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PRELUDE
FORT WAYNE PHILHARMONIC PROGRAM
Editor: Brooke Sheridan
VOLUME 71, NO. 2
2014/15 SEASON
NOVEMBER/DECEMBER
Contributing Editors: J.L. Nave III, Christina Brinker, Adrian Mann
Prelude is created and produced four times per year by the Fort Wayne Philharmonic marketing department.
Printed by Keefer Printing Company 3824 Transportation Drive 260 424-4543
We make every effort to provide complete and accurate information in each issue. Please inform us of any
discrepancies or errors, so we can assure the quality of each issue.
table of contents
7
33
44
46
48
49
49
Welcome Letter, Andrew Constantine
Benjamin Rivera, Choral Director
The Phil Friends
Andrew Constantine, Music Director
Chia-Hsuan Lin, Assistant Conductor
Marcella Trentacosti, YCO Conductor
David Cooke, YSO Conductor
50
53
53
56
58
67
Orchestra Roster
Board of Directors
Staff Listing
Business Partners
Donors
31
32
34
40
41
41
42
Christopher J. Murphy
Miriam Morgan
Jonathan Busarow
Josefien Stoppelenburg
Sara Ponder
Samuel Levine
David Govertsen
Index of Advertisers
artist bios
13
14
22
29
30
30
30
31
Deborah Nitka Hicks
Ed Stevens
Steven Moeckel
Sameer Patel
Kaela O'Connor
Samantha Pollino
Eric Geil
Nathaniel Irvin
9
MASTERWORKS BRAHMS' SECOND SYMPHONY
SATURDAY, NOVEMBER 1
17
FREIMANN
WEDNESDAY, NOVEMBER 5
SUNDAY, NOVEMBER 9
21
MASTERWORKS SHOSTAKOVICH'S FIRST SYMPHONY
SUNDAY, NOVEMBER 22
27
POPS HOLIDAY POPS
FRIDAY, DECEMBER 12
SATURDAY, DECEMBER 13
FRIDAY, DECEMBER 19
SATURDAY, DECEMBER 20
37
CHORAL HANDEL'S MESSIAH
4901 Fuller Drive, Fort Wayne, IN 46835
Box Office 260 481-0777 fwphil.org
260 481-0770
NOV DEC
2014
5
AuntMillies.com
WELCOME FROM THE MUSIC DIRECTOR
Writing to welcome you to the Philharmonic at this time of
the year is always a joy simply because we’re usually buzzing
from a great start to the season. This year, it’s no exception!
The Capitol Quartet, Ben Folds, Mahler’s Symphony No. 1 and
our Tale of Two Concertmasters were events that we all, as
listeners and performers, can feel justly proud!
Media interest, too, in the Fort Wayne Philharmonic has been
both supportive and creative. I have to say we always enjoy
the best of relations with the major media providers in the
area, and we’re very grateful for that. I want to draw your
attention to a recent article in the Journal Gazette – here’s the
link: http://www.journalgazette.net/article/20141019/ENT02/310189942/1007/ENT. Written by Steve
Warden, it’s a very insightful look into the preparations that go towards presenting a Masterworks
performance. Oh, how I wish we could invite everyone to experience the incredible journey we take
from first rehearsal to finished performance. How the musicians of the orchestra not only address
the challenges of their own parts but how they shape their contribution to fulfill both the expressive
dreams of the composer and meld everything they do to complement and support their colleagues
around them. But if you did come to the rehearsals, then you probably wouldn’t buy tickets, and we
know how that story ends……… It’s a good read!
So what about the music? Well, November 1st’s Masterworks concert highlights two of the
Philharmonic’s finest players. Deborah Hicks and Ed Stevens will join forces for Vivaldi’s Concerto
for Two Cellos and a work from Charles Avison completes our 18th Century component. Add to this
Stravinsky’s neo-classical Dumbarton Oaks and the sunniest of symphonies from Herr Brahms and I
think we have a delightful evening in store for you.
Later in the month, the 22nd of November to be precise, we return to the Embassy Theatre for two
masterpieces from the earlier part of the Twentieth Century. Though written only about fifteen years
apart, Elgar’s passionate and romantic Violin Concerto is an intense work infused with both nostalgia
and a sense of deep satisfaction, whilst the youthful Symphony No. 1 is a prescient work from a
composer who was destined to become a titan of twentieth century music. This is a concert I simply
can’t wait for!
More for your delectation includes Fort Wayne’s favorite seasonal entertainment with our Holiday
Pops from December 12th to 20th and Handel’s immensely popular Messiah on December 18th at
the Rhinehart Music Center. Whilst earlier, on November 5th and 9th, satisfy your chamber music
cravings with concerts in our Freimann Series.
Music has never been so good here. I’ll see you at The Phil!
Andrew Constantine, Music Director
NOV DEC
2014
7
M A D G E R O T H S C H I L D F O U N DAT I O N
MASTERWORKS
concert
dedication
We celebrate today’s beautiful music in
honor of Jackson R. Lehman, “Jack” to
everyone at the Fort Wayne Philharmonic,
who passed away on Saturday, Nov.
2, 2013. He was a tireless champion of
the orchestra, an honest advisor and
a trusted friend. He was involved with
The Phil on many levels – as a corporate
supporter, president of The Phil’s own
board of directors, and as a community
and foundation advocate.
Jack was a native of Berne and worked for
Fort Wayne National Bank for 40 years.
Jack graduated from Bluffton University
in Ohio in 1953 and was an active duty
Korean War Army veteran. He received
an MBA from Indiana University in 1956,
and in the same year, went to work as a
trainee at Fort Wayne National Bank. He
retired in 1997 as Chairman and CEO.
In 1996, he was awarded the Indiana
Sagamore of the Wabash by Governor
Evan Bayh. He was also awarded a
Doctorate of Humane Studies from
Purdue University and received the same
degree from the University of Saint
Francis.
During his decades of involvement
with The Phil, Jack spearheaded many
successful campaigns and initiatives and
helped others to be successful in their own
8
NOV DEC
2014
roles as staff leaders and board members.
Perhaps his most notable contribution,
was his role in facilitating funding from
the Frank Freimann Foundation to endow
the full-time salaries of the four principal
string players in the orchestra, creating
the Freimann Quartet and furthering
the concept of a full-time professional
orchestra. The mastery of the Freimann
Quartet represents the growth in the
artistic quality of The Phil, in no small part
a result of Jack’s unrelenting commitment
to this organization.
Tonight we recognize, remember, and
honor Jack Lehman and all his efforts on
our behalf.
thank you to our sponsors:
MADGE ROTHSCHILD
FOUNDATION
M A D G E R O T H S C H I L D F O U N DAT I O N
MASTERWORKS
brahms' second symphony
tonight's Concert is dedicated to jack lehman
Saturday, november 1, 2014 | 7:30 PM
rhinehart music center, ipfw
Andrew Constantine, conductor
Deborah Nitka Hicks, cello
Ed Stevens, cello
AVISON
Concerto Grosso in Bb, Op. 6, No. 5*
Maestoso
Allegro assai
Adagio
Allegro spiritoso
VIVALDI
Concerto in G minor for 2 Violoncellos
Allegro
Largo
Allegro
Deborah Nitka Hicks, cello
Ed Stevens, cello
STRAVINSKY
Concerto in E-flat (Dumbarton Oaks)
Tempo giusto
Allegretto
Con moto
-- Intermission --
BRAHMS
Symphony No. 2 in D major, Op. 73
Allegro non troppo
Adagio non troppo
Allegretto grazioso (Quasi andantino)
Allegro con spirito
*The Philharmonic is grateful to The Avison Ensemble for their kind assistance
in making available a modern edition for tonight's performance.
Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on
Thursday, November 13, at 7:00PM.
NOV DEC
2014
9
MASTERWORKS PROGRAM NOTES
brahms ' second S y mphon y
Saturday, november 1, 2014
Concerto Grosso in B-flat Major,
opus 6, no. 5
Charles Avison
(b. 1709, Newcastle upon Tyne, England;
d. 1770, Newcastle upon Tyne)
In 18th-century England, music-making was
hardly confined to London, but flourished
throughout its cities and towns from the Scottish
border to the English Channel. England’s
most northern major city, the thriving port of
Newcastle upon Tyne, was one of the busiest
centers, and for 35 years, its musical life was
dominated by one man: Charles Avison.
The son of a town musician, Avison was sent to
London to study with Francesco Geminiani, one
of the leading Italian Baroque composers, who
had emigrated to England in search of brighter
prospects. Returning to Newcastle in 1735,
Avison became the organist and music director
of St. Nicholas Cathedral and the founder of a
series of subscription concerts that eventually
became the Newcastle Musical Society. In
addition to his composing career, he became
a lively writer about music, in essence the
first British musical critic. His statements that
Geminiani was a better composer than Handel
and that “expression” was more important than
following compositional rules provoked much
controversy in musical circles.
His music did not, for it followed the guidelines
of Italian style in a most attractive way.
Throughout the 18th century, the concerto
grosso or “grand concerto” form was extremely
popular in England, for it was particularly
well-suited to English provincial orchestras,
which were usually made up of highly skilled
professional players augmented by more
modestly talented amateurs. Typically in
England, the grand concerto was scored for
a string orchestra with harpsichord in which
a small group of string soloists, known as the
concertino, was juxtaposed against a larger
ensemble, the ripieno. The more virtuosic music
would be given to the concertino players, and the
amateurs would play the simpler ripieno music.
Interestingly, one of the amateur players in the
Newcastle orchestra was William Herschel, later
to become famous as the discover of the planet
Uranus!
Handel had launched the English vogue for the
concerto grosso, but at mid-century, Avison
10
NOV DEC
2014
became the most prolific composer in this
genre, writing some 60 concertos. We will hear
the fifth concerto from the twelve concertos of
his Opus 6, published in 1758. It follows the fourmovement form he usually favored —slow-fastslow-fast — although the Adagio third movement
here is more of a brief linking interlude than a
full-fledged movement. It opens with a Maestoso
(Majestic) movement: proud and tuneful music
tripping along on stately dotted rhythms.
Marked Allegro assai, the second movement
is a little fugue with a gracefully descending
subject. The final movement, Allegro spiritoso,
is in gigue rhythm: a bouncing dance style the
British particularly loved.
Concerto for Two Cellos in G Minor, RV
531
Antonio Vivaldi
(b. 1678, Venice, Italy; d. 1741, Vienna,
Austria)
Considering Vivaldi’s huge popularity today, it
is difficult to conceive that after his pauper’s
death in Vienna in 1741 his music should have
languished in obscurity for some 200 years.
Yet only the rediscovery and recording of The
Four Seasons in 1950 brought this delicious
music alive again. Fortunately, since this prolific
composer wrote nearly 500 concertos — hardly
slighting an instrument in the process — there is
plenty more besides The Four Seasons to enjoy.
Known as the “Red Priest” for his fiery hair,
Vivaldi took holy orders as a youth, but pursued
the career of violin virtuoso and composer for
his entire life. Most of his years were devoted
to directing the music programs at Venice’s Pio
Ospedale della Pietà, a foundling institution for
orphaned girls. So superb was his training that
concerts by L’Ospedale’s all-girl orchestras and
choirs became among the cultural wonders of
early-18th-century Venice.
To showcase the girls and his own virtuosity on
the violin, Vivaldi wrote hundreds of concertos
for both solo instruments and combinations
of instruments. In the process, he established
the Baroque three-movement concerto form
of two fast movements surrounding a central
slow movement. The two fast movements are
bound together by an ensemble refrain, known
as the ritornello, which establishes the overall
character of the music. In between its many
returns, solo episodes display virtuosity and
allow scope for melodic inventiveness and
harmonic modulation.
The Allegro first movement of the Concerto for
Two Cellos, RV 531 is less energetic than most
Vivaldi openers, its smoothly flowing lines
suiting both the weighty sound of its featured
soloists and and the reflective quality of its
G-minor key. Another unusual touch is that the
two soloists (rather than the orchestra) launch
the music. The gorgeous, meditative slow
movement places even more emphasis on the
two soloists, singing in imitative phrases over
a spare accompaniment. Syncopated rhythms
drive the vivacious finale, which emphasizes the
soloists’ considerable agility.
Concerto in E-flat, “Dumbarton Oaks”
Igor Stravinsky
(b. 1882, Oranienbaum, Russia; d. 1971, New
York City)
So far in this program, we have been hearing
music actually written in the Baroque era.
But now we turn to music by one of the 20thcentury’s most prominent composers, Igor
Stravinsky, who loved to look back at the music
of the 18th century and play witty games with
its conventions. As Eric Walter White wrote:
“For Stravinsky the period of music, and more
generally of culture, bounded by Lully and
Mozart represented an ideal of civilization.”
Reacting against the excesses of the Romantic
era, Stravinsky in the 1920s and ‘30s adopted a
“Neo-Classical” style that drew inspiration from
both the Baroque era of Bach and Vivaldi and
the later Classical era of Mozart and Haydn.
The Concerto in E-flat is directly modeled after
Bach’s Brandenburg Concertos, especially the
Third Concerto. It was written in 1937–38 on a
commission by Mr. and Mrs. Robert Woods Bliss
of Washington, D. C.; its subtitle comes from the
name of their famous estate, Dumbarton Oaks, to
this day site of many international conferences.
Stravinsky was still living in France at the time,
but receiving many commissions from America.
Shortly after completing this work, he lost his
daughter, wife, and mother within a sevenmonth period, and these tragedies combined
with the onset of World War II and his strong
American connections caused him to move here
permanently in 1939.
“Dumbarton Oaks” is scored for a small, neoBaroque ensemble consisting of a flute, clarinet
(not yet invented in Bach’s time!), bassoon,
two horns, three violins, three violas, two
cellos, and two double basses. Its colors are
much brighter and brasher than Bach’s, and
the tone throughout is somewhat mocking and
sarcastic. The first movement sports a festive
bell-like opening as well as later motives in the
woodwinds resembling carillon peals. The upper
strings and flute immediately launch a chugging
pattern stolen from the Third Brandenburg. A
moment later, the violins introduce a mindlessly
repetitive three-note fugue subject, which gets
more elaborate each time it comes back.
A very simple motive, introduced by the
violas, opens and generates the music of the
second movement; its middle section features
woodwind solos over a hazy background of
oscillating strings. Percussive Stravinskian
rhythms propel the finale’s refrain, and over a
stealthy bass, sharp woodwind dissonances
suggest a mock-menacing Hitchcockian
atmosphere. The refrain keeps returning in
different guises, framing a fugal episode Bach
might have enjoyed and a sweetly trilling string
episode stolen from Mozart’s courtly world.
Symphony No. 2 in D Major
Johannes Brahms
(b. 1833, Hamburg, Germany; d. 1897,
Vienna, Austria)
Johannes Brahms’ composing retreat during
the summer of 1877 played an important role
in the character of his richly melodious Second
Symphony. This was the picturesque mountain
resort of Pörtschach on the Wörtersee lake in
southern Austria. By the time he reached middle
age, Brahms — busy the rest of the year in Vienna
with performances and editing and publishing
his music — did most of his composing during
the summer months. Finding a place conducive
to creativity became all-important to him; in
Pörtschach he discovered an oasis so ideal he
spent three summers there, the next summer
(1878) composing the Violin Concerto. Many commentators, comparing Brahms’
pairing of a heroic symphony in C minor and a
lighter successor symphony with Beethoven’s
similarly contrasting Fifth (also in C minor)
and Sixth symphonies, have called the Second
Brahms’ “Pastoral”: a nature symphony full
of “sunshine.” But such comparisons can be
misleading. Although it has Brahms’ most joyous
finale, the Second Symphony is still a densely
constructed, rather serious work with a strong
undercurrent of introspection and melancholy,
especially in its first two movements. First movement: The symphony grows like
a mighty oak from the seeds of its first three
notes — D dropping a half step to C-sharp and
returning to D — heard in the cellos and basses.
From this seed motive, and its inverted form
NOV DEC
2014
11
with the middle note rising a step, heard a few
measures later in the horn melody, will sprout
many of the themes in all four movements. The
warm, Romantic timbre of the horns lends the
opening theme an autumnal glow. More ardent
is an arching, soaring melody for the violins built
from the three-note seed. But this movement’s
most famous tune — and the one that reminds
us that it is in 3/4 waltz-time — is the “second
subject” theme: a stately, mellow waltz sung
by the cellos and violas, the cellos on top for
maximum richness.
Brahms shows off his formidable contrapuntal
skills in the development section with a
powerful, fugal treatment of the horns’
opening theme. The violins’ arching theme
also is worked out while the three-note seed
motive is tossed continually from instrument
to instrument. After the recapitulation, Brahms
lightens the mood briefly for a rhythmically
playful half-smile of a coda.
But immediately the music darkens again for
the brooding B-major second movement with
its magnificent long melody for the cellos, full
of yearning for some unattainable happiness, a
mood that is so characteristic of Brahms’ music.
The meter then switches for a rhythmically
halting, frustrated theme for the woodwinds. A
turbulent developmental section subsides into
reveries of the main cello theme, then a full
return of the melody, which the violins take over
in a smoothed-out triplet version.
While the first two movements wander mostly
in the shadows, the third and fourth movements
dwell in sunshine. The third movement is a
charming Brahmsian intermezzo. The oboes
present the principal theme, derived from the
three-note seed motive; its country-air freshness
at last gives us a glimpse of summertime by
a mountain lake. It returns twice more, with
two exuberant dance episodes led by strings
in between; despite their different meters and
fast tempos, they are actually variations of the
oboes’ melody.
The finale’s mysterious, rhythmically vague
opening hardly prepares us for the true mood
of this movement, but it soon explodes in a
fortissimo blaze of sound. The second theme
is another mellow Brahmsian melody, full of
mature contentment, offered by the strings
in their deepest, richest register. Rhythmic
verve and games of “where’s the beat” add
to this movement’s excitement. The coda is
an outburst of utterly uninhibited joy — a rare
mood for Brahms! — with the mellow theme
ultimately sped up and blazing forth in triumph
from the trumpets.
Notes by Janet E. Bedell copyright 2014
12
NOV DEC
2014
Planning for the Future...
Dealing with the Present
• Medicaid
• Special Needs
• Nursing Home
Troyer & Good, PC
T H E L E G AC Y L AW O F F I C E
(260) 440-3241
www.troyergood.com
Tracy Troyer • Leah Good
artist biography
deborah nitka hicks, cello
Deborah Nitka Hicks is from Worcester,
Ma. Her musical training began in the
preparatory division at the Longy
School of Music in Cambridge, Ma.and
the Greater Boston Youth Symphony
Orchestra at Boston University. She
attended the University of Houston and
the New England Conservatory, receiving
both a Bachelor of Music and a Master of
Music degree. Her college teachers were
Hans Jorgen Jensen, Anthony Elliott and
Bernard Greenhouse. While studying
in Houston, she joined the Houston
Ballet Orchestra as Assistant Principal.
In January of 1992 she joined the Fort
Randy Keplinger
Jim Miller
Klaehn, Fahl & Melton
Funeral Homes
Greenlawn Funeral Home
& Memorial Park
C.M. Sloan & Sons
Funeral Home
Lindenwood Cemetery
Wayne Philharmonic. She has also been
a part of the Grand Teton Music Festival
since 1992. She is married to Andrew Hull
Hicks, bass trombonist for The Phil, and
shares a home with their dachshunds.
Stefanie Malott
Larry Melton
Tom Pehlke
Elzey-Patterson-Rodak
Funeral Homes
Highland Park Cemetery
Hockemeyer & Miller
Funeral Home
Hockemeyer
Funeral Home
artist biography
ed stevens, cello
Ed has been a cellist with the Fort Wayne
Philharmonic since January of 2007. He grew
up in LaGrange Park, Illinois and started
playing the cello when he was five years
old. He went to school for cello at Illinois
Wesleyan University and Indiana University
and earned a degree in Music Performance.
He has performed with a handful of other
orchestras including Evansville Philharmonic,
Illinois Symphony, and the National Repertory
Orchestra. For the most part, Ed’s orchestral
resume is pretty standard; however, it is in his
activities outside the traditional symphony
setting where things get a bit more interesting.
Soon after moving to Fort Wayne, Ed began
breaking into the local music scene in any
way he could. Through regular performances
with groups such as Pink Droyd (a Pink Floyd
tribute band), the Voices of Unity Choir,
and a new group called The Neon Lounge,
he found that he felt just as comfortable
with performing rock as performing Bach.
Interested in breaking classical instruments
free from the concert hall, he started a string
ensemble with several of his Fort Wayne
Philharmonic colleagues called String Shift,
which merges the worlds of pop culture and
classical music. Through these endeavors he
has been featured on local news and NIPR,
performed for significant events such as the
unveiling of ArtsLab in downtown Fort Wayne,
and has recorded on various albums.
When Ed isn’t performing he also spends
his time arranging music, writing articles
for various publications, and enjoying the
many trails and parks of the Fort Wayne
area. He also holds a position in The Phil’s
administration as their Sales Manager, so if
your ticket order is messed up… he usually
just blames the box office.
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As you enjoy the music of the Holiday Pops, we wish you
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F R E I M A N N
wednesday, november 5, 2014
7:30 PM
fort wayne history center
sunday, november 9, 2014
2:30 PM
rhinehart music center, ipfw
DANZI
Woodwind Quintet In F Major, Op. 68, No. 2
Allegro
Andante quasi allegretto
Minuetto allegretto
Allegretto
Jenny Robinson, flute
Orion Rapp, oboe
Kevin Schempf, clarinet
Dennis Fick, bassoon
Michael Lewellen, horn
SHOSTAKOVICH
String Quartet No. 8, Op. 110
Largo
Allegro molto
Allegretto
Largo
Largo
David Ling, violin
Olga Yurkova, violin
Derek Reeves, viola
Andre Gaskins, cello
-- Intermission --
MOZART
String Quintet In C Major, K. 515
Allegro
Menuetto: Allegretto
Andante
Allegro
David Ling, violin
Olga Yurkova, violin
Derek Reeves, viola
Debra Welter, viola
Andre Gaskins, cello
NOV DEC
2014
17
FREIMANN PROGRAM NOTES
FREIMANN
WEDNESDAY, NOVEMBER 5 & SUNDAY, NOVEMBER 9, 2014
wind Quintet
Quintet in F Major Op. 68 No. 2
Franz Danzi
(1763 - 1826)
Music lovers and music historians alike seem to
have a blind spot for music of the late 1700s that
isn’t by Haydn, Mozart or Beethoven. While there
may be a serious lack of household names from
that time that are remembered today, there was
absolutely no lack of composers. Franz Danzi, a
German composer who had the honor of being
the son of a prominent Italian cellist Innocenz
Danzi, could easily be considered among the
most influential composers of the later half
of the 18th century. In fact, the famous opera
composer Carl Maria Von Weber was said to
have been directly inspired by Danzi.
Despite being a cellist himself, Danzi is most
remembered today as a composer of numerous
chamber compositions for winds, in particular
the woodwind quintet consisting of a flute,
oboe, clarinet, bassoon and French Horn. Danzi’s
music is often heard during modern chamber
music performances perhaps for his ability to
write well for this ensemble. Alternatively, the
lack of other classical era composers who wrote
for this configuration might also explain Danzi’s
popularity.
This piece is written in a traditional four
movement structure featuring a lively allegro
opening followed by an andante-quasi allegretto
movement. This implies that the more moderate
tempo marking of “andante” is played with a
bit more momentum and playfulness. A third
movement “Menuetto” features a prominent
oboe line in the first part while the second part
has the flute return to the main melody. The
final movement marked “Allegretto” opens
with the French Horn and tosses the melody
around the ensemble throughout the numerous
repetitions of the opening theme. The style of
this movement is often referred to as a Rondo
with the word “rondo” referring to the repeated
melody. The majority of the compositions from
this time period share a similar movement
structure modeled after the traditional string
quartet composition. This includes a fast first
movement, a slower second, a dance-like third,
and a Rondo finale.
This work is approximately 25 minutes long and
represents a wonderful example of the versatility
and artistry capable from a woodwind quintet.
18
NOV DEC
2014
string Quartet no. 8 in C Minor, Opus 110
Dmitri Shostakovich
(1906 - 1975)
“In Remembrance of the victims of Fascism
and War”
Dmitri Shostakovich wrote this dedication in
regards to his 8th, and most famous, string
quartet. The year was 1960 and Shostakovich
was visiting the German town of Dresden, a
town that lay in ruins after World War II. Likely
inspired by the bleak landscape, Shostakovich
wrote this string quartet, perfectly capturing the
desolation and terror of war. Yet, having lived
most of his life under the watchful scrutiny of
Stalin’s Russia he later confessed to a friend in a
correspondence that he might instead dedicate
the quartet to “the memory of the composer of
this quartet.”
Despite its dark and sombre tone, this quartet
remains Shostakovich’s most popular. Written
in five movements, the work is considered
cyclical. This means that music from the very
beginning is reprised at the end of the piece.
The very first notes heard in the cello make up
the theme for much of the work and are actually
Shostakovich’s initials (D - S - C - H). S and H
are used in German musical notation instead
of E-Flat and B-Natural respectively. After a
quiet and dark opening, the violin erupts in a
furious second movement that will probably be
one of the most legitimately frightening pieces
of music the listener will ever experience. If the
second movement wasn’t enough, the third
movement is a sort of macabre dance that
sounds as if death is mocking the corpses of the
fallen. After the twisted dance, the quiet returns
only to be rudely interrupted by violent chords
from the lower strings followed by a haunting
cello melody that floats above the landscape.
Finally, the piece returns back to the opening
material for a quiet and unoptimistic finale.
If the listener is a Shostakovich novice they
should be forewarned. The composer is known
for emotionally taxing and intense compositions
and this quartet is probably one of the best
examples of why. Shostakovich often wrote that
he couldn’t read through this particular piece of
music without bursting into tears, so perhaps
this quartet should come with a disclaimer.
String Quintet in C major, K. 515
Wolfgang Amadeus Mozart
(1756 - 1791)
Mozart had an affinity for the viola. Scientists
and historians haven’t been able to determine
any logical reason why as of yet, but being a
violist himself could provide some explanation.
This fondness of the middle child of the string
family led to several substantial contributions to
the viola repertoire including his famous Sinfonia
Concertante for Violin and Viola, as well as a total
of six quintets which feature double violas.
This particular work is one of his most celebrated
pieces of chamber music, offering a substantial
opening movement that was revolutionary in its
length compared to other classical compositions
of the time. It wasn’t until Beethoven and Schubert
came along, where piece length was stretched well
beyond the boundaries of the Classical era. The
quintet was composed in 1787 after Mozart returned
home from Prague from performances of his recent
opera The Marriage of Figaro. The composer had
some time off before he was to begin work on his
next major opera Don Giovanni, so he spent the
time like anyone else would - by doing even more
work. Thus, he penned two quintets numbered
K. 515 and 516. The first movement is a standard
sonata allegro movement, which means the music
is organized in three major sections of exposition
(which establishes themes such as the opening
cello line heard in this piece), development (turning
the themes upside down), and recapitulation
(bringing back the opening material and setting
up the finale). The second movement features the
added viola in a much more prominent role with a
back and forth duet between the 1st violin and 1st
viola part. Mozart likely took advantage of having
a second viola, allowing the second part to stay in
the traditional accompanimental role while letting
the first viola have plenty of melodic material.
The third movement is a menuetto which was a
frequent choice in Mozart’s chamber music. This
movement stands out though as being less dancelike as is usual for menuets, and more lush with long
and smooth phrases. To top things off, we have a
classical Mozart Allegro finale offering some of the
composer’s signature energy and vivaciousness.
While the four shoulder-holding instruments have
plenty to do, it seems Mozart wanted the first
violinist to work overtime with lots of fast and
virtuosic lines for the principal player.
Despite what a lifetime of hearing bad viola jokes
might imply, adding the second viola offers a
unique and expansive sound not heard in a lot
of music from that era. While the viola itself only
remains prominent in the second movement, the
added texture throughout makes the work stand
out as a denser and more substantial string quartet
plus one.
Notes by Ed Stevens copyright 2014
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M A D G E R O T H S C H I L D F O U N DAT I O N
MASTERWORKS
shostakovich's first symphony
Saturday, november 22, 2014 | 7:30 PM
embassy theatre
Andrew Constantine, conductor
steven moeckel, violin
Mr. Moeckel's performance is made possible in part by an endowment from the Nan O'Rourke Guest Violinst Chair
ELGAR
Concerto in B minor for Violin & Orchestra, Op. 61
Allegro
Andante
Allegro molto
Steven Moeckel, violin
-- Intermission --
SHOSTAKOVICH
Symphony No. 1 in F minor, Op. 10
Allegretto - Allegro non troppo
Allegro
Lento
Allegro molto - Lento
Be sure to tune in to the broadcast of this concert on WBNI-94.1 fm on
Thursday, December 4, at 7:00PM.
NOV DEC
2014
21
artist biography
steven moeckel, violin
Violinist Steven Moeckel’s effortless virtuosity,
vivid characterization and uncanny ability to
capture the very essence of a work have been
hailed by critics worldwide.
As concerto soloist, recitalist and chamber musician,
his ability to engage audiences in an astounding
range of repertoire distinguishes him as one of the
most versatile young musicians of today.
A seasoned performer since childhood, Moeckel
began his career as a violinist in the United
States, and then, from the age of eleven, toured
as principal soprano soloist of the renowned
Vienna Boys Choir. Resuming his violin studies,
he graduated with honors from the Mozarteum in
Salzburg at the age of nineteen and immediately
assumed the position of Co-Concertmaster of
Germany’s Ulm Philharmonic. Since his return
to the United States, Moeckel has continued to
combine a career as concertmaster with that of
soloist and chamber artist.
He has performed with Leon Fleisher and
Menachem Pressler at Chicago’s Ravinia Festival
and frequently appears in concert with William
Wolfram. He is a much sought after concerto
soloist, his repertoire encompassing everything
from the standard classical and romantic
masterpieces to the visceral virtuosity of the
Shostakovich Concerto and Corigliano’s Red
Violin. Invited to China under the auspices of the
newly formed Ling Tung Foundation, he was the
first Western violinist to perform the beloved
violin concerto, The Butterfly Lovers, with a
Chinese orchestra. At home in myriad styles,
with pianist Paula Fan he performed a 12-hour
marathon charity concert featuring masterworks
of the classical literature interspersed with
intermezzi featuring country, tango and
jazz. Currently concertmaster of the Phoenix
Symphony Orchestra, Steven Moeckel performs
on a violin crafted c. 1840 by the celebrated
French maker, Jean-Baptiste Vuillaume.
Listen online at wbni.org
MASTERWORKS PROGRAM NOTES
S H O S T A K O V I C H ' S F I R S T S y mphon y
Saturday, november 22, 2014
Violin Concerto in B Minor
Sir Edward Elgar
(b. 1857; Broadheath, England; d. 1934,
Worcester, England)
In the first decade of the 20th century, Fritz
Kreisler was already the world’s most popular
violinist, and when he spoke, people listened.
Meeting with a group of English reporters in
1905, he stated boldly: “If you want to know
whom I consider to be the greatest living
composer, I say without hesitation, Elgar. Russia,
Scandinavia, my own Fatherland [Austria], or
any other nation can produce nothing like him.
... His invention, his orchestration, his harmony,
his grandeur—it is wonderful. ... I wish Elgar
would write something for the violin.”
The next year, Kreisler prodded Elgar to do just
that by commissioning a concerto from him.
But he had to wait another four years — until
1910 — before his wish was fulfilled. For Elgar,
who until age 40 had to give violin lessons
in provincial towns to support his work as a
composer, was now very much in demand. In
1904, Edward VII had made him Sir Edward, and
his First Symphony, premiered in 1908, received
a staggering 82 performances in England and
Germany during its second year. Finally, in 1909
and 1910, Elgar composed the Violin Concerto
for Kreisler.
But it was also composed for himself, revealing
Elgar, the inner man. “I have written out my
soul in the concerto, Sym. II & the Ode [The
Music Makers],” he wrote to his intimate friend
Alice Stuart-Wortley, “in these three works
I have shown myself.” The violin was Elgar’s
own instrument, and he could trust it to convey
his deepest emotions. A man of great outer
dignity and Victorian restraint, he created
music that flickers with nervous intensity and
big passions. Though apparently faithful to his
wife, Elgar carried a torch for many attractive
and musically sensitive women. Chief among
them was Alice Stuart-Wortley, the beautiful
daughter of the painter John Millais and wife
of a member of Parliament. She reciprocated
his platonic affection, and hundreds of letters
passed between them during their lifetimes. He
called her the “Windflower” and labeled two of
the most prominent melodies in his concerto
“Windflower” themes. A lover of teasing riddles
(as in his Enigma Variations), he posed one in
Spanish in the Violin Concerto’s dedication:
“Aquí está encerrada el alma de .....” (“Here is
enshrined the soul of .....”). Many commentators
believe that soul is Alice’s, with the five dots
standing for the letters of her name.
This concerto requires a violinist of preternatural
gifts. The concerto lasts some 50 minutes, and
the soloist must hold his own against a large, fullbodied orchestra; Kreisler called it “perhaps the
most difficult of all concertos for endurance.” Its
technical demands are vast and comprehensive.
Yet more importantly, the violinist must be a
poet, able to convey the most subtle and most
passionate emotions.
First Movement: We have to await his arrival
for some minutes as the orchestra presents a
substantial exposition, introducing all the major
themes. Its first is a quintessentially Elgarian
theme: both grand and impetuous, vaulting
passionately upward. Second violins and violas
soon introduce another of great importance:
an ardent melody of repeated notes and gentle
syncopations, the first of the “Windflower”
themes. A moment later, a solo clarinet previews
a wistful, upward-sliding melody, the second
“Windflower” theme. The soloist now makes
an entrance of great loveliness and subtlety,
using the instrument’s warm low register (much
emphasized in this work); a dark rumble of the
timpani and the first solid cadence in the home
key of B minor salute his arrival. He soon takes
up the first “Windflower” theme with fervor. And
he elevates the wistful second “Windflower”
theme into the movement’s true second subject.
Much later, he will carry this theme to a state of
rhapsodic exaltation.
Movement two, in the distant key of B-flat
major, is a beautiful song of longing and regret.
Here, too, the soloist has a wonderful entrance:
his countermelody intensifies the yearning of
the orchestra’s tranquil theme. As this material
is developed, the soloist soars magnificently,
openly expressing the hidden passions and lost
dreams Elgar would never discuss in daily life.
Back in B minor, the finale opens in a flurry of
violin virtuosity before the orchestra attacks the
energetic, ascending principal theme. But this
vigorous music is merely prelude to the heart
of the movement: an accompanied cadenza,
some eight minutes in length, in which, in
Elgar’s words, the violin “sadly thinks over
the first movement.” It is one of the greatest
and most poetic of all cadenzas. Behind the
violin’s eloquent rhapsody, the strings give
out an eerie shimmer, meant to imitate the
sound of an aeolian harp trembling in the
breeze. Elgar created this pizzicato tremolando
NOV DEC
2014
23
by “thrumming” the soft part of the fingers
across the strings. While the concerto finally
marches on to a triumphant conclusion, it is this
evanescent music that lingers in the memory.
Symphony No. 1 in F Minor, opus 10
Dmitri Shostakovich
(b. 1906, St. Petersburg, Russia; d. 1975,
Moscow)
Listening to Dmitri Shostakovich’s First
Symphony is an experience that makes one’s
jaw drop open in amazement. How could
this astonishingly original, imaginative, and
technically assured four-movement score have
been written by an 18-year-old still studying
at the Leningrad Conservatory? For indeed
Shostakovich began writing this ambitious
work in October 1924 and had largely
finished it by June of the following year. The
Symphony was intended as a graduation test
piece, but at its premiere on May 12, 1926 by
the Leningrad Philharmonic under the baton
of Nikolai Malko, it proved to be something far
beyond a student exercise.
The audience responded ecstatically to the
new Symphony and demanded its secondmovement Scherzo be encored. Malko himself
was deeply impressed: “It was immediately
clear that this First Symphony by Shostakovich
was the vibrant, individual and striking work of
a composer with an original approach. The style
of the Symphony was unusual; the orchestration
sometimes suggested chamber music in its
sound and its instrumental economy.”
Several of the leading conductors of the day
were equally impressed. Bruno Walter gave the
Symphony its Berlin debut the very next year. In
1928, Leopold Stokowski and The Philadelphia
Orchestra introduced it to America, and even
Arturo Toscanini put it into his repertoire. And
today it still holds a firm place in the 20thcentury symphonic canon, even in competition
with Shostakovich’s 14 later symphonies.
Who was this young wunderkind? Shostakovich
was then studying piano at the Conservatory,
with hopes of matching Prokofiev’s dual
success as a piano virtuoso/composer, while
also studying composition with RimskyKorsakov’s son-in-law, Maximilian Steinberg.
The conservative Steinberg drilled him hard
in the principles of that leader of the Russian
nationalists, but his young pupil had a strong
independent streak from the beginning. And
he was certainly more inspired by the modern
music he was hearing around him in Leningrad:
the music of Prokofiev, Stravinsky, and even
24
NOV DEC
2014
such Western masters as Bartók, Hindemith,
and Mahler. With the Soviet system still in its
infancy, the 1920s were a lively period of artistic
experimentation in the U.S.S.R., and the country
welcomed visits by many leading European
musicians and composers. It was an exciting
and enormously stimulating time to be coming
of age as a creator.
Though we think of Shostakovich as a rather
tragic figure, oppressed by his society, as a
teenager he was quite a different personality:
a free and antic spirit who loved satire and
was always ready to laugh. And that’s the
personality we hear throughout much of
this Symphony, especially in its opening two
movements. Initially, Shostakovich thought
of calling the work a “symphony-grotesque.”
In the opening movement, there are marked
traces of Stravinsky’s Petrouchka and of
Prokofiev’s acerbic humor as well. And in
the crazy, piano-dominated energy of the
second movement, we hear reminiscences
of Shostakovich’s moonlighting career as a
pianist improvising sound tracks to silent films
in Leningrad’s movie houses.
Throughout the Symphony, Shostakovich shows
a mastery of the sound possibilities of a large
modern orchestra that is virtually unbelievable
for an adolescent. And the music we hear now is
exactly as he originally wrote it: he did not return
to it later to touch it up, as so many composers
would have done. There is a chamber musiclike delicacy and refinement throughout that
suggests a seasoned master at work.
Movement one, in F minor, opens with a
tongue-in-cheek prelude that conjures a
carnival atmosphere, with Petrouchka’s muted
trumpet peeking out from behind the curtain.
Finally, a clarinet steps forward to sing a
jaunty, impudently comic tune, the movement’s
principal theme. For a contrasting second
theme, the flute dances a wry, undulating little
waltz; the snickering orchestra finds this just as
amusing as the first melody. The development
section begins in a conspiratorial mood, but is
suddenly invaded by a crashing circus band,
which will also intrude on the recapitulation.
The second-movement Scherzo is made up
of two contrasting ideas. First we hear antic,
cinema-chase music featuring a glittering piano
solo, probably played by Shostakovich himself
at the premiere. Then comes a pensive, very
Slavic-sounding procession of pilgrims featuring
the woodwinds. Astonishingly, Shostakovich
later manages to combine these two disparate
musics brilliantly, with the pilgrims’ march
shouted out by the brass. The closing coda, with
its tolling chords and shimmering percussion, is
a bit of unexpected magic.
In the Lento third movement, the carnival mood
abruptly vanishes. Instead of the bright sound of
the clarinet featured in the earlier movements,
now we hear a plangent-toned oboe singing
a mournful melody full of large, yearning
intervals. A solo cello adds to the elegiac mood.
A threatening tattoo on trumpet and drums
intrudes several times and finally succeeds in
crushing this lament. Now the oboe sings a new
melody: march-like and full of dotted rhythms, it
sounds like a plucky, undaunted soldier. Dogged
still by the threatening brass/drum motive,
the original theme returns, now even more
heartbreakingly beautiful in the solo violin.
The closing coda combines all the movement’s
elements. And here the menacing tattoo is
transformed into something almost consoling in
the strings. Young as he was, Shostakovich had
already known grief. His father had died when
he was 15, one of his best friends was dying
of tuberculosis as he wrote this, and he had
suffered from that disease himself.
tenderness led off by solo violin and intensified
by the eerie shimmer of piano. In a stunning
timpani solo, we hear the slow movement’s
menacing tattoo again. Then in a moving solo,
the cello reprises the melancholy second theme,
and the music builds to a powerful, passionate
climax. But Shostakovich has not forgotten his
sense of humor, and in a brazen Presto coda he
wraps up his first masterpiece with an emphatic
“Take that!”
Notes by Janet E. Bedell copyright 2014
A drum crescendo ushers in the finale without
a pause. Keening combinations of high
woodwinds and a brooding cello line maintain
the previous movement’s mood through a slow
introduction. All this is suddenly chased away by
a mad scramble of clarinets, piano, and strings,
followed by some of the Symphony’s loudest
and most violent music. But in a movement of
extreme mood shifts, this passage is succeeded
by slower, quieter music of melancholy
vibrant
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events, such as the Holiday Pops.
thank you to our sponsors:
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pops
holiday pops
Concert sponsored by indiana michigan power
with additional support from old national wealth management
additional thanks to our partners, spca
friday, december 12, 2014 | 7:30 PM
saturday, december 13, 2014 | 2:00 pm & 7:30 PM
friday, december 19, 2014 | 7:30 PM
saturday, december 20, 2014 | 2:00 pm & 7:30 PM
embassy theatre
sameer patel, conductor
kaela o'connor, vocals
Samantha pollino, vocals
eric
geil, vocals
nathaniel irvin, vocals
jeffery and renEE moore,
special appearance
The Phil Chorus
Benjamin Rivera, director
fort wayne children's choir
jonathan busarow, director
christopher j. murphy, producer
melissa shaw, costume designer
miriam morgan, lighting designer
STILLMAN AND ALLEN
Home For The Holidays
WILLIAMS
Merry Christmas from Home Alone
STYNE
Let It Snow
CLARKSON & KURSTINUnderneath the Tree
LEONTOVYCH (Hayman)
Carol Of The Bells
MARTIN AND BLANE
Have Yourself a Merry Little Christmas
POWELL
Ring the Bells
JAVITS, SPRINGER & BALLARD
Santa Baby/Mr. Santa
ANDERSON
Sleigh Ride
GRUBER (Walker)
Silent Night
FOSTER ET AL.
The Prayer
THACHUK
Oh Come All Ye Faithful
-- Intermission --
Programming continued on page 28.
NOV DEC
2014
27
sweetwater
pops
holiday pops
programming continued from page 27.
POLA AND WYLE (Kessler)
The Most Wonderful Time of the Year
MANN
S’Vivon and Dreydel from
LIGHTSONGS - A Chanukah Medley
SPECTOR
Christmas (Baby Please Come Home)
ELGAR (Thachuk)
Yes Virginia, There is a Santa Claus
ADAM (Thachuk)
O Holy Night
TAYLOR, BROOKS & STANLEY
The Man with the Bag
BASS & LAWS
Snow Miser/Heat Miser Song
HENDERSON, ROLLINS & NELSON
Five Foot Tall, Eyes of Coal
COOTS, GILLESPIE, JAVITS & SPRINGER
Santa Tap
TRADITIONAL (Stephenson)
A Holly and Jolly Sing-Along
TIOMKIN
Christmas Eve Finale
artist biography
sameer patel, conductor
Recognized by audiences and musicians for
his musicality and passionate communication,
Sameer Patel is one of America's most
dynamic and engaging young conductors.
He recently spent three seasons as Associate
Conductor of the Fort Wayne Philharmonic,
where he conducted the orchestra in over 100
performances and invigorated the orchestra's
engagement with the community. In 2013,
Sameer was one of only six conductors selected
by the League of American Orchestras for the
Bruno Walter National Conductor Preview
with the Jacksonville Symphony Orchestra, an
event that showcases emerging and talented
conductors to orchestra industry professionals.
He was a 2011 Felix Mendelssohn-Bartholdy
Scholar, an honor awarded to him by former
New York Philharmonic Music Director Kurt
Masur. As part of this Fellowship, Sameer
traveled to Europe to study with and assist
Maestro Masur with the Leipzig Gewandhaus
Orchestra and the Finnish Radio Symphony
Orchestra. Prior to joining the Fort Wayne
Philharmonic, Sameer served as the Zander
Conducting Fellow at the Boston Philharmonic
Orchestra for the 2010-2011 season, where
he assisted conductor Benjamin Zander in
Boston, Venezuela, and throughout Europe.
Recent and upcoming engagements include
appearances with the Toronto Symphony
Orchestra, Detroit Symphony Orchestra,
Knoxville Symphony Orchestra, Phoenix
Symphony,
Toledo
Symphony,
Naples
Philharmonic, Reading Symphony Orchestra,
San Diego Symphony, Muncie Symphony
Orchestra, Leipziger Sinfonieorchester, and
the Jacksonville Symphony Orchestra. Sameer
has worked with the Tonhalle Orchestra of
Zürich, Simon Bolivar Youth Orchestra of
Venezuela, Lucerne Festival Strings, and the
Oslo Chamber Orchestra. He has appeared in
Italy with the Orchestra da Camera di Trento,
the Ensemble Zandonai, the Festival Orchestra
of Sofia at the Accademia Musicale Chigiana,
and with the Royal Northern College of Music
Orchestra at the Stresa Festival. Additional
guest
conducting
engagements
have
taken him to Estonia at the David Oistrakh
Festival and the Leigo Music Days Festival in
appearances with the St. Petersburg Festival
Orchestra and the Estonian National Youth
Symphony. In North America he has worked
closely with regional orchestras and in
conducting masterclasses with the Baltimore
Symphony Orchestra, Buffalo Philharmonic,
Omaha Symphony, and the Winnipeg
Symphony Orchestra.
Sameer began his musical training as a
pianist and received both his graduate and
undergraduate degrees at the University of
Michigan, where he studied conducting with
Kenneth Kiesler, Martin Katz, Mei-Ann Chen,
and Jerry Blackstone. He furthered his training
at international masterclasses with acclaimed
conductors Kurt Masur, Bernard Haitink, David
Zinman, Gianandrea Noseda, Neeme Järvi,
Paavo Järvi, JoAnn Falletta, Günther Herbig,
and Marin Alsop.
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artist biography
kaela o'connor, vocals
Kaela O’Connor, a Senior Musical Theatre
major at The Cincinnati College-Conservatory
of Music, is excited to be performing in the
Fort Wayne Holiday Pops. At CCM, she has
been seen in Into The Woods, Chess, The
Threepenny Opera, Carrie, Les Miserables,
and recently as "Linda" in Blood Brothers.
Other roles include "Mother" in Ragtime,
"Millie Dillmount" in Thoroughly Modern
Millie, "Queenie" in Andrew Lippa’s The Wild
Party, and "Maureen" in Rent. She has also
appeared in a Pepsi and Buffalo Wild Wings
commercial featuring Cincinnati Bengals
Quarterback, Andy Dalton. Love to my family
and MUCH thanks to Murphy and Sameer for
this opportunity!
samantha pollino, vocals
Originally
from
Baltimore,
Maryland,
Samantha Pollino is a Junior Musical Theatre
Major at The Cincinnati College-Conservatory
of Music and is excited to make her debut with
The Phil’s Holiday Pops program. Samantha’s
theater roots run all the way to Broadway
where, as a young girl, she performed in
the musical, “Hot Feet”, which showcased
the music of Earth, Wind and Fire. She’s
performed in numerous productions at CCM
including Nutcracker Swing, Legally Blonde
and The 25th Annual Putnam County Spelling
Bee. Samantha will play the role of "Tiger Lily"
in the Conservatory’s upcoming production of
Peter Pan.
eric geil, vocals
Eric Geil is a current senior at the Cincinnati
- Conservatory of Music pursuing a BFA
in musical theatre. Originally from Kansas
City, Missouri, he has performed in seven
productions at the CCM including "Marius" in
Les Miserables and "Tommy Ross" in Carri: The
Musical. Regionally he has performed at the
Cardinal Stage Company as "Enjolras" in Les
Miserables and in the ensemble of Sound of
Music at the Kansas City Starlight Theatre. He
would like to thank his cast mates and family
and wishes everyone a happy holiday!
30
NOV DEC
2014
artist biography
nathaniel irvin, vocals
Nathaniel Irvin is currently finishing his fourth
year at the University of Cincinnati CollegeConservatory of Music. At CCM, he has played
numerous roles including “Ernst” in Spring
Awakening, “Nikolai” in Chess, “Tom Watson”
in Parade, “Roscoe Dexter” in Singin’ in the
Rain, “Grantaire” in Les Misérables, “Emmett”
in Legally Blonde, and “Captain Hook” in the
upcoming Spring production of Peter Pan. Last
summer he played “Marius” in Les Misérables
at La Mirada Theatre for the Performing Arts
by McCoy Rigby Entertainment. Nathaniel
performed as guest soloist this past fall for the
American Association of Nurse Anesthetists
national convention in Orlando, Florida.
Originally from Minneapolis, Minnesota, he
has performed at many Twin Cities venues
including the Guthrie Theater, the Minnesota
Opera, the Children’s Theatre Company,
Theater Latté Da, and the Chanhassen Dinner
Theatres. Nathaniel was honored as a Scholar
of Distinction in the Theater Arts in 2009 as
well as the recipient of four SpotLight Musical
Theater awards including 2010 Best Actor. He
has been a featured performer on multiple
occasions with the Minnesota Orchestra, the
Saint Paul Chamber Orchestra, the Houston
Grand Opera, and Skylight Milwaukee Opera,
among others.
christopher j. murphy
Christopher J. Murphy (Director) is an awardwinning 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. Recent acting
and directing 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 recently 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
his 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
nine years. As an actor, favorite roles include
"Warnie" in Shadowlands, "Pickering" in My
Fair Lady, "Hook" in Peter Pan, and the title
role in The Man Who Came to Dinner (which
he recently reprised for the University of
Saint Francis). Much love to Emilie…for
tolerating it all.
NOV DEC
2014
31
artist biography
miriam morgan, lighting designer
Miriam is a freelance lighting designer
and consultant for area stage, concert and
dance productions. With twenty years of
professional theatrical experience, her
lighting encompasses many forms of the
performing arts.
She is the resident lighting designer/lighting
director for the Fort Wayne Philharmonic
having collaborated with them on the past
seven seasons of Pops and Family Series
concerts, including the recent Ben Folds
Orchestra Experience, as well as their
original productions Evening of Hamlet,
Soldier’s Tale, and Beethoven Revealed
among others. Miriam is also the resident
guest lighting designer for the Fort Wayne
Ballet with credits including pieces: sé
kommátia, Carmina Burana, Nutcracker, and
more. Her lighting design work may be seen
online at http://miriammorga3.wix.com/
miriammorgan. In addition to her freelance
work she is currently the Director of
Production Operations for Arts United. She
wishes all a happy holiday season and sends
love to her friends and family.
choral director
benjamin rivera
BENJAMIN RIVERA is the chorus director of the
Fort Wayne Philharmonic, where he prepares
the Chorus for several performances per season
and conducts the Orchestra and Chorus in
concert. Based in Chicago, Rivera is also artistic
director and conductor of the chamber choir
Cantate, cantor and choir director of Immanuel
Lutheran Church, Evanston during the church
year, and choir director of north suburban Shir
Hadash Synagogue for the High Holy Days. He
recently appeared as Guest Chorus Director
of the Grant Park Music Festival, with summer
performances in Millennium Park. He is in his
18th season as a professional member of the
Chicago Symphony Chorus, many of those as
bass section leader, and he also sings with the
Grant Park Chorus, Chicago a cappella, and
many other ensembles. He is a frequent soloist
and recording artist, focusing on sacred and
concert works. In addition to performing, Rivera
has been on the faculty of several colleges
and universities, directing choirs and teaching
voice, diction, music theory, and history, given
numerous master classes, and 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 he has completed the
coursework for a doctorate in choral conducting
from Northwestern University, where he is in the
process of writing his dissertation on the works
of John Tavener. His studies have also included
the German language in both Germany and
Austria, for which he received a Certificate of
German as a foreign language; conducting and
African American spirituals with Rollo Dilworth;
and workshops, seminars, and performances in
early music.
the phil chorus roster
Doug Ahlfeld
Karen Allina
Nancy Archer
Thomas Baker
Cathryn Boys
Sarah Boys
John Brennan
Nancy Brown
Garrett Butler
Thomas Cain
Thomas Callahan
Karen Campbell
Jeri Charles
Sheila Chilcote-Collins
Kaitlin Clancey
Elaine Cooper
Carol Courtney
David Courtney
Nicoline Dahlgren
Sara Davis
Lenore DeFonso
Kathy Dew
Jon Eifert
Joan Gardner
Kris Gray
Ronnie Greenberg
Cheryle Griswold
Rachael Hartmann
Sandra Hellwege
Katy Hobbs
Carol Jackson
Gerrit Janssen
Joanna Jessup
Darah Jones
Jody Jones
Gayle Keane
Natasha Kersjes
Sarah Kindinger
John McKelvey
Jane Meredith
Fred Miguel
LeeAnn Miguel
Maury Mishler
John T. Moore
Meg Moss
Michael F. Popp
Nathan Pose
Ewing Potts
Keith Raftree
Karma Remster
Sarah Reynolds
Paula Neale Rice
Alaina Richert
Mark Richert
Sabrina Richert
Rita Robbins
Cindy Sabo
John Sabo
Marshelle Schutte
Lynn Shipe
Lynn Shire
Donald Snyder
Sue Snyder
Kent Sprunger
Sherrie Steiner
Sue Stump
Ruth Trzynka
Carrie Veit
Michelle Urban
Frédérique Ward
Gretchen Weerts
Greg White
Mary Winters
Lea Woodrum
NOV DEC
2014
33
fort wayne children's choir
jonathan busarow, director
Jonathan Busarow is the Artistic Director of
the Fort Wayne Children’s Choir and directs
the Concert Choir, Youth Chorale, and Chamber
Singers. Mr. Busarow also is the Interim
Director of Choirs at Indiana University - Purdue
University - Fort Wayne where he also serves
on the voice faculty. Previously, he served as
director of the Valparaiso University Men’s
Choir and instructor of voice. Additionally,
he served as the sabbatical replacement for
his mentor, Dr. Christopher M. Cock, directing
the Valparaiso University Chorale. Prior to
his appointment at Valparaiso University, he
served as a graduate teaching assistant at
The Ohio State University and has worked at
several churches in Ohio and Indiana.
Mr. Busarow is in frequent demand as a clinician
and as a tenor soloist. Recently, he has been
invited to conduct at the American Choral
Directors Association National Conference, the
Indiana Music Educators Association Convention,
and the Bach Institute at Valparaiso University.
Mr. Busarow also serves as the Reading Session
Chair for the American Choral Directors
Association Central Division Conference.
Mr. Busarow holds a Bachelor of Music degree in
vocal performance from Valparaiso University,
and a Master of Music degree in Choral
Conducting from The Ohio State University as
well as a Kodály Certification from the Kodály
Institute at Capital University. Mr. Busarow
holds music education licensure from Ohio
State University. He has studied conducting
with Christopher Cock, Dennis Friesen-Carper,
Lenki Igo, Lilla Gabor, Robert J. Ward, and
Hilary Apfelstadt.
fort wayne children's choir roster
Chloe Barber
Quinn Barlow
Daniel Beights
Zoe Berkes
Tatihana Black
Greta Boettjer
Kira Brielmaier
Claire Cappetta
Anna Corley
Kristen Davis
Sophia Deckard
Ian Devine
Jordan Dollarhite
Anna Duly
34
NOV DEC
Delaney Fosnaugh
Hannah Gerig
Madeline Gerig
Riley Grim
Allison Gutierrez
Emily Johnson
Elizabeth Lawler
Nicholas Lemna
Jackson McKinney
Allison McQueen
Kailey Mizzell
Graham Phillips
Samuel Poor
Anna Popkov
Allison Reed
2014
Alexis Rios
Emily Robinson
Shelby Schlicker
Grey Schrock
Kathleen Simunek
Virginia Subasinghe
Ava Thuringer
Katelyn Triplett
Sarah Wahl
Elizabeth Weber
A HOLLY AND JOLLY SING-ALONG
DECK the HALL
UP ON the HOUSETOP
Deck the Hall with boughs of holly,
Fa la la la la, la la la la,
‘Tis the season to be jolly,
Fa la la la la, la la la la,
Don we now our gay apparel
Fa la la la la la, la la la,
Troll the ancient Yuletide carol
Fa la la la la, la la la la.
Up on the housetop reindeer pause,
Out jumps good old Santa Claus.
Down through the chimney with lots of toys,
All for little ones, Christmas joys!
Ho, ho, ho! Who wouldn’t go?
Ho, ho, ho! Who wouldn’t go?
Up on the housetop, click, click, click,
Down through the chimney with old Saint Nick.
See the blazing yule before us,
Fa la la la la, la la la la,
Strike the harp and join the chorus,
Fa la la la la, la la la la,
Follow me in merry measure,
Fa la la la la la, la la la,
While I tell of Yuletide treasure
Fa la la la la, la la la la.
JOY TO the WORLD
Joy to the world! The Lord is come;
Let earth receive her King;
Let ev’ry heart prepare Him room,
And heav’n and nature sing,
And heav’n and nature sing,
And heav’n, and heav’n, and nature sing,
FROSTY the SNOWMAN
Frosty the Snowman was a jolly happy soul,
With a corncob pipe and a button nose
And two eyes made out of coal.
Frosty the Snowman is a fairy tale they say.
He was made of snow but the children know
How he came to life one day.
There must have been some magic
In that old silk hat they found,
For when they placed it on his head,
He began to dance around.
Oh, Frosty the Snowman had to hurry on his way,
But he waved good-bye saying “Don’t you cry,
I’ll be back again some day.”
Thumpety thump thump,
Thumpety thump thump,
Look at Frosty go.
Thumpety thump thump,
Thumpety thump thump,
Over the hills of snow.
Joy to the Earth! The Savior reigns;
Let all their songs employ.
While fields and floods, rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat the sounding joy.
WE WISH YOU A MERRY CHRISTMAS
We wish you a merry Christmas,
We wish you a merry Christmas,
We wish you a merry Christmas,
And a happy New Year.
Good tidings we bring to you and your kin;
Good tidings for Christmas and a happy New Year.
We wish you a merry Christmas,
We wish you a merry Christmas,
We wish you a merry Christmas,
And a happy New Year.
NOV DEC
2014
35
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C
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A
L
MESSIAH
THURSDAY, DECEMBER 18, 2014 | 7:30 PM
RHINEHART MUSIC CENTER, ipfw
andrew constantine, conductor
Josefien Stoppelenburg, soprano
Sarah Ponder, mezzo soprano
Samuel Levine, tenor
David Govertsen, bass
Philharmonic Chorus, Benjamin Rivera, director
HANDELMessiah, HWV 56
PART ONE
Overture (Sinfony)
Recitative: “Comfort ye, my people”
Aria: “Every valley shall be exalted”
Chorus: “And the glory of the Lord”
Recitative: “Behold, a virgin shall conceive”
Aria: “O thou that tellest good tidings to Zion”
Recitative: “For, behold”
Aria: “The people that walked in darkness”
Chorus: “For unto us a Child is born”
Pifa (Pastoral Symphony)
Recitative: “There were shepherds”
Chorus: “Glory to God”
Aria: “Rejoice greatly”
Recitative: “Then shall the eyes of the blind”
Aria: “He shall feed His flock”
Chorus: “His yoke is easy”
PART TWO
Chorus: “Behold the Lamb of God”
Aria: “He was despised”
Chorus: “Surely He hath borne our griefs”
Chorus: “And with His stripes we are healed”
Chorus: “All we, like sheep, have gone astray”
Recitative: “Thy rebuke hath broken His heart”
Aria: “Behold, and see”
Aria: “But Thou didst not leave”
Chorus: “Lift up your heads”
Chorus: “The Lord gave the word”
Aria: “How beautiful are the feet”
Chorus: “Their sound is gone out”
Aria: “Why do all the nations rage”
Chorus: “Let us break their bonds”
Recitative: “He that dwelleth in heaven”
Aria: “Thou shalt break them”
Chorus: “Hallelujah”
INTERMISSION
PART THREE
Aria: “I know that my Redeemer liveth”
Chorus: “Since by man came death”
Recitative: “Behold I tell you a mystery”
Aria: “The trumpet shall sound”
Chorus: “Worthy is the Lamb”
NOV DEC
2014
37
CHORAL PROGRAM NOTES
MESSIAH
THURSDAY, DECEMBER 18, 2014
Messiah
George Frideric Handel
(b. 1685, Halle, Saxony, now Germany; d.
1759, London, England)
Handel’s great oratorio Messiah has become
such a beloved musical icon in the nearly 275
years since its birth in 1741 that it is not at
all surprising many myths and legends have
grown up around it. We have been told that
Handel himself compiled its mostly Biblical
text or, alternatively, that it was sent to him
by a stranger; that its success transformed him
overnight from a bankrupt operatic has-been
to England’s most revered composer; that
at its London premiere the king himself rose
during the “Hallelujah Chorus” to express his
approbation. But Messiah’s real story is much
more complicated, though no less fascinating.
In the early 1740s, Handel was indeed in
considerable professional and financial trouble.
After emigrating from Germany to England as a
young man, he had enjoyed a celebrated career
as the country’s leading composer of operas,
mostly in Italian and enhanced by spectacular
costumes and scenic effects. But by the end
of the 1730s, Handel’s serious grand operas
were falling out of fashion. The success of
John Gay’s much simpler, English-language
The Beggar’s Opera fueled a new enthusiasm
for popular-style comic operas. Unable to
fill London’s opera houses any more, Handel
retreated from the field and turned his genius
to sacred dramas or oratorios.
He was not a novice in this genre. Even while
busy writing operas, Handel had composed
a number of oratorios, notably Israel in Egypt
and Saul. Typically, his oratorios were not so
very different from his operas: they told a
dramatic story — in this case drawn from the
Bible or other sacred literature — and their
soloists played actual characters. They were
performed in theaters and concert halls, not
churches. But Israel in Egypt took a new musical
approach in that the chorus now became the
central character. And Messiah, while giving
the soloists more to do, still emphasized the
chorus for its climactic moments. Moreover, it
broke with Baroque oratorio tradition in that it
was a meditation on the coming of the Messiah
and his promise for humanity rather than a
narrative of events in his life.
Handel himself did not compile the group of
texts drawn from the Bible’s Old and New
38
NOV DEC
2014
Testaments for Messiah. Instead, this was the
work of Charles Jennens, a wealthy landowner
and literary figure who was a longtime
friend of the composer’s and had created
texts for several other Handel oratorios. But
Handel, devoutly religious as well as worldly,
responded with a burst of almost miraculous
creative energy to the words Jennen’s had
prepared for him. Beginning his work on
August 22, 1741, he completed the two-anda-half-hour oratorio in just over three weeks.
Besides inspiration from God, he also had a
little practical assistance in this huge task. Like
most Baroque composers (Bach included), he
did not hesitate to borrow from earlier works
if they were suitable for use here. Three of
the choruses in Part I — “He shall purify,” “His
yoke is easy,” and even the famous “For unto
us a child is born” — are based on music he’d
originally composed as Italian vocal duets.
Messiah was introduced to the world in Dublin,
Ireland on April 13, 1743, during Holy Week (the
tradition of performing it during the Christmas
season is fairly recent). At the invitation of the
Duke of Devonshire, the Lord Lieutenant of
Ireland, Handel had been presenting concerts
of his works there since the previous November
and winning the kind of warm response that
had been eluding him in London. On that
Tuesday, Neal’s Musick Hall was packed beyond
its capacity; audience members had been
specifically requested to leave their swords
and hoop shirts at home in order to fit more
people into the hall!
The Dublin audience responded with enormous
enthusiasm to the new work, and another
performance was quickly scheduled. But when
Handel brought Messiah to London in March
1743, attendance was disappointing and the
critics unkind. A subsequent Handel oratorio,
Samson, was much preferred. Much of Messiah’s
failure was caused by a heated controversy
that broke out in the city as to whether such a
serious sacred subject ought to be presented
as an “entertainment” in secular concert halls.
Receiving few subsequent performances, the
oratorio went back on Handel’s shelf.
By 1749 when Handel was 64, the trustees
of London’s Foundling Hospital invited him
to present Messiah there at a charitable
fundraising concert. This time the oratorio
aroused no controversy, more than 1,000
people attended, and for the first time Messiah
enjoyed a London triumph. From then on,
annual performances during the Lenten season
became a London tradition, soon spreading
throughout Europe. Now Handel was finally
acknowledged as England’s leading musical
citizen, and he lived long enough — until 1759
— to be able to savor the success of the work
he loved dearly.
Listening to Messiah
Messiah’s heroic journey is divided into three
parts. Part I revolves around the Old Testament
prophecies (emphasizing the Book of Isaiah)
of the Messiah’s coming and culminates with
his birth as told in the Gospel of Luke. Indeed,
more of Messiah’s text is drawn from the Old
Testament than the New, and, apart from the
Nativity story, the Gospel histories are seldom
used. Thus, the emphasis falls on the broader
meaning of Christ’s redemption of the human
race rather than on the details of Jesus’ life.
Part II meditates on human sinfulness, the
Messiah’s rejection and suffering, and his
sacrifice to redeem humankind; it concludes
with that famous song of praise and triumph,
the “Hallelujah” Chorus. Finally moving into the
New Testament, Part III tells of the Messiah’s
vanquishing of death and the promise of
everlasting joy for the believer.
Handel did not leave behind a definitive version
of Messiah; instead, he reworked numbers and
re-assigned arias to different voice categories
depending on the soloists available for each
performance. Messiah’s solo sections are
divided between recitatives, which place
greater emphasis on delivery of the words,
and arias, in which musical values and the
showcasing of the singer’s technical prowess
take precedence. The tenor’s two opening
numbers are a good example: “Comfort Ye,
My People” is an accompanied recitative and
“Every Valley” is an aria.
Perhaps the most stunning sequence in Part
I is the juxtaposition of the bass soloist’s aria
“The people that walked in darkness” with the
beloved chorus “For unto us a child is born.” In
a marvelous example of musical text painting,
the bass literally wanders in a chromatically
confused maze in the dark key of B minor.
The “great light” for which he yearns is then
joyfully revealed in G major as the chorus
salutes Jesus’ birth.
All the choruses, including the “Hallelujah,”
demonstrate Handel’s exhilarating technique
of mixing powerful homophonic or chordal
utterances (“Mighty! Counselor!”) with a more
intricate polyphonic style in which each voice
part pursues its own elaborately decorated
line (“For unto us a child is born”). The origins
of the ritual of standing for the “Hallelujah
Chorus” are rather misty. Scholars believe the
Prince of Wales may have stood up when he
attended that historic London performance
in 1749. Certainly by 1780, everyone in the
audience was following King George III’s lead
in rising for Handel’s mighty hymn of praise.
Perhaps even exceeding “Hallelujah” in
majesty and joy is the magnificent chorus
“Worthy is the Lamb” that closes Part III, the
shortest of the three sections but also the
one most densely packed with the oratorio’s
greatest sequences (the soprano’s serenely
beautiful statement of faith “I Know that my
Redeemer Liveth”; the bass’s hair-raising
proclamation of the Final Judgment, based
on First Corinthians, “The Trumpet Shall
Sound,” with its gloriously realized trumpet
accompaniment). “Worthy is the Lamb” itself
is capped with an “Amen” Chorus on an epic
scale worthy of the masterpiece it closes —
unfurling in grand sweeps some of the finest,
most inspired choral counterpoint this Baroque
master ever devised.
Note by Janet E. Bedell copyright 20104
artist biography
josefien stoppelenburg, soprano.
Called “ an astonishing singer’” by the Chicago
Tribune, soprano Josefien Stoppelenburg, has
performed as a soloist in the United States, Europe,
Asia and South America. From 2005 until 2007
Josefien was part of the Young Opera Ensemble
of Cologne.
Leading roles have included "Aci" in the Haymarket
Opera Company’s acclaimed production of
Handel’s Aci, Galatea e Polifemo and "Tirsi" in
Clori, Tirsi e Fileno.
Stoppelenburg recently made her far-eastern
debuts in Seoul (Korea) singing Brahms’ Ein
deutsches Requiem and in Beijing (China),
performing Haydn’s Lord Nelson Mass.
Equally at home in the field of historical
performance, she has appeared with Camerata
Amsterdam, Dutch Radio Philharmonic Orkest,
Noord Nederlands Orkest, Haymarket Opera
Company, Apollo Chorus, Newberry Consort,
Handel Week Festival, Fulcrum Point and Music of
the Baroque.
Concerts with her sister, mezzo-soprano Charlotte
Stoppelenburg, have been broadcast on Dutch
national television and radio. As a vocal duo,
the sisters have performed in nearly every Dutch
concert hall. This season they perform with
pianoduo Martijn and Stefan Blaak as ‘Brothers
and Sisters’ in the Concertgebouw in Amsterdam.
Josefien recently gave masterclasses to voice
students of Indiana University (Jacobs School of
Music) for the Historical Performance Department.
In 2013, Stoppelenburg won the Chicago Oratorio
Award, as well as a second place in the American
Prize Opera Competition. She performed for Dutch
King Willem Alexander in March 2014.
Painting is Josefien’s second love. She paints
frequently on commission and is the current
Artist in Residence at the Evanston Art Center in
Illinois, USA.

—

such as music, theater,
dance, and art—
help kids grow up to
be healthy, caring,
responsible adults.
“Creative Activities” is one
of the 
—positive experiences
and qualities that all young
people need to succeed.

LEARN MORE Assets 

GreatKidsAllenCounty.org
artist biography
sarah ponder, mezzo-soprano
Sarah Ponder, 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
recent favorite 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. Upcoming performances include
oratorio and concert performances around the
country as well as an appearance as famed chef
Julia Child in Lee Hoiby’s 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. A dedicated teacher,
Sarah holds positions at Loyola University and
Glenbrook North High School. 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 recently finished recording works 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 awardwinning pedagogy book, Vocal Technique: A
Guide for Conductors, Teachers, and Singers.
samuel levine, tenor
Samuel Levine has emerged as an elegant and
robust tenor on the cusp of a major career. His
2014 performance with Gotham Chamber Opera,
in the dual roles of "Testo" in Monteverdi’s
Il Combattimento di Tancredi e Clorinda and
"Noah" in the world premiere of Lembit
Beecher’s I Have No Stories to Tell You, was
called “eloquent, full-bodied,” “bright-voiced
and skillfully-played” (Wall Street Journal) and
“well-sung” (New York Times). Highlights from
the 2014-15 season include the title role of Kurt
Weill’s Der Protagonist with Fire Island Opera
Festival, "Narraboth" in Salome with Virginia
Opera, "Oronte" in Alcina in installation at the
Whitebox Art Center in SoHo, and a return
to Chicago’s Symphony Center for Handel’s
Messiah.
An outstanding interpreter of new and
contemporary music, Levine has appeared
in many noted productions, singing the roles
of "Traveler" in James MacMillan’s Clemency
(Boston Lyric Opera), "Léon" in John
Corigliano’s The Ghosts of Versailles (Opera
Theatre of Saint Louis, Wexford Festival Opera),
"1st American Tailor" in Gian Carlo Menotti’s The
Last Savage (The Santa Fe Opera), "Andy" in
Olga Neuwirth’s Lost Highway (Miller Theater),
and "Man/Neighbor/Ravan" in Jack Perla’s River
of Light (Houston Grand Opera East + West).
Roles in the standard repertoire include "Don
Ottavio" in Don Giovanni (Aspen Opera Theater,
Yale Opera), "Janicku" in The Diary of One Who
Vanished, "Aeneas" in Dido and Aeneas (both
with Yale Opera), "Mambre" in Mose in Egitto
(Chicago Opera Theater), "Normanno" in Lucia
di Lammermoor (Arizona Opera), Massenet’s
Wertherand Gounod’s Faust (Opera Fort Collins,
cover for The Santa Fe Opera).
In concert, Levine has sung Mahler’s Das Lied
von der Erde, Beethoven’s 9th Symphony,
Bernstein’s Mass, Handel’s Messiah, Vaughan
Samuel Levine bio continued on page 40.
NOV DEC
2014
41
Samuel Levine bio continued from page 39.
Williams’ On Wenlock Edge, and Bach’s Kantata
163; he has appeared with New York Festival of
Song, The Tanglewood Festival, the Orchestra
Sinfonico di Milano, at Chicago’s Symphony
Center and Harris Theater, and at Weill Hall at
Carnegie Hall. He has won awards from Opera
Index, Inc, the Liederkanz Foundation, and
the Licia Albanese-Puccini Foundation, who
presented him at Lincoln Center debut, where
he won praise for his performance of “Salut,
demeure chaste et pure” from Faust: “[Levine’s]
voice has a nice, even quality, dark at the
bottom, with a ping on top, and a fine high “C”.”
(Brooklyn Eagle)
An alumnus of the young artist training programs
of Opera Theatre of Saint Louis, The Santa Fe
Opera, and The Tanglewood Music Festival,
Levine holds degrees from Yale University and
The Oberlin College Conservatory of Music.
david govertsen, bass
Chicago native David Govertsen recently
completed his tenure as a member
of the Ryan Center at Lyric Opera of
Chicago where his mainstage assignments
included roles in The Magic Flute, Boris
Godunov, Werther and Die Meistersinger von
Nürnberg. He returned to Lyric this season
to sing the "Bonze" in Madama Butterfly. In addition to his work on the Lyric stage,
this season Mr. Govertsen appeared as the
"Apparition" in Macbeth with the Chicago
Symphony Orchestra under the baton of
Maestro Riccardo Muti. Other operatic
highlights of the season include "Don
Magnifico" in La Cenerentola with Candid
Concert Opera, "Zaccaria" in Nabucco with
da Corneto Opera, "Don Alfonso" in Così fan
tutte with Petite Opera Productions, and the title
role in Gianni Schicchi with Main Street Opera. Mr. Govertsen made his Carnegie Hall debut in
2011 as the "Herald" in Otello with the Chicago
Symphony Orchestra conducted by Riccardo
Muti. He is an alumnus of both the Santa
Fe Opera and Central City Opera apprentice
programs and holds degrees from Northwestern
University, Northern Illinois University and the
College of DuPage. Locally in Chicago he has
performed dozens of roles, among them the
title roles in Don Giovanni, Le Nozze di Figaro
and Don Pasquale, the Four Villains/Les Contes
d’Hoffmann, Sarastro/Die Zauberflöte, Colline/
La Bohème, Basilio and Bartolo/Il Barbiere
di
Siviglia, Sparafucile/Rigoletto,
Padre
Guardiano/La Forza del Destino, Nick Shadow/
The Rake’s Progress, and Friedrich Bhaer/Little
Women. Upcoming engagements include
returns to Lyric and Santa Fe as well as a debut
with Chicago Opera Theater.
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message from the phil friends
Welcome to the Holiday Edition of the Prelude. The Philharmonic
Friends, known first as the Women's Committee and then as the
Philharmonic Volunteers, have been around since 1944. A lot has
changed since then and we have evolved along with the times, However,
our mission has remained the same: to be an advocate for the Phil and
support its fundraising and education activities while discovering and
encouraging musical talent.
The last couple months have been busy. The Friends were at A
Renaissance in Roanoke on October 11. We passed out 200 pocket
calendars promoting the Phil and selling Cookbooks. We had our first
Vibes & Vine fund raiser on October 21 at Two EE’s Winery near Roanoke. Entertainment was by String Shift,
a string ensemble made up entirely of Phil musicians. As one of them puts it “We play everything the Phil
doesn’t.” Between the wine tasting and the music, everyone there had a roaring good time. If you couldn’t
attend, you missed quite a show and we missed you. Fear not, you may get a second chance. We’re thinking
of doing another one in the spring.
Our scholarship committee awarded almost $5000 to 38 successful applicants to assist them in taking private
music lessons. Musically Speaking is still a full house at every Masterworks, out-of-town musicians are still
being housed by Friends members and snacks are still provided by the Friends during Masterworks rehearsals.
Yes, the Friends have indeed been busy.
You still have an opportunity to participate in Carson’s Community Days on November 14 & 15. Buy a coupon
book for $5 from now through the sale, and receive $10 off any item $10 or more plus 10 to 30% off on your
purchases. The Friends get to keep the $5 from the sale of the coupon book and you get a bargain! Buy them
online at this link, http://bit.ly/1urJYgX, at concerts or at the box office. Tell your friends and relatives. Anyone
anywhere in the country that buys one from the online link benefits the Friends!
Also, Chico's is hosting an afternoon of shopping on 11/15 from 1:00 to 6:00. 10% of sales go to Friends.
Finally, another Symphony of Style fashion show is being planned for sometime in February. Keep an eye on
our web site www.fwphilfriends.com for more information as it becomes available.
And last, but not least, Shelby and I, along with the entire Friends Board and membership,
wish you a Merry Christmas, and a prosperous, healthy New Year.
Sincerely,
John H. McFann
President, Philharmonic Friends
P.S. Oh yes, buy a Cookbook. They make a great Holiday gift!
44
OFFICERS:
BOARD MEMBERS:
President: John McFann
Vice-President Education: Sara Davis
Vice-President Fundraising: Elizabeth Lehmann
Vice-President Hospitality: Jayne Van Winkle
Vice-President Marketing: Louise Jackson
Recording Secretary: Patty Arata
Corresponding Secretary: Kathie Sessions
Treasurer: Marylou Hipskind
Amy Beatty
Annie Eckrich
Cynthia Fyock
Fred Haigh
Suzi Hanzel
Pat Holtvoigt
Susan Lehmann
Naida MacDermid
Nellie Bee Maloley
NOV DEC
2014
Christine Mallers
Shelby McFann
Nan Nesbitt
Tamzon O'Malley
Janet Ormiston
Rebecca Ravine
Ruth Springer
Marcella Trentacosti
Alexandra Tsilibes
BROADWAY
presents
AT THE EMBASSY
Presenting the 2014-15 Season
February 25, 2015
Photos by Jeremy Daniel
January 25, 2015
POPULAR DEMAND
March 25, 2015
RETURNING BY
November, 13 & 14, 2014
October 20, 2014
FORT WAYNE PREMIERE
April 14 - 19, 2015
Subscribe To The 2014 - 15 Season Today!
260.424.5665 | FWEmbassyTheatre.org
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
46
NOV DEC
2014
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 will see the debut
of Tchaikovsky: REVEALED.
Also 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 new 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 include concerts with the
Orchestra Sinfonica Siciliana in Italy and, the
NWD Philharmonie in Germany.
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ASSistant conductor
chia-hsuan lin
Chia-Hsuan Lin is pleased to begin her first
season as Assistant Conductor with the Fort
Wayne Philharmonic.
Lauded for her clarity and elegance on the
podium, Chia-Hsuan has shared her talents in
many diverse musical settings throughout the
world. She recently conducted the Peninsula
Music Festival Orchestra as one of three young
talents chosen for the Emerging Conductor
Program, and she was a semi-finalist in the 2013
Jeunesses Musicales International Conducting
Competition in Bucharest, Romania. Earlier this
year, Chia-Hsuan conducted a performance of
Mark Adamo’s Little Women at Northwestern
University. She led the 2012 Mainstage Opera
production of Mozart’s Don Giovanni at the
University of Cincinnati, where she also served
as music director of the University of Cincinnati
Symphony Orchestra, and later participated
in the 2012 Cabrillo Festival of Contemporary
Music in California. In celebration of the
Taiwanese premiere of Bach’s St. Matthew
Passion, Chia-Hsuan returned to Taipei in 2011
to conduct the Academy of Taiwan Strings and
Taipei Philharmonic Chorus for a lecture series
by conductor and Bach scholar Helmuth Rilling. In the summer of 2011, she traveled to Italy to
serve as Assistant Conductor of Opera at the
CCM Spoleto Music Festival.
Chia-Hsuan first received musical training as
a pianist in Taiwan at age three. At age nine,
she began studies as a percussionist and later
performed with the renowned Taipei Percussion
Group from 2003 to 2010. Chia-Hsuan received
her undergraduate degree in percussion and
graduate degree in conducting from National
Taiwan Normal University, where she studied
with Apo Hsu. Her musical training continued
in the United States after being selected to
study with Harold Farberman as a Fellow of
the Conductor Institute at Bard College. Under
the tutelage of Mark Gibson, she earned a
graduate degree at the College-Conservatory
of Music of the University of Cincinnati, and in
2012, Chia-Hsuan received the Foreign Study
Award for Music from the Taiwan Education
Bureau to begin her doctoral degree with Victor
Yampolsky at Northwestern University. Chia-Hsuan has furthered her education through
masterclasses and workshops, including
sessions with the Richmond Symphony
Orchestra, Baltimore Chamber Orchestra, and
the Romanian Royal Camerata, as well as with
conductors Günther Herbig, Jorma Panula, Imre
Palló, Steven Smith, Helmuth Rilling, Gábor
Hollerung, Mei-Ann Chen, Markand Thakar,
Israel Yinon, and Douglas Bostock.
wicked divas
Saturday, January 24, 2015
7:30 PM
EMBASSY THEATRE
sweetwater
pops
upcoming concerts
260 481-0777
fwphil .org
great movies,
grand piano
with
rich ridenour
Saturday, March 7, 2015
7:30 PM
EMBASSY THEATRE
order early for the best seats at the best prices!
yco conductor
marcella trentacosti
Born and raised in Allentown, Pennsylvania
Marcy has been a full-time section violinist in
The Fort Wayne Philharmonic since 1976. She
graduated from Indiana University in 1981 with
a Bachelor of Music Education and in August of
2008 received her Master of Music from Bowling
Green State University, Bowling Green, Ohio.
Marcy participated in the Rome Festival
Orchestra in Rome, Italy, the Civic Orchestra of
Chicago, Bach, Beethoven , Breckenridge Music
Festival and was Concertmaster of the Marion
Philharmonic for 8 years.
She taught Orchestra at Snider High School,
Woodside Middle School, Canterbury School ,
and Blue Lake Fine Arts Camp. Marcy maintains
a private teaching studio and teaches for the
IPFW Community Arts Academy in addition to
serving as an IPFW Limited Term Lecturer and
the director of the IPFW Summer String Camp.
She served as the manager and a string coach
for the Fort Wayne Youth Symphony.
As an active member of the Fort Wayne
Alumnae Chapter of Sigma Alpha Iota, presently
Co-Chair VP Program , she has held the office of
Recording Secretary and President.
Recently , in 2012 she received an Arts United
Artie Award for “Outstanding Music Educator.”
Presently , as a full time section violinist with
the Fort Wayne Philharmonic she is also the
conductor of the newly formed Youth Concert
Orchestra since 2010.
Her teachers include Anne Rylands, Henryk
Kowalski(IU), Victor Aitay(former coconcertmaster of the Chicago Symphony),
Lawerence
Shapiro,
and
Dr.
Penny
Thompson-Kruse.
Marcy is married to bassoonist, Mike Trentacosti
who has since retired from FOX Products. They
have 4 children - Mike Jr., Tony, Nick and Lauren
plus 4 grandchildren and of course their 2 sweet
dogs…Ross & Lanie( a sheltie).
ySo conductor
david cooke
David B. Cooke, Principal Trombonist with
the Fort Wayne Philharmonic, began his
musical studies at age nine in his hometown
of Canton, Ohio.
He received a Bachelor of Music in trombone
performance from The Ohio State University
and a Master of Music in trombone
performance with an emphasis on orchestral
conducting from the Cleveland Institute of
Music. He has performed with the Cleveland
Orchestra, Columbus (Ohio) Symphony and
the Indianapolis Symphony Orchestra and has
been with The Phil for 21 years. He also has
performed as a soloist with The Phil and has
conducted several pops performances.
As a chamber musician, Cooke was the
founding member of the Cleveland Chamber
Brass and has played with the Philharmonic
Brass Quintet and the Fort Wayne Chamber
Brass. He is director of orchestral studies and
a trombone instructor at IPFW. Cooke lives
in Fort Wayne with his partner, Kyle Malott.
They have two dogs, Olly and Gizmo, and two
cats, Tina and Milly. Cooke says he loves the
music of Prince and calls himself “the biggest
Ohio State fan you’ll ever know.”
NOV DEC
2014
49
the phil orchestra roster
andrew constantine music director
Ione Breeden Auer Podium
Violin
Bruce Graham
David 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
Debra Graham
S. Marie Heiney and
Janet Myers Heiney Chair
Theodore E. Chemey III
Sekyeong Cheon
Logan Strawn^
Cello
Janet Guy-Klickman
Linda Kanzawa
Ervin Orban
Orion Rapp,
Principal
Margaret Johnson
Anderson Chair
Jane Heald
Pavel Morunov
Fort Wayne Philharmonic
Friends' Fellow
Rikki and Leonard
Goldstein Chair
David Rezits
Edward Stevens
Joseph Kalisman
Greg Marcus
Linda and Joseph D.
Ruffolo Family
Foundation Chair
Andres Gil
Derek Reeves,
Principal
NOV DEC
Oboe
English Horn
Leonid Sirotkin
Marilyn M. Newman Chair
Clarinet
Campbell MacDonald,
Principal
Howard and Marilyn Steele Chair
Cynthia Greider℗
Georgia Haecker
Halaby Chair
Joel Braun
Debra Welter,
Assistant Principal
Charles and Wilda Gene Marcus Family Chair
50
Kevin Piekarski,
Assistant Principal
Giuseppe Perego Chair
Brian Kuhns
Viola
Vivianne Bélanger
Virginia R. and Richard E. Bokern Chair
Deborah Nitka Hicks,
Assistant Principal
Judith and William C. Lee Family Chair
Adrian Mann,
Principal
Zofia Glashauser
Jenny Robinson,
Acting Principal
Hillary Feibel
Mary-Beth Gnagey Chair
Bass
Dessie Arnold
Jennifer Regan Volk,^
Principal
Rejean O’Rourke Chair
Andre Gaskins,
Principal
Morrill Charitable
Foundation Chair
Pablo Vasquez
Kristin Westover
Flute
2014
Bassoon
Dennis Fick,
Principal
Anne Devine
Joan and Ronald
Venderly Family Chair
Horn
Michael Lewellen,
Principal ℗
Mr. & Mrs. Arthur A.
Swanson Chair
J. Richard Remissong
John D. Shoaff Chair
Trombone
Alison Chorn
NorthAmerican Van Lines funded by Norfolk Southern Foundation Chair
David Cooke,
Principal ℗
W. Paul and Carolyn
Wolf Chair
Vacant
Patricia Adsit Chair
Adam Johnson
Bass Trombone
Harp
Andrew Hicks
Tuba
Michael Galbraith
Walter D. Greist,
MD Family Chair
Samuel Gnagey,
Principal
Sweetwater Sound and Chuck and Lisa
Surack Chair
Katherine Loesch
Trumpet
Alan Severs,
Principal ℗
Gaylord D. Adsit Chair
Daniel Ross
George M.
Schatzlein Chair
Timpani
Eric Schweikert,
Principal℗
William H. Lawson Chair
Percussion
Jason Markzon,^
Principal
June E. Enoch Chair
Akira Murotani
Charles Walter
Hursh Chair
Scott Verduin,
Principal
Anne Preucil Lewellen,
Principal
Fort Wayne Philharmonic Friends Chair
Organ
Irene Ator
Robert Goldstine Chair
Piano
Alexander Klepach
English, Bonter, Mitchell
Foundation Chair
℗ Philharmonic Mentor, jointly appointed by the Fort Wayne Philharmonic and IPFW Department
of Music
^ Leave of absence for the 2014/15 season
Contributing Musicians
VIOLIN
VIOLA
FLUTE
Nathan Banks
Hannah Barton
Nicole DeGuire
Regan Eckstein
Janice Eplett
Michael Houff
Mary Kothman
Victoria Moore
Caleb Mossburg
Irina Mueller
Ilona Orban
Kristine Papillon
Eleanor Pifer
Colleen Tan
Lauren Tourkow
Daniel Winnick
Jenwei Yu
Katrin Meidell
Emily Mondok
Ashley Opie
Anna Ross
Melissa Tschamler
Liisa Wiljer
Patricia Reeves
CELLO
Lori Morgan
Gena Taylor
BASS
OBOE
Jennet Ingle
Katelyn Simon
Aryn Sweeney
CLARINET
Elizabeth Crawford
Dan Healton
Kevin Schempf
BASS
CLARINET
HORN
Daniel Healton
BASSOON
Michael Trentacosti
CONTRABASSOON
Keith Sweger
Alan Palider
Gene Berger
Kurt Civilette
Kenji Ulmer
Jonas Thoms
TRUMPET
Douglas Hofherr
PERCUSSION
Renee Keller
Jerry Noble
Kirk Etheridge
Brad Kuhns
John Tonne
NOV DEC
2014
51
Proud
supporters
of the
Fort Wayne
Philharmonic
From community arts to economic development, we believe
great performances and ideas create vibrant communities.
That’s why we proudly support the Phil. Its dedication to
excellence brings joy to our hearts and business to our city.
And that is sweet music to our ears.
starfinancial.com
© 2013 STAR Financial Group
B O A R D O F D I R E C T O R S
Carol Lindquist, Chair
Eleanor Marine, Vice-Chair
Ben Eisbart, Vice-Chair
Philip Smith, Vice-Chair
Greg Marcus, Secretary
Jeff Sebeika, Treasurer
Karen Allina
George Bartling
Sarah Bodner
Anita Cast
Keith Davis
Ben Eisbart
Dennis Fick
Deb Graham
Leonard Helfrich
Mark Huntington
Pam Kelly
Lyman Lewis
Carol Lindquist
Greg Marcus
Eleanor Marine
John McFann
Timothy Miller
Greg Myers
Sharon Peters
Melissa Schenkel
Jeff Sebeika
Philip Smith
Chuck Surack
Daryl Yost
Alfred Zacher
Mary Ann Ziembo
HONORARY BOARD
Patricia Adsit
Mrs. James M. Barrett III
Howard and Betsy Chapman
Will and Ginny Clark
Dru Doehrman
June E. Enoch
Leonard M. Goldstein
William N. and Sara Lee Hatlem
Diane Humphrey
Jane L. Keltsch
William Lee
Carol Lehman
Elise D. Macomber
Alfred Maloley
Michael J. Mastrangelo, MD
Dr. Evelyn M. Pauly
Jeanette Quilhot
Carolyn and Dick Sage
Lynne Salomon
Herbert Snyder
Howard and Marilyn Steele
Zohrab Tazian
Ronald Venderly
W. Paul Wolf
Don Wood
A D M I N I ST RAT I V E STA F F
J.L. Nave, III
President and CEO
Roxanne Kelker
Executive Assistant to the
President and Music Director
artistic operations
Jim Mancuso
General Manager
Christina Brinker
Director of Operations
Timothy Tan
Orchestra Personnel Manager
Adrian Mann
Orchestra Librarian/
Staff Arranger
Ian Lemberg
Stage Manager
education
development
Sharon Atteberry Linn
Director of Education and
Community Engagement
Angela Freier
Development Manager
Anne Preucil Lewellen
Education and Ensemble
Coordinator
Derek Reeves
Instructor, Club Orchestra
program
Diane Dickson
Youth Orchestra Manager
finance & technology
Beth Conrad
Director of Finance
Lynn Mabie
Grants and Research Manager
Lori Morgan
Data Resources Coordinator
marketing &
communications
Melysa Rogen
Assistant Director of
Marketing & PR
Ed Stevens
Sales Manager
Andrew Gingrich
Accounting Clerk
Brooke Sheridan
Publications and
Graphics Manager
Angelyn Begley
Technology Coordinator
Doug Dennis
Patron Services Manager
NOV DEC
2014
53
series sponsors
robert wagner
M A D G E R O T H S C H I L D F O U N DAT I O N
the madge rothschild
foundation
MASTERWORKS
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.
sweetwater
pops
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
S T A R
FA M I LY
STAR is proud to call Fort Wayne home. As a local company, we’re dedicated to making our
city an ideal place to raise a family. That is why we created Family of STARs, our community
involvement initiative that supports family-oriented programming. The Phil Family Music
Series is one of those underwriting commitments. (The three-part Family Series is held in
IPFW’s Auer Performance Hall). The programs showcase classical music to families in a fun,
relaxed setting. The perfect fit for a culturally rich family experience.
series sponsors
mark millett
president & CEO,
steel dynamics, inc
steel dynamics
patriotic pops
At Steel Dynamics, we believe that the right people in the right place are our greatest
strength. And it’s in those communities where our co-workers live and work where we
provide support through our Steel Dynamics Foundation. In northeastern Indiana, we’re
pleased to support the Fort Wayne Philharmonic which enriches the life of tens of
thousands …“bringing music to our ears.”
mike packnett
PRESIDENT & CEO,
parkview medical center
parkv iew regional medical center
holiday pops
For so many of us, a Fort Wayne Philharmonic Holiday Pops Concert is a treasured part of
our end-of-year festivities. The familiar carols bring us together in the spirit of community,
evoking happy memories with friends and family.
We at Parkview Health are very pleased to sponsor the Regional Holiday Pops Concert
series. From the physicians and the clinical, administrative and support staff members, and
from my wife, Donna, and me, heartfelt wishes to you and yours for a blessed and joyous
holiday season.
TAKE THEIR BREATH AWAY ­—
PLAN YOUR NEXT EVENT WITH THE PHIL!
Whether you want to impress your clients with amazing seats at the beautiful
and historic Embassy Theatre, or treat your employees to a concert at the state
of the art Auer Performance Hall - a group outing at a Fort Wayne Philharmonic
performance is sure to strike all the right chords with your friends and colleagues.
business partners
The Phil gratefully acknowledges the following Business Partners for their contributions
received within the past twelve months.
The Business Partner program recognizes local businesses that have shown their
support of the local arts community through a charitable gift to the orchestra.
For more information about becoming a Business Partner, contact the Development
Office at 260 481-0774.
Platinum Partner gifts of $2,500 or more
Franklin Electric
Pain Management & Anti-
Aging Center, Dr. Alfred Allina
Gold Partner gifts of $1,500 to $2,499
Shambaugh, Kast, Beck
& Williams, LLP
Silver Partner gifts of $1,000 to $1,499
Bronze Partner
gifts of
$600 to $999
Ram Production Backline
56
NOV DEC
2014
Partner
At Old National Bank, we’re committed
gifts of $300 to $599
to community partnership. That’s why,
last year alone, we funded nearly $3
million in grants and sponsorships and
our associates donated almost 77,000
volunteer hours. It’s also the reason
we’re a proud supporter of the Fort
Wayne Philharmonic
1111 Chestnut Hills Parkway
oldnationalins.com
0112-067
Bone Asset Management
ChromaSource Inc.
Dekko Investment Group
Ottenweller Co., Inc.
Associate Partner gifts of $100 to $299
Payroll & Employer Services
(574) 262-2800
Ambulatory Medical Management
Brown Equipment Co.
Design Collaborative
Hakes & Robrock Design-Build Inc.
Lupke Rice Insurance
Masolite
Northeast Indiana Building Trades
John Shoemaker
Strebig Construction Inc.
When our corporate partners invest in The Phil, they are enriching the lives of
employees who work and live in northeast Indiana, as well as their families,
and customers of all industries.
Becoming a Business Partner means a closer connection with the orchestra,
program advertising opportunities, ticket discounts for your clients and
staff, and invitation to exclusive events.
To join this esteemed list of partners, please contact the
Development office at 260 481-0774.
annual fund individuals
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 2014/15 Annual Fund, contact the Development
Office at 260 481-0774.
Virtuoso Society gifts of $10,000 or more
Anonymous
Howard and Betsy Chapman
June E. Enoch
William N. and Sara Lee Hatlem
The Huisking Foundation, Inc.
Diane S. Humphrey
Elise D. Macomber
Eleanor Marine
Russ and Jeanette Quilhot
Ian and Mimi Rolland
Stradivarius Society gifts of $5,000 to $9,999
Drs. David Paul J. &
Jeneen Almdale
George and Linn Bartling
Gloria Fink
Leonard and Rikki Goldstein
Charlie Huisking
Drs. Kevin and Pamela Kelly
Tod Kovara
Rifkin Family Foundation
Jeff Sebeika
Herb and Donna Snyder
Chuck and Lisa Surack,
Sweetwater Sound
Conductor’s Circle gifts of $2,500 to $4,999
Nancy Archer
Joan Baumgartner Brown
Anita and Bill Cast
Will and Ginny Clark
Jane and Andrew Constantine
John H. Shoaff and Julie Donnell
Mr. & Mrs. Irwin F. Deister Jr.
Ann H. Eckrich
Mark O. Flanagan
Patricia S. Griest
Susan Hanzel
Greg Marcus
Michael Mastrangelo
Kevin and Tamzon O'Malley
Dr. Evelyn M. Pauly
Mr. & Mrs. Victor Porter
Carolyn and Dick Sage
James Still
Daryl Yost
Al and Hannah Zacher
Composer’s Circle gifts of $1,250 to $2,499
Dr. & Mrs. Alfred Allina
Katherine Bishop
Glenn and Janellyn Borden
Dr. & Mrs. James G. Buchholz
Kathy Callen
Sarah and Sherrill Colvin
George and Ann Donner
Susan and Richard Ferguson
Mr. & Mrs. Ronald B. Foster
David S. Goodman
Leonard Helfrich
Sattar and Marlene Jaboori
Ginny and Bill Johnson
Dorothy K. Kittaka
Floyd A. and Betty Lou Lancia
Carol and David Lindquist
Greg and Barbara Myers
J.L. Nave III and Paul Cook
Rosemary Noecker
Kathryn and Michael Parrott
Linda Pulver
The Rothman Family Foundation
Linda Ruffolo
Jeff Schneider, MD
Wayne and Helen Waters
Lewie Wiese
Encore Circle gifts of $750 to $1,249
Tim & Libby Ash
Norma and Tom Beadie
Mr. & Mrs. Craig D. Brown
Virginia Coats
Beth Conrad
Dr. & Mrs. Jerald Cooper
John and Janice Cox
Tom and Margaret Dannenfelser
Keith and Kyle Davis
Anita G. Dunlavy
Jack and Tammy Dyer
Mr. & Mrs. Daniel C. Ewing
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NOV DEC
2014
Fred and Mary Anna Feitler
Fredrica Frank
Elizabeth A. Frederick
Kenneth & Lela Harkless
Foundation
Dr. Rudy and Rhonda Kachmann
Diane Keoun
Ed and Linda Kos
Lyman and Joan Lewis
Mr. & Mrs. Joseph L. Nave, Jr.
Norma J. Pinney
Caroll and Bill Reitz
Linda and Alan Richards
Alan and Pat Riebe
Melissa and Peter Schenkel
Philip Smith
John and Barb Snider
Nancy and David Stewart
Kathleen M. Summers
Rachel A. Tobin-Smith
Norma Thiele
Carolyn and Larry Vanice
Nancy Vendrely
Jeannine and Kari Vilamaa
Herb and Lorraine Weier
Concertmaster gifts of $500 to $749
Anonymous (2)
Richard and Matoula Avdul
John Bales
Amy and John Beatty
Frederick A. Beckman
Larry and Martha Berndt
Holly and Gil Bierman
Elizabeth Bueker
Margaret L. and Richard F. Bugher
Barbara Bulmahn
Mary Campbell
Dr. & Mrs. Fred W. Dahling
Sara Davis
Dr. & Mrs. J. Robert Edwards
Clayton Ellenwood
Steven and Nancy Gardner
First Chair
Roy and Mary Gilliom
Scott and Melissa Glaze
Shirley H. Graham
Bob and Liz Hathaway
William and Sarah Hathaway
Anne and James Heger
Karen and Bob Hoffman
Mark and Karen Huntington
Huser Charitable Foundation
Kenneth and Marty Johnson
Marcia and Andy Johnson
Richard and Mary Koehneke
G. Irving Latz II Fund
Stephen and Jeanne Lewis
Ellen Mann
Thomas A. May
Susan and David Meyer
Bonnie and Paul Moore
Leone Neidhardt
Brian and Susan Payne
The Rev. C. Corydon Randall &
Mrs. Marian Randall
Ann and David Silletto
Matt and Cammy Sutter
Jane C. Thomas
Angela and Dick Weber
Jan Wilhelm
Virginia and Don Wolf
Virginia Zimmerman
Dr. & Mrs. Richard E. Zollinger
gifts of $300 to $499
Anonymous (3)
Scott and Barbara Armstrong
David and Janet Bell
Michael and Deborah Bendall
Mary and Todd Briscoe, DDS, PC
Dr. Robert Burkhardt
Ann and Tim Dempsey
George and Nancy Dodd
Dot and Bill Easterly
Ben and Sharon Eisbart
Emily and Michael Elko
Bruce and Ellen England
Pauline Eversole
Dan and Nancy Fulkerson
Linda Gaff
Mr. & Mrs. Thomas E. Green
Mr. & Mrs. G.L. Guernsey
Lois Guess
Warren and Ardis Hendryx
Mark and Debbie Hesterman
Tom and Mary Hufford
Mr. & Mrs. Arnold Huge
Ed and Mary Lou Hutter
Larry and Annette Kapp
Jane L. Keltsch
Mr. & Mrs. Bruce Koeneman
Dr. & Mrs. Richard D. Lieb
Anne A. Lovett
Paul and Pauline Lyons
Peg Maginn
Peter and Christine Mallers
Stewart and Patricia Marsh
Anne and Ed Martin
John H. and Shelby McFann
Lusina McNall
Carol Moellering
Suzon Motz
Sean and Melanie Natarajan
Marvin and Vivian Priddy
Paul J. and Lula Belle Reiff
Maryellen Rice
Mr. & Mrs. Robert Scheimann
Scot C. Schouweiler
Fort Wayne Alumnae Chapter of Sigma Alpha Iota
Stephen R. and Anne S. Smith
Carl and Cynthia Thies
Ann and Mark Troutman
Michael J. Vorndran
and Joshua Long
Daniel and June Walcott
Steve and Keitha Wesner
Elizabeth Wilson
Marcia and Phil Wright
Brian and Kyla Zehr
Section Player gifts of $100 to $299
Anonymous (7)
Irving Adler
Max and Carol Achleman
Jeane K. Almdale
Mike and Mary Jo Amorini
Terry and Phil Andorfer
Keith and Lynne Apple
Dr. & Mrs. Justin Arata
Ms. Mary Jo Ardington
Dr. & Mrs. Thomas Armbuster
Mel and Ruth Arnold
Mr. & Mrs. William Arnold
John and Dianna Thornhill Auld
Tony and Pat Becker
Dick and Adie Baach
Dave and Bev Baals
The Baggett Family
Linda Balthaser
Patricia Barrett
Mike and Kay Bauserman
Kevin Beuret
H. Stephen Beyer
Beth and Don Bieberich
Robert Binns
David W. Bischoff
Sherry L. Blake
Virginia R. Bokern
Jon Bomberger and
Kathryn Roudebush
Dennis Bowman
David and Joan Boyer
Sue and James C. Bradley
Dr. Helene Breazeale
Mr. & Mrs. David C. Brennan
John P. Brennan and
SuzAnne Runge
David N. Brumm and
Kimberly S. McDonald
William and Joan D. Bryant
William and Dorothy Burford
Dr. David and Gayle Burns
Marguerite A. Burrell
Joyce and Paul Buzzard
Andy and Peg Candor
Anne and Michael Cayot
Arlene Christ
Nena and Willard Clark
Nelson and Mary Coats
Robert and Annelie Collie
Wendell and Mary Cree
Bob and Margita Criswell
Tom and Holly DeLong
Vera and Dominick DeTommaso
Carol Diskey
Gene and Carol Dominique
Fred and Joan Domrow
George Drew and Janet Arnold
Mr. & Mrs. Rodney Dunham
Cynthia Elick
Lillian C. Embick
Pam and Steve Etheridge
Dr. & Mrs. Joseph P. Fiacable
John and Jane Foell
Elizabeth Garr
Robert and Barbara Gasser
Geoff and Betsy Gephart
Doug and Ruby Gerber
Robert and Constance Godley
Edward and Henrietta Goetz
Norm and Ronnie Greenberg
James B. Griffith
Don and Kate Griffith
NOV DEC
2014
59
Mary K. Gynn
Dr. & Mrs. Charles Frederick Haigh
Melanie and Robert Hall
Jonathan and Alice Hancock
Paul J. Haughan
Dennis and Joan Headlee
Jacqueline Heckler
Marsha Heller
Sandra Hellwege
Julie Henricks and Jean Henricks
Mayor Tom C. and Cindy Henry
Tom and Jane Hoffman
Lois Teders Horn
Winifred Howe
Dr. & Mrs. Joseph Huguenard
George W. Irmscher
Jocelyn Ivancic
Gordon and Judie Johnson
Sharon and Alex Jokay
Gwen Kaag
Jim Karlin
LuAnn R. Keller
Dale Kelly
Carol and Norman Kempler
William G. Knorr
James and Janice Koday
Kay and Fred Kohler
Arlene and George Konley
Dr. & Mrs. Daniel Krach
Hedi Krueger
Mr. & Mrs. John Kruk
Paula Kuiper-Moore
JJ Lane Carroll and Jeff Lane
Dr. & Mrs. John W. Lee
Jeff Leffers and Jane Gerardot
Galen Lehman
David B. Lupke
Mr. & Mrs. Duane Lupke
Janet and Larry Macklin
Nellie Bee Maloley
Dave Matz
Sheila and David Mayne
Dr. & Mrs. Michael L. McArdle
Scott McMeen
Alice McRae
Mr. & Mrs. Donald T. Mefford
Leanne Mensing
Mr. & Mrs. Jerry R. Meyer
Laura Migliore
Carolyn Miller
Al and Cathy Moll
Ray and Nancy Moore
Kenneth and Linda Moudy
John and Barbara Mueller
Ed Neufer
Martha L. Noel
Ron and Ruth Nofzinger
David and Sally Norton
Paul Oberley
Mr. & Mrs. Maurice O'Daniel
Emmanuel and Noemi Paraiso
Mac and Pat Parker
Edwin and Maxine Peck
Mr. & Mrs. John M. Peters
Raymond and Betty Pippert
Helen F. Pyles
Dr. & Mrs. George F. Rapp
Dr. Donald and JoEllen Reed
Diana and John Reed
Dr. & Mrs. Stephen Reed
Mr. & Mrs. Robert Relitz
Thomas Remenschneider
Anne Remington
Dennis L. Reynolds
Janet Roe
Jim and Phyllis Ronner
Stanley and Enid Rosenblatt
Martin and Rita Runge
James M. Sack
Marilyn Salon
Nancy and Tom Sarosi
Harold Schick
Mary Schneider
Mary Ellen Schon
Chuck and Patty Schrimper
David S. Seligman
Phyllis Shoaff
Lt. Col. and Mrs. Tom Sites
Ramona and Dick Sive
Curt and Dee Smith
Lynda D. Smith
Sharon Snow
Don and Linda Stebing
Beth and David Steiner
Krista and Dan Stockman
Annetta Stork
Tim and Colleen Tan
Carol Terwilliger
Scott and Jenny Tsuleff
Mr. & Mrs. David Van Gilder
Donald and Karen Ward
Dr. & Mrs. MIchael Wartell
Jayne Van Winkle
Barbara Wachtman and
Tom Skillman
Pat and John Weicker
Lorraine and Shepard Weinswig
Thomas and Tamara Wheeler
Dr. & Mrs. Alfred A. Wick
Ellen Wilson
Lea B. Woodrum
Glen and Janice Young
annual fund match
Thank you to the following companies for generously matching individual gifts
made to the Annual Fund:
BAE, Dekko Foundation, Energizer, General Electric, Lincoln Financial Foundation,
Norfolk Southern, PNC Foundation, Swiss Re, Vera Bradley
sponsors
The Fort Wayne Philharmonic thanks these concert and event sponsors for their generous
contributions over the past twelve months. Please call 260 481-0776 to join our family
of sponsors.
Series Sponsors
Madge Rothschild Masterworks Series
Sweetwater Pops Series
STAR Family Series
Steel Dynamics Foundation Patriotic Pops Series
Parkview Regional Holiday Pops Series
Allegretto gifts of $50,000 to $99,999
W. Gene Marcus Trust
Madge Rothschild FoundationSteel
Dynamics Foundation
Applause gifts of $25,000 to $49,999
Sweetwater
Lincoln Financial Foundation Group
Carson D. and Rosemary Noecker Family Foundation
Virtuoso gifts of $10,000 to $24,999
80/20 Foundation
Anonymous (2)
Audiences Unlimited
Diane S. Humphrey
Do it Best Corp.
Fort Wayne Newspapers
Franklin Electric
Parkview Regional Medical Center
Phil Friends
The Huisking Foundation, Inc.
Indiana Michigan Power
The Miller Family Foundation
One Lucky Guitar
Old National Wealth Management
PNC
Ian and Mimi Rolland
STAR Financial Bank
WANE-TV
Stradivarius gifts of $5,000 to $9,999
Nancy F. Archer
Barnes & Thornburg
Fort Wayne Metals
Indiana University - Purdue University Fort Wayne
Lake City Bank
Mildred Roese and
Gloria Nash Charitable Fund
Monarch Capital Management
Northeast Indiana
Public Radio
Tower Bank
Vera Bradley
Wells Fargo Advisors
Wells Fargo Bank
Conductor gifts of $2,500 to $4,999
1st Source Bank
Brotherhood Mutual Insurance Co.
BKD
Keefer Printing
Med Partners
Parkview Physicians Group
Subway
Summit City Radio Group
Travel Leaders
Wayne Metals
WAJI-FM
WLDE-FM
Composer gifts of $1,000 to $2,499
Downtown Improvement District
Hagerman Group
Jehl & Kreilach Financial Management
WFWI-FM
NOV DEC
2014
61
regional partners
The Phil gratefully acknowledges the follow regional supporters who invest in the cultural vibrancy
of their own communities. We take great pleasure in performing for enthusiastic audiences
throughout the northeast Indiana region and welcome and value each contribution that makes
those concerts and education performances possible. Thank you!
Multiple County Support
Olive B. Cole Foundation
Parkview Regional Medical
Center/Parkview Health
Steel Dynamics Foundation, Inc.
Adams County
Adams County Community Foundation
Bunge
Decatur Rotary Club
Eichhorn Jewelers
Gilpin, Inc.
Larry & Janet Macklin
Ellen Mann
DeKalb County
Auburn Arts Commission, Inc.
Auburn Moose Family Center
Gerald Chapp
Rita Collins
DeKalb County Community Foundation
DeKalb Outdoor Theater
Dekko Investments/Erika Dekko
Gloria Fink
William & Mary Goudy
William & Sarah Hathaway
Greg & Emma Henderson
David & Pat Kruse
Metal Technologies Inc. Foundation
Margery Norris
Dr. & Mrs. James Roberts
Scheumann Dental Associates
Richard & Suzanne Shankle
Mayor Norman & Peggy Yoder
Fulton County
Fulton County REMC
Indiana Arts Commission
Psi Iota Xi (Eta Mu)
Kosciusko County
James H. Benninghoff
Al Campbell
Bill & Anita Cast
Tom & Sandi Druley
David & Judith Eckrich
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NOV DEC
2014
Richard & Susan Ferguson
Kenneth & Lela Harkless Foundation
William C. & Rosalie S. Hurst
Harriet Inskeep
Dr. Rudy & Rhonda Kachmann
Phillip & Janet Keim
Kosciusko County Community Foundation
Lakeland Community Concert Association
Tom & Joan Marcuccilli
Mr. & Mrs. Paul Mast
Garth & Susie McClain
Dr. Dane & Mary Louise Family Foundation
Dave & Dorothy Murphy
Walter & Ann Palmer
Prickett’s Properties, Inc.
Ian & Mimi Rolland
Linda Ruffolo
Wawasee Property Owners Association
Alfred & Hannah Zacher
Robert & Karen Zarich
Noble County
Greg & Sheila Beckman
Arthur E. & Josephine Campbell
Beyer Foundation
KPC Media Group
Noble County Community Foundation
Noble County REMC Round Up Trust
Jennie Thompson Foundation
Parkview Noble Hospital
Susan Hanzel
Jim & Karen Huber
Patricia Huffman
Kappa Kappa Kappa –
Zeta Upsilon
Gerald & Carole Miller
Family Foundation
Steve & Jackie Mitchell
Stan & Jean Parrish
Psi Iota Xi-Rho Chapter
Max & Sandy Robison
Satek Winery
Fred & Bonnie Schlegel
Steuben County
Community Foundation
Steuben County REMC Round UP Foundation
Trine University
Jim & Kathryn Zimmerman
Dale & Judy Zinn
Wells County
AdamsWells Internet Telecom TV
Bluffton Rotary Club
L. A. Brown Co.
Creative Arts Council of
Wells County
Pretzels, Inc.
Troxel Equipment
United REMC
Wells County Community Foundation
Whitley County
80/20 Inc.
Copp Farm Supply
DeMoney Grimes Funeral Home
Fred Geyer
J & J Insurance
Steuben County
Parkview Whitley Hospital
Donald & Janet Ahlersmeyer
Performance PC, LLC
Glen & Chris Bickel
STAR Bank
Ray & Marianne Bodie
Pamela Thompson
James & Lynn Broyles
Tri Kappa, Alpha Iota
Chuck & Maureen Buschek
City of Angola, Richard Hickman, Whitley County Community Foundation
Mayor
Dr. & Mrs. Richard Zollinger
Judith Clark-Morrill Foundation
First Federal Savings Bank
of Angola
foundation & public support
Philharmonic Society gifts of $1,000,000 and above
Edward D. & Ione Auer Foundation
Philharmonic Circle gifts of $250,000 and above
Dekko Foundation
Appassionato gifts of $150,000 to $249,999
Arts United of Greater Fort Wayne
English, Bonter, Mitchell Foundation
Madge Rothschild Foundation
O’Rourke-Schof Family Foundation
Steel Dynamics Foundation
Allegretto gifts of $50,000 to $149,999
Foellinger Foundation
W. Gene Marcus Trust
McMillen Foundation
Applause gifts of $25,000 to $49,999
Carlie Cunningham Foundation
Community Foundation of Greater Fort Wayne
Robert Goldstine Foundation
Indiana Arts Commission
Lincoln Financial Foundation
The Carson D. and Rosemary Noecker Family Foundation
PNC Charitable Trusts
Dr. Louis & Anne B. Schneider
Foundation
Virtuoso gifts of $10,000 to $24,999
Olive B. Cole Foundation
Eric and Mary Baade Charitable Trust
The Huisking Foundation
The Miller Family Foundation
Wells Fargo Discretionary Trusts
Edward M. & Mary McCrea Wilson Foundation
Stradivarius gifts of $5,000 to $9,999
Ann & Gordon Getty Foundation
Journal Gazette Foundation
Keiser Foundation
Magee-O’Connor Foundation, Inc.
Porter Family Foundation
Ed & Hildegarde Schaefer Foundation
Robert, Carrie and Bobbie Steck Foundation
Jennie Thompson Foundation
Wells County Foundation, Inc.
Conductor gifts of $2,500 to $4,999
Kosciusko County Community Foundation
Dr. Dane & Mary Louise Miller Foundation
Northern Indiana Fuel & Light
Composer gifts of $1,250 to $2,499
Adams County Community Foundation
Howard P. Arnold Foundation
Greater Fort Wayne Chamber of
Commerce Foundation
MAXIMUS Foundation
Mary E. VanDrew Charitable Foundation
Vann Family Foundation
NOV DEC
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63
endowment fund
Special Endowments
The Philharmonic gratefully acknowledges these special endowments, which are in addition to
the musician chair endowments. See page 44-45 for musician chair endowments.
Chorus Director
Louis Bonter
Youth Symphony
Walter W. Walb Foundation
Philharmonic Center Rehearsal Hall - In honor of Robert and Martina Berry, by Liz and Mike Schatzlein
Family Concerts
Howard and Betsy Chapman
Music Library
Josephine Dodez Burns and Mildred Cross Lawson
Young People’s Concerts
The Helen P. Van Arnam Foundation
Music Director Podium
Ione Breeden Auer Foundation
Philharmonic Preschool Music Program
Ann D. Ballinger
Guest Violinist Chair
Nan O’ Rourke
Radio Broadcasts
Susan L. Hanzel
Bequests
The Fort Wayne Philharmonic gratefully acknowledges recent bequests from the following estates:
Beverly Dildine
Gloria Fink
Joyce Gouwens
Sanford Rosenberg
Alice C. Thompson
Contributors
Due to space limitation we will share the full list of endowment contributors in our first program
book of each season. We're grateful for each gift that has helped build our endowment and
appreciate your ongoing contributions.
NOV DEC
2014
65
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 Ernest Zala
(Gifts honoring Ernest Zala’s fifty-seven years as
a Phil musician will fund the Ernest Zala Youth
Orchestras Concertmaster Chair and will provide
merit-based scholarships for Youth Orchestra
string players. To contribute, please contact the
Development Office at 481-0776.)
Irene & Jim Ator
Virginia Bokern
Bob & Margaret Brunsman
Brenda & David Crum
Delores Dunham
Betsy & Geoff Gephart
Ronald Heilman
Deborah & Andrew Hicks
Colleen J. Hohn
Dr. Carol Buttell
Eleanor Marine
Christina & Stephen Martin
Don & Eleanor Martin
Wayne Martin & Nancy Olson-Martin
Lee McLaird
Barbara Mann Ramm
Cathy Tunge & Steve Kiefer
Kristin Westover
Cathleen Westrick
Mr. & Mrs. Ray Wiley
Tim & Sandy Zadzora
In memory of Larkin Craig Keoun
Irene & Jim Ator
Adie & Dick Baach
Holly & Gil Bierman
Jocelyn & Jim Blum
Ann & David Bobilya
Virginia Bokern
Janellyn & Glenn Borden
Mr. & Mrs. Wayne Burnside
Princess Cameron
Alan Candioto
Peg & Andy Candor
Anita & Bill Cast
Sarah & Sherrill Colvin
Michael Crump
Judy & Wayne Dawes
Cindy & Mark Deister
Mr. & Mrs. John Dillard
Nancy Donnell
Susan & Richard Ferguson
Vernell & Peter Fettig
William Gharis
Suzanne Gilson
Nancy Graham-Sites
Judy & Tom Hayhurst
Jerome Henry
Ann Hoard
Jenny & Andrew Hobbs
Nancy & Tuck Hopkins
Suzanne & Michael Horton
Barbara & Phillip Hoth
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NOV DEC
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Amanda Hullinger & Family
Ginny & Bill Johnson
Pat Leahy
Judy & Gerald Lopshire
Carol & Duane Lupke
Margaret & Doug Lyng
Eleanor Marine
Dr. Michael Mastrangelo
Monarch Capital Management
Bill Morgan
Gloria & Jim Nash
Catherine Norton
Sally & David Norton
Jan Paflas
Kathy & Michael Parrott
Pat & John Pfister
David Quilhot
Jeanette & Russ Quilhot
Ann & Dick Robinson
Emily & Matt Roussel
Bette Sue Rowe
Carol Lynn Rulka
Deb & Bob Rupp
Morrie Sanderson
Nancy & David Stewart
Kathleen Summers
Amy Throw & Family
Nancy Vacanti & Abigail Kesner
Helen & Wayne Waters
Martha & Bob Wasson
Dana Wichern
Mack Wootton
In memory of Evelyn Phillips
Barbara & Milton Ashby
Dennis Becker
Pat & Tony Becker
Bonita & William Bernard
George Bewley
Sherry Blake
Karen Butler
Ted Davis
Martha & William Derbyshire
L. Ann & James Golm
Mary & Tom Hufford
Keith Kuehnert
Ruth Lebrecht
Nancy & Victor Martin
Julie & Bob Mehl
Richard Phillips
Vivian Purvis
John Reche
Carroll & Bill Reitz
William Schreck
Mary & Robert Short
Jane C. Thomas
Martha & Bob Wasson
laureate club
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.
Anonymous (25)
Patricia Adsit
Richard and Sharon Arnold
Dick and Adie Baach
George and Linn Bartling
Fred Beckman
Kevin Paul Beuret
Janellyn and Glenn Borden
Carolyn and Steve Brody
Anita Hursh Cast
Betsy and Howard Chapman
June E. Enoch
Fred and Mary Anna Feitler
Richard and Susan Ferguson
Mrs. Edward Golden
Leonard and Rikki Goldstein
Jay and Sandra Habig
Susan Hanzel
Jeff Haydon
John Heiney
Mr. & Mrs. Donald Hicks
Tom and Shirley Jones
Diane Keoun
Mrs. Bruce Koeneman
Tod S. Kovara
Doris Latz
Antoinette Lee
Jeff Leffers and Jane Gerardot
Naida MacDermid
Eleanor Marine
Mick and Susan McCollum
John and Shelby McFann
Donald Mefford
John Shoaff and Julie Donnell
Chuck and Lisa Surack
Ron Venderly Foundation
Herbert and Lorraine Weier
Mr. & Mrs. W. Paul Wolf
Donors have found that a planned gift can provide an ideal opportunity to support the orchestra
they love at a higher level then they had thought possible. Your planned gift to the Fort Wayne
Philharmonic can also benefit you and your family. We are proud to honor our planned giving
donors with membership in the Laureate Club.
There are multiple ways to give and many different assets you can use. From a simple bequest
to more complex arrangements, we welcome the opportunity to assist you and your advisors
in planning a contribution that suits your particular needs.
Please contact the Development Office at 260 481-0776 or by email
at [email protected] to find out more about specific planned giving strategies.
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