Eugene Symphony 2016/17 Season Program Magazine 2

2 0 1 6 / 1 7 S E A SON

Danail Rachev, Music Director & Conductor

PROGRAM MAGAZINE DECEMBER 8, 2016 — JANUARY 26, 2017

Diamonds tell stories Whether you have a cherished diamond that you want to reset, are looking for a diamond that tells someone how much you love them or just need a piece of jewelry repaired, let us help.

“Our customers deserve the highest quality for the best price, whether it’s a repair or custom piece. We love talking with our customers about diamonds, gemstones and metals. Even more, we love hearing our customers’ stories and why they want to have a custom piece designed or create a new setting for diamonds that have been in their family for generations.

We’d love to hear your story.”

– Charles M. Beaudet

Charles and Andrew Beaudet, Proprietors 2849 Oak Street, Eugene, Ore. • 541-484-6548 beaudetjewelry.com

2

Evoke emotion

Supporting Music in the Community

Rezaee Dental Practice GENER AL DENTISTRY

Providing high quality, comprehensive dental care in a friendly and compassionate environment.

Laleh Rezaee DMD

541.485.5245

2400 Willamette Street Eugene, Oregon 97405 www.eugenedentalcare.com

Shahram Rezaee DMD

541.683.8034

Great Music Inspires Great Conversation,

Don’t Get Left Out. There is no more lively or electric place for conversation than a symphony lobby. Don’t let hearing loss keep you from the height of social interaction.

Tune back into your life with a free hearing screening and consultation from our caring professionals.

Call Us Today!

Your Sound Choice for Better Hearing

1600 Valley River Drive, Suite 395, Eugene, OR 97401 541-689-2107 www.eugeneaudiology.com

R. Craig Ford, Au.D.

Donna Hill, Au.D.

3

Oregon Eye Consultants Physicians and Surgeons Ophthalmology

Multi-Subspecialty Ophthalmology Practice Covering the Full Spectrum of Eye Care Eugene Main Office

Keyhan F. Aryah, M.D. Comprehensive Ophthalmologist Specializing in Anterior Segment & Cataract Surgery

Riverbend District Main Office

Robert J. Champer, M.D. Ph.D. Ophthalmologist Specializing in Diseases & Surgery of the Retina & Vitreous

Florence Newport Roseburg North Bend

John W. Karth, M.D. Ophthalmologist Specializing in Diseases & Surgery of the Retina & Vitreous

Call: 1-800-848-4126 541-687-1927 View: www.oregoneyeconsultants.com

4

Enhancing the life of each patient by taking care of all their vision needs

W. Benjamin Kunz, M.D. Comprehensive Ophthalmologist Specializing in Cornea & Refractive Surgery Robert M. Beardsley, M.D. Ophthalmologist Specializing in Diseases & Surgery of the Retina & Vitreous Uveitis & Ocular Inflammatory Diseases

New Homes

Remodels

Kitchens

Small Cottages

Rainbow Valley: Where Homes are One-of-a-Kind Homes should be designed with people and places in mind.

When these homeowners chose to build their home next to a park in Eugene, they wanted a home that respected and celebrated the surroundings and fit their modern style. Wall-length windows highlight the beauty of the area, while solar and wind power heat and cool the home. The curved roof and floor plan make the home feel large, open, and contemporary.

It’s a perfect fit.

Ready for your perfect home? Come to Rainbow Valley.

5

6

PROUD TO SPONSOR EXCELLENCE WITH THE EUGENE SYMPHONY SINCE 2007 EUGENE SYMPHONY BOARD OF DIRECTORS SINCE 2010

AT OAKMONT FAMILY DENTAL

patient relationships ARE OUR FOCUS. New patients & their families warmly welcomed by experienced, caring doctors & hygienists using the latest technology.

2457 Oakmont Way • Eugene www.oakmontfamilydental.com Sponsoring the Eugene Symphony since 2007 and a Member of the Eugene Symphony Board of Directors since 2010.

Dr. Matthew McLaughlin

• • • • • • • • • •

One-Appointment Porcelain Crowns Comprehensive Implant Treatment Implant-Supported Dentures Root Canal Therapy Cosmetic Veneers White Fillings Digital X-rays Periodontal Treatment Tooth Whitening Crown and Bridge Treatment

Now Accepting

NEW PATIENTS! 541-484-2046

Dr. Matthew McLaughlin www.oakmontfamilydental.com |

541-484-2046 |

2457 Oakmont Way, Eugene, OR | 97401

7

Pat Neill PARTNER

Art Clark PARTNER

At Hershner Hunter, we’re proud of our lineage and generations of history. We’ve been helping build and strengthen locally-owned family businesses for more than 70 years. As business law relationships have blossomed into strategic partnerships, we’ve become extended family to many of our clients.

We’re pleased to be a part of their growth and accomplishments, as well as succession planning for the next generation of their businesses.

As in-laws we’re a dream. We dispense advice that’s actually welcome, insightful, and appropriate.

We nurture your ideas, support your values, and help you achieve your long-term goals. And we promise not to show up on your doorstep unannounced.

Focus on your business and family. Leave the legal issues to us. 541-686-8511 | hershnerhunter.com

8

Contents December 2016 – January 2017 CONCERTS 19 Korngold Violin Concerto

December 8 31 Amadeus

December 11

Sponsored by Comfort Flow Heating 43 Barber Piano Concerto

January 26

Sponsored by Eugene Symphony Guild

23 On December 8, we welcome our first

Music Director Finalist, Dina Gilbert, to conduct an evening of musical storytelling including Erich Korngold’s Violin Concerto.

FEATURES 25 Beyond the Podium:

Interview with Dina Gilbert 49 Beyond the Podium:

Interview with Ryan McAdams 40 In the Key of E[ducation] 53 Donor Spotlight 55 On That Note ON STAGE AND OFF 11 Welcome 12 Calendar 14 Orchestra Roster 15 Conductor 56 Scenes from Offstage 57 Support the Symphony 58 Founders Society 59 51st Season Partners 60 Thank You to Our Supporters 63 Endowment Fund 64 Board of Directors

and Administrative Staff

31 Experience the Academy Award-winning

film Amadeus projected on a big screen above the stage, while the orchestra plays the soundtrack live on December 11.

47 The second Music

Director Finalist, Ryan McAdams, conducts a dramatic and musically satisfying evening featuring Samuel Barber’s Piano Concerto on January 26.

9

10

EUGENE SYMPHONY

Welcome December 2016 – January 2017 Dear Friends, As we end 2016 and set out on 2017, I hope we can all move forward with a unified love of what brings us together each month in this hall. I hope you find peace in this beautiful music that spans centuries and generations, borders and beliefs, languages and customs. In times of uncertainty and unrest, let us embrace the arts as they build bridges over barriers and bring us closer together as one humanity.

Despite the external stressors of our modern world, our mission here stays constant: Enriching lives through the power of music. The Hult Center is a refuge, and the Symphony, a sanctuary. Enjoy this experience with your neighbors and friends, people that you might not know, but see monthly in our commonality. Blue or red, Duck or Beaver, when we attend these performances, we’re all on the same team. Together, organization and audience, we create this enduring experience and share it together— indeed a blessing to appreciate.

We will soon embark on a new chapter in our continuing process of what makes this organization so great. In the next few months we will meet two of our Music Director Finalists. Perhaps one of these exciting young artists will lead our organization into the future. In December we will meet Dina Gilbert, our guest from Canada. In January, it will be Ryan McAdams, coming from New York. In between, we will celebrate the greatness of Mozart, with a live Symphony performance of the soundtrack in sync with the Oscar-winning movie Amadeus overhead on the big screen.

If it’s your first time here tonight—welcome and thank you! And whether it’s your first or 50th, next time you come, think about introducing a friend, neighbor, or a co-worker to the Eugene Symphony.

Help us continue this ongoing tradition. Cheers to our future together!

Warmly,

Matt Shapiro, President of Eugene Symphony Association Board of Directors Dear Audience Members, Each time we search for a new Music Director in Eugene, the Symphony world watches and waits to see whom we will choose. The extraordinary success of our Music Directors here and in their subsequent careers is known in all the great music schools and conservatories and by orchestras everywhere. And the result this year is the strongest group of Music Director finalists we have ever had.

I’m often asked: “How does Eugene do it?” The answer: we work hard to find three exceptionally gifted finalists and then we listen carefully to what our orchestra, our Board, and you—our audience—tells us about them. Their great talent and their success elsewhere brought our finalists here. Now we need to determine which of them is right for our unique and special Eugene Symphony.

So please complete the short survey you’ll find in the program magazine tonight. It is essential to our search process. And don’t forget to include any written comments you have. I promise you I will read them all.

There is nothing more exciting in the life of an orchestra than a Music Director search. Together we will find our next artistic leader. The benefits of this search will be our legacy to the community!

With thanks,

Roger Saydack Chair, Music Director Search Committee, Eugene Symphony Association

DECEMBER 2016 – JANUARY 2017

11

KORNGOLD VIOLIN CONCERTO

Calendar DEC 6

4:00–5:30 pm – Master Class with violinist Elena Urioste in The Studio, lower level of the Hult Center

DEC 8

KORNGOLD VIOLIN CONCERTO

7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Finalist Dina Gilbert and violin soloist Elena Urioste in The Studio, lower level of the Hult Center

8:00 pm – Symphonic series concert conducted by Music Director Search Finalist Dina Gilbert and featuring Elena Urioste, violin, Silva Concert Hall

December 8

DEC 11 AMADEUS – SPECIAL CONCERT

6:00 pm – Special Concert, Silva Concert Hall Sponsored by Comfort Flow Heating

JAN 24

4:00–5:30 pm – Master Class with pianist Andrew von Oeyen in The Studio, lower level of the Hult Center

JAN 26 BARBER PIANO CONCERTO

7:00–7:30 pm – Eugene Symphony Guild Concert Preview conducted by Music Director Finalist Ryan McAdams and piano soloist Andrew von Oeyen in The Studio, lower level of the Hult Center 8:00 pm – Symphonic series concert conducted by Music Director Finalist Ryan McAdams and featuring Andrew von Oeyen, piano, Silva Concert Hall Sponsored by Eugene Symphony Guild

FEB 4

PINK MARTINI – SPECIAL CONCERT

5:00 pm – Special Concert featuring Pink Martini, Silva Concert Hall Sponsored by Zachary Blalack — Ameriprise Financial

PINK MARTINI – SPECIAL CONCERT February 4

12

51ST SEASON GALA

Immediately following Pink Martini Concert – Celebrate with dinner, music, dancing, and a live auction at Eugene Symphony’s biggest benefit event of the year, at Hilton Eugene. For tickets and details, visit eugenesymphony.org/gala

FEB 13 – FEB 17

Residency with guitarist Sharon Isbin and composer Christopher Rouse. For full residency details, visit eugenesymphony. org/education/artist-residencies

FEB 14

10:30 am & 12:30 pm – Elementary School Youth Concerts: The Orchestra Moves Sponsored by Marie Jones & Suzanne Penegor and US Bank EUGENE SYMPHONY

BARBER PIANO CONCERTO January 26

FEB 16

PICTURES AT AN EXHIBITION

7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Danail Rachev, guitarist Sharon Isbin, and composer Christopher Rouse in The Studio, lower level of the Hult Center

8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev and featuring Sharon Isbin, guitar, and composer Christopher Rouse, Silva Concert Hall Sponsored by Imagination International

MAR 14

4:00–5:30 pm – Master Class with pianist Kuok-Wai Lio in The Studio, lower level of The Hult Center

MAR 16 BARTÓK PIANO CONCERTO

7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Finalist Francesco Lecce-Chong and piano soloist Kuok-Wai Lio, in The Studio, lower level of the Hult Center

8:00 pm – Symphonic series concert conducted by Music Director Finalist Francesco Lecce-Chong and featuring Kuok-Wai Lio, piano, Silva Concert Hall

APR 13

THE DAMNATION OF FAUST

7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Danail Rachev in The Studio, lower level of the Hult Center

8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev, featuring Eugene Symphony Chorus and digital projections by Harmonic Laboratory, Silva Concert Hall

MAY 9

4:00–5:30pm – Master class with violinist Ryu Goto, The Studio, lower level of the Hult Center

MAY 11 ALPINE SYMPHONY

7:00–7:30 pm – Guild Concert Preview with Music Director Danail Rachev and violin soloist Ryu Goto in The Studio, lower level of the Hult Center

MAY 11 ALPINE SYMPHONY

MAY 21

8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev and featuring Ryu Goto, violin, Silva Concert Hall Sponsored by Slocum Center for Orthopedics and Sports Medicine 2:30 pm – Play it Again! Adult Chamber Music performance at First Christian Church in Eugene

All Master Classes, Residency Activities, Guild Concert Previews, and the Play it Again! performance are free and open to the public.

DECEMBER 2016 – JANUARY 2017

13

Eugene Symphony VIOLIN I Searmi Park, Concertmaster Caroline Boekelheide Lisa McWhorter, Assistant Concertmaster Ray & Cathie Staton Stephen Chong Joanne Berry Della Davies Bob Gray Memorial Chair Anthony Dyer Rosemary Erb John & Emilie York Jennifer Estrin Yvonne Hsueh Debra & Dunny Sorensen Nelly Kovalev Bashar Matti* Sophie Therrell Matthew, Aaron & Alex Shapiro Vacant

VIOLIN II Matthew Fuller, Principal Ray & Libby Englander Sasha Chandler, Assistant Principal Dan Athearn Sandra Weingarten & Ryan Darwish Alice Blankenship Theodore W. & Laramie Palmer David Burham Julia Frantz Bob & Friedl Bell Virginia Kaiser Claudia Miller Valerie Nelson* Marilyn Tyler Herb Merker & Marcy Hammock Jannie Wei Carol Crumlish Vacant

VIOLA Holland Phillips, Principal Don & Lin Hirst Miriam English Ward, Assistant Principal Lauren Culver* Lauren Elledge Marilyn Kays Anamaria Ghitea Adam Hoornstra† Shauna Keyes

14

Kimberlee Uwate** Matt Shapiro & Maylian Pak Vacant

CELLO Anne Ridlington, Principal Diana G. Learner & Carolyn J. Simms Minji Choi, Assistant Principal Marion Sweeney, Kate & Cama Laue Eric Alterman Carol Crumlish Dale Bradley Kathryn Brunhaver* David Chinburg Ann Grabe James Pelley Nancy Sowdon

BASS Richard Meyn, Principal Ellis & Lucille Sprick Forrest Moyer, Assistant Principal Tyler Abbott Charles & Reida Kimmel Rick Carter Milo Fultz Greg Nathan† Nathan Waddell

FLUTE Kristen Halay, Principal George & Kay Hanson Wendy Bamonte Jill Pauls (Piccolo)

OBOE Kelly Gronli, Principal† Anonymous Cheryl Denice John & Ethel MacKinnon Annalisa Morton (English Horn)

CLARINET Michael Anderson, Principal Hugh & Janet Johnston Louis DeMartino (E-flat Clarinet) Carol Robe (Bass Clarinet) Anonymous

BASSOON Vacant, Principal Mike Curtis Peter Gregg Steve Vacchi (Contrabassoon) Ted & Marie Baker

ORCHESTRA PERSONNEL 2016/17 Danail Rachev, Music Director and Conductor Music Director and Conductor Chair is sponsored by Betty Soreng

David Hattenhauer

HORN David Kruse, Principal David & Paula Pottinger Jennifer Harrison Lydia Van Dreel Duncan & Jane Eyre McDonald Scott King Jonathan Kuhns (Assistant Horn)

TRUMPET Sarah Viens, Principal Joshua Silva David Bender G. Burnette Dillon & Louise Di Tullio Dillon

TROMBONE Henry Henniger, Principal Michael & Nancy Oft-Rose Ron Bertucci† Charles & Deborah Larson James Meyer Stephen & Cyndy Lane

TUBA Michael Grose, Principal

TIMPANI Ian Kerr, Principal Jim & Janet Kissman

PERCUSSION Tim Cogswell, Principal Susan Gilmore & Phyllis Brown Brian Scott Charles & Georgiann Beaudet Randal Larson Sean Wagoner

KEYBOARD Christine Mirabella, Principal Garr & Joan Cutler

HARP Jane Allen, Principal Laura Maverick Graves Avery Chair

CHORUS DIRECTOR Sharon J. Paul * denotes University of Oregon Graduate Teaching Fellow ** denotes one-year appointment † denotes leave of absence EUGENE SYMPHONY

Danail Rachev Heralded as “a musician of real depth, sensitivity, and authority” Danail Rachev is Music Director & Conductor of Eugene Symphony. Since beginning his tenure in 2009, Rachev’s visionary leadership has built on the Symphony’s 50year tradition of artistic excellence in the core repertory while increasing its commitment to music of today. He is credited with commissioning four works over the last six years, and led the Northwest premiere of a fifth work jointly commissioned by a consortium of orchestras. Rachev is recognized for broadening the orchestra’s audiences through creative and innovative programming, as well as for increasing community engagement and education opportunities for the region.

Under Rachev, the Eugene Symphony launched its first-ever free summer concert in 2009 reaching a capacity crowd of more than 5,000, including many Symphony newcomers. Now in its eighth year, Eugene Symphony in the Park has become a beloved summer tradition in Eugene, highlighting emerging local talent.

For the Eugene Symphony’s 50th Anniversary Season in 2015/16, Rachev envisioned a global cultural journey onstage and off, including three world premieres as well as collaborations with Yo-Yo Ma and André Watts.

Rachev’s recent guest conducting engagements have included returns to the London Philharmonic, England’s Bournemouth Symphony, Scottish Chamber Orchestra, and the symphony orchestras of Dallas and Alabama; touring Holland with Het Gelders Orkest; and debuts with the symphonies of Richmond, Spokane, Tuscon, Edmonton, and Turkey’s Presidential Symphony, as well as the Las Vegas Philharmonic and Florida Orchestra.

Worldwide, Rachev has returned to conduct the Philharmonia Orchestra and Scottish Chamber Orchestra, and appeared with the Royal Scottish National Orchestra, SWR Stuttgart Radio Symphony, Yomiuri Nippon Symphony Orchestra, Auckland Philharmonia, Orquesta Sinfónica del Principado de Asturias, Orquesta Nacional do Porto, and the New Zealand Symphony Orchestra, which he led on tour in Summer 2013.

A champion of new music, Rachev has been dedicated to developing Eugene audiences—and the Eugene Symphony— through commissioning, collaborating with, and programming leading composers of today including John Adams, Mason Bates, Avner Dorman, Steven Stucky, Osvaldo Golijov, John Harbison, Robert Kyr, Roberto Sierra, and Tomas Svoboda.

EUGENE SYMPHONY MUSIC DIRECTORS Lawrence Maves, Founding Conductor (1966–1981) William McGlaughlin (1981–1985) Adrian Gnam (1985–1989) Marin Alsop, Conductor Laureate (1989–1996) Miguel Harth-Bedoya (1996–2002) Giancarlo Guerrero (2002–2009) Danail Rachev (2009–) DECEMBER 2016 – JANUARY 2017

MUSIC DIRECTOR & CONDUCTOR Rachev launched his professional career as Assistant Conductor of the Philadelphia Orchestra (2008–2010) and the Dallas Symphony (2005–2008), leading and programming numerous public concerts and educational programs.

Rachev has often enjoyed working with young musicians, serving as conductor of the Juilliard Pre-College Symphony from 2002 to 2005 and guest conducting the Brevard Music Center Orchestra and Sinfonia and Colorado’s National Repertory Orchestra.

Rachev was born in Shumen, Bulgaria and trained at the State Musical Academy in Sofia, where he received degrees in orchestral and choral conducting. Granted a full scholarship, he moved to the United States to continue his studies at the Peabody Conservatory of Music. Rachev was a conducting fellow at the American Academy of Conducting in Aspen and a participant in the League of American Orchestras’ National Conducting Institute, which led to his debut with the National Symphony in Washington, D.C. The first-ever conducting fellow of the New World Symphony, he studied with Michael Tilson Thomas and worked alongside him on many occasions. Other mentors have included Gustav Meier, Vassil Kazandjiev, David Zinman, and Leonard Slatkin.

When not in Eugene, Rachev and his wife, arts administrator and soprano Elizabeth Racheva, reside in the Washington D.C. area with their two young daughters, Kalina Louise and Neviana Jean.

16

EUGENE SYMPHONY

The Eugene-Irkutsk Sister City Committee sends its warmest congratulations to the Eugene Symphony for such a glorious 50th Anniversary Celebration.

May beautiful notes ring for another 50 years!

In the name of the Eugene-Irkutsk Sister City Committee and in memory of the Groza-Gorbatenko Family.

Nutcracker

e

WORLD CLASS DANCE

SAVE $10

PER TICKET WHEN YOU FIVE OR MOBUY PER SHOWRE !

DEC 16 & 17 | 7:30 PM DEC 17 & 18 | 2:00 PM Hult Center for the Performing Arts eugeneballet.org | 541-682-5000 | Hult Center Box Office | UO Ticket Office

DECEMBER 2016 – JANUARY 2017

17

18

EUGENE SYMPHONY

Korngold Violin Concerto Eugene Symphony Dina Gilbert, conductor | Elena Urioste, violin Thursday, December 8, 2016 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, December 8, 2016 7 PM | The Studio, Hult Center

Wolfgang Amadeus Mozart (1756–1791)

Overture to The Magic Flute, K.620

Erich Wolfgang Korngold Violin Concerto in D Major, Op. 35 (1897–1957) I. Moderato nobile II. Romance: Andante III. Finale: Allegro assai vivace

Elena Urioste, violin I N T E R M I S S I O N

Igor Stravinsky Petrouchka (1947 version) (1882–1971) I. The Shrove-Tide Fair II. Petrouchka’s Cell III. The Moor’s Cell IV. The Fair Toward Evening Paul Dukas (1865–1935)

The Sorcerer’s Apprentice

Following the performance, please come to the front of the stage for a question-and-answer session with Music Director Finalist Dina Gilbert, facilitated by Executive Director Scott Freck.

Guest Conductor Sponsor

The Eugene Symphony Association is grateful to the members of the Conductor’s Cabinet for their support of the Music Director Search. These generous donors are denoted with an asterisk in their listings found on page 58.

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, January 24 at 10 a.m.

Broadcasts underwritten in part by Kernutt Stokes.

DECEMBER 2016 – JANUARY 2017

19

Korngold Violin Concerto

WOLFGANG AMADEUS MOZART (1756–1791) Overture to The Magic Flute, K. 620 [1791] Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. First performed by the Eugene Symphony in April 1986 under the direction of Adrian Gnam, and last performed in October 2009 under the direction of Danail Rachev. Performance time is approximately seven minutes.

Mozart spent his last years under financial strain, and he pursued all manner of opportunities to boost his income. In 1791, he joined with his friend and fellow Freemason Emanuel Schikaneder to create a singspiel, a popular format that blended singing and spoken dialogue in native German, akin to today’s Broadway musicals. This new comic opera, The Magic Flute, took shape during the spring and summer of 1791 and debuted on September 30, just months before Mozart’s untimely death.

Mozart had completed most of The Magic Flute by July, and then he paused it to dash off another opera, La clemenza di Tito, which would be his last. He finished the overture to The Magic Flute just in time, marking its date of completion as September 28, two days before the premiere.

The overture’s slow and solemn introduction draws out the sense of anticipation, until resolution comes in the surprising form of a breathless fugue that serves to whip the first main theme into a glorious frenzy. Ceremonial chords, mysterious detours and even a passing flute solo all hint at the supernatural mischief and power struggles of the forthcoming opera.

ERICH KORNGOLD (1897–1957) Violin Concerto in D Major, Op. 35 [1945]

December 8, 2016 Program Notes

In addition to the solo violin, this work is scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, two trumpets, trombone, timpani, percussion, harp, celesta, and strings. This is the first performance by the Eugene Symphony, and performance time is approximately 24 minutes.

by Aaron Grad ©2016

20

EUGENE SYMPHONY

Erich Korngold, a child prodigy, matured into a successful opera composer and teacher in Vienna.

Starting in 1934, he began to shuttle between Vienna and Hollywood, and the techniques he brought from opera (especially the Wagnerian device of the leitmotif, wherein a memorable snippet of music accompanies a particular character or idea) reshaped the art of film scoring, earning him several Oscars in the process.

The techniques Erich Korngold brought from opera (especially the Wagnerian device of leitmotif, wherein a memorable snippet of music accompanies a particular character or idea) reshaped the art of film scoring, earning him several Oscars in the process.

Korngold was in California when the Nazis annexed Austria in 1938. From then on he made Hollywood his home, taking American citizenship in 1943. He ceased composing “serious” music for the duration of the war, until he finally agreed in 1945 to begin a Violin Concerto for his friend Bronislaw Hubermann. The work stalled after a young violinist gave a disastrous reading of a draft, leaving Korngold to wonder if the violin part was too difficult; meanwhile, Hubermann balked on scheduling a premiere, hedging until he could see a finished score. The impasse was broken by another European émigré, Jascha Heifetz, who actually encouraged Korngold to ratchet up the virtuosity, and who became the concerto’s leading champion.

The Violin Concerto borrows most of its main themes from the movies. In the first movement, the alluring opening melody—with the soloist entering right away, as in Mendelssohn’s Violin Concerto—comes from the film Another Dawn (1937). A poignant secondary theme originated in the film Juaréz (1939). The middle movement, a Romanze, takes its main theme from Korngold’s Oscar-winning score to Anthony Adverse. The finale’s musical material, from The Prince and the Pauper (1937), affords ample opportunities for the violinist to weave sprightly filigree among the melodic statements.

DECEMBER 2016 – JANUARY 2017

IGOR STRAVINSKY (1882–1971) Petrouchka [1911, revised 1947] Scored for three flutes, piccolo, two oboes, English horn, three clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, piano, and strings. First performed by the Eugene Symphony in January 1975 under the direction of Lawrence Maves, and last performed in October 2010 under the direction of Danail Rachev.

Performance time is approximately 34 minutes.

After the smash success of The Firebird in 1910, Stravinsky proposed creating another over-the-top score for the Ballets Russes, this one based on prehistoric pagan sacrifice, an idea that would soon become The Rite of Spring. But first, as he later recorded in his autobiography, “I wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part.” The music he conceived brought to mind “a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi.”

KEEP AN EAR OUT FOR... ...a cheeky melody played by Principal Trumpet Sarah Viens in the Third Tableau of Stravinsky’s Petrouchka, representing the Ballerina puppet as she is seduced by the Moor.

KEEP AN EYE ON... ...Contrabassoon Steve Vacchi in Dukas’ The Sorcerer’s Apprentice, whose repeated rising four notes recall the reanimated broomsticks which beset poor Mickey Mouse in Walt Disney’s Fantasia.

When Serge Diaghilev, the impresario behind the Ballets Russes, visited Stravinsky in Switzerland, he heard those first sketches and, as Stravinsky remembered it, “He was so much pleased with it that he would not leave it alone and began (Continued on page 22)

21

Korngold Violin Concerto Program Notes (Continued from page 21) persuading me to develop the theme of the puppet’s sufferings and make it into a whole ballet.” Together they shaped a plot: “The fair, with its crowd, its booths, the little traditional theater, the character of the magician, with all his tricks; and the coming to life of the dolls—Petrouchka, his rival, and the dancer—and their love tragedy, which ends with Petrouchka’s death.”

Petrouchka debuted in Paris on 1911, and its intoxicating synthesis of music, sets, costumes and choreography (with the legendary Vaslav Nijinsky dancing the title role) exemplified everything that made the Ballet Russes a modern sensation. The version of Petrouchka heard here features a slightly reduced orchestration that Stravinsky prepared in 1947, which had the practical effect of renewing his copyrights and royalties after his immigration to the United States.

A signature sound in the ballet is the superimposition of two clashing triads, their roots separated by the pungent interval of an augmented fourth. This ambiguous “Petrouchka” chord appears near the beginning of the second tableau: listen for the rising triads from two clarinets, starting a few measures after the barrage from a military drum. This bitonal sound captures the predicament of Petrouchka, who exists is a confusing space between two worlds.

PAUL DUKAS (1865–1935) The Sorcerer’s Apprentice [1897] Scored for two flutes, piccolo, two oboes, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, timpani, percussion, harp, and strings. This is the first performance by the Eugene Symphony, and performance time is approximately 12 minutes.

22

Paul Dukas wrote his most famous work in 1897, in the early years of a career that would prove to be more impactful in the field of music journalism than in the craft of composition he had studied at the Paris Conservatoire. Based on a ballad poem by Goethe, The Sorcerer’s Apprentice touched on all the major trends sweeping Paris, from Wagnerian opera to the rustic scene painting of the “Russian Five” to the luxurious dreaminess of Debussy. Dukas devised a memorable theme that is deceptively simple in its loping rhythm and earnest leaps and steps, and he did an expert job of reusing and transforming that essential material through all the wild escapades of his fantastical tone poem.

Dukas devised a memorable theme that is deceptively simple in its loping rhythm and earnest leaps and steps, and he did an expert job of reusing and transforming that essential material through all the wild escapades of his fantastical tone poem.

The Sorcerer’s Apprentice was well established in the concert repertoire when, in 1936, it appeared in a short cartoon meant to revive the Disney Studio’s flagship character. Mickey Mouse, with his ears sticking out from his pointed hat and his gloved hands emerging from an oversized red robe, gave us an endearing and unforgettable image for the hapless apprentice, and that first cartoon became the core of the beloved feature-film Fantasia in 1940.

EUGENE SYMPHONY

Korngold Violin Concerto Music Director Finalist Dina Gilbert Recognized for her energy, precision and versatility, Dina Gilbert brings great passion to the orchestral repertoire, and is also dedicated to conducting new commissions and works

by Canadian composers. A native of Québec, she has been the Assistant Conductor at the Orchestre symphonique de Montréal since April 2013, where her role is to assist Kent Nagano at rehearsals, concerts, recordings and tours, as well as assisting guest conductors. In addition to frequently conducting rehearsals with the OSM, Gilbert leads the orchestra in many concerts, including main series subscription events, youth concerts and the annual OSM in the Parks concerts.

Gilbert has collaborated many times with young Canadian composers, premiering more than 30 works, and has also conducted many studio recordings for film and video game soundtracks.

Gilbert is the founder and artistic director of Ensemble Arkea, a Montreal-based professional chamber orchestra that presents innovative interpretations of orchestral music. In 2012 she made her debut with the National Arts Centre Orchestra in Ottawa. That same year, she was assistant conductor of the Peterborough Symphony Orchestra and the Kawartha Youth Orchestra. Overseas, she has conducted the Mihail Jora Philharmonic Orchestra (Romania), the Estonian National Youth Orchestra, the Pärnu City Orchestra (Estonia) and the China Youth Symphony Orchestra (China).

In February 2014, she was invited to conduct the Frankfurt Radio Symphony Orchestra (Germany) as one of the selected participants in the prestigious Sir Georg Solti International Conductor’s Competition. She has collaborated many times with young Canadian composers, premiering more than 30 works, and has also conducted many studio recordings for films and video game soundtracks.

This season, Gilbert will make her debuts with the Toronto Symphony Orchestra, the Orchestre Métropolitain, the Orchestre symphonique du Saguenay-Lac-Saint-Jean and the Sudbury Symphony Orchestra. In addition to conducting several educational concerts at the OSM, she will join Maestro Kent Nagano to conduct the Fourth Symphony of Charles Ives and will also conduct a concert dedicated to film soundtracks.

This past April she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program

DECEMBER 2016 – JANUARY 2017

showcasing Gustav Holst’s The Planets. This summer, she will make her debuts with the Orchestre Philharmonique de Radio France in a program Hip Hop Symphonic with the renowned artists I AM, MC Solaar, Youssoupha, Arsenik et Bigflo & Oli. Back in Québec, she will conduct the world premiere of the film The Red Violin, with a live orchestra and soloist Lara St. John at the Festival de Lanaudière.

Dina Gilbert earned a doctorate from the Université de Montréal, where she studied with Jean-François Rivest and Paolo Bellomia. She also holds a Bachelor’s degree in clarinet performance and a Master’s in conducting. She polished her skills in masterclasses with Kenneth Kiesler, Leonid Grin, Peter Eötvös, Johannes Schlaefli, Pinchas Zukerman, and Neeme Järvi. During her doctoral studies she was awarded a grant from the Fonds de recherche du Québec – Société et culture. She has also received support from the Conseil des arts et des lettres du Québec and the Fondation Père-Lindsay.

Korngold Violin Concerto Guest Artist Elena Urioste Elena Urioste, amusingly hailed by The Washington Post as “a drop-dead beauty who plays with equal parts passion, sensuality, brains, and humor,” was recently selected as a BBC New Generation Artist and has been featured on the cover of Symphony magazine. She has given acclaimed performances with major orchestras throughout the United States, including the Philadelphia and Cleveland Orchestras; Boston Pops; New York and Buffalo Philharmonics; and the Chicago, San Francisco, National, Atlanta, Baltimore, Detroit, Pittsburgh, Richmond, and San Antonio Symphony Orchestras. Abroad, Urioste has appeared with the London Philharmonic Orchestra, Hallé Orchestra, BBC Symphony, BBC Philharmonic, BBC National Orchestra of Wales, Edmonton Symphony, Würzburg Philharmonic, and Hungary’s Orchestra Dohnányi Budafok and MAV Orchestras. She has regularly performed as a featured soloist in Carnegie Hall’s Stern Auditorium and has given recitals in such distinguished venues as the Wigmore Hall in London, Carnegie Hall’s Weill Recital Hall, Konzerthaus Berlin, the Sage Gateshead in Newcastle, Bayerischer Rudfunk Munich, and the Mondavi Center at the University of California-Davis.

Urioste’s 2016/17 season highlights include debuts with the Columbus, Austin, Charleston, and Albany Symphony

24

Orchestras; a return to the Hallé Orchestra with Sir Mark Elder conducting; a recital debut at the Kennedy Center with pianist Michael Brown; and performances with the Brown-UriosteCanellakis Trio in New York City, Chicago, San Diego, and Los Alamos, among many others.

Elena Urioste’s accomplishments include first prizes at the Sphinx and Sion International Violin Competitions, and an inaugural Sphinx Medal of Excellence presented by Supreme Court Justice Sonia Sotomayor (they immediately bonded over their matching red formal wear).

As first-place laureate in both the Junior and Senior divisions of the Sphinx Competition, Urioste debuted at Carnegie Hall’s Isaac Stern Auditorium in 2004 and has returned frequently as soloist. She has collaborated with acclaimed conductors Sir Mark Elder, Yannick Nézet-Séguin, Christoph Eschenbach, Robert Spano, and Keith Lockhart; pianists Mitsuko Uchida, Dénes Várjon, and Ignat Solzhenitsyn; cellists Peter Wiley, Colin Carr, and Carter Brey; violists Kim Kashkashian and Michael Tree; and violinists Joseph Silverstein, Arnold Steinhardt, and ChoLiang Lin. An avid chamber musician as well as soloist, Urioste has been a featured artist at the Marlboro, Ravinia, La Jolla, Bridgehampton, Moab, and Sarasota Music Festivals, as well as Switzerland’s Sion-Valais International Music Festival and the Verbier Festival’s winter residency at Schloss Elmau. She regularly performs in a piano trio with pianist Michael Brown and cellist Nicholas Canellakis, as well as in recital with Michael Brown and pianist Tom Poster.

Miscellaneous accomplishments include first prizes at the Sphinx and Sion International Violin Competitions; an inaugural Sphinx Medal of Excellence presented by Supreme Court Justice Sonia Sotomayor (they immediately bonded over their matching red formal wear); a spread in Latina magazine; and the 2015 Brooklyn Film Festival’s Audience Choice and Best Original Score awards for But Not For Me, the independent feature film in which Urioste acted as the lead female role. Her second album, a recital disc with Michael Brown, was released on BIS Records in October 2016.

EUGENE SYMPHONY

Beyond the Podium Interview with Dina Gilbert

Eugene Symphony’s Executive Director Scott Freck spoke by phone with Dina Gilbert, the first of three Music Director Finalists to visit Eugene. In addition to leading the orchestra in a Symphonic series concert on Thursday, December 8, Gilbert will participate in interviews, meetings, public events, and private receptions during her week-long stay.

Dina Gilbert enjoys the fresh air at the summit of Montréal’s Mont Royal, near her home in the center of the city.

Scott Freck: When were you first introduced to music? What do you remember of those earliest days?

met the first orchestra conductor while doing my undergrad in Montréal in clarinet, around 18 or 19 years old.

Dina Gilbert: I was surrounded by music from a really early age.

My parents were not musicians, but my dad would have loved to learn an instrument when he was younger so he decided to give this as a gift to his six daughters. Everybody at home was playing piano all day long. We were also doing choir rehearsals. So, we were singing at home, singing in different choirs, playing piano.

SF: What’s the best thing about being a conductor? What’s the most fun part?

SF: What made you want to be a conductor?

DG: In fact, it’s funny because there were many points in my life that make sense that I wanted to become a conductor. The first time I got in the choir, my dad lied to the choir director saying that I was old enough to be in it, and I was not. I was four years old.

SF: He lied to the choir director…[laughs].

DG: Exactly. I did the audition and I was perfectly able to sing all of the notes, and the choir director was really impressed, so he said, “Yes, but she really looks young. How old is she?” And my dad said, “She’s five, it’s going to be okay. She keeps up with her older sisters and she’s going to be fine.” But after two or three rehearsals he actually went to my dad and he said, “I asked your daughter how old she is and she’s only four years old—she’s dancing all around when she’s listening to the music and when she’s singing in the choir.” He said, “Maybe we should wait a little more before she comes back.”

So I guess from an early age I was already so connected to music that I felt the need to move with it, and years later, I came back to sing in this choir. After that, I had occasion to conduct a small choir when I was 14 or 15. Everything then was just intuitive for me—I had no lessons, I never had seen an orchestra nor a real conductor. So it was really later that all this made sense when I DECEMBER 2016 – JANUARY 2017

DG: The most fun part I would say is communication. We are communicating music or communicating passion with the musicians, but also we are sharing all that great experience with the audience. In contrast to playing an instrument, I feel there is no filter [with conducting]. There’s no instrument in between so I can express [everything in the music] fully and without any filter. So I feel that we are really privileged as conductors to be able to make and feel the music that way, and to express and communicate all the time with the musicians.

SF: And then how did you learn to be a conductor? How did your educational career develop?

DG: At 12 years old, I started playing the clarinet, and playing with groups is when I became really intrigued with the role of the conductor. I really liked playing music in a big ensemble and not being alone in front of the piano. I had a few occasions as a teenager to conduct the choirs and also a woodwind symphony.

At 16, I moved to Montréal and received a college diploma in piano and clarinet. Later, while doing my undergraduate program in clarinet, I took an optional class in conducting. It was the first time in my life that I met a conductor and received conducting lessons. The teacher quickly offered me private classes, and thanks to him, I was accepted in the Masters program in conducting. From that point, it was really clear in my mind that I wanted to become a conductor, and I then pursued a Doctorate in conducting [from the University of Montréal].

(Continued on page 26)

25

(Continued from page 25) I’ve also done a few master classes around the world and was able to learn from the most amazing people and teachers. Then I got the opportunity to become Assistant Conductor of the Montréal Symphony Orchestra with Maestro Kent Nagano—I would say that those three years have been tremendously helpful since I have had a lot of podium time, I’ve been learning tons of repertoire, and I had some great challenges. I was discovering a lot of music and it’s been nurturing me, my career, and my desire to become a conductor for the long term.

there are some innovative projects. There’s room for new works, for projects with young composers for instance, and also for education. All of these things are really nurturing the community and the audience is coming to every concert with the curiosity to find new ways to appreciate music…this is something I find really unique in Eugene.

SF: That might make a nice segue to the next question—if you were to be offered the job of Music Director, what would you hope to bring to your work here at Eugene Symphony? What would you hope to add to the story here?

SF: What made you interested in applying for the Eugene Symphony’s Music Director opening?

DG: At first we need to continue what is already there, because there have been so many great initiatives. Of course I would like to pursue the tradition with great symphonic works, and also add new works to the programs. I would also We are really privileged as conductors to like to find different and new ways to engage with the be able to make and feel the music, and to audience with some youth concerts and projects. I would express and communicate with the musicians. like to be there as a presence in the city, to make sure that people don’t feel shy to express their desire to create new collaborations with the orchestra. All these things are really DG: When I was at the Montréal Symphony Orchestra, I had important to me and I really would like to live there and feel the occasion to work with Maestro Giancarlo Guerrero. He how it is to be a Music Director of an orchestra, and be able to spoke with me about his experience as Music Director at Eugene connect in different levels with everybody in the orchestra and Symphony. I understood that this position opened a lot of doors also the community. for him, and that also it was a really nurturing environment, with great musicians, a great team, and all the elements were there to create great music close to the community. I had all of that in mind when I saw the opening, and I had to jump on the occasion right away because this is exactly what I’m looking for right now in my career after finishing three years as Assistant Conductor in Montréal. Now I really feel the need to create programming to connect with communities, connect with audiences, and to build something long-term with an orchestra.

SF: Throughout this Music Director search process, including your visit here last summer, what are your impressions of Eugene as a city and what you’ve learned about the Eugene Symphony’s story? What struck you during your visit here?

DG: First, I would say that the city is really welcoming. I remember the smell of the [air], I remember how beautiful it is. It was refreshing to be in such a great natural environment. I could also see that within the small community, there is such a great cultural life that is totally unique, and I think that’s what makes it so special to have such a great orchestra in Eugene. [You have] great elements that all of the international orchestras would like to have—you have really bold programming, I can see that

26

SF: Let’s talk through your program for the concert on December 8. Tell us what we’re going to hear, piece by piece.

DG: Opening the concert is the Magic Flute Overture by Mozart.

It’s really colorful—it starts with an E-flat Major chord, and we find that chord again in the overture. And with only this element we build something that goes in every direction, and [we hear] also great characters and personalities that are in the opera. So there’s a lot of life, it’s also virtuosic and light, and I would say it’s a great opening for a concert.

Then we are going to continue the concert with the great violinist Elena Urioste, who is going to play the really hard, virtuosic, and lyrical Violin Concerto by Erich Korngold. Korngold was renowned for his film scores. He had been really successful writing [music for films], but this is one of the main pieces he wrote after those movies that put him back on the concert scene. [Famed violinist] Jascha Heifetz [helped make it] a really successful and now standard violin concerto. The concerto [builds on] some thematic material from some of his previous movie scores, so you can find still the ‘Hollywood touch’ in in this great Romantic concerto.

EUGENE SYMPHONY

SF: Can’t wait! So then we have intermission and then you’ve got this very interesting second half of music. Tell us about it.

DG: It was important for me as a French-Canadian to bring some roots from what we have here with the Montréal Symphony Orchestra—Russian and French music are really important to us. Stravinsky had been working a lot in France and wrote Petrouchka in Paris in 1911. I thought it was a great addition to this concert with also The Sorcerer’s Apprentice by Paul Dukas.

Petrouchka is a great masterpiece [which was] written right after The Firebird and just before The Rite of Spring—these are the most successful ballets of Stravinsky. This is the story of three puppets brought to life by a charlatan. The aspect of magic is a link between this and The Magic Flute. Petrouckha is a really colorful work, with challenging parts for the trumpet and the piano, a really great flute solo, and I would say that this piece showcases the talents of every individual in the orchestra. I’m really looking forward to work on this piece with the musicians and to share it with the audience.

SF: And then you’re going to close with Dukas?

DG: Yes, and actually I was surprised when I heard that it’s going to be the first time the Eugene Symphony is going to play this piece! I now find it even more special to bring this piece and I’m really excited about that. Obviously, everybody is going to recognize The Sorcerer’s Apprentice because of the movie Fantasia, in which Walt Disney and conductor Leopold Stokowski chose to [create] the story of Mickey Mouse fighting with the brooms…. I’m pretty sure everybody will have images in their minds when they hear this. I’m looking forward to sharing this great masterpiece without the movie, because we don’t actually need visuals—we really hear everything going on through the music.

SF: So, Dina, outside of music what do you enjoy doing with your spare time, assuming you have any at all?

DG: Oh, spare time, that’s a good question [laughs]. When I have spare time, mostly I’m building and creating projects, because these projects take time. So for instance, I’m building new projects about interactive concerts with video games, or editing music scores. I also like to run, and to spend quality time with my family of course—I have tons of nephews and nieces now. I also like to travel a lot, so traveling is great for discovering a new area, but I’m also kind of a foodie, so I like to discover any kind of food.

SF: Sounds to me like Eugene would be a great place for you, then. We’ll see you soon! Thanks, Dina.

DECEMBER 2016 – JANUARY 2017

(Above left) Gilbert leads a “Conducting 101” class, giving audience members from ages five to 99 a chance on the podium. (Above) Like most Canadians, Gilbert’s favorite sport is hockey and her favorite team is the Montréal Canadiens.

27

28

EUGENE SYMPHONY

Your locally owned and operated retail wine shop & wine bar Exclusive Wine Sponsor to the Eugene Symphony Tastings Ever y Friday 5–7

Large selection of wines in all prices • Rare, hard-to-find bottles More than 30 years experience selecting wines from around the world Gifting made easy for all occasions • Special orders welcome

Giftin made eag sy We ship . !

Monthly wine dinners & tastings • Custom Wine & Cheese Clubs

Excellent cheese selection including artisan cheese plates, cheese fondue & gourmet grilled cheese Amazing wines by the glass every day!

Monday–Thursday & Saturday 10–8 • Friday 10–10 • Sunday 10–6 • 17 Oakway Center, Eugene, OR 97401 oregonwineandmore.com

DECEMBER 2016 – JANUARY 2017

541-685-0790

facebook.com/TheBroadwayWineMerchants

29

Comfort Flow Heating is proud to sponsor:

AMADEUS

THE FILM WITH EUGENE SYMPHONY MOZART. MASTERY. MISCHIEF.

30

EUGENE SYMPHONY

Amadeus Live Eugene Symphony Richard Kaufman, conductor Eugene Symphony Chorus | Sharon J. Paul, director Sunday, December 11, 2016 6 PM | Silva Concert Hall, Hult Center This performance will include one intermission.

CAST

About Amadeus

Antonio Salieri Wolfgang Amadeus Mozart Constanze Mozart Leopold Mozart Emperor Joseph II Emanuel Schikaneder Katerina Cavalieri Count Orsini-Rosenberg Baron von Swieten Kapellmeister Bonno Count Von Strack Father Vogler Lorl, Mozart’s Maid Count Colloredo, Prince Archbishop of Salzburg

F. Murray Abraham Tom Hulce Elizabeth Berridge Roy Dotrice Jeffrey Jones Simon Callow Christine Ebersole Charles Kay Jonathan Moore Patrick Hines Roderick Cook Richard Frank Cynthia Nixon Nicholas Kepros

Amadeus is a screen triumph; a sumptuous period epic, a soaring celebration of the music of Wolfgang Amadeus Mozart.

Winner of eight Academy Awards in 1984, including Best Picture, Actor, Director and Adapted Screenplay, Amadeus tells the story of Vienna court composer, Antonio Salieri and the envy that consumes him upon discovering that the divine musical gifts he has so longed for all his life, have been bestowed on a bawdy, vulgar and impish young composer, Mozart.

Salieri’s envy fuels his plot to destroy the man, while all the while unable to tear himself away from the genius of his music.

Adapted from Peter Shaffer’s original stage play, Amadeus the motion picture, stays true to its origins highlighting the contrast between, as Shaffer himself described, “the sublimity of his [Mozart] music and the vulgar buffoonery of his letters” which, “read like something written by an eight-year-old.”

Directed by Milos Forman Screenplay by Sir Peter Shaffer, based on his original stage play Production Manager John Kinsner Sound Engineer George Relles

Amadeus LIVE is an Avex Classics International production

Concert Sponsor

DECEMBER 2016 – JANUARY 2017

Additional Support

The Gilmore Agency

31

Amadeus Live Guest Conductor Richard Kaufman Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. The 2016/17 season marks his 11th season with the Chicago Symphony Orchestra concert series “CSO at the Movies” and his 26th season as Principal Pops Conductor of Pacific Symphony. He holds the permanent title of Pops Conductor Laureate with the Dallas Symphony.

As a violinist, Kaufman performed on numerous film and television scores including Jaws, Close Encounters of the Third Kind, Saturday Night Fever, and (in a moment of desperation) Animal House.

In May of 2015, Kaufman made his conducting debut with the Boston Pops Orchestra, substituting for John Williams at the Annual Pops Film Night, and Williams graciously invited Richard to share the podium at the annual Tanglewood Film Night in August 2016. In July, two days before its official theatrical release, Richard conducted the San Diego Symphony in a live performance of Michael Giacchino’s new score for Star Trek Beyond, accompanying the film in its gala world premiere.

Kaufman regularly appears as a guest conductor with symphony orchestras throughout both the United States and around the world including those in Cleveland, Atlanta, St. Louis, London, Liverpool, the RTE Concert Orchestra in Dublin, Indianapolis, San Diego, and the Royal Scottish National Orchestra. In addition to conducting “traditional” concert presentations, Kaufman often leads performances of complete film scores in concert, synchronizing the music to the actual film as it is shown on the screen above the orchestra. These legendary film titles include Singin’ in the Rain, The Wizard of Oz, Psycho, Casablanca, The Bride of Frankenstein, Pirates of the Caribbean, Silverado, Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Amadeus, Star Trek, and various silent films.

Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance. In addition to his two recordings with the London Symphony Orchestra, he has recorded CDs with the Nuremberg Symphony, the New Zealand Symphony Orchestra and the Brandenburg Philharmonic in Berlin.

He has conducted for performers including John Denver, Andy Williams, Mary Martin, Nanette Fabray, Sir James Galway, Diana Krall, Chris Botti, The Beach Boys, Peter Paul and Mary, Robert Goulet, David Copperfield, The Righteous Brothers, and Art Garfunkel.

32

As a violinist, Kaufman performed on numerous film and television scores including Jaws, Close Encounters of the Third Kind, Saturday Night Fever and (in a moment of desperation) Animal House. He has recorded with artists including John Denver, Burt Bacharach, Neil Sedaka, The Carpenters, and Ray Charles.

Kaufman joined the music department of Metro-GoldwynMayer Studios in 1984 as music coordinator, and for the next 18 years supervised music for MGM. He received two Emmy Award nominations, one for the animated series, The Pink Panther, in the category of Outstanding Music Direction and Composition, and another for Outstanding Original Song co-authored for the series, All Dogs Go to Heaven. For the MGM television series In the Heat of the Night, Kaufman composed songs with actor/producer Carroll O’Connor. He conducted the scores for films including Guarding Tess and Jungle to Jungle. As a unique part of his career in film, Kaufman has coached various actors in musical roles including Jack Nicholson, Dudley Moore, and Tom Hanks.

Amadeus Live Eugene Symphony Chorus Sharon J. Paul, director Sharon J. Paul is Professor of Choral Conducting, Director of Choral Activities, and Chair of Vocal and Choral Studies at the University of Oregon, where she teaches graduate courses in choral conducting, repertoire, and pedagogy, and conducts the Chamber Choir and University Singers. She earned her Doctor of Musical Arts in choral conducting from Stanford University, a Master of Fine Arts in conducting from UCLA, and a Bachelor of Arts in music from Pomona College.

The University of Oregon Chamber Choir, under her direction, has garnered international acclaim in recent years, winning First Prize at the 2013 Fleischmann International Trophy Competition at the Cork International Choral Festival in Cork, Ireland, and taking top honors in two categories at the 2011 Tallinn International Choral Festival in Tallinn, Estonia. In May, 2015, the Chamber Choir was one of 10 choirs worldwide invited to compete at the 14th International Chamber Choir Competition in Marktoberdorf, Germany, where they received second prize overall, won a special prize for the best interpretation of the compulsory work, and were the only student group to achieve a Level I recognition for an “excellent performance at the international level.” Following the competition, they were honored to serve as the rehearsal choir for the International Masterclass for Choral Conductors

at the Bavarian Music Academy under the leadership of Volker Hempfling (Germany) and Jonathan Velasco (Phillipines). In 2014 the Chamber Choir became a resident ensemble at the Oregon Bach Festival, performing each summer under the direction of Helmuth Rilling and Matthew Halls.

Paul served as Artistic Director of the San Francisco Girls Chorus (SFGC) and conductor of Chorissima and Virtuose, the organization’s acclaimed performance ensembles, from 1992 to July 2000. Under her leadership, the chorus released four compact discs, premiered major works by composers such as Chen Yi and Jake Heggie, and represented the United States at four international festivals. In June 2000 the SFGC was the first youth chorus to win the Margaret Hillis Achievement Award for Choral Excellence, a national honor presented by Chorus America. In the same year they were also awarded an ASCAP Award for Adventurous Programming.

Paul has prepared singers for performances under worldclass conductors such as Helmuth Rilling, Matthew Halls, Michael Tilson Thomas, and Herbert Blomstedt. She has presented interest sessions at regional, state, division, national, and international music conferences and appears frequently as adjudicator, clinician, and honor choir director throughout the United States, with recent engagements in Nevada, California, Pennsylvania, Texas, Georgia, and Washington. In the fall of 2014 she received the University of Oregon’s Fund for Faculty Excellence Award, and in 2015 she was named the Robert M. Trotter Chair of Music, one of only three endowed chairs at the University of Oregon’s School of Music and Dance.

Eugene Symphony Chorus Soprano Amy Adams Kathy Barnes Sarah Derhalli Jill Gillett Katie Reuter Jessica Rossi Mercedes Rathswohl Harriet Smith Sandra Weingarten

DECEMBER 2016 – JANUARY 2017

Alto Judy Alison Jean Cottel Michele Green Lisa Johnson Paula Litchfield Barbara Myrick Helen Rawlins Irene Sogge Holly Spencer

Tenor Donovan Cassell Brian Hughes Jack Jordan Evan Miles Daniel Phillips Richard Spence Tim Williams

Bass David Bersch John Bredeson John Henzie Jay Kenton Brad Litchfield Roger Ludeman Matthew McConnell Matt Reeves Greg Williams

33

34

EUGENE SYMPHONY

More people.

More passions.

More life.

Discover all the benefits of living at Eugene’s only Continuing Care Retirement Community, where you’re surrounded by friends and you have the freedom to pursue your passions without the hassle of home maintenance.

Attend our monthly Strategies for Successful Aging seminars to learn more about the benefits of CCRC life.

65 West 30th Avenue, Eugene, OR

Call for dates: 541-434-5411 retirement.org/cascade

Cascade Manor is a Pacific Retirement Services Community

35

36

37

38

DECEMBER 2016 – JANUARY 2017

39

In the Key of E[ducation] Symphony Connect Bridges Barriers and Uplifts Participants

by Lindsey McCarthy, Marketing Director

Each 45-minute program includes a variety of music from Haydn and Strauss to Gershwin, Ellington, and Dale Bradley’s One year ago, the Eugene Symphony set out to create a original composition, Generations. The musicians talk with the program that would help bring music to the community—to participants about what the music means to them and how it people who perhaps need it most—instead of asking them to come makes them feel. At the end, participants complete a survey, which to us. Symphony Connect is the result. It’s our new chamber music includes the question: “How is your mood after the performance initiative that seeks to reduce barriers and increase access to the compared to before?”

On a scale of –5 to +5 from “Got worse” to power of music to heal, enrich, and create community connection.

“Got better, ” the majority of responses are at 4 and 5.

With generous grant funding from Oregon Community “I have to tell you that I’ve been Foundation, Oregon Cultural bragging about this program to Trust, and the James F. & Marion anyone I can, ” says Carrie Copeland, L. Miller Foundation, we have Program Director of Cornerstone been able to partner with a Community Housing, after the licensed music therapist to coach October event.

“It is just SO cool! a quartet of Eugene Symphony Last night we told some of the folks musicians—Lisa McWhorter at West Town about the November (violin), Stephen Chong (violin), concert, and they were super Lauren Elledge (viola), and excited. One man said that he had Dale Bradley (cello)—on how to recently moved to Eugene just to create meaningful connections access the arts more—especially the with listeners from a variety of Symphony—but that it was a rare socioeconomic backgrounds opportunity to go because of the cost. and capabilities. Since this fall, This program is making a difference the quartet has visited four local for our clients!” human service agencies, including The long-term vision for Cornerstone Community Housing, Symphony Connect is to continue these Alona Place, Looking Glass’ programs with local human service Symphony Conncect participants were asked to list three words Riverfront School, and Laurel Hill agencies and also to expand into a that described their experience. Here are the results, with “happy” Center. The outcome has been variety of venues beyond the concert and “relaxing” most common. overwhelmingly positive. hall, such as bars and restaurants, “Symphony Connect serves as an community hubs, hospitals, and other locations in Eugene, opportunity to increase inclusion and bridge community members Springfield, and throughout the southern Willamette Valley. to high quality music regardless of socioeconomic factors,” says If you are interested in learning more about Symphony Music Therapist Danielle Oar, MT-BC. “The performances are Connect or supporting it, please contact Katy Vizdal, Education interactive and designed to encourage participants to challenge & Community Engagement Director at 541-687-9487 x116 or their current perceptions of symphonic music.” katy.vizdal@eugenesymphony.org.

Lisa McWhorter

40

Stephen Chong

Lauren Elledge

Dale Bradley

EUGENE SYMPHONY

Symphony Connect participants receive this handout describing the health benefits of music and other tips and resources.

“I have to tell you that I’ve been bragging about this program to anyone I can...

It is making a difference for our clients!”

— Carrie Copeland, Program Director, Cornerstone Community Housing

The Symphony Connect quartet playing at Cornerstone Community Housing.

DECEMBER 2016 – JANUARY 2017

41

Make a Difference!

Volunteer with the Eugene Symphony Guild

(Front, center) Carolyn Abbott, President (middle, left to right) Jan Sanetel, Treasurer; Susan Ashton, VP of Promotion; Darian Fadeley, VP of Fundraising (back) Betsy Patton, Secretary; Susan Greenwald, Past President. (Not pictured) Francee Hillyer, VP of Education and Social.

Do you want to do something that is satisfying and of great service to our community? Become a Eugene Symphony Guild volunteer!

Membership is a great way to help further the Guild’s mission of supporting the Eugene Symphony and its educational outreach programs. Volunteers help with fundraising events, assist office staff in the Eugene Symphony office, usher at Youth Concerts, and more. Join one of the Guild’s many interest groups, or start your own!

Guild Fundraising Projects June 11, 2017 Music in the Garden April–October 2017 Musical Chairs Parties Membership Information: Nancy Holloman | 541-228-1805 | nmholloman@gmail.com

“In the process of raising funds for the Eugene Symphony, helping out in the symphony office, ushering at the Children’s Concerts, and other activities, new friendships are made and new pictures are stored in our memory banks.”

— Edna DeHaven, Long time member “To be part of an organization and friends of women who give freely of their time and talents of fundraising for the Eugene Symphony is an honor and privilege.”

—Bonnie Fromhold “It’s an honor to use my time and energy to both promote our extraordinary Symphony, and the development of music appreciation for the youth of our community”.

—Darian Fadeley “I feel so fortunate to have become associated with the beautiful people of the Guild for the Eugene Symphony who work to bring fine culture to our community.”

— Ching Lee, New member

Visit us at www.eugenesymphonyguild.org | Follow us on Facebook 42

EUGENE SYMPHONY

Barber Piano Concerto Eugene Symphony Ryan McAdams, conductor | Andrew von Oeyen, piano Thursday, January 26, 2017 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, January 26, 2017 7 PM | The Studio, Hult Center Wolfgang Amadeus Mozart (1756–1791)

Overture to Don Giovanni, K.527

Samuel Barber Piano Concerto, Op. 38 (1910–1981) I. Allegro appassionato II. Canzone III. Allegro molto

Andrew von Oeyen, piano I N T E R M I S S I O N

Johannes Brahms Symphony No. 1 in C minor, Op. 68 (1833–1897) I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Più andante; Allegro non troppo, ma con brio

Following the performance, please come to the front of the stage for a question-and-answer session with Music Director Finalist Ryan McAdams, facilitated by Executive Director Scott Freck.

Concert Sponsor

Additional Support

The Eugene Symphony Association is grateful to the members of the Conductor’s Cabinet for their support of the Music Director Search. These generous donors are denoted with an asterisk in their listings found on page 58.

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, February 14 at 10 a.m.

Broadcasts underwritten in part by Kernutt Stokes.

DECEMBER 2016 – JANUARY 2017

43

Barber Piano Concerto

WOLFGANG AMADEUS MOZART (1756–1791) Overture to Don Giovanni, K. 527 [1787] Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. First performed by the Eugene Symphony in April 1968 under the direction of Bernard Gilmore, and last performed in October 2010 at a Youth Concert, under the direction of Danail Rachev. Performance time is approximately seven minutes.

Mozart’s 1786 opera, The Marriage of Figaro, had an opening run of nine performances in Vienna, a modest success. It fared better that winter in Prague, where the Italian singer and impresario Pasquale Bondini launched a wildly popular production. Bondini promptly commissioned Mozart to create a new opera for his troupe, and they enlisted Figaro librettist Lorenzo da Ponte. Their subject was the Spanish legend of the womanizer Don Juan, or Don Giovanni in Italian; written versions of the tale existed as early as 1630, but the most recent model was a one-act opera that had debuted in Venice early in 1787. Mozart received Da Ponte’s libretto that summer and he began composing the opera in Vienna, finishing it in Prague the day before an alreadypostponed premiere.

Da Ponte called Don Giovanni a “dramma giocoso” and Mozart cataloged it as an “opera buffa,” terms that emphasized the comedic aspects of the work. Don Giovanni is certainly funny with its deceits, jealousies, mistaken identities and bungled romances, and yet Da Ponte’s libretto and Mozart’s music both push the opera toward uncommonly deep pathos and tension. The overture begins with a slow introduction in D minor, establishing musical gestures and dramatic currents that foreshadow the opera’s searing climax. The rest of the overture momentarily dispels that tragic strain with robust and restless new themes.

SAMUEL BARBER (1910–1981) Piano Concerto, Op. 38 [1962]

January 26, 2017 Program Notes

by Aaron Grad ©2017

44

In addition to the solo piano, this work is scored for three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, timpani,

EUGENE SYMPHONY

percussion, harp, and strings. First performed by the Eugene Symphony in May 1994 under the direction of Marin Alsop, with Dean Kramer as soloist.

Performance time is approximately 26 minutes.

Samuel Barber enrolled in the founding class at Philadelphia’s Curtis Institute of Music at the age of 14. He was well on his way to a distinguished career when he won the American Academy’s prestigious Rome Prize, and he used part of his Italian residency from 1935 to 1937 to compose a life-changing String Quartet. After he created an alternate version of the quartet’s Adagio movement for string orchestra, Arturo Toscanini and the NBC Symphony Orchestra featured it on a national broadcast. That Adagio for Strings made the 28-year-old Barber an instant favorite of the American public.

It is a sign of Barber’s central place in American music that, during the lead-up to the opening of the new Lincoln Center for the Performing Arts in New York, he received three different commissions tied to that landmark institution.

It is a sign of Barber’s central place in American music that, during the lead-up to the opening of the new Lincoln Center for the Performing Arts in New York, he received three different commissions tied to that landmark institution. One was the Piano Concerto initiated by his publisher in 1959 and introduced in 1962 during the festivities to launch Philharmonic Hall (later Avery Fisher Hall and now David Geffen Hall). The night after Leonard Bernstein’s New York Philharmonic opened the auditorium, the Boston Symphony and conductor Erich Leinsdorf visited with the young pianist John Browning to introduce Barber’s latest opus. Barber had completed the first two movements in 1960, but personal and professional interruptions stalled his work the finale, so Browning had only a matter of weeks to prepare for this high-profile premiere. The concerto was very well received nonetheless, and in 1963 it earned Barber his second Pulitzer Prize.

The Piano Concerto exposes other facets of Barber beyond the long-lined, understated DECEMBER 2016 – JANUARY 2017

KEEP AN EAR OUT FOR... ...a sublimely melancholy melody initiated by Principal Flute Kristen Halay in the slow Canzone movement of Barber’s Piano Concerto, which is then taken up by piano soloist Andrew von Oeyen.

KEEP AN EYE ON... ...Principal Timpani Ian Kerr as he pounds out a relentless pulse in the opening moments of Brahms’ Symphony No. 1.

lyricism for which he is best known. A muscular piano cadenza opens the first movement, and the orchestra proves to be an agile foil in the rhythmic sparring that ensues. Gentler interludes and memorable woodwind solos arise for contrast, hinting at the intimate aspect of Barber that comes to the fore in the second movement Canzone, based on an earlier Elegy for flute. The dichotomy between hard and soft continues in the finale, but it is the extroverted, energetic side that gets the first and last word.

JOHANNES BRAHMS (1833–1897) Symphony No. 1 in C Minor, Op. 68 [1855–1876] Scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

First performed by the Eugene Symphony in October 1978 under the direction of Morrette Rider, and last performed in December 2009 under the direction of Danail Rachev. Performance time is approximately 45 minutes.

“I shall never write a symphony,” Brahms claimed in 1872, after years of false starts in that genre. “You can’t have any idea what it’s like always to hear such a giant marching behind you!” The giant in question was Beethoven, and his legacy haunted Brahms, especially in the tradition-bound realm of symphonies and string quartets. Brahms was 40 by the time he released a quartet publicly; in the same (Continued on page 46)

45

Barber Piano Concerto Program Notes (Continued from page 47) year, he finally completed his first major work for orchestra alone, the unconventional Variations on a Theme of Joseph Haydn (Opus 56a). Having gained his confidence, Brahms returned to symphonic sketches that had languished since 1862. He labored over the First Symphony from 1874 to 1876, continuing to make changes even once rehearsals started for the November 4 debut in Karlsruhe.

saturated melody climbing over the throbbing pulse of the timpani until arriving on a tense dominant chord. Central elements of the introduction, including the triplet pulse and the pungent descending intervals, carry over into the Allegro body of the movement. The unmistakable interval of a falling major third—the same drop as in the first notes of Beethoven’s Fifth Symphony—appears

The finale uses a chorale theme that resembles the famous “Ode to Joy” of Beethoven’s Ninth. These correspondences were not accidental, no sly; in response to a friend who noted the similarities, Brahms quipped, “Any ass can see that.”

Oregon Humanities Center

Brahms’ Symphony No. 1 owes much to Beethoven. Its key structure, moving from C minor to C Major, tracks the same course as the Beethoven’s Fifth Symphony. The finale uses a chorale theme that resembles the famous “Ode to Joy” of Beethoven’s Ninth. These correspondences were not accidental, nor sly; in response to a friend who noted the similarities, Brahms quipped, “Any ass can see that!”

The First Symphony begins with a slow introduction. It enters at full intensity, with a

46

in particularly charged moments, carrying with it all the associations of that earlier work.

The middle movements of the symphony visit two foreign and untroubled worlds. The slow movement moves to the bright key of E Major; the third movement, meanwhile, is less cheeky than a true scherzo, starting with a breezy clarinet melody.

The finale begins with a slow introduction in the minor key, until the transformation to major-key redemption arrives with a majestic horn theme, based on a melody Brahms heard played by an alphorn in Switzerland.

2016–17 O’Fallon Memorial Lecture in Art and American Culture

Visualizing the Black Body

2016–17 Tzedek Lecture in the Humanities

Violinist Vijay Gupta in a Lecture

in Photography and Popular Culture

Deborah Willis, historian of African American photography and curator of African American culture

Thursday, January 12, 2017 7:30 p.m. • 182 Lillis Hall 955 E. 13th Ave., UO campus • FREE

ohc.uoregon.edu • (541) 346-3934

“Musical Medicine”

Vijay Gupta, LA Philharmonic violinist, and founder of Street Symphony—engaging distinguished musicians in performance and dialogue with marginalized communities

Thursday, February 9, 2017 7:30 p.m. • 156 Straub Hall 1451 Onyx St., UO campus • FREE

EO/AA/ADA institution committed to cultural diversity

EUGENE SYMPHONY

Barber Piano Concerto Music Director Finalist Ryan McAdams Disintegration Loops with the Wordless Music Orchestra at the Temple of Dendur in the Metropolitan Museum for the 10th Anniversary of September 11—a concert broadcast worldwide on National Public Radio. He also appeared with the Wordless Music Orchestra for a live screening of Beasts of the Southern Wild at the Prospect Park Bandshell and at the Barbican in London, and will conduct the New York premiere McAdams was the conductor for Elliott Carter’s 103rd of the score to There Will Be Blood live to the film in Birthday Celebration at the 92nd Street Y in New York September, 2014, with composer Jonny Greenwood playing Ondes Martenont. with Fred Sherry and Nicholas Phan—a concert that was He has premiered more than 30 works for the named one of the Best Classical Musical Events of 2011 Juilliard Composers Concert series and the New York

by Anthony Tommasini in the New York Times.

City Ballet, and served as Assistant Conductor for the In February 2010, he made a highly successful subscription American premiere and recording of John Adams’ Doctor Atomic European debut with the orchestra of the Maggio Musicale in Symphony with the Saint Louis Symphony.

Florence, where he has returned three times in the past three years. He made his Eastern European debut with the Academy of St. Martin in the Fields, Julian Rachlin, and Mischa Maisky in Dubrovnik in September 2010. His subscription debut with the Israel Philharmonic, replacing an indisposed Rafael Frühbeck de Burgos, was hailed as “extraordinary,” “masterful,” and “immense[ly] dramatic” by the Jerusalem Post; a live recording of the concert was released by the IPO on the Helicon Classics label. He has returned to the Israel Philharmonic twice since, most recently in a run of performances featuring concerti with cellist Alisa Weilerstein and Orff ’s Carmina Burana. A Fulbright scholar, he previously served as Apprentice Conductor of the Royal Stockholm Philharmonic, assisting then-Chief Conductor Alan Gilbert. McAdams is the first-ever recipient of the Sir Georg Solti Emerging Conductor Award.

His appearances in 2015/16 include a concert performance of Bizet’s Les pêcheurs de perles with the Orchestra Sinfonica Nazionale della RAI, Rossini’s Il barbiere di Siviglia with Opera Theatre of St. Louis, multiple international performances with the Wordless Music Orchestra, a concert performance of Carmen with Teatro Regio Torino in the Piazza San Carlo for an audience of 25,000, subscription concerts with Santa Fe Symphony, Don Giovanni with New York’s Venture Opera, a collaboration with Lincoln Center Jazz and the Phoenix Symphony, a contemporary music project with Philadelphia’s Orchestra 2001, and more.

A contemporary music advocate, McAdams was the conductor for Elliott Carter’s 103rd Birthday Celebration at the 92nd Street Y in New York with Fred Sherry and Nicholas Phan—a concert that was named one of the Best Classical Music Events of 2011 by Anthony Tommasini in the New York Times. Recent contemporary music projects include premiering Jonathan Dawe’s new opera Cracked Orlando with Anthony Roth Costanzo at the Italian Academy at Columbia University, and leading the world premiere of William Basinski’s The Ryan McAdams, a resident of Brooklyn, New York, received his Master’s of Music in Orchestral Conducting from the Juilliard School in 2006, and a Bachelor’s of Music in Piano Performance from Indiana University in 2004, where he studied with Karen Shaw. He is quickly establishing himself as a prized symphonic, operatic, and contemporary music conductor.

DECEMBER 2016 – JANUARY 2017

Barber Piano Concerto Guest Artist Andrew von Oeyen Hailed worldwide for his elegant and insightful interpretations, balanced artistry and brilliant technique, Andrew von Oeyen has established himself as one of the most captivating pianists of his generation. Since his debut at age 16 with the Los Angeles Philharmonic and Esa-Pekka Salonen, von Oeyen has excelled in a broad spectrum of concerto repertoire—Bartók, Barber, Beethoven, Brahms, Chopin, Fauré, Ligeti, Liszt, Gershwin, Grieg, Mendelssohn, Mozart, Prokofiev, Rachmaninoff, Ravel, Schumann, Shostakovich, Tchaikovsky— with such ensembles as the Philadelphia Orchestra, Los Angeles

As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel, and Kurt Weill.

Philharmonic, San Francisco Symphony, National Symphony, Detroit Symphony, Saint Louis Symphony, Seattle Symphony, Atlanta Symphony, Cincinnati Symphony, Berlin Symphony Orchestra, New Japan Philharmonic, Singapore Symphony, Grant Park Orchestra, Ravinia Festival Orchestra, Vancouver Symphony, Utah Symphony, Orchestre Symphonique de Marseille, Geneva Chamber Orchestra, Spoleto Festival USA Orchestra, Slovenian Philharmonic and Slovak Philharmonic.

As both soloist and conductor he has led concerti and orchestral works by Haydn, Mozart, Beethoven, Ravel and Kurt Weill. On July 4, 2009, von Oeyen performed at the U.S. Capitol with the National Symphony in “A Capitol Fourth,” reaching millions worldwide in the multi-award winning PBS live telecast.

Von Oeyen has appeared in recital at Wigmore Hall and Barbican Hall in London, Lincoln Center in New York, the Kennedy Center in Washington, D.C., Boston’s Symphony Hall, Zürich’s Tonhalle, Tchaikovsky Hall in Moscow, Bolshoi Zal in St. Petersburg, Dublin’s National Concert Hall, Royce Hall in Los Angeles, Herbst Theater in San Francisco, Sala São Paulo, Teatro Olimpico in Rome, in Bucharest, Hanoi, Macau, and in every major concert hall of Japan and South Korea.

Von Oeyen’s 2016/17 engagements include, among others, a European and North American tour with the Prague Philharmonia (including performances as both soloist and conductor), appearances with the Vancouver Symphony, Jerusalem Symphony, Rochester Philharmonic, Calgary Philharmonic, Chicago’s Grant Park Music Festival Orchestra and the orchestras of Grand Rapids, Oklahoma City, Wichita and Boise. He will also appear in recital in San Francisco and throughout Europe. In 2018 he will make his debut with the Orchestre Philharmonique de Radio France and the Orchestra Filarmonica della Fenice in Venice.

48

In June 2016 von Oeyen signed an exclusive recording contract with Warner Classics. His debut album under the label will be released in January 2017 and will include works for piano and orchestra by Saint-Saëns, Ravel, and Gershwin. In 2013 von Oeyen released a critically acclaimed album of Debussy and Stravinsky piano works under the Delos Label (including two pieces written for him by composer, David Newman), following his 2011 award-winning album of Liszt works under the same label. 2013 also saw the release of the Chopin-Debussy-Ravel digital album Andrew von Oeyen: Live in Recital.

Beyond the Podium

Ryan McAdams (right) and his wife, Laura, enjoy adventuring in the outdoors in their spare time.

Interview with Ryan McAdams

Eugene Symphony’s Executive Director Scott Freck spoke by phone with Ryan McAdams, the second of three Music Director Finalists to visit Eugene. In addition to leading the orchestra in a Symphonic series concert on Thursday, January 26, 2017, McAdams will participate in interviews, meetings, public events, and private receptions.

Scott Freck: When were you first introduced to music? Do you remember the early days when you discovered what music was all about?

Ryan McAdams: I first discovered music in Saint Louis, Missouri, where I was born and grew up, and which in the early ’80s was actually a vibrant and rich community for strange, unusually artistic-minded young people. I spent most of my early childhood in theaters because my mother was an opera singer and my father was a theater director. I was so saturated with it that I didn’t know that other people did other things besides some form of artistic storytelling. My mother took on a voice student who couldn’t afford to pay her in cash, but the student worked at the Saint Louis Symphony box office and she paid my mother in rehearsal passes and concert tickets. Every week, not only was I living most of my afternoons at an opera house, but my mother and I would go to rehearsals at the symphony and I saw what large-form music making could be.

SF: Do you remember when you decided that you wanted to pursue conducting? And then talk us through your education of how you learned to do this amazing thing?

RM: I think it was probably somewhere along the time when my mother bought me, along with every other young American conductor, the VHS tapes of Leonard Bernstein’s Young People’s Concerts. I saw this magnetic force use music to not just educate, but use the orchestra as a tool to reflect a community back to itself. After high school, I ended up becoming basically the accompanist for my mother’s voice studio. We organized small performances of Mozart and Verdi operas, and by the time I got to school I had played a lot of that material. There was no undergraduate conducting degree available in America except at Oberlin [Conservatory in Ohio]. I thought, “Well, if I can’t study DECEMBER 2016 – JANUARY 2017

conducting, at least I can go to a place where the most musicians are.” So I went to Indiana University, which is the largest music school in the country. The place is just teeming with music of all kinds, and [although] I got a piano degree, [on] my first day of piano study I said [to my teacher], “Look, I really want to be a conductor [so] if it takes me a little longer to put together my Chopin Ballades or Beethoven Sonatas, please have patience with me, I’m trying to pursue this other thing.” She definitely raised an eyebrow at me, and then she came to a concert that I organized and the next day said, “OK, absolutely, how can I help?” I spent four years at IU, the last two of which I was sort of a de facto Master’s student in conducting.

Then I went right from there to a year abroad in Vienna studying with some members of the Vienna Philharmonic studying mostly Lieder [German and Austrian classical song]. I came back and I applied to a whole bunch of graduate programs, and the first one I got into was Juilliard—they had a new teacher at the time, the Oregonian myth that [was] James DePreist [who was Oregon Symphony’s Music Director from 1980–2003]. He was coming into the program, and I was the first student he selected. I remember the first day of class he sat me down and said, “I’ve never taught conducting before.” And I said, “Great!

I’ve never really studied conducting before!” So every week he would come to me and say, “What do you want to do next week?”

And I would say, “Well, I want to do Don Giovanni or I want to do [Schoenberg’s] Verklärte Nacht,” and he would say, “Sounds great.” And then either he would run the class himself or he would bring in other experts and teachers to give us the best education we could.

(Continued on page 50)

49

(Continued from page 49) After that I got a Fulbright grant to go to Stockholm and be the Apprentice Conductor for Alan Gilbert, who at the time was the Music Director of the Royal Stockholm Philharmonic, and now is the outgoing Music Director of the New York Philharmonic.

I’m not sure there is another conductor who has such a profound understanding of the psychology of orchestra players. Both of his parents were in the New York Philharmonic, [so] he grew up in the orchestra. He really understands that the role of being a conductor is sort of 50 percent music-making and 50 percent politician, and sometimes that line gets very murky.

He was so generous in always letting me stay in the room when he had to make very difficult decisions about personnel, about programming, about community engagement.

with the community as possible. When there is this saturation of artistry already in the community, the orchestra can be an amazing vehicle for taking that in and using it and creating something so much larger than the sum of its parts. In a place that has this much enthusiasm and interest from the community, we can explode a lot of borders and genres. And I’m so interested in just throwing ideas out into the community and seeing what kind of support and collaboration and imagination come back at me.

SF: Let’s talk about your program, so walk us through what we’re going to hear on January 26, piece by piece.

RM: One of the great things about this program and about the search in general, is that all three of the candidates all have the same challenge. We all have a Mozart overture, we all have a 20th-century concerto, and then we have a second half or a series of pieces that we’ve chosen. I was delighted to be given Conducting not only uses music to educate, the Don Giovanni overture. It’s an opera that I have done but also uses the orchestra as a tool to reflect before, it’s an overture that I love, I think that it’s one of the most dramatic and effective and joyous pieces Mozart ever the community back on itself. created. That’s going to be followed by the Barber Piano Concerto, a piece that he actually won the Pulitzer Prize for, SF: What made you interested in the Eugene Symphony and this but it’s rarely played these days, despite the fact that it achieved Music Director position? almost universal fame when it was premiered in the 1960s.

RM: The first thing is the exceptional good taste of your last few And that is followed by Brahms’ First Symphony on the second Music Directors. They are all conductors that I admire deeply, half. I decided that I wanted to program a work that the orchestra who have gone on to make a deep community impact with loved, that the orchestra knew, because more than anything else, I their vision for what an orchestra and a conductor can be in a want to know who they are as players, and as artists. I want them society. And to me that suggests that Eugene is a place where to feel like they can show me who they are at their best and that conductors can come and really hone their personality, their way will force me to bring my best as well. I don’t really think there of communicating, and engaging. That is the ideal place for a is a composer that makes musicians feel a deeper gratitude for young conductor to experiment. Obviously, the other thing is the being musicians than Brahms. reputation of the orchestra, its music-making, its commitment to innovative programming, and especially its commitment to I wanted to make sure that all three pieces created a sort of community outreach and engagement. unified whole…that there were musical and extra-musical relationships between these pieces, and for me the main SF: If selected to be our next Music Director, what do you hope connection between the Mozart and the Brahms is the idea of to bring to your work here at the Eugene Symphony? What restoration. I think so many pieces of music are about triumph, would you like to add to our story? they are about victory over some sort of adversary, but both RM: I think that there are two sides to that question. On the one the Mozart and the Brahms are about a very specific kind of hand, we would want to continue to strengthen and expand the resolution. The idea is that in a piece of Restoration theater there role of the orchestra, the quality of the orchestra, both in the is this world that is working perfectly well, like a household, or repertoire that they play and the quality of the playing, and in a marriage, and then one thing happens and everything goes the world-class soloists and collaborative artists that come into terribly wrong. It gets fragmented and interrupted, and then over Eugene to create new projects. The other side is that because the the course of a day, it all has to be put right before it can evolve. It community is so rich with people who love arts and education, has to be put back the way that it was. And Giovanni is certainly a I would want to create as many opportunities to engage directly Restoration comedy.

50

EUGENE SYMPHONY

It’s all about this very Classical sense of balance that has to be put right. And this applies so directly to the Brahms symphony. Like the Overture, they both start with this enormous wall of sound that seems to just come out from nowhere like it’s always been happening and we just walked into the wrong room. With the Mozart it starts with this pounding, relentless D-minor chord and in the Brahms it’s C minor, it’s actually just this one low C that is pounded continuously and relentlessly in the timpani and the basses and the contrabassoon, but over that note the strings are yearning slowly upwards like sherpas going up a mountain, just ascending to nowhere. And against that the winds are pushing down sort of at the same rate. It’s like two steam engines that are on a track facing each other both going at full speed, but not moving because they’re facing each other. So we get these three different lines of movement—upwards, downwards, and the relentless, implacable straight across. And it’s like gears that are all going in all different directions. It’s a portrait of a world that is totally locked in place and unable to find any kind of resolution or progress. It’s also a pretty fantastic depiction of writer’s block by the way, considering Brahms took at least 14 years to write this work, it’s astonishing that what he produced was the masterpiece that it is.

SF: Astonishing.

RM: The Barber is very interesting because like Brahms and Mozart, he was looking in two directions at the same time.

Brahms was sort of in some ways being required to wear his dad’s suit, a suit that was too big for him, and make these huge pronounced Romantic statements, but he was really a Classicist at heart. Mozart knew his Bach better than anybody and yet with a harmony or a gesture pushes us forward 50 years. Now here’s Barber in 1962 being completely surrounded by what we consider the most modern of modern music, and yet Barber was at heart a song composer, a melodist. He was holding onto Romanticism with both hands and at the same time allowing the visceral and percussive and electric qualities of modern music to inform the outer movements. The middle movement, which he called Canzone, which just means “song” in Italian, it’s almost Bachlike in its simplicity and its effecting quality. And so it’s a huge showpiece for the pianist and the orchestra, and it’s a huge story that we get to tell. All three pieces are enormous stories that all share some very common DNA. Each one will be a great challenge and a great joy for the orchestra and for me to build together.

SF: Outside of music, what do you enjoy doing with your spare time, if you have any?

DECEMBER 2016 – JANUARY 2017

(Above, from left) McAdams conducts Orchestra Sinfonica Nazionale della Rai during the Festival Les Nuits Romantiques held in September; a 2015 performance with Orchestra Sinfonica Nazionale della Rai; backstage with pianist Yevgeny Sudbin after conducting the Vancouver Symphony Orchestra in 2015; and at the 2013 performance of Ives’ Unanswered Question with the Maggio Musicale Fiorentino in Italy.

RM: I try to find it. As I said before, I’m a storytelling obsessive, so theater is definitely my greatest passion. Every year my father and I go up to the Stratford Theater Festival in Ontario, Canada and we spend eight days straight seeing two plays a day. I also love dance a great deal—I’m a disastrous dancer, but my wife Laura happens to be an extraordinary dancer and she has opened up a whole world of choreography. I love baking cookies. I like following recipes to the letter. My wife is the cook, she loves to improvise in the kitchen. But the other thing I love, my wife and I take one vacation every year. It’s usually a place that involves us physically, it’s a hike or a long trek of some kind, where we can be physical beings, because so much of what we do in our artistic lives is with our bodies, but it’s so separate from each other. So when we get to go on vacation, we’re racing through jungles, or we’re hiking mountains, or something. And then we come home to our little sleepy town in upstate New York and learn how to restore old pieces of furniture. It’s a great life.

SF: We’ll see you in January, Ryan! Thanks so much.

51

Eugene, Or

Award Winning Arborists

541-461-1737

52

Established 1977. Locally Owned.

Service, selection, style and so much more!

See what you’ve been missing! rainbowoptics.net Campus westside sheldon 762 E. 13th ave * 2540 W. 18th Ave * 2540 Willakenzie Rd 541-343-3333 541-343-5555 541-484-9999

EUGENE SYMPHONY

Donor SPOTLIGHT Introducing Our Newest Board Members

Trieber Meador

Meg Mitchell

Joanna Radke

This season, the Eugene Symphony Board of Directors is thrilled to welcome three new Board members—Trieber Meador, Meg Mitchell, and Joanna Radke—to its now 28-member board.

Get to know them through the interviews below.

MM: The arts can light up the creativity all of us innately have.

I can often be moved by its metaphor into possibilities. Just one small example, quite often while I listen to music, a potential solution arises to a dilemma that’s been nagging at me. I love that.

Tells us a little about your background and your history with music.

JR: Lane County is such a unique community with a growing music scene. Classical music is the foundation. If we don’t participate and promote things we enjoy, they will go away.

Trieber Meador: While I have always had a love for music in general, my eyes were opened to classical and symphonic music years ago when I was working in the advertising field. I worked with the Eugene Opera, and it was there that I grew a true appreciation for fine arts in our community.

Meg Mitchell: I grew up in a family where half of us had musical talent and half of us were much better listeners. I fell into the latter group.

Joanna Radke: I love music, all aspects and all genres. I don’t play an instrument and was never really any good when I did— pretty sure playing flute in the fourth grade doesn’t count. We have speakers all over the house and there is always something playing. Still, nothing is better than a live performance, whether that is Eugene Symphony or Samba Ja! Why do you advocate and support arts, and music in particular, in our community?

TM: Music is such an integral part of people’s lives, whether it’s the symphony or something else; music adds a very unique richness.

I want to advocate for music in our schools, I want our youth to be able to experience the enjoyment of what music brings, and support continued growth of music appreciation. It’s exciting to think of what our future holds for the next generations.

DECEMBER 2016 – JANUARY 2017

What inspired you to first go to a Eugene Symphony performance, and to now become a member of the Board of Directors?

TM: My first real introduction to the Eugene Symphony was through sponsorship. As a business owner I wanted to do something more to support arts in the community. We were introduced to Branford Marsalis and were further educated in what the Eugene Symphony brings to the community. I appreciated the uniqueness of the collaborations; it was inspiring. Eugene Symphony’s commitment to enriching lives through the power of music is something I knew right away I wanted to be part of.

MM: Some good friends of mine invited me to join them, and found out how much I loved a live performance. I’d been listening to symphonic music for years and not really been aware of the magic in my own backyard. I became drawn to the strategic vision of the Eugene Symphony. I’m a sucker for the combination of fun, passionate people and an ambitious strategic plan.

JR: I once read that “attending a live symphonic concert is a feast for the senses.” This is very true—you can feel, see, and hear the intense concentration and emotional involvement coming from the stage. I learn new things each and every time I attend (Continued on page 54)

53

Donor SPOTLIGHT (Continued from page 53) a performance or interact with the symphony community. Most importantly, going to the symphony inspires creative thoughts and conversations that impact my personal and professional life; it’s a very rejuvenating activity. The Eugene Symphony is a community necessity. I wanted to help further its success, so joining the Board made sense. Everyone should have access to experience classical music.

What is your favorite kind of music to listen to on a Sunday afternoon?

MM: I can be found listening to a wide range of music like jazz, R&B, a good list of shake your booty dance tunes, Spanish guitar or some of my favorite adagios or cello pieces. Sometimes Spotify and I go browsing together.

JR: On a Sunday afternoon, you will typically find my husband and I relaxing at the house watching concerts on MTV’s Palladia.

54

Recently, we caught Glastonbury Festival 2015 with everything from Lionel Richie to the Chemical Brothers. It is truly amazing to see so many people come together for music.

What advice do you have for arts supporters and our future Music Director and Maestro?

TM: It’s important to keep our future generations inspired. It’s important that they’re able to appreciate all forms of art and music. To do this we have to keep it interesting, relevant, and reachable to a broad audience of all ages.

MM: Thank you, please keep doing your thang!

JR: If you love the arts, don’t be afraid to get involved and participate. These programs need your energy. To our future Music Director and Maestro, you are coming to a wonderful, vibrant community. You also shouldn’t be afraid to get involved and participate.

EUGENE SYMPHONY

On That Note

...with Sophie Therrell

On That Note introduces a member of the orchestra. This issue features violinist Sophie Therrell, who joined the orchestra in 2004.

Red, white, stout, hoppy or none of the above? Oh, boy! I like this question. Definitely NOT hoppy. Amber, sweet stouts, reds.

How long have you been playing music? I have been playing music for 38 years.

Favorite book/movie you’ve read/seen recently? I’m a complete nerd when it comes to books. I love your basic Brit Lit. Jane Austen, the Brontës, Dickens, Thomas Hardy. I’ve been reading some of the earliest novels—Cervantes’ Don Quixote, Bunyan’s Pilgrim’s Progress, and now I’m on to Gulliver’s Travels. Fun stuff!

Why did you decide to play the violin? My mother took me to my brother’s violin lessons when I was a baby, and so I started asking to have lessons when I was about four. My parents were able to provide me with the amazing opportunity to take lessons with a very enthusiastic and talented teacher who I still remember clear as day.

When you’re not playing your violin, what would we most likely find you doing? Teaching, hiking, running, reading, spending time with my two kids, Sydney and Arthur (seven and five), and my husband, Ryan.

What do you think some audience members might find surprising about you? I like to turn the music up loud and dance in the living room with my sweet wonderful kids!

Do you have any other exciting life endeavors you’d like to share? I would like to play the guitar better than I do, and write songs. I’ve tried this before, but it never really took off. If I could spend some time on it, I think I might enjoy it.

What are you most looking forward to playing in the 51st season and why? I am excited for every single concert. I really just enjoy making music with my friends and colleagues. And I am excited to experience the three finalists in the Music Director search.

Where is your favorite place on the planet and why? That’s a hard question! Probably Mt. Pisgah Arboretum. I have been volunteering there taking groups of kids on walks, teaching them about the flora and fauna of the area and every time I am there I feel in awe of its beauty, its diversity, and its magical calming effects.

Is there a musician or composer you wish you had known personally—and why? I love Mozart. I know its cliché, but Mozart gives me goosebumps. If I need consoling in any way, I turn to his piano sonatas; for long runs, the symphonies; to find joy, the overtures; and for quiet contemplation, the violin sonatas.

I’m not sure I need to meet him. I feel like I know him already.

DECEMBER 2016 – JANUARY 2017

55

Scenes from Offstage

(Top left) Music Director Danail Rachev asks the Ode to the Future composers to share their perspective on the project and the piece before the orchestra premieres it during the Symphonic series concert on November 17, 2016. They reveal they would like to reunite in five years and compose together again!

(Top right) Principal Flute Kristen Halay poses for a fun portrait at the Hult Center to be used in Eugene Symphony’s 52nd Season marketing materials. Stay tuned to see more!

(Bottom left) Ode to the Future participants Wesley Coleman, Marissa LaneMassee, and Joseph Miletta work with composer Robert Kyr on their piece based on the “Ode to Joy” theme from Beethoven’s 9th Symphony. Photo by Jack Liu.

For more photos, like the Eugene Symphony Association on Facebook: facebook.com/ EugeneSymphony and follow us on Instagram at eugene.symphony

(Bottom right) On September 19, for a small studio audience and KLCC listeners everywhere, cellist Joshua Roman performed sections from Schumann’s Cello Concerto, which he played with our orchestra in its entirety on Opening Night.

56

EUGENE SYMPHONY

DONORS

CONTRIBUTOR BENEFITS

MAKE THE DIFFERENCE

ASSOCIATE MEMBER: $60–124 Invitation to Association Annual Meeting

OUR PROGRAMS AND PERFORMANCES ARE NOT ONLY FOR YOU, THEY ARE POSSIBLE BECAUSE OF YOU.

Ticket sales cover less than 50% of the operating costs to support our musicians and performances. Whether you are able to give $10, $100, $1,000, or $10,000, every gift makes a difference and ensures our symphony can keep playing for you, your neighbor, and the next generation.

Your gift also supports Eugene Symphony’s community engagement and music education programs, extending our reach to allow more than 20,000 children and adults experience the joy of music.

MAKE A GIFT

TODAY!

Contact Sara Mason, Development Director 541-687-9487 x104 | sara.mason@eugenesymphony.org

Annual season brochure Notice of special events

SYMPHONY MEMBER: $125–249 All of the above, plus: Season program magazine recognition

SUSTAINING MEMBER: $250–499 All of the above, plus: Invitation to a dress rehearsal event

BENEFACTOR: $500–999 All of the above, plus:

Invitation to one post-concert reception Voucher redeemable for two regular Symphonic series concert tickets

CONDUCTOR’S CIRCLE: $1,000–2,499 All of the above, plus: Invitation to two dress rehearsals Access to Conductor’s Circle priority subscription seating Opportunity to sponsor a section musician for a season ($1,500 and above)

FOUNDERS SOCIETY: $2,500+ THE ENCORE SOCIETY Leave a Legacy The Encore Society recognizes loyal Symphony patrons who have chosen to include the Eugene Symphony and/or Eugene Symphony Endowment in their bequests or other charitable giving plans. Encore Society members receive special benefits and invitations. For more information, contact Sara Mason, Development Director.

DECEMBER 2016 – JANUARY 2017

All of the above, plus: Donors receive exclusive benefits, such as an invitation to a reception with Maestro Rachev and special recitals by Symphony musicians, and access to Founders Club receptions at all performances.

57

F ou n d e rs S ociety of the Eugene Symphony

The Eugene Symphony Founders Society is a group of donors who have made an extraordinary and profound commitment to the Symphony with an annual contribution of $2,500 or more. We are proud to acknowledge our Founders Society members whose gifts have strengthened our onstage, community engagement, and music education programs.

For more information on the Founders Society, its benefits, and how to join, please contact Development Director Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x104, or visit our website at eugenesymphony.org. *Denotes a gift to the Conductor’s Cabinet Campaign

PLATINUM PATRONS | $25,000 + Anonymous Nathan & Marilyn Cammack Mira Frohnmayer & The Estate of Marcia Baldwin

Eugene Symphony Guild Niles & Mary Ann Hanson* Marie Jones & Suzanne Penegor

Betty L. Soreng Fund of The Oregon Community Foundation*

GOLD PATRONS | $10,000 – $24,999 Lauren & Keyhan Aryah Dennis & Janet Beetham Natalie & Zack Blalack Caroline Boekelheide* Elaine Twigg Cornett & Zane J Cornett

The Haugland Family Foundation Dave & Sherrie Kammerer* David & Paula Pottinger* James & Jane Ratzlaff

Dr. Matthew Shapiro & Maylian Pak* Ray & Cathie Staton* Barbara & James Walker* Terry West & Jack Viscardi*

SILVER PATRONS | $5,000 – $9,999 Anonymous Phoebe Atwood Warren & Kathy Barnes Robert & Friedl Bell Jack & Dondeana Brinkman* Marci Daneman G. Burnette Dillon & Louise Di Tullio Dillon Ray & Libby Englander Pamela Graves

Peter Gregg* Galina Groza* George & Kay Hanson* Ms. Chris K. Johnson Marilyn Kays Diana G. Learner & Carolyn Simms* Matthew McLaughlin* Herb Merker & Marcy Hammock* Meg Mitchell

Donald Gudehus & Gloria Page Otto & Joanna Radke* Paul Roth* Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Chris Walton & Elizabeth Sheehan Dunny & Debbie Sorensen Leonard & Inge Tarantola* Charles Zachem

BRONZE PATRONS | $2,500 – $4,999 Anonymous* (4) Joseph & Margaret Adelsberger Marin Alsop Laura Avery* Kent Barkhurst Joanne Berry Ruby Brockett Susan Butler Anne & Terry Carter* Elizabeth Chambers William & Karla Chambers Jeff & Julie Collins Jana & Mark Cox Carol Crumlish Edna P. DeHaven Virginia Fifield* Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett Mike Fox & Rebekah Lambert*

58

Bill & Judy Freck Scott & Leslie Anderson Freck Lynn Frohnmayer Dennis & Nancy Garboden Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of The Oregon Community Foundation Giancarlo Guerrero Elizabeth & Roger Hall Miguel Harth-Bedoya & Maritza Caceres de Harth-Bedoya Lin & Don Hirst Starly Hodges John & Robin Jaqua Fund of The Oregon Community Foundation Hugh & Janet Johnston Jeannette Kimball Jim & Janet Kissman Deborah Lewis Larson

Michael Lewis & Martha MacRitchie Sarah Maggio Duncan & Jane Eyre McDonald Thomas & Loren Mohler James & Marilyn Murdock Arden Olson & Sharon Rudnick Laura Parrish & Richard Matteri Deb Carver & John Pegg Philip & Sandra Piele* Danail Rachev & Elizabeth Racheva Roger Saydack & Elaine Bernat* Heinz & Susan Selig Ellis & Lucille Sprick Michael Vergamini Dr. James & Jan Ward* Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker John & Emilie York

EUGENE SYMPHONY

Season Partners The Eugene Symphony extends a special thanks to the individual, corporate, and foundation partners whose generosity and commitment to the arts in our community keep the music playing throughout our season.

CONCERT SPONSORS

The Haugland Family Foundation

GUEST ARTIST SPONSORS Umpqua Bank Skeie’s Jewelers

Chvatal Orthodontics Eugene-Irkutsk Sister City Committee

Wildish Companies

ADDITIONAL SUPPORT SPONSORS Kernutt Stokes Ferguson Wellman The Gilmore Agency

Oakmont Family Dental Euro-Asian Automotive M. Jacobs Fine Furniture, Inc.

Eugene Airport The Office of John E. Villano, DDS Sports Car Shop

IN-KIND SEASON SPONSORS Dot Dotsons Hilton Eugene

The Broadway Wine Merchants Marché

Oregon Electric Station

SPECIAL THANKS TO...

City of Eugene/Hult Center for the Performing Arts Framin’ Artworks

Partnered Solutions IT Kesey Interprises JLN Design

Amanda Smith Photography Technaprint

FOUNDATION PARTNERS The Ann & Gordon Getty Foundation

Herbert A.Templeton Foundation

The Silva Endowment Fund of The Oregon Community Foundation

DECEMBER 2016 – JANUARY 2017

59

Season Supporters The Eugene Symphony extends our heartfelt thanks to the individuals, corporations, and foundations that have made generous contributions this season. Your support and generosity help keep the arts flourishing in our community.

Conductor’s Circle ($1,000–$2,499) Anonymous (2) Kevin & Irene Alltucker Virginia P. Anderson Ted & Marie Baker Louise Bishop & James Earl Karl & Linda Anonymous Shawn & Melva Boles John & Christa Brombaugh Delpha Camp Harriet Cherry & John Leavens Norma F. Cole Edwin & June Cone Fund of The Oregon Community Foundation J. Glenn & Ellen A. Cougill Fund of The Oregon Community Foundation John & Linda Cummens Joan Dunbar & William Starbuck Nena Lovinger

Dieter & Juanita Engel John & Jo Fisher McClure Associates Robert & Violet Fraser Gary J. LeClair & Janice R. Friend Sam Fryefield Michael & Janet Harbour Shirley J. Hawkins Lucille P. Heitz William & Barbara Hemphill David & Marcia Hilton Monica Careaga Houck Ty Huling Ellen Hyman Joanne Johnson Allan & Dorothy Kays Charles & Reida Kimmel Eunice Kjaer Steve & Cyndy Lane

Bob & Brenda Macherione John & Ethel MacKinnon Gary P. Marcus Mel & Carol Mead Darian & Karen Morray John & Barbara Mundall Charlotte Oien Searmi Park Judson Parsons & Diana Gardener Suzanne Penegor Hope Hughes Pressman Fund of The Oregon Community Foundation John Quilter Fred Ramsey James & Connie Regali Diane & Greg Retallack Nancy Oft & Mike Rose Jim & Paula Salerno

Jane Scheidecker Robert Schulze John & Linda Sheppard Jonathan Sherman John & Betty Siebs Ken & Kenda Singer Martha J. Steward Bradley Stewart Andy Storment Symantec Cathye Tritten Phyllis Villec Jack & Mary Lee Ward John & Sandy Watkinson Pamela Whyte & Ron Saylor Steve & Kim Wildish Jim & Yvonne Wildish Louise Wiprud Woodard Family Foundation Marguerite Zolman

Robert & Laoni Davis Paul & Vivian Day James & Hannah Dean Stephen & Francoise Durrant Mark & Jennifer Ensminger Jane & Latham Flanagan, MD Mary Forestieri Liz & Greg Gill Sylvia Giustina James Grimm & Jocelyn Bonner Roger Guthrie & Nancy Golden James Harper David Hattenhauer Erwin & Vicki Haussler Lisa A. Hawley Ronald & Cecilia Head Sandra Hicks PeaceHealth Medical Group Oregon Region Donald Holst & Kathy Locurto Ronald & Donna Ivanoff Mandy Jones Brandon Julio & Haydn Zhang

Toshiro & Irene Katsura Doreen Kilen Carolyn Kortge Doris Kuehn Jason Tavakolian & Jennifer Lamberg Lynda Lanker Kaye Lefrancq Andrew Lewinter Lois Long John & Patricia Lorimer Mark & Denise Lyon Sara & David Mason Robert & Colleen McKee Mary Mercier Lee & Mary Jean Michels Dan & Linda Montgomery Mary Ann Moore Boyd & Natalie Morgan Alexander Murphy & Susan Gary Dr. Richard & Kristina Padgett Theodore & Laramie Palmer William Pfeffer

David & Jane Pubols In memory of Britta Putjenter Marjory Ramey Richard & Patricia Rankin Reed Family Foundation Thomas Ripp Royce & Phyllis Saltzman Norman & Barbara Savage Annie Schmidt Roberta Singer Judy Sobba Brad & Colleen Stangeland Craig Starr & Sandra Scheetz Richard & Christine Sundt Jeff & Linda Taylor Charitable Fund Carol Thibeau John & Renate Tilson Jean Tuesday Pierre & Mary Lou Van Rysselberghe Dave Veldhuizen & Roanne Bank Peter & Josephine Von Hippel Hilda H. Whipple Harry & Connie Wonham

Landa & Doug Baily Don Baldwin Jim & Helen Ball Loren C. Barlow Harold & Susan Baurer

Sara Bergsund Laird & Ronnie Black David & Sheila Bong Amy Jo Butler Leonard & Janet Calvert

Benefactors ($500–$999) Gil & Roberta Achterhof Liz Alcott St. Clair Howard Anderson & Susan Rutherford Carmen Bayley Jeff & Nancy Beckwith Joyce Benjamin Peter Bergquist Ron & Janet Bertucci Lauren Bird-Wiser Carl Bjerre & Andrea Coles-Bjerre John Blackburn Jim & Joanna Branvold Mary Breiter & Scott Pratt Barbara Britt Robert & Robin Burk Bill & Lynn Buskirk Ellen Campbell Robert & Kathleen Carolan George & Fanny Carroll Mary Clayton Allan & Nancy Coons David & Priscilla Croft

Sustaining Members ($250–$499) Anonymous (3) Eric & Krysta Albert Brian & Laurel Allender Tony Anthony & Christine Shirley Vernon Arne

Michael & Kathleen Arnold John Attig & Marilyn Warner Fran Aversa Roger & Lela Aydelott Robert Baechtold

This listing is current as of November 28, 2016. Every effort has been made to ensure its accuracy. If your name has been inadvertently omitted or incorrectly listed, please accept our apologies and contact Ashley Petsch at ashley.petsch@eugenesymphony.org.

Thank you for your generosity.

60

EUGENE SYMPHONY

Season Supporters Sustaining Members ($250–$499) Frank & Nancy Carlton Ernest Chizinski Hiett & Caron Cooper Roger Coulter Jim & Suzi Creech Don-Lee Davidson Marilyn Deaton David Guy Tom Stevens & Flo Delaney Wendy Dame & Don Doerr Michael Drennan Peter Edberg & Bryna Goodman Daniel & Peggy Erickson John Etter Gary Ferrington Pat Flake Ninkasi Brewing Robert Foster David Foulkes & Nancy Kerr Paul & Jean Frantz David & Deena Frosaker John Fuerth Barbara Gates Mary Gent Robert Gilberts & Pat Candeaux Gilberts John Chalmers & Michele Gladieux Scott Ricker & Mary Gleason-Ricker Mary Grinage John & Claudia Hardwick Mary Globus & Gary Harris

David & Donna Hawkins Web & Belinda Hayward Morley Hegstrom Charles & Ruby Henry Dr. Richard & Judith Hicks Ken Higgins Sara Hodges Lewis & Sandra Horne Robert H. Horner & Polly Ashworth Joseph Hudzikiewicz Bill & Jessica Hulings VerLyn N. Jensen of Jensen & Jensen, LLP Benton Johnson Lyman & Judith Johnson Kaye Johnston Ronald & Sylvia Kaufman Peter & Jane Kay Kevin & Leigh Kidd Tim & Linda King Margaret Knudsen Raychel Kolen & Paul Allen John & Muriel Kurtz Thomas & Margaret Leonhardt Teresa & William Lewis Richard & Jacquie Litchfield Doug & Diane Livermore Windermere Jean Tate Real Estate Stephen & Clari McDermott Doug McKay A. Dean & Lucille McKenzie Joseph & Xandra McKeown

Glenn Meares & Marty McGee Lee & Mary Michaels Robert Huffman & Mary Miller Michael Milstein Jack & Barbara Miner J Anthony & Mary Mohr Dr. Jeffrey Morey & Gail Harris Gerald Morgan Jon & Barb Morgan Mary Jane Mori & Jerold Hawn George & Cheryl Morris John P. Munson Jane Murphy Janet Van Nada Christian & Betsy Nielsen Heather Nolle David & Anne O’Brien Jill Overley Harold & Joyce Owen David Parmeter Nathan & Robin Phillips Dave & Linda Pompel Jane & Kenn Poznar Andrzej Wieckowski & Teresa Prussak-Wieckowska Nancy Reed Dwyane & Bette Rice Keith & Carol Richard Joe & Marian Richards Linda & Tom Roe Brooks Sanders Douglas & Shirley Schaaf

Dawn Schanafelt Karen Seidel Richard J. Smith Betty Lou Snyder Lynn Soderberg Dave & Dorothy Soper Howard & Sharon Speer Kenneth & Kathleen Springate Jim Steinberger & Joyce Gardner Steinberger Jane Stephens Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan John & Margaret Thomas Barry Cooper & Beth Valentine Hubert John & Linda Kay Van Peenen Steve & Kim Ward Jocelyn Warren Voula Weaver Dusty & Sam Wellborn Debbie Wetle Terry & Lucy White Forrest & Anna Williams Tina & Tom Williams Robert & Patricia Wilson Kelly B. Wolf Candice Woyak Dr. Steven Yoder JoAnn Zinniker Alex Zunterstein

Elizabeth G. Glover Edward & Ann Gordon George & Susan Greenwald David & Lois Hagen Haissam Haidar Sandy Harland Tim Harrow Gale & Rosemary Hatleberg Carmen Hayes Andrew & Marilyn Hays Rebecca Hazen Phyllis Helland & Raymond Morse Holly Helton & Peter Gallagher Jim & Judith Hendrickson Alex Dracobly & Julie Hessler Harold & Martha Hockman Judith Horstmann & Howard Bonnett Ardis N. Hughes Allen Jablonski James & Helen Jackson Wendy Jett Jay & Cathrine Johns Stephen Jones Robert Kendall Alan & Martha Kimball Betty Kjeldgaard

Martha & Sergio Koreisha John & Judith Kraft William Langdon Edward Lawry & Sandra Wu Dr. Mark & Marie Litchman Janet Logan & William Oakley Bert Lund Gerald & Lynda Green Jeff & Luanne Lynn Robert & Barbara Maurer Barbara J. McCarty David & Doris McKee Gary & Jill McKenney Bonita Merten Chris & Andrea Miner Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor John & Cheryl Moore Kenneth & Jackie Murdoff Duncan & Saundra Murray Beverly A. Murrow William & Margaret Nagel Diane Vandehey-Neale Bill & Lynn Neel Carol Nylander Richard J. O’Brien

Symphony Members ($125–$249) Mardi Abbott Carolyn Abbott Brian & Debbie Achter Chuck Adams Linda Ague & Kirk Kneeland Patricia Ahlen Don & Marianne Anderson Susan Archbald Jo Anne Arnold James Ellison & Julie Aspinwall-Lamberts Gerry Aster Sue Bach Diane Baird Joan Bayliss & Irwin Noparstak William & Alice Beckett Lawrence & Margaret Bellinger Richard & Betsy Berg David & Judith Berg Peter Bergquist John & Lucy Bigelow Jack Birky Gerald & Patricia Bradley Kristina Bradwell Bill Brandt Robert & Patricia Brasch Jack & Toni Brown

DECEMBER 2016 – JANUARY 2017

The Kiva Grocers - Booksellers Sara Brownmiller & Milo Mecham Norma & Stanley Bryan Susan Burke & Clive Thomas Michael Burkhardt Dave & Leona Burtner Linda Cheney & Fred Felter Gary & Carole N. Chenkin Anthony J. Meyer & Joan Claffey Vicki Ingram & Patti Cook David Correll Mark & Anne Dean Dale Derby & Ingrid Horvath Cynthia Dickinson Marion Diermayer & Peter Kosek Lisa Dodd Phillip Duchemin Dr. John & Virginia Dunphy Robert & JoAnn Ellis Hanya Etter Darian & Edward Fadeley David & Jean Fenton Margot Fetz Dorothy Frear Charles & Barbara Ganzel George & Lynn Gibson Carole Gillett

61

Season Supporters Symphony Members ($125–$249) Heidi Oldenburg Dr. Jay & Mary C. O’Leary Diane Ostergaard Catherine Page & David Johnson Isabel Papagno Dorothy Parrott James & Susan Pelley Paul, Linda & Sasha Piastro in honor of Matt Shapiro & Maylian Pak Jim Pilling Gary Pischke & Elizabeth Herbert Guntis & Mara Plesums Camilla Pratt Randy Prince Virginia Prudell Michael Racine Tyler Radke Lloyd & Marilyn Rawlings Helen M. Reed Troy & Kathryn Richey Neil Ritz

Bernard & Ginger Bopp Daniel & Kay Robinhold Gerald & Marcia Romick Kelli Rosen Sally Ann Ross Bill Rozar Dick Ruf Robert S. Russell Michael Russo Madeline Santoyo Richard & Karen Scheeland Jeffrey & Rena Segebartt Donald Seiveno Kim & Tim Sheehan Marty & Mary Lou Smith Joanne & John Soper David & Anne Spies Barry & Marilyn Stenberg Charles & Yvonne Stephens Gerald & Heidi Stolp Maria & Delmar Storment Wayne & Leslie Taubenfeld

Susan & Bahram Tavakolian Edward Teague Addie Vandehey Kent & Gail Waggoner David Walko Ron Wallace & Elizabeth Rogers-Wallace Jerry & Janet Walsh Gerald Webking Barrie & Lois Wells Mary Ellen West Ted & Leslie West Dina Wills & Rev. D. Bjorn Olson Donald Wisely V. Gerald & Ann Woeste Robert York Michael Russo Madeline Santoyo Gregory Schultz Jeffrey & Rena Segebartt Kim & Tim Sheehan Mike Shippey & Mary Minniti

Marty & Mary Lou Smith Joanne & John Soper Phoebe Staples Barry & Marilyn Stenberg Charles & Yvonne Stephens Maria & Delmar Storment Wayne & Leslie Taubenfeld Susan & Bahram Tavakolian Betty Taylor Edward Teague Addie Vandehey Janet Van Nada Kent & Gail Waggoner Jerry & Janet Walsh Gerald Webking Barrie & Lois Wells Mary Ellen West Ted & Leslie West Dina Wills & Rev. D. Bjorn Olson Donald Wisely V. Gerald & Ann Woeste Thomas & Mariol Wogaman Ness Zolan & Emily Levy

Memorial Funds

Foundation Support

The Eugene Symphony would like to express our appreciation to those who have given, in the spirit of remembrance, to the following memorial funds.

The Eugene Symphony is grateful to the following foundations for their generous support in helping us to craft a community and culture that celebrates the arts.

Marcia Baldwin Chandler Barkelew Phyllis Barkhurst Constance Mae Beckley Norma Jean Bennett Donald Bick Valentina Bilan Bert Evans Laurel Fisher Diane Foley Dave Frohnmayer Jean Glausi Marilyn Graham Ilene Hershner Gorgie Hofma Gilbert Stiles Avery III

Bruce Kilen Melvin Lindley Donald Lytle Milton Madden Ardice Mick Billie Newman Reverend William Pfeffer Jack Pyle John A. Schellman Jane Schmidt Dr. John A. Siebs John Siebs Jan Stafl, MD Leonard Tarantola Mary Tibbetts Richard (Dick) G. Williams Barbara Wolfe

American Federation of Musicians, Local 689 The Chambers Family Foundation The Collins Foundation The Ann & Gordon Getty Foundation National Endowment for the Arts The Haugland Family Foundation Nils & Jewel Hult Endowment - Arts Fund of The Oregon Community Foundation The Silva Endowment Fund of The Oregon Community Foundation James F. & Marion L Miller Foundation Oregon Arts Commission Oregon Cultural Trust Oregon Community Foundation Herbert A. Templeton Foundation

Supporting the Arts in Lane County

Musgroves.com

62

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

EUGENE SYMPHONY

The Eugene Symphony is profoundly grateful to our endowment donors for their vision and commitment to ensuring audiences will continue to enjoy the Symphony for generations to come.

Crescendo Society The Crescendo Society is composed of donors who have made gifts of cash, stocks, other cash equivalent gifts, or Charitable Trusts.

Anonymous Gil & Laura Avery Laura Maverick Graves Avery Harp Chair Laura Avery Visiting Masters Program Dr. John Bascom Joanne Berry Anne Boekelheide Caroline & Virgil Boekelheide Bill & Barbara Bowerman Nathan & Marilyn Cammack Carter & Carter Financial, Inc. Estate of Adeline Cassettari Carolyn S. Chambers The Phil Cass Memorial Fund Bruce Harlan Clark Crow Farm Foundation Dimmer Family Foundation Clyde & Mardell Quam Family Chair Anna Mae Esslinger The Eugene Symphony Guild The Bob Gray Family Bob Gray Chair Bob Gray Recognition Fund Estate of Lois J. Greenwood Peter Gregg Estate of Marguerite Grundig Niles & Mary Ann Hanson Miguel Harth-Bedoya Fund Rosaria P. Haugland Foundation James L. Hershner Memorial Fund Dr. & Mrs. George Hughes

Gina Ing Spirit Fund Gina Ing David & Sherrie Kammerer Edward W. Kammerer Memorial Fund Marilyn Kays James & Janet Kissman Estate of Hervey E. Klusmire Esther Klusmire Estate of Amelia Krieg Estate of Clarice Krieg Liberty Bank Estate of Helen Elizabeth Lilja Lorry I. Lokey Donor Fund Silicon Valley Community Foundation Trish & Keith McGillivary Dory Lea McGillivary Memorial Fund Mel & Carol Mead Fund of The Oregon Community Foundation National Endowment for the Arts Estate of Dan Pavillard Stuart & Joan Rich Roger Saydack & Elaine Bernat The Phil Cass Memorial Fund Georgianne & Ken Singer Mrs. Ray Siegenthaler Dunny & Debbie Sorensen Ray & Cathie Staton Gordon & Zdenka Tripp James & Sally Weston Wildish Family Mr. & Mrs. Douglas Walwyn

Estate of Margaret Willard Tom & Carol Williams Lolette Willis Memorial Fund Harry Wolcott Dena Gregg Memorial Fund Christine Barreto Bob & Frield Bell Gunhild Bertheau Caitriona Bolster Robert E. Christiansen Mike Curtis & Annalisa Morton Carol & John Dinges Annalisa Hiler Margaret Knudsen Josephine Markland Mary McCarty Geraldine Ota & Hal Finkelstein Gary Purpura John & Ruth Talbot Paul Winberg & Bruce Czuchna Alan Yordy Marin Alsop Fund for Artistic and Administrative Excellence Anonymous Jerry & Mary Blakely Helen & Kenneth Ghent Helmuth & Marguerite Grundig Dan Pavillard Wally Prawicki Betty & John Soreng

Encore Society The Encore Society is composed of donors who have created their legacy of music and the arts by including the Eugene Symphony and/or the Eugene Symphony Endowment Fund in their wills, trusts, or other estate plans.

Anonymous (3) Barbara Aster Gilbert S. Avery, III John & Ruth Bascom Marjorie Beck Trust

Joanne Berry The Brockett Family Dr. & Mrs. John Cockrell (Irrevocable Trust) Julie Collis

Ray Englander Starly Kathryn Friar (Irrevocable Trust) Jo-Anne Flanders Ed & Ann Gordon

Ms. Chris K. Johnson Dan & Gloria Lagalo Theodore & Monica Nicholas Wally Prawicki Sandra Weingarten Harry Wolcott Estate

Steinway Maintenance Society The Eugene Symphony extends sincere thanks to those who have joined the Steinway Maintenance Society to create an endowed fund to ensure that the “Pavillard” Steinway D Concert Grand is properly insured, stored, and maintained.

Leave a legacy that provides the joy of music for future generations.

Please remember the Eugene Symphony in your will or trust.

For information about planned gifts or gifts to the Endowment Fund, contact Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x104 or visit our website at eugenesymphony.org.

DECEMBER 2016 – JANUARY 2017

63

Eugene Symphony

eugenesymphony.org Tel 541-687-9487, Fax 541-687-0527 115 West 8th Avenue, Suite 115, Eugene, OR 97401

EUGENE SYMPHONY BOARD OF DIRECTORS

EUGENE SYMPHONY STAFF

Matthew Shapiro, President David Pottinger, Vice President & President Elect

Danail Rachev, Music Director & Conductor Scott Freck, Executive Director Courtney Glausi, Executive Operations Assistant

Cathie Staton, Secretary Warren Barnes, Treasurer Dunny Sorensen, Past President

DIRECTORS Carolyn Abbott Zachary Blalack Deborah Carver Julie Collins Mike Curtis Raymond N. Englander Mary Ann Hanson David Kammerer Sylvia Kaufman Stephanie Pearl Kimmel Sarah Maggio Jane Eyre McDonald

Matthew McLaughlin Trieber Meador Meg Mitchell Arden Olson Laura Parrish Joanna Radke Paul Roth Michael Vergamini Jack Viscardi Sean Wagoner Barbara Walker Sandra Weingarten

DIRECTORS EMERITUS Phil Cass, Jr. Carolyn S. Chambers

Betty Soreng David Ogden Stiers

EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS

1965–1972 Orval Etter 1972–1973 Charles Williams 1973–1975 Thad Elvigion 1975–1977 Nancy Coons 1977–1978 Oscar S. Strauss 1978–1980 Nancy Coons 1980–1981 Janet Johnston 1981–1982 Judy Hicks 1982–1984 Janet Johnston 1984–1986 George “Duffy” Hughes 1986–1988 Ruby Brockett

1988–1991 James Forbes 1991–1993 John Watkinson 1993–1995 Georgiann Beaudet 1995–1997 Clark Compton 1997–1999 Gary Grinage 1999–2002 John Watkinson 2002–2003 Gil Achterhof 2003–2006 David Kammerer 2006–2012 Mary Ann Hanson 2012–2015 Dunny Sorensen

ARTISTIC Lindsay Pearson, General Manager Hanya Etter, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager Susanna Brown, Gala Intern EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director FINANCE Lisa Raffin, Finance & Administrative Director Kaye Johnston & Heather Nolle, Volunteer Coordinators MARKETING Lindsey K. McCarthy, Marketing Director Josh Francis, Marketing Coordinator and Program Magazine Advertising Sales Manager Season Design: Cricket Design Works Program Magazine Design/Production: JLN Design, Jerril Nilson Advertising: josh.francis@eugenesymphony.org, 541.687.9487, ext.115

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers David Hawkins, Chair Varner J. Johns III

64

Suzanne Penegor John Watkinson

The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.

EUGENE SYMPHONY

65

Featuring Women’s Special Occasion Clothing, Contemporary Sportswear and our Unique Collection of Ethnic and Fashion Jewelry

18th & Willamette Meridian Building • Eugene (541)431-3411

Let’s eat, let’s laugh, let’s

shop!

Uncommon Scents • The Glass Fuser Sattva Gallery • Café Yumm! • Folkways

18 TH and WILLAMETTE

Open 7 days a week

Proud to support the Eugene Symphony!

Locally owned and operated and serving Eugene-Springfield for over 40 years.

Doug Gubrud, Owner

541.342.5031

66

|

355 Lincoln Street, Eugene

|

www.imperialfloors.com

Making authentic relationships beginning with a smile.

Comprehensive Family Dentistry Josephine Stokes, DDS, FAGD 622 E 22nd Ave, Ste E | 541-686-3003 pearlywhiteseugene.com

67

NEW LOCATION NOW OPEN

SERVING EUGENE AND LANE COUNTY! > Companion Care > Bathing & Dressing Assistance > Meal Preparation > Medication Services

> RN Oversight for Every Client > Days & Nights > Contact Us 24 Hours For Scheduling & Support > Flexible Hours

BrightStar Care® of Lane County 935 Oak Street, Suite B, Eugene, OR 97401 Email: jennifer.ensminger@brightstarcare.com www.brightstarcare.com/lane-county Independently Owned & Operated

68

> Dementia Certified Caregivers > Guaranteed Compatibility® > Respite & Family Relief > Experienced Caregivers and CNAs

Call For a Free In-Home Assessment

541 632 7800

69

TONI PIMBLE | Choreographer

A new full length ballet for the entire family from the creative genius of EBC’s Artistic Director

KENJI BUNCH | Composer

EBC-commissioned new music from award-winning Portland composer performed by Orchestra Next

APRIL 8–9, 2017 | Hult Center Supported by the Richard P. Haugland Foundation and the Hult Endowment / Oregon Community Foundation

TICKETS | eugeneballet.org

The Snow Queen EUGENE BALLE T COMPANY

SUCCESS TEAMWORK SERVICE STRATEGY RESEARCH 70

Friendly, KnowledgEable, reliable & Efficient Call us today for your next marketing project!

541.344.4062 www.technaprint.com

The Oregon Community Foundation provides many tax-deductible options to put your client’s gift into the hearts and hands of Oregonians.

oregoncf.org

71

Now enjoy flying on larger planes with mainline service to SFO and DEN.

72