, and the Bastille would fall. Something of the defiance and unrest of that epoch, if not mozart’s darkest inner thoughts, resonates at least as an undercurrent of this symphony. He may have been apolitical, but he was nevertheless an artist of the times. Moreover, he had not gone untouched by the Sturm und Drang movement that pervaded german art in the late 1770s and ‘80s. The descriptive label ‘Storm and Stress,’ borrowed from a drama of that period, evokes the impassioned subjectivity and brooding atmosphere of this aesthetic, the harbinger of romanticism.”

in the opening bars of the Molto Allegro first movement, an agitated rocking figure for the violins, on the chromatic half step of E-flat to D, launches us immediately into a world of “storm and stress.” Such chromaticism will be the watchword for the entire symphony, used both in melodic patterns for the various instruments and in harmonic movement. for instance, at the opening of the development section of this sonata-form movement, listen for mozart’s sudden careening off to f-sharp minor — tonally about as far away from the home key of G minor as one can wander — followed by a passage of sinking chromatic modulations that sounds as though the whole orchestral machine were being rapidly unwound. Even the recapitulation abounds with surprises, including a sly moment of tonal uncertainty just before the final cadence.

Pathos mingles with beauty in the Andante second movement in E-flat major, also a sonata form. The graceful flourishes that conclude the principal theme at first sound charmingly ornamental, but by the time Mozart has finished working them over in the development section, they have been transformed into audible tears of pain. Lovely passages for the woodwinds also adorn this movement.

the g-minor third movement is no courtly minuet; instead, it is a dance of defiance. Mozart seems very much the rebellious courtier here; the violins and bassoons are determinedly out of step with the rest of the ensemble, producing some violently accented dissonances that seem to say: “if i have to play your game, i’ll play it my way.” By contrast, the gentle trio section with its exquisite woodwind writing is the only wholly untroubled section of the entire symphony.

In keeping with the spirit of the rest of the work, the Allegro assai finale is not a playful rondo, but another aggressive sonata form. the pert, upward-shooting principal theme, played softly by the violins, is immediately answered by stormy scolding from the full ensemble. the development section is introduced by a nose-thumbing gesture in the tough-minded spirit of Beethoven, as the whole ensemble in unison marches angrily away from the key of B-flat.

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Consistently acclaimed for his exquisite tonal beauty and superb artistry, Boris Slutsky emerged on the international music scene when he captured the first prize – along with every major prize including the audience Prize and the Wilhelm Backhaus Award – at the 1981 William Kapell International Piano Competition at the University of maryland. His other accomplishments include first prizes at the Kosciuszko Chopin Competition, the San antonio international Competition and major prizes at the international Bach Competition in memory of glenn gould, the Busoni, the rina Sala gallo and the ettore pozzoli international piano Competitions. Since his orchestral debut at Carnegie Hall with the New York Youth Symphony in 1980, Mr. Slutsky has appeared on nearly every continent as soloist and recitalist, collaborating with such eminent conductors as Valery gergiev and dmitri Kitaenko. He has performed with the London Philharmonic, Stuttgart State orchestra and the deutsche Kammerphilharmonie neuss am rhein in germany, the Bern Symphony orchestra in Switzerland, Bergen Philharmonic Orchestra in Norway, RAI Orchestra in Italy, KBS Symphony orchestra in Korea, and other major orchestras in Spain, russia, Columbia and Brazil. in South africa, he has been a soloist with the orchestras of Cape Town, Durbin and Johannesburg. His north american engagements have included concerts with the Baltimore, Florida, Utah and toronto symphonies.

mr. Slutsky has been heard on recital series throughout the US, Canada, europe, Latin america and the far east, making appearances at the Kennedy Center for the performing arts, the Kaufmann Concert Hall, the Bunka

Kaikan in tokyo, japan, the national Concert Hall in Taipei, Taiwan, the Performing Arts Center in Seoul, Korea and the teatro Colon in Bogota. mr. Slutsky is an avid chamber musician, and his more than three decades of chamber music collaborations include the critically acclaimed naxos recording of Schumann’s Sonatas for Violin and piano with Ilya Kaler as well as performances with many renowned artists. A new solo recording was released in 2014.

mr. Slutsky has presented masterclasses throughout north america, europe and asia and has served as a jury member for many international competitions.

Born into a Moscow family of musicians, mr. Slutsky received his early training at Moscow’s Gnessin School for Gifted Children as a student of anna Kantor. He completed his formal studies at the juilliard School and the Manhattan School of Music, studying with nadia reisenberg, nina Svetlanova, john Browning and Joseph Seiger. In addition, he has worked for many years with his mentor, alexander eydleman.

Boris Slutsky joined the faculty of the peabody Conservatory in 1993 where he currently serves as chair of the piano department.

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P I A N O

MASTERWORKS

More astonishments follow in the contrapuntally enriched development before the recapitulation wraps up the work in a mood that is more black comedy than high spirits.

Notes by Janet E. Bedell copyright 2015

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The Philharmonic’s Midwinter Mozart Festival combines a compelling variety of genres and styles, offering audiences an immersion into the breadth and depth of the composer’s music. full orchestra, chamber orchestra, and chamber music works appear over the three separate programs. featured are the chorus and chamber orchestra in the mass in C major, KV 317, “Coronation mass”; the full orchestra performing an opera overture, a piano concerto, and one of mozart’s most famous symphonies - his 40th - and a chamber music concert featuring the sublime Clarinet Quintet.

the juxtaposition of these different genres, varying styles, and different instrumentations in various performance venues (embassy theatre, first wayne Street United methodist Church, History Center, and Rhinehart Recital Hall) will afford listeners the opportunity to hear selected works performed in acoustics similar to those for which they were written.

why is wolfgang amadeus mozart so revered?

We know Mozart was exceptionally proficient at everything he undertook and somewhat of a celebrity during his day. a prodigious wunderkind, he toured throughout Europe as a child performer, and became famous when he transcribed gregorio allegri’s secretive masterpiece, Miserere mei, Deus, from memory during Holy Week at the Sistine Chapel. He was later summoned by the Pope who marveled at his brilliance.

Mozart’s facility and speed as a composer was legendary. He would create and edit works in his head, then flawlessly transcribe them onto musical scores, without error. The remarkable range of his work encompasses vocal arias, operas, concertos, symphonies, sonatas of every description, other chamber music, and choral compositions.

Mozart wrote great, memorable, singable tunes, and his music is filled with countless transcendent moments. from his Eine Kleine Nachtmusik, the magic flute, and Clarinet Concerto, to the quartets, serenades, masses, and symphonies, there is hardly a work that isn’t considered a masterpiece.

Mozart’s output was enormous, he had an amazing and wicked sense of humor, and lived like a rock star, even when he couldn’t afford it. Imagine all of this from a composer who died when he was just 35 years old. One can only imagine what Mozart would have produced had he lived longer.

His peers, contemporaries, and musical heirs sum up his art best in the following quotes:

"a phenomenon like mozart remains an inexplicable thing."(johann wolfgang von goethe, writer and Statesman)

"21 piano sonatas, 27 piano concertos, 41 symphonies, 18 masses, 13 operas, 9 oratorios and cantata, 2 ballets, 40 plus concertos for various instruments, string quartets, trios and quintets, violin and piano duets, piano quartets, and the songs. this astounding output includes hardly one work less than a masterpiece."(george Szell, music director, Cleveland orchestra)

"Mozart’s music always sounds unburdened, effortless, and light. This is why it unburdens, releases, and liberates us." (Karl Barth, theologian)

"The sonatas of Mozart are unique: too easy for children, too difficult for adults. Children are given mozart to play because of the quantity of notes; grown ups avoid him because of the quality of notes." (artur Schnabel, pianist)

Special thanks to Ales Pancner for allowing the philharmonic to reprint his image of mozart in celebration of this mozart festival. (PIctured right)(pancnersart.com)

M I D W I N T E R M O z A R T F E S T I v A LB y J i m Pa l e r m o , m a n a g i n g D i r e c t o r

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MOzART'S CLARINET qUINTETSponsored by fort wayne metals

Wednesday, January 27 | 7:30 P.M.Fort Wayne History Center

Sunday, January 31 | 2:30 P.M.Rhinehart Music Center, IPFW

MOZART Flute Quartet in D major, K. 285 Allegro Adagio Rondo Luke Fitzpatrick, flute david Ling, violin derek reeves, viola andre gaskins, cello

MOZART Quintet for Piano and Winds in E-flat major, K. 452 Largo - Allegro moderato Larghetto Rondo: Allegretto orion rapp, oboe Campbell macdonald, clarinet Michael Lewellen, horn dennis fick, bassoon alexander Klepach, piano

-- intermission --

MOZART Clarinet Quintet in A major, K. 581 Allegro Larghetto Menuetto Allegretto con variazioni Campbell macdonald, clarinet david Ling, violin olga Yurkova, violin derek reeves, viola andre gaskins, cello

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FLUTE qUARTET IN D MAJOR, K. 285woLfgang amadeUS mozart(b. 1756, Salzburg, austria; d. 1791, Vienna, austria)

This piece, written in 1778 during Mozart’s travels through mannheim, germany, came to be via a commission from the gifted amateur flautist Ferdinand de Jean. Mozart admittedly wasn’t crazy about the flute as an instrument but took the commission from de jean being always desperate for paying gigs. The job order was to include three of these quartets, and a set of concerti, although one of these ended up being just a transcription of an oboe concerto of his. The two didn’t exactly see eye to eye and de jean ended up only paying mozart half of the commission.

Luckily for de jean, and for this evening’s audience, it was never in Mozart’s style to phone it in. Even if the flute wasn’t his favorite he could still compose for the instrument with style and grace. It definitely takes center stage in this work accompanied by violin, viola and cello. The first movement is a bright and stately allegro. the second is a darker adagio in B minor, that opens with the flute melody accompanied by plucked (“pizzicato”) strings. the ending movement is another rondo returning to the energy of the first movement. In this movement, Mozart makes the strings and the flute more directly play off each other with lots of movement in the lower strings to create forward momentum.

qUINTET FOR PIANO AND WINDS IN E-FLAT MAJOR, K. 452woLfgang amadeUS mozart

This quintet, a work written in 1784, five years before the clarinet quintet, shows just how fond Mozart was of wind instruments. After finishing this particular quintet, Mozart even exclaimed to his father Leopold that this was the best work he had ever written. It may have helped that Mozart was in a better place at this point for he was holding regular subscription concerts and performing and premiering new works often. The music reflects the energy of the young composer and the sunny disposition frequently associated with Mozart.

The quintet consists of piano, oboe, clarinet, horn and bassoon and is organized into three movements. The first opens slowly but develops into a charming allegro moderato. the second is a fairly traditional slow movement found in Mozart’s works, a

larghetto that moves along at a comfortable walking pace. The third movement is a rondo, which means the initial “rondo” theme is returned to frequently with other melodies introduced in between statements of the rondo. mozart’s treatment of the instruments, particularly in regards to the piano, is quite different than in many other chamber works featuring the piano. Here the piano serves as an equal partner where in his other chamber works it tends to hog the spotlight.

CLARINET qUINTET IN A MAJOR, K. 581mozart, woLfgang amadeUS

the music smiles through the tears…

H.C. robbins Landon made this observation in his biography mozart: the golden Years. this sentiment sums up what was considered one of Mozart’s most difficult years. His career was at a low point. His status was far from the upper circles of Viennese cultures and he was scraping by with composing substitute arias for other composers’ operas for very little compensation and no credit. add to that failing health and the death of his fifth child and it made for some dark times. it is that backdrop that gives his clarinet quintet, written in 1789, its somber quality despite being in a major key.

The work is intricately composed for all parts with the string quartet providing an equal partner to the clarinet, yet the ear can’t help but constantly shift to the reed instrument as the star of the show. It wasn’t until Mozart had heard the potential of the clarinet as performed by his friend anton Stadler that he decided to help put the instrument on the map with several compositions including this quintet, a trio with piano and viola, and a concerto. many credit mozart for helping make the clarinet the staple member of the orchestra it has become.

The quintet is in four movements and opens with a lush, almost romantic allegro. The second is a beautiful and serene larghetto movement in d major, and the third is a slightly more optimistic menuetto and trio. it isn’t until the last movement, a theme and variations, where Mozart’s charm and wit finally return to full form for a light-hearted finale.

Notes by Ed Stevens copyright 2015

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WEDNESDAY, JANUARY 27 & SUNDAY, JANUARY 31, 2016

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JAKE SHIMABUKURO: UKULELE WIzARDSponsored by franklin electric

Saturday, January 30 | 7:30 P.M.Embassy Theatre

john Varineau, conductorjake Shimabukuro, ukulelenolan Verner, bass

BADELT pirates of the Caribbean

ANDERSON Blue tango

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CHABRIER españa rhapsody ARR. CUSTER Beach Boys medley

RODGERS South Pacific – Symphonic Scenario

-- intermission --

Selections to be announced from the stage

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A R T I S T B I O G R A P H YJOHN vARINEAU

CONDUCTOR

John Varineau is in his thirty-first season as the associate conductor of the grand rapids Symphony. He conducts that orchestra in nearly all of its varied programming, from classical to pops, and all of its educational programs. He is the conductor of the grand rapids Youth Symphony and Classical orchestras, and he conducts for the grand Rapids Ballet.He was the Music Director of the Holland Chamber Orchestra (now the Holland Symphony orchestra) for four years. He has conducted the detroit Symphony, indianapolis Symphony, duluth-Superior orchestra, traverse City Symphony, alabama Symphony, arkansas Symphony, Kalamazoo Symphony, and the oklahoma City philharmonic. He is the program annotator for the grand rapids Symphony, the Lansing Symphony, the richmond Symphony, and the San antonio

Symphony. Mr. Varineau grew up in the state of wyoming and studied at michigan State University, the University of wyoming, and Yale University. in addition to his professional duties as conductor, he is an adjunct professor at Calvin College, where he conducts the college orchestra and teaches clarinet.

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A R T I S T B I O G R A P H YJAKE SHIMABUKURO

UKULELE

Consider the humble ukulele. it’s an adaptation of a stringed instrument that traveled with Portuguese immigrants who came to work in the sugar cane fields of Hawaii. Islanders made the “machete” their own, mixing external influences of classical European music and Spanish guitar with Hawaiian songs. Native Hawaiians renamed the little machete the ukulele and it’s become synonymous with Hawaiian music and Hawaiian culture.

jake Shimabukuro comes from that same process of mixing both island and outside influences, both modern and historical. He’s combined the qualities of a long line of virtuoso ukulele players with modern rock musicians to create a sound that’s uniquely his own but still firmly grounded in Hawaiian tradition.

Growing up in Hawaii, Jake’s influences include legendary ukulele players like eddie Kamae, ohta-San and peter moon. jake also credits icons like Bruce Lee and michael jordan as a source of inspiration.

Known for his energetic strumming on the ukulele, jake’s performance incorporates elements of thoughtful, sophisticated arrangements to spontaneous, improvised passages. in addition to his original compositions, his repertoire includes Queen’s "Bohemian rhapsody," Schubert’s "ave maria" and Cohen’s "Hallelujah."

Born and raised in Honolulu, Hawaii, Jake’s life has always centered on the ukulele. He started playing at the age of four, urged by his mother who also played.

jake began his music career in the mid-90’s, performing at local coffee shops as a sideman with his first band, Pure Heart. But Jake’s solo career began in 2002 when he signed with Epic Records, becoming the first ukulele player to sign with Sony Music. While his well-received solo releases positioned jake as an established musician in Hawaii and Japan, his career skyrocketed when a cover of “While My Guitar Gently Weeps” went viral on YouTube with more than 13 million views, opening the rest of the world’s eyes to Jake and his unique playing style.

in the years since the Youtube clip aired, Jake has collaborated with an array of artists that include Yo-Yo ma, jimmy Buffett, Bette midler, Cyndi Lauper, jack johnson, ziggy

marley, dave Koz, michael mcdonald, Bela fleck and the flecktones, tommy emmanuel,and Lyle Lovett - as well as orchestras around the world. He’s sold out world-class venues, played at Bonnaroo, SXSw, the playboy jazz Festival, Fuji Rock Festival, the influential TED conference, and even performed for Queen elizabeth ii at the royal Variety performance in Blackpool, england.

He has topped Billboard’s world music Chart numerous times, been declared a musical “hero” by Rolling Stone Magazine, which also stated: “one of the hottest axemen of the past few years doesn’t actually play guitar.” He has also won accolades from the disparate likes of Eddie Vedder who states: “Jake is taking the instrument to a place that i can’t see anybody else catching up with;” been talked about byPerez Hilton and Dr. Sanjay Gupta, wowed audiences on national TV with appearances on “Jimmy Kimmel Live,” “Late Night with Conan o’Brien,” “good morning america,” and “the Today Show,” and along the way has earned comparisons to musical innovators such as jimi Hendrix and miles davis.

Jake has been the subject of an award winning documentary “jake Shimabukuro: Life on Four Strings,”currently on Netflix.

Jake also travels to schools around the world and spreads positive messages to young people, encouraging them to find their passion and live drug-free.

although he is constantly touring, playing 140 shows a year, Jake and his family continue to make Hawaii their home. Official Website: www.jakeshimabukuro.com.

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Saturday, February 6 | 7:30 P.M.First Wayne Street United Methodist Church

Benjamin rivera, conductorfort wayne philharmonic Chorus, Benjamin rivera, directormembers of the trine University Concert Choir, Kristofer Sanchack, directoralexia Kruger rivera, sopranoSarah ponder Brock, mezzo-sopranoerich Buchholz, tenordaniel eifert, bass

BEETHOVEN overture to King Stephen, op. 117

HANDEL Royal Fireworks Music, HwV 351 Overture Bourrée La Paix La Réjouissance Menuet I & II

HAYDN Symphony No. 45 in F-sharp minor "Farewell"

-- intermission --

HANDEL Zadok the Priest (Coronation Anthem No. 1), HWV 258

MOZART mass in C major, K. 317 "Coronation" Kyrie Gloria Credo Sanctus Benedictus Agnus Dei

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CHAMBER 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, FEBRUARY 6, 2016

ZaDok the Priest (CORONATION ANTHEM NO. 1), HWv 258george frideriC HandeL

There was no composer in 18th-century England who could create grander music for royal ceremonial occasions than george frideric Handel, and at this concert, we shall hear two spectacular examples: Zadok the Priest and the Royal Fireworks Music.

in 1727, Handel’s old patron King george i unexpectedly died, but the composer found just as much favor with his son and heir. The new george ii immediately commanded that Handel write the music for his coronation ceremonies, which were held on October 11, 1727 in westminster abbey. and he gave the composer

SYMPHONY NO. 45 IN F-SHARP MINOR, “FAREWELL”franz joSepH HaYdn(b. 1732, Rohrau, Austria, d. 1809, Vienna, austria)

In 1766, Joseph Haydn was promoted to the post of Kapellmeister, in charge of all musical activities at the court of prince nicolaus esterházy. the splendor of the esterházy establishment rivaled, if not exceeded, that of the austrian imperial

royal Fireworks Music, HWv 351george frideriC HandeL(b. 1685, Halle, Saxony, Germany; d. 1759, London, england)

By 1749, when he wrote his Royal Fireworks Music, Handel was 64 and the acknowledged monarch of British music. this score of

unparalleled instrumental splendor was created for a spectacular fireworks display in London to celebrate the treaty of aix-la-Chapelle, ending nearly a decade of war — known as the War of the Austrian Succession — between Great Britain and austria on one side and france, Spain, and various german principalities on the other. For months, an elaborate Palladian edifice was constructed in the city’s Green Park as a backdrop for the fireworks. George II insisted that Handel’s music (which was to be performed before not during the fireworks) be written only for “warlike instruments”: trumpets, horns, and drums. Handel, however, was stubborn enough to override his majesty’s wishes and include strings as well. For this first performance on april 27, 1749, the orchestra consisted of 24 oboes, 12 bassoons, nine horns, nine trumpets, three sets of timpani, and strings. when Handel performed the music at an indoor concert the next month, he significantly reduced the number of wind players.

Even without the extra instruments, this is the grandest instrumental work Handel ever wrote and sums up the splendor of Baroque music just as it was about to yield to the cooler Classical style. its most glorious movement is its overture in the ceremonial french ouverture style: an opening slow section with stately double-dotted rhythms, followed by a faster section. Usually, the fast section would be highly contrapuntal, even fugal in character. However, knowing that the interplay of so many separate voices would produce a muddle in an outdoor situation, Handel instead stressed splendid antiphonal effects between the different instrumental groups. Then follows three short dances —a bourrée (a lively french dance in two beats) and two minuets — as well as two character pieces — La Paix, in which peace is illustrated in a gently rocking pastorale, and the brilliant La Réjouissance (“rejoicing”). Handel emphasized the contrasting colors of his large ensemble by specifying different scoring for the repeated passages.

OvERTURE TO KING STEPHEN, OP. 117LUdwig Van BeetHoVen(b. 1770, Bonn, Germany; d. 1827, Vienna, austria)

Both many portraits and the character of some of his music have imprinted Beethoven as “the man with the scowl” on our collective imaginations. But anyone who doubts the composer had a sense of humor should listen to the opening of his King Stephen Overture. its portentous opening chords leading to one of the silliest little tunes ever composed is as good an example of comedy in music as anything by peter Schickele (aka p.d.Q. Bach).

This overture plus nine other numbers was created in a bout of high-speed composing during the late summer of 1811 along with the overture and incidental music for The Ruins of Athens. Both King Stephen or Hungary’s First Benefactor (to give the full title) and The Ruins of Athens were brief festival plays written by august von Kotzebue to celebrate the opening of the new theater in Pest, Hungary that autumn. Both plays paid obsequious tribute to the Austrian Emperor Franz I, who was also emperor of Hungary. Canonized as a saint in 1803, Stephen was Hungary’s national hero, crowned king in 1000 A.D. and subsequently converting his people to Christianity. the subtitle “Hungary’s first Benefactor” implied that franz I, who would be attending the performance, was the country’s modern benefactor.

Beethoven obviously did not take this commission as an opportunity for musical profundity. Vacationing at the Bohemian health spa of Teplitz, he was enjoying one of the happiest summers of his life, and the overture’s music reflects that mood. He seemed to be mocking his own heroic style with those fateful opening chords. And as the music warms to Presto, a fiery syncopated tune in the Hungarian style takes the stage. without development or emotional complexities, the music sails on to a bombastic finish, topped off with a crowd-pleasing drum roll.

Court itself. already possessing a palace at eisenstadt on the Hungarian border and a vast town house in Vienna, Prince Nicolaus about this time transformed a modest hunting lodge on the muddy plains of Hungary into a glorious rococo palace emulating Versailles. named esterháza, it contained a 400-seat opera house with all the latest stage equipment, a marionette theater, a chapel, and two magnificent concert halls. Haydn was expected to write music for all these venues, lead an orchestra composed of some of Europe’s finest virtuosos, as well as carry out all the day-to-day administrative tasks.

It was a job for a superman, but Haydn promptly rose to the challenge. despite all the claims on his time, his creative genius burst into full flower, producing symphonies and chamber music that set new standards for his period. As Jens Peter Larsen writes, “The symphony was by this time more or less established as an elegant piece of entertainment for a noble audience, and Haydn had the courage to write symphonies that were completely different.”

Haydn’s risk-taking and originality can be found especially in the remarkable symphonies in minor keys he wrote between 1768 and 1774. one of the greatest of them is Symphony no. 45, now known as the “Farewell” Symphony, which became even more famous because of the fascinating story tied to its composition. prince nicolaus became increasingly fond of his remote esterháza palace and spent longer and longer periods there. Since the musicians’ families were not allowed to come with them to esterháza, this imposed a severe hardship on them. finally, after a particularly lengthy season in 1772, they appealed to Haydn to intercede with the prince on their behalf.

Haydn came up with an ingenious idea to get the prince’s attention: he devised a final movement for his latest symphony that graphically illustrated his players’ unhappiness and yearning for home. Partway through the finale, the music switched to a melancholy Adagio during which one player after another abandoned his part, blew out the candle at his music stand, and departed from the ensemble. Finally, only two violinists remained to finish the symphony: Haydn himself and his concertmaster Luigi tomasini. as Haydn headed for the door, prince nicolaus rose and stopped him. “i have realized your intention; the musicians are longing for home,” he said. “Well, tomorrow we pack up.”

But the “Farewell” Symphony is more than this wonderful gimmick. It is a stunningly dramatic work, in which Haydn plays daringly with symphonic form, rhythmic motion, and harmony in every movement. And it uses a key — F-sharp minor — never before chosen for a symphony in the 18th century; in fact, the esterháza blacksmith had to build special attachments for the horns in the orchestra so they could play in this key. the Allegro assai opening movement is full

of intense, even melodramatic feeling. over an agitated syncopated accompaniment, the principal theme in the violins marches angrily down the notes of an F-sharp-minor chord. Wild harmonic clashes and sharp accents abound. After the development section is underway, Haydn pulls one of his surprises by inserting a charming, relaxed second theme as a shelter from the storm before the agitated music returns.

Played with mutes on the violins to soften their sound, the Adagio second movement is as hesitant and reticent as the first movement was vigorous and assertive. Though it is filled with timid short-long rhythms and sustained notes that seem reluctant to move forward, this movement gains strength from its adventurous harmonies.

moving to another extremely rare key for the 18th century, f-sharp major, the third-movement minuet alternates dramatically between loud and soft dynamics and between straightforward rhythms and those that obscure the regular beat. the horns lead off the middle or trio section, which uses an old Gregorian-chant melody Haydn had earlier included in his Symphony no. 26, “Lamentation” — perhaps another reference to his musicians’ unhappiness.

the finale begins in the style all symphonic final movements followed in Haydn’s day: high-speed, energetic music with a positive outlook. But after three minutes, it comes to an unexpected halt. Then begins a new phase: a tenderly melancholic Adagio in the key of a major. as this lovely music repeats, each musician plays a little “goodbye” solo and departs the stage; the woodwinds leave first, then the double bass leads off the departure of the strings. The surviving two violinists place mutes on their instruments to give them an even more plaintive sound. What an elegant way to send a message to a reluctant prince!

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a free hand in choosing what to write and even to selecting the texts. The result were the four Coronation Anthems, of which Zadok the Priest is the most dramatic and popular. after its 1727 debut, it has been used in every subsequent British coronation including that of elizabeth ii.

Zadok was intended for the ceremony of the anointing of the king, the last act before the actual crowning. Its text comes from the chronicle of King Solomon’s coronation in First Kings. the key is d major, a key for splendid effects in 18th-century music because it ideally suited the trumpets of the period. Handel cannily set up its dramatic coup by opening with a quiet prelude of pulsing arpeggios in the strings, which gradually crescendos until the magnificent explosion at the entrance of the full seven-part chorus, now bolstered by trumpets and timpani. Handel biographer Donald Burrows likens it to “a slow parting of theatrical curtains.”

MASS IN C MAJOR, K. 317, “CORONATION”woLfgang amadeUS mozart(b. 1756, Salzburg, austria; d. 1791, Vienna, austria)

Considered by many scholars to be mozart’s finest complete mass setting (both the later Mass in C minor and the Requiem were not finished), the “Coronation” Mass was composed in March 1779 shortly after the young composer returned from a lengthy journey around europe in search of a position worthy of his phenomenal talents. this trip had been a bitter disappointment: Mozart received no suitable offers, and while he was in Paris, his mother, who had been serving as his chaperone, died suddenly. He was forced to return to his now stultifying life at the provincial court of Salzburg. nevertheless, his abortive trip made him a much more mature and impressive composer as the “Coronation” mass soon demonstrated.

There was some consolation awaiting him in Salzburg. in january 1779, archbishop Colloredo appointed the now 23-year-old composer as court organist. The “Coronation” Mass was Mozart’s response to this appointment and was probably premiered on easter Sunday at the Salzburg Cathedral. For years, it was believed that its title, “Coronation,” was given because it was composed for the ceremony of the crowning of a statue of mary at the pilgrimage church of Maria Plain outside Salzburg. However, this legend has now been discredited, and it is more likely the title is connected to its performance in 1791 in prague at the coronation ceremonies of Leopold ii of austria as king of Bohemia.

Though classified as a missa brevis or short mass setting, the “Coronation” is actually considerably longer and more elaborate than a

typical missa brevis of the period. It is a work of ceremonial grandeur boasting trumpets and drums; the C-Major key was the other key besides D Major that was best suited to the valveless trumpets of the 18th century. Capitalizing on those instruments, Mozart filled the music with fanfare motives. He also emphasized the drama of the mass text with fascinating harmonies and especially bold writing for the chorus. And he highlighted the contrasts between the chorus’ heroic utterances and the lyrical delicacy of his music for the four soloists. there is also a pronounced symphonic quality to this mass setting, for the shape of the mass segments echo the forms used for symphonic movements and several themes recur to unify the structure.

The Mass opens with explosive choral exclamations of the word “Kyrie,” each of which dramatically fades before being repeated. the principle of contrast is then introduced as the soloists sing the more rapid and flowing “Christe eleison.”

Following a symphonic sonata form, the Gloria epitomizes the grandeur of mozart’s setting of the text. after the soloists present the gentler “domine deus” and “Qui tollis” sections, the “Quoniam” brings back the gloria opening music but now in a somewhat softer dynamic. Since this is a missa brevis, there is no room for the lengthy traditional setting of “Cum sancto spiritu” as a fugue; instead, mozart created a fine contrapuntal setting for soloists and chorus of the closing amen.

the lengthy text of the Credo is set over “rauschende” or racing violins, a style popular in 18th-century Austria. The soloists sing the beautiful, minor-mode “et incarnatus est,” followed by the chorus’ darkly dramatic “Crucifixus” with its disturbing harmonies. Both the choral and solo sopranos are given joyous coloratura to celebrate the resurrection and the hope of the world to come.

trumpets and drums reinforce the splendor of the chorus’ Sanctus. the soloist quartet sings a charming setting of the “Benedictus,” underpinned by a lovely woodwind-colored accompaniment.

the aesthetic highlight of the “Coronation” is surely the Agnus Dei, a gorgeous, long-breathed aria for the soprano soloist that presages the Countess’ great “dove sono” aria in The Marriage of Figaro. This flows directly into the “Dona nobis pacem,” a reprise of the flowing melody for the soloists in the Kyrie. the chorus also brings back the opening fanfare motive from that section to bring this festive mass to a satisfying full-circle close.

Notes by Janet E. Bedell copyright 2016

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,

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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.

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A R T I S T B I O G R A P H YA L E X I A K R U G E R

R I v E R A ,S O P R A N O

alexia Kruger rivera, soprano, enjoys performing a wide variety of music from the stage to the recital hall. She has  been a soloist with such groups as Cantate Chicago (faure  Requiem, hailed as “achingly beautiful”; Corigliano’s Fern Hill), the fort wayne philharmonic (mendelssohn’s  Lobgesang, Schubert  Mass in G,  excerpts from mozart’s  Solemn Vespers), St. john Cantius (Schubert  Mass in B-flat, mozart  Requiem), the Chicago Chamber orchestra (j.S. Bach’s  Cantata 51), Chicago Sinfonietta at the Shedd and at joffrey, the Chicago modern orchestra project,  the Bach institute, the Valparaiso University Symphony orchestra (r. Strauss Beim Schlafengehen and Im Abendrot), and the University of illinois percussion ensemble (Stravinsky’s Les Noces). 

as a recitalist, ms. rivera has appeared on the pianoforte Salon Series Live on wfmt radio, on the Musicians’ Club of Women Award Winners in Concert series at the Chicago Cultural Center,

the fourth presbyterian Church friday noonday concert series, and several locations with VOX 3 Collective.  Her stage roles include Susanna and Contessa d’almaviva (Le Nozze di Figaro), giulietta (Les Contes d’Hoffmann), the title role in Suor Angelica, Lola (Gallantry), and eve (Children of Eden). ms. rivera also performs with Chicago  a cappella,  the grant park music festival Chorus, and the Chicago Symphony Chorus, where she was recently the cover soloist for Britten’s War Requiem.

A R T I S T B I O G R A P H YS A R A H P O N D E R B R O C K ,

M E z z O - S O P R A N O

Sarah ponder Brock, mezzo-soprano enjoys a busy career as a soloist and ensemble singer with grant park Chorus , Chicago Symphony Chorus, Lyric opera of Chicago, Chicago a cappella, Music of the Baroque, and many others. Hailed as “deeply expressive” (Chicago Sun times) and a “first-class soloist” (Chicago Classical Review), some of Sarah’s favorite recent performances include two featured solo appearances with grant park music festival, a lead role in Lyric opera’s opera in the neighborhoods production of The Brothers Grimm, as well as a rousing trio rendition of “Row, Row Your Boat” with Yo-Yo ma at Children’s memorial Hospital as part of her ongoing work with the Citizen Musician Initiative. in addition to various oratorio performances, Sarah is looking forward to repeat appearances as famed chef julia Child in Lee Hoiby’s hilarious one-woman opera Bon Appétit!

through her outreach at Chicago Symphony orchestra, Sarah has also “beguilingly” (Chicago Tribune) performed several solo concerts with famed maestro riccardo muti at the piano. this work inspired by Muti’s vision of this project, spreading music to all - “even prisons” - has been featured in both the Chicago tribune and Sun Times. The partnership between the Chicago Symphony orchestra, Storycatcher’s theatre, and iYC warrenville has helped to foster an appreciation of classical music and also given marginalized youth a chance to work with and perform alongside talented teaching

artists. in addition to being featured in these performances, Sarah has also helped to bring opera and classical music to new audiences, appearing with Opera for the Young, the Opera divas, and recitals through the musicians Club of women.

a dedicated teacher, Sarah holds a faculty position at Loyola University. in addition to training voices, Sarah has assisted many young composers through workshops at Merit School of music and Chicago academy for the arts, providing specialized feedback and instruction. She is looking forward to recording another set of compositions from Carnegie Hall’s Lullaby Project partnered with the CSO, assisting young mothers to create original lullabies. Her work as a technique model was also recently featured in the award-winning pedagogy book, Vocal Technique: A Guide for Conductors, Teachers, and Singers.

CHAMBER

G U E S T C H O R U SM E M B E R S O F T H E T R I N E U N I v E R S I T Y CO N C E R T C H O I R

Kristofer sanchacK, Director

Sarah alexanderjacob BrutcherSpencer faullKatlyn goshornryan Hanks

joshua jenningszachery johnsonryan Kosekmegan millertravis petersen

david richardsaustin Saenzevan warfelCatherine webb

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A R T I S T B I O G R A P H YE R I C H B U C H H O L z ,

T E N O R

tenor erich Buchholz has enjoyed a career of remarkable versatility and breadth. with Chicago folks operetta he has performed in the american premieres of Lehar’s mitislav and modern and Cloclo, fall’s girl in the train, rose of Stambul and madame pompadour, and Kalman’s arizona Lady. with the comedy sextet Hudson Shad he has toured extensively in the United States and japan. He has sung in concert works by Bach, Handel, Haydn, Britten, mozart and debussy. He can be heard on the Naxos recording of Fall’s Rose of Stambul with Chicago folks operetta. He recently made his

debuts with the Cincinnati Pops Orchestra and the Calgary philharmonic.

CHAMBER

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

B A S S

daniel eifert is a long-standing member of the Chicago Symphony Chorus as well as the Grant Park Music Festival Chorus. A frequent soloist with the Chicago Symphony Orchestra, Daniel made his debut in golijov’s opera ainadamar and his Chicago Symphony Chorus solo debut in their 50th anniversary Celebration Concert. The Chicago Classical Review acclaimed him as a “darkly resonant pilate” in the Chicago Symphony orchestra’s 2010 rendition of Bach’s St. john passion. most recently, daniel held minor roles in Verdi’s macbeth under the direction of Riccardo Muti and sang the role of Kurwenal in wagner’s tristan und isolde under esa-pekka Salonen. Daniel has also been featured with the fort wayne philharmonic, the Civic orchestra of Chicago, the grant park music festival, the apollo Chorus of Chicago, elmhurst Symphony Orchestra, Northwest Indiana Symphony orchestra, and the elgin Choral Union. daniel made his Carnegie Hall debut with the Chicago Symphony orchestra in orff’s Carmina Burana in 2012. Daniel is a recurrent soloist with the

Cuesta master Chorale of California, performing Bach’s St. Matthew Passion, the Beethoven missa Solemnis, and Haydn’s Creation. He enjoys a continuing collaboration with the Bach Institute of Valparaiso University, where his solo performances have included Bach’s St. john Passion, St. Matthew Passion, Mass in B Minor, and the Christmas oratorio. He earned degrees from Valparaiso University and the University of Minnesota and currently resides in Chicago with his wife and three children.

MASTERWORKS

carmina burana

S AT U R DAY, A P R I L 2 3 | 7 : 3 0 P. M . | E M B A S SY T H E AT R E

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 slehmann01@hotmail.com

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 slehmann@hotmail.com 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 (MLH121@aol.com)

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

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Playing with Food makes a great holiday gift.

with its large, percussion-driven orchestra, and mixed chorus that sings texts by wayward monks, Carmina Burana's primitive energy promises a physical response in each and every listener.

J A N , F E B & M A R 2 0 1 6 37

YOUNG PERSON'S GUIDE TO THE ORCHESTRASunday, February 14 | 2:00 P.M.Rhinehart Music Center, IPFW

Chia-Hsuan Lin, conductorChristopher j. murphy, narratorfort wayne philharmonic Youth Concert orchestra marcy trentacosti, Youth Concert orchestra director

GLINKA overture to russlan and Ludmilla

VAUGHAN WILLIAMS march from english folk Song Suite Side-by-Side with the fort wayne philharmonic Youth Concert orchestra

BRITTEN Young person’s guide to the orchestra, op. 34

DVOŘÁK menuetto from Serenade for winds in d minor, op. 44

DUKAS La Péri: Fanfare

MIKI Selection from Marimba Spiritual

BIZET entr'acte from Carmen

ANDERSON Plink, Plank, Plunk!

ANDERSON The Typewriter

STRAUSS Thunder and Lightning Polka

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J A N , F E B & M A R 2 0 1 6 39

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A R T I S T B I O G R A P H YC H R I S T O P H E R J .

M U R P H Y

FAMILY

Christopher j. murphy (producer/director) is an award-winning actor and director whose works have been seen on stages as far away as the Virginia State Symphony and as near to home as arena dinner theatre, first presbyterian theatre, the fort wayne Civic theatre and the fort wayne Youtheatre. most recently, he directed fpt’s The Foreigner and arena dinner theatre’s Company. additional credits include the Summit City premieres of The Fox on the Fairway, The 39 Steps and Boeing Boeing (Director), as well as Dirty Rotten Scoundrels (Lawrence Jameson) and Moonlight & Magnolias (director). He has collaborated with Grammy and Tony-winning composer rupert Holmes on a revised version of The Mystery of Edwin Drood for arena Dinner Theatre and with Emmy Award-winner

Mark Kistler on a new performing arts camp in Houston, texas. murphy is the director of Theatre at Blackhawk Middle School and has served as a Master Teacher with F.A.M.E. (foundation for art and music education) for the past ten years. He is pleased to return to the phil for his fourth season as a producer, director, writer and performer.

YOUTH CONCERT ORCHESTRA CONDUCTOR

M A R C Y T R E N TAC O S T I

FAMILY

Born and raised in Allentown, Pennsylvania, marcy, has been a full-time section violinist in the fort wayne philharmonic since 1976. Marcy graduated from Indiana University with a Bachelor of Music Education and in 2008 completed a Master of Music from Bowling Green State University in Bowling Green, Ohio.

She participated in the rome festival orchestra in rome, italy; the Civic orchestra of Chicago ; Bach, Beethoven, Breckenridge music festival in Breckenridge, Colorado and served as Concertmaster of the marion philharmonic.

as an educator she has taught at Snider High School, woodside middle School, Canterbury School and Blue Lake fine arts Camp. in 2012, she received an Arts United Artie Award for “outstanding music educator.”

in addition to performing and conducting the fort wayne philharmonic Youth Concert orchestra since 2010, she maintains a private teaching studio for the ipfw Community arts Academy, teaches violin and String Techniques for the ipfw department of music and is the

director & founder of the ipfw Community arts academy Summer String Camp.

marcy is an active member of Sigma alpha iota in which she has held several offices, ASTA (american String teachers association), imea, serves on the board of the philharmonic friends and is currently faculty adviser for the Sai zeta psi Collegiate Chapter.

marcy is married to bassoonist mike trentacosti who since retired from Fox Products and is a very active musician and billiard player.

FAMILY

FAIRY TALE FANTASIASUNDAY, April 17, 20162:00 PM | Rhinehart Music Center, IPFWchia-hsuan lin, conductor

TICKETS ONLY $13 ADULTS, $7 KIDS

DON'T MISS OUR FINAL FAMILY CONCERT OF THE SEASON!

2015/2016 YOUTH CONCERT ORCHESTRA ROSTERMARCY TRENTACOSTI conDUctor

Violin 1Lydia Bingamonmikhayla palictewendy KleintankHannah HobsonKrissy BrumbaughSydnee fritzAndrew Schroederelliot Lin

Violin 2daniel LiuClara BingamonSophie St. johnElisabeth RowdabaughOwen DankertLucas ValcarcelYebin jeongtrinity forish

ViolaLeeza gallaghergrace HenschenLucas drake

Cellojeremiah tsaiKyra warrendestiny SeeligEdward Sunmaria tanKallista williams

String BaSSKevin gillespieHenri SpoelhofHailey miller

Flutemegan tarltonalyssa parrSarah Hobson

oBoethan myo winrachel gripp

Clarinetisaac Bailey

BaSSoongillian anders

FrenCh hornmegan merzmaiah deogracias

trumpetSam parninaudrey germain

tromBonenicholas nagel

tuBaeden fuchs

perCuSSionEvelyn Rowdabaughandy dengSamuel fromholt

pianoHannah HobsonLucas drake

harpmary neuman

J A N , F E B & M A R 2 0 1 6 41

AN EvENING WITH GEORGE GERSHWINSponsored by drs. pamela and Kevin Kelly in loving memory of mary marxen

Saturday, February 20 | 7:30 P.M.Embassy Theatre

Chia-Hsuan Lin, conductorjodie deSalvo, piano

GERSHWIN Porgy and Bess: a Symphonic picture

GERSHWIN Rhapsody in Blue jodie deSalvo, piano

-- intermission --

GERSHWIN Cuban Overture

GERSHWIN An American in Paris

Be sure to tune in to the broadcast of this concert on wBni-94.1 fm onthursday, march 3 at 7:00 p.m.

MADGE ROTHSCHILD FOUNDATION

Dec 3 Dvorak's New World Symphony

Jan 21 Tchaikovsky's Violin Concerto

Feb 4 Midwinter Mozart

Mar 3 An Evening with George Gershwin

Mar 24 Legends and Fairy Tales

Apr 21 Sibelius and Brahms

May 5 Carmina Burana

May 26 Russian Classics

Fort Wayne Philharmonic Masterworks Radio Broadcast Schedule

Thursdays at 7PM on Classical 94.1WBNI

Metropolitan Opera Saturdays at 1PM on Classical 94.1 WBNI

J A N , F E B & M A R 2 0 1 6 43J A N , F E B & M A R 2 0 1 642

PorGy anD Bess: A SYMPHONIC PICTUREgeorge gerSHwin(Born in Brooklyn, New York, September 26, 1898; died in Beverly Hills, California, july 11, 1937)

arranged by robert russell Bennett

On an October night in 1926, George Gershwin, wound up from rehearsals of his Broadway-bound musical Oh! Kay, was unable to sleep. He turned to a popular new novel, Porgy, about african american life in the Charleston ghetto written by a white South Carolinian named DuBose Heyward. The composer was enthralled and read until dawn. His savvy theatrical sense told him this was a story crying out for dramatic treatment, and he promptly fired off a letter to Heywood expressing his interest in using it for a future opera. However, it would be another nine years before Porgy and Bess had its premiere.

the scion of an aristocratic but impoverished Charleston family, Heyward had spent time as a cotton checker working among black stevedores on the Charleston wharves. He found himself mesmerized by “the color, the mystery and movement of negro life” and began studying local African American folkways, speech patterns, and spirituals. Just down the street from his home was a decaying courtyard of tenements called Cabbage Row, and this became the Catfish Row of his novel and play. The inspiration for the crippled Porgy was a real-life local character Samuel Smalls, known as “Goat Sammy,” who traveled around the streets of Charleston on a tiny goat-driven cart.

At last in 1933, Gershwin felt ready to embark on his operatic project. the most intense period of work came during the summer of 1934 when the composer rented a cottage near Heywood’s summer home on folly island, off Charleston, and immersed himself in local gullah and black culture. Back in New York, Gershwin’s brother, Ira, joined the creative team to write many of the lyrics.

Porgy and Bess opened at Broadway’s Alvin Theater on October 10, 1935. The audience — as audiences have ever since — loved it, but critics questioned what kind of work Porgy and Bess really was: musical, operetta, or opera? Gershwin maintained it was an opera and had followed the operatic conventions of using continuous music throughout, without spoken dialogue. In 1985, fifty years after its premiere, porgy’s operatic status received the ultimate confirmation when the Metropolitan Opera gave it a new production, led by its artistic director

james Levine. today, it remains unchallenged as the great american opera.

we’ll hear a symphonic medley of music from Porgy and Bess arranged in 1942, a few years after Gershwin’s death, by his friend Robert russell Bennett for conductor fritz reiner and the pittsburgh Symphony orchestra. reiner stipulated that this purely orchestral arrangement be no longer than 24 minutes, so that it could fit onto three 78-rpm records (the LP was still a few years in the future). furthermore, Bennett reported that reiner himself selected the excerpts to be included. And so, although we hear several of the opera’s most famous songs — “Summertime,” “I Got plenty of nothin,” “Bess, You is my woman,” and “It Ain’t Necessarily So” — we also hear some more rarefied moments, such as the street calls of the Catfish Row vendors (led by solo trumpet and saxophone near the beginning of the medley) and part of the dramatic hurricane music (following “I Got Plenty of Nothin”).

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, FEBRUARY 20, 2016

rhaPsoDy in Bluegeorge gerSHwin

Like Mozart, George Gershwin was a natural. His Russian-Jewish émigré family did not acquire a piano until he was 12 years old, yet within a short time he was playing the songs he heard around him with intuitive harmonizations and the beginnings of the rhythmic flair that would become a trademark. At 15, he quit school to become a “song plugger” for the publishing firm Remick’s on West 28th Street, immortalized as “tin pan alley.” while pounding out other people’s songs, he began writing his own and was soon contributing melodies for Broadway musicals. By his mid-20s, he was one of the leading composers on Broadway and already a wealthy and celebrated young man.

But what set Gershwin apart from his peers — Irving Berlin, Jerome Kern, Cole Porter — was his appetite for musical growth. If he had already conquered Broadway with his music, why not the classical concert hall? But in 1924 when Rhapsody in Blue was introduced, American composers were hardly welcomed by American concert impresarios. As Gershwin biographer Edward Jablonski wrote: “It was a time of musical conservatism, when in order to have your works performed in Carnegie Hall, it seemed essential to be foreign-born or dead — preferably both. Gershwin, more than any other american composer of the period, helped to ameliorate the situation.”

that Rhapsody in Blue became an american legend from its very first performance is attributable to two factors. First, Gershwin was a pianist of spectacular charisma and virtuosity who could present his music better than anyone else. and, more importantly, he had the genius to tap into the spirit of his country and his times and translate it into music that possessed, as a more academic composer of the day frederick jacobi said, “that high attribute of making people fall in love with it.” Instead of imitating European models, he drew on American popular song and dance, african-american jazz, and the rhythm of the New York streets to create a potent new hybrid for the concert hall.

Rhapsody in Blue marked the 25-year-old Gershwin’s debut as a “serious” concert artist and composer. The occasion was a highly publicized concert on February 12, 1924 at New York’s aeolian Hall devised by band director paul whiteman and given the portentous title “experiment in modern music.” whiteman wanted to demonstrate to the New York musical establishment that american jazz had come of age and was worthy of the same respect as european art music. although whiteman had talked vaguely with Gershwin about writing a piano concerto for the occasion, Gershwin didn’t actually learn he was on the program until he read about it in The New York Tribune on january 3rd. panicked, he called whiteman who agreed there was not sufficient time to create a full-scale concerto and suggested a shorter, free-form rhapsody instead. to help Gershwin meet his tight deadline, he offered the services of composer-arranger ferde Grofé, who orchestrated the work as fast as it emerged from Gershwin’s pen. The title referred not just to the blue notes of jazz, but also to the composer’s love of the visual arts; having recently attended a Whistler exhibit with paintings such as “nocturne in Black and gold,” he chose “rhapsody in Blue.”

On that snowy Sunday afternoon, Whiteman’s over-long concert seemed to be turning into a bust as the audience dribbled toward the exits. then for the 22nd and penultimate number, Gershwin strode to the keyboard. With that famous clarinet glissando, he immediately riveted the audience’s attention, and his buoyant composition and high-energy playing proclaimed a fresh and very American new voice for the concert hall. Incidentally, the wailing blues-style of playing that clarinet opener was not in Gershwin’s original score. Fooling around in rehearsal, whiteman’s clarinetist ross gorman improvised the jazzy slide, and a delighted Gershwin urged him to keep it and add as much wail as possible.

cuBan overturegeorge gerSHwin

George Gershwin was very conscious of his lack of early formal musical training and in adulthood studied with various teachers to remedy it whenever his frenetic schedule allowed. Although he’d allowed Ferde Grofé to score Rhapsody in Blue, he orchestrated all his subsequent concert pieces himself and bristled at journalists who periodically accused him of letting others polish his work. Just how sophisticated his mastery of the orchestra became can be heard in his Cuban Overture, written in 1932. At that time, Gershwin was studying theory and composition with Joseph Schillinger, a graduate of the St. petersburg Conservatory, and this piece grew from his lessons in counterpoint (the art of weaving together multiple musical lines). It was also inspired by a vacation he’d taken in Cuba that winter; he became fascinated with Cuban dance music and returned with several Cuban percussion instruments in his luggage — bongo drums, Cuban sticks or claves, gourd, and maracas — that received prominent parts in his new work. By the summer of 1932, he was rapidly completing the Overture for a mammoth all-Gershwin concert held outdoors at New York’s Lewisohn Stadium on August 16. That concert was a spectacular success, with 18, 000 in attendance and thousands more turned away at the gates. Gershwin called it “the most exciting night i ever had.”

Cuban Overture is in three sections, opening and closing with the fast, intricate rumba music featuring the indigenous Cuban instruments. In the middle, a lengthy slow section shows Gershwin’s ability to create a subtle, haunting atmosphere conjuring a tropical night. the brilliant orchestration throughout suggests the composer had learned a thing or two from his friend maurice ravel, but the verve and melodic inspiration are pure Gershwin. an aMerican in Parisgeorge gerSHwin

Paris first entranced Gershwin when he visited the French capital as a wide-eyed young tourist in 1923. Returning in 1926 with both Rhapsody in Blue and the piano Concerto in f under his belt, he apparently was already casting his experiences into music. as a thank-you to his parisian hosts, he inscribed a photograph with both a theme from the Rhapsody and the opening theme of what he already called “An American in Paris.” But busy with Broadway assignments, Gershwin didn’t take up the composition for another two years.

By early 1928, conductor Walter Damrosch was pressuring him for a new concert work for the New York Philharmonic’s next season, and he began writing what he first called an “orchestral

J A N , F E B & M A R 2 0 1 6 45

ballet,” then a “tone poem” about his parisian impressions. He decided another research trip was needed, and in March installed himself and a piano at paris’ Hôtel majestic. Here, despite a whirl of professional and social activities, he managed to compose most of An American in Paris’s marvelously atmospheric central blues section. wanting to capture the characteristic sounds of Paris’ bustling streets, he went to an auto parts store to purchase four authentic Parisian taxi horns, whose off-key honks animate the score’s opening moments.An American in Paris received an enthusiastic reception at its premiere by the New York philharmonic under damrosch’s baton at Carnegie Hall on December 13, 1928. Deems taylor contributed a colorful program note giving a detailed scenario for the work. But this was not Gershwin’s intention. “My purpose here is to portray the impressions of an american visitor in paris as he strolls around the city, listens to the various street noises, and absorbs the French atmosphere,” he wrote. “The rhapsody is programmatic only in a general, impressionistic way, so that the listener can read into the music such episodes as his imagination pictures for him.”Gershwin’s own commentary provides the best guide to this work, eternally youthful and vital nearly 90 years after it was written. “The opening gay section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our american friend, perhaps after strolling into a café and having a few drinks, has suddenly succumbed to a spasm of homesickness . . .“This ‘blues’ rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. apparently the homesick american, having left the café and reached the open air, has downed his spell of blues and once again is an alert spectator of parisian life.

jodie deSalvo has captured national and international attention with her classical and jazz interpretations of the masters of keyboard literature. Upon winning the Artist International Competition in 1988, Ms. DeSalvo made her Carnegie Hall debut to critical acclaim with an encore performance two years later at Lincoln Center. She has been a top prize winner in the Young Keyboard artists Competition, the american music Scholarship Competition and the national federation of music Clubs Competition. a graduate of the Hartt and manhattan Schools of Music, and a former student of John Browning and gary graffman, she is also a past recipient of the Artist Fellowship Grant from the National Endowment for the Arts.

ms. deSalvo has toured extensively as a piano soloist appearing with the orchestras of Chicago, geneva, Lucerne, San francisco, Hartford, and Chautauqua under the batons of noted Maestros Christopher wilkins, david effron and gisele Ben dor. Having called fort wayne her home for nine years, she has appeared with the Fort wayne philharmonic numerous times under the direction of ron ondrejka and edvard tchivzhel. A frequent soloist with the Naples Philharmonic, she has appeared on the classical and pops series with Jorge Mester, Jeff Tyzik, Bruce Hangen, and Stuart Chafetz. a noted chamber player, Ms. DeSalvo has appeared with cellists Sharon and Keith robinson, violinists glenn Basham and jennifer frautschi, pianist robert wells, the miami String Quartet, the Bergonzi String Quartet and members of the american String

Quartet. She has performed at such prestigious festivals as Brevard, Chautauqua, Birch Creek, as well as over 100 times on National Public Radio.

Ms. DeSalvo has become equally proficient as a conductor. Having built choral programs in several private and public schools, she has traveled with her high school chorus on a 10-day tour of Italy during Easter week. The chorus performed in Venice, and florence, culminating in a performance in rome on easter Sunday. She returned to Italy and Greece the following year and last spring completed a concert tour throughout england and france. this spring, Ms. DeSalvo will appear at Carnegie Hall in New York City with the High School Chorus from Seacrest Country day School.

jodie deSalvo loves to play the piano and loves to have fun, so it is within the last two years that she has broadened her horizons on the concert stage by giving tribute concerts to the art of Victor Borge, renowned pianist/comedian. She has found great joy in interpreting some of his best loved skits, including phonetic punctuation

and Inflationary Language, as well as writing some of her own original material. these concert performances are well loved and enjoyed by audiences of all ages!

ms. deSalvo has recorded and produced 10 Cds of solo literature, chamber and choral music, which are available for purchase at tonight’s performance. as she continues to perform extensively, ms. deSalvo is also director of fine arts and artistic director of concerts at Seacrest Country day School, as well as the music director at Unity Church in naples, florida. ms. deSalvo’s recital/ lecture series at Artis-Naples is now in its tenth year and has sold out for the last two seasons.

jodie is thrilled to be back in fort wayne!

A R T I S T B I O G R A P H YJ O D I E D E S A Lv O

P I A N O

MASTERWORKS

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“at the conclusion, the street noises and french atmosphere are triumphant.”

notes by janet e. Bedell copyright 2016

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J A N , F E B & M A R 2 0 1 6 49

BARTÓK'S STRING qUARTET NO. 6Wednesday, March 2 | 7:30 P.M.Fort Wayne History Center

Sunday, March 6 | 2:30 P.M.Rhinehart Music Center, IPFW

GABRIELI Canzone per Sonare no. 2

DELERUE Vitrail for Brass Quintet Andrew Lott, trumpet dan ross, trumpet jay remissong, horn david Cooke, trombone Sam gnagey, tuba

BEETHOVEN Piano Trio in B-flat major, Op. 11 Allegro con brio Adagio Allegretto con variazioni olga Yurkova, violin deborah nitka Hicks, cello alexander Klepach, piano

-- intermission --

BARTÓK String Quartet no. 6 Mesto - Vivace Mesto - Marcia Mesto - Burletta: Moderato Mesto - Molto Tranquillo david Ling, violin olga Yurkova, violin derek reeves, viola andre gaskins, cello

J A N , F E B & M A R 2 0 1 650

CANzONE PER SONARE NO. 2gioVanni gaBrieLi(1557 - 1612)

the music of the renaissance era is not often performed in modern orchestras, yet gabrieli’s works have been a staple of brass ensembles for years. Giovanni Gabrieli was head of music at the famous St. mark’s Cathedral in Venice, Italy like his father before him. He was known for taking advantage of the split architecture of the cathedral by placing choirs on either side and writing music with both sides responding to each other for an antiphonal effect.

He wrote numerous Canzoni for various instruments with this particular Canzone being played on the precursors to the instruments seen on stage this evening such as the sackbut (an early trombone) and the cornetti (a trumpet likely without valves). The power and control of modern brass instruments adds a brilliance and depth to the Canzone, or “song” in italian, heard tonight.

vitrail FOR BRASS qUINTETgeorgeS deLerUe(1925 - 1992)

Ever since the dawn of Hollywood in the early 20th century, many of the top composers in the world have gravitated towards film scoring. french composer georges delerue earned his place as the “mozart of Cinema” composing over 350 film scores during his life. Early in his career, Delerue was often forced to choose between musical pursuits and helping make ends meet. through this he often took odd jobs at local clubs and playhouses during his studies at the Conservatoire de paris and hence was introduced into the world of film scoring for short films and theater. Throughout his career he worked primarily in art house cinema, however his resume would eventually include collaborations with acclaimed directors such as jean Luc goddard and oliver Stone.

Vitrail for Brass Quintet is a work in four movements written in 1979. Delerue was already well established at this point and added this work to his many other non-cinematic scores he composed throughout his life. the piece stands out as a staple of 20th Century brass music for its treatment of harmony is definitely extended beyond the “traditional.” However, despite its frequent dissonance there is a certain elegance and beauty to the writing brought out by the

sonorities of the brass that make the piece very accessible to most listeners.

PIANO TRIO IN B-FLAT MAJOR, OP. 11LUdwig Van BeetHoVen(1770 - 1827)

Beethoven’s early chamber works definitely fall within the more “classical” category bearing similarities to Haydn and Mozart. However, one noticeable difference is a playful charm in these early chamber works that make them stand out on their own. This particular trio was originally written for clarinet to be performed by Joseph Beer, who later dismissed the trio as not being quite as showy as he preferred. Beethoven then chose to substitute the clarinet with violin to give the work more versatility in performance.

also of note is a bit of a kerfuffle Beethoven had with Daniel Steibelt, the pianist who he collaborated with on early performances of this trio. When music nerds throw down they tend to do it in ways that involve mocking each other’s compositions. Steibelt responded to the work with a not-so-flattering improvisation on the theme used in the third movement of this work, which Beethoven countered with turning the cello part to one of Steibelt’s quintets upside down and plucking out the notes with one finger. Apparently this gesture upset Steibelt so much that the two musicians were never to collaborate again.

The trio is in three movements with an exciting opening movement, a beautiful adagio featuring the cello for the second movement, and finally a third movement theme and variations. the tune used in this third movement was so popular that it was often heard whistled around the streets of Vienna earning this trio the nickname “gassenhauer” or “street tune.”

STRING qUARTET NO. 6BéLa BartÓK(1881 - 1945)

Fans of Bartók will know the composer is as capable of writing lively folk dances as he is with writing music that makes the listener’s hair on their neck stand up. His six quartets are an amazing example of Bartók’s range, yet by the time he got to his sixth quartet in 1939, any sense of optimism seemed to be missing from the composer’s vocabulary. with world war ii looming, a war that would eventually displace Bartók from his native home of Hungary

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, MARCH 2 & SUNDAY, MARCH 6, 2016

permanently, and his mother falling gravely ill there wasn’t much for Bartók to be cheerful about. It was with this mindset he labels each movement as “mesto” or “Sadly.”

The first movement opens with a solo viola crying out with a slow chromatic line that will similarly be echoed throughout the opening of the other movements. The music picks up with a faster pace with another chromatic line being tossed around the parts. if the music sounds chaotic the listener only needs to find repeated rhythms throughout the four string parts to help organize their thoughts. the second movement develops into a harsh march of sorts. the third is a pompous burletta filled with a bit more of the folk-like energy heard in much of Bartók’s music. the character and violence heard in the music would not be out of place in any modern day slasher flick. The final movement was originally meant to be a lively dance but was instead replaced with a somber expansion of the “mesto” themes heard earlier in the quartet due to the knowledge of the death of his mother.

The six Bartók quartets remain one of the monumental achievements of 20th Century chamber music, and despite their often-dark nature there is something human and personal woven into these works. However, It might not be a bad idea to throw on your favorite comedy flick when you get home this evening to lighten the mood after listening to this music.

Notes by Ed Stevens copyright 2016

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

J A N , F E B & M A R 2 0 1 6 53

CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLESSponsored by do it Best Corp.

Saturday, March 5 | 7:30 P.M.Embassy Theatre

James Owen presentsCLASSICAL MYSTERY TOURJim Owen - Rhythm guitar, piano, vocalstony Kishman - Bass guitar, piano, vocals

david john - Lead guitar, vocalsChris Camilleri - drums, vocals

martin Herman - Conductor

Beatles medley overture arr: martin Herman

Classical mystery tour

--intermission--

Classical mystery tour

Performing selections from the following:

A true reflection of our dedication

and support

As one of the largest member-owned

home improvement co-ops in America, the Do it Best Corp.

team is dedicated to serving the needs

of independent businesses and their

customers.

We’re pleased to be able to offer

that same level of support to programs

that enrich our community –

all to make the best even better in Northeast Indiana!

www.doitbestcorp.com

a day in the Life a Hard day's nightall You need is Love Come together eleanor rigby golden Slumbersgood nightgot to get You into my Life Hello, goodbye

Here Comes the Suni am the walrus I Saw Her Standing There imagine Live and Let diethe Long and winding roadob-la-di, ob-la-dapenny Lane

Sgt. pepper's Lonely Hearts Club Band/with a Little Help from my friendsSgt. pepper's Lonely Hearts Club Band (reprise)SomethingYellow Submarine Yesterday

All songs written by John Lennon, Paul McCartney, or George Harrison.

ClassicalMysteryTour.com

J A N , F E B & M A R 2 0 1 654

A R T I S T B I O G R A P H YCLASSICAL

MYSTERY TOUR

walrus.”  Classical mystery tour is the best of The Beatles – from early Beatles music on through the solo years – like you’ve never heard them before. Many have called it “the best show the Beatles never did!”

the Los angeles times called Classical mystery tour “more than just an incredible simulation...the swelling strings and soaring French horn lines gave the live performance a high goose-bump quotient...the crowd stood and bellowed for more.” Classical mystery tour Cds and t-shirts are available for purchase on their website classicalmysterytour.com.

POPS

Since its initial performance at the orange County performing arts Center in 1996, Classical mystery tour has become one of the top Symphony pops attractions over the last decade. the group has been performing consistently for 17 years with more than 100 orchestras in the US, Canada, europe, asia, and australia.

Classical Mystery Tour was the highest selling show of the San Diego Symphony’s 2011 Summer Concert Series, and played three packed houses at the Sydney opera House in 2009. the group has performed 12 times with the Fort Worth Symphony, and broke attendance records four years running with the Indianapolis Symphony.

the four musicians in Classical mystery tour look and sound just like the Beatles, but Classical mystery tour is more than just a rock concert.  The show presents more than two dozen Beatles tunes transcribed note-for-note and performed exactly as they were originally recorded. Hear “Penny Lane” with a live trumpet section, experience the beauty of “Yesterday” with an acoustic guitar and string quartet, and enjoy the classical/rock blend on “i am the

G U E S T C O N D U C T O R B I O G R A P H Y

MARTIN HERMAN

engagements include the detroit Symphony, pittsburgh Symphony, dallas Symphony, San Diego Symphony, New Jersey Symphony, fort worth Symphony, Louisville Symphony, the Virginia Symphony, Delaware Symphony, alabama Symphony, the omaha Symphony, the Buffalo philharmonic, and the philharmonia Chamber orchestra in prague, Czech republic.

POPS

a resident of Los angeles, martin Herman was educated at Duke University, University of pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years in Paris on a Fulbright Grant where he worked as a composer and conductor with the “New American Music in Europe” and “american music week” festivals. aside from his conducting interests, Herman is an active composer and arranger. He has received fellowships and grants from the American music Center, the Camargo foundation, meet the Composer, trust for mutual Understanding, and the National Endowment for the Arts. He has written chamber and orchestral works as well as three operas. He is recorded on the albany record label. as a long time Beatles fan, Martin was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour show. Recent guest conducting

Connecting special audiences with the arts.

260.424.1064 | AudiencesUnlimited.org

J A N , F E B & M A R 2 0 1 656

MESSAGE FROM THE PHIL FRIENDS

A MESSAGE FROM THE PHILHARMONIC FRIENDS “The purpose of this organization shall be to support and to serve as an advocate for the Fort Wayne Philharmonic Orchestra, Inc. in its fundraising and educational endeavors, while striving also to discover and encourage musical talent.” Welcome to the Holiday edition of the Prelude. The last couple of months have been really busy. • The Friends sponsored the second Masterworks concert on October 24 at IPFW’s

Auer Performance Hall. • Our second Instrument Playground of the season was held at the October 25 Hallow-

een Spooktacular at IPFW’s Auer Performance Hall. Thanks so much to all our volun-teers as they provided exciting “playing” opportunities for the young ghosts and gob-lins. The next Playground will be on February 14. If you would like to help, contact Sara Davis at saraleadavis@hotmail.com

• The second Vines & Vibes wine tasting fundraiser was held on October 14 at Country Heritage Winery with Alicia Pyle providing the vibes.

• Another Symphony of Style fashion show is being planned for April 2016 at Club Soda. Keep an eye on this space and our web site www.fwphilfriends.com for more information as it becomes available.

• The Friends continue to sponsor Musically Speaking before the Masterworks con-certs. While attendance is free to our concert patrons, the venue does cost the Friends money. If you would like to sponsor an evening of Musically speaking or donate some-thing to help cover expenses, see our ad elsewhere in this publication.

• The second annual Swing for the Symphony golf outing is scheduled for July 28, 2016. at the Orchard Ridge Country Club. Please check future Preludes and our web-site for more information as it’s available.

This year promises to be full of many and varied opportunities to support the Phil through our ongoing fundraising, education and hospitality projects. Whatever your interest, there is a place for you. Just contact us at our alternate email address fwphilfriends@aol.com and one of our Executive Committee members listed below will assist you in your willing-ness to become a vital contributing member of the Philharmonic family. We have a great orchestra, chorus and staff. Let’s make their greatness even more possible through the work that we do for them. And last, but not least, the entire Friends Board and membership wish you a Merry Christmas, and a prosperous, healthy New Year. Sincerely,

The Friends Officers & Board

P.S. Buy a Cookbook. They make great holiday gifts!!! THE PHILHARMONIC FRIENDS BOARD

OFFICERS Vice-President Education: Sara Davis Vice-Presidents Fundraising: Susan Lehmann Vice-President Hospitality: Jayne Van Winkle

Vice-President Marketing: Cynthia Fyock Recording Secretary: Patty Arata Corresponding Secretary: Kathie Sessions

BOARD MEMBERS Mary Campbell Suzi Hanzel Sandra Hellwege Pat Holtvoigt Naida MacDermid Nellie Bee Maloley

Nan Nesbitt

Tamzon O'Malley John McFann Shelby McFann Janet Ormiston Ruth Springer Marcella Trentacosti Alexandra Tsilibes

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

Happy New Year from the Philharmonic Friends. Below is a quick rundown of our activities over the Holidays and what’s coming up.

• The Friends provided snacks for the musicians and chorus between the matinee and evening performances of the Holiday pops.

• At the Young People’s Concerts on February 10, the Friends will again provide additional security as fifth grade students enter and leave the embassy theater.

• Our third Instrument Playground of the season will be held at the February 14 Family Concert, “Young person's guide to the orchestra” at ipfw’s auer performance Hall. If you would like to help, contact Sara Davis at saraleadavis@hotmail.com

• The Young Artist’s Competition will be held on March 26 at IPFW’s Rhinehart Music Center. By the time you read this, applications and information will be posted on our web site, www.fwphilfriends.com

• Applications for the Friends Student Scholarships for the 2016-17 school year will also be available on our web site in by March 1st. This scholarship provides financial aid to promising elementary and/or secondary music students who need assistance in meeting the cost of private lessons.

• The Friends reserved funds to sponsor next October’s Masterworks Concert.

• The second annual Swing for the Symphony golf outing is scheduled for July 28, 2016. at the orchard ridge Country Club. please check future preludes and our website for more information as it’s available.

As you can see, we do a lot of things to support the Phil and encourage young musicians.Please consider supporting our fundraisers and/or joining our organization. Download anapplication from our web site or contact one of our Executive Committee members listedbelow at our alternate email address fwphilfriends@aol.com and we will assist you in yourwillingness to become a vital contributing member of the Philharmonic family.

Stay warm, stay dry and enjoy music played by the finest orchestra in the Midwest, yourown hometown Fort Wayne Philharmonic!

Sincerely,

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 slehmann01@hotmail.com

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 slehmann@hotmail.com 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 (MLH121@aol.com)

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

www.fwphilfriends.com

Playing with Food makes a great holiday gift.

THE PHILHARMONIC FRIENDS BOARD

OFFICERSVice-president education: Sara davisVice-presidents fundraising: Susan LehmannVice-president Hospitality: jayne Van winkletreasurer: Sarah reynolds

Vice-president marketing: Cynthia fyockrecording Secretary: patty arataCorresponding Secretary: Kathie Sessions

BOARD MEMBERSmary CampbellSuzi HanzelSandra Hellwegepat Holtvoigtnaida macdermidnellie Bee maloleynan nesbitt

tamzon o'malleyjohn mcfannjanet ormistonruth Springermarcella trentacostialexandra tsilibes

J A N , F E B & M A R 2 0 1 658

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

international career. This was also a recognition of Constantine’s commitment to the breaking down of barriers that blur the perceptions of classical music and to bringing a refreshed approach to the concert going experience. this is a commitment that he has carried throughout his work and which continues with his advocacy for music education for all ages. “Taste is malleable, we only have to look at sport to see the most relevant analogy. It’s pretty rudimentary and not rocket science by any stretch of the imagination. The sooner you are shown the beauties of something, whether it be football or Mozart, the greater is the likelihood that you’ll develop a respect or even passion for it. It complements our general education and is vital if we want to live well-rounded lives. As performing musicians our responsibility is to not shirk away from the challenge, but keep the flame of belief alive and to be a resource and supporter of all music educators.” another project created by Constantine geared towards the ‘contextualizing’ of composers’ lives is, The Composer: REVEALED. in these programmes the work of well-known composers is brought to life through the combination of dramatic interludes acted out between segments of chamber, instrumental and orchestral music, culminating with a complete performance of a major orchestral work. 2015 saw the debut of tchaikovsky: REVEALED.

In 2004, Andrew Constantine was invited by the great russian maestro Yuri temirkanov to become assistant Conductor of the Baltimore Symphony orchestra. within a year he became associate Conductor and has enjoyed a wonderful working relationship with the orchestra since that time. As temirkanov has said, “He’s the real thing. A serious conductor!” in 2007 he accepted the position of music director of the reading Symphony Orchestra in Pennsylvania – after the rSo considered over 300 candidates - and recently helped the orchestra celebrate its 100th anniversary as they continue to perform to capacity audiences. in addition, in 2009 he was chosen as the Music Director of the fort wayne philharmonic in indiana from a field of more than 250 candidates.

Other orchestras in the US that he has worked with include the Buffalo Philharmonic, rochester philharmonic, Syracuse Symphony, Jacksonville Symphony, Chautauqua Festival orchestra and phoenix Symphony. again, critical acclaim has been hugely positive, the press review of his Phoenix debut describing it as, “the best concert in the last ten years.” Engagements in 2014 included concerts with the orchestra Sinfonica Siciliana in italy and, the nwd philharmonie in germany.

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J A N , F E B & M A R 2 0 1 6 61

CONDUCTOR

CHia-HSUan Lin

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.

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

CHORUS DIRECTOR

Benjamin riVera

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 davis

Lenore defonso Sandy Hellwege

Katy Hobbs nathan pose

Sarah reynolds greg white

OFFICERSKaty Hobbs, president Sarah reynolds, Vice presidentgreg white, treasurer Sara davis, Secretary

J A N , F E B & M A R 2 0 1 6 63

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

angela freierAssistant Director of 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 rogenDirector 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

On Sale NowFebruary 24 • 7:30PM

Embassy Theatre | 800-745-3000

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

Presented by EMBASSY

For Group Discounts (10+) Call 260-424-5665

J A N , F E B & M A R 2 0 1 6 65J A N , F E B & M A R 2 0 1 664

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 maughan

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

ANDREW CONSTANTINE mUSiC direCtorIone Breeden Auer Podium

BENJAMIN RIvERA CHorUS direCtor

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

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

TRUMPETAndrew Lott, 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 muellermichael o'gieblynilona orbanKristine papilloneleanor piferColleen tanLauren Tourkowjessica wiersma

vIOLAmelissa Lund zieglerKatrin meidellemily mondokanna rossLiisa wiljer

CELLOgena taylor

BASSBrad Kuhnsjohn tonne

FLUTEjanet galbraithAlistair Howlettpatricia reeves

OBOEjennet ingleAryn SweeneySarah thelen

CLARINETElizabeth Crawforddan HealtonSpencer Prewitt

BASS CLARINETElizabeth Crawforddaniel HealtonSpencer Prewitt

BASSOONmarat rakhmatullaevmichael trentacosti

CONTRA-BASSOONalan paliderKeith Sweger

HORNgene BergerKurt CiviletteKenji Ulmer

TRUMPETBrittany Hendricksdouglas HofherrLarry Powellalan Seversadam Strong

PERCUSSIONColin HartnettMatt Hawkinsrenee KellerBen KippKevin Kosnikjerry noble

KEYBOARDjonathan mann

SAXOPHONEmatt Cashdollared renzfarrell Vernon

CONTRIBUTING MUSICIANS

THE PHIL orCHeStra roSter

CHAMBER MUSICIANS

THE PHIL CHorUS roSter

SOPRANOashley adamsonmicaela BasilliciKaren Campbellmaria ChaseSheila Chilcote-CollinsKaitlin Clanceyelaine Coopernicoline dahlgrenSara davisKathy DewRuth FearnowKaty HobbsCarol jacksonjill jefferynatasha KersjesCarol anne mcmillenjane meredithLeeann miguelmeg mossClarissa reisKarma remster

rita robbinsMary SnowSherrie SteinerSue StumpChristina thomsonCarrie VeitSarah Vetter

ALTOnancy archerCathryn Boysronnie Brooksjeri CharlesCaitlin CoulterLenore defonsojoan gardnerronnie greenbergCheryle GriswoldSandra Hellwegedarah jonesjody jonesSharon mankey

tara oliveroSarah reynoldspaula neale riceSabrina richertCindy SaboLynn ShireSue SnyderHope Swanson Smithruth trzynkaFrédérique Wardgretchen weertsnancy weigeltmary wintersLea woodrum

TENORmichael Bienzgarrett Butlerthomas CainSarah Kindingerjohn t. moorenathan pose

mark richertjohn Sabogreg white

BASSthomas Bakerjohn Brennanthomas Callahanjon eifertKris graygerrit janssenfred miguelmichael f. poppEwing PottsKeith raftreegabriel SeligKent Sprunger

BENJAMIN RIvERA CHorUS direCtorJONATHAN EIFERT aSSiStant direCtor

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

Design/Build, Maintenance, Irrigation, Floral Studio

SERIES SPONSORS

ROBERT WAGNER & MARLENE BUESCHING

THE MADGE ROTHSCHilD fOUNDATiON

during her lifetime, madge rothschild’s philanthropy in support of many local charities was frequent and generous, but, far more often than not, was done anonymously. Aware of her mortality, Madge established The Madge Rothschild Foundation and at death willed her remaining estate to it in order that her support for various local charitable organizations would be continued. The Fort Wayne Philharmonic was one of the charities she supported, remarking, “Without The Phil, there would be so much less culture in this city for us to be proud of and for me to enjoy with others.”

CHUCK SURACK fOUNDER AND PRESiDENT, SWEETWATER SOUND, iNC.

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

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.

J A N , F E B & M A R 2 0 1 6 69

SERIES SPONSORS

"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

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

for information about supporting the phil’s 2015/16 annual fund, contact the development Office at 260•481•0775.

ANNUAL FUND INDIvIDUALS

FOUNDERS SOCIETY (GIFTS OF $25,000+)

anonymous (1)gloria fink*russ & jeanette Quilhot

Chuck & 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

diane S. Humphreydrs. 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 Bellmrs. Virginia Coats

Andrew & Jane Constantinemark o. flanagantod 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. eckrichpatricia S. griestdr. rudy & rhonda KachmannDrs. Carol & David Lindquistgreg marcus

michael mastrangeloKevin & tamzon o’malleydr. evelyn m. paulyCarolyn & dick SageMs. Carol Shuttleworth & Mr. Michael GavinBarbara wachtman & tom Skillmandaryl Yostal & Hannah zacher

COMPOSER’S CIRCLE (GIFTS OF $1,250 TO $2,499) anonymous (1)norma & tom BeadieKatherine Bishopearl & melanie BrooksJoan Baumgartner Brown

Kathy Callentom & margaret dannenfelsergeorge & ann donnerBen & Sharon eisbartfred & mary anna feitler

J A N , F E B & M A R 2 0 1 6 71J A N , F E B & M A R 2 0 1 670

Susan & richard fergusonfredrica frank*david S. goodmanSattar & marlene jabooridorothy K. Kittakamr. & mrs. john Krueckeberggreg & Barbara myersrosemary noeckerKathryn & michael parrottLinda pulver

the rev. C. Corydon randall & mrs. marian randallthe rothman family foundationmelissa & peter Schenkelphilip & rebecca Smithwayne & Helen watersLewie WieseVirginia zimmermandr. & mrs. richard zollinger

PRINCIPAL’S CIRCLE (GIFTS FROM $1,000 TO $1,249) anonymous (1)Holly & gil Biermandr. & mrs. james g. BuchholzKeith & Kyle davisthe dyer family foundationelizabeth a. frederickLeonard Helfrichginny & Bill johnsonfloyd a. & Betty Lou LanciaLyman & Joan Lewis mr. & mrs. donald t. mefford

timothy & jennifer millernorma j. pinneyCarol & Bill reitzdr. joseph SchneiderNancy & David StewartKathleen 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 martinpaul & Bonnie mooredavid & Sharon petersrobert Simonnorma thieleKari & jeannine Vilamaa

CONCERTMASTER (GIFTS FROM $500 TO $749) anonymous (4)jeane K. almdaledr. & mrs. richard n. avdulLarry & martha Berndtelizabeth Buekermargaret L. & richard f. BugherBarbara Bulmahnandy & peg Candordr. & mrs. jerald Cooperjohn & janice Coxdr. & mrs. fred w. dahlingSara davisClayton EllenwoodBruce & ellen englandSteven & nancy gardnerroy & mary gilliomScott & melissa glazeShirley H. grahammrs. eloise guyBob & Liz HathawayWilliam & Sarah Hathaway

anne & james Hegermark & debbie Hestermanmr. & mrs. Kenneth johnsonStephen & roxanne Kelkerrichard & mary Koehnekeg. irving Latz ii fundfloyd & Betty Lanciadr. & mrs. john w. LeeStephen & Jeanne LewisSenator david & melissa Longfrank Luardepeter & Christine mallersthomas & dianne mayLusina mcnalljim & alice merzSusan & david meyerSean & melanie natarajanmr. & mrs. maurice o’danielBrian & Sue paynewilliam & Sue ransomdr. & mrs. Stephen reed

CONCERTMASTER continueD(GIFTS FROM $500 TO $749)

LtC ret. & mrs. richard reevesalan & pat riebeanne & david Sillettomr. marco Spallone & ms. anne Longtinejane C. thomas

mr. john Ulmerangela & dick weberVirginia & don wolfmary ann & mike ziembo

FIRST CHAIR (GIFTS FROM $300 TO $499) anonymous (2)michael & mary jo amoriniScott & Barbara armstrongLinda Balthaserfrederick Beckmanmichael & deborah Bendalljon Bomberger & Kathryn roudebushdr. & mrs. robert Burkhardtann & tim dempseygeorge & nancy doddwilliam easterlymrs. philip w. eherenmanalbert & jeanne emilianpauline eversoledan & nancy fulkersonLinda gaffrobert & Barbara gasserrobert & Constance godleymr. & mrs. thomas e. greenLois guesswarren & ardis Hendryxtom & mary Huffordmr. & mrs. arnold Hugemarcia & andy johnsonLarry & annette Kappjane L. Keltschmr. john a. KirchhoferBruce & mary Koenemaned & Linda KosSteven & rhonda Lehmandr. & mrs. richard d. Liebanne a. Lovett

paul & pauline Lyonspeg maginnapril & Charles morrisonSuzon motzmartha L. noelpaul a. oberleyJanet Paflasmac & pat parkermr. & mrs. william peiserichmr. & mrs. delmar j. proctorCindy & fred rasppaul j. & Lula Belle reiffjeremy & Clarissa reisSarah & richard reynoldsmaryellen riceBenjamin & alex riverarobert & ramona Scheimannmary SchneiderScot C. Schouweiler & Julie KellerChuck & patty Schrimperwayne & ann Shivefort wayne alumnae Chapter of Sigma alpha iotaStephen r. & anne S. SmithLois a. SteereCarol Ann TerwilligerCarl & Cynthia thiesScott & jenny tsuleffdon & amy Urbanmichael j. Vorndran & joshua LongLorraine & Shepard Weinswigphil & marcia wright

SECTION PLAYER (GIFTS OF $100 TO $299)

anonymous (6)max m. achlemanambulatory medical managementterry & phil andorferdr. & mrs. justin aratams. mary jo ardingtondr. & mrs. thomas armbustermel & ruth arnoldmr. & mrs. william arnolddick & adie Baachdave & Bev Baalsmichael & Kay Bausermanamy & john Beattytony & pat Becker

Beth & don BieberichMatthew Bilodeaurobert & mary Binnsdavid w. BischoffSherry L. BlakeBarbara L. BoereierVirginia Bokernrebecca BouseDennis Bowmanjim & Sue Bradleydr. Helene Breazealedr. & mrs. todd Briscoemr. mike BrittenMs. Evelyn Brosch-Goodwin

david n. Brumm & Kimberly S. macdonaldwilliam & joan d. Bryantwilliam & dorothy Burforddr. david & gayle Burnsmarguerite w. Burrellphilip Burtjoyce & paul Buzzardmary Campbellanne & michael Cayotarlene Christwillard & nena Clarkmr. & mrs. j. nelson Coatsrobert & annelie Colliemr. & mrs. richard Cook

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the fort wayne philharmonic thanks these concert and event sponsors for their generous contributions over the past twelve months. Please call 260•481•0784 to join our family of sponsors.

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.

SERIES SPONSORS

Madge Rothschild Foundation

John Crawforddan & marjorie Culbertsonjane dehaventom & Holly deLongVera & dominick detommasoCarol diskeydaryle L. dodenFred & Joan Domrowphyllis dunhamdr. & mrs. john dyer G. Edwardsdon & mary Kay ehlerdingCynthia elickLillian C. embickpam evans-mitorajmr. & mrs. Larry farverdr. & mrs. joseph p. fiacabledavid & mary finkmichael & marcia floodjohn & jane foellnathan & angela freierSheryl a. friedleydaniel & Sara gebhartgeoff & Betsy gephartEdward & Henrietta Goetzwilliam & mary goudymr. & mrs. ronald greeknorm & ronnie greenbergdon & Kate griffithjames B. griffithdavid L. guilfordmary K. gynnmark Hagermanjonathan & alice HancockBrian & Barbara Harrispaul j. Haughandennis & joan HeadleeJacqueline Hecklermayor tom C. & Cindy Henrytom & jane Hoffmandouglas e. & Karla K. HofherrPhil & Sharon HowardWinifred Howeed & mary Lou Huttergeorge & jane irmschermr. & mrs. arlin jansenmark & dianne jarmusSteve johnsonalex & Sharon jokayGwen Kaagjames r. KarlinLuann r. KellerBridget Kelly

dale Kellywilliam g. Knorrjames & janice KodayKay & fred Kohlerdr. & mrs. daniel KrachCarolyn KrebsHedi Kruegerpaula Kuiper-moorejj Carrol & jeff Lanedrs. Chung & Sage Leems. frances Lemaydale & Virginia LutzCameron & meg macKenziejanet & Larry macklinMr. & Mrs. Michael Makarewich nellie Bee maloleyCheryl Mathewsdavid matzdr. & mrs. michael L. mcardleSusan j. mcCarrolmary mcdonaldMr. & Mrs. Ralph McDowelljohn H. & Shelby mcfannScott mcmeenalice mcraeLeanne mensingelizabeth meyerdr. Ken & jan modesittdavid & Linda molfenteral & Cathy mollray & nancy mooredeborah morganChuck & Becky morrisdr. david moserKenneth & Linda moudyjohn & Barbara muellerKevin & pat murphyms. mary mussonron & ruth nofzingerdavid & Sally nortoned neuferBetty o’ShaughnesseyC. James & Susan J. Owenemmanuel & noemi paraisoEdwin* & Maxine Peckmr. & mrs. john m. petersraymond & Betty pippertmarvin & Vivian priddyHelen f. pylesjoellen & donald reedjohn & diana reedemma reidenbachdennis L. reynolds

ruth & phillip rivardjanet roeStanley & enid rosenblattmartin & rita rungedouglas & Laura runyanmarilyn Salonnancy & tom Sarosijan & Steve SarratoreHarold SchickSylvia Schmidtmary ellen SchonBeverly & Dick Schweizedavid Seligmanmr. & mrs. richard Shanklephyllis ShoaffLt. Col. & mrs. tom Sitesramona & dick SiveCurt & dee Smithdarryl r. SmithLynda d. SmithStan & Linda SneeringerSharon SnowBetty Somersdrs. david a. & judith j. Sorgmichael e. Sorgmr. & mrs. donald d. Stedgedavid & Beth Steinermary jane & thomas Steinhauserannetta Storkmatt & Cammy Suttertim & Colleen tanLois teders Hornjudge philip r. thiemetom & maureen thompsondr. & mrs. j. phillip tyndalljayne Van winkledaniel & june walcottdr. james wehrenbergjohn & pat weickerSteve & Keitha wesnerdr. & mrs. alfred a. wickellen wilsonHope wilsonBetty j. woodmanseeLea B. woodrummr. galen YordyBob & jan YoungerBrian & Kyla zehr

J A N , F E B & M A R 2 0 1 674

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

drs. Kevin & pamela Kelly

the miller family foundation

russ and jeanette Quilhot

STRADIvARIUS SOCIETY $5,000 to $9,999

nancy archer

janice eplett

jim and gloria nash

Jeff Sebeika, Subway

CONDUCTOR’S CIRCLE $2,500 to $4,999

Bae SystemsBKddebrand fine Chocolatesmedpartnerspain management & anti-aging Center, dr. alfred allina

parrish Leasing inc.pBS 39travel 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 managementparrish Leasing, inc.Shambaugh, 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 PlanningUnifirstVision 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

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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 SUPPORTIndiana Michigan Powerolive B. Cole foundationParkview Regional Medical Center/ Parkview Health

Star financial BankSteel dynamics foundation, inc

ADAMS COUNTYadams County Community foundationBunge north americadecatur rotary Club

Eichhorn Jewelersgilpin, inc.janet & Larry macklinellen mann

porter family foundationpsi iota Xi (alpha delta)jim & Bertie ShraderSandra Striker

ALLEN COUNTYjonathan 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 LauerDrs. Carol & David Lindquistpaul & pauline Lyonsjohn martinmichael mastrangelodiane mcCammondouglas mcCoyjohn H. & Shelby mcfannroger & rachel mcnettSusan & david meyergreg & Barbara myersmike & pat miller

ray & 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 COUNTYauburn moose family Centerauburn dental associatesGary & Lisa Bowserjohn & Cheryl Chalmersgerald ChappdeKalb County Community foundationdeKalb County Council on agingerica dekko

phyllis dunhamwilliam & mary goudyC. Bishop HathawayWilliam & Sarah Hathawaygreg & emma Hendersondavid & pat KruseSteve & Linda Kummernussmetal technologies inc. foundationmargery norris

Kevin & tamzon o’malleydr. & mrs. Keith perrydr. & mrs. james robertsScheumann dental associatesrichard & Suzanne Shanklegary Siblerosemary Sprungermayor norman & peggy Yoder

FULTON COUNTYpsi iota Xi (eta mu) ronnie Shreffler

KOSCIUSKO COUNTYmr. & 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 foxmichael glasperdr. & mrs. Lloyd Hagedornmr. & mrs. Vaughn HankinsKenneth & Lela Harkless foundation

Bruce & Sabine Hopkinsmrs. Hope HuberStanley & mary Hurshneedham & mary Lou Hurstrosalie HurstHarriet inskeepdr. rudy & rhonda Kachmannphillip & janet Keimdan & Sarah KitchKosciusko County Community foundationKosciusko remC operation round Up programLakeland Community artist's Corp.floyd a. & Betty Lou Lanciamr. & mrs. max Laudemanjim & pat marcuccillimr. & mrs. paul mastmr. & mrs. william f. mcnagny

dave & dorothy murphywalter & ann palmerdr. & mrs. ronald pancnermr. & 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 wolfrumalfred & Hannah zacherrobert & Karen zarich

NOBLE COUNTYdr. & mrs. Craig atzgreg & Sheila Beckmanarthur & josephine Beyer foundationgregory & michele Bricker

Kappa, Kappa, Kappa, Inc. – alpha iota Chapterdr. & mrs. Kenneth Cripeerica dekkoBishop & ellen Holliman

Kendallville party Storenoble County Community foundationjennie thompson foundation

STEUBEN COUNTYanonymous (1)donald & janet ahlersmeyeramerican Legion angola post 31mr. ron Ballglen & Chris BickelMr. & Mrs. Robert Bigelowray & marianne Bodiejames & Lynn BroylesChuck & maureen BuschekCameron memorial Community HospitalCity of angola, richard Hickman, mayorjudith Clark-morrill foundationColdwell Banker Roth wehrly graber

mrs. margie dealfirst federal Savings Bank of angolaSusan Hanzeljim & Karen Huberpatricia Huffmanthomas & Cheryl Hugheymr. & mrs. roger KaiserLeo & marlene KuhnLake james associationmr. & mrs. wally LeuenbergerMr. & Mrs. Ralph McDowellgerald & Carole miller family foundationSteve & jackie mitchellStan & jean parrish

psi iota Xi (rho Chapter)max & Sandy robisonfred & Bonnie Schlegelmr. & mrs. Charles Sheetserik & Laura SorensenSteuben County Community foundationSteuben County remC round Up foundationtrine Universitynorma warrenjim & Kathryn zimmermandale & judy zinn

WELLS COUNTYadamswells internet telecom tVBluffton rotary Clubmr. & mrs. doug gerber

mrs. diane HumphreyL.A. Brown Co.richard & donna Scheumann

mr. & mrs. Kenneth SteffenTroxel Equipmentwells County foundation

WHITLEY COUNTY80/20 Inc.Copp farm Supplymr. & mrs. Harold Coppfred geyerj & j insurance Solutions

performance pC, LLCrex & Holly Schradermr. & mrs. nicholas Steillpamela thompsonJohn Underwood

mr. & mrs. jeffrey walkerwhitley County Community foundationdr. & mrs. richard zollinger

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FOUNDATION AND PUBLIC SUPPORT

ALLEGRETTO $50,000 to $149,999

anonymous (1)foellinger foundationmcmillan foundation, inc.

Steel dynamics foundationYergens rogers 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 foundationw. gene marcus trustpnC Charitable trusts

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

ecolab foundationjournal 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 Foundation

arthur and josephine Beyer foundationjudith Clark-morrill foundation

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

deKalb County Community foundationgreater fort wayne Chamber of Commerce foundationKenneth & Lela Harkless foundationKosciusko County Community foundationmaXimUS foundation

dr. dane & mary Louise miller foundationgerald & Carole miller family foundationSteuben County Community foundationMary E. VanDrew Charitable Foundationwhitley County Community foundation

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.

arthur a. BealCharlotte 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:

CONCERTMASTER $500 to $999

auburn arts Commission noble County Community foundation

IN KIND DONATIONS

arts Consulting group, inc. Linda BrananBarnes & thornburg LLpipfwKeefer printingnipr

Soft rock 103.9Summit City radiowane-tVwowo-fmwLde-fmpatricia weddle

CONTRIBUTORS

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

TRIBUTES

We gratefully acknowledge the following friends who have contributed gifts to The Phil in memory of loved ones recently. All memorial, honorariums and bequests are directed to the Endowment Fund unless otherwise specified by the donor. These gifts are so meaningful and they are appreciated.

In Memory of Dr. Richard D. Lieb anonymous (1)Brian & Vicki CastleBruce & ellen englandfred & mary anna feitlerdavid & Kathy fuller

janelle & Steven graberDr. & Mrs. C. Bishop HathawayDavid & Suzanne HathawayMelvin & Sandra HathawayWilliam & Sarah Hathaway

Bil & Shirley KransteuberSidney & Belva meyerphilip & Barbara rossStyles Beyond Salonnathan & natalie wanstrath

In Memory of David Platt for the Youth Symphonyjane & frank walker

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

marie & david warshauerjudy & Steven zacher

Michael, Andrew, Daniel, adam, joshua & theo (children & grandchildren)

In Memory of Shepard Weinswig

donald & Sally CaudillDow & Angelique Famulak

debra HazelCarolyn & dick Sage

In Memory of Maria Offerle

mike & ellen BeckerKim & Dwight BrandonKathy Caudilltheresa & michael frankeCarol & joe offerle

mike ScottBarbara SpreenStar Financial Bank – deposit ServicesBob & Sherry tilkins

Ken & Kathy weligmike & Cindy wright

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•0775 or by email at info@fwphil.org 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 Hursh CastBetsy & Howard Chapmanjune e. enochfred & mary anna feitlerrichard & Susan ferguson

gloria fink*Henrietta goetz*Mrs. Edward GoldenLeonard & rikki goldsteinJoyce Gouwens*jay & Sandra HabigSusan Hanzeljeff Haydonjohn Heiney*mr. & mrs. donald Hickstom & Shirley jonesdiane Keounmrs. Bruce Koenemantod S. Kovara

doris 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

Fo rt Way n e’s oW n Lo ca L 1 4 6 stag eh a n d s .

Working behind the scenes

to provide your entertainment

since 1908.

CUSTOM DESIGNED HEAT RESISTANT FABRICATIONS & CASTINGS

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

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

IT'S BACK!THE FORT WAYNE PHILHARMONIC'S

ONliNE AUCTiON

May 4 - 14

images depicted are from the 2015 auction and may not depict actual items in this year's event.

More details will be available soon at fwphil.org!

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