Vermont PhilharmonicCentral Vermont’s Community Orchestra • Resident Orchestra of the Barre Opera House • www.vermontphilharmonic.org

Design/Layout by Student, Stefanie Barber, and production by Graphic Design & Digital Publishing II at the Center for Technology, Essex

2008 Spring ConcertMusic Director and Conductor : Lou Kosma

soloist: Joel Diegert, Alto Saxophone

Elley-Long Music Center, ColchesterSaturday, May 31, 2008

7:30 PM

Barre Opera House Sunday, June 1, 2008

7:30 PM

Vermont Philharmonic 2008 Spring Concert Music Director and Conductor Lou Kosma

Variations on “America” Charles Ives (1874-1954)

Capriol Suite Peter Warlock (1894-1930)

1. Basse-Dance

2. Pavane

3. Tordion

4. Bransles

5. Pieds-en-l’air

6. Mattachins (Sword Dance)

Concerto in Eb for Alto Saxophone and Strings, Op. 109 Alexander Glazunov (1865-1936)

Soloist: Joel Diegert, Alto Saxophone

Intermission

Symphony No. 2, Op. 30, “Romantic” Howard Hanson (1896-1981)

1. Adagio; Allegro moderato

2. Andante con tenerezza

3. Allegro con brio

Program

VIOLIN I Susan Janes, Concertmaster, Colchester

Tom Charpentier, Richmond

Patricia Fitzgerald, Jericho Patricia Gahagan, East Calais Jennifer Lewin, Plymouth

Cathy Metz, Montpelier

Granthia Preston, Montpelier

VIOLIN II Jan Miller, Principal, East Elmore Alison Anand, Richmond

Cathy Cameron, Montpelier

Jennie Ferris, Montpelier

Mary Grothe, Montpelier

Irene Nagel, East Hardwick

Kathleen Perantoni, Barre

VIOLA Drusilla Macy, Principal, Barre Cy Bryant, Williston Ellen Drysdale, Berlin

Jill Leavitt, East Barnard

Ronald Mori, Barre

Hannah Morvan Northfield

VIOLONCELLO Joan Thompson, Principal, Morrisville

Karen Freeman, Montpelier

Andreas Lehner, Waitsfield

Polly McMurtry, Moretown

Edith Miller, East Montpelier Michael E. Read, Plainfield

Don White, Barre

BASS James Diette, Principal, Starksboro

Eben Bodach-Turner, Montpelier

Laura Ellenwood, Montpelier

Larry Medsker, Shelburne

Geneva Scriggins, South Burlington

FLUTE/PICCOLO Elizabeth Diette, Co-Principal, Starksboro Kara Krikorian, Co-Principal, Winooski

Marcia Bowles, Berlin

Sally Hendon, Morrisville

OBOE Sandra W. Cathey, Principal, Middlesex Andrea Brightenback, Hardwick

Pam Whitfield, South Strafford

ENGLISH HORNAndrea Brightenback, Hardwick

CLARINET Paul Silver, Principal, Montpelier

Diane Holland, Montpelier

BASSOON Jonna Goulding, Principal, Sharon Carolyn Stone, West Lebanon, NH

Michael Bozonie, Barre

TRUMPET Jo Anne Edwards, Principal, Johnson

Phyllis Kadlub, South Royalton

Tom Morse, Montpelier

FRENCH HORN Thea Calitri-Martin, Principal, North Pomfret

Mia Fritze, Assisstant-Principal, Burlington

Henry Babcock, Northfield Jan Little, South Hero

Mardee Sanchez, Randolph

TROMBONE John Mead, Principal, Monroe, NH Dale Long, South Burlington

Burr Morse, Montpelier

TUBA James Diette, Starksboro

PERCUSSION Peter Guthmann, Principal, Morrisville

Patricia Jacob, Jeffersonville

Douglas Little, Berlin

TIMPANI Peter Waldman, Morrisville

HARPTherese Wunrow, East Montpelier

Vermont Philharmonic 2008 Spring Concert Music Director and Conductor Lou Kosma

Program Notes

Soloist : Joel Diegert, Alto Saxophone

Joel Diegert is a dynamic artist representing the young generation of saxophonists. He

has been successful in competition, winning the 2006 North American Saxophone Alliance

Classical Competition, advancing to the semifinal round in the 2008 Jean-Marie Londeix

International Saxophone Competition held in Thailand, and advancing to the final round

in the 2005 Music Teachers National Association Woodwind Competition. Joel is an active

soloist and chamber musician with a particular interest in new music. In addition to

regularly giving concerts at home, he has performed in France, Italy, and Greece. Joel holds degrees from Bowling

Green State University and Ithaca College and will travel to France this summer to continue his career in Europe.

Charles IvesCharles Ives was born in Danbury, Connecticut in 1874, the son of George Ives, a U.S. Army bandleader in the American

Civil War. George Ives took an open-minded approach to musical theory, encouraging his son to experiment in bitonal

and polytonal harmonizations. Charles would often sing a song in one key, while his father

accompanied in another key. Ives became a church organist at the age of fourteen and wrote

various hymns and songs for church services, including his Variations on 'America.’ Ives moved

to New Haven in 1893, enrolling in the Hopkins School where he captained the baseball team. In

September 1894, he entered Yale University, studying under Horatio Parker. Here he composed in a

choral style similar to his mentor, writing church music and in 1896 a campaign song for William

McKinley. He enjoyed sports at Yale and played on the varsity football team. Michael C. Murphy,

his coach, once remarked that it was a crying shame that Charles Ives spent so much time at music as otherwise he

could have been a champion sprinter.

In 1899 he began employment with the insurance agency, Charles H. Raymond & Co. In 1907, upon the failure of

Raymond & Co., he and his friend Julian W. Myrick formed their own insurance agency, Ives & Myrick, where he

remained until he retired. He achieved considerable fame in the insurance industry of his time, many of whose

members were surprised to learn that he was also a composer in his spare time. In 1907, Ives suffered the first of

several heart attacks that he had throughout his lifetime. He married Harmony Twitchell in 1908. Ives continued to

be a prolific composer until he suffered another heart attack in 1918, after which he composed very little, writing his

very last piece in 1926. While Ives had stopped composing and was increasingly plagued by health problems, he did

continue to revise and refine his earlier work, as well as oversee premieres of his music. In 1930 he retired from his

insurance business, which gave him more time to devote to his musical work, but he was unable to write any new

music. Ives died in 1954 in New York City.

Peter Warlock Peter Warlock was a pseudonym of Philip Arnold Heseltine an Anglo-Welsh composer and music critic. He used his

own name when writing as a music critic, but composed under the name “Peter Warlock.” Philip Heseltine was born

in London in 1894. He lost his father as a child. His mother remarried and returned to her native

Wales, living at the family home of her second husband, Walter Buckley Jones. Philip’s education

was mainly classical, including studies at Eton College, at Christ Church, Oxford (for one year), and

at University College London (one term). In music, he was mostly self-taught. One of his teachers

at Eton, Colin Taylor, introduced him to some of the modern masters who made a marked

impression on him. He was also strongly influenced by Elizabethan music and poetry as well as

by Celtic culture. It was the move to Wales that was the spark for this; only the working classes

spoke Welsh, but Philip, never one to shy away from the unconventional, set about learning it with vigor.

He wrote his earliest mature compositions, published to critical acclaim, following his sojourn in Ireland in 1917-1918.

This was followed by a period of concentration on musical journalism; for a while, he was the editor of the musical

magazine The Sackbut. His most prolific period, both as a composer and author, was in the early 1920s when he withdrew

from the financial and social pressures of London to his mothers and stepfather’s house, where he wrote some of his

finest songs, finally completing his song-cycle The Curlew to poems by W. B. Yeats. Following this quiet period, between

1925 and 1929, Warlock and his colleague E. J. Moeran led a wild, boozy life in Eynsford, Kent, having to deal with the

local police more than once. For Warlock, however, this was one of the most fruitful periods of his life. He wrote little

instrumental music but in 1926 he composed probably his best-known work, Capriol in versions for string orchestra,

full orchestra and piano duet. It is the full orchestra arrangement that is played here tonight. By the end of the 1920s

Warlock’s creativity was on the decrease and he had to support himself with music criticism again. He was suffering

from severe depression at the time of his death in 1930 at the age of 36, from gas poisoning. Whether his death was an

accident or suicide is not known for certain.

Alexander GlazunovAlexander Glazunov was born in St Petersburg in 1865. He studied music under Rimsky-Korsakov. The first of his nine

symphonies premiered in 1882 when Glazunov was sixteen years old. His popular symphonic poem Stenka Razin also

stems from that period.

Following his conducting debut in 1888, he was appointed conductor for the Russian Symphony

Concerts series in 1896. The next year, he conducted the disastrous premiere of Rachmaninoff ’s

Symphony No 1. This failed utterly at its first attempt, partly because Glazunov was said to be

drunk at the time. In 1899, Glazunov became a professor at the St. Petersburg Conservatory, and

later its director, where he remained until the revolution of 1917. At the end of World War I, he

was instrumental in the reorganization of the Leningrad Conservatory.

Glazunov left Russia in 1928, touring Europe and the United States and settling in Paris. He claimed the reason for

his continued absence from Russia was “ill health” which enabled him to remain a respected composer in the Soviet

Union. In 1929, Glazunov conducted an orchestra of Parisian musicians in the first complete recording of The Seasons.

The Concerto in E for Alto Saxophone, featured on our program this evening, was composed in 1934.

Glazunov was acknowledged as a great prodigy in his field and, with the help of his mentor and friend Rimsky-

Korsakov, finished some of Alexander Borodin’s great works, the most famous being the Third Symphony and the opera

Prince Igor, including the popular Polovetsian Dances. He reconstructed the overture from memory, having heard it

played on the piano only once. Shostakovich reported that Glazunov’s “reconstruction” of Borodin’s overture was

actually original work. However, Glazunov chose to give full credit to Borodin for the composition.

Glazunov died in Paris in 1936 at the age of seventy.

Program Notes

Howard HansonHoward Hanson was born in Wahoo, Nebraska in 1896 to Swedish parents. In his youth he studied music with his mother. Later, he studied at Luther College in Wahoo, then at the Institute of Musical Art in New York City before

attending Northwestern University. Throughout his education, Hanson studied piano, cello and trombone. He received his BA degree in music from Northwestern University in 1916, where he began his teaching career. That same year, Hanson moved to the College of the Pacific in California as a music theory and composition teacher. Only three years later, he was appointed Dean of its Conservatory of Fine Arts.

In 1921 Hanson was the first recipient of the American Academy’s Rome Prize. Thanks to the award, Hanson lived and composed in Italy for the next three years.

Upon returning from Rome, Hanson’s conducting career took off. In Rochester, New York in 1924, he conducted his Symphony No. 1, bringing him to the attention of George Eastman, inventor of the Kodak camera and roll film, who chose Hanson to be director of the Eastman School of Music. Hanson held that position for forty years, turning the institution into one of the most prestigious music schools in America. In 1925, Hanson established the American Composers Orchestral Concerts and later founded the Eastman-Rochester Symphony Orchestra, and then The Festivals of American Music. Hanson estimated that over 2000 works by over 500 American composers were premiered during his tenure at Eastman.

To celebrate the fiftieth anniversary of the Boston Symphony Orchestra, Serge Koussevitzky commissioned Hanson’s Symphony No. 2, the “Romantic” and premiered it on November 28, 1930. This work, to be played tonight, has become Hanson’s best known.

Hanson’s opera Merry Mount is credited as the first American opera, since it was written by an American composer and an American librettist on an American story. It was premiered with a mostly American cast at the Metropolitan Opera in New York, in 1934. Hanson was selected as a Fellow of the Royal Swedish Academy in 1938. In 1944 he was awarded the Pulitzer Prize for Symphony No. 4, subtitled Requiem. In 1945 he became the first recipient of the Ditson Conductor’s Award for commitment to American music.

Hanson met Margaret Elizabeth Nelson at her parents’ summer home on Lake Chautauqua in New York. He dedicated the Serenade for Flute, Harp, and Strings, to her; the piece was his musical request to marry her as he could not find the spoken words to do so. They married on July 24, 1946.

From 1946 to 1962 Hanson was active in the United Nations Educational, Scientific and Cultural Organization (UNESCO). He took the Eastman Philharmonia, a student ensemble, on a European tour from 1961 to 1962, passing through Paris, Cairo, Moscow, and Vienna, among other cities. The Tour showcased the growth of serious American music in Europe and the Middle East.

Hanson’s Song of Democracy, based on a Walt Whitman text, was performed at the inaugural concert for incoming U.S. President Richard Nixon in 1969.

The Eastman Kodak company, in recognition of Hanson’s achievements, donated $100,000 worth of stock to the Eastman School of Music in 1976. Hanson stipulated that the gift be used to fund the Institute of American Music at Eastman. Hanson continued conducting, composing and writing right up to his death at the age of eighty-four, in

Rochester, New York in 1981.

Program Notes

The following are the program notes submitted by Howard Hanson for the symphony’s premiere performance given by the Boston Symphony Orchestra on 28 November 1930, Serge Koussevitzky, conductor. This work was commissioned by the BSO as a portion of their fiftieth anniversary celebration.

Concerning my second symphony, as the subtitle implies, it represents for me a definite and acknowledged embracing

of the romantic phase. I recognize, of course, that romanticism is, at the present time, the poor stepchild, without the

social standing of her elder sister, neoclassicism. Nevertheless, I embrace her all the more fervently, believing, as I do,

that romanticism will find in this country rich soil for a new, young, and vigorous growth. My aim, in this symphony,

has been to create a work young in spirit, romantic in temperament, and simple and direct in expression. The work is

in three movements. The first, Adagio Allegro moderato, begins with an atmospheric introduction in the woodwinds,

joined first by the horns, then the strings, and finally the brass choir, and then subsiding. The principal theme is

announced, Allegro moderato, by four horns, with an accompaniment of strings and woodwinds, and is imitated in

turn by the trumpets, woodwinds and strings. An episodic theme appears quietly in the oboe and then in the solo

horn. A transition leads into the subordinate theme, Lento, with the theme itself in the strings and a counter subject

in the solo horn. The development section now follows, with the principal theme announced in a changed mood

by the English horn and developed through the orchestra. The episodic theme, influenced by the principal theme,

also takes an important part in this section. The climax of the development section leads directly to the return of

the principal theme in the original key by the trumpets. This is followed in turn by the episodic theme now in the

clarinets and then in the first horn, with canonic imitation in the oboe. The subordinate theme then follows and the

movement concludes quietly in a short coda.

The second movement, Andante con tenerezza, begins with its principal theme announced by the woodwinds with a

sustained string accompaniment. An interlude in the brass, taken from the introduction of the first movement and

interrupted by florid passages in the woodwinds, develops into the subordinate theme, which is taken from the horns

in the first movement. A transition, again interrupted by a florid woodwind passage, leads into a restatement of

the principal theme of the movement. The third movement, Allegro con brio, begins with a vigorous accompaniment

figure in strings and woodwinds, the principal theme of the movement reminiscent of the first movement entering

in the four horns and later repeated in the basses. The subordinate theme, Molto meno mosso, is announced first by

the violoncellos and then is taken up by the English horn, the development of which leads into the middle section

Più mosso. This section begins with a pizzicato accompaniment in the violas, violoncellos, and basses, over which is

announced a horn call. This call is taken up by the trombones and leads into a fanfare, first in the trumpets, then in

the horns and woodwinds, and then again in the trumpets and woodwinds. The climax of this fanfare comes with

the announcement of the principal theme of the first movement by the trumpets, against the fanfare rhythm in

the woodwinds. The development of this theme leads into a final statement of the subordinate theme of the first

movement fortissimo. A brief coda of this material leads to a final fanfare and the end of the symphony.

Program Notes

President’s Corner

“Vermont’s oldest community orchestra challenged the audience with a difficult 20th century piece . . . and won them over.” Jim Lowe, Times-Argus, February 12, 2008

Tonight the Vermont Philharmonic Orchestra continues its hugely successful 49th season with a difficult program of rarely-heard works, including a concerto for alto saxophone and three 20th century pieces by American composers. This program continues our vision of the VPO as simply the finest community orchestra in the northeast, performing collaborative and orchestral works that will rarely be heard elsewhere.

Most impressive to me is the versatility that this orchestra has shown in taking on a variety of classical and popular selections. This season alone, the VPO has performed operatic works with the Bel Canto Singers, Handel’s Messiah, Bach’s Magnificat with the Northsong and Sound-ing Joy! Choruses, a modern Roy Harris Symphony, and a Pops program at Montpelier First Night and State House Farmers Night concerts.

VPO fans may have also noticed our concerts being played at different venues throughout central and northern Vermont. From its home at the Barre Opera House, the VPO has ventured this season to Hardwick, Randolph and Colchester to bring these quality musical offerings to a broad audience. This weekend’s performance at the Elley-Long Music Center is the VPO’s first performance in Chittenden County in our collective memory.

The VPO is ramping up for its 50th anniversary season starting in October 2008. Highlights include a newly commissioned composition by Jorge Martin to commemorate the VPO’s 50th anniversary, a return of the Bel Canto Singers in the fall, and an entirely new concert series in April 2009.

Sustaining and enhancing our musical journey require significant investment of time and financial resources by a great many individuals. You can help the VPO continue toward its vision now and in the future by becoming a VPO member and by continuing to attend these per-formances. To become a member, simply fill out the membership form printed below or contact any board member in person.

Thank you. Alan Liptak, President, Vermont Philharmonic Board of Directors

VERMONT PHILHARMONIC MEMBERSHIP APPLICATION

NAME: _______________________________________________________________

ADDRESS: ______________________________________________________________

TEL NO: _______________________________________________________________

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PLEASE SEND CHECK AND THE ABOVE INFORMATION TO THEVERMONT PHILHARMONICP.O. BOX 425, MONTPELIER, VT 05601

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About the Vermont Philharmonic

Music Director and Conductor Lou Kosma

Lou Kosma, a resident of Teaneck, New Jersey, has been the VPO’s Music Director since May 1999. He received his degree in music education with applied double bass from Temple University. Lou is presently a member of the Metropolitan Opera Orchestra. He teaches privately and is an adjunct double bass instructor at New Jersey City University. Other affiliations included principal bassist for the American Ballet The-atre, Northeastern Pennsylvania Philharmonic, and acting principal for the New Jersey Symphony. He was also a member of the Chautauqua Symphony for 17 years. Lou continues to play radio and television jingles and industrials.

Lou is Music Director and conductor of the Junior Orchestra of the Youth Orchestras of Essex County and has guest conducted several dis-trict, regional and all-state festival concerts in New Jersey, Connecticut, New York, Pennsylvania, Massachusetts, North Dakota and Vermont. Since 1995 he has conducted the adult and intermediate orchestras for the New Jersey Summer String Conference at Rowan University and served as Director of the Adult Division of that conference. Lou was appointed Music Director and Conductor of the Thurnauer Symphony Orchestra in Tenafly, New Jersey, in May of 2003. In July of 2004 he conducted the Festival Orchestra at Stokes Forest Music Camp and Festival in Sussex County, NJ.

The Vermont Philharmonic Jon Borowicz Memorial Music Scholarship

The Vermont Philharmonic for many years awarded a scholarship to the outstanding Vermont high school student of music, who is then the featured as soloist in a musical selection played during the Vermont Philharmonic Winter Concert. This scholarship now honors the memory of Professor Jon Borowicz, the founder and long-time music director of the Vermont Philharmonic, who died in October, 2004.

The next Jon Borowicz Memorial Music Scholarship auditions will be held in November 2008. For information and an application, contact Marta Cambra, 802-229-9218 (home) or 802-828-6543 (work) or via e-mail cambra1388@yahoo.com More information is also available at our web site www.vermontphilharmonic.org

This award is funded solely through contributions to the Jon Borowicz Memorial Music Scholarship Fund which may be tax-deductible. Contributions can be mailed to Vermont Philharmonic Borowicz Scholarship Fund, P.O. Box 425, Montpelier, Vermont 05601.

We are pleased to acknowledge with thanks the following 2007-2008 contributors to the Jon Borowicz Memorial Student Scholarship Fund.

Dr. Ruth AllenDouglas and Mary BurnhamDan and Marta CambraRichard and Pauline EllisSylvia EwertsRonald and Sylvia FerryPeggy and Paul IronsMargaret M. MillerRobert D. PerantoniDorothy W. Rogers Carolyn and John StevensStewart and Paula Young.

Board Members:Chair: Alan Liptak • Vice-Chair: Marvin Rogers • Secretary: David Dudey • Treasurer: Nancy Collins

Wavell Cowan • Jo Anne Edwards • Don Robisky • Dottie Rogers • Marta Cambra

Music Director: Lou Kosma • Personnel Manager: Dan Cambra • Librarian: Joan Thompson

Stage Management: Spaulding High School Junior ROTC

Small Business Sponsors

Bear Pond Books, Montpelier Where to go in Montpelier to buy tickets to Vermont Philharmonic performances.

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Ed Schwartzreich, Moretown A Leica photographer and official photographer of the Vermont Philharmonic.

Galaxy Bookshop, Hardwick Where to go in Hardwick to buy tickets to Vermont Philharmonic performances.

ImageRe: Digital Works, Moretown Small business specializing in document layout, website design, and digital image

manipulation

Julio’s Cantina, Montpelier Great Mexican cuisine and margaritas at terrific prices

L. Brown & Sons Printing, Inc., Barre Printing and mailing specialists, a quality Vermont company

Metropolitan Music Co., Stowe Stringed instruments, accessories, strings, parts, tonewoods, tools, etc.

Moretown LandfillEnvironmentally safe, cost-effective disposal.

Morse Farm Maple Sugar Works, Montpelier The capital’s sweet spot!

MusicraftVT, Waitsfield and Essex Junction Brass, woodwind, percussion: sales - rentals - repairs - accessories – books

Northfield Pharmacy Where to go in Northfield to buy tickets to Vermont Philharmonic performances.

Randolph National Bank Serving the White River Valley’s banking needs for more than 130 years!

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Sperry Tents VT, Waitsfield Handcrafted tents for all occasions.

Sullivan, Powers & Company, Montpelier Tax & Financial Planning Services

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Three Stallion Inn, Randolph Enjoy the sporting life and one of the best dining experiences in Central Vermont.

Union Bank, Morrisville “Your bank...since 1891.”

Vermont Fire Extinguishers, BarreSales, service, inspection and installation: commercial and residential.

Vincent’s Drug and Variety Store, Waterbury Where to go in Waterbury to buy tickets to Vermont Philharmonic performances

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PATRON MEMBERSTom Allen

Paul Beck

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Ruth M. Bill

Mary Blanchard

Dr. Carl and Ann Brandon

Andrea Brightenback

Cy Bryant

Thea E. Calitri-Martin

Dan and Marta Cambra

Scott and Cathy Cameron

Sandra Cathey

Thomas Charpentier

Rena Chernick

Nancy Collins

Wavell Cowan

James and Elizabeth Diette

Willie Docto

John and Dana Donaldson

Ellen Drysdale

M. Dickey & Marjorie Drysdale

Jo Anne Edwards

John & Charlotte Ellenwood

Laura Ellenwood

Richard and Pauline Ellis

Nancy Emple

Jennie Ferris

Peter Fichte

Patricia Fitzgerald

Karen T. Freeman

Patricia de Gogorza Gahagan

Jonna Goulding

Mary A. Grothe

Peter Guthmann

Mark Heitzman

Sally Hendon

Diane Holland

Susan Janes

Phyllis D. Kadlub

Franklin and Marion Kellogg

Norris Knosher

Kara Krikorian

Tom Lackey

Andreas and Mary Lehner

Jennifer Lewin

Alan Liptak

Gloria Liptak

Jan Little

Don Lockhart

Dale Long

Polly McMurtry

John Mead

Larry and Karen Medsker

Jerelyn & Renato Merolli

Cathy Metz

Douglas Little

Jan Miller

Martin K. & Edith A. Miller

Ronald Mori

Burr Morse

Tom Morse

Hannah Morvan

Gary and Sylvia Parker

Julouise Paulsen

Kathleen Perantoni

Robert D. Perantoni

Betty W. Phinney

Robert and Nancy Pope

Fred & Granthia Preston

Michael E. Read

Paula Gills and Ted Richards

Alban and Margaret Richey

Dorothy W. Rogers

Marvin Rogers

Mardee Sanchez

Karen and Dick Saudek

Ed Schwartzreich

Geneva Scriggins

Alice L. Shaner-Simpson

Paul Silver

Margaret Smith

Carolyn Stone

Allan & Elisa Storti

Denis Thibouthot

Joan C. Thompson

Dr. Mary Topping

Gwyneth V. Walker

Pamela Whitfield

MEMBERSGladys AgellJane BartrumJohn and Kathleen Basile Burton BellMr. & Mrs. James BennettBetty BreerClaudia and Charles BristowDouglas and Mary BurnhamLiz ButlerJudith CesariSandra CollinsCarol S. DawesJeannette DevallLouis DonnetPatricia G. DrewRonald and Sylvia FerrySteve FinnerBeth Ann Maier & Robert FinucaneWilliam GarrardCatherine Gates and Mark YorraCharles GibsonJudith R. HindsJune E HolmesPeggy & Paul IronsCharlotte KarrChris & Gloria KrahnMichael Katzenberg & Linda PrescottRichard LegerJohn C. LincolnCarolyn LongEarline MarshShirley P. MelvilleRobert & Louise MessnerMargaret M. MillerJohn and Dorothy MitchellJanet NielsenBarbara and Gilbert NobleCarla & Richard PayneBrooke PearsonElizabeth B. RalphRosalind RenfrewHildegard K. SadooNancy & Michael ShermanCarolyn and John StevensRichard ShadrouiBruce & Susan Talmadge

Dorothy D. Worthen

Vermont Philharmonic Members

The Vermont Philharmonic presents high quality symphony concerts to the Central Vermont

community at affordable ticket prices. How? Because of the volunteer efforts of its musicians and staff

and the financial support of its members, and its major and small business sponsors.

The Vermont Philharmonic program is designed and printed as part of a cooperative project with the Graphic Design &

Digital Publishing II program at the Center for Technology, Essex managed by Tracey Brown and Sarajean Shepardson.

Program design and layout by student, Stefanie Barber.

Major Sponsorsof the Vermont Philharmonic

Jump Start SponsorsEllis Music Company, Bethel

The Lamson-Howell Foundation, Randolph

Other Major Sponsors National Life Group, Montpelier

TD Bank NorthWCVT 101.7 FM, Stowe