CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE © Elena Martunyuk Today’s performance is sponsored by

Dotty and Paul Rigby Bob and Ruth Murray

Community Advisory Council The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective.

Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE Opus 3 Artists present State Symphony Orchestra

Pavel Kogan, conductor Joshua Roman, cellist

7:30 p.m. Tuesday, November 11, 2014 Eisenhower Auditorium

The performance includes one intermission.

This presentation is a component of the Center for the Performing Arts Project. With support from The Andrew W. Mellon Foundation, the project provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology, and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project.

sponsors Dotty and Paul Rigby Bob and Ruth Murray

media sponsor WPSU

The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. PROGRAM : Ballet Music (1818–1893)

I. Dance of the Nubian Slaves II. Cleopatra and the Golden Cup III. Antique Dance IV. Dance of Cleopatra and Her Slaves V. Dance of the Trojan Maidens VI. Mirror Dance VII. Dance of the Phryné

Cello Concerto No. 1 in A minor, Op. 33 Camille Saint-Saëns (1835–1921) Joshua Roman, cellist

I. Allegro non troppo II. Allegretto con moto III. Allegro non troppo

INTERMISSION

Symphony No. 4 in E minor, Op. 98 (1833–1897)

I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

The Moscow State Symphony Orchestra tour is supported by the Ministry of Culture, Russian Federation.

Exclusive Tour Management and Representation: Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York, NY 10016 www.opus3artists.com followed by Cleopatra and the Golden PROGRAM NOTES Cup, a slower dance, Adagio, which in BY SUSAN HALPERN its second part becomes more spirited, Animato. Then comes the wonderfully Ballet Music from the Opera melodic Antique Dance, Allegretto, Faust and Dance of Cleopatra and Her Slaves, Moderato maestoso. Next is Dance of Charles Gounod’s Faust is the most the Trojan Maidens, Moderato con moto, popular of the many musical works and Mirror Dance, Allegretto. The finale, based on the old tale of the man who Dance of the Phryné, is Allegro vivo. sells his soul to the Devil in exchange for youth and love. In its original form, Camille Saint-Saëns called this ballet it had one brief dance episode—a car- suite “a masterpiece of its kind,” but nival scene—but for a new production Gounod had been reluctant to take it at the Opéra in 1869, Gounod on and considered letting Saint-Saëns composed a complete ballet to be compose it for him; Saint-Saëns had placed near the beginning of Act Five. tentatively agreed with the under- This production, the work’s most lavish standing that Gounod could replace up until that time, helped Faust achieve it with his own music whenever he remarkable popularity in France. It was wanted to do so. According to Saint- almost a requirement of French operas Saëns, after that interchange with to include ballet because the wealthy Gounod, “I never wrote a note, and and aristocratic patrons expected it. never heard any more about it.” Because the Parisians’ expectations were so strong, com- Now, almost all performances of the posed ballet music for the Paris perfor- opera omit the substantial ballet, leav- mances of his operas. ing the ballet music to be heard only rarely in concert. The new scene Gounod composed took Faust to the highest point in the Hartz The orchestra includes two flutes (one Mountains to witness Walpurgis Night, doubling piccolo), two oboes, two clari- or “Witch’s Night,” on the eve of May 1. nets (one doubling bass clarinet), two In an attempt to distract Faust from bassoons, four horns, four trumpets, his grief at the absence of his beloved three trombones, tuba, timpani, bass Marguerite, the devilish drum, cymbals, triangle, tambourine, transports Faust to a cave and conjures harp, and strings. up for him the sight of the most beauti- ful queens and courtesans of antiquity: Concerto for Cello and Orchestra Thais, Cleopatra, Helen of Troy, Astarte, No. 1 in A minor, Op. 33 and Phryné. The ballet music keeps with the presence of the Devil, who Camille Saint-Saëns, an extensive continues to encourage Faust in his traveler, took many concert tours and worldly pursuits. An orgiastic ballet full pleasure trips—visiting more diverse of revelry takes place, continuing until places than most well-traveled tourists dawn. today. He traveled to the United States twice and made his South American The first of the dances is Dance of the debut at the formidable age of 81. Nubian Slaves, a waltz, Allegretto. It is When not traveling, he was a com- poser, a conductor, and a pianist. He tial theme reappears, and the tempo contributed to France’s musical life by quickens as the recapitulation brings establishing the importance of instru- the concerto to a dazzling climax. mental composition, when opera had long been the dominant form. The work is scored for an accompany- ing orchestra of two flutes, two oboes, This concerto, one of the most popu- two clarinets, two bassoons, two horns, lar in the cello’s relatively small solo two trumpets, timpani, and strings. repertoire, was composed in 1872. It debuted on January 19, 1873, at a Symphony No. 4 in E minor, Op. 98 concert of the Paris Conservatory Orchestra, with soloist and dedicatee Johannes Brahms spent a large part August Tolbecque. A compact work in of his early years wandering from one a single continuous movement, its new city to the next, meeting important ideas about concerto form give the participants in Germany’s decentralized soloist—not the orchestra—the initial musical life and broadening his artis- statement of major themes. The music tic horizons. When he was in his 20s, has great melodic vitality and much he held a post at the court of a minor charm. Like many other composers of principality. He settled in Vienna when the nineteenth-century concerto, Saint- he was in his 30s—and like Beethoven Saëns combines elements of three sep- before him and Mahler after—he soon arate movements into one three-part began to spend his summers in the structure with the last part functioning country. In winter, Brahms polished his both as finale and as recapitulation of recent compositions and planned his the first part. next ones, but the serious business of invention and creation were summer The concerto begins, Allegro non activities or him. troppo, energetically with the cello set against the and violas as Brahms wrote his Symphony No. 4, two it announces the main theme. After movements each summer, during 1884 the cello develops the first theme, the and 1885 in the Styrian Alps of Austria. orchestra takes it over; then the cello He returned home one day from a introduces the second theme, which mountain walk to find his home on fire. has a brief development before the Fortunately, his friends had saved most initial theme returns for both orchestra of his books and music. Fortuitously, and soloist to develop at length. Then, the manuscript of this symphony was a new theme is articulated, Allegro among the papers saved. molto, and the music quickly transi- tions into the central section, Allegretto Hans von Bülow prepared the orchestra con moto, a light, graceful minuet. At for its first performance of Brahms’s this point, the muted strings sing the Symphony No. 4 at the court of the theme, and the cello answers with Duke of Meiningen. Brahms conducted another dance-like theme. Both are the premiere on October 25, 1885. developed: the minuet by the orches- A week later, Bülow had his chance tra and the waltz by the soloist. In the to conduct the new work, and in third and last section, the cello displays November, Brahms and Bülow set off showy runs and passagework, the ini- on a concert tour of Germany and the Netherlands with the new symphony in their repertoire. The work was slow to stones of the symphonic repertoire. win public favor. Even in Brahms’s own This grave symphony, which has been Vienna, the symphony disappointed called an “elegiac” and a “character” his friends and delighted his enemies. symphony, reflects the earnestness Twelve years later there was an and introspection of Brahms’s late extraordinary performance of the sym- years. The first movement,Allegro non phony again in Vienna. Fatally ill with troppo, which begins lyrically, becomes a disease of the liver, Brahms made alternately contemplative and dra- his last public appearance at a concert matic, and it builds to a very dramatic of the Vienna Philharmonic Orchestra and tension-filled climax. The second, on March 7, 1897. The orchestra played Andante moderato, with its air of nos- Symphony No. 4. talgia and serenity, is based principally on an austere theme in the old, ecclesi- The composer’s English pupil, Florence astical Phrygian mode. The contrasting May, described the touching scene: robust third movement is the sympho- “The Fourth Symphony had never ny’s scherzo, Allegro giocoso, although become a favorite work in Vienna. It it is only distantly related in form to had not gained much more from the the classical scherzo of Beethoven. It is general public than the respect ac- capricious and full of high spirits. The corded there to any important work by finale, Allegro energicoe passionato, is Brahms. Today, however, a storm of ap- a chaconne—or passacaglia—a set of plause broke out at the end of the first continuous variations on an eight- movement, not to be quieted until the measure theme, based on the composer, coming to the front of the chaconne from Bach’s Cantata 150, box in which he was seated, showed Nach dir, Herr, verlanget mich, and himself to the audience. - unleashed by the trombones in triple stration was renewed after the second meter. Of magnificent proportions, the and third movements, and an extraor- movement is full of richly contrasting dinary scene followed the conclusion orchestral colors. After presenting the of the work. The applauding, shouting theme in the wind instruments, Brahms house, its gaze riveted on the figure constructs a monumentally powerful standing in the balcony, seemed un- series of thirty variations, carefully con- able to let him go. Tears ran down his trolling the ebb and flow of the music cheeks as he stood there, shrunken in and the continuity and the contrasts in form, with lined countenance, strained the eightmeasure phrases, until a bril- expression, white hair hanging lank, liant coda brings the symphony and through the audience there was to a close. a feeling as of a stifled sob, for each knew that they were saying farewell. The score calls for piccolo and two Another outburst of applause, and yet flutes, two oboes, two clarinets, two another; one more acknowledgment bassoons and contrabassoon, four from the master, and Brahms and his horns, two trumpets, three trombones, Vienna had parted forever.” timpani, triangle, and strings.

Considered by some to be Brahms’ most stimulating symphonic work, it is undoubtedly now one of the corner- MOSCOW STATE SYMPHONY ORCHESTRA The Moscow State Symphony Orchestra was founded in 1943 by the Kremlin and is one of the five oldest concert orchestras in .

Leo Steinberg, the People’s Artist of USSR and conductor of the , became the orchestra’s first chief conductor, a post he held until his death in 1945. He was succeeded by a series of distin- guished Soviet musical giants, including Nicolay Anosov (1945–1950), Leo Ginsburg (1950–1954), Mikhail Terisan (1954–1960), and Veronica Dudarova (1960–1989). The collaboration with these major figures helped to shape the orchestra into one of the most prominent national symphonic ensembles, revered for its performances and premieres of Russian and Soviet classical music, including the works of Myaskovsky, Prokofiev, Shostakovich, and Glier.

The Moscow State Symphony Orchestra has reached new levels of suc- cess around the world under the leadership of . In 1989, he was engaged as music director and chief conductor and immediately started incorporating European and American music into the orchestra’s repertoire.

A landmark of the orchestra has been to present the great cycles of complete symphonic works from leading composers such as Brahms, Beethoven, Schubert, Schumann, R. Strauss, Mendelssohn, Mahler, Bruckner, Sibelius, Dvořák, Tchaikovsky, Glazunov, Rachmaninoff, Prokofiev, Shostakovich, Scriabin, Berlioz, Debussy, and Ravel. The orchestra’s wide-ranging programs combine great orchestral, operatic, and choral classics with equally significant music of the twenty-first century, including many forgotten and neglected works.

The orchestra plays some 100 concerts annually. Along with the series in the Great Hall of the and in the Tchaikovsky Concert Hall, the Moscow State Symphony Orchestra performs in the Great Hall of the St. Petersburg Shostakovich Philharmonic Society and on the stages of many other Russian cities. The orchestra tours over- seas in the United States, United Kingdom, Japan, Spain, Austria, Italy, Germany, France, South Korea, Australia, China, and Switzerland.

The Moscow State Symphony Orchestra also has a long and distin- guished recording and broadcast history on television and radio. In 1990, the orchestra, led by Kogan, made a live recording ofTchaikovsky’s and concertos, soloed by Aleksey Sultanov and Maxim Vengerov and released by Pioneer. In the early 1990s, Russian televi- sion stations aired the documentary “Travels with the Orchestra” about the ensemble and Kogan on tour in Europe and in St. Petersburg. Their Rachmaninoff cycle, released by Alto—which recorded all of Rachmaninoff’s symphonies and symphonic dances—has become a chart-topping album. The orchestra has a proud history of collaborating with eminent con- ductors and soloists, including Evgeny Svetlanov, , Aleksandr Orlov, Natan Rahlin, Samuil Samosud, Valery Gergiev, , , , Vladimir Sofronitsky, Sergei Lemeshev, , Svyatoslav Knushevitskyi, , , Danill Shafran, and Angela Gheorgiu.

The partnership with Kogan has earned the orchestra an enviable reputa- tion for high standards of artistic excellence, imaginative programming, community engagement, and having a broad and loyal constituency around the world.

For more information, visit msso-kogan.com.

between conducting and the violin. He was granted special permis- sion to study both disciplines at the same time, a rarity in the for- mer . © Elena Martunyuk In 1970, 18-year-old Kogan, then a violin pupil of at the Moscow Conservatory, won first prize in the Sibelius Violin Competition in Helsinki, catapult- ing a violin career that took him to concert halls around the world. Forty years after his win, a panel of judges was asked to deter- mine the most impressive winner in the forty-five year history of the Sibelius competition for the PAVEL KOGAN, conductor newspaper Helsingin Sanomat. A unanimous vote put Kogan in the Maestro Pavel Kogan’s career, coveted spot, surpassing decades spanning more than forty years worth of violin virtuosos. and appearances on five conti- nents, has made him one of the As a conducting pupil of Ilya most respected and widely recog- Musin and Leo Ginsburg, in 1972 nized Russian conductors of our the young maestro gave his debut time. with the USSR State Symphony Orchestra and subsequently He was born into a distinguished turned his focus to conducting. musical family. His parents are In the years that followed, he legendary violinists Leonid Kogan conducted the leading Soviet and Elizaveta Gilels; his uncle is orchestras both at home and on the inimitable pianist Emil Gilels. tour abroad at the invitation of From an early age, Kogan’s artis- Mravinsky, Kondrashin, Svetlanov, tic development was divided and Rozhdestvensky. As a conductor of the Bolshoi from critics and audiences. His Opera, Kogan opened the 1988 recording of the Rachmaninoff season with a new production cycle (symphonies 1, 2, 3, of Verdi’s . That same Symphonic Dances, “Isles of the year he became the head of the Dead,” “Vocalize & Scherzo”) Zagreb Philharmonic Orchestra. was hailed by Gramophone as “… sparkly, strongly communicative In 1989, Kogan was appointed Rachmaninoff … vibrant, soulful, the music director and chief con- and involving.” ductor of the eminent Moscow State Symphony Orchestra and Kogan earned the State Prize has been there since, building it of the Russian Federation for his into one of Russia’s most widely performance of the complete known and highly acclaimed symphonies and vocal cycles of ensembles. Gustav Mahler. He is a member of the Russian Academy of Arts; Kogan has also appeared with recipient of the Order of Merit many prominent orchestras, of Russia; the Peoples’ Artist of including the St. Petersburg Russia award; and is a Chevalier Philharmonic Orchestra, Moscow de L’Ordre des Arts et des Philharmonic Orchestra, USSR Lettres, among many other inter- State Radio and Television national accolades. Symphony Orchestra, The Philadelphia Orchestra, , Bavarian Radio Symphony Orchestra, Munich Philharmonic, Orchestre National de Belgique, Helsinki

Philharmonic Orchestra, RTVE Sawatzky Jeremy Symphony Orchestra, Toronto Symphony Orchestra, Dresden Staatskapelle, Orquestra Filarmónica de Buenos Aires, L’Orchestre de la Suisse Romande, Orchestre National de France, Houston Symphony, Orchestre National de Capitole de Toulouse, and the Luxembourg Philharmonic Orchestra. From 1998–2005 he served as princi- pal guest conductor of the Utah Symphony Orchestra.

Kogan has recorded countless works with the Moscow State JOSHUA ROMAN, cellist Symphony and other ensembles, recordings which have been a The San Francisco Chronicle calls major contribution to the world’s Roman “a cellist of extraordinary musical culture. Many of his technical and musical gifts.” He is albums have garnered acclaim nationally renowned for perform- ing a wide range of repertoire Before embarking on a solo with commitment to communicat- career, Roman spent two seasons ing the essence of the music at as principal cellist of the Seattle its most organic level. He’s also Symphony, a position he won recognized as an accomplished in 2006 at the age of 22. Since curator and programmer, particu- that time he has appeared as a larly in his work as artistic director soloist with the San Francisco of Seattle Town Hall’s Town Music Symphony, the Seattle Symphony, series, with a vision to engage the Los Angeles Philharmonic, and expand the classical music the BBC Scottish Symphony, and audience. For his ongoing cre- the Mariinsky Orchestra, among ative initiatives on behalf of clas- many others. An active chamber sical music, Roman was named a music performer, Roman has col- 2011 TED Fellow. laborated with Cho-Liang Lin, the Asaad Brothers, Christian During the 2014–2015 season, Zacharias, the JACK Quartet, and Roman will premiere a new cello members of So Percussion. He concerto by Mason Bates with recently completed an ongoing the Seattle Symphony, under video series called The Popper Mirga Gražinytė-Tyla. He will Project, where he performed, also perform the work with the recorded, and uploaded the com- Columbus Symphony, under plete David Popper’s High School Rossen Milanov. In the role of of Cello Playing to his YouTube artistic director of the Town Music channel series, Roman showcases his (.com/joshuaromancello). eclectic musical influences and inspirations, presenting concerts His newest YouTube project, by the NOW Ensemble, Third Everyday Bach, features Roman Coast Percussion, and the Deviant performing Bach’s cello suites Septet. In the 2013–14 season, from beautiful settings around Roman gave the San Francisco the world. He was the only guest premiere of Dreamsongs, a new artist invited to play an unaccom- cello concerto written for him by panied solo during the YouTube Pulitzer Prize-winning composer Symphony Orchestra’s 2009 Aaron Jay Kernis, with the San debut concert at Carnegie Hall. Francisco Chamber Orchestra. He is grateful for the loan of an He also revisited On Grace, a 1899 cello by Giulio Degani of work for actor and cellist that Venice. Learn more about the cel- he co-created and performed list at www.joshuaroman.com. with Anna Deavere Smith when both artists were in residence at the University of Chicago. As Alumnus-in-Residence at the Music Academy of the West, he lead the August premiere of we do it to one another, a nine-part song cycle based on Life on Mars, a collection of poems by the Pulitzer Prize-winning poet Tracy K. Smith. Moscow State Symphony Orchestra Roster for U.S. Tour Fall 2014

Violin I Double Bass Alexandra Zhavoronkova, concertmaster Alexey Vlasov, principal Alexander Budnikov, assistant concertmaster Vitaly Vesialouski, assistant principal Marianna Apiryan Sergey Panov, assistant principal Anastasia Komissarova Nikita Kekher Iuliia Samusevych Andrei Pechenkin Mikhail Zontov Anton Izgagin Anna Grigoreva Aliaksandr Hvazdziou Vasilisa Borodyanskaya Sergey Listochkin Ekaterina Rovenskaya Irakliy Dolidze Mayya Tonitenko Silvana Gabrielyan Flute Elena Remeslennikova Alexey Mazur, principal Anna Penkina Yulia Efimenkova Tatiana Leonova Alexey Morozov Yulia Blessing Semen Lisov Flute/Piccolo

Violin II Vsevolod Mukhin Yury Gorelik, principal Oboe Julia Pliskovskaya, assistant principal Mariya Urushadze Emil Miroslavskiy, principal Roman Iliasov Pavel Zagrebaev Tatiana Golovko Vladimir Viatkin Vera Timofeeva Natalia Koveshnikova English Horn Olga Astashina Alexander Smirnov Yuliia Zvonnikova Ilya Konstantinov Clarinet Anastasia Pysina Evgeny Solovey, principal Anastasia Malakhova Georgii Paidiutov Nadezhda Novikova Dmitry Klimovich Vladimir Larshin Bass Clarinet Viola Mikhail Zhiglov Pavel Romanenko, principal Ilya Svetlosanov, assistant principal Bassoon Mikhail Klyachko, assistant principal Olesya Lyadashcheva Alexander Velichko, principal Dmitry Plyusnin Danila Iakovlev Anna Danilova Oxana Petrovskaya Natalia Baturina Irina Kozyreva Contrabassoon Galina Dobridneva Viacheslav Sazykin Polina Klochkova Iryna Voronova French Horn Dariya Barlybayeva Vasily Demidov, principal Pavel Akinshin Cello Petr Tuchinskiy Vladimir Slovachevskiy, principal Igor Vasiliev Rabbani Aldangor, assistant principal Vladimir Khalzov Ludmila Anticona-Cabaliero Grigorii Kattc Trumpet Igor Nechaev Gulsina Zametelskaya Vasily Bronnikov, principal Ivan Prudnikov Artur Kostin Dmitry Fastunov Mikhail Fatkin Yury Artemov Vladimir Zykov Anna Shchegoleva Alexander Shchetina Denis Sablin Mark Gorshkov Trombone Percussion Renat Khalimdarov, principal Alla Mamyko Anton Ilyushin Grigorii Pechenevskii Kirill Kolomoyskiy Ilia Parfenov Maxim Kopanev Bass Trombone Sergey Prokudin Harp Liudmila Frolkova, principal Tuba Elena Ilinskaya Ramil Mardalimov

Timpani Boris Stepanov

Executive Assistant to Music Director Director for Artistic Planning, Development, Marketing, Communications, Operations, and Orchestra Personnel Anastasia Mazur

Executive Director Vsevolod Polozhentsev

Stage Technicians Vitaly Alekseenko Alexey Stukalov

Wardrobe Nataliya Komova

For Opus 3 Artists David V. Foster: President and CEO Leonard Stein: Senior Vice President and Director, Touring Division Robert Berretta: Vice President; Senior Director, Artists and Attractions; Booking Manager, Artists and Attractions Irene Lönnblad: Associate, Touring Division Samantha Cortez: Associate, Attractions John Pendleton: Company Manager

1 5 8 Front cover photos: 1. Regina Carter © 2010 Rahav Segev/ Photopass.com 2. Cirque Alfonse in Timber! Frederic Barrette 3. Joshua Roman © Tina Su 4. MAMMA MIA! 2 9 MAMMA MIA! North American Tour © 2013 Kevin Thomas Garcia 5. Brian Stokes Mitchell © Richard Termine 6. Takács Quartet © Ellen Appel 7. Aspen Santa Fe Ballet 3 6 10 Rosalie O’Connor 8. BASETRACK Live 9. Tafelmusik Baroque Orchestra in The Galileo Project Glenn Davidson 10. SpokFrevo Orquestra 11. Ani Kavafian, Chamber Music 4 7 11 Society of Lincoln Center Bernard Midich Bold listings represent members who Members increased their donations by 10 percent The Center for the Performing Arts recognizes the following members or more this season. Be Bold! Contact for their support. For information on the membership program or Dave Shaffer, assistant director for how you may contribute to the Center for the Performing Arts, please special programs, at 814-863-1167. contact Dave Shaffer at 814-863-1167 or [email protected].

Leadership Encore Amy Greenberg and Richard Doyle Bill and Connie Hayes Circle Circle Steven L. Herb and Sara Willoughby-Herb $3,000 and more $1,000 to $1,999 Nancy L. Herron Lam and Lina Hood Lynn Sidehamer Brown Pamela M. Aikey Cindy and Al Jones Mimi U. Barash Coppersmith Grace M. Bardine Chick King Marty and Joan Duff Mary and Hu Barnes James and Bonnie Knapp Blake and Linda Gall Philip and Susan Burlingame James and Barbara Korner Robert and Helen Harvey Edda and Francis G. Gentry John and Michelle Mason Bob and Sonia Hufnagel Richard B. Gidez Patrick W. and Susan N. Morse Richard and Sally Kalin Judith Albrecht and Denny Gioia Marcia and Bill Newton Dan and Peggy Hall LeKander David and Margaret Gray Steve and Anne Pfeiffenberger Barbara Palmer Michael P. Johnson and Dotty and Paul Rigby Maureen Mulderig Jack and Sue Poremba Patricia Hawbaker Quinlivan Louis P. Silverman and Stan and Debra Latta Andy and Kelly Renfrew Veronica A. Samborsky Benson and Christine Lichtig Shirly Sacks George and Nina Woskob Kenneth and Irene Mcllvried Karen Scott Shearer Russell and Jeanne Schleiden Paul and K. C. Sheeler Jackson and Diane Spielvogel Director’s Vaughn and Kay Shirk Circle Carol and Rex Warland Terry and Pat Williams Susan and Lewis Steinberg David and Diane Wisniewski Marilynne W. Stout $2,000 to $2,999 Kenton Stuck Elizabeth Trudeau Patricia Best and Thomas Ray advocate George and Debbie Trudeau Lynn Donald Breon Mark and JoAnne Westerhaus Janet Fowler Dargitz and $500 to $999 Mary Jane and William Wild Karl George Stoedefalke Charlotte Zmyslo Rod and Shari Erickson Ned and Inga Book Edward R. Galus Jack and Diana Brenizer Partner Arnold and Marty Gasche Sandra Zaremba and Richard Brown Donald W. Hamer and Marie Bednar Richard Carlson and Lori Forlizzi $250 to $499 Beverly Hickey Joseph and Annie Doncsecz Honey and Bill Jaffe Michael T. and Ann F. Dotsey Steve and Chris Adams Kay F. Kustanbauter Steve and Sandy Elbin William W. Asbury Eileen W. Leibowitz Mark A. Falvo Dr. Deborah F. Atwater Tom and Mary Ellen Litzinger Joel Gaesser Sven and Carmen Bilén Pieter W. and Lida Ouwehand Nancy S. Gamble Alan Brown William Rabinowitz John and Carol Graham Richard W. Bryant Robert Schmalz partner (cont’D) friend Tom Caldwell Memorial Fund $250 to $499 $150 to $249 Don Miller Roger and Corrine Coplan Lynn and Ellis Abramson June Miller Lee and Joan Coraor Shirley Allan Gary and Judy Mitchell Stephanie Corcino Anne and Art Anderson Betty and John Moore Jo Dixon Scott and Sandy Balboni Chris and Bobbie Muscarella Margaret Duda Dr. Henry and Elaine Brzycki Robert F. and Donna C. Nicely Heather F. Fleck John Collins and Mary Brown Claire M. Paquin Pamela Francis John M. Carroll and Mary Beth Rosson Guy and Grace Pilato Peg and Joe French George and Bunny Dohn Andrew and Jean Landa Pytel Catherine Greenham Steven P. Draskoczy, M.D. Ed and Reutzel Andrea Harrington Terry and Janice Engelder Phil and Judy Roberts Ms. Sue Haug Barry and Patti Fisher Susan J. Scheetz Dawn E. Hawkins Frank and Vicky Forni The Shondeck Family Dale T. Hoffman Bob and Ellen Frederick Donald Smith and Merrill Budlong Christopher and Gail Hurley Andris and Dace Freivalds Allan and Sherrill Sonsteby John and Gina Ikenberry Bethlyn and Scott Griffin Carol Sosnowski and Allen and Nancy Jacobson Charlie and Laura Hackett Rosemary Weber Laurene Keck and Dave Sweetland Elizabeth Hanley and Barry and Ellen Stein John and Leathers Patrick Kolivoski JoLaine Teyssier Debra Leithauser John Lloyd Hanson James and Deena Ultman Fran E. Levin Betty Harper and Scott Sheeder Stephen and Jennifer Van Hook Jack and Ellie Lewis Proforma LLH Promos, LLC Nancy and Wade VanLandingham Dorothy and Kenneth Lutz Tom and Ann Hettmansperger Alice Wilson and Friends Richard D. Lysle Jackie and John Hook Carl and Sharon Winter Jodi Hakes McWhirter Jim and Susan Houser David L. and Connie Yocum Susan and Brian McWhirter Steven and Shirley Hsi Jim and Sharon Mortensen Anne F. Hummer the jazz train Joe and Sandy Niebel Daniel and Kathleen Jones Eva and Ira Pell Ed and Debbie Klevans $250 and more Martena Rogers John F. Knepp Help us continue to present world-class Mike and Joan Roseberry Harry B. Kropp and jazz artists by becoming a member of Sally L. Schaadt Edward J. Legutko Thomas Kurtz and The Jazz Train. For details, contact Dave Robert and Peggy Schlegel Shaffer at [email protected] or Grace Mullingan-Kurtz Tom and Carolyn Schwartz 814-863-1167. Dave Shaffer and Eve Evans Mark and Theresa Lafer John and Sherry Symons Fred and Louise Leoniak William W. Asbury Shawn and Amy Vashaw Sharon and David Lieb Patricia Best and Thomas Ray Gary and Tammy Vratarich Bob and Janice Lindsay David and Susan Beyerle Barbara R. and Joel A. Weiss Herb and Trudy Lipowsky Lynn Donald Breon Sue Whitehead Jane and Edward Liszka Lynn Sidehamer Brown David and Betsy Will Nancy and John Lowe Philip and Susan Burlingame Craig and Diane Zabel Sandy and Betty Macdonald David and Lisa Coggins Dr. Theodore Ziff Helen Manfull Gordon and Caroline DeJong Cal and Pam Zimmerman Deborah Marron Jim and Polly Dunn Betty McBride-Thuering Edward R. Galus Sherren and Harold McKenzie Arnold and Marty Gasche Charlene and Frank Gaus John and Michelle Groenveld Lee Grover and Anita Bear Steven L. Herb and Endowment Sara Willoughby-Herb Anne and Lynn Hutcheson Contributors Honey and Bill Jaffe $150 and more Brian and Christina Johnson Michael P. Johnson and We recognize the following donors who have contributed to endow- Maureen Mulderig ments at the Center for the Performing Arts in the past year. For more Cindy and Al Jones information about how to contribute to existing endowments, contact Nicholas and Carolyn Kello Dave Shaffer at 814-863-1167 or [email protected]. Robert Martin and Kathy Weaver Kathleen D. Matason and John L. Brown Jr. and Marlynn Steele Sidehamer Richard M. Smith Endowment Randi and Peter Menard The Sturtz-Davis Family Dr. Marla L. Moon Wilson and Maureen Moses Nina C. Brown Endowment William and Annemarie Mountz Pamela M. Aikey Larry and Kelly Mroz Richard Robert Brown Program Endowment Jack and Sue Poremba Richard Brown and Sandra Zaremba Sally L. Schaadt David and Ann Shallcross-Wolfgang Norma and Ralph Condee Chamber Music Endowment Dan and Melinda Stearns Robert and Dorothy Cecil Dennis W. and Joan S. Thomson William F. and Kathleen Dierkes Condee Dan and Linda Treviño Honey and Bill Jaffe Endowment Barbara R. and Joel A. Weiss Honey and Bill Jaffe Charlotte Zmyslo McQuaide Blasko Endowment Mr. and Mrs. James Horne Penn State International Dance Ensemble Endowment Elizabeth Hanley and Patrick Kolivoski

vision Enriching lives through inspiring experiences

mission The Center for the Performing Arts provides a context, through artistic connections, to the human experience. By bringing artists and audiences together we spark discovery of passion, inspira- tion, and inner truths. We are a motivator for creative thinking and examination of our relationship with the world.