Flint

SymphonyOrchestra

ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR

FAMILY DAY CONCERT FEBRUARY 6, 2021

FIM SEASON SPONSOR Whiting Foundation

CONCERT SPONSORS The Chan Family Drs. Venkat & Rama Rao The Rabinkov Family Dr. Stuart & Kathy Weiner Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season

SEASON AT A GLANCE

STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 2PM & 7:30PM Cathy Prevett, narrator

SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner

BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM Wanting Zhao, piano WELCOME TO THE 2020 – 21 SEASON WITH 2019 William C. Byrd Winner YOUR FLINT SYMPHONY ORCHESTRA! BRUCH & TCHAIKOVSKY he Flint Symphony Orchestra (FSO) is one of SAT, MAY 8, 2021 @ 7:30PM the finest orchestras of its size in the nation. Julian Rhee, violin Its rich 103-year history as a cultural icon T BCO POPS CONCERT in the community is testament to the dedication CELEBRATING JUNETEENTH of world-class performance from the musicians SAT, JUNE 19, 2021 @ 7:30PM and Flint and Genesee County audiences alike. Damien Escobar, violin The FSO has been performing under the baton of Maestro Enrique Diemecke for over 30 years now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. Please visit theFSO.org for updates.

Flint Institute of Music gratefully acknowledges This activity is supported by This program and/or service is funded in whole or in the Charles Stewart Mott Foundation for their the Michigan Council for part by the Genesee County Arts Education and Cultural continued support. Learn more at Mott.org. Arts & Cultural Affairs. Enrichment Millage funds. Your tax dollars are at work.

2 theFSO.org | 20 – 21 Enrique Diemecke THEFSO.ORG Music Director & Conductor

Enrique Diemecke enjoys an international recording, operatic and concert career. He brings an electrifying balance of passion, intellect and technique to his performances. Warmth, pulse and spontaneity are all hallmarks of his conducting – conducting that has earned him an international reputation for performances that are riveting in their sweep and dynamism. In the words of The New York Times, Diemecke is a conductor of “fierceness and authority.” A noted interpreter of the works of Mahler, Maestro Diemecke has been awarded a Mahler Society medal for his performances of the composer’s complete symphonies. Maestro Diemecke is a frequent guest of orchestras throughout the world, most notably the National Symphony Orchestra in Washington, San Francisco Symphony Orchestra, French National Orchestra and many more. Maestro Diemecke is an experienced conductor of opera, having served as Music Director of the Bellas nrique Diemecke is Artistic General Director Artes Opera of Mexico from 1984-1990, where he led of the world-renowned Teatro Colón in Buenos more than 20 productions including Faust, La bohème, Aires and is the first internationally acclaimed E Salome, Elektra, Ariadne auf Naxos, Der fliegende conductor to hold the position as artistic leader of Hollander, Rigoletto, Turandot, Madama Butterfly the 110-year-old acoustical and architectural marvel, and Roméo et Juliette. He has since returned as a guest considered by many to be the greatest opera house conductor with new productions of Lohengrin, Boris in the world. Godunov and Gluck’s Orfeo ed Euridice. Maestro Diemecke began his rise to musical Maestro Diemecke returned to opera as he opened leadership at the Teatro Colón as Music Director of the 2007-2008 season of the Teatro Colón in Buenos the Buenos Aires Philharmonic, an anchor ensemble Aires with a new production of Werther, followed of the theater. He continues at the helm of the by performances of Massenet’s Le Jongleur de Notre Philharmonic an unprecedented 16 years, and has Dame with tenor Roberto Alagna in Montpellier, overseen all artistic activities of opera, concerts and which was released by Deutsche Grammophon and ballet, since February of 2017. Maestro Diemecke awarded the prestigious Grand Prix de l’Academie is delighted to anticipate his 32nd season as Music du Disque Lyrique. He is a regular guest of the famed Director of the award-winning Flint Symphony Teatro Zarzuela in Madrid, and was awarded the Orchestra this season.

theFSO.org | 20 – 21 3 Jean Fontaine Orpheus d’Or Gold Medal for “best for the Flint Symphony Orchestra, and his works vocal music recording” by France’s Academy of Lyric Chacona a Chávez and Guitar Concerto have received Recordings for his recording of Donizetti’s The Exiles many performances both in Europe and in the United of Siberia with the L’Orchestre Philharmonique de States. During the 2001-2002 season, he gave the world Montpellier-Languedoc-Roussillon. Maestro Diemecke premiere of his work Camino y vision, dedicated to was previously honored with a Gold Medal from the President Vincente Fox, with the Tulsa Philharmonic. Academy of Lyric Recordings with the Bruno Walter Maestro Diemecke’s recording with the Flint Orpheus d’Or Prize for “Best Opera Conductor” for Symphony Orchestra of the 1896 version of Mahler’s his live recording of Mascagni’s Parisina, from the First Symphony (which includes the subsequently Radio France Festival. With 20 years at the helm of deleted “Blumine” movement) was nominated for the Orquesta Sinfónica Nacional de México, Maestro a Grammy Award. Diemecke led the ensemble on a ten-city tour of the Born in Mexico City, Enrique Diemecke comes United States, culminating with a program of Latin from a large family of classical musicians. He began American masterworks at New York’s Carnegie Hall. to play the violin at the age of six studying for Maestro Diemecke is an accomplished composer many years with the legendary violinist Henryk and orchestral arranger, and has conducted his Szeryng. At the age of nine he added french horn, Die-Sir-E, during the Mexican National Symphony piano and percussion to his studies. Mr. Diemecke Orchestra tour of the U.S. in 1999. The Die-Sir-E was attended Catholic University in Washington, D.C. commissioned by the Radio France Festival for the and continued his studies with Charles Bruck at the World Cup Final Concert in France in 1998. Maestro Pierre Monteux School for Advanced Conductors Diemecke was commissioned to write a tone poem on a scholarship granted by Madame Monteux.■

FIM SEASON SPONSOR - Whiting Foundation

CONCERT SPONSORS The Chan Family, Drs. Venkat & Rama Rao, The Rabinkov Family, Dr. Stuart & Kathy Weiner

Video Equipment Provided by AVC Services, George Boehringer

4 theFSO.org | 20 – 21 Flint Symphony Orchestra THEFSO.ORG Program

Enrique Diemecke, Music Director & Conductor Narrator Cathy Prevett

Igor Stravinsky Pulcinella: Suite (1882 - 1971)

Sergei Prokofiev Peter & The Wolf (1891 - 1953) Cathy Prevett, Narrator

FIM SEASON SPONSOR - Whiting Foundation

CONCERT SPONSORS The Chan Family, Drs. Venkat & Rama Rao, The Rabinkov Family, Dr. Stuart & Kathy Weiner

Video Equipment Provided by AVC Services, George Boehringer

theFSO.org | 20 – 21 5 Flint Symphony Orchestra THEFSO.ORG Personnel

FIRST VIOLIN VIOLA BASS Judy Lin Wu Janine Bradbury Gregg Emerson Powell Concertmaster Principal Principal Zeljko Milicevic Tonya Ketzler, Ketzler Jon Luebke Associate Concertmaster Florist, Endowed Chair Assistant Principal In Memory of Katherine Alycia Wilder Robert Rohwer Yeotis, Endowed Chair Acting Assistant In Memory of Cornelia Jennifer Berg Principal H. Norton, Endowed Chair Debra Terry Antione Hackney Molly Hughes Hannah Breyer FLUTE Julie Jackson In Memory of Cornelia Brandon LePage Bonita Sweda H. Norton, Endowed Chair Principal In Memory of Robert J. Breeden by Alice Risov In Memory of Frances Willson the Breeden Family, Endowed Chair Matthew Forsleff Thompson, Endowed Chair Cyril Zilka In Memory of Harry Stephanie Hegedus Sutton, Endowed Chair In Loving Memory of Allan SECOND VIOLIN E. Walters by Barbara Walters Alesia Byrd Johnson CELLO Principal Sabrina Lackey PICCOLO Lorrie Gunn Acting Principal Stephanie Hegedus Acting Assistant Principal In Memory of Anna Paulina Tracy Dunlop Koegel, Endowed Chair OBOE Daniel Winnick Alexis Turkalo Christopher Wheeler Chase Ward Assistant Principal Acting Principal In Memory of Cornelia H. Irina Tikhonova Yuki Harding Norton, Endowed Chair Timothy Nicolia In Memory of Tom Zorn by Joseph Deller Thurston Matthews Family and Friends of FIM, Svetlana Tsivinskaya In Memory of Evelyn Endowed Chair Shores Hall, Endowed Chair CLARINET Nicholas Thompson Principal Members of the string section listed after the principal chairs rotate seating throughout the season.

Photographs or sound recordings of these performances, or the possession of any device for visual or sound recording, are prohibited inside the auditorium without the express written consent of management. The Flint Institute of Music is an equal opportunity employer and provides programs and services without regard to race, color, religion, national origin, age, sex or handicap. Programs of the Flint Institute of Music are made possible with the support of the Michigan Council for Arts and Cultural Affairs, a partner agency of the National Endowment for the Arts.

6 theFSO.org | 20 – 21 BASSOON Roger Maki-Schramm Principal Dean Zimmerman

FRENCH HORN Carrie Banfield-Taplin Principal In Memory of the late Joseph D. & Almeda B. Hunter, Endowed Chair Katherine Widlar Kurt Civilette

TRUMPET Michael McGowan Acting Principal In Memory of Lucy Schultz, Endowed Chair

TROMBONE John Upton Principal

TIMPANI Terence Farmer Principal

PERCUSSION Chuck Ricotta Principal

PERSONNEL MANAGER Gregg Emerson Powell

LIBRARIAN Alexis Turkalo

theFSO.org | 20 – 21 7 Program Notes February 6, 2021 existence. At the war’s conclusion, he was unwilling

Pulcinella: Suite to return to his homeland to live under the rule of the IGOR STRAVINSKY (1882 - 1971) Bolsheviks. He was cut off both from his family and from his sources of income; the Soviets had seized all n tAfter the carnage and devastation of the First the profits from his works published in Russia as well IWorld War, the performing arts in Europe were as as his family’s estate. He would only finally return to crippled as the wounded soldiers who returned from his former homeland in October of 1962. the battlefields of France, Germany and Russia. The Finding little funding or interest in his large-scale patronage system that had sustained the arts for centu- works in postwar Europe, Stravinsky realized that he ries was devastated by war and subsequent economic would need to modify his instrumental palate in order collapse. Many of the singers and musicians of the to make his living as a composer. Even before the war great orchestras and opera companies had been mobi- was over, he saw the need to create theatrical pro- lized as soldiers; many of them never returned. In the ductions that would be both inexpensive to produce war’s aftermath, the grand and expensive spectacles and easily transportable. His L’Histoire du Soldat, of opera and ballet had to be presented under much- premiered in Switzerland in September 1918, called reduced circumstances until the national economies of for only a violin, a contrabass, a clarinet, a bassoon, a the continent had recovered. trumpet, a trombone, and a percussionist in support of Before the war, impresario Sergei Diaghilev’s Paris- three actors and one dancer – a far cry from the 100+ based Les Ballets Russes was the premier ballet com- instruments necessary to stage Le Sacre du Printemps. pany in Europe. In 1908, Diaghilev hired a young and Stravinsky’s thoughts about transforming his style largely unknown composer, Igor Stravinsky, to com- were concerned with more than production budgets. plete a commission left unfinished by Anatoly Lyadov. After the blockbuster ballets of his youth, with their Diaghilev was so impressed by Stravinsky’s music modernist harmonies and plots drawn from Russian that he took the young composer under his wing and fairy tales and legends, Stravinsky began to consider soon had him writing full-time for Les Ballets Russes. paring down his style to the essential elements of A string of ballet “greatest hits” followed: The Firebird melody and harmony, simplifying his language while (1910), Petrushka (1911) and the scandalous Le Sacre remaining true to his musical ideals. While L’Histoire du Printemps (The Rite of Spring), whose music so was certainly a change, Stravinsky was looking for incited patrons at its première that fistfights broke guiding principles that would shape and focus his out. Stravinsky was propelled into the forefront of the music. musical avant-garde, and his works were full of the The spark that truly ignited Stravinsky’s quest for musical techniques of the new century: polyrhythm, clarity and simplicity was his old friend and employ- polytonality, octatonic scales, grinding dissonances er, the impresario Sergei Diaghilev. Diaghilev had and barbaric rhythmic ostinatos. It appeared that revived his famous Ballets Russes in Paris, and wanted Stravinsky was at the pinnacle of his success and was to approach Stravinsky to write a ballet for the 1920 destined for a spectacular future. season on a scenario surrounding Pulcinella, one of The war and the Russian Revolution changed the stock characters of eighteenth century comme- Stravinsky’s life forever. He spent most of the war in dia dell’arte. This was a tricky matter; Diaghilev and neutral Switzerland, living largely a hand-to-mouth Stravinsky’s relationship had been strained during the

8 theFSO.org | 20 – 21 Program Notes February 6, 2021 war, but Diaghilev was desperate to make amends. As is often the case in such circumstances, the pre- The two men were strolling one day on the Place miere in Paris in May 1920 was a great success. Even de la Concorde in Paris when Diaghilev casually men- so, Stravinsky was attacked by both reactionaries tioned he had acquired some old manuscripts of 18th- and the avant-garde. Those who thrilled to the pagan century Italian music, most of which was attributed excess of Le Sacre du Printemps felt betrayed by what to Giovanni Pergolesi, and thought they would make appeared to be Stravinsky’s retreat from modernism. a successful ballet. Stravinsky was unenthusiastic, but Traditionalists sharply criticized the “desecration” of agreed to take a look at the manuscripts. the works of Pergolesi. Stravinsky later wrote: “I looked,” said Stravinsky, “and fell in love.” Here was the clarity that Stravinsky had sought. I was . . . attacked for being a pasticheur, chided for composing "simple" music, blamed for desert Pulcinella was my discovery of the past, the epiph ing "modernism," accused of renouncing my "true any through which the whole of my late work Russian heritage." People who had never heard of, became possible. It was a backward look, of or cared about, the originals cried "sacrilege": "The course—the first of many love affairs in that classics are ours. Leave the classics alone." To them direction—but it was a look in the mirror, too. all my answer was and is the same: You "respect," but I love. Using the original Baroque music as his starting point, Stravinsky kept most of the bass lines and melo- The original ballet was a 45-minute work that dies, while altering the inner voices and textures to included three vocalists (mezzo-soprano, tenor, and create music that was both classic and modern at the bass) in addition to the chamber orchestra. In 1922, same time, one of the first examples of musical neoclas- Stravinsky fashioned an orchestral suite without the sicism, an aesthetic ideal that would dominate a great voices, the form in which the work is most commonly deal of 20th-century music. heard today, and the version we will hear this evening. For the first production, Diaghilev had assembled An interesting feature of the orchestration is that the a “dream team” of artistic talent to collaborate with composer employs a small group of soloists, much Stravinsky. Leonide Massine choreographed the bal- like a Baroque concerto grosso, contrasting the smaller let and danced the title role. Sets and costumes were group with the entire orchestra. The eight short move- designed by Pablo Picasso, and the orchestra was ments still retain the brilliance and lyricism of the orig- conducted by Ernest Ansermet. At the beginning of inal music, but tinted with contemporary harmonies rehearsals, not all went smoothly. When Diaghilev and textures. You might think of Pulcinella as an old dropped in on a musical rehearsal, he was aghast at sketch or drawing that has been colorized, bringing out the changes Stravinsky had made to the original music, aspects of the original that had been unnoticed before. so much so that he was unsure whether he should In hearing the work, if you feel like Stravinsky was credit Stravinsky as composer or arranger. Diaghilev more of a plagiarist than composer, I’ll let him have the and Picasso also locked horns; at one point, Diaghilev last word: “Lesser artists borrow; great artists steal.”.▪ threw Picasso’s sketches on the floor and stomped on them before walking off in anger.

theFSO.org | 20 – 21 9 Program Notes February 6, 2021 The U.S.S.R. also made subtle efforts to bring their Peter & The Wolf native son home over the course of nearly a decade, SERGEI PROKOFIEV (1891 - 1953) hoping to use him as a “poster boy” for the new nation’s artistic vision. Rather than the repressive rokofiev’s choice to return with his family to conservative land of artistic “Socialist Realism” that it Pthe Soviet Union in 1936 as a permanent resi- would become under Stalin, the Soviet Union in the dent appears on the surface to be one of the most 1920s was a place of great artistic freedom for modern- puzzling decisions in all music history. Prokofiev ism in the arts. Exhibitions of modern art were com- had left his homeland in 1918 with the blessing of monplace, and Moscow saw one of the earliest pro- Anatoly Lunacharsky, the Soviet People’s Commissar ductions of Alban Berg’s brutal and gruesome opera for Education. Prokofiev never expected to return, Wozzeck in Leningrad in 1927. Starting with his first at least not until the violence and bloodshed of the concert tour of the U.S.S.R. in 1927, Prokofiev became Bolshevik Revolution had ceased and a stable new caught up in the nation’s forward-looking artistic government had formed. Throughout his travels in attitudes before the Stalin Terror took hold. He gave the West, Prokofiev had been immensely popular, piano recitals for workers in factories and on collective even receiving an exorbitant offer of $25,000 to live in farms, often wearing simple workers clothes and boots Hollywood and compose for the movies. He had many instead of a tuxedo. He remarked that "When you triumphant premieres of his music, like his opera The arrive in the U.S.S.R. from abroad, you feel something Love for Three Oranges, premiered to great acclaim completely different. Here, dramatic works are need- in Chicago in 1923. He had numerous concert engage- ed, and there is no doubt what subject they should ments as a pianist and as a conductor in the Americas address: the subject must be heroic and constructive (it and in Western Europe. Why would he subject himself must be creative, not destructive). This is what our era to the rule of the iron-fisted dictator Josef Stalin, put- demands." ting both himself and his family at such great risk? The Soviets did their best to help Prokofiev return The answer lies both in the details of Prokofiev’s over the next several years, luring him with concerts career and in the aims of the Soviet government con- and commissions for new works, like the ballet Romeo cerning the arts. For all of Prokofiev’s hard work as and Juliet, written in 1935 for the Kirov Ballet. In 1936, composer, conductor and pianist, his career was not Prokofiev and his family left Paris to return to the advancing very quickly. Upon his arrival from the Soviet Union, where the composer would remain until Soviet Union in 1918, he had been hailed throughout his death on March 5, 1953 – the same day that Stalin the West as part of the cutting edge avant-garde, along died. with his countryman Stravinsky. Towards the end of One of the happiest developments for Prokofiev’s the 1920s, his star had begun to diminish, and he felt family upon their return to Moscow was their dis- homesick for his native land. By the 1930s, with both covery of the Moscow Children’s Theatre, and its the United States and Europe in the throes of the Great visionary director Natalia Satz. She was passionately Depression, working in a land where the government devoted to the cause of the best possible productions controlled the arts and the paychecks were regular for children, without the material being childish or may have not seemed so bad. condescending.

10 theFSO.org | 20 – 21 Program Notes February 6, 2021 The Prokofievs had first attended the theater to see are now popular all over the world, featuring in hun- a children’s opera called The Tale of the Fisherman dreds of concerts and dozens of recordings since its and the Goldfish, which enchanted the two boys and premiere. The famous narrators of Peter on record their parents. They returned to the theatre many range from Eleanor Roosevelt and Sean Connery to times, often as guests of Satz in her private box. Alice Cooper and “Weird Al” Yankovic. Eventually, Satz asked Prokofiev if he would write a Above all, Prokofiev’s genius of creating a tale that work for her theater that would introduce children to both captivates young imaginations and teaches them the instruments of the orchestra. Prokofiev agreed, but about the instruments of the orchestra is undiminished rejected the rhymed text that was commissioned from after over eighty years. His deft melodic sketches of the children’s author Antonina Sakonskaya and came Peter, his friends the bird, duck and cat, his grumpy up with a prose text of his own. Grandfather, the menacing wolf, and the somewhat While originally Peter was to be a Young Pioneer trigger-happy hunters both enchant listeners and (the Soviet version of a Boy Scout), the political themes memorably demonstrate the sounds and characteris- were downplayed, and the universal themes of coop- tics of the instruments. Like J.M. Barrie’s Peter Pan, eration and resourcefulness were brought to the fore. Prokofiev’s Peter will never grow up, and listeners of While the first performance received a lukewarm all ages are all the richer for it..▪ reception, Prokofiev’s Peter and his lupine adversary

Program Notes by Dr. David Cole © 2021

r. David C. Cole, the program annotator for the Flint Symphony Orchestra, has had a distinguished Dcareer as a conductor, violinist, music educator and writer. He served as the conductor of the Southwest Florida Symphony’s Youth Symphony, the top ensemble of the three orchestras in the Southwest Florida Symphony Youth Orchestra program, from 2012 - 2017. He also served as the conductor for the Symphony’s Young People’s Concerts and Majors for Minors programs, and he has also served as the Symphony’s Education Director and Youth Orchestra Manager. In his tenure with the Southwest Florida Symphony’s Youth Symphony, he led them in appearances at Carnegie Hall in New York City in April of 2014, and at the Capital Orchestra Festival at the John F. Kennedy Center for the Performing Arts in Washington, D.C. in February of 2016. Dr. Cole’s recent guest conducting appearances include concerts with the Marquette Symphony (Michigan), the Colombian National Conservatory Orchestra, the Pleven Philharmonic (Bulgaria), the Orquestra de Camera de Bellas Artes (Mexico City), the Baylor Symphony Orchestra, the El Alto Municipal Youth Orchestra (Bolivia) and the Cincinnati Metropolitan Orchestra.

theFSO.org | 20 – 21 11 Thank you to our generous sponsors! Your donations keep the Flint Symphony Orchestra playing. You can join this list by calling Sheila Zorn at 810.237.3111 or [email protected] more information.

ENDOWED PRINCIPAL FIRST VIOLIN PRINCIPAL ENGLISH HORN & ASSISTANT In Memory of Barbara Walters Carolyn Stubbs & Susan Schneberger PRINCIPAL CHAIRS FLUTE $30,000 & UP In Loving Memory of Allan E. PRINCIPAL FIRST VIOLIN ASSOCIATE CONCERTMASTER Walters by Barbara Walters Daniel S. & Carole J. Harrett In Memory of Katherine Yeotis OBOE PRINCIPAL FLUTE PRINCIPAL BASS TROMBONE In Memory of Tom Zorn by Michael Dingman & In Honor of Bruce & Barbara Mackey Family and Friends of FIM Susan Sumner-Dingman

PRINCIPAL CELLO PICCOLO PRINCIPAL HARP Anna Paulina Koegel Plante & Moran, PLLC Libby B. Winegarden by daughter, Dorothy W. Booth PRINCIPAL FLUTE SECOND VIOLIN Frances Willson Thompson In Memory of Cornelia H. Norton PRINCIPAL PERCUSSION Sponsorship Available PRINCIPAL HARP VIOLA Libby B. Winegarden by daughter, In Memory of Cornelia H. Norton FSO DONORS Dorothy W. Booth JANUARY 1 - DECEMBER 31, 2020 PRINCIPAL & ASSISTANT FSO ENDOWMENT PRINCIPAL FRENCH HORN CHAIR ANNUAL GIFTS The late Joseph D. Charles Stewart Mott Foundation $1,500 & UP & Almeda B. Hunter FSO ENDOWMENT ASSISTANT PRINCIPAL CELLO Farrehi Family Foundation PRINCIPAL KEYBOARD Dr. & Mrs. Paul E. Schroeder * In Memory of Herbert J. Booth ASSISTANT PRINCIPAL VIOLA FSO GENERAL OPERATING PRINCIPAL TRUMPET Dr. Cathy O. Blight & Mr. & Mrs. Paul Adams Dr. Charles Apple In Memory of Lucy Schultz Mr. Edward Davison * Mr. & Mrs. John M. Atkinson Mr. & Mrs. Dean Bagnall VIOLA SECOND VIOLIN Mr. Carroll G. Baker, Sr. & Sponsorship Available Hubbard Supply Co. Ms. Kimberly Roberson ENDOWED SECTION PRINCIPAL CLARINET Mr. & Mrs. Keith M. Barkiewicz Beverly Bernard • Mr. & Mrs. David Benjamen CHAIRS Mr. & Mrs. Robert Benson $20,000 & UP PRINCIPAL OBOE Ms. Edna Bick & Mr. John Helsom BASS Ann Marie Van Duyne Ms. Jane M. Bingham In Honor of Tom Glasscock Mr. & Mrs. Tim Bograkos PRINCIPAL PERCUSSION Ms. Cheryl Borkowski BASS Sponsorship Available Mr. John Borysewicz In Memory of Cornelia H. Norton Mr. & Mrs. Robert Bottinelli SECTION CHAIR Rev. & Mrs. Paul Bravender CELLO ANNUAL GIFTS Ms. Patricia Burroughs In Memory of Henrietta A. Eickhorst Mr. Thomas L. Capua Sr. $1,000 & UP Mr. & Mrs. Tom Cerny CELLO CONCERTMASTER Charles Stewart Mott Foundation In Memory of Evelyn Shores Hall The Wang Family Charitable Fund • Mr. & Mrs. Howard Chenoweth Dr. & Mrs. Marshall Cossman FIRST VIOLIN PRINCIPAL BASS Mr. & Mrs. Robert Darley In Memory of Robert J. Breeden Gary & Carol Hurand Mr. Evans Davis by the Breeden Family Dr. Cathy O. Blight & PRINCIPAL BASSOON FIRST VIOLIN Mr. Edward Davison Mrs. John Nash * In Memory of Helen Davenport Mr. Kenneth Dick Kleinpell Mr. & Mrs. Dallas C. Dort

12 theFSO.org | 20 – 21 Mr. & Mrs. Philip Downs Dr. & Mrs. Paul Lauber Mr. Jerry L. Preston Mr. & Mrs. Don Elliott Mrs. Linda LeMieux Dr. & Mrs. Gregg Reese Ms. Loretta C. Ellwood Dr. & Mrs. Michael Lindemann Ms. Nicole Richey Dr. & Mrs. Kenneth J. Fawcett Mr. Vince Lorraine & Ms. Sherron Barden Mr. & Mrs. David Roeser Flint Cultural Center Corporation, Inc. Mr. Edward Maki-Schramm Mr. Harlon Rose Dr. Brenda R. Fortunate & Ms. Jeanette Mansour & Mr. Joseph Green Mr. & Mrs. Charles Rudduck Mr. C. Edward White Ms. Marjorie Markon Mr. & Mrs. Ghassan Saab Mr. Jim Garrison Ms. Marilyn Mazanec Mr. Allen Salyer Mr. & Mrs. Eugene Griffel McCredie Insurance Agency, Inc. Mr. & Mrs. Steve Schmit Mr. & Mrs. Earl Guzak Ms. Renate McLaughlin Ms. Marikay Scott Mrs. Frankie Hardy Ms. Deborah J. Meissner Ms. Janet Shiel Mr. & Mrs. Daniel S. Harrett Ms. Marcia Meshew Mr. & Mrs. Bruce Siegel Ms. Shirley Hartkopf Ms. Diane Midgley Mr. & Mrs. Jeff Slepak Mr. & Mrs. Edward Henneke Mr. Charles W. Miller & Mr. & Mrs. J. Parkhill Smith Dr. & Mrs. John V. Hinterman Dr. Townes Miller Mr. & Mrs. James Spangler Mr. & Mrs. Dennis Hodges Mrs. Helen Millhouse Mr. & Mrs. Dennis Springer Ms. Delores Holbrook Dr. Bobby Mukkamala & Ms. Ellyn Sudow Ms. Stefanie Horvath Dr. Nita Kulkarni Ms. Susan Sullivan Ms. Jennifer Howard Mr. Michael Naddeo Ms. Kristina Tate Ms. Vista Huggins Mr. & Mrs. Charles Nelson Ms. Sandra Tisdale Mr. & Mrs. Gary Hurand Ms. Cynthia Nill Ms. Jane B. Trotter Ms. Gail Hurst Mr. & Mrs. Richard Noteboom Mr. & Mrs. Mark Van Faussien Ms. Cindy Huss Mr. & Mrs. Pat Palmer Ms. Robin Von Wald Dr. Susumu Inoue & Ms. Nancy Paul Mr. & Mrs. Howard Warnick Dr. Mary Mitchell-Beren Mr. & Mrs. Marvon Payne Mr. & Mrs. Richard C. Weiermiller Mr. & Mrs. G. Donald Kaye Ms. Debra Perczak Mr. Ken Wensel Mr. & Mrs. Hal Keim Ms. Judith Perez Mr. & Mrs. Edwin Weston Mr. & Mrs. Raymond Kelly Mr. & Mrs. James E. Peterson Ms. Barbara White Mr. & Mrs. William J. Kerscher III Mr. & Mrs. Randall Petrides Ms. Judy Yen Jiun Lin Wu Mr. Brian T. Kettler & Ms. Lauren Gale Mr. William H. Piper Ms. Catherine Yeotis Mr. Richard L. King, Jr. Mr. & Mrs. James Popoff

FLINT SYMPHONY ORCHESTRA SPONSORS SEASON SPONSOR: WHITING FOUNDATION

FEB 6, 2021 APR 10, 2021 MAY 8, 2021 2PM & 7:30PM 7:30PM GUEST ARTISTS' SPONSORS Howard & Rita Shand SPONSORED BY SPONSORED BY The Chan Family Anonymous 16 Drs. Venkat & Rama Rao BCO POPS CONCERTS GUEST ARTIST SPONSORS The Rabinkov Family Hal & Jean Craig Flynn JUNE 19, 2021 Dr. Stuart & Kathy Weiner 7:30PM MAY 8, 2021 Sponsored in collaboration with MAR 6, 2021 Black Classical Origins 7:30PM 7:30PM SPONSORED BY SPONSORED BY FEB 26, 2022 Mr. Edward Davison, Attorney McLaren-Flint at Law & Dr. Cathy O. Blight 7:30PM GUEST ARTIST SPONSORS Dr. Brenda Fortunate & C. Edward White Sponsored in collaboration with Dr. Erick & Gloria VanDuyne Mrs. Linda LeMieux Black Classical Origins St. Cecilia Society Drs. Bobby & Nita Mukkamala Dr. Mark & Genie Plucer

theFSO.org | 20 – 21 13 Flint

SymphonyOrchestra

ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR

NEXT CONCERT March 6, 2021 BRAHMS SYMPHONY NO. 2

Featuring Noelle Naito winner of the 2020 William C. Byrd Young Artist Competition

TICKETS 810.237.7333 • theFSO.org/march-6-2021

Flint

SymphonyOrchestra

ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR

NEXT CONCERT April 10, 2021 BEETHOVEN PIANO CONCERTO NO. 4

Featuring Wanting Zhao winner of the 2019 William C. Byrd Young Artist Competition

TICKETS 810.237.7333 • theFSO.org/april-10-2021

14 theFSO.org | 20 – 21 FSO FSO FS FSO FS ENCORE ENRE ENRE ENCORE ENCORE

FSOLIVE LIVE StreamING | SYMPHONY CONCERTS

STARTING FEBRUARY 6, 2021

Enjoy the FSO from the comfort of your own home! Join us for live streams of our concerts for the 2021 season.

LIVE STREAM CONCERT DATES February 6 • March 6 • April 10 • May 8

TO PURCHASE PAY-WHAT-YOU-WISH TICKETS: theFSO.org/Live 810.237.7333

Please visit theFSO.org/Live to purhcase

theFSO.org | 20 – 21 15 Flint

SymphonyOrchestra ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR 2021 SEASON STRAVINSKY &PROKOFIEV FEBRUARY 6, 2021 | 2PM BRAHMS & SAINT-SAËNS MARCH 6, 2021 | 7:30PM

BEETHOVEN & DVOŘÁK APRIL 10, 2021 | 7:30PM

TCHAIKOVSKY & BRUCH MAY 8, 2021 | 7:30PM

810.237.7333 | theFSO.org/tickets

Check us out Major funding for the Flint Institute of Music is provided by This program and/or service is funded in whole or in part by the Genesee County on social media! the Charles Stewart Mott Foundation. Learn more at Mott.org. Arts Education and Cultural Enrichment Millage funds. Your tax dollars are at work.