Flint

SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR

MAY 8, 2021

FIM SEASON SPONSOR Whiting Foundation

CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season

SEASON AT A GLANCE

Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre

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

SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin 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 part by the Charles Stewart Mott Foundation for their the Michigan Council for the Genesee County Arts Education and Cultural Enrichment continued support. Learn more at Mott.org. Arts & Cultural Affairs. 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 Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer

GUEST ARTIST SPONSORS Howard & Rita Shand

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

Enrique Diemecke, Music Director & Conductor Julian Rhee, Violin

Max Bruch Violin Concerto No. 1 (1838 - 1920) I. Vorspiel: Allegro moderato II. Adagio III. Finale: Allegro energico

Julian Rhee, Violin

Pyotr Illyick Tchaikovsky Symphony No. 3, Polish (1840 - 1893) I. Introduzione e Allegro II. Allegro brillante III. Alla tedesca IV. Andante V. Finale

FIM SEASON SPONSOR - Whiting Foundation

CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer

GUEST ARTIST SPONSORS Howard & Rita Shand

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

FIRST VIOLIN VIOLA BASS (CONTINUED) Zeljko Milicevic Janine Bradbury Robert Rohwer Acting Concertmaster Principal Acting Assistant Principal Molly Hughes Tonya Ketzler, Ketzler Florist, Derrick Tietz Acting Associate Endowed Chair In Memory of Cornelia Concertmaster Alice Risov H. Norton, Endowed Chair In Memory of Katherine Acting Assistant Principal Yeotis, Endowed Chair Hannah Breyer FLUTE Debra Terry Alycia Wilder Brandon LePage Jennifer Berg In Memory of Cornelia Principal Judith Teasdle H. Norton, Endowed Chair In Memory of Frances Willson Sander Kostallari Matthew Forsleff Thompson, Endowed Chair Bonita Sweda Catherine Franklin Emily Olson In Memory of Robert J. Breeden In Memory of Harry In Loving Memory of Allan by the Breeden Family, Sutton, Endowed Chair E. Walters by Barbara Walters Endowed Chair Cyril Zilka CELLO PICCOLO Judith Vander Weg Scott Graddy SECOND VIOLIN Principal Karen Donato In Memory of Anna Paulina OBOE Acting Principal Koegel, Endowed Chair Lindabeth Binkley Lorrie Gunn Timothy Nicolia Principal Acting Assistant Acting Assistant Principal Sally Pituch Principal Thurston Matthews In Memory of Tom Zorn by Family Joseph Deller Julia Ford Edwards and Friends of FIM, Endowed Chair Maria Bucco Jinhyun Kim Junqi Tang In Memory of Evelyn Shores CLARINET In Memory of Cornelia H. Hall, Endowed Chair Nicholas Thompson Norton, Endowed Chair Acting Principal Chase Ward BASS Janet Pinto Sommerfeld Daniel Winnick Gregg Emerson Powell 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

HORN Carrie Banfield-Taplin Principal In Memory of the late Joseph D. & Almeda B. Hunter, Endowed Chair Alan Taplin Acting Assistant Principal Katherine Widlar Robin Von Wald Clinton Webb

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

TROMBONE John Upton Principal Zongxi Li Greg Lanzi

TUBA Joseph DeMarsh Principal

TIMPANI Terence Farmer Principal

PERSONNEL MANAGER Gregg Emerson Powell

LIBRARIAN Karen Donato

theFSO.org | 20 – 21 7 Program Notes May 8, 2021 with the renowned violinist Joseph Joachim, Bruch revised

Violin Concerto No. 1 the concerto substantially, and conducted the new version in Bremen on January 7, 1868, with Joachim as soloist. Joachim MAX BRUCH (1838 - 1920) performed it frequently, and late in life he stated that it belonged in the highest ranks of concertos for the instrument, he Rathausturm (City Hall Tower) in Cologne, Germany worthy to be compared to the concertos of Beethoven, Brahms, Twas nearly destroyed during the Second World War, and and Mendelssohn. The score bears a dedication to Joachim in rebuilt only in 1975. In 1981, the city decided to commission appreciation for his advice and advocacy of the concerto. statues of famous people significant in the city’s development One of Bruch’s concerns was that the opening movement to decorate the outside of the structure. The tower would was too brief and too free-form to be considered a concerto. thus serve as a visual history of the city, ascending chrono- He had originally titled the movement Introduzione-Fantasia, logically from the bottom to the top. On the third floor of the but changed it to Vorspiel (Prelude) in the revised version. south face of the tower, there is a statue of a man dressed in Bruch had thought of calling the entire work Fantasia, and an old-fashioned frock coat, sporting long, thick hair down to expressed that opinion in a letter to Joachim. Joachim thought his shoulders, a short but luxuriant beard and a bushy walrus otherwise: mustache. He poses holding one hand up to his ear, signifying The designation concerto is completely apt. Indeed, the that listening was an important part of his life. This Dickens- second and third movements are too fully developed for a fan- like figure is composer Max Bruch, born in Cologne in 1838, tasy. The separate sections of the work cohere in a lovely rela- and, in his lifetime, one of the most famous composers in all of tionship, and yet—and this is the most important thing—there Europe. is adequate contrast. Bruch received his earliest musical training from his mother, The Vorspiel opens in the manner of Beethoven’s Emperor an accomplished soprano. His first compositions were writ- Concerto, with a brief solemn phrases from the orchestral ten when he was nine, and at age fourteen he won the presti- winds answered by expressive and passionate cadenzas from gious Frankfurt Mozart-Stiftung Prize for music composition. the soloist. The final thunderous statement from the full Through a long and distinguished career he wrote over 200 orchestra leads to the Allegro moderato, where the soloist’s works, including four operas, three symphonies, three violin dramatic first theme is presented in fiery chords and flourishes concertos, and numerous additional symphonic, choral, and over an ominous pulsing accompaniment. The storms of the chamber works. He earned the reputation as a notable con- Allegro dissipate; the soloist introduces a more lyrical and ductor, serving as music director for orchestras from Breslau yearning melody which grows in intensity and subsides before (now Wroclaw, Poland) to Liverpool, and in 1893 he accepted the storm returns. The soloist’s virtuoso acrobatics lead to a an invitation from the Handel and Haydn Society in Boston to fierce orchestral interlude that returns to the opening gesture lead a performance of his own oratorio Arminius. He excelled of the movement. This time, however, the soloist’s cadenzas as a teacher as well, spending the final twenty years of his take us into another passionate orchestral outburst that gen- career teaching musical composition in Berlin. tly introduces the slow movement, connected to the Vorspiel Just as time and weather relentlessly erode and alter statues, without a pause. time and the fickle dictates of musical fashion inevitably take The solo violin begins the Adagio with a melody of great their toll upon the popularity and reputation of every compos- warmth and sweetness. The movement gradually builds er, for good or ill. While composers like Beethoven, Wagner, in intensity, reaching a rapturous climax in the orchestra, and Stravinsky created new musical innovations throughout answered with equal ardor by the soloist. After one last nostal- their lives, Bruch, whose training was firmly rooted in the gic recollection of the movement’s melodies, the simplicity of “Classical” Romanticism of Mendelssohn, Schumann, and the opening returns and the movement closes serenely. Brahms, was still writing in the same conservative style at his Rustling strings begin the finale with a feeling of anticipa- death in 1920 as he did sixty years earlier. For all his prolific tion, over which the soloist bursts with a bold theme in double output, in our time only three of Bruch’s compositions are stops, unstoppable in its relentless drive and vigor. A contrast- heard recurrently in the concert hall: Kol Nidrei for cello and ing lyrical theme is taken up by both soloist and orchestra, but orchestra, the Scottish Fantasy for violin and orchestra, and it is the fireworks of the opening melody that carry the day, the Violin Concerto No. 1. Of these three works, it is the First accelerating to the exhilarating final chords.▪ Concerto that is heard most frequently on orchestra programs; it was Bruch’s first successful major work, and it has main- tained its place as one of the cornerstones of the violin reper- Symphony No. 3, Polish toire, beloved by violinists and audiences alike. PYOTR ILLYICH TCHAIKOVSKY (1840 - 1893) The First Concerto was Bruch’s first major orchestral work, and he struggled with the construction of it over several years. After a preliminary performance in 1866, Bruch remained dis- t’s one of those things we all know instinctively, but often satisfied and withdrew it from performance. In consultation Ihave a hard time putting into practice: sometimes in order to

8 theFSO.org | 20 – 21 Program Notes May 8, 2021 get our best work done, all we need is a little peace and quiet. the dogs are the same, and they chase after me to have While many composers thrive on the hustle and bustle of a walk.” urban life – Leonard Bernstein and George Gershwin being notable examples – others found that inspiration flowed freely Despite his assertion that he was “doing it a bit at a time,” only when separated from the cares of daily life. Johannes Tchaikovsky must have tapped into some powerful inspiration Brahms produced some of his finest works on his summer at his friend’s estate; he finished the draft of the symphony in visits to Pörtschach am Wörthersee in the Austrian province just three weeks. To orchestrate it, Tchaikovsky left Usovo and of Carinthia, and Mürzzuschlag in Styria. The Alpine vistas of journeyed first to Nizy and then to Verbovka in the Ukraine, Pörtschach inspired both his Second Symphony and his Violin roughly 110 miles south of Kiev, where Tchaikovsky’s sister Concerto, while the lakes and mountains near Mürzzuschlag and her husband owned property. The orchestration was stimulated the composition of his Fourth Symphony. Gustav completed quickly; the printer’s copy of the full score bears Mahler had to limit his composing to only the summer season, the inscription "Begun 5 June 1875 at Usovo. Finished 1 with his autumn, winter and spring occupied with concerts August 1875 at Verbovka". The score is dedicated to Vladimir and opera productions. He spent his summers among the Shilovsky, in appreciation of the kind hospitality that helped mountains and lakes of Steinbach, Maiernigg, and Toblach, bring the new symphony to life. composing, hiking, and rejoicing that the musical squabbles The premiere, with the orchestra of the Russian Musical and political intrigues of the Vienna Court Opera were miles Society conducted by Nikolai Rubinstein in Moscow in away. November of 1875, was favorably received by public and crit- When Tchaikovsky was a professor at the Moscow ics, but since then the Third has become the least performed Conservatory, he, too, felt the need to get away from it all in of Tchaikovsky’s symphonies, found more often on recordings order to write his best music. In his case, he left the city to take than in the concert hall. You’d be most likely to hear the sym- advantage of the solitude of the Usovo estate about 260 miles phony while attending a ballet performance; the great chore- south-southeast of Moscow. The estate was owned by one of ographer George Balanchine used the last three movements in Tchaikovsky’s former students, Vladimir Shilovsky. They had his ballet Jewels. first met in 1866 when Shilovsky’s parents hired Tchaikovsky Tchaikovsky’s Third is often called his “Polish” Symphony, to give their son piano lessons. Shilovsky developed a huge a nickname derived from the rhythms of the polonaise (a crush on the composer (much to Tchaikovsky’s annoyance), Polish dance, best known from the music of Fréderic Chopin) and the wealthy young man’s erratic behavior was also a cause found in the finale; Tchaikovsky even gives the movement the for concern, often endangering his safety and/or his health. tempo marking “Allegro con fuoco: Tempo di polacca.” The Tchaikovsky, not wishing to offend his students wealthy par- nickname came into use after the first London performance ents, persevered in the young man’s instruction, even to the in 1889, but was sanctioned neither by Tchaikovsky nor his point of bringing Shilovsky home from a sanitorium when he publisher. While it is tempting to hear this Polish dance as a fell seriously ill while traveling. gesture of solidarity with the Polish people, in Tchaikovsky’s By the 1870s, Shilovsky’s schoolboy crush had softened time, the polonaise was considered a symbol of the power and into admiration and warm affection for the composer, send- might of the Romanov dynasty, so Tchaikovsky’s finale would ing Tchaikovsky occasional gifts of money to help him make have been heard as support for the Russian Empire, not a ends meet. Shilovsky often invited Tchaikovsky to be his guest revolt against it. at Usovo, and the composer visited the estate frequently. The Third Symphony is the most unorthodox of Tchaikovsky wrote the bulk of his Symphony No. 2 there, as Tchaikovsky’s symphonies, constructed in five movements well as his symphonic poem The Tempest. He found the for- rather than the typical four, and it is his only symphony in ests and wide-open steppes helped to stimulate his creativity, a major key. He may have patterned the work after another and spent many hours walking the woodland paths. Third Symphony, the “Rhenish” Symphony of Robert The second term at the Moscow Conservatory in the Schumann, a composer Tchaikovsky greatly admired. It could spring of 1875 must have been particularly exhausting for also be compared to some of the serenades of Mozart, another Tchaikovsky. He left for Usovo as soon as exams finished, and of Tchaikovsky’s musical heroes, with the middle movements immediately began sketching the Third Symphony. He wrote comprising a minuet, a slow movement, and a scherzo, book- to a friend: ended by the two longest and most complex movements. The opening movement begins with a spooky slow intro- “I’m now composing a new symphony, and I’m duction, solemn strings haltingly stating a somber march, doing a bit at a time. I don’t sit over it for hours on end, joined by distant horns and woodwinds. The tempo and the and I’m walking more….Nothing’s changed here. Even mood brighten suddenly, with the full orchestra surging into

theFSO.org | 20 – 21 9 Program Notes May 8, 2021 the bold Allegro brillante theme, the funeral march of the At the end melancholy returns, the solo bassoon singing a brief introduction transformed into a forceful charge. Woodwinds lament before the final hopeful woodwind chord. introduce a yearning, melancholy second theme, taken up The fourth movement scherzo (Allegro vivo) opens ner- by strings and then the rest of the orchestra. This movement vously with mysterious swirls of woodwind and string figura- dances as well as marches, with many passages reminiscent of tion punctuated by staccato woodwinds. Here, too, the music the composer’s Swan Lake, which Tchaikovsky had begun to evokes ballet, with light, airy textures dominating, reminiscent compose at about the time as the Third Symphony. The march of the Scherzo from Mendelssohn’s music for Shakespeare’s returns triumphantly and the movement builds to a brilliant A Midsummer Night’s Dream. The central section features coda, speeding forward to the exuberant final chords. antiphonal dialogue between strings, winds and horns, imitat- The second movement, marked “A la Tedesca” (In the ing the sounds of hunting calls. A magical passage of string German manner) takes the form of a gentle waltz, or perhaps a arpeggios heralds return of the opening scherzo material. In German Ländler, the waltz-like peasant dance beloved of both the coda, the cascading flourishes of strings and woodwinds Schubert and Mahler. In the central section, scurrying wood- gradually grow softer and the movement suddenly evaporates winds and strings supply a nervous undercurrent to the seren- like the delicate popping of a bubble. ity of the elegant dancing. The opening waltz returns, and the The finale launches in glorious splendor, the confident movement closes quietly with a bemused flourish from the polonaise dancing exuberantly in the full orchestra. The dis- solo bassoon. tinct rhythm of the opening is heard fragmented in layers of The third movement is one of Tchaikovsky’s great symphon- energetic counterpoint. Woodwinds intone a majestic, chorale- ic elegies, a predecessor of similar movements in his Serenade like theme before the polonaise returns. Tchaikovsky then for Strings (third movement) and Sixth Symphony (final move- takes the initial notes of the polonaise and creates a virtuoso ment). At the opening, solo bassoon and horn meditate quietly fugue, with voices entering one after another to create great over pizzicato strings. The string section interrupts with an musical energy, building to a return of the chorale, blazing in expressive theme, temporarily lifting the mood, but the music triumph in brass and woodwinds. The strings surge headlong soon retreats back into quiet nostalgia. The woodwinds take into the coda, leading the orchestra’s final sprint to the majes- up the strings’ yearning idea, joined by the full orchestra in tic final chords.▪ increasing ardor, but again falling short of a cathartic climax.

Program Notes by Dr. David Cole © 2021

Dr. David C. Cole, program annotator for the Flint Symphony, also writes program notes for the Lubbock Symphony, the Southwest Florida Symphony, the Meridian Symphony, the Gulf Coast Symphony, and the Pensacola Symphony. 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 to 2017. He conducted the Symphony’s Young People’s Concerts and Majors for Minors programs, and he also served as the Symphony’s Education Director and Youth Orchestra Manager. In his tenure conducting 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. Dr. Cole has previously led the orchestra programs at universities in Florida, Texas, Utah, Kentucky and Michigan and taught orchestra and strings in the Waco, Texas public schools. He has served as the Music Director of the Waupaca Area Orchestra in Wisconsin and the Orchestra of Southern Utah as well as the violinist of the Presque Isle Trio in Michigan. He holds music degrees from West Virginia University, The University of Iowa, Baylor University and The University of Arizona. In 2001, he was selected as one of four conductors to record the national anthems heard during the Medals Ceremonies at the 2002 Salt Lake City Winter Olympics. Dr. Cole has assisted in the training of young conductors through lessons and master classes in Colombia, Mexico, Bolivia and Texas. He appears frequently as guest conductor and orchestra clinician with youth orchestras and high school groups throughout the United States as well as university, conservatory and youth orchestras in Central and South America.

10 theFSO.org | 20 – 21 Julian Rhee VIOLIN

First prize winner of the 2020 Elmar Oliveira International Violin Competition

he first prize winner of the 2020 Elmar Oliveira Concerto Competition, where he performed with the TInternational Violin Competition, violinist Julian Aspen Philharmonic Orchestra at Benedict Music Tent. Rhee is fast gaining recognition as an outstanding A passionate chamber musician, Julian’s performance musician and performer in the US. on violin and viola earned him and his String Quartet An avid soloist, Julian made his Milwaukee Symphony first prize in the 2018 A.N. & Pearl G. Barnett Chamber Orchestra debut at age 8, and has gone on to perform Music Competition, Rembrandt, Fischoff and the M-Prize with orchestras such as the Pittsburgh Symphony International Chamber Arts Competition. This past sum- Orchestra, Eugene Symphony Orchestra, San Jose mer, Julian appeared with the Jupiter Chamber Players Chamber Orchestra, the Madison Symphony Orchestra, in New York City, and also performed with recent Avery the Avanti Symphony Orchestra, West Suburban Fisher Career Grant Winner Henry Kramer at Pierce Hill Symphony Orchestra, the Wisconsin Philharmonic, the Performing Arts in August. Lacrosse Symphony Orchestra, the Wisconsin Chamber Julian has appeared alongside internationally renowned Orchestra, and most recently, the San Diego Symphony. ensemble Time for Three on NPR’s From The Top, 98.7 He has performed in an array of venues including WFMT’s Introductions, Milwaukee Public Radio 89.7, Ravinia’s Bennett Gordon Hall, Heinz Hall, the Milwaukee Public Television, and Wisconsin Public Radio Overture Center for the Arts, Teatro El Círculo in and Television (WPT/WPR). Julian shares his passion for Rosario, Argentina, The Musikverein in Vienna, music by serving in the local community as an assist- Bartok Hall in Hungary, New World Center, and ing artist and mentor of the Wisconsin Intergenerational the John F Kennedy Center. Orchestra (WIO), which brings together musicians of all Julian is also the first prize winner of the Johansen ages and skill levels. In addition, he regularly speaks and International Competition in Washington DC. A Finalist performs at schools and retirement homes in Wisconsin of the National YoungArts Foundation, where he per- and Illinois, most recently at Palo Alto High School, West formed at the New World Center in Miami, Julian was Bend High School and North Shore Country Day School also awarded the Solo Bach, Commissioned Work, as its Susan Marshall Artist. and the Elaine H. Klein Prize at the Irving M. Klein Julian studied with Almita and Roland Vamos as a International String Competition. Subsequently, Julian scholarship recipient at the Music Institute of Chicago appeared at the John F. Kennedy Center as a Presidential Academy. He is a graduate of Brookfield East High Scholar and received his medal at the White House. In School as Class President and Valedictorian. He is cur- the summer of 2018, Julian was the recipient of the 2019 rently pursuing a Bachelor of Music degree with Miriam Dorothy Richard Starling Foundation Scholarship, and Fried at the New England Conservatory.▪ was named the winner of the Aspen Music Festival Violin

theFSO.org | 20 – 21 11 In Loving Memory of Dr. Samuel Dismond January 14, 1932 - February 5, 2021

Dr. Dismond loved Flint and the Flint Institute of Music. We were blessed with his infectious smile, enthusiasm and grace, as well as his exceptional leader- ship and philanthropic support throughout two decades of service to FIM. He served on the board of trustees, as Flint School of Performing Arts Advisory Committee Chair, as a loyal Flint Symphony Orchestra subscriber, and as a founding committee member of the Black Classical Music Family Festival (now known as Black Classical Origins). He is greatly missed and will be treasured in our hearts and memories always.

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 PRINCIPAL TRUMPET FIRST VIOLIN & ASSISTANT In Memory of Lucy Schultz In Memory of Helen Davenport Kleinpell PRINCIPAL CHAIRS VIOLA $30,000 & UP Sponsorship Available FIRST VIOLIN ASSOCIATE CONCERTMASTER In Memory of Barbara Walters In Memory of Katherine Yeotis ENDOWED SECTION CHAIRS FLUTE PRINCIPAL BASS TROMBONE $20,000 & UP In Loving Memory of Allan E. In Honor of Bruce & Barbara Mackey Walters by Barbara Walters BASS PRINCIPAL CELLO In Honor of Tom Glasscock OBOE Anna Paulina Koegel In Memory of Tom Zorn by BASS Family and Friends of FIM PRINCIPAL FLUTE In Memory of Cornelia H. Norton Frances Willson Thompson PICCOLO CELLO Plante & Moran, PLLC PRINCIPAL HARP In Memory of Henrietta A. Libby B. Winegarden by daughter, Eickhorst SECOND VIOLIN Dorothy W. Booth In Memory of Cornelia H. Norton CELLO PRINCIPAL FRENCH HORN In Memory of Evelyn Shores Hall VIOLA The late Joseph D. & Almeda B. Hunter In Memory of Cornelia H. Norton FIRST VIOLIN PRINCIPAL KEYBOARD In Memory of Robert J. Breeden In Memory of Herbert J. Booth by the Breeden Family

12 theFSO.org | 20 – 21 PRINCIPAL & ASSISTANT FSO ENDOWMENT Dr. & Mrs. Paul Lauber CHAIR ANNUAL GIFTS Farrehi Family Foundation Mrs. Linda LeMieux Dr. & Mrs. Michael Lindemann $1,500 & UP FSO GENERAL OPERATING Mr. Vince Lorraine & Ms. Sherron Barden ASSISTANT PRINCIPAL CELLO Mr. & Mrs. Paul Adams Mr. Edward Maki-Schramm Dr. & Mrs. Paul E. Schroeder * Dr. Charles Apple Ms. Jeanette Mansour & Mr. Joseph Green Mr. & Mrs. John M. Atkinson Ms. Marjorie Markon ASSISTANT PRINCIPAL VIOLA Mr. & Mrs. Dean Bagnall Ms. Marilyn Mazanec Dr. Cathy O. Blight & Mr. Carroll G. Baker, Sr. & McCredie Insurance Agency, Inc. Mr. Edward Davison * Ms. Kimberly Roberson Ms. Renate McLaughlin Mr. & Mrs. Keith M. Barkiewicz Ms. Deborah J. Meissner SECOND VIOLIN Mr. & Mrs. David Benjamen Ms. Marcia Meshew Hubbard Supply Co. Mr. & Mrs. Robert Benson Ms. Diane Midgley Ms. Edna Bick & Mr. John Helsom Mr. Charles W. Miller & PRINCIPAL CLARINET Ms. Jane M. Bingham Dr. Townes Miller Beverly Bernard • Mr. & Mrs. Tim Bograkos Mrs. Helen Millhouse Ms. Cheryl Borkowski Dr. Bobby Mukkamala & PRINCIPAL OBOE Mr. John Borysewicz Dr. Nita Kulkarni Ann Marie Van Duyne Mr. & Mrs. Robert Bottinelli Mr. Michael Naddeo PRINCIPAL PERCUSSION Rev. & Mrs. Paul Bravender Mr. & Mrs. Charles Nelson Sponsorship Available Ms. Patricia Burroughs Ms. Cynthia Nill Mr. Thomas L. Capua Sr. Mr. & Mrs. Richard Noteboom Mr. & Mrs. Tom Cerny Mr. & Mrs. Pat Palmer SECTION CHAIR Charles Stewart Mott Foundation Ms. Nancy Paul ANNUAL GIFTS Mr. & Mrs. Howard Chenoweth Mr. & Mrs. Marvon Payne $1,000 & UP Dr. & Mrs. Marshall Cossman Ms. Debra Perczak CONCERTMASTER Mr. & Mrs. Robert Darley Ms. Judith Perez The Wang Family Charitable Fund • Mr. Evans Davis Mr. & Mrs. James E. Peterson Dr. Cathy O. Blight & Mr. & Mrs. Randall Petrides PRINCIPAL BASS Mr. Edward Davison Mr. William H. Piper Gary & Carol Hurand Mr. Kenneth Dick Mr. & Mrs. James Popoff Mr. & Mrs. Dallas C. Dort Mr. Jerry L. Preston PRINCIPAL BASSOON Mr. & Mrs. Philip Downs Dr. & Mrs. Gregg Reese Mrs. John Nash * Mr. & Mrs. Don Elliott Ms. Nicole Richey Ms. Loretta C. Ellwood Mr. & Mrs. David Roeser PRINCIPAL ENGLISH HORN Dr. & Mrs. Kenneth J. Fawcett Mr. Harlon Rose Carolyn Stubbs & Susan Flint Cultural Center Corporation, Inc. Mr. & Mrs. Charles Rudduck Schneberger Dr. Brenda R. Fortunate & Mr. & Mrs. Ghassan Saab Mr. C. Edward White Mr. Allen Salyer PRINCIPAL FIRST VIOLIN Mr. Jim Garrison Mr. & Mrs. Steve Schmit Daniel S. & Carole J. Harrett Mr. & Mrs. Eugene Griffel Ms. Marikay Scott PRINCIPAL VIOLA Mr. & Mrs. Earl Guzak Ms. Janet Shiel Mrs. Frankie Hardy Mr. & Mrs. Bruce Siegel Gary & Patty Jo Reppenhagen Mr. & Mrs. Daniel S. Harrett Mr. & Mrs. Jeff Slepak Ms. Shirley Hartkopf Mr. & Mrs. J. Parkhill Smith PRINCIPAL VIOLA Mr. & Mrs. Edward Henneke Mr. & Mrs. James Spangler Lynne Hurand Dr. & Mrs. John V. Hinterman Mr. & Mrs. Dennis Springer PRINCIPAL FLUTE Mr. & Mrs. Dennis Hodges Ms. Ellyn Sudow Ms. Delores Holbrook Ms. Susan Sullivan Michael Dingman & Ms. Stefanie Horvath Ms. Kristina Tate Susan Sumner-Dingman Ms. Jennifer Howard Ms. Sandra Tisdale PRINCIPAL HARP Ms. Vista Huggins Ms. Jane B. Trotter Libby B. Winegarden by Mr. & Mrs. Gary Hurand Mr. & Mrs. Mark Van Faussien daughter, Dorothy W. Booth Ms. Gail Hurst Ms. Robin Von Wald Ms. Cindy Huss Mr. & Mrs. Howard Warnick PRINCIPAL PERCUSSION Dr. Susumu Inoue & Mr. & Mrs. Richard C. Weiermiller Sponsorship Available Dr. Mary Mitchell-Beren Mr. Ken Wensel Mr. & Mrs. G. Donald Kaye Mr. & Mrs. Edwin Weston FSO DONORS Mr. & Mrs. Hal Keim Ms. Barbara White JANUARY 1 - DECEMBER 31, 2020 Mr. & Mrs. Raymond Kelly Ms. Judy Yen Jiun Lin Wu Mr. & Mrs. William J. Kerscher III Ms. Catherine Yeotis FSO ENDOWMENT Mr. Brian T. Kettler & Ms. Lauren Gale Charles Stewart Mott Foundation Mr. Richard L. King, Jr.

theFSO.org | 20 – 21 13 Flint

SymphonyOrchestra ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR

THANK YOU SPONSORS

2021-22 SEASON SPONSOR Whiting Foundation

OCTOBER 2, 2021 MARCH 12, 2022 Dr. Cathy O. Blight & Edward Davison Dr. Kenneth & Nancy Lee Fawcett

Drs. Venkat & Rama Rao Guest Artist Sponsors: Carolyn Stubbs & Susan Schneberger Jay & Marilyn Nelson William Hentgen Preferred Steinway Drs. Paul & Barbara Adams Performance Sponsors: Dr. Brenda Fortunate & C. Edward White Guest Artist Sponsors: The Chan Family NOVEMBER 13, 2021 The Rabinkov Family APRIL 9, 2022 Dr. Stuart & Kathy Weiner Anonymous Donor 16

Guest Artist Sponsors: Guest Artist Sponsors: Dr. Frederick & Gloria VanDuyne Howard & Rita Shand

FEBRUARY 5, 2022 MAY 14, 2022 Jean Craig Flynn Mrs. Linda LeMieux Guest Artist Sponsors: Drs. Bobby & Nita Mukkamala James & Patt Spangler Dr. Mark & Genie Plucer David & Heidi Wharton Preferred Steinway Tom Glasscock & Helen Bas Performance Sponsors: Dr. Brenda Fortunate & C. Edward White Guest Artist Sponsors: RENEWAL The Timeless Healing Power of Music Inspired by Nature

2021-22 SEASON

DE FALLA & SMETANA, VIVALDI MENDELSSOHN & GINASTERA OCTOBER 2, 2021 | 7:30PM MARCH 12, 2022 | 7:30PM Guest Artist Abdiel Vázquez, piano FAMILY DAY CONCERT Guest Artist Judy Lin Wu, violin DEBUSSY & BRAHMS TCHAIKOVSKY NOVEMBER 13, 2021 | 7:30PM & IBERT Guest Artist Amy Ley, harp APRIL 9, 2022 | 7:30PM Guest Artist Brandon LePage, flute COPLAND & GRIEG CHÁVEZ, RESPIGHI FEBRUARY 5, 2022 | 7:30PM & STRAVINSKY Guest Artist Alessio Bax, piano MAY 14, 2022 | 7:30PM Guest Artist FSO Percussion Section

Check thefso.org/season-preview for updates and more details! AN EVENING WITH Damien Escobar JUNE 19, 2021 | 7:30PM Damien Escobar violin Damien’s energetic live performances feature a wide range of “cross-over” musical styles consisting of a mix of classical, jazz, pop, R&B, and hip hop. His eclectic use of genres creates a sound that embraces the traditions of jazz and classical music as much as it highlights his singular innovation as an artist and his desire to explore beyond the boundaries of the sonically mainstream. There is something in Damien’s music for every- one, and it is truly best enjoyed live.

This concert is being offered in live and digital formats. To purchase tickets, visit thefso.org/june-19-2021