A NEW BEGINNING The Dayton Philharmonic’s 70th Anniversary Commemorative Book

1 A NEW BEGINNING The Dayton Philharmonic’s 70th Anniversary Commemorative Book

“I become ever more aware of how fortunate it is to be a musician. When throughout the world there is taught and spread so much hatred and prejudice, I thank the Lord for the joy of pursuing a fi eld of endeavor which can do so much in the opposite direction – to distribute and teach beauty, and through beauty; love and kindness. I am therefore very grateful to the people of my city who see fi t to... sponsor a symphony orchestra, consecrated to beauty and devoted to serving the community in Godliness.”

– Paul Katz, Board of Trustees meeting, 1936

DAYTON PHILHARMONIC ORCHESTRA HISTORY COMPILED AND WRITTEN BY CAROLE JUDGE

SCHUSTER CENTER SECTION WRITTEN BY LAURA JANUZZI

COVER PHOTOS: DPO ARCHIVE, DAYTON DAILY NEWS AND JON NEIDERT 2 Founded in 1933, the Dayton Philharmonic Orchestra has a distinguished place in the Gem City’s history as one of the community’s oldest and longest standing cultural institutions. Dayton Philharmonic Orchestra Programs and Performances will enliven the spirit, inspire the imagination, cultivate the musical appreciation, and serve the educational and entertainment needs of greater Dayton and surrounding communities.

Dayton Philharmonic Orchestra Performance Place 109 North Main Street, Suite 200 Dayton, Ohio 45402

Published by the Dayton Philharmonic Orchestra

ISBN 0-615-12361-9

© 2003 by the Dayton Philharmonic Orchestra. All rights reserved. No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles and reviews.

Design and Layout: Catalyst Creative Partnership/Jän Paul Ostendorf Printing: Patented Printing Photography: Indicated on each photo, otherwise Dayton Philharmonic Orchestra’s archive. 3 FORWARD

The March 2003 opening of the Benjamin and Marian Schuster Performing Arts Center has focused renewed attention on the Dayton Philharmonic Orchestra, while providing us with a much needed state-of-the-art performance home with world-class acoustics.

This same year we also celebrate 70 years of great music making and service to our community! It is a time to remember and refl ect on the vision and dedication of Paul Katz, Miriam Rosenthal, the musicians, the volunteers, and staff who over those seventy years have given so much to the Philharmonic, and to the community. Their history reminds us that adventurous programming, the bringing of world class artists to Dayton, and serving the educational needs of our community have been central to the Philharmonic from the very beginning. Curtis Long, Executive Director of the Dayton Philharmonic Orchestra Even more importantly, this history serves as a tribute to the audience members and contributors who since 1933 have been giving their time and fi nancial support to the orchestra. Without you the Philharmonic would never have survived, much less thrived and grown into the institution that it is today.

I also want to thank Carol Judge, her team of interns, and the archivists at Wright State University who worked tirelessly on putting together this anniversary book, interviewing people who were active in the early years of the orchestra and reviewing archives that had in many cases not been touched in decades.

We look forward to the next seventy years for the Dayton Philharmonic Orchestra.

Curtis Long

4 4 Photo by JANe reece by Photo

“You have seen the pictures of young Beethoven, playing his piano long after he should have been abed while his astonished family looked on in surprise. Perhaps nine-year-old Paul Katz may

never equal the famous composer, but at the age of nine he has advanced so rapidly in playing the violin that by next spring there will be no teacher in Dayton who can teach him anymore.” – The Cincinnati Post, 1917

5 FROM THE BEGINNING...TO A NEW BEGINNING By 1933, Dayton, Ohio was already home to many great men and women who had achieved fame and recognition by proving the impossible possible. That same year, 25-year-old Paul Katz was poised to join their ranksranks iinn a ccityity aaccustomedccustomed ttoo nnurturingurturing sstart-ups.tart-ups. HHisis iidea,dea, hhowever,owever, wwouldould nnotot rrequireequire a ppatent.atent. KKatz’satz’s ppersonalersonal aandnd pprofessionalrofessional mmissionission wwasas ttoo fformorm aann oorchestra.rchestra.

In Dayton, one just had to look up to to the Cincinnati Conservatory of see possibilities and progress, although Music. The Conservatory, founded in innovation, even in 1879, had never Dayton, didn’t mean beforebefore aadmitteddmitted instant success. The a student younger economic climate of than high school The Great Depression age. A 1919 review made forming an in the Cincinnati orchestra a diffi cult enterprise. Post referred to him as a But Katz himself had “young genius.” Katz’s already watched his Russian musical career fl ourished immigrant parents scale under the tutelage of many what may have seemed like renowned instructors insurmountable odds. including Emil Heerman, An original program from concertmaster of the Katz’s fi rst concert at In 1910, Nathan and Molly Photo by JANe reece by Photo Cincinnati Symphony, Memorial Hall in 1919 at Katz moved to Dayton from the and Otoker Sevcik, during the age of 12. He performed a Sonata from Tartini, a bustle of New York City to raise their his studies at Ithaca Conservatory Concerto by Kreutzer, two sons, Maurice, the eldest, and of Music. He was also a scholarship Paul the youngest, born in 1907. They a Minuet by Mozart and student of Eugene Ysaÿe and Leopold a Ballad by Vieuxtemps. settled in what appeared to be the Auer, teacher of Heifetz and Zimbalist. friendly and safe midwest, only to have their business destroyed in The Great As early as 1929, the Dayton Flood of 1913. With hard work, they Daily News carried an account eventually re-opened The Parisian Silk of Katz approaching the Dayton Shop and enjoyed years of success. His Chamber of Commerce with plans parents’ lessons on the importance of a for a symphony orchestra, but his strong work ethic and fi nding “higher idea was not endorsed by the ground” would serve Paul well. He Chamber or city offi cials. He left himself would face many obstacles Dayton and became a fi rst violinist while pursuing his dreams. with the renowned Cleveland Orchestra under Nicolai Sokoloff, Given a toy violin at age two and having already served as one of the lessons by the age of fi ve, the young youngest violinists ever engaged by boy became a prodigy who, by the time the Cincinnati Symphony Orchestra. he was nine-years-old, was admitted 6 6 The first of two concerts performed at the Dayton Art Institute in June of 1933.

But Katz longed to return to Dayton. Despite the sweltering heat, over Over the course of 70 years, hundreds In the early 1930s, he once again 500 people paid 25 cents per ticket of talented musicians and hundreds began to inquire whether the city to attend the premiere performance more enthusiastic volunteers have could support an orchestra of its of the Chamber Orchestra Society, ensured that one man’s dream own. Undaunted by pessimists, Katz an event that would decide the fate continues to be a reality. Today, discovered and called upon other of the fledgling group. Virginia the Dayton Philharmonic Orchestra eager musicians who were confident Sturm, arts critic for the Dayton Daily celebrates a rich 70-year history and that music was just what the News, called the performances “the embarks on a new era in a concert community needed. Music, after beginning of a cherished possession hall that equals its ambition all, next to his Jewish heritage, for the artistic development of and importance. was the foundation on which the community.” Katz had been raised. One can only wonder if Paul Katz Following this warm reception by could have imagined Dayton being With humble beginnings, Katz pulled the community and media, Katz and home to a concert hall comparable together area musicians and formed his ensemble of 26 instrumentalists to the splendid venues of Europe or an orchestra that would perform two moved forward and scheduled a large American cities – a grand home concerts at the Dayton Art Institute season of concerts to run from the where his orchestra would perform in June of 1933. Meeting on Sunday autumn of 1933 to the spring of 1934. before record-breaking crowds, well mornings, much to the consternation Among the volunteers, who stepped into the 21st century. The Dayton of area ministers, the group began in to help with many of the details Philharmonic Orchestra is proud to to practice Strauss’ Tales from the of running an orchestra, was Phyllis call Dayton and the Benjamin and Vienna Woods, Grieg’s Peer Gynt Margolis, a talented pianist from a Marian Schuster Performing Arts Suite No.1, and Beethoven’s very musical family. She helped Katz Center home, and honors the man Overture Egmont. choose music, edit scores, provide who dared to believe in possibilities. accompaniment and encouragement, and later, became his wife.

7 Paul Katz with his future wife, Phyllis Margolis, became partners in the newly- formed Chamber Orchestra Society. Photo by Jane reece by Photo

8 8 THE 1930S After the initial success of the summer concerts at the Dayton Art Institute in 1933, Paul Katz and his 26 musicians planned their fi rst full season. A few key Dayton area business and community leaders stepped in to volunteer. Siegfried Weng, Director of the Dayton Art Institute, waived the fee for using the auditorium, and Albert Epstein, an engineer at Wright Field, assisted with fi nances. Epstein also donated his entire savings account of $300. In the conclusion of a letter to patrons in the fi rst season’s program book, Epstein wrote, “This is an experimental year for our organization... the Orchestra Albert Epstein shall be whatever you wish to make of it.”

Maurice Katz, Paul’s brother and defi cit and began their second season a lawyer by profession, began his with balanced books. That same 42-year stint as the author of each year, recognizing the importance of concert’s program notes and also music education, they scheduled four helped draw up incorporation additional concerts just for children. papers. The Orchestra offi cially By the fi fth season, Dayton had won set up business in the home of the distinction of being the only Ann Kirk, the group’s harpist and community in the country where publicist. Musicians were paid $5 symphony concerts were frequently per performance, and although the presented free to children during concerts were a rousing success, the school hours. Support from the Chamber Orchestra Society ended Dayton Foundation and the Junior its fi rst season with a defi cit of $90. League had made that achievement possible. Paul Katz’s contacts in the After collecting what they could local, national, and international from a newspaper drive, Orchestra music world also made possible Dayton Philharmonic members made up the fi rst year’s $90 Orchestra, 1934

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“I am more interested in our small symphony which belongs to us than I am in the great and famous symphonies which come to our city from time to time, because it is the music in our own souls which transforms the world for us.”

– Mrs. N. M. Stanley, benefactor, DPO Season Program, 1935

the appearances by some of the most world-renowned guest soloists right from the beginning of the Orchestra’s formation.

In 1935, just two years after the Orchestra’s test fl ight, the group formally became the Dayton Philharmonic Orchestra, incorporated in the State of Ohio. The new name better suited the organization that was now performing at the Victory Theatre and tackling larger works for a full- size orchestra. Musicians and music lovers alike were working in earnest ttoo supportsupport thethe groupgroup which,which, byby iitsts ownown efforts,efforts, hadhad evolvedevolved ffromrom a ppennilessenniless butbut Ann Kirk, Harpist and First Secretary-Treasurer ddevotedevoted oorganizationrganization of the Dayton Philharmonic Orchestra, 1933 iintonto anan OrchestraOrchestra ooff stature.stature.

PProminentrominent publicpublic fi gguresures includingincluding Mrs.Mrs. JuliaJulia CCarnell,arnell, thethe philanthropistphilanthropist Julia Carnell whose vision and fi nancial support created the Dayton Art Institute, and Richard H. Grant, Vice-President of Sales for General Motors Corporation, took a strong interest in the Orchestra. Together with other local leaders, they became instrumental in providing additional funds for the musical Richard H. Grant, Vice- Mrs. N. M. Stanley, President organization and stimulating support President of Sales for General of the Dayton Philharmonic within the community. Motors Corporation, 1935 Association, 1935-1937 10 10 During the 1935-36 season, the and infl uence within the business Dayton Philharmonic Chorus was community helped strengthen the formed and led by William Krebs, Orchestra’s visibility and prominence. one of the city’s outstanding choral Today, the Miriam Rosenthal legacy directors. They made their debut lives on through a foundation, in 1936 with a performance of established in her name, which endows Mendelssohn’s Elijah. many artistic endeavors To accommodate throughout the Miami Dayton’s fi rst large- Valley, including the scale orchestra and Dayton Philharmonic chorus performance, Orchestra. the concert was held at Memorial Hall. One of Dayton’s The Dayton Power greatest by-products and Light Company of industry, the Inland donated and set up Miriam Rosenthal, Executive Children’s Chorus, temporary lighting to Secretary of the Dayton joined the Dayton Philharmonic Orchestra, spotlight the chorus, Philharmonic Orchestra 1935-1965 beginning a trend in in December of 1937. Inland Children’s Chorus, 1937-1938 corporate support of the Orchestra. The 100-voice chorus, directed by Richard Westbrock, was founded For the Philharmonic the brightest and maintained by the Inland In 1937, only four years after light was the early addition of Manufacturing Division of General founding the Dayton Philharmonic Miriam Rosenthal to the small Motors for the children of its Orchestra, Katz formed the Dayton group of sustainers. Originally employees. This special concert Philharmonic Training Orchestra listed as the executive secretary of began a tradition that kicked off to provide local students with the the board, Rosenthal joined Katz in Dayton’s holiday season for almost opportunity to perform substantial what would become three decades of twenty years. Many long-time patrons orchestral works, and for some, to devotion, dedication and hard work in still recall the traditional long blue prepare them to join professional promoting the Dayton Philharmonic dresses worn by the girls and the orchestras. After three years, he Orchestra. Her public relations skills boy’s Eton-style jackets. turned the Training Orchestra’s © Dayton Daily News Daily © Dayton

Dayton Philharmonic Orchestra at the Victoria Theatre, 1935 11 Paul Katz (back row, fi fth from left) and his class at Fontainebleau, 1931. Nadia Boulanger is seated front and center.

Marian Anderson, DPO guest artist during 1938, a year before her historic concert at the Lincoln Memorial in Washington, D.C. Anderson sang there at the invitation of President Roosevelt after Eleanor Roosevelt resigned her membership in the Daughter’s of the American Revolution over their refusal of her performing at Constitution Hall. Photo by Studio theo Studio by Photo

Neal Gittleman (front row, far right) and his 1973 Fontainebleau class, including Emile Naomoff, Nadia Boulanger’s last and very young protégé (Naomoff on chair next at Fontainebleau. Years later, future to Boulanger at piano). Naomoff, the internationally acclaimed pianist, appeared with Dayton Philharmonic Orchestra Music the DPO in 2001. Robert X. Rodríguez (second row, fourth from right) wrote a specially Directors Isaiah Jackson and Neal commissioned work for the DPO’s 2003 tribute to the Wright Brothers and the 100th Gittleman would also study Anniversary of Flight. at Fontainebleau.

Efrem Zimbalist, guest soloist during podium over to Marjorie Kline, ahead of their time, although she the 1938-39 season, was quoted by the principal second violin, who still was not allowed to enter Dayton’s Dayton press as saying that he was dedicated herself to the position Biltmore Hotel through the front door. “pleasantly surprised at the quality for almost 30 years. Nadia Boulanger, one of the most of the local orchestra,” but added The brochure for the 1937-38 season distinguished musicians in the that a city the size and importance of called guest artist Marian Anderson, world, graced the Victory Theatre Dayton ought to have one much larger. a “tall, statuesque American Negro stage with the DPO in October of Zimbalist performed to a capacity contralto.” Breaking racial barriers 1938. The French organist, pianist, audience on his famous Laumoureaux in the opera world, Anderson was composer, conductor, and authority Stradivarious. referred to by the Dayton press as in the theory of musical composition, As the 1930s came to an end, Epstein’s a “great lady” and highly praised for traveled to Dayton at the invitation original challenge to Dayton’s arts her performance that included two of Katz. During the summer of 1931, patrons had been met. The Orchestra spirituals and an encore of Schubert’s Katz had earned a certifi cate in had become what they wished to make “Ave Maria.” Katz and the Dayton composition under her tutelage in of it – a success! Philharmonic Orchestra were well France at the American Conservatory

12 12 1940 TO 1959 By the seventh season, the Dayton Philharmonic Orchestra had doubled in size from the original group. By the late 1950s, it wwouldould ttriple.riple. PPaulaul KKatzatz hhadad bbeeneen iinstrumentalnstrumental iinn eencouragingncouraging ccityity lleaderseaders ttoo cconstructonstruct a ffacilityacility fforor ooutdoorutdoor ppublicublic cconcertsoncerts aand,nd, aafterfter yyearsears ooff llobbyingobbying aandnd ffundraising,undraising, aadditionaldditional mmoneyoney ffromrom tthehe WWorksorks ProjectsProjects AAdministrationdministration wwasas uusedsed ttoo bbuilduild tthehe DDiehliehl MMemorialemorial BBandshell.andshell. TThehe DDaytonayton PPhilharmonichilharmonic Orchestra gave the fi rst concert there in 1940.

At the fi nal concert of 1941, on Trombonist December 17, the most signifi cant Johnny Reger, music was that of Francis Scott Key. who joined Pearl Harbor and the country’s Michael Hauer’s subsequent entry into World War II local band when was about to alter the course of, hhee waswas a teenagerteenager United Service Organization Award although not derail, the Dayton in the 1930s, was one of the many Presentation Ceremony, 1944 Philharmonic Orchestra. The Star DPO musicians who served the Spangled Banner led every program country during WWII. He played his during wartime, and today, the fi rst way across Africa, Italy and southern concert of each season continues France with the 36th Engineers that patriotic tradition. band that became the band of the

7th Army under Gen. George S. During the tenth season in 1943, “The Dayton orchestra is Patton. Reger also played United among the fi rst musical the Orchestra moved from the Victory Service Organization (USO) shows Theatre into Memorial Hall. Concert organizations in the country with entertainers Bob Hope, Al to be honored by the council, programs throughout the ’40s gave Jolson and Martha Raye. special honor to the many members which has investigated the of the DPO who were absent and The Dayton Philharmonic Orchestra war service record of hundreds serving in the United States Armed presented a series of USO concerts at of musical groups.” Forces. According to Virginia Memorial Hall on Sunday afternoons – War Council of America, and Bruce Ronald’s local history, for the men and women of the Armed Dayton Journal Herald, 1944 The Lands Between the Miamis, Forces stationed locally. Sgt. Eugene the Orchestra survived during the List, the famed pianist who had war by enlisting musicians stationed appeared with the DPO a few years at Wright Field. earlier, returned in uniform to present Gershwin’s “Rhapsody in Blue” at

13 During the tenth season in 1943, the Orchestra moved from the Victory Theatre into Memorial Hall. © Dayton Daily News Daily © Dayton 14 14 © Dayton Daily News Daily © Dayton

Artur Rubenstein with Paul Katz, 1946

one such event. In 1944, the Dayton Philharmonic Orchestra received a Service Citation from the Music War Council of America for its patriotic and inspiring use of music to aid the national war effort.

Isaac Stern, a young man in his twenties, was well received when he performed Sibelius’ Concerto for Violin in D Minor with the Dayton Philharmonic Orchestra in November The 20th Anniversary Program Cover, 1952 of 1945. Stern returned to Dayton several times during his illustrious career. That same fall, following his 1945-46 season. When they resumed, triumphant performance of Brahms’ Paul Katz had enlisted the support Second Concerto in B Flat Major, it of a team of energetic partners who was announced that pianist Artur helped the Orchestra bring to life Rubenstein would be invited back many composers and great orchestral to open the 1946 season. Gregor works. Ellen Jane Lorenz Porter wrote Piatigorsky, the world-renowned scripts and served as narrator for the cellist, also made a return visit concerts for over two decades, and a that year, having debuted with fully-costumed George Zimmerman, the DPO in 1941. supervisor of music for the Dayton Public Schools, portrayed different Due to the diffi culties of losing composers. Together they taught musicians and volunteers during lessons about the masters and wartime, the Young People’s Concerts music history. Isaac Stern with Paul Katz, 1945 were temporarily suspended until the

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“I congratulate the Dayton Philharmonic for its viewpoint and for its perseverance in making a place for itself before community support of any degree had come to it. I feel that the real purpose of the Orchestra will be fulfi lled when it is able to play frequent concerts to great masses of people at popular prices.”

– Charles F. Kettering, 1941

A feature story by Merab Eberle in the Journal Herald on October 10,1949 highlighted the day jobs, educational backgrounds, and family life of the many female DPO musicians. Women made up a large percentage of Dayton’s Orchestra, but were a rarity in larger metropolitan orchestras during this same time period.

The Dayton Philharmonic Orchestra By the early 1950s, many area churches,

was honored nationally when it was temples, universities, high schools and News Daily © Dayton chosen by the National Broadcasting combined choruses had performed with Mrs. A. Robert Snyder and Mrs. Max Company (NBC) to be featured on the Dayton Philharmonic Orchestra, (Mildred) Monroe helped organize the “Orchestras of Our Nation,” a program creating partnerships and musical “Friends of the Dayton Symphony” in designed to acquaint music lovers alliances that are ongoing. Famous 1947. Four years later it became the with the accomplishments of band director Artie Shaw performed Dayton Philharmonic Women’s Association. orchestras from various regions in on his clarinet with the Orchestra in the country. The DPO’s fi rst coast- 1950, the same year that NBC radio to-coast broadcast aired live from featured the DPO on “Pioneers of the “In plain words, you’ve got the Memorial Hall on Saturday, March 8, Symphony.” Dayton also celebrated the goods! Your orchestra fulfi lls 1947. NBC’s selection was made on opening of Deed’s Carillon Historical my own conception of what the basis of a recorded audition and Park, a site for future, and free, an orchestra should be. It has testimonials from world-famous outdoor concerts. grown up in the place where it artists who had appeared with the was fi rst developed and that is Orchestra. That same year, 100 women The 1950s saw a dramatic increase more than we have in New York. joined forces to form Friends of the in volunteer efforts and the offi cial It is made up of citizens who Dayton Symphony. The organization’s establishment of the Dayton play primarily for the love of goal would include garnering public Philharmonic Women’s Association music, not merely to get a good interest in making improvements with Mildred Monroe as acting chair. notice in the papers.” to Memorial Hall. – Olin Downes, New York Times music critic, Dayton Journal Herald, 1947

16 16 Joseph P. Geiger, Director of the Inland Children’s Chorus rehearses the boys

© Dayton Daily News Daily © Dayton section for their 16th appearance with the 17 DPO, 1956 © Dayton Daily News Daily © Dayton News Daily © Dayton

Yehudi Menuhin, 1953 Mason Roberts, Robert Oelman, Earl Hagerman and John O’Brien, members of the Citizen’s Planning Committee for the restoration of Memorial Hall, inspect a model, 1955

The fi rst function of this organization of their auditorium for the next two was to prepare for the orchestra’s years during the fi rst remodeling “Before we discuss the many 20th anniversary season. Fashion of Memorial Hall. Miriam Rosenthal wonderful improvements, shows and Holiday Fairs became had been the only woman chosen it might be well to remind annual events. In 1955, the Women’s to serve on the citizen’s committee ourselves that Memorial Hall Association established a scholarship formed to explore the possibilities was originally dedicated as fund where talented young music and details regarding the renovation a lasting memorial to all of students could receive cash for of the historic site. Montgomery County’s war private music lessons and tickets veterans and must never be to DPO concerts. That tradition The Inland Division of General removed. Finished in 1910, continues today. Motors named Joseph P. Geiger as it is today considered one of the new director of the Children’s the most soundly constructed At 36 years old, a young Yehudi Chorus in 1955 upon the death of buildings in the country.” Menuhin made his fi rst appearance Richard Westbrock who had managed – A letter from the Citizen’s Planning with the Dayton Philharmonic the vocal group for nineteen years. Committee for the Restoration Orchestra. It was 1953, and The Inland Children’s Chorus of Memorial Hall, 1956 Menuhin had already been playing remained part of the Dayton professionally for 28 years. One of arts scene until it was officially the few child prodigies who attained dissolved in 1970. greatness as an adult performer, he was appearing with every leading The 1956-57 season marked the joyful orchestra in the world. That same return of the Dayton Philharmonic year, Jose Greco and his Spanish Orchestra to the newly remodeled Dancers tangoed into Memorial Hall. Memorial Hall following a $900,000 face-lift. The September 13, 1956 In 1954, the Board of Directors of inauguration of the performance the Dayton Philharmonic Orchestra space began with the Eagle Scouts gratefully acknowledged the National of the Miami Valley Council posting Cash Register Company for the use 18 18 In April of 1959, the Dayton Daily News ran a feature profi ling the different full-time occupations of several DPO members. Pictured left to right are Wallace Hard, E. Mannes Lubow, Herman Wittman, and Miriam Smith. The story included details about Lubow, a Columbia University graduate and downtown optomotrist, and Wittman who was an employee in the central fi lm depository at Wright-Patterson Air Force Base where he analyzed and catalogued music and sound effects for government fi lms. Also highlighted was Jerry Knop, principal hornist, an IBM operator at Aeroproducts. the colors and concluded with the contemporary composers like Villa- season, Adon Foster and Carl audience joining in on Irving Berlin’s Lobos and Paul Creston to share Rubinoff shared the position of God Bless America. Entertainment their talents with the receptive concertmaster, alternating seats included the Dayton Philharmonic Dayton audience. every other performance. and Training Orchestras, The Daytones (a local vocal quartet), The following year, choreographer By the late ’50s, the DPO was The Daytona Chorale, the Antioch Josephine Schwarz acted as Artistic providing the community with 12 Area Theatre Troupe, and dancers Director for Dayton’s premier of Young People’s Concerts and still from the Schwarz School of Dance. Amahl and the Night Visitors by not meeting the demand. These Gian-Carlo Menotti. The Dayton concerts, packed with humor and Brazilian musician Heitor Villa- Philharmonic Orchestra production fun, taught music appreciation and Lobos, guest conducted the Dayton included the NBC Television Theatre concert decorum to over 30,000 Philharmonic Orchestra in his own Cast along with local dancers and children every year – often their work, Chôros No. 6, in the fall of 1956. chorus members. Evan Whallon, fi rst opportunity to attend a “live” Katz and the DPO often welcomed conductor of the Columbus Symphony, performance. Programs always guest conducted. Whallon conducted thanked the City of Dayton Police part of the 1957-58 season while Traffi c Department for their hand Katz was on sabbatical. That same in orchestration – outside! 19 Program Covers for the 1957-58 (during Paul Katz’s sabbatical) and the 1958-59 Season. .

Pierre Monteux, director of many of the world’s greatest ensembles, including the San Francisco Symphony Orchestra and the Boston Symphony Orchestra, conducted the Dayton Philharmonic Orchestra in 1959. Some local musicians counted playing under Monteux among the highlights of their careers. As the 1950s closed, fi ve original members of the Chamber Orchestra Society, including Katz, were still performing with the DPO. They were violinists Gwenn Garber, Marjorie Kline and Elma Rhinehart; cellist Margaret Kirk; and trombonist William Coates.

20 20 1960 TO 1979 “Memorial Hall has been completely bought out for the 1960-61 season,” read a letter from Dayton Philharmonic Orchestra Association President Mason Roberts whose biggest worry was how newcomers, without season tickets, could have the opportunity to hear the Orchestra. © Dayton Daily News Daily © Dayton

Memorial Hall, 1960

The other real trouble, if it could cited Katz for his “great 1998 that the Opera be called that, seemed to be caused cultural contribution.” By offi cially contracted by the high demand for Young People’s this time, Katz’s son, Nevin, News Daily © Dayton the DPO to serve as Concerts. The Dayton Police, however, had become a regular in the Joseph and their orchestra. In March had the fi nal word and asked that Orchestra’s fl ute section. Peggy Albrecht of 1962, the DPO’s own the Young People’s Concerts be The younger Katz later became a “Night of Opera” featured the local limited to only four per day because cardiothoracic surgeon who resides and talent of Peggy Albrecht, a Fairmont of the traffi c congestion caused by practices in the Washington, D.C. area. graduate, and her husband, local school buses downtown. physician and baritone, Dr. Joseph The Dayton Opera held its fi rst Albrecht. 1962 was also the year of Both Central State University and season in 1961, beginning a tradition the fi rst “Symphony Treasure House” the University of Dayton awarded Paul of hiring Dayton Philharmonic held at the Montgomery County Katz with the honorary degree of Doctor Orchestra musicians to play as the Fairgrounds. It was a garage of Music in 1961. The UD ceremony pit orchestra, although it wasn’t until

21 Dayton Civic Ballet performers preparing in the Memorial Hall dressing room.

© Dayton Daily News Daily © Dayton The Ballet began performing as a part of the Orchestra’s regular series in 1964.

22 22 Young People’s Concert Rehearsal, early 1960s sale of grand proportions never the year promoting the annual event. before seen in Dayton. Profi ts Her energy and infl uence forced the benefi ted the Dayton Philharmonic expansion of the KinderConcert to Orchestra. include multiple performances of the same program in order to fi ll all the Roberta Peters, foremost coloratura requests from schools and families soprano and Metropolitan Opera with young children. star, was featured soloist with the Dayton Philharmonic Orchestra in In 1964, under the direction of 1962, although she wasn’t the only Josephine Schwarz, the Dayton one hitting a high note. Dayton’s Civic Ballet, the second oldest unique KinderConcert won the regional ballet in the United 1962 American Symphony Orchestra States, began appearing with the League’s “Gold Baton” award for Dayton Philharmonic as part of the excellence in service, information, Orchestra’s regular series. That same and education. Premiered in 1961, year, Van Cliburn, the fi rst musician Jean Betty Weiner, Dayton’s own the KinderConcert was created to receive a ticker-tape parade in Mother Goose, mid 1960s to showcase the skilled Training Manhattan, performed with the Orchestra and serve as a special DPO to an enthusiastic audience at outreach project for the Women’s Memorial Hall. Orchestras around Association. Jean Betty Weiner, the world had waited in line to engage Dayton’s own Mother Goose and the famous American pianist, who had Annie Antenna (a character she become a household name, following created) visited schools throughout his 1958 win at the international Tchaikovsky competition in Moscow.

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“She had a million ideas, all of them for the benefi t of Dayton.”

– Carol Cline, business associate of Miriam Rosenthal, 1965

“She left enough monuments behind which will serve as lasting tributes to her many deeds performed so unselfi shly for the benefi t of the entire Dayton community.”

– Philharmonic Association President Norman Gebhart, 1965

Miriam Rosenthal

“Business as usual” ended in 1965 Dayton enjoyed its premiere when Miriam Rosenthal succumbed to presentation of Tchaikovsky’s The cancer. Following her death, Paul Katz Nutcracker when the DPO made it wrote in the April 28, 1965 program, possible in 1965 by sponsoring a joint “It was my pleasure and privilege to production of the Dayton Civic Ballet be associated with Miriam Rosenthal and The Cleveland Orchestra. Ticket for 30 years in the development of prices ranged from $1.50 to $2.50. the Dayton Philharmonic Orchestra By 1967, a new acoustic shell was Association. Affectionately, we Women’s Association Committee Meeting installed on-stage at Memorial Hall. dedicate this program to her memory.” during the 1960s Tributes poured in from around the The Women’s Association underwrote country honoring the woman who, the full cost of the $20,000 shell that during the early years, sometimes Katz said provided “more reverberation dipped into her own purse to pay and a richer tonal quality” to the musician’s salaries. The Miriam sound of the Orchestra. Rosenthal Trust Fund was established to ensure the future of the arts in Dayton, including the Dayton Philharmonic Orchestra. 24 24 The Dayton Philharmonic’s fi rst professional recording sold nationally as a fundraiser for the National Audubon Society, 1967

In 1967, the Dayton Philharmonic Named “America’s Cleanest City” Orchestra, in association with the in 1968, Dayton began construction Aullwood Audubon Center, made on a Convention Center that would a recording of Eunice Kettering’s later serve as a venue for DPO musical composition of a Melrose SuperPops concerts. In March of Pitman poem called John James 1968, the newly formed Wright Audubon. Record albums were State University Choir joined other created and sold nationally to university choirs for a concert with benefi t the National Audubon Society the Orchestra. In turn, later that which sent praise from its New York year, the DPO performed at the City headquarters for the DPO’s inauguration of Dr. Brage Golding, “wonderful cooperation.” Eunice fi rst President of Wright State Kettering was niece to the late University. From the beginning, Charles Kettering. and continuing today, members of the Dayton Philharmonic Orchestra are affi liated with WSU and have served as faculty, instructors, and guest artists. 25 The Dayton Philharmonic Training Orchestra’s podium was turned over to principal second violinist Jaroslav Holesovsky in 1968. Under his leadership, the name was changed to the Dayton Philharmonic Youth Orchestra, and grew to over 100 musicians. Holesovsky’s own daughter, Carolyn, performed with the DPYO that same year as well as Karlton Taylor, a current member of the DPO.

In February of 1969, the applause was deafening when Paul Katz stepped onto the podium. The concert had not yet begun, but the audience bestowed an unprecedented standing ovation. The response was a show of support for Dayton’s homegrown Orchestra following a negative editorial in the Dayton Daily News that hinted that the Orchestra was somehow “skidding to a crossroads” and must consider changes for the future. Coincidentally, an editorial response from the Cincinnati Symphony Orchestra confi rmed that it was offering to assist the Dayton Philharmonic Orchestra by replacing some subscription concerts with performances by CSO ensembles. Jaroslav Holesovsky served as concertmaster, principal second violinist, and conductor of the Youth Orchestra during his long tenure with the DPO. A letter-to-the-editor from Lloyd Haldeman, General Manager of the CSO, read, “It seems impractical to headquarters from community tour. Jaroslav Holesovsky was try to maintain two such institutions leaders, patrons, universities, and concertmaster as the Orchestra as major symphonies in southern musicians offering encouragement entered the 1970s, and Robert Young, Ohio when one could readily serve to proceed as an autonomous and Wright State University Orchestra the entire region.” The DPO accepted local organization. Director was appointed principal the compliment of being referred to second violin. A family affair, Young’s as a “major” symphony, but turned Looking ahead, the DPO contracted wife Karen also played second violin. down the CSO’s overture to somehow Itzhak Perlman, who would make Later, their daughter, Ann, would rescue and absorb Dayton. Letters, his Dayton debut during the 1969-70 serve as concertmaster for the DPYO. telegrams and phone calls poured season, and the Women’s Association into Dayton Philharmonic Orchestra sponsored a concert of the Prague Symphony as it made its fi rst American

26 26 Dayton Philharmonic Orchestra, 1972

Adon Foster, who had served as DPO’s was the featured soloist. The concertmaster for twelve years, following year, after the waiting resigned to concentrate more on his list grew to over 100 patrons after a duties as full-time professor at Miami sellout of a Yehudi Menuhin concert, University. Foster’s affi liation with the Dayton Philharmonic Orchestra, the Dayton Philharmonic Orchestra with Menuhin’s permission, generously helped the university establish a opened up the rehearsal at $2 working agreement where qualifi ed per person. students could obtain professional experience as fully accredited Menuhin, Cliburn and Perlman all members of the Philharmonic while made return visits in the early ’70s, pursuing regular course work at and Arthur Fiedler served as guest the university. At that time, only a conductor in the spring of ’73. That handful of universities in the country same year, Richard C. McCauley could offer such an exceptional was named General Manager of the opportunity for students. “With all good wishes. I do Philharmonic Association, beginning enjoy working with your a tenure that would last until Refl ecting changing times, the DPO fi ne Orchestra.” 1977. Upon his arrival, McCauley began its 39th Season in 1971 with was faced with a fi nancial crisis. – Very Cordially, Arthur Fiedler a Pops Concert, the fi rst time in May 21, 1973 The organization had distributed 38 years that classical music was a brochure with the image of a not the season opener. Pianist Peter broken violin in concert programs Nero, a Juilliard graduate who mixed and throughout the city. Inside it classical music with jazz and rock read, “The failure of our community to respond to this problem could 27 mean the Orchestra will not survive.” approved a motion to request plans for The fi rst candidate to visit Dayton was Dayton responded. In 1974, the new the proposed renovation that would Charles Wendelken-Wilson, conductor Dayton Arts Fund was created to seek include remodeling in the basement of the New York City Opera Company. contributions on behalf of the Dayton and improvements of restrooms, Excitement was in the air following Philharmonic Orchestra, the Dayton wiring, and acoustics. Wendelken-Wilson’s rehearsal of Opera Association, and the Dayton Poulenc’s Sinfonietta and Civic Ballet. Today that organization Change was Dvorák’s Symphony No. 7. is known as Culture Works. in store for the Musicians were impressed Dayton Philharmonic with the guest conductor, Ella Fitzgerald kicked off the new Orchestra as well. and the candidate himself Pops series, established in 1974, to thought that the Orchestra appeal to a broad sector of the Dayton After 42 years of dedicated service had great potential. community at a very reasonable cost. Other candidates were Fitzgerald “jazzed” the crowd at the to the Orchestra he founded, Paul Katz eventually passed over and UD Arena. The series, co-sponsored by Ed Martin by Photo the Dayton Philharmonic the University of Dayton, also featured retired at the end of the 1974-75 season. Charles Wendelken-Wilson Orchestra Board made pianist Mike Reid, former football an offer that was accepted star with the Cincinnati Bengals. 1974 A search committee, including members of the DPO, was by Wendelken-Wilson. A new era also saw the return of Adon Foster as was about to begin. concertmaster following Holesovsky’s formed to fi nd a successor. Almost request for a leave of absence. 50 applications were received and Wendelken-Wilson was an the most promising candidates were accomplished keyboard player and By 1975, Memorial Hall was once invited to Dayton to conduct or graduate of the Mannes College again in need of updating. The “audition” for the Orchestra. Montgomery County Commission 28 28 © Dayton Daily News Daily © Dayton

Seen here during the 1970s, both Jane Varella, principal percussionist (left) and Jean Blasingame, violist (right) have been with the orchestra for over 50 years. Violist Emma Louise Odum has also served the DPO for over a half century. of Music in New York City where at the newly established Wolf Trap the organization. Varella, who began he studied under conducting Festival outside Washington, D.C. playing with the DPO as a high school pedagogue Carl Bamberger. After But it was the position in Dayton student, has been with the Orchestra completing his studies at Mannes, that he “simply couldn’t refuse.” for over 50 years with only a brief an infl uential teacher introduced a interruption while she pursued a young Wendelken-Wilson to Julius Paul Katz was named Conductor degree at Eastman School of Music. Rudel of the New York City Opera Emeritus. Through a generous Company where he was hired as an donation from Mr. and Mrs. Eugene 1976 brought Ken Miller, principal organist and pianist. In time, the Joffe, a special concert where Katz cellist of the Dayton Philharmonic young conductor, who had also been returned to conduct once every Orchestra, to the podium of the chorusmaster of the Philadelphia year was established in his honor. DPYO. He would serve for the next Lyric Opera, caught the attention Patrons enjoyed Katz’s return two years, turning the baton over to of Erich Leinsdorf. This led to his to the podium during the Joffe William Steinohrt in 1978. Steinohrt, appointment as assistant conductor Patron Concert for the next ten Chairman of the Wright State of the Boston Symphony Orchestra. years. The fi rst Joffe concert in University Department of Music and January of 1975 featured renowned double bass player with the Dayton Success brought Wendelken-Wilson cellist Mstislav Rostropovich. Philharmonic Orchestra, was an to guest conduct throughout the U.S., ambitious composer whose many and eventually took him back to New Jane Varella, principal percussionist compositions have been premiered York where he was teamed up with for the Dayton Philharmonic by the Orchestra, including his friend Beverly Sills, at both the New Orchestra, became personnel Celebration Overture, Derivations York City Opera, and for productions manager in 1975, one of the key and The Remembrance. positions fi lled by musicians within

29

“I love everything about this town. It just reacted right when I fi rst came here – the chemistry was exactly the way it should be. The quality of people who live in Dayton and are in my orchestra is high – they’re wonderful people to work with. Everyone here is a professional musician who happens to do other things to make most of their living. It’s a wonderful group.”

– Charles Wendelken-Wilson, Troy News, 1979 Photo by fred hobbs by Photo

Wendelken-Wilson with friend and guest artist Beverly Sills, late 1970s

After just one year, Wendelken- Wilson was settling into his position as music director for the Dayton Philharmonic Orchestra. Audiences were being exposed to a wide range of orchestral music and the new maestro consistently proved that he was the leader the committee had hoped for. Also, his ongoing friendship with Beverly Sills brought the famous vocalist to Dayton twice during the late ’70s.

Pianist Susan Starr became a favorite of Dayton audiences after a 1977 performance when the area was buried in snow and only half the Orchestra made it to Memorial Virginia Kettering requested that two young friends help her conduct the Orchestra Hall. Not wanting to disappoint during a special performance in the lobby of the Kettering Tower, 1976 the audience, nor have the Dayton Philharmonic Orchestra risk fi nancial problems from ticket refunds, Starr kicked off her shoes and played her heart out in an impromptu recital of solo piano pieces that delighted the crowd and Orchestra alike.

30 30 Several DPO ensembles were formed during the late ’70s and early ’80s. This brass quintet featured (l-r) Sue Taylor, Steve Winteregg, Johnny Reger, Richard Chenoweth, and Bob Sherman. 31 David L. Pierson joined the Dayton With the opening of the 1978-79 Philharmonic Orchestra as General season, the Dayton Philharmonic Manager in 1977. Active in the Orchestra added a three- community,community, PiersonPierson ledled concertconcert SSaturdayaturday the Orchestra through SuperPopsSuperPops series,series, a comfortable period presentedpresented cabaret-cabaret- of fi nancial stability stylestyle atat thethe DaytonDayton and helped develop Convention new programs Center. By the including the late ’70s, several Saturday night ensembles SuperPops series including and the Thursday a chamber night Encore series. orchestra, a That same year, Bob woodwindwoodwind quintet,quintet, KinderConcert Program Cover, 1977 McGrath of Sesame a stringstring quartet,quartet, a Street ccausedaused eexcitementxcitement brassbrass quintet,quintet, andand a “I can’t believe these kids. I don’t aamongmong tthehe ppre-schoolre-school setset percussionpercussion triotrio hadhad beenbeen Olive W. Kettering ordinarily perform with youth when he made his fi rst formed for the purpose of orchestras, but the Dayton appearance with the DPYO at a taking music further into the schools Philharmonic Youth Orchestra KinderConcert. Singing the praises and the community. is no ordinary youth orchestra. of the Youth Orchestra, he returned People in Dayton should be proud again in 1981. The Women’s Association presented its fi rst Designer’s Show House in to have a youth orchestra like 1977 also marked the fi rst year of 1979. Area designers, landscape this. It’s something I’d like the Olive W. Kettering Memorial architects and artists refurbished to do on Sesame Street.”

Concerts. The Kettering Fund the house and grounds of a local – Bob McGrath, Sesame Street star presented the Dayton Philharmonic landmark. Thousands turned out and soloist for KinderConcert, 1977 Orchestra with a generous gift at $3.50 per admission to see the that was used to establish a fund transformation. The next show house, to underwrite the appearance of two years later, won the American distinguished artists. The following Symphony Orchestra League’s top year, Sonia Goldfarb was named award for outstanding fundraising Education Coordinator. She later project in the United States and became Operations Manager, Interim helped the organization exceed Manager, and Interim Executive its commitment to supporting Director. Goldfarb wore many hats the Orchestra. within the DPO organization where her dedication and talent were appreciated for over 15 years.

1979-80 Season Program Cover designed by award-winning cartoonist Mike Peters.

32 32 THE 1980S Over 50,000 people poured into Dayton’s Welcome Stadium for the fi rst Dayton Philharmonic Orchestra Fourth of July Concert in 1980. Free tickets were distributed for the patriotic concert that became an annual event. Wendelken-Wilson conducted these concerts for seven years and counted them among his favorites. The following year, Wendelken-Wilson and Dayton’s favorite humorist, Erma Bombeck, received honorary doctorates from the University of Dayton. “I’m not used to facing the audience,” the conductor told a newspaper reporter covering the graduation ceremony.

Dayton Public Television WPTD- Orchestra discovered that she was WPTO, Channel 14/16, agreed to traveling with an entourage from telecast a 1982 Dayton Philharmonic CBS Sunday Morning with Charles Orchestra concert featuring pianist Kurault. Film clips of her performing Fourth of July Concert Jorge Bolet. This marked the fi rst with the DPO, spliced together with Program, 1980 time that a major arts event of this the New York Philharmonic, later type was taped in the Dayton area appeared on CBS. Wendelken- for telecasting as a complete program. Wilson was pleased by the Orchestra’s opportunity for such national exposure. With a generous contribution from Virginia Kettering, the Dayton The Orchestra’s 50th anniversary,

“The former principal Philharmonic Junior String during the 1983-84 season, included conductor of the New Orchestra was added to the youth a yearlong celebration that kicked off York City Opera has program in 1982. This provided with a free concert at Carillon Park. taken the part-time, opportunities for younger musicians Wendelken-Wilson conducted the community orchestra beginning in sixth grade. William Orchestra in Serge Prokofi ev’s Peter and injected a large Scutt, long-time member of the DPO’s and the Wolf, narrated by Dayton measure of professional fi rst violin section, was named the Mayor Paul Leonard. The spectacular polish and discipline fi rst conductor of the JSO. Admission season included performances by into its playing.” to both JSO and DPYO has always Itzhak Perlman, Yo-Yo Ma, and Susan been highly competitive – based Starr. The Saturday night SuperPops – Referring to Wendelken-Wilson, on solo performance and sight series featured Victor Borge and New York Times, 1982 reading skills. Motown’s Fifth Dimension.

Causing a stir in the spring of 1983 was the guest appearance of Spanish pianist Alicia de Laroccha. Upon her arrival, the Dayton Philharmonic 33 Itzhak Perlman performed in recital sponsored by the DPO during the 1983-84 season.

34 34 Photo by fred hobbs by Photo

Clark Haines, who led the reestablished chorus with Wendelken-Wilson presenting Yo-Yo Ma, 1983 Wendelken-Wilson, 1983

Over 5,000 people attended the of Beethoven’s Ninth Symphony. After serving the Dayton Philharmonic Dayton Philharmonic Orchestra’s This selection was included on a Orchestra for 28 years, concertmaster birthday celebration at Courthouse commemorative album, “Enriching Adon Foster retired in May of 1984. Square where a ceremonial cake Your Life with Music.” Eventually, Peter Ciaschini joined the DPO as cutting was held in September Wendelken-Wilson convinced Clark the new concertmaster in September of 1983. The DPO opened the Haines to take over as choral master of of 1984 after an extensive search. anniversary season by welcoming the Dayton Philharmonic Orchestra Only 23 years old, Ciaschini was chosen Paul Katz to the podium to conduct Chorus, a position he held for ten over twenty applicants for the prized Beethoven’s Overture Egmont. Katz, years. Haines was not only a vocalist position. He was the winner of the and his original orchestra of 26 with a master’s degree in music, but Boston Conservatory Concerto members, performed the same piece also a clarinet player, educator, and Competition and had been with the at their fi rst concert in 1933. Other school administrator. Sante Fe Opera, Vermont Symphony, performances that season included New Hampshire Symphony, and the commissioned works by local In 1983, The American Symphony Opera Company of Boston. He served composers William Steinohrt, Orchestra League presented David as concertmaster for 15 years. James Haskins, Werner James Pierson with the Helen M. Thompson Losh, and Ellen Jane Lorenz Porter. Award honoring outstanding young National Cash Register’s centennial orchestra managers, and re-classifi ed in 1984 included a special concert Highlighting the Golden Jubilee year the Dayton Philharmonic Orchestra featuring the Dayton Philharmonic was the re-formation of the Dayton from a “community” to a “regional” Orchestra with Frederica von Stade, Philharmonic Chorus for a production orchestra. By this time, the Designer’s Mezzo-Soprano. The event not only Show House was also generating over $100,000, enabling the Woman’s Association to endow more chairs within the organization.

35 50th Anniversary Commemorative Recording, 1983 Peter Ciaschini, Concertmaster 1984-1999 celebrated 100 years of the company Candlelight Concerts featuring John Patterson had founded, but various ensembles within the also his philosophy regarding support Orchestra were fi rst presented in of the arts. His favorite remark was 1985 on Saturday evenings at the “it pays” when answering critics Patterson Homestead. That same who challenged that support. This year, the Women’s Association concert initiated what became the Designer’s Show House at the annual William S. Anderson Concert. Bossler Mansion in the St. Anne’s Anderson provided an endowment Hill Historic District broke records to help underwrite future concerts. of attendance and revenue, and the organization’s venture into 1985 saw the birth of WDPR-FM, the publishing proved enormously Dayton-based fi ne arts radio station. successful. Mud Pies & Silver Spoons, Clark Haines was elected President a cookbook featuring a forward by and Wendelken-Wilson was chosen Erma Bombeck and illustrations by to serve as Music Advisor. Having Pulitzer prize-winning cartoonist announced the end of his tenure with Mike Peters, fl ew off the shelves the Dayton Philharmonic Orchestra, of area bookstores. the transition was a natural one for Cover of Mud Pies & Silver Spoons, the Wendelken-Wilson. The new station DPWA’s successful cookbook, 1985 began broadcasting performances of the Dayton Philharmonic and Dayton Opera.

36 36 © ANDY SNOW

Isaiah Jackson, Music Director, 1987-1994

Doris Ponitz, President of the DPOA, welcomes Isaiah Jackson, 1987

The Dayton Philharmonic Orchestra Isaiah Jackson, associate conductor was part of the entertainment line-up of the Rochester Philharmonic, was for many years at the homegrown named the new Music Director of Bogie Busters Golf Tournament Gala. the Dayton Philharmonic Orchestra In 1985, the Dayton Philharmonic effective the 1987-88 season. Orchestra played at the event before Jackson, hailed for his symphonic a sell-out crowd that included Vice performances as well as for his President George Bush. Bob Hope, interpretations of opera and ballet, The McGuire Sisters, and Andy had appeared as guest conductor Williams were headliners at the on many of the most distinguished event where everyone saw “red” podiums in America and Europe. – jackets that is. Even Wendelken- Wilson sported the Bogie Busters Born in 1945 in Richmond, Virginia, signature red blazer while Jackson was a cum laude graduate of he conducted. Harvard where he majored in Russian history and literature. Jackson also Not able to accommodate all the held graduate degrees from Stanford, requests for tickets in 1983, the the Juilliard School of Music, and Dayton Philharmonic Orchestra studied at Fontainebleau, Aspen and held a special event featuring Itzhak Tanglewood. While at Juilliard, he Perlman in recital during the 1986- was Leopold Stokowski’s assistant 87 season. To applause and laughter, with the American Symphony Orchestra. Perlman graciously announced, He also had served as the music “Ladies and gentlemen, it’s the director of the Youth Symphony of fourth inning and no score,” after New York. The appointment of Jackson he checked up on the World Series followed a two-year search where during intermission. Wendelken-Wilson graciously stayed

37 on until his successor was chosen. Maestro Two-W’s, as he was sometimes called, had served as DPO’s music director through twelve seasons.

Dayton Philharmonic Orchestra Manager David Pierson resigned his post in 1988 to become executive director of the Jacksonville Symphony. Under Pierson’s management, a corporate sponsorship program was initiated, the subscriber base more than tripled, and the endowment rose substantially. By 1988, the Dayton Concert Band, re-formed in 1984 by Clark Haines, was brought under the auspices of the Dayton Philharmonic © Dayton Daily News Daily © Dayton Orchestra and renamed the Dayton Philharmonic Concert Band. Haines, Cy Laughter presents Charles Wendelken-Wilson with a red Bogie Busters Golf a former music educator and director Tournament jacket, 1984 of the NCR Band for 35 years, directed the Concert Band for over ten years, followed by Clair Miller, trombonist with the Dayton Philharmonic Orchestra, who conducted from 1996 through 1999. Patrick Reynolds, Assistant Conductor for the Dayton Philharmonic Orchestra, and conductor of the DPYO, took over the baton in 2000.

The Concert Band’s greatest contributions within the Philharmonic family include the fall “Tribute to High School Bands” and the many outdoor summer concerts. Haines The DPO Concert Band was offi cially formed in 1988. began the “Tribute” concerts at the Masonic Temple in 1988 as a means of inspiring young musicians who The Dayton Philharmonic Youth Debut Series. It was the performance participate in the Ohio Music Orchestra’s 50th year anniversary of a lifetime for many of the high Education Association annual contests was celebrated with a special trip to schoolers from Dayton. The DPYO during the spring. The Band invites New York City and a performance at was also invited to watch Zubin young musicians to hear professional Carnegie Hall. In the spring of 1988, Mehta conduct a concert with the performances of OMEA repertoire. Maestro William Steinohrt led the New York Philharmonic. group to the revered concert hall to participate in the Youth Music

38 38 Until his death in 1989, Paul Katz remained active in Dayton’s musical community and “We pay tribute to the inspiration of this extraordinary man, whose regularly volunteered life was a validation of what man’s vision can produce when the his time performing vision is reinforced by action...” for patients at Good – Part of DPOA Resolution, signed by Board President Laurence Harkness upon Katz’s death, 1989 39 Samaritan Hospital. As the ’80s came to a close, Carol A new executive director was named Channing and jazz trumpeter Al in 1989 when John Edward Bauser, Hirt joined the SuperPops series. director of development for the The Dayton Philharmonic Orchestra San Diego Symphony, accepted the established the Magic Carpet Series, position. Bauser joined the Dayton geared toward pre-schoolers, and Philharmonic Orchestra just one Nadja Salerno-Sonnenberg was a month after the organization was guest artist with the Classical series. notifi ed that it had been awarded Isaac Stern, the man responsible a $100,000 challenge grant from the for saving Carnegie Hall from the National Endowment for the Arts. wrecking ball, also made a return The award would be used to augment The Dayton Philharmonic Youth Orchestra visit to perform in recital under the Orchestra’s endowment fund. performs at Carnegie Hall, 1988 the DPO’s sponsorship. Dayton’s Mayor Richard Clay Dixon Paul Katz, founder of the Dayton honored the DPO’s music director Philharmonic Orchestra, died by offi cially naming April 2, 1989, on August 31, 1989. The Dayton “Isaiah Jackson Day.” A reception Philharmonic Orchestra Board was held at Sinclair Community of Trustees presented his widow College where proclamations were with a plaque bearing the read celebrating Maestro inspiring words he spoke Jackson’s contributions in an address to the Board to the musical life of in 1936. These words the city. That same DPYO Conductor Steinohrt can be found on the title year Jackson conducted page of this book. Katz’s Britain’s Royal Ballet presence, infl uence and at Covent Garden and “Some of the contributions will always made his debut with the strongeststrongest playingplaying be a signifi cant part of the Berlin Symphony. He also came from the history of Dayton, Ohio. conducted in Sweden and Dayton-based Wright State University traveled to Cleveland to Orchestra. holds an archived lead its Martin Luther Steinohrt led collection of his memorabilia King, Jr. concert. Cover of the 1988-89 with a solid and honors him with Season Brochure and fearless a music scholarship The cover for the 1988- account of the established in his name. 89 season brochure refl ected what Jackson had hoped to achieve Prelude to the Third Act of Grace Counts Finch, the only – serving as a bridge to the African- Wagner’s opera, Lohengrin, remaining member of the original American community. After meetings and then gave the fi rst New Chamber Orchestra Society, also died with several interest groups over York performance of Martin in 1989. A touching tribute was paid the course of his fi rst years, Jackson Mailman’s Mirror Music, a to her when the viola section came on formulated the idea of gospel and three-part work demanding a stage to perform the hymn, “Amazing symphony concerts that would high degree of professionalism.” Grace”, arranged by fellow violist premier in the ’90s. – Betty Dietz Krebs, following Phil Magnuson. That same year, her DPYO’s Carnegie Hall debut, Dayton Daily News,1988 husband endowed The Grace Counts Finch Chair in her memory.

40 40 1990 TO 2003 A new slogan for the Dayton Philharmonic Orchestra – Where Dayton Comes Together – signifi ed words of hope and excitement as the organization, under Jackson’s leadership, set out to face new challenges. During March and April of 1990, with the goal of reaching out to different parts of the community, the Dayton Philharmonic Orchestra premiered the series “Focus on Our Heritage.” The series was highlighted by special concerts including pianist André Watts and the André Watts DPO’s fi rst Gospel Concert.

In January of 1990, the Dayton Assistant concertmaster Xiao-Guang Philharmonic Orchestra participated Zhu was named director of the Junior in the much anticipated “Viva Victoria,” String Orchestra in 1991 following the a grand opening of the newly renovated retirement of William Scutt. A native Victoria Theatre, televised live on PBS, of Beijing, China, Zhu, a graduate Channel 16. Marked for of the Cincinnati demolition, the Victoria Conservatory of Music, narrowly escaped the had been associate wrecking ball before conductor of the Beijing it gained a listing in Youth Symphony before the National Register moving to the U.S. in 1987. of Historic Places. The Zhu directed the JSO

Dayton Philharmonic Photo by Jon Neidert through seven seasons Orchestra had performed and served as acting- Xiao-Guang Zhu there from 1935-43. concertmaster for the Dayton Philharmonic Orchestra Isaiah Jackson led the audience in a during one season. silent prayer at a concert in January of 1991 following the U.S. entry into The Dayton Daily News featured the Gulf War. A speech by President an article about the audition process George Bush was also broadcast at for membership in the Dayton Memorial Hall during intermission. Philharmonic Chorus in the autumn That same year, Marvin Hamlisch of ’91. The story focused on the highly joined the Dayton Philharmonic selective process and the extensive Orchestra for the “Pavilion Preview musical backgrounds of many of the Gala Pops Concert” at the brand new volunteer vocalists who, each year, Fraze Pavilion for the Performing vie for a chance at performing Arts located in Lincoln Park Center with the DPO. Mert Adams, chorus in Kettering. manager for 18 years, said of the 41 Isaiah Jackson leading the Orchestra in his

© ANDY SNOW third season as Music Director.

42 42 © Dayton Daily News Daily © Dayton

A performance by the Junior String Orchestra in the Arcade, 1992

Dayton Philharmonic Orchestra by the JSO and the Carillon Brass. Serenata, written by Dayton Chorus, “The group has a great The brass quintet, featuring Steve Philharmonic Orchestra violist Philip love and loyalty to the organization. Anderson, Richard Chenoweth, Walt Magnuson. Sonia Goldfarb retired They are like a family.” Oliver, Charles Pagnard, and Steve and was given special recognition Winteregg, had recently toured for her contributions to the youth Twenty years China at the invitation of Chinese programs. Gloria Pugh was named after violinist offi cials. 1992 also saw the creation the new Director of Education and Pinchas of a new position within the Dayton continues in that position today. In Zukerman Philharmonic Orchestra management November of that year, members of appeared as team. Matthew Borger was named the Dayton Philharmonic Orchestra a guest soloist Orchestra Manager. Today he serves donated their time and talents to under Paul Katz, as Director of Operations. the less fortunate by performing at he returned the 25th anniversary of the Beerman as conductor The Dayton Philharmonic Orchestra Foundation Annual Community Pinchas Zukerman and soloist celebrated its 60th anniversary Thanksgiving Day Dinner. for the season season in 1993. The season opened opener in 1992. That winter, the with guest artist Daniel Binelli Curtis Long, Executive Director of Arcade, an indoor shopping market playing the bandoneon. This the Delaware Symphony, was just with historic and architectural marked the fi rst time a bandoneon, 30 years old when he was appointed signifi cance, re-opened during the an instrument that resembles a Executive Director of the Dayton holiday season with a full schedule concertina and accordion, was Philharmonic Orchestra in August of events including performances played in a DPO concert. JSO also of 1994 after a seven month search. A celebrated its 10th anniversary in graduate of the American Symphony 1993 by performing the composition,

43 “This is one of the many ways we support the Orchestra” – Jerry Hauer, Hauer Music, Neal Gittleman at his audition, 1994 presenting Curtis Long, Executive Director of the DPO, with a check following a special piano sale where a percentage of proceeds benefi ted the Orchestra, 1995

Orchestra League fellowship of the Milwaukee Symphony program, Long arrived just seven Orchestra, and David Lockington of weeks before the opening of the the Baltimore Symphony Orchestra. 1994-95 season. That year would feature fi ve young guest conductors, Following an 18-month search, Neal one to be selected as the new Dayton Gittleman was named fourth music Philharmonic Orchestra music director of the Dayton Philharmonic director. The fi ve fi nalists had been Orchestra. Gittleman, a Yale University graduate, had served as Music DPO members enjoying the Beerman chosen from over 200 applications. Foundation Annual Thanksgiving Day Director of the Marion (Indiana) Dinner at which they performed, 1993 Providing patrons with a voice, Philharmonic, Associate Conductor the DPO requested “reviews” of of the Syracuse Symphony, Assistant the fi ve fi nalists for the position of Conductor of the Oregon Symphony new music director. Following each Orchestra, and Associate Conductor debut, concertgoers were asked to of the Milwaukee Symphony Orchestra, rate the conductors’ effectiveness, a post he held for ten seasons. He rapport, and performance by studied with Nadia Boulanger and completing an audition evaluation Annette Dieudonne in Paris, with included in their program. The fi ve Hugh Ross at the Manhattan School accomplished conductors vying for of Music and with Charles Bruck the Dayton Philharmonic Orchestra at both the Pierre Monteux School position included Gisele Ben-Dor and the Hartt School of Music, where of the Annapolis Symphony, Keith he was a Karl Böhm Fellow. Lockhart of the Cincinnati Symphony Orchestra, Steven Byess of the Cobb Symphony Orchestra, Neal Gittleman

44 44 “My Mission as the Dayton Philharmonic Orchestra’s next music director is to take a very good orchestra and make it a great orchestra; to improve its performance on stage, to increase its presence in the community, and to make it a positive force in all our lives. I will do everything I can to meet that challenge. You have my photo by JON NEIDERT JON by photo word on it. And I expect you to hold me to my word.”

– Neal Gittleman, Dayton Daily News Letter-to-the-Editor, 1995 45 Gittleman had won Second Prize The Dayton Philharmonic Youth at the 1984 Ernest Ansermet Orchestra bid farewell to Dr. William International Conducting Steinohrt at their spring concert Competition in Geneva and took at Wright State University in 1995. Third Prize at the 1986 Leopold After a 17-year tenure with the Stokowski Conducting Competition organization, and Dayton’s cold in New York. He was also nationally winters, Steinohrt relocated to known for his Classical Connections Hawaii. A conductor search took programs, which provided a “behind place during the 1995-96 season Bach’s Lunches were mini-concerts the scenes” look at great works of and Peter Ciaschini, concertmaster presented on Fridays at noontime at orchestra repertoire. Today, this of the Dayton Philharmonic Orchestra, different historic downtown locations. innovative program has become a was eventually chosen to lead the Pictured here is the string quartet of Peter Ciaschini, Bob Young, Colleen Braid, vital part of the DPO’s concert season. group. Ciaschini directed the DPYO and Jane Katsuyama, mid 1990s for three years with one year off The 1st Annual PhilharMonster for a leave of absence. debuted near Halloween in 1994. Willie Waters guest-conducted the Receptions were held in the lobby of family concert that has become a Memorial Hall to honor Isaiah Jackson favorite of audiences of all ages. following the May 1995 concerts Neal Gittleman has since conducted that featured Mahler’s Symphony the PhilharMonster, delighting the No. 8, also known as “Symphony of crowd with costumes ranging from a Thousand.” The spectacular season a gorilla to Superman. By 1997, the fi nale celebrated Jackson’s eight-year popular PhilharMonster became tenure with the Dayton Philharmonic part of a new series of concerts – Orchestra and included the Dayton the Family Concerts. Philharmonic Chorus, several college Isaiah Jackson and Neal Gittleman, 1995 choral groups, area church choirs, the Board President Lou Mason saw Dayton Boys Choir, and the Kettering the latest youthful invasion in Children’s Choir. management as an opportunity for the Orchestra to grow with new ideas In the summer of 1995, General and in new directions. A 1994-95 Motors sponsored a free concert season program contained a letter at the Fraze Pavilion to mark Neal from Mason informing patrons Gittleman’s conducting debut as about a “Town Meeting” where new music director of the DPO. thoughts were expressed regarding The event also showcased the a new concert hall. Mason and her 1996 line-up of new GM cars and husband, Steve Mason, were catalysts trucks. Gittleman appropriately and who believed that a new venue was unforgettably arrived on stage in a essential to Dayton’s cultural future. Corvette convertible. Following his Together, they joined a group of fi rst concerts in Dayton, headlines visionaries who were instrumental read: “Gittleman opens ‘new era’ Photo by Jon Neidert in encouraging the city to investigate for Philharmonic” – Downtowner; Neal Gittleman in one of his options. Eventually, they also brought “Gittleman makes charming entrance PhilharMonster costumes, late 1990s this need to the attention of to arts scene” – Oakwood Register; Benjamin and Marian Schuster. “Gittleman’s debut reveals new sound” – Dayton Daily News.

46 46 The new maestro’s sense of humor Orchestra tuba principal, and native allowed radio station WLQT (Lite Daytonian, to honor the city. Breathless, FM 99.9) to hide a life-size cutout of another Winteregg composition, was himself for a weekly “Where’s Neal?” premiered by the Dayton Philharmonic contest. The Al & Marge column Orchestra the following year. in the Dayton Daily News tracked Cutout-Neal’s whereabouts and The Dayton Philharmonic Women’s listed rhyming clues. If the Dayton Association changed its name to Philharmonic Orchestra management the Dayton Philharmonic Volunteer was looking for someone to integrate Association in 1996. Today, several himself into the community, aggressively men are part of the organization represent the organization, and unify that boasts almost 350 members the Orchestra, they too had located and continues to support the their man. Orchestra’s efforts, particularly with education and scholarship programs. Jeffrey Powell conducted the With the DPVA’s help, the Dayton Dayton Philharmonic Chorus upon Philharmonic Orchestra now reaches the retirement of Clark Haines. an annual audience of over 85,000 Powell, who also served as a students. 1996 also marked the year rehearsal conductor for the Dayton that DPO launched its new Crescendo Philharmonic Orchestra, was Artistic Campaign, a visible fundraising A PhilharMonster patron standing next Administrator, Chorus Master, effort that, like a crescendo, made to the “Where’s Neal?” life-size cutout. and Music Director of the Artist in music lovers take notice. This annual Residence program for the Dayton fund drive has helped secure the Opera. In 1996, Hank Dahlman, support necessary to continually associate professor of music and increase the quantity and quality director of choral studies at Wright of music in the community. State University, assumed leadership of the chorus. Gittleman participated A major grant from the Miriam in Dahlman’s selection by singing Rosenthal Trust Fund made possible as a member of the chorus. Dahlman the creation of a summer SuperPops holds a Doctor of Musical Arts degree Concert Series at the Fraze Pavilion in in conducting from the Conservatory Kettering – now considered the DPO’s of Music at the University of summer home. The inaugural concert Missouri-Kansas City. in 1996 featured Randy Newman conducting the Orchestra in a selection Kicking off Celebrate Dayton of his popular hits, including the score The Sunset Symphony Series at the Fraze Pavillion in Kettering. ’96, a yearlong series of events from Disney’s computer-animated commemorating the city’s movie Toy Story. The series has bicentennial, the Dayton become a mainstay of Dayton’s Philharmonic Orchestra presented summer arts scene. a Viennese New Year’s Eve Concert, although the music was not exclusively Autumn of 1997 marked the Viennese. The opening selection, inaugural season of the Dayton Fanfare for a City, was written by Philharmonic Classical Connections Steve Winteregg, Dayton Philharmonic Series. According to Gittleman,

47 “The evening’s master of ceremonies was DPO Music Director Neal Gittleman. Charming and engaging, Gittleman played the Opening festivities of the Viennese New perfect host – the kind who makes sure every glass is full and Year’s Eve Concert. every guest is paired.”

– Carol Simmons, review of Viennese New Year’s Eve Concert, Dayton Daily News, 1996

48 NEIDERT JON by Photo 48 Photos by JON NEIDERT

In 2001, the American Symphony Orchestra League reported that the Dayton Philharmonic presented more school programs than any other orchestra in the United States.

49

the series “is a whole new way of if he would grant an encore, Ma presenting orchestral concerts.” replied, “I will if you do t’ai chi while He likened the behind-the-scenes I play.” Ma had watched Gittleman’s atmosphere of these concerts to t’ai chi warm-up backstage before “Leonard-Bernstein-style-Young- the performance. Not wanting to People’s-Concerts-but-for-grown-ups.” disappoint local fans, Dayton’s maestro complied and Ma played Mark SPARK (School Partners with Artists O’Connor’s Appalachian Waltz. Reaching Kids), a new program that paired Dayton Philharmonic Retired from the Dayton Orchestra musicians with classrooms Philharmonic Orchestra since at local elementary schools, began 1995, Karen Young rejoined the ““WeWe endedended ttogether,ogether, whichwhich waswas nono on a trial basis in 1997. After a fi ve- organization in 1998 to assume small feat, given that we hadn’t year pilot project, the enormously the responsibility of directing the rehearsed!” successful program took a Junior String Orchestra. Young, an – Neal Gittleman about his duet for t’ai chi permanent place among the DPO’s accomplished violinist and educator, and cello with Yo Yo Ma, 1998 many educational offerings. The has become well-known for her pre- program was the result of a study, performance comments that help commissioned by the organization, audience members and students

to determine the arts education understand more about individual needs of the Miami Valley. The Dayton composers and music history. Philharmonic Orchestra is proud to have the distinction of providing The theme Power and Emotion more educational programs than brought international sensation, any other orchestra in the country Anne Akiko Meyer, the only artist – offering over 1000 annually! to be the sole recipient of the Avery Fisher Career Grant, back In a moving tribute, the DPO honored by popular demand during the the late Harley Flack, President of 1998-99 season. Local talent was Wright State University, with a also featured when Dayton’s own movement from Sir Edward Elgar’s “guitarman,” Jim McCutcheon, made Enigma Variations as an addition his Dayton Philharmonic Orchestra to a regularly scheduled concert debut with a concerto for classical in April of 1998. Flack, who had died guitar. Programming for this season in March after a fi ve-month battle included several contemporary with cancer, was a noted musician, compositions, including the world composer, and active member of premiere of Meira Maxine Warhauer’s the Dayton Philharmonic Orchestra Like Streams in the Desert, a work Board of Trustees. commissioned by the Jewish Federation of Greater Dayton to Yo-Yo Ma made a return appearance Commemorate the 50th Anniversary with the Philharmonic in May of of the State of Israel. Such innovative “Sounded incredible!” 1998 to benefi t the DPO’s education programming garnered the Dayton “The Concert made me feel like programs and the Caring Program for I was in a wonderland,” and Children. When asked by Gittleman “It made me feel good inside”

– Responses from children who have visited the Dayton Philharmonic Orchestra.

50 50 Photo by JON NEIDERT JON by Photo

Neal Gittleman with Emir Nuhanovic of the Sarajevo Philharmonic Orchestra Gittleman with Adam Abeshouse in and principal guest conductor Charles Ansbacher at the Concert for Peace, the recording studio producing Tomos commemorating the Dayton Peace Accord, 1999 Svoboda’s piano concertos, 1999

A bequest from the estate of long- November 7, 1999 to make room for time Dayton Philharmonic Orchestra Dayton’s new $121 million arts venue supporter Ellen Jane Lorenz Porter that would bear the names of major made it possible to hold recording contributors Benjamin and Marian sessions for the DPO’s fi rst CD in Schuster. “Industries of a town February of 1999. Adam Abeshouse feed the stomach. The arts feed the was engaged to produce the premiere heart,” said Dr. Schuster, a long-time recording of Tomas Svoboda’s two Dayton cardiologist whose generosity piano concertos featuring the matched his insight. composer himself on Piano Concerto No. 1, Op. 71, and Norman Krieger In commemoration of the 4th anniversary of the signing of the The cover of the Dayton Philharmonic’s performing Piano Concerto No. 2, Dayton Peace Accord, the Dayton 1999 CD recording. Op. 134. During the lengthy process of editing and preparing the package, Philharmonic Orchestra welcomed Abeshouse received a Grammy Award the Sarajevo Philharmonic Orchestra, in 2000 for “Best Classical Producer.” under the direction of Emir Nuhanovic and principal guest conductor Philharmonic Orchestra an award The Dayton Philharmonic Orchestra Charles Ansbacher, for an equally from the American Society of released this long-awaited CD in 2001. historic Concert for Peace on Composers, Authors, and Publishers In 1911, the cornerstone was laid November 13, 1999 at Memorial Hall. (ASCAP) for its commitment to new and Rike’s Department Store was The concert, which launched the music programming. In 2002, the built. In 1999, the building at Sarajevo Orchestra’s two-week tour DPO once again received an ASCAP Second and Main, by then called of the United States, featured both award for adventurous programming. Lazarus, was razed. With the help orchestras, individually and combined. of hundreds of explosives, the old Rike’s building toppled on Sunday,

51 Photo by Jon Neidert

Neal Gittleman sings Take Me Out To The Ballgame as Heater conducts, 2000

Kirstin Greenlaw, having fi rst won the Principal Second Chair, then, the assistant concertmaster chair, © Dayton Daily News Daily © Dayton stepped into the position of acting concertmaster for almost two years following Ciaschini’s departure in 1999. Greenlaw was the fi rst female to offi cially occupy the concertmaster seat in the DPO’s history. She currently serves as Principal Second Violin.

Johnny Bench made a guest appearance in 2000 to help the Dayton Philharmonic Orchestra launch a musical salute to America’s love of sports at Pop Goes Out to the Ballgame. He provided the evening’s play-by-play along with local sports fi gures Ritter Collett, Mike Kelly and Larry Hansgen. Later that year, celebrating Dayton’s new baseball team and ballpark, Gittleman shared the conductor’s podium at the PhilharMonster Concert with Heater, the Dayton Dragons’ fi re-breathing mascot. © Dayton Daily News Daily © Dayton

The implosion of the former Rike’s Department Store on Sunday, November 7, 1999

52 52 Neal Gittleman conducting J.S. Bach’s St. Matthew Passion in the fall of 2000. Photo by JON NEIDERT JON by Photo

53 Photo by JON NEIDERT JON by Photo NEIDERT JON by Photo

The Kettering Children’s Choir performing in J.S. Bach’s St. Matthew Passion, 2000 Dayton Philharmonic Orchestra’s principal tuba and composer, Steven Winteregg

Patrick Reynolds was chosen in In accordance with tradition, and Evansville Philharmonic for new 2000 as the new conductor for both The Star Spangled Banner was works by three American composers. the Concert Band and the Youth performed to open the season in Works from Steven Winteregg Orchestra. Reynolds, currently in his September of 2001. That evening, and Robert Rodríguez were also third year with the two organizations, many patrons came specifi cally to scheduled for presentation during began serving as cover conductor for hear our nation’s anthem. Not since the 2003 centennial. the Dayton Philharmonic Orchestra December of 1941 was it deemed in 1999. Holding a doctorate in the most important musical selection Anticipation for the opening of the musical arts from the University of programmed. Tension was still in new performing arts center in Dayton Cincinnati, College-Conservatory the air following what had been the spurred ticket sales in excess of of Music, he is an associate professor fi rst major acts of terrorism toward $1 million early in the DPO’s Charter of music at the University of Dayton our country, just one week earlier Subscription Campaign in 2001. where he performs on trumpet with on September 11. The once somber Not scheduled to open until the the Faculty Brass Trio. audience, however, responded with 2002-03 season, excitement over an emotional and uplifting burst of the Benjamin and Marian Schuster In the fall of 2000, the Dayton applause. “Our fl ag was still there.” Performing Arts Center proved that Philharmonic Orchestra announced in Dayton the saying, “If you build that ticket sales for a full-length In 2001, the National Endowment it, they will come,” was true for arts presentation of J.S. Bach’s St. Matthew for the Arts recognized the Dayton and sports fans alike. Passion, were topping the charts. Philharmonic Orchestra for their The DPO was joined by the Dayton programming efforts by awarding Lucas Alemán was appointed Philharmonic Chorus, Dayton Bach a $50,000 grant to help fund a series concertmaster of the Dayton Society, Kettering Children’s Choir, of commissioned works, each with Philharmonic Orchestra in January six featured soloists, and eleven a fl ight theme. To celebrate the of 2002. The 25-year-old brought a minor soloists. The last classical centennial of powered fl ight and wealth of experience to the premiere concert to hold such a high record of the legacy of Daytonians Wilbur music position. A native of Spain, ticket sales was Isaiah Jackson’s fi nal and Orville Wright, the DPO led a Alemán had been concertmaster for performance with the Orchestra. commissioning consortium along the Royal Philharmonia of Galicia with the North Carolina Symphony

54 54 © ANDy snow

Gittleman with the locally-based and nationally-renowned Rhythm in Shoes Dance Company, 2002

since 1999, and had studied at the An ensemble of Dayton Philharmonic Escuela de Violin Superior de Burgos Orchestra brass and percussion and at the Hogeschool van Kunsten musicians performed at Westminster Utrecht in Holland. Presbyterian Church as the community commemorated the one-year The Dayton Philharmonic Orchestra anniversary of the tragic events of added the locally-based, but nationally- September 11, 2001. That same day, renowned, Rhythm in Shoes Dance Dayton suffered another great loss. Company to their list of artistic Phyllis Katz, wife and assistant of collaborators for the Sunset Symphony Dayton Philharmonic Orchestra Series at the Fraze Pavilion in the founder Paul Katz, died at Good summer of 2002. At the event, Burt Samaritan Hospital. Mrs. Katz had Saidel, long-time patron of the taught piano from her home in North Dayton Philharmonic Orchestra, Dayton until her death. She had dedicated the fi rst of two podiums contributed greatly to the musical he created for use by the Orchestra. life of Dayton for over seventy years. The second podium was dedicated during the Schuster Center opening Progress on the DPO’s spectacular in March of 2003. Each podium was new home, the Benjamin and Marian uniquely hand-crafted out of Ohio Schuster Performing Arts Center, cherry wood, and made to compliment was obvious as 2002 came to a close. the venue. From the street, the most noticeable element of the structure, designed by Cesar Pelli and Associates Architects, was the glassed-in Wintergarden. Pelli, most famous for designing the

55 By the summer of 2002, the Benjamin

and Marian Schuster © andy snow Performing Arts Center construction was well underway. The Signing of the Steel Beam Event took place on July 23. 56 56 The new ceiling of Mead Theatre displays

© andy snow the exact star pattern that Orville and Wilber Wright saw on the night before their first flight.

57 “Certainly the arts programs in Dayton – including the Dayton Philharmonic – have a high level of importance in maintaining the quality of life in the area.” © ANDy snow – Mayor Mike Turner, 1995 Mead Theatre under construction in the early fall of 2002

“ A community’s success depends world’s tallest building, the Petronas arts organizations had performed, upon the willingness of its Towers in Kauala Lumpur, Malaysia, including the Dayton Philharmonic members to give their time, also designed Cincinnati’s Aronoff Orchestra. commitment and effort to its Center for the Arts, which opened preservation and improvement. Saying good-bye to Memorial Hall in 1995. Jaffe Holden Acoustics, the The Dayton Philharmonic was a bittersweet occasion. Home acoustic engineers on the Schuster Orchestra has made this to the DPO for 60 years, memories Center, have designed the acoustics commitment through its musical, of this grand building will live on for some of the world’s most important educational, and community in the hearts of many concertgoers concert halls, including the Kennedy outreach programs. I applaud and musicians, especially those who Center in Washington, D.C., and them on their endeavors and braved an imminent snowstorm on Severance Hall, home to The wish them continuing success. Valentine’s Day 2003 to attend the Cleveland Orchestra. Together, we can keep the farewell concert. The Orchestra arts alive.” Paying homage to Dayton’s place in presented Beethoven’s Consecration the history of fl ight, the new concert of the House, the same selection – State Senator Rhine McLin, Statement to Ohio Arts Council, 2000 hall has a special starfi eld in the that opened the fi rst concert at concert hall’s grand dome ceiling the Benjamin and Marian Schuster that is an exact replica of the star Performing Arts Center. pattern Orville and Wilber Wright saw on the night before their fi rst “A Classical Housewarming” fl ight. Interestingly, the width of concert and gala on March 6 and 8, the Starfi eld is the exact width of 2003, featuring the talent of guest the Wright Flyer’s wingspan, and the violinist Nadja Salerno-Sonnenberg, length from the ground fl oor of the celebrated and christened the performing arts center to the tip of Orchestra’s new home at the Schuster the Starfi eld is the exact distance Center. The Dayton Philharmonic of the fi rst successful fl ight made Orchestra applauds everyone, including by the Wright Brothers. The Gala the many musicians, employees, Celebration of the Schuster Center sponsors, patrons, and volunteers, encompassed a 24-month time not mentioned in this written frame during which ribbons were cut, history, for being there from the donors recognized, and diverse area beginning...and today! 58 58 Marques Furr, Lindsay Hanson and Nia Newberry cutting the ribbon with the help of

Dr. Benjamin Schuster NEIDERT JON by Photo and Steve Mason. 59 A NEW HOME Dayton Philharmonic Orchestra’s 70th anniversary marks the beginning of an exciting new era for this organization, with the opening of our new home, the Benjamin and Marian Schuster Performing Arts Center. In March 2003, the Philharmonic moved into the Schuster Center, a world-

class, state-of-the-art performance hall that will attract NEIDERT JON by Photo arts afi cionados from all corners of Ohio and the nation. Dr. Benjamin Schuster addresses the 60,000+ crowd at the ribbon-cutting. The Schuster Center stands poised to become the focal point for Dayton’s performing arts community.

The Schuster Center’s location During this time period, the at the corner of Second and Main Montgomery County Arts and Streets has been a cornerstone of Cultural District Facilities downtown Dayton activity since Committee completed a feasibility 1912. That was the year Frederick study on renovating Memorial Rike opened a new seven-story Hall. The study concluded the cost Photo by JON NEIDERT JON by Photo department store at the location. For to renovate the structure would many years, the Rike’s department outweigh the cost of building a Project Bandaloop performing store at Second and Main prospered new center. The study also looked TriTangoMetro. as one of Dayton’s premier shopping at sites for a new arts center, and locales. After the store closed in the location at Second and Main the early 1990s, a group of local Streets was considered a prime business and civic leaders purchased possibility, given its close proximity the property and began plans to to Memorial Hall, the Victoria redevelop the site. The intention of Theatre and the Metropolitan Arts the group, called Second and Main Center. The project’s momentum Ltd., was to return the location to built as Dayton pursued its own prominence with a signature project, minor league baseball team and

and create a focal point for downtown began development of Riverscape, NEIDERT JON by Photo Dayton’s renaissance. a downtown riverfront park along Project Bandaloop above the 160- the Great Miami River. member Schuster Center Celebration Choir, representing 68 churches from eight area counties.

60 60 In the summer of 1998 the Executive City of Dayton all pledged funding to Committee of Second and Main Ltd. the project, while the Ohio Arts and requested and received architectural Sports Facilities Commission provided concepts from several local and key state funding. Private fundraising national fi rms. After reviewing a played a pivotal role in the project number of options, the as well, with retired Mead Corp. Executive Committee CEO Steve Mason and his wife Lou of Second and Main spearheading that effort. Ultimately, ultimately chose the more than $40 million in local design of architect Cesar funding came from many community Pelli. His work includes and corporate leaders. Cincinnati’s Aronoff Center, the Charlotte One era ended and a new one began Performing Arts Center, in November 1999, when the former London’s Canary Wharf Rike’s building was imploded, making way for the new performing arts center. © ANDy snow Tower, New York’s World Financial Center, and Shortly afterwards, the facility Benjamin and Marian Schuster Kuala Lumpur’s Petronas Towers, received its name when Dr. Benjamin with Cesar Pelli currently the world’s tallest building. Schuster and his wife Marian made a With the Schuster Center, substantial contribution to the project. Pelli sought to make a The Arts Center strong statement that Foundation was named Dayton is a city moving the owner and operator into the future. In an of the Schuster Center in interview with the Dayton late 1999. The Arts Center Daily News, Pelli called Foundation was founded the Schuster Center as a nonprofi t charitable “an exclamation point organization in 1986, for Dayton!” dedicated to providing Funding for the project Petronas Towers, quality facilities for the Kuala Lumpur came from a diverse performing arts in Dayton. number of sources. Montgomery It owns the Victoria County, Miami Valley RTA and the Theatre and also owns and manages the adjacent Metropolitan Arts Center. In mid-2000, Mark Light, president of Victoria Theatre Association and Dayton Opera Association, was hired as the Arts Center Foundation’s fi rst president.

Canary Wharf Tower in London England is one of Pelli’s creations. 61 © ANDy snow

Crews working on foundation of Mead Theatre. © ANDy snow

Construction of the balcony platform structures of Mead Theatre. 62 62 Completed interior of Mead Theatre

63 NEIDERT JON by Photo © ANDy snow

Wintergarden glass wall under construction during early fall of 2002.

Construction, which began in July and magnifi cent spiral staircase, 2000, reached completion in early ties the elements of the Schuster 2003. The Schuster Center complex Center together. It features a grove consists of two distinct structures – a of Washingtonia Robusta palm trees performing arts center and an offi ce/ – each 35 to 40 feet tall – set against condominium tower – joined as one. a block-long, glass-enclosed atrium. The performing arts center includes the 2,300-seat Mead Theatre and The Mead Theatre represents the the 150-seat Mathile Theatre. The heart of the Schuster Center. It is distinctive tower, called Performance a state-of-the-art facility designed Place, rises 224 feet from the sidewalk, to accommodate a diverse array of encompassing eight fl oors of offi ce performing arts, including orchestral space, nine stories devoted to luxury music, opera, theatre and dance. Some condominiums and a 120-seat of the world’s fi nest theatre design restaurant that opens into the consultants and acousticians took adjoining Wintergarden. The majestic part in the creation of Mead Theatre. Wintergarden, with its marble fl oors

64 64 The goal was to create an auditorium that will provide excellent acoustics for orchestral works, while still maintaining an intimate setting for theatrical productions. The result is a multi-purpose hall in which no seating tier is more than nine rows deep, and the last row is a mere 120 feet from the stage.

Architect Cesar Pelli’s design invokes the feeling of an evening in the southwest under the stars. The cool blues and orange-reds of Photo by JON NEIDERT JON by Photo the theatre’s interior reach to the The Schuster Center, spring 2003 magnifi cent domed ceiling, called the Starfi eld. Concentric circles of fi ber optic lights in the Starfi eld depict the Dayton sky as it appeared on the eve of the Wright Brothers’ fi rst fl ight, December 16, 1903.

The Schuster Center will be home to both Dayton Philharmonic Orchestra and Dayton Opera Association. The Victoria Theatre Association and Dayton Ballet Association will also present portions of their seasons at the Schuster Center.

The Schuster Center will educate and enrich lives by providing a world-class facility for the best in local, national and international performing artists. It will serve as a focal point of downtown Dayton for years to come. Photo by JON NEIDERT JON by Photo

Mead Theatre seats up to 2,319 people comfortably. Shown here on opening-night with a sell-out crowd of 2,153 on March 6, 2003.

65 Wintergarden Facts: Trees: 35-foot-tall Washingtonia Robusta Palm Trees Panes of Glass: 1,900 Amount of Travertine Marble: 13,000 sq. ft.

Height: Six stories NEIDERT JON by Photo 66 66 DAYTON PHILHARMONIC ORCHESTRA

2002-2003, The 70th Anniversary Season

Music Director Violas Flutes Trombones Neal Gittleman Sheridan Kamberger, Rebecca Tryon Andres, Timothy Anderson, Principal Principal Principal Dayton John Reger Memorial Chair 1st Violins F. Dean Schnacke Chair Philharmonic Volunteer Clair Miller Lucas Alemán, Concertmaster Colleen Braid, Assistant Association Chair J. Ralph Corbett Chair Principal Jennifer Northcut Bass Trombone Aurelian Oprea, Assistant Karen Johnson, Janet Van Graas Chad Arnow Concertmaster Grace Counts Finch Chair Piccolo Marilyn Fischer Jean Blasingame Tuba Huffy Foundation Chair Belinda Burge Janet van Graas Steven Winteregg, Principal Zachary, Rachel and Elizabeth Hofeldt Lori Wittenmyer Oboes Natalie Denka Chair Sherman Standard Register Mark Reis Foundation Chair Eileen Whalen, Principal Scott Schilling Catharine French Bieser Chair Timpani Karlton Taylor Hsiaopei Lee Roger Miller Donald Donnett, Principal Mikhail Baranovsky Rosenthal Family Chair in Emma Louise Odum, Robyn Dixon Costa Louis Proske Principal Emeritus Memory of Miriam Rosenthal Nancy Mullins English Horn Cellos Percussion Barry Berndt Robyn Dixon Costa Michael LaMattina, Principal Philip Enzweiler Andra Lunde Padrichelli, Principal Miriam Rosenthal Chair Leora Kline Clarinets Edward L. Kohnle Chair Jane Varella, Principal Janet George John Kurokawa, Principal Emeritus Richard A. and Mary Xiao-Fan Zhang, Rhea Beerman Peal Chair Dona Nouné-Wiedmann T. Whitney Chair Assistant Principal* Robert Gray Tom Fetherston William Awsumb Mary Davis Fetherston, Acting Anthony Costa Assistant Principal 2nd Violins Bass Clarinet Keyboard Jane Katsuyama Kirstin Greenlaw, Principal Anthony Costa Michael Chertock, Principal Jesse Philips Chair Nan Watson Demirjian Family Chair Kristen Dykema, Catherine McClintock Bassoons Assistant Principal Mark Hofeldt Jennifer Kelley Speck, Harp Ann Lin Nadine Monchecourt Principal Leslie Stratton Norris, Robert and Elaine Stein Chair Principal* Gloria Fiore Christina Coletta Daisy Talbott Greene Chair Kristen Canova Izumi Lund Linda Katz, Principal Bonnie Sherman Mary Arnett Emeritus Chorus Director Marcel Lund Hank Dahlman Basses Contrabassoon Lynn Rohr Deborah Taylor, Principal Bonnie Sherman Assistant Conductor Warren Driver Dayton Philharmonic Patrick Reynolds William Slusser Volunteer Association Horns Yoshiko Kunimitsu C. David Horine Richard Chenoweth, Principal Junior String Memorial Chair Frank M. Tait Memorial Chair Orchestra Director Jon Pascolini, Elisa Belck Karen Young Assistant Principal Todd Fitter Donald Compton Amy Lassiter *Leave of absence Stephen Ullery Nancy Cahall, Utility Christopher Roberts James Faulkner Trumpets Bleda Elibal Charles Pagnard, Principal John W. Berry Family Chair Nick Greenberg Alan Siebert Michael Kane

67 DAYTON PHILHARMONIC STAFF

2002-2003, The 70th Anniversary Season

Executive Staff Marketing Curtis Long ...... Executive Director Caren Ostendorf Ayika ...... Director of Marketing & Public Relations Beth Burger ...... Executive Assistant Steven Payne ...... Advertising & Tim Connair ...... Administrative Assistant Promotions Manager Iryna Hemmingsen ...... Administrative Assistant Jan Clarke ...... Subscription Events Coordinator Allyson Crawford ...... Public Relations Coordinator Development Michelle Hamilton ...... Director of Development Jessica Harris ...... Subscription Coordinator Nancy Keeth ...... Annual Fund Manager Liz Romig ...... Marketing Assistant Margaret Meadows ...... Corporate & Foundation Relations Manager Operations Matthew Borger ...... Director of Operations Vanessa Catanzaro ...... Development Assistant Linda Hill ...... Production Manager Education Jane Varella ...... Orchestra Personnel Manager Gloria Pugh ...... Director of Education William Slusser ...... Orchestra Librarian Ellen Bagley Barnett ...... Education Assistant Emalee Weisman ...... Education Volunteer

Finance Lauri Guckenberger ...... Director of Finance Denita Woods ...... Accounting Manager Photo by JON NEIDERT JON by Photo

68 68 A HISTORY OF GIVING

From the very beginning of its rich history, the Dayton Philharmonic Orchestra has existed and thrived on the generosity of patrons who have offered fi nancial support to further the mission of the institution.

Over the years, scores of donors have made lasting commitments to support the operations of the Orchestra with an annual gift. Many have chosen to make a more lasting commitment by endowing the chair of a principal musician or a favorite A Letter to the Community education program.

The Dayton Philharmonic Orchestra touches the lives of more As we sit on the threshold of our people than any other performing arts organization in the Miami next 70 years, the trustees of Valley. In short, we’re a better city for having the DPO. That’s why we all take special pride in its achievements under Neal Gittleman’s the Dayton Philharmonic have brilliant, inclusive leadership. mounted what may be the most important fundraising effort in its With the opening of the Schuster Center, the orchestra has a hall history – Orchestrate Greatness: destined to inspire new levels of virtuosity. Orchestrate Greatness: The Campaign for the Dayton Philharmonic offers us a once-in-a- The Campaign for the Dayton lifetime opportunity to show what a fi rst-rate orchestra can mean Philharmonic. This effort to build to Dayton. Join us. By supporting this campaign, you lift the DPO’s the Orchestra’s endowment fund by creative spirit and sustain its fi scal health for generations to come. $9 million will ensure the excellence Not all of us can play an instrument or conduct a symphony. But we can be philanthropic virtuosos, and ensure that the music of this respected institution for the resonating through the magnifi cent Schuster Center always stirs next 70 years...and beyond. our souls and delights our hearts.

J. Colby King Louise H. Mason Doris H. Ponitz William J. Schneider Betsy B. Whitney Joseph A. Zehenny

Campaign Executive Committee

69 ORCHESTRATE GREATNESS The Campaign for the Dayton Philharmonic The Building is Just the Beginning

THE FUND FOR CAPITAL AND ARTISTIC EXCELLENCE ORGANIZATIONAL NEEDS Goal: $5 million Goal: $1 million The Dayton Philharmonic Keeping a great orchestra Orchestra’s ability to attract running smoothly and primed more than 80 players of such for continued artistic growth high caliber is testimony to requires the right kind of the experience it offers artists resources. With campaign gifts, – especially considering that the orchestra will purchase and the orchestra falls at the lower recondition instruments and other end of the pay scale among its performance equipment, upgrade peers. In the past, DPO musicians its technological support systems, have been able to add to their and put in place staffing that will income by freelancing with ensure patrons get the very best other ensembles. But the greater service possible. number of performances in THE FUND FOR EDUCATION the Schuster Center demands Goal: $3 million more of the players than ever The more than 800 annual before. Endowing more chairs, education programs that the DPO and increasing the endowments offers more than 72,000 children of existing chairs, will ensure are not moneymakers. But they the DPO offers a compensation are an essential investment in package commensurate with the future. No child should grow its musicians’ commitment. up without exposure to great Endowment supports artistic music – not when studies and test excellence in two other significant scores prove that music makes a ways. These funds underwrite direct impact on school behavior, both continuity and innovation self-esteem and self-discipline, as the DPO expands its roster of sensory and motor development, series and individual concerts. language and reading skills, and An endowment ensures that critical thinking. With all the the DPO can continue to host pressures facing our schools, performers in the league of the DPO must take on even Emanuel Ax and Frederica more responsibility in music von Stade. education. Endowment funds will help the orchestra expand on this critical role.

70 70 VOLUNTEER ASSOCIATION

In the 2001-02 season, the Dayton Philharmonic Volunteer Association celebrated their 50th anniversary with two special events. In the fall, a 50th anniversary membership tea was held at Trails End Club honoring past presidents and the history of the organization. Twelve past presidents were able to attend and a large turnout of current members enjoyed reminiscing over high tea and the sound of beautiful harp music.

50th Anniversary Tea – Photo of past The 50th Anniversary International to junior high, high school, and presidents: front row, L-R, Susan Gourmet Gala held in April, 2002, at college students. The establishment Sauer, Current President Marilyn K. the Dayton Country Club was one of of the Susan Seyfarth Scholarship Smith, Lou Mason. Second row: Judy the most successful fundraisers held Remembrance Fund in memory of McCormick, Lorraine Quinlivan. Third in an off-year season from the biennial the DPVA’s past row: Jan Rudd, Dustie Mackay, Chris Designer’s Show House & Gardens. president in 2001 Saunders. Fourth row: Lois Ross, Betty Sue Wydman. Back row: Carol The American Symphony Orchestra has helped in Powell and Doris Ponitz. League has honored the DPVA with this effort. an award for fundraising at the 2003 conference held in San Francisco in In 2002-03 June. This event also featured “Music changes For Your Eyes”, a raffl e of beautifully occurred with decorated violins. a few of our long-standing The 2003 Designer’s Show projects with the Gerry Meyer, past president, House & Gardens was orchestra. With DPVA, at the silent auction table, 50th Anniversary Gala. the fi rst the association the move to the has held in the City Schuster Center, the marketing staff of Oakwood. This was took over the securing of advertising also the largest house for the DPO program book, a source the DPVA has ever of funds for the DPVA for many years. undertaken. The event SuperPops is now an event that takes ran from May 4 through place in the new performing arts 2002 DPVA Executive Committee. the 25th, 2003. The center where our volunteers are no Front row, L-R: Dianne Schneider, Shari organization’s educational projects longer needed to set-up tables etc. LoVetere, Marilyn K. Smith, Gerry Meyer. are well recognized nationally and Now the DPVA and its volunteers Back row: Babs Bettcher, Rhonda Boeke, docents are busy bringing musical are free to pursue new projects. The Marie Smalldon, Terry Williamson, and experiences to the youth of the entire organization has and will continue Helen Flanagan. Miami Valley, reaching over 24,000 to play an important role in support students in the 2001-2002 season. of the orchestra for years to come. Scholarship assistance is offered

71 DAYTON PHIL HAR MON IC VOLUNTEER AS SO CI A TION 2002-2003 Board of Trustees

Officers Trustees Marilyn K. Smith, Angela Batterman Karen Hall Maggie Martin Raymonde Rougier President Barbara Blacklock Barbara T. Heard Sally McBride Solarek Nancy Small Shari LoVetere, Vice President Charlotte Braverman Mary Lou Heitkamp Madge McClure Peggy Stichter Lafferty Babs Bettcher, Kathy Brown Elise Hocking Elizabeth Swisher Gerry Meyer Recording Sec retary Eileen Carr Steve Hocking Susan Thomsen Nancy Mullins Dianne Schneider, Joan DeLon Anne Hutchinson Jeanie Vickroy Corresponding Secretary Rev. Dr. Bryan Palmer- Leta Fairbank Wilma Jingling Mary Welch Marie Smalldon, Treasurer Smith Helen Flanagan Mary Beth Langer Terry Williamson Donna Rosenbaum, Carolyn Perkins Assistant Treasurer Bella Freeman Winifred Lee Betty B. Pitts Penny Wolf Lisa Fry Elizabeth Long Ruth Price Marcia Wood Janice Glynn Christy Manchester Catherine Rosenbaum Kathleen Zehenny K.C. Grosse Karen Marshall Norma J. Ross

The Evelyn Huffman Patterson Estate, 2003 Designer’s Show House & Gardens.

The Dayton Philharmonic Women’s Association received a Certifi cate of Excellence for their outstanding fundraising effort on the second (1981) Showhouse at “White Oak Farm.” Accepting the award in Washington, D.C. at the American Symphony Orchestra League conference were (l-r) Marilyn Erickson, Jan Rudd, Doris Ponitz, Betty Sue Wydman, and Susan Sauer. Each of these women shared their talents and enthusiasm by serving as President of the DPWA. Both Erickson and Ponitz A few of the violins for the “Music For Your also served as Board President of the Dayton Philharmonic Orchestra Association. Eyes” Raffl e, 50th Anniversary Gala.

72 72 DAYTON PHILHARMONIC YOUTH ORCHESTRA YOUTH ORCHESTRA

Erik Broander, Viola Brandon George, Flute Jordan Meyer, Flute/Piccolo Erin Brown, Trumpet Natalie Good, Violin Meredith Miller, Cello Keith B. Brown, Trumpet Matt Grable, Trombone Genevieve Murphy, Viola Danielle Cain, Fr Horn John Grubbs, Cello Kate Eileen Musser, Oboe Adrienne Cantrell, Violin Leonardia Hardy, Violin Vivian Nanagas, Cello Jacqueline Carbone, Violin Lindsay Harlow, Fr Horn Julia Nessle, Bassoon Dr. Patrick Reynolds, Conductor Elaine Chan, Violin Charles Henry, Trombone Sarah Noble, Percussion Joy Chang, Violin, Concertmaster David Hocking, Viola Alex Okolish, Bass Alyssa Chen, Violin Nathan Hocking, Cello James Orr, Viola Matthew Ungard, Bass Oriana Chen, Violin Angela Holmen, Fr Horn Philip Parsons, Trumpet Ronald Walker, Cello Peter Crim, Violin Amanda Hong, Violin Brad Pipenger, Clarinet Linda (Sijia) Wang, Violin Sasha Davis, Viola Victoria Hoover, Trombone Amanda Ramey, Violin Matthew Watson, Trumpet Lilith Dornhuber Bellesiles, Viola Katharine Howell, Oboe Julie Savard, Horn Tim Wildes, Fr Horn Stephen Delman, Bass Ashley Huyck, Violin Marin Smith, Viola Katie Williams, Flute/Piccolo Randy Dennler, Bassoon Julia Rose Judge, Violin Jennifer Specht, Cello Kevin Williams, Tuba Celeste Diaz-Vazquez, Violin Eunji Kim, Violin Susanna Strayer, Viola Paul Woo, Viola Aaron Dozeman, Violin Wes Kim, Cello Molly Swope, Bassoon Ashley Wrobel, Clarinet Kevin Engel, Viola Blake Lam, Cello Rebecca Tang, Violin Donna Yoon, Violin Pamela Eustace, Violin Jeffrey Lee, Cello Jessica Taylor, Clarinet Paul Yoon, Violin Kristen Fox, Viola Sam Le, Violin Will Taylor, Bass Bob Yl Zheng, Violin Becky Geels, Violin Andy Lin, Cello Jan Tessarz, Violin Vincent Geels, Violin Shaneice Long, Clarinet Dan Ungard, Bass

JUNIOR STRING ORCHESTRA

Swapna Ahire, Violin Catherine Glynn, Viola Erik Potts, Viola Aisha Anderson, Viola Andrew Holl, Cello Amanda Richey, Violin Elizabeth Arnold, Viola Billy Holten, Bass Kristen Ross, Violin Lauren Berry, Cello J.D. Holten, Cello Lisa Sato, Cello Cara Burke, Violin Joel Jean, Violin Evan Schefstad, Violin Paul Busch, Violin Colleen Judge, Cello Sarah Jo Slone, Cello Richard Carr, Viola Brandon Kelley, Viola Katie Smitley, Viola James Carroll, Violin Scott Kelley, Cello Elle Stapleton, Cello Julia Carroll, Violin Michelle Kim, Cello Cassandra Swartz, Violin Jessica Castle, Cello Katie Lammers, Cello Soraya Tabatabaie, Violin Karen Young, David Cha, Violin Annie Lee, Violin Heather Tanksley, Cello Conductor Jessica Chou, Violin Emily Lieh, Violin Michael Thomsen, Cello Jim Cutright, Cello Teresa Lieh, Violin Jamie Tolles, Cello Stephen Delman, Bass Jonathan Lin, Violin Dan Ungard, Bass Emily Evans, Violin Lauren Kathleen McClure, Cello Lydia Volters, Violin Tim Feverston, Violin Sarah Mente, Violin Justin Womeldorff, Viola Kylen Franz, Violin, Kesha Ogletree, Violin Jolie Yang, Violin Concertmaster Sriya Parthasarathy, Violin

73 ACKNOWLEDGEMENTS Special Collections and Archives, Charles Gastineau Interns: Jesse Hernandez (Baldwin- Wright State University Libraries William Foster Wallace College), Sean Leno (University Wright Memorial Public Library of Dayton), Elizabeth Severyn (Ohio Bill Scutt University), Stacy L. Vernon (University Dayton and Montgomery County Emma Louise Odum of Dayton). Public Libraries Sonia Goldfarb Special thanks to Diane DeWall, Dayton Daily News, Skip Peterson co-author of 50 Years of Enriching and Charlotte Jones Gloria Pugh Dayton, and Jan Clarke at the DPO, Pam Eyink, Dayton Opera Lisa Fry for her indomitable spirit and support of this project. Laura Januzzi, Craig Brandt Victoria Theatre Association Stanley Aultz Thanks to others who contributed to this history by sharing personal accounts, Neal Gittleman Charles Wendelken-Wilson photographs or treasured keepsakes. Vickey Ullery Jean Betty Weiner Additional information, not included in this book, will be archived for posterity. Connie Leach Jan Rudd Nevin Katz Lorraine Quinlivan Bill Bagwell Dayton Philharmonic Anne Malone Volunteer Association

74 Performance Place 109 North Main Street, Suite 200 Dayton, Ohio 45402 75