Flint

SymphonyOrchestra

ENRIQUE DIEMECKE, & CONDUCTOR

APRIL 10, 2021

FIM SEASON SPONSOR Whiting Foundation

CONCERT SPONSOR Anonymous Donor 16 Flint Symphony THEFSO.ORG 2020 – 21 Season

SEASON AT A GLANCE

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

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

BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM Joonghun Cho, piano WELCOME TO THE 2020 – 21 SEASON WITH BRUCH & TCHAIKOVSKY YOUR FLINT SYMPHONY ORCHESTRA! SAT, MAY 8, 2021 @ 7:30PM Julian Rhee, violin he Flint Symphony Orchestra (FSO) is one of the finest of its size in the nation. BCO POPS CONCERT Its rich 103-year history as a cultural icon CELEBRATING JUNETEENTH T SAT, JUNE 19, 2021 @ 7:30PM in the community is testament to the dedication Damien Escobar, violin of world-class performance from the musicians and Flint and Genesee County audiences alike. The FSO has been performing under the of 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 , 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 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 , 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 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 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 , 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 SPONSOR Anonymous Donor 16

GUEST ARTIST SPONSORS Hal & Jean Craig Flynn Nartel Family Foundation

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

Enrique Diemecke, Music Director & Conductor Joongun Cho, Piano

Ludwig van Beethoven Piano Concerto No. 4 (1770 - 1827) I. Allegro Moderato II. Andantino con Moto III. Rondo (vivace)

Joongun Cho, Piano

Antonin Dvořák Symphony No. 9, from The New World (1841 - 1904) I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

FIM SEASON SPONSOR - Whiting Foundation

CONCERT SPONSOR Anonymous Donor 16

GUEST ARTIST SPONSORS Hal & Jean Craig Flynn Nartel Family Foundation

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

FIRST VIOLIN VIOLA BASS (CONTINUED) Judy Lin Wu Janine Bradbury Jon Luebke Principal Assistant Principal Zeljko Milicevic Tonya Ketzler, Ketzler Florist, Craig Martin Associate Concertmaster Endowed Chair In Memory of Cornelia In Memory of Katherine Hannah Breyer H. Norton, Endowed Chair Yeotis, Endowed Chair Acting Assistant Principal Daniel Winnick Antione Hackney Emelyn Bashour Alycia Wilder Brandon LePage Debra Terry In Memory of Cornelia Principal Jennifer Berg H. Norton, Endowed Chair In Memory of Frances Willson Michael Bechtel Catherine Franklin Thompson, Endowed Chair In Memory of Robert J. Breeden Matthew Forsleff Stephanie Hegedus by the Breeden Family, In Memory of Harry In Loving Memory of Allan Endowed Chair Sutton, Endowed Chair E. Walters by Barbara Walters Lucy Alessio CELLO PICCOLO SECOND VIOLIN Judith Vander Weg Stephanie Hegedus Alesia Byrd Johnson Principal Principal In Memory of Anna Paulina Lorrie Gunn Koegel, Endowed Chair Chris Wheeler Acting Assistant Julia Ford Edwards Acting Principal Principal Acting Assistant Principal Sally Pituch Tracy Dunlop Sabrina Lackey In Memory of Tom Zorn by Family Bonita Sweda Thurston Matthews and Friends of FIM, Endowed Chair Molly Hughes Irina Tikhonova In Memory of Cornelia H. In Memory of Evelyn Shores ENGLISH HORN Norton, Endowed Chair Hall, Endowed Chair Sally Pituch Joseph Deller Maria Bucco BASS Gregg Emerson Powell Nicholas Thompson Principal Acting Principal Janet Pinto Sommerfeld

Members of the 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 Denise Root Pierce Assistant Principal Katherine Widlar Kurt Civilette Clinton Webb

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

TROMBONE John Upton Principal Kevin Clancy Greg Lanzi

TUBA Joseph DeMarsh Principal

TIMPANI Terence Farmer Principal

PERCUSSION Chuck Ricotta Principal

PERSONNEL MANAGER Gregg Emerson Powell

LIBRARIAN Alexis Turkalo theFSO.org | 20 – 21 7 Program Notes April 10, 2021 ments, criticisms and corrections by means of a runner

Piano Concerto No. 4 who would go back and forth between composer and orchestra. Beethoven’s ever-increasing deafness could LUDWIG VAN BEETHOVEN (1770 - 1827) hardly have helped matters, and the players’ apathy and/or antipathy to the difficult new music was an ould you attend a concert under the following impediment to smooth rehearsals. Wcircumstances? As outlined above, the entire concert seemed to be ruled by Murphy’s Law. Even though Beethoven had The concert hall will be freezing cold, since it’s late the use of the professional orchestra at the Theater an December. There is a shortage of fuel in your city, and der Wien, the concert conflicted with another program the concert organizers forgot to arrange to have the the same evening by the Tonkünstler-Societät, a chari- furnace turned on. table organization whose concerts were given for the benefit of the widows and orphans of musicians. As the The composer of the music is mostly deaf, yet he insists Tonkünstler-Societät fined its members for missing con- on leading the concert himself as well as playing the certs, Beethoven had to make due with an ad-hoc group piano for some of the music. of amateurs and professionals, by all accounts smaller You have heard that the orchestra kicked the composer than the average Viennese orchestra of the time. out of rehearsal for his rude behavior, and that all of the For the beautiful concert aria Ah, perfido!, the con- music is woefully under-rehearsed. tracted soprano, Anna Milder, suddenly withdrew from the concert at the last minute, forcing Beethoven The soprano on the program is a teenager and a to scramble for a replacement. Unsurprisingly, rumors last-minute substitute for the original soloist. flew that Beethoven had insulted Milder, and that she had put up with enough of his boorish behavior. All the music on the concert is being performed for the Pressed for time, Beethoven had to settle for Josephine first time, so you will hear nothing familiar. Schultz-Killitschky, the 17-year old niece of violinist Ignaz Schuppanzigh, Beethoven’s friend and frequent The concert will last over four hours. collaborator. The young soprano managed to make it You could hardly be blamed for wanting to stay home through the aria, but just barely. and fire up Netflix rather than brave conditions so ill- While the two symphonies were played without mis- suited both to music-making and to listening. Yet if you hap, the concluding Choral Fantasy had to be restarted, had passed up the opportunity to attend this benefit a calamity made all the more painful by occurring at the concert for an up-and-coming composer named Ludwig end of a long program. Some of the musicians played van Beethoven at the Theater an der Wien on December the final rehearsal of the work with parts still wet from 22, 1808, here’s what you would have missed: the world the copyist. Beethoven took a repeat in the performance premieres of Beethoven’s Fifth and Sixth Symphonies, that he had eliminated in rehearsal, and as a result his Fourth Piano Concerto, the concert aria Ah, perfido!, the Fantasy ground to a halt. With Beethoven’s cajol- excerpts from the Mass in C major, the premiere of the ing, the orchestra agreed to start the piece over from Choral Fantasy, Op. 80, and a piano improvisation by the beginning, and the group managed to achieve the Beethoven, supposedly the work later published as the final double bar without further serious mishap. While Fantasy in G major, Op. 77. You would also have missed Beethoven’s profits from this ragtag concert were nearly Beethoven’s final public performance as a pianist, since zero, one of his patrons, Prince Nikolaus Esterházy, sent his increasing deafness made further concert appear- Beethoven 100 gulden (roughly $1000 in today’s cur- ances impossible in the years to follow. rency) in appreciation of his genius. Admittedly the quality of the performances left Despite the substandard performance quality, most something to be desired – and that was the judgement of the works were well-received, but the Fourth Piano of Beethoven’s friends. Part of the problem was that Concerto failed to impress either critics or the audience. Beethoven lacked a certain amount of tact when dealing In a concert filled with surprises and innovations, this with the musicians, so much so that during rehearsals most lyrical of Beethoven’s piano might have the entire orchestra demanded that he be barred from seemed like a shy wallflower in comparison to the vis- the rehearsal space. Beethoven was only permitted to ceral impact of the thunderstorm of the Pastoral or the listen through a door to the rehearsal, sending com- dramatic conflict and ultimate triumph of the Fifth.

8 theFSO.org | 20 – 21 Program Notes April 10, 2021 Paradoxically, the concerto may have failed to impress time) lavish salary of $15,000 per year. In his tenure in because it was too radical, in some ways more so than New York (1892-1895), Dvořák met and taught young either of the symphonies on the program. Instead American musicians, including the African-American of the elegant and lengthy orchestral tutti found in composer Harry Burleigh (1866-1949) who intro- Beethoven’s first three concertos, the piano instead duced him to spirituals and other music indigenous to begins alone, introducing the serene and noble opening America. theme before the orchestra enters softly in response, and The music he heard through Burleigh and others the expected tutti materializes. One wonders what the bore marked similarities to the folk music of his own original audience, huddling for warmth in the concert hall, made of this unusual treatment of the standard Bohemian homeland. In writing about the melodies of form of the concerto. Perhaps a few noticed that, like indigenous American music, Dvořák said: the Fifth Symphony, the Fourth Concerto is pervaded with a four-note figure that appears in different guises "These can be the foundation of a serious and throughout. While the movement is not without its original school of composition, to be developed in share of ardor, the overall effect is one of lyricism, nobil- the United States. These beautiful and varied themes ity and elegance. are the product of the soil. They are the folk songs of Much has been made of the similarities between the America and your composers must turn to them." concerto’s slow movement and the scene in Gluck’s Orfeo e Euridice (1784) where Orpheus calms the Dvořák spent his winters in New York, but his summers demons of Hell, gradually reducing their fury to placid in the Czech immigrant community of Spillville, Iowa, acceptance. Despite the familiarity of such a famous where some of his cousins had settled several years opera, this movement may have proved perplexing earlier. Surrounded by people who spoke his language, to its first audiences; instead of the warm lyricism expected for a slow movement, the strings enter in stark Dvořák felt at home enough to write music both inspired unison, their bold dotted rhythms reminiscent of the by the United States (the American Quartet, Op. 96, the Baroque French overture. The pianist responds with Sonatina for violin and piano, Op. 100) and reminiscent quiet, supplicating chords, only to be shouted down of his homeland (the magnificent String Quintet in E-flat time and again by the strings. Ignoring the interrup- major, Op. 97 and the Cello Concerto). Eventually a dis- tions, the pianist sings ardently and yearningly, finally pute over salary and the potential for greater fame in subduing the orchestral beast, whose bold rhythms Europe enticed Dvořák to return home to Prague, where grow fainter and fainter, leading to the movement’s he became Director of the Conservatory there from 1901 serene close. until his death in 1904. As the finale opens, it is the pianist’s turn to interrupt, The Symphony No. 9 in E minor, Op. 95, “From the crashing in upon the orchestra’s quiet fanfare motive New World,” was composed in the winter and spring of with the brash rondo theme. After the lyricism of the 1893 in New York on a commission from the New York first movement and the drama of the second, Beethoven Philharmonic Society. Anton Seidl conducted its first combines wit, lyricism and athletic virtuosity for a bril- liant final movement. The heady acceleration into the performance in Carnegie Hall on December 16, 1893. coda lets both pianist and orchestra kick up their heels Rapturous applause broke out at the conclusion of each in the exciting sprint to the finish.▪ movement. Dvořák felt obliged to stand and acknowl- edge the acclaim; as he wrote to his publisher Simrock, the applause continued long enough that there was "no Symphony No. 9, from The New World getting out of it, and I had to show myself willy-nilly." ANTONIN DVOŘÁK (1841 - 1904) The inspiration and character of the melodies of the “New World” Symphony have been the subject of n 1891, Antonin Dvořák received an offer from the debate from the first performance onwards. Some musi- INew York socialite Jeanette Thurber to come to the cologists claimed that Dvořák had included the melodies United States and become the Director of the National of spirituals and Native American music into the work, Conservatory of Music in New York City for the (at that but the composer refuted this idea:

theFSO.org | 20 – 21 9 Program Notes April 10, 2021 (as opposed to “Of”) the New World” – perhaps an "I have not actually used any of the [Native acknowledgement that the work is more a palimpsest American] melodies. I have simply written original of American music on the imagination of a Czech com- themes embodying the peculiarities of the Indian poser rather than a specifically American symphony. music, and, using these themes as subjects, have The work is cyclical in structure: the main themes developed them with all the resources of modern from the opening movement (the Allegro’s initial horn rhythms, counterpoint, and orchestral color." call and the second theme heard on the solo flute) appear throughout the work, as do both the opening He went on to mention that the Largo second move- chorale and English horn melody from the Largo. Yet for ment was a preliminary work that would be expanded all of the symphony’s Romantic and folk-like influences, into a cantata or opera based upon Henry Wadsworth it retains the structure of the four-movement Classical Longfellow’s The Song of Hiawatha; for whatever rea- symphony: the first movement is a textbook sonata- son, that project was never realized. Dvořák also indicat- form movement, complete with exposition repeat. The ed that the scene at Hiawatha’s feast “where the Indians slow movement is notable for both its serenely beautiful dance” inspired the canonic melody of the Scherzo. English horn melody but also for the climactic appear- Pentatonic melodies abound throughout the opening ance of music from the first movement just before the movement as well: the arpeggiated horn call hinted at in English horn returns. While the Scherzo’s pentatonic the introduction and expanded into the principal theme melodies contain the hint of an American accent, the of the movement, the second theme, heard in the low melodies of the central trio section could easily be mis- register of the , and the exposition’s closing theme, taken for music from the composer’s two sets of Slavonic in which some commentators have found echoes of the Dances. The finale unleashes a huge burst of orchestral spiritual “Swing Low, Sweet Chariot.” energy, begun by the strings and then taken over by In listening to the work without explanation, the horns and . Themes from previous movements melodic character seems as Czech as it is American. return, leading to the final tragic-triumphant peroration It is interesting that Dvořák chose the title “From and the questioning final chord.▪

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.

10 theFSO.org | 20 – 21 Joongun Cho PIANO

WILLIAM C. BYRD ARTIST

n avid performing artist, Joonghun Cho is a ver- Kookmin Ilbo Press Competition, third prize Asatile pianist, chamber musician as well as Korea-Germany Brahms Associations Concours. a pedagogue. He has concertized widely giving Born in Suwon, South Korea, Joonghun received performances across South Korea, Spain, Slovakia, his early education in Seoul at the Yewon School the UK, Canada, Japan and the United States in such and Seoul Art High School where he studied with venues as Oberlin Conservatory of Music, Oakland Min Sook Jeon, Tong-il Han and Hyoung Joon Chang. University, Seoul Yamaha Concert Hall, Mozart Hall, After immigrating to the United States, he went to Chrám Povýšenia vznešeného a životodarného kríža, Rochester, New York to study at the Eastman School Youngsan Art Hall, Ewon Art Center, La Colegiata of Music with Barry Snyder where he obtained his de San Juan Bautista, Poway Performing Art Center, Bachelor of Music in piano performance. Thereafter Venfort Hall, Katzin Concert Hall, Yeon Eum Piano he moved to Michigan to study with Logan Skelton Festival and Royal Scottish Academy of Music and at the where he completed Drama. his Master of Music and is currently pursuing his Joonghun has won many prizes in numerous com- Doctor of Musical Arts. petitions including gold medal Vienna International Joonghun has performed in a number of masterclasses Music Competition, second prize William C. Byrd and had lessons with renowned artists such as Robert Young Artist Competition, first prize International McDonald, Michel D’Alberto, John O’Conor, Piotr Chopin Piano Competition in Japan, second prize Paleczny, Julian Martin, Dominique Merlet, Matti Schimmel USASU International Piano Competition Raekallio, Aviram Reihert, Andre-Michel Schub, for Young Pianists, third prize Glasgow International James Giles, Asaf Zohar, David Korevaar, Kotaro Piano Competition for Young Pianists, second prize Fukuma and Ian Jones.▪

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

theFSO.org | 20 – 21 13 FLINT SYMPHONY ORCHESTRA SPONSORS FIM 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 Nartel Family Foundation 7:30PM Sponsored in collaboration with MAR 6, 2021 Black Classical Origins FSO MAY 8, 2021 FSO

FS 7:30PM FSO FS 7:30PM SPONSORED BY FEB 26, 2022 SPONSORED BY McLaren-Flint Mr. Edward Davison, Attorney 7:30PM GUEST ARTIST SPONSORS at Law & Dr. Cathy O. Blight Sponsored in collaboration with Dr. Erick & Gloria VanDuyne Dr. Brenda Fortunate & C. Edward White Black Classical Origins St. Cecilia Society Mrs. Linda LeMieux

ENCORE Drs. Bobby & Nita Mukkamala ENRE ENRE Dr. Mark & Genie Plucer ENCORE ENCORE

LIVE STREAM FSOLIVE CONCERT DATES LIVE StreamING | SYMPHONY CONCERTS February 6 March 6 Enjoy the FSO from the comfort of your own home! Join us for live streams of our April 10 concerts for the 2021 season. May 8

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

14 theFSO.org | 20 – 21 Flint

SymphonyOrchestra ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR 2021-2022 Season Preview

DE FALLA & VIVALDI, SMETANA MENDELSSOHN & GINASTERA OCTOBER 2, 2021 | 7:30PM MARCH 5, 2022 | 2PM FAMILY DAY DEBUSSY & BRAHMS TCHAIKOVSKY NOVEMBER 13, 2021 | 7:30PM & IBERT APRIL 9, 2022 | 7:30PM COPLAND & GRIEG CHÁVEZ, RESPIGHI FEBRUARY 5, 2022 | 7:30PM & STRAVINSKY MAY 14, 2022 | 7:30PM

Check thefso.org/season-preview for updates and more details!

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.