Eugene Symphony 2016/17 Season Program Magazine 4 by Eugene Symphony Association

2 0 1 6 / 1 7 S E A SON

Danail Rachev, Music Director & Conductor

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Contents April – June 2017 CONCERTS 19 The Damnation of Faust April 13 Co-sponsored by Palo Alto Software

and Summit Bank

31 Alpine Symphony May 11 Sponsored by Slocum Center for Orthopedics

& Sports Medicine

43 SymFest II June 3 FEATURES 27 48 52 57

19 On April 13, digital projections by Harmonic

Laboratory dance around Silva Concert Hall’s walls and ceiling while Eugene Symphony and Chorus perform Berlioz’ The Damnation of Faust.

In the Key of E[ducation] Beyond the Podium Donor Spotlight On That Note

ON STAGE AND OFF 11 13 14 15 58 59 60 61 62 67 68

Welcome Calendar Orchestra Roster 35 Japanese-American violinist Ryu Goto joins Conductor the Eugene Symphony on May 11 to perform Bruch’s brilliant Violin Concerto No. 1. Scenes from Offstage Support the Symphony Founders Society 46 On June 3, popular Eugene 51st Season Partners vocalist Siri Vik and genre-bending Thank You to Our Supporters string trio Time for Three join the Endowment Fund orchestra for the Board of Directors brewfest-turnedsymphony concert and Administrative Staff

APRIL – JUNE 2017

called SymFest.

All Things Considered Stories of the day mixed with compelling analysis, insightful commentaries, interviews, and offbeat features. Weekdays 4-6:30pm, Weekends 5-6pm or On Demand

EUGENE SYMPHONY

Welcome April – June 2017 Dear Music Lovers, Concluding what’s been a wonderful eight years together, I am excited to bring you two evenings of music that symbolize the array of emotions and experiences of human life, like love, death, success, defeat, exertion, rest, sorrow and joy. First, on April 13, we present Berlioz’ The Damnation of Faust, amplified with digital projection by the Eugene creative group Harmonic Laboratory. Then on May 11, An Alpine Symphony is a true outdoors piece that should make it an ultimate Eugenean favorite. All his life, Berlioz pushed the traditional boundaries of the symphony, opera, oratorio and cantata. But even he had trouble defining the genre of The Damnation of Faust. At first he called it a concert opera but the piece was published as a “Dramatic Legend.” Berlioz toyed with the idea to define it as an opera, but he realized that the kind of piece he wrote could never be staged within the possibilities of his contemporary opera theater. The way that Berlioz envisions Goethe’s play jumping through scenes, places and moods at will, actually fits more what a movie director could do today, but for his time could only be left to the imagination. Fortunately the imagination is one of the strongest categories of Berlioz’ art so he succeeded in creating an enormously rich piece of music full with wonderful ideas, details, colors, as well as deep emotion. It’s a piece that, in my opinion, defines him as a composer. Richard Strauss was an avid outdoorsman from his earliest days. Here is how he describes a hike during his youth: [It began] “at two in the morning… a five-hour climb, a steep three-hour descent during which the group lost its way… everyone finally soaked to the skin, trudging through a thunderstorm to find an unplanned night’s lodging in a peasant cottage.” He continued, “the next day I portrayed the entire expedition on the piano.” I’m sure many people here in Eugene have similar stories to tell. An Alpine Symphony has not been performed in Eugene before because of the huge orchestral forces it requires, as well as the considerable difficulty it presents. I am happy to complete my tenure with Eugene Symphony in such a fashion. Looking back on nearly a decade together, it has truly been a pleasure to be your Music Director. I am sure that with your help the Eugene Symphony will continue to thrive into the future. Thank you for your support, and enjoy these concerts!

Danail Rachev Music Director & Conductor

APRIL – JUNE 2017

EUGENE SYMPHONY

Calendar 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 Sasha Cooke, mezzosoprano; Matthew Plenk, tenor; Philip Cutlip, baritone; Eugene Symphony Chorus and digital projections by Harmonic Laboratory, Silva Concert Hall Co-sponsored by Palo Alto Software and Summit Bank

MAY 9

THE DAMNATION OF FAUST April 13

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

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

MAY 21

ALPINE SYMPHONY May 11

2:30 pm – Play it Again! Adult Chamber Music performance at First Christian Church in Eugene

JUNE 3 SYMFEST II – SPECIAL CONCERT

5:30–7:30 pm – Pre-concert festivities including beer and wine tastings, food carts, local performance groups, live music

7:30–9:00 pm – Eugene Symphony performance featuring string trio Time for Three and vocalist Siri Vik

9:00–11:00 pm – Post-concert dance party in the lobby and jazz lounge by The Jazz Station in Soreng Theater

JULY 22 EUGENE SYMPHONY IN THE PARK

Cuthbert Amphitheater, Eugene

APRIL – JUNE 2017

SYMFEST II June 3

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

Eugene Symphony

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

VIOLIN I

CELLO

HORN

Searmi Park, Concertmaster Caroline Boekelheide Lisa McWhorter, Assistant Concertmaster Ray & Cathie Staton Stephen Chong Joanne Berry Della Davies Sandra Weingarten & Ryan Darwish Anthony Dyer Rosemary Erb John & Emilie York Jennifer Estrin Yvonne Hsueh Debra & Dunny Sorensen Nelly Kovalev Valerie Nelson* Sophie Therrell Matthew, Aaron & Alex Shapiro Vacant

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

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

VIOLIN II Matthew Fuller, Principal Ray & Libby Englander Sasha Chandler, Assistant Principal Dan Athearn Bob Gray Memorial Chair Alice Blankenship Theodore W. & Laramie Palmer David Burham Julia Frantz Bob & Friedl Bell Virginia Kaiser Bashar Matti* Claudia Miller 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 Shauna Keyes Kimberlee Uwate** Matt Shapiro & Maylian Pak Vacant

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

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

TROMBONE Henry Henniger, Principal Michael & Nancy Oft-Rose Vacant 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

BASSOON

CHORUS DIRECTOR

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

* denotes University of Oregon Graduate Teaching Fellow ** denotes one-year appointment † denotes leave of absence

Sharon J. Paul

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 (2009–2017) APRIL – JUNE 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.

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.

APRIL â&#x20AC;&#x201C; JUNE 2017

TECH NIGHT OUT at the Eugene Symphony

Celebrating and supporting the power of music, innovation and creativity to elevate our community! LEAD SPONSORS

ADDITIONAL SUPPORT SPONSORS

EUGENE SYMPHONY

The Damnation of Faust Eugene Symphony Danail Rachev, conductor Sasha Cooke, mezzo-soprano | Matthew Plenk, tenor | Philip Cutlip, baritone Eugene Symphony Chorus | Sharon J. Paul, director Digital Projections by Harmonic Laboratory Thursday April 13, 2017 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, April 13, 2017 7 PM | The Studio, Hult Center Hector Berlioz (1803–1869)

The Damnation of Faust Part I: The Plains of Hungary 1. Introduction 2. Peasants’ Dance 3. Recitative and Hungarian March Part II: In Northern Germany 4. Faust alone in his study. Easter Song 5. Faust. Mephistopheles 6. Auerbach’s Cellar in Leipzig: Mephistopheles’ Song 7. Woods and meadows on the banks of the Elba: Mephistopheles’ Song Chorus of Gnomes and Sylphs Dance of the Sylphs 8. Soldiers’ Chorus and Students’ Song

I N T E R M I S S I O N

Concert Sponsors

Part III: In Marguerite’s Room 9. Drums and trumpets sound the retreat. Faust’s Song 10. Faust and Mephistopheles 11. Marguerite. The King of Thule 12. Evocation. Dance of the Sprites. Mephistopheles’ Serenade and Chorus of Sprites 13. Duet 14. Trio and Chorus Part IV 17. Invocation to Nature 18. Recitative and Chase 19. Descent into Hell 20. Pandemonium 21. In Heaven

Additional Support This concert will be broadcast on KWAX-FM 91.1 on Tuesday, May 16 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

APRIL – JUNE 2017

The Damnation of Faust

HECTOR BERLIOZ (1803–1869) The Damnation of Faust, Op. 24 [1845–46] Scored for three flutes, three piccolos, two oboes, two English horns, two clarinets, bass clarinet, four bassoons, four horns, four trumpets, three trombones, two tubas, two sets of timpani, percussion, two harps, and strings. This is the first Eugene Symphony performance of the complete work; the Hungarian March was performed on Symphonic series concerts in November 2002 and May 2012, conducted by Giancarlo Guerrero and Danail Rachev respectively. Performance time is approximately two hours and 10 minutes. Hector Berlioz was an unlikely musical revolutionary who only began dabbling in composition and teaching himself harmony out of a book at the age of 12. His father, a physician, disapproved of these musical pursuits, so the young Berlioz never took lessons or mastered an instrument. At eighteen he moved to Paris to study medicine, and he waited another five years before finally enrolling at the Paris Conservatoire in 1826. He rocked the establishment four years later with his Symphonie fantastique, and he never stopped stretching the boundaries of sound and storytelling, whether on a dramatic stage or in a concert hall.

In The Damnation of Faust, Berlioz blended structural aspects of opera, oratorio, cantata, symphony and song cycle to create a work he categorized as a “dramatic legend.”

April 13, 2017 Program Notes

Paris lagged behind the rest of Europe in embracing the renegade talents of Berlioz, and so he made his living mostly as an itinerant conductor. It was during his travels of 1845–46, through locales including Germany, Austria, Hungary and Bohemia, that Berlioz fulfilled his long-simmering desire to create a musical setting of the play Faust by Johann Wolfgang von Goethe (1749–1832).

EUGENE SYMPHONY

Berlioz’ passion for Goethe rivaled his devotion to Shakespeare, the two writers he described as “the silent confidants of my suffering; they hold the key to my life.” After a new French translation of Faust appeared in 1828, Berlioz created a half-hour cantata for soloists, chorus and orchestra titled Eight Scenes from Faust, but he later withdrew the work that he had initially released as his Opus 1. Returning to the material in 1845, he asked the writer Almire Gandonnière to flesh out a full libretto, but Berlioz, himself a skillful writer, ended up adapting much of the text on his own.

Berlioz’ courage to defy conventions allowed him to succeed where other Faust interpreters stumbled. Before Goethe even finished Part II of his masterpiece, the initial publication of Faust in 1808 spurred opera-minded composers to consider setting it to music. Goethe himself declared the long-dead Mozart the only composer fit to the task, and even the great Beethoven stalled in his efforts. With The Damnation of Faust in 1846, Berlioz became the first composer to present an evening-length rendering of Goethe’s masterpiece. Schumann and Liszt followed with more abstract treatments (a cantata and symphony, respectively), and finally the French composer Gounod created a straightforward opera in 1859. In The Damnation of Faust, Berlioz blended structural aspects of opera, oratorio, cantata, symphony and song cycle to create a work he categorized as a “dramatic legend.” When he first mounted the two-hour spectacle in Paris, he led four soloists, two choruses and a large orchestra (especially for its time) through two performances for half-empty houses, prompting him to write, “Nothing in my career as an artist wounded me more deeply than this unexpected indifference.” Berlioz’ courage to defy conventions allowed him to succeed where other Faust interpreters stumbled. Dispensing with an overture or any fanfare at all, we meet the title character alone at sunrise on a Hungarian plain, singing a humble ode to nature, springtime and solitude. Part I continues with a laughing and dancing chorus of peasants (Faust proclaims himself “jealous in my

KEEP AN EYE ON... ...the extraordinary digital imagery created for this production by John Park of Harmonic Laboratory, particularly the gossamer fairy lights that slip in and out of Silva Concert Hall’s iconic basket weave ceiling during the Dance of the Sylphs. KEEP AN EAR OUT FOR... ...the Eugene Symphony Chorus singing in a dark and mysterious langauge in Pandemonium, the penultimate section of The Damnation of Faust, as they intone strange phrases such as “Diff! diff! mérondor aysko!”

misery”) and the passage of an army (while Faust’s heart “remains cold, insensible to their glory”), a procession that Berlioz depicted in the memorable Hungarian March. Part II finds Faust alone in his study and on the verge of suicide, until the sound of a radiant Easter Hymn floods him with memories and restores his faith. It is at just this juncture that Mephistopheles arrives suddenly, his silky baritone voice promising “happiness, pleasure, all that the most ardent desire can dream of,” if Faust comes with him to a tavern. When Faust declares that he has had enough, they leave the tavern and arrive at a nocturnal scene along a riverbank. A chorus of gnomes and sylphs plant romantic thoughts, and Faust dreams of his future love: Marguerite. A delicate instrumental passage, the Dance of the Sylphs, reinforces the dreamy fantasy. After Faust awakes and Mephistopheles promises to take him to the Marguerite, the scene closes among soldiers and students (the latter singing in Latin), each proclaiming in interlocking anthems the urge for amorous conquest. Following the intermission, Part III opens with brass and drums representing the soldiers’ retreat. We now find Faust alone in Marguerite’s room at twilight, singing an aria of love and expectation— (Continued on page 22)

APRIL – JUNE 2017

The Damnation of Faust Program Notes (Continued from page 21) an inversion of the outdoor sunrise scene where Faust first appeared, enjoying his isolation on the Hungarian plains. The nefarious Mephistopheles comes to hide Faust behind a curtain, and then Marguerite enters, confused and frightened after a dream the previous night in which she pictured her future lover. She then recounts the legend of “The King of Thule,” a heartbroken ruler who drowned his sorrows by drinking from the golden cup given to him by his dying beloved, until his own death approached and he cast the cup into the sea. This poem appeared on its own long before Goethe incorporated it into Faust, and likewise Berlioz’ setting of this “gothic song” was an important forerunner, having been the first music he created for the original Eight Scenes from Faust. On the street outside Marguerite’s house, Mephistopheles performs a spooky incantation to summon the wills-o’-the-wisp, those fiery apparitions that seems to dance and hover in the distance, guiding travelers astray. In another of this work’s outstanding instrumental interludes, the Minuet of the Wills-o’-the-Wisp indulges Berlioz’ passion for musical depictions of the fantastical and supernatural. Mephistopheles continues with a devious serenade, the plucked strings simulating the usual mandolin or guitar accompaniment. Back inside, Faust and Marguerite recognize each other and their mutual love in a tender duet. But Mephistopheles bursts in to drag Faust away, and Part III concludes with nosy neighbors taunting and chastising the couple. Part IV returns to Marguerite, now alone in her room, singing a vulnerable Romance enriched with plaintive solos from an English horn. Outside, the soldiers and the students resume their activities, but still Faust does not come.

The scene shifts to a forest, where Faust delivers a tormented Invocation to Nature. Accompanied only by the sound of far-off hunting horns, Mephistopheles explains that Marguerite has been imprisoned for killing her mother, after a sleeping potion she administered—one provided by Faust to facilitate their trysts—proved fatal. Finally the moment has arrived for the terrible bargain at the heart of Faust: Mephistopheles can save Marguerite, but only if Faust pledges his soul to Mephistopheles. The deal is done, and two black horses come to carry them galloping along The Ride to the Abyss, during which they trample and scatter a terrified

In another of this work’s outstanding instrumental interludes, the Minuet of Wills-o’the-Wisp indulges Berlioz’ passion for musical depictions of the fantastical and supernatural, but with the irregular rhythms smoothed out, bringing the eventful tour to rest. group of worshipping peasants. They encounter increasingly frightful sights and sounds until they descend into Pandemonium, where “The Damned and Demons” sing aggressive nonsense syllables and Mephistopheles proudly proclaims to “The Princes of Darkness” that Faust has freely signed his soul away An Epilogue begins on earth, with a chant-like chorus of basses declaring, “Hell is silent now.” Then, in heaven, a celestial choir praises and glorifies Marguerite. The musical effect is rapturous, and it provides perfect closure for the kaleidoscopic anti-opera that is The Damnation of Faust.

EUGENE SYMPHONY

The Damnation of Faust Guest Artist Sasha Cooke, Marguerite

Guest Artist Philip Cutlip, Mephistopheles

Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” (New York Times) and “equal parts poise, radiance and elegant directness” (Opera News). Cooke appears frequently this season singing Mahler, whose works she has sung to great acclaim on four different continents. Sought after by the world’s leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire and commitment to new music, Cooke’s season continues to bring world premiere performances and unique artistic collaborations.

Philip Cutlip has garnered consistent critical acclaim for his performances across North America and Europe. Established on both concert and opera stages, he has performed with a distinguished list of conductors that includes Nicholas McGegan, Charles Dutoit, Miguel HarthBedoya, Osmo Vänskä, and Donald Runnicles. His appearance as Joseph De Rocher in Heggie’s Dead Man Walking, with Houston Grand Opera, has been released on Virgin Records. Cutlip’s opera highlights include the title role in Glass’ Orphée with Glimmerglass Opera and Portland Opera (CD Orange Mountain label); Maurice Bendix in The End of the Affair, Papageno in Die Zauberflöte, and Enrico in Lucia di Lammermoor with Seattle Opera; Guglielmo in Così fan tutte with New York City Opera; Eisenstein in Die Fledermaus with Virginia Opera and Minnesota Orchestra; Aeneas in Dido and Aeneas with Philharmonia Baroque Orchestra and Mark Morris Dance Group.

Sought after by the world’s leading orchestras, Cooke continues to bring world premiere performances and unique artistic collaborations. Cooke has worked with orchestras around the world including Boston, Chicago, Cincinnati, Cleveland, Colorado, Dallas, Detroit, Edmonton, Hong Kong, Houston, Indianapolis, Kansas City, Leipzig, Los Angeles, Louisiana, Lyon, Melbourne, Milwaukee, New York, New Zealand, Philadelphia, Pittsburgh, San Francisco, Seattle, Shanghai and Tokyo as well as the Deutsches Symphoni e Orchester Berlin and Orpheus, St. Paul and Los Angeles Chamber Orchestras. She’s performed at numerous festivals, including the Aspen, Caramoor, Chautauqua, Luzerne, Mecklenburg-Vorpommern, Mostly Mozart, Music@ Menlo, New York Festival of Song, Spoleto and the Chamber Music Festivals of Portland, Santa Fe and Seattle. A graduate of Rice University and The Juilliard School, Sasha Cooke also attended the Music Academy of the West, the Aspen Music Festival, the Ravinia Festival’s Steans Music Institute, the Wolf Trap Foundation, the Marlboro Music Festival, the Metropolitan Opera’s Lindemann Young Artist Development Program, Young Concert Artists, and Seattle Opera and Central City Opera’s Young Artist Training Programs. Cooke very much enjoys mentoring and has given masterclasses throughout the United States. She lives near Houston, TX with her five-year-old daughter Evelyn, new baby Julia, and husband, baritone Kelly Markgraf.

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Cutlip has garnered consistent critical acclaim for his performances across North America and Europe, and has performed with a distinguished list of conductors on both concert and opera stages. Further concert credits include performances with New York Philharmonic, National Symphony Orchestra, Houston Symphony, and Atlanta Symphony Orchestra. Cutlip has performed Messiah with Minnesota Orchestra, Philadelphia Orchestra, Pittsburgh Symphony Orchestra under Manfred Honeck, and Philharmonia Baroque Orchestra under Nicholas McGegan; de Falla’s Suite from Atlantida (in Catalan) with Boston Symphony Orchestra; Carmina Burana with Detroit Symphony Orchestra, Fort Worth Symphony Orchestra, and Chautauqua Festival. Cutlip has collaborated with numerous dance companies, performing such works as Bernstein’s Symphonic Dances from West Side Story with Hamburg Ballet, Les Enfants Terribles with composer Philip Glass and choreographer Susan Marshall (CD Orange Mountain label), and Handel’s L’Allegro, il Penseroso ed il Moderato in conjunction with Philharmonia Baroque Orchestra and Mark Morris Dance Company at Lincoln Center, Ravinia Festival, and Cal Performances.

The Damnation of Faust Guest Artist Matthew Plenk, Faust

Digital Projections

A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, tenor Matthew Plenk made his Metropolitan Opera debut in the 2007–08 season as the Sailor’s Voice in Tristan und Isolde under the baton of Maestro James Levine, a role he repeated under the baton of Daniel Barenboim. He has since returned to the Met as Arturo, Janek in The Makropolous Case, the Song Seller in Il Tabarro and Marcellus in Hamlet, and appeared as Arturo in the Met’s 2011 tour of Japan. Other recent opera engagements have included Steuerman in Die fliegende Holländer at the Los Angeles Opera, Frederic in The Pirates of Penzance and Macduff in Macbeth at the Opera Theatre of St. Louis, Tamino in Die Zauberflöte at the Virginia Opera, Ferrando in Cosí fan tutte at the Atlanta Opera, Don Ottavio at the Boston Lyric Opera, Lyric Opera of Kansas City, and the Des Moines Metro Opera; Nanki-Poo in The Mikado at the Virginia Opera, Rodolfo in La Bohème, Flute in Britten’s A Midsummer Night’s Dream, and Kudrjás in Janácek’s Kat’a Kabanová with the Yale Opera.

John Park

In 2005 Plenk was one of 16 singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives.

John Park is a co-founder of the Eugene-based interdisciplinary arts collective Harmonic Laboratory and a Senior Instructor of Art & Technology at the University of Oregon. As a practicing creative technologist, Park explores new tools and techniques to enhance the viewer experience of his time-based performance and installation art. User interactivity, visual computer programming, and innovating types of audience participation are all a part of his creative practice.

Harmonic Laboratory

Harmonic Laboratory is committed to collaboration. Along with educational outreach and commissions, Harmonic Laboratory helps curate collaborative evenings featuring artists who represent a wide variety of disciplines. It supports projects and participants that endeavor to cross boundaries of discipline, ideology, and form. Its mission is to tell stories of the human experience through the integration of media and performance. By fusing the disciplines of its four members: modern dance, classical composition, visual programming, and data-driven instrument creation, Harmonic Laboratory blends mediums that transcend the boundaries of each individual disciplines. Hybrid art as performance presents the opportunity to share ideas and experiences with broad audiences using newly formed creative forces.

In 2005 Plenk was one of 16 singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. Plenk has been appointed as Assistant Professor of Voice at The University of Denver’s Lamont School of music. He is a Samling Scholar, and holds a Bachelor’s degree from the Hartt School of Music and a Master’s degree from Yale University. His many awards include Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, First Place winner of the Five Towns Music Competition, and Grand Prize winner at the Music Lovers Competition.

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The Damnation of Faust Eugene Symphony Chorus Sharon J. Paul, director

Eugene Symphony Chorus

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, 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 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.” 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 US at four international festivals. In June 2000 the SFGC was the first youth chorus to win the Margaret Hillis Achievement Award for Choral Excellence. 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 US. In 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.

Soprano Mary Backus Kathy Barnes Brittany Case Nan Coppock-Bland Michelle Cordon Leah Dodrill Susan Edson Angela Egremont Jill Gillett Mary Ann Hanson Diane Hawley Meghan Loftus Susannah Manton Arie Markowitz Debbie Ogburn Tara Puyat Mercedes Rathswohl Brittany Rudoi Sharon Skidmore Harriett Smith Lois Stark Karen Stingle Alayne Switzer Allie Thompson Ellie VanHattem Sandra Weingarten

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Alto Amy Adams Margaret Alexander Lauren Bird-Wiser Charlotte Coons Jean Cottel Paula Ellister Shira Fadeley Carolyn Flatley-Gilkey Michele Green Catherine Harris Lisa Johnson Aleta Lafferty Paula Litchfield Kathryn Madden Laura M. Ohanian Laura Parker

Caroline Passerotti Jean Murphy Barbara Myrick Suzanne Shapiro Marjorie Sheiman Irene Sogge Debbie Sorensen Joanna Sparano Holly Spencer Heidi Von Brockdorff Tenor Donovan Cassell Brian Hughes Jack Jordan Roy Lisi Ryan Moser Bernie Robe Randall Smith Dean Walker Bass David Bersch Don Campbell Anthony Carter Zari Crier John Henzie Jon Hofmeister Timothy Johns Jay Kenton John Kline Jim Kolstoe Matt Laubach Brad Litchfield Roger Ludeman Leith McKenzie Dennis Mills Rod Morris David Paulson Nathan Philips Marc Shapiro Mike Stark Jeremy Thomas Greg Williams

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In the Key of E[ducation] Artist residencies bring musicians outside the concert hall and into local schools

By Education & Community Engagement Director Katy Vizdal On Thursday, February 16, classical guitarist Sharon Isbin dazzled everyone with her performance of Christopher Rouse’s Concert de Gaudí with the Eugene Symphony. The week before the concert, though, Isbin and Rouse’s impact extended far beyond the concert hall. As part of their artist residencies, Isbin and Rouse were in the community visiting schools, performing, giving talks, and inspiring new generations of young musicians and composers. Sharon Isbin performed intimate guitar concerts in school gyms and libraries, reaching hundreds of students from Spencer Butte Middle School, Cal Young Middle School, and Churchill High School. After her performances, students stayed late to ask her questions about her life as a professional musician, why she chose guitar, and what it takes to play at her caliber. Isbin commented on her social media that she “loved playing for hundreds of inspired kids during [her] weeklong residency with Eugene Symphony, [important] for ALL artists to do!”

About Artist Residencies

Our artist residencies leverage the presence of internationally renowned artists visiting Eugene to provide unique professional and artistic development opportunities for Symphony musicians, undergraduate and graduate students at the University of Oregon and Lane Community College, the EugeneSpringfield Youth Orchestras, and participants in other school- and community-based music education programs.

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Isbin’s other residency activities included a free performance at McKenzie River Music—an opportunity for a multiple Grammy Award-winner to perform in a community venue for local guitar aficionados—and a master class for three local guitarists. Award-winning American composer Christopher Rouse also made an impression during his time in Eugene. He led a master class for undergraduate and graduate music composition students at the University of Oregon, which involved reviewing their compositions and offering his expertise. He also visited high school music students from the Academy of Arts and Academics in Springfield to talk with them about what it takes to write music as a professional career. These students also received tickets to the Eugene Symphony’s performance of Rouse’s piece, and the impact was significant: “We have to thank you for the very generous offer of tickets to the Symphony performance. With so many of our students coming from lower-income situations, this was the first time that many of them were able to hear an orchestra in concert, and it was clear from the reaction that I heard the next day that it was an eye-opening experience. Two students made sure to tell us that they were so excited after hearing that performance that they were already looking forward to the next concert.” —Jim Olsen, Music Teacher at Academy of Arts and Academics Our artist residencies have a strong record of creating deep connections between visiting artists and our community, including the following: in 2011, violinist Midori provided inspiration for people of all ages; in April, 2014, conductor Grant Llewellyn taught on and off the podium; and in 2015, saxophonist Branford Marsalis, as well as composer Avner Dorman and percussion duo Galen Lemmon and Steve Hearn made lasting impressions on local musicians beyond the concert hall. This year’s joint residency with Sharon Isbin and Christopher Rouse was generously sponsored by the Boekelheide Foundation and the Nils and Jewel Hult Endowment – Arts Foundation of Western Oregon Fund of the Oregon Community Foundation.

Upcoming Artist Residencies in the 52nd Season Augusta Read Thomas, composer – September 2017 & April 2018 Zuill Bailey, cello – March 2018 Third Coast Percussion Ensemble, percussion – April 2018 For more information, or to support future artist residencies, contact Education & Community Engagement Director Katy Vizdal at katy.vizdal@eugenesymphony.org or 541-687-9487 x116

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Alpine Symphony Eugene Symphony Danail Rachev, conductor | Ryu Goto, violin Thursday, May 11, 2017 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, May 11, 2017 7 PM | The Studio, Hult Center Ludwig van Beethoven (1770–1827)

Egmont Overture

Max Bruch (1838–1920)

Violin Concerto No. 1 in G minor, Op. 26 I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico

I N T E R M I S S I O N

Richard Strauss (1864–1949)

An Alpine Symphony I. Night II. Sunrise III. The Ascent IV. Entering the Forest V. Wandering near the Stream VI. At the Waterfall VII. Apparition VIII. On Blooming Meadows IX. On the Alpine Pasture X. Going Astray XI. On the Glacier

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Ryu Goto, violin

Guest Artist Sponsor

XII. Dangerous Moments XIII. At the Summit XIV. View XV. Fog Arises XVI. The Sun Gradually Darkens XVII. Elegy XVIII. Calm before the Storm XIX. Thunder and Storm XX. Sunset XXI. Vanishing Sound XXII. Night

Additional Support

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, May 30 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

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Alpine Symphony

LUDWIG VAN BEETHOVEN (1770–1827) Overture to Egmont, Op. 84 [1810] This work is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings. First performed by the Eugene Symphony in February 1988 under the direction of Mehli Mehta, and last performed in April 2006 under the direction of Markand Thakar. Performance time is approximately nine minutes. Beethoven longed to be an opera composer, and yet it proved to be the most frustrating aspect of his career. In the period when his only opera, Leonore, sat dormant—it was soon revised for the second time and reintroduced as Fidelio—Beethoven agreed to provide incidental music for an 1810 revival of Egmont, a play by Johann Wolfgang von Goethe. The drama, set in the 16th century, followed the tribulations of the Count of Egmont, who was convicted of treason and executed after he protested the Spanish occupation in his native Flanders. It was timely fare for Vienna, still reeling from the French occupation in 1809, and it gave Beethoven a chance to vent some of his resentment toward Napoleon while advancing his prospects in Vienna’s theater scene. The Overture to Egmont begins with a severe introduction in the key of F minor, its slow and deliberate phrases punctuated by stout chords. A pulsing accompaniment ratchets up the tension, and then the strings pivot to the Allegro body of the overture, reusing a rising and falling motive to unify the two sections. The minor-key drama gives way at the end to major-key triumph in an accelerated tempo, with piccolo, trumpets, and timpani reinforcing the militaristic tone. MAX BRUCH (1838–1920) Violin Concerto No. 1 in G Minor, Op. 26 [1868]

May 11, 2017 Program Notes

In addition to the solo violin, this work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings. First performed in February 1986 under the direction of Adrian Gnam with Nadja Salerno-Sonnenberg as soloist, and last performed in November 2007 under the direction

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of Giancarlo Guerrero with Joshua Bell as soloist. Performance time is approximately 24 minutes. Max Bruch received his earliest musical training from his mother, a singer. From his breakthrough opera, completed in 1858, to the many vocal and choral works he wrote until his death in 1920, Bruch earned a reputation as a firstrate composer of music to be sung. A century later, his legacy now rests on a handful of exceptional works for soloist and orchestra, namely Kol Nidrei for cello, the Scottish Fantasy for violin, and above all the First Violin Concerto. (His Violin Concerto No. 2 is so overshadowed that its predecessor often appears without a number, listed simply as the Bruch Violin Concerto.) Bruch’s signature work transfers his vocal sensitivity to the violin, an instrument that, as he once wrote, “can sing a melody better than a piano—and melody is the soul of music.” The score was his largest to date, and the form confounded him; he even considered calling it a fantasy rather than a concerto, owing to its dreamy and open-ended first movement. He began the work in 1864 and conducted the premiere in 1866, but he was not satisfied until he reworked it with suggestions from the Hungarian virtuoso Joseph Joachim, the same violinist who later provided similar guidance for Brahms’ Violin Concerto. Joachim debuted the authoritative version in 1868, and Bruch’s concerto spread quickly into the hands of the leading violin soloists.

Bruch’s legacy rests on a handful of exceptional works for soloist and orchestra, above all the First Violin Concerto. Unlike a typical concerto, with its meatiest music concentrated in the first movement, Bruch’s structure begins with a free-ranging Vorspiel (Prelude) full of improvisatory solo declamations. There were precedents for these cadenza-like flourishes, notably Beethoven’s Fifth Piano Concerto, but the expected course was for the movement to then proceed through a typical concerto structure. In a bold departure, this concerto instead delivers the central Adagio movement directly out of the unresolved tension of the Prelude, bringing sweet relief in a touching melody in E-flat Major. The Allegro energico

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finale makes a clever entrance by continuing the slow movement’s closing sonority, delaying the triumphant arrival of the solo violin’s romping chords in the home key of G Major. The soaring beauty of the contrasting lyrical theme confirms Bruch’s abundant gift for heartfelt, singing melodies.

KEEP AN EYE ON... ...Steve Vacchi, who will forego his usual role playing the contrabassoon in Richard Strauss’s An Alpine Symphony, and instead play a rare instrument called the heckelphone, invented by German woodwind manufacturer Wilhelm Heckel in response to a request by composer Richard Wagner. KEEP AN EAR OUT FOR... ...the turbulent sounds of a wind machine in the Thunder and Storm movement of An Alpine Symphony, created by a hand-cranked cylinder of wooden slats scraping against a canvas cover.

RICHARD STRAUSS (1864–1949) An Alpine Symphony, Op. 64 [1915] This massive work is scored for four flutes, two piccolos, three oboes, English horn, heckelphone, three clarinets, E-flat clarinet, bass clarinet, four bassoons, contrabassoon, eight horns, four trumpets, four trombones, two tubas, two sets of timpani, percussion, two harps, celesta, organ, and strings. This is the first Eugene Symphony performance, and performance time is approximately 47 minutes. Strauss began his musical life with conservative tastes, taking after his father (the great horn player Franz Strauss) in a preference for the Classical style of Mozart, Haydn and Beethoven. It was only once Strauss left home that his ears opened up to the “music of the future,” to quote a phrase associated with his new musical idol, Richard Wagner. In time, (Continued on page 34)

Alpine Symphony Program Notes (Continued from page 33) Strauss would inherit Wagner’s mantle as the king of progressive opera, thanks to works like Salome (1905) and Elektra (1909). But first he followed Liszt into the realm of the symphonic poem, as heard in Don Juan (1889), Till Eulenspiegel’s Merry Pranks (1895) and Also sprach Zarathustra (1896). These “tone poems,” to use Strauss’ preferred term, redefined the orchestral genre and placed the young composer at the forefront of the musical avant-garde. In 1911, amid his long streak of operatic hits, Strauss revisited a draft of a movement from an abandoned work titled The Alps. His return to orchestral music was partly inspired by the death of the great symphonist Gustav Mahler, and the work that grew out of that impulse merged Mahler’s all-encompassing approach to the symphony with Strauss’ gift for descriptive and seamless tone poems. An Alpine Symphony requires a huge orchestra, including four of each woodwind and a brass section of 18 players, balanced by two harps, organ, celesta and enlarged string sections. After the work was rehearsed, Strauss was said to have remarked, “Now at last I have learned to orchestrate”—quite a statement from a composer whose earlier tone poems are linchpins of the orchestral repertoire. The structure of An Alpine Symphony assembles 22 continuous sections that follow the arc of a single day, beginning and ending with the dark calm of Night. The descending scale segments, heard murmuring in the opening measures and repeated more robustly in the Sunrise section, form a central theme of the work. The Ascent begins the vigorous expedition into the Alps, and then Entry into the Forest paints a vivid pastoral picture, complete with birdcalls. Four short segments follow in quick succession: Wandering by the Brook, At the Waterfall (distinguished by descending cascades), Apparition

and On Flowering Meadows. Clanging cowbells mark the arrival On the Alpine Pasture, and then tangled counterpoint depicts the adventurers Straying through Thicket and Undergrowth and finally emerging On the Glacier, marked by the biting brilliance of trumpet melodies.

The structure of An Alpine Symphony assembles 22 continuous sections that follow the arc of a single day, beginning and ending with the dark calm of Night. Ominous, scherzo-like music represents Dangerous Moments, and then, with a powerful push from the trombones, we are On the Summit, with music that blooms from a humble oboe solo into a majestic climax. The following section, Vision, turns exultant, especially when undergirded by the deep pedal notes of the organ doubled by two tubas. Two more short sections mark the work’s turning point, as first Mists Rise and then The Sun Gradually Becomes Obscured. The Elegy features expressive string melodies and an English horn reference to the descending theme from the opening. In Calm Before the Storm, the hovering stasis is fractured by thunder, wind and disquieting bird calls, until pizzicato raindrops and chromatic gusts unleash the ferocious section labeled Thunder and Storm. Another variant of the descending motive colors the Sunset, and then chorale-like chords from the organ introduce the humble tone of Vanishing Sound. The closing section comes full circle to Night, and this hybrid symphony/tone poem concludes in the same dark hue of B-flat minor where it began.

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Alpine Symphony Guest Artist Ryu Goto Ryu Goto has established himself as a significant voice in classical music, with a large and growing public in Asia, North America and Europe. Goto’s career began at age seven when he made his debut at the Pacific Music Festival in Sapporo, Japan, playing Paganini’s Violin Concerto No.1. Since then, Goto has appeared as a soloist with many of the world’s leading orchestras, including National Symphony Orchestra, London Philharmonic, Münchner Philharmoniker, Wiener Symphoniker, Sydney Symphony, The Philadelphia Orchestra, Orchestre national de Lyon, Orchestre symphonique de Montréal, Frankfurt Radio Symphony, Hamburger Symphoniker and Shanghai Symphony Orchestra. Goto has performed in many of the world’s most prestigious venues, including Carnegie Hall, Kennedy Center, Tokyo Suntory Hall, Sydney Opera House, Shanghai Grand Theater, Taipei National Concert Hall, Vienna Musikverein, Munich’s Herkulessaal and the Philharmonic Hall Gasteig.

In Japan, Goto’s features in media are numerous, including his own documentary Ryu Goto’s Odyssey, a chronicle of his career and personal life from 1996-2006. He also serves as spokesperson for the East Japan Railway Company with regular coverage on TV, radio and in print. Since October 2015, he has appeared weekly on TV Asahi as the host of Untitled Concert, a nationally televised program in Japan that has been listed in Guinness World Records as “the longest-running TV program for classical music.”

Goto’s career began at age seven when he made his debut at the Pacific Music Festival in Sapporo, Japan, and he has since appeared as a soloist with many of the world’s leading orchestras. Goto’s philanthropic work includes working with student musicians throughout the world, mentoring their development, conducting master classes in conjunction with the world’s top institutions. Efforts include the “Ryu Goto Excellence In Music Initiative Scholarship” with the NYC Department of Education, as well as collaborations with institutions like the Juilliard School and the Harvard Bach Society Orchestra. He does extensive musical outreach and cultural exchange in developing countries in Latin America, Southeast Asia and Africa.

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SymFest II Eugene Symphony Laura Jackson, conductor | Time for Three, string trio | Siri Vik, vocalist Saturday, June 3, 2017 7:30 PM | Silva Concert Hall, Hult Center Mikhail Glinka

Overture to Ruslan und Ludmila

Gustav Mahler

Symphony No. 1 in D Major, “Titan” – Mvt. III: Feirlich und gemessen mashed up with The Verve: “Bitter Sweet Symphony” Guns N’ Roses: “Sweet Child of Mine” Time for Three

Kurt Weill

“Denn wie man sich bettet” from Mahogonny “Alabama Song” from The Little Mahogonny Siri Vik, vocalist

Vittorio Monti

Csárdás Time for Three INTERMISSION

Igor Stravinsky

Berceuse and Finale from The Firebird

Louis Louiguy/ arr. Aaron Grad

“La vie en rose” Siri Vik, vocalist

Dumont & Vaucaire/ arr. Aaron Grad

“Non, je ne regrette rien” Siri Vik, vocalist

Ludwig van Beethoven

Symphony No. 9 in D minor, “Choral” – Mvt. II: Molto vivace mashed up with Lin Manuel Miranda: Music from Hamilton Bernard Hermann: Music from Vertigo Britney Spears: “Toxic”

Unless otherwise noted, all works performed are arranged by Time for Three (Charles Yang, Nick Kendall, and Ranaan Meyer) and orchestrated by Steve Hackman.

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SymFest II Guest Conductor Laura Jackson Laura Jackson, now in her seventh season as music director of the Reno Philharmonic, continues to win praise for her artistry, leadership, innovative programming, and creative community engagement.

While in Ann Arbor, Laura Jackson served as Music Director of the Life Sciences Orchestra, made up of doctors, researchers, students, and staff of the university life sciences community. In addition to concerts with the Reno Philharmonic, Jackson guest conducts nationally and internationally. In May 2013 she became the firstever American to lead the Algerian National Orchestra; other recent engagements include L’Orchestre de Bretagne in France and the Philippine Philharmonic Orchestra. In addition, she recorded Michael Daugherty’s Time Cycle on Naxos with the Bournemouth Symphony in partnership with Marin Alsop. In North America, she has performed with the symphonies of Alabama, Atlanta, Baltimore, Berkeley, Detroit, Phoenix, San Antonio, Toledo, Toronto, Windsor, and Winnipeg, among others. Jackson spent her early childhood in Virginia and Pennsylvania before moving at age 11 to Plattsburgh, NY, where she grew up waterskiing, swimming, and sailing on Lake Champlain. She fell in love with the violin in public school, later attending the North Carolina School for the Arts to finish high school. She pursued an undergraduate degree at Indiana University where she studied both violin and conducting before moving to Boston in 1990 to freelance as a violinist and teach at Phillips Exeter Academy in New Hampshire. She won her first conducting position in 1992 with the Nashua Chamber Orchestra and served as music director there until 1998. In 2005, she earned her doctorate in orchestral conducting from Michigan. While in Ann Arbor, she served as Music Director of the Life Sciences Orchestra, made up of doctors, researchers, students, and staff of the university’s life sciences community.

SymFest II Guest Artist Time For Three The groundbreaking, category-shattering trio Time for Three (Tf3) transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own. The members—Nicolas (Nick) Kendall, violin; Charles Yang violin; and Ranaan Meyer, double bass—carry a passion for improvisation, composing, and arranging, all prime elements of the ensemble’s playing.

Time for Three’s high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. To date, the group has performed hundreds of engagements as diverse as its music: from featured guest soloists on the Philadelphia Orchestra’s subscription series to Club Yoshi’s in San Francisco to residencies at the Kennedy Center to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein Festival in Germany. Recent highlights included their Carnegie Hall debut, appearances with the Boston Pops, Melbourne Symphony Orchestra, a sold-out concert at the 2014 BBC Proms, and an appearance on the ABC prime time hit show “Dancing with the Stars.” Tf3’s high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings. In 2014 Time for Three released their debut Universal Music Classics album, Time for Three, which spent seven consecutive weeks in the Top 10 of Billboard’s APRIL – JUNE 2017

Classical Crossover Chart. The ensemble has also embarked on a major commissioning programs to expand its unique repertoire for symphony orchestras including Concerto 4-3, written by Pulitzer-Prize winning composer Jennifer Higdon, Travels in Time for Three by Chris Brubeck in 2010, cocommissioned by the Boston Pops, the Youngstown Symphony, and eight other orchestras, and Games and Challenges by William Bolcom, commissioned by the Indianapolis Symphony. Their latest project, a three-year residency with the Sun Valley Summer Symphony, includes commissions for three new works. Time for Three premiered the first of these works, Elevation: Paradise, in Sun Valley in August, 2015 and the second, Free Souls, in July, 2016.

SymFest II Guest Artist Siri Vik Siri Vik is recognized within the Northwest music scene as a singer of versatility, power, and emotion. Since winning Grand Prize at the International Lotte Lenya Competition 15 years ago when still singing opera, Siri found a niche interpreting songs ranging from classical to pop to jazz to musical theater songs with history, edge, and a healthy dose of human suffering. For several years Siri has created and premiered cabaret evenings at Eugene s John G. Shedd Institute for the Arts, and has since performed concerts devoted to this eclectic repertoire throughout Oregon and the Northwest region, most often reprising her two shows rooted in old-world cabaret: Moon Shines Red: Weill & Brecht, and La Môme Edith Piaf.

Vik has found a niche interpreting songs ranging from classical to pop to jazz to musical theater songs with history, edge, and a healthy dose of human suffering. Recent performances include singing the Acid Queen with Eugene Ballet’s production of Tommy–The Ballet, opening for comedian Bob Newhart at Seven Feathers Casino and for Tori Amos at Britt Festival, and appearing with her band The Red Propellers on the vaudeville stage at Oregon Country Fair. Last November Siri performed her third album tribute show with the Joe Manis Quartet at Jimmy Mak’s in Portland, Christo’s in Salem, the Shedd, and at the Pleasant Hill Jazz Festival. She is a featured soloist with Emerald City Jazz Kings, and at the Oregon Festival of American Music. This April, Siri partners with Eugene pianist/arranger Nathan Alef to present her latest musical tribute at The Shedd, honoring her most beloved musical icon, Nina Simone.

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Beyond the Podium Looking Back on Danail’s Years with Eugene Symphony 2009–2017

The Eugene Symphony’s 51st season has been a yearlong tribute to Music Director and Conductor Danail Rachev, who departs to pursue the next stage of his career after his tenure concludes in June 2017. To recognize his eight years at the artistic helm of the organization, we have collected thoughts and reflections from patrons, musicians, staff, and Rachev himself.

Not only has he added talented musicians to the ensemble, he has chosen brilliant and challenging programs—including some new and fascinating pieces—that have entertained and enlightened us all. He loves Oregon and his family has enjoyed their time exploring here: restaurants, wine, the mountains and coast, and particularly, the Ducks! We will miss him, and his lovely family, and look forward to following him in his bright future.”

“I believe we have one of the best regional orchestras in the United States, and I am very proud of what we have accomplished Through Rachev’s thoughtful and adventurous programming, together here in Eugene over the last eight years,” says Maestro the organization has commissioned five new orchestral Rachev. “We have made works—sustaining the music with limitless Symphony’s legacy of We have made music with limitless passion, passion, musicality, and relationships musicality, and commitment at every opportunity. developing commitment at every with some of American’s opportunity. I will always I will always cherish the great times I’ve had in the most gifted composers— cherish the great times Hult Center performing for the Eugene audience, three of which premiered I’ve had in the Hult Center in the celebratory 50th performing for the Eugene and I will take these memories with me. Anniversary Season. audience, and I will take —Danail Rachev Also in the 50th season, these memories with me.” the organization saw its highest grossing concert in its half-century history, an increase “It has been such an awesome experience to watch the in subscriptions, and the best year of contributed revenue with orchestra grow under Danail’s leadership,” says Eugene individual gifts, corporate sponsorship, and foundation support. Symphony Board President Matt Shapiro and 17-year patron. The organization’s endowment has increased considerably as well, “So many people tell me the orchestra has never sounded better. securing success for generations to come.

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Rachev has also elevated the quality of the orchestra with key hires throughout the ensemble, including Concertmaster Searmi Park, who took the position in 2013. “I will always be grateful to Danail for giving me this wonderful opportunity to be Eugene Symphony’s Concertmaster,” says violinist Searmi Park. “We have been so fortunate to have him on the podium—he has always demanded the highest possible musical standard from the orchestra, while giving us the artistic freedom to express ourselves. I admire Danail as a deep, sincere person who stays true to himself while having great respect for the music and the musicians around him.” Rachev has spearheaded reaching new audiences through the launch of signature initiatives such as Counterpoint and Symphony in the Park. Counterpoint, a multidisciplinary festival led by the Symphony in 2011 and 2013, united a spectrum of arts organizations in Eugene around a common, resonant theme— love, fate, war, peace—creating a deeper understanding of the role of arts within our community and lasting partnerships. Symphony in the Park, launched in 2009, is a free summer concert at Cuthbert Amphitheater that has become an iconic and beloved annual event in Eugene. It draws crowds of more than 5,000 fans, from orchestra subscribers to brand-new attendees who might not otherwise experience a classical concert. “I have such respect for the total commitment and deep musicality with which Danail pursues his craft as a conductor,” says Executive Director Scott Freck, “and how he has inspired the orchestra and built the ensemble’s sound.” “I wish to thank Danail for his contribution to the growth of the Eugene Symphony,” says Dave Pottinger, Eugene Symphony President-Elect and nine-year patron. “Danail’s love and devotion for classical music has challenged the players and made our Symphony one of the finest regional orchestras in the nation. As chair of the Strategic Planning Committee, I recall Danail’s thoughtful contributions to the Long Range Plan and its associated impact on the positive development of the Association.” “I have so many wonderful memories of Danail and his time in Eugene,” says Maylian Pak, former Eugene Symphony Development Director and 12-year patron. Some of my favorites include: – Watching his face while he was conducting during his auditions. He conducts with such joy and genuine love for the music. – Listening to how much the orchestra improved under his leadership. Their sound is so rich and has great depth and emotion—a reflection of Danail’s passion. – Watching him interact with donors, engaging them in deep philosophical discussions about music or Oregon football (or both!).” (Continued on page 50) APRIL – JUNE 2017

(Clockwise, from top) Danail conducts the inaugural free summer concert in 2010; Elizabeth, Danail’s wife, sings during the same concert; Danail helps prepare a Bulgarian dinner at the home of Jim and Janet Kissman; Danail and Elizabeth enjoy a University of Oregon football game; Danail with newborn daughter Neviana in 2013; Matt Shapiro holds Danail’s older daughter Kalina at Brunch with the Maestro in 2012.

(Continued from page 49) “My first impression of Danail was awe at his musicianship,” says Mira Frohnmayer, Professor Emerita/Music, former Board member, and nine-year patron, “and ease of conducting an orchestra—that was his audition for the job with the Eugene Symphony. I was very happy that many others, including orchestra members, were in agreement and that he got the position! As time went on, we became friends. He used our car (The Grand Dame) all the years he was here and so I not only had the opportunity to listen to him and the orchestra make beautiful sounds together, but got to know him as a person without his required tux and tails. From that came many lovely times with his family. It was a pleasure to meet and greet them when they came to Eugene. Danail has wonderful repertoire ideas that came to fruition in the beautifully balanced programming the Symphony offered. Further, he brought renowned as well as new artists to our attention. I will miss Danail, his musical ideas, his good will and his humor. I wish him and his family love and best wishes as they continue their quest for giving the world exceptional music-making. I will follow their journey with great interest. Besten Dank!” “To Our Dear Maestro, Over the years you have inspired my deepest gratitude with your many gifts. For example, you used poetic images to describe a musical composition or a phrase. In addition, you shared your profound artistry with the Symphony, drawing constant standing ovations from all of us. Your generous, warm spirit was expressed, on an informal occasion, in response to a musician’s virtuosity, eliciting his heartfelt appreciation. Congratulations to you for your many accomplishments, not only here but in the United States and abroad. Your successes never changed your sense of humor or humility. With thank-you notes that will ring in your and your dear family’s ears forever, —Galina Groza, former Advisory Council President and current sponsor of the Instrument Petting Zoo (Top, left) Danail with violinist Itzhak Perlman in 2014 (Top, right) Danail and cellist Yo-Yo Ma in 2015 (Above, clockwise) Danail leads a “Learn to Conduct” class in 2012; Danail and then Board President Mary Ann Hanson during a post-concert reception in 2011; Love + Fate Counterpoint concert in 2013; Danail with Galina Groza just before the 2016 Eugene Symphony in the Park summer concert.

“Thank you so much for all that you have brought to our experience of classical music and for contributing so much to our 50th Anniversary Celebration. It has been a great pleasure to work closely with you and come to know you and your family as friends.” —Barbara Walker, Board member, 50th Anniversary Celebration Committee Chair, and 12-year patron

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Donor SPOTLIGHT Longtime supporters receive 2017 Advocate for the Arts award At its Gala 2017 on February 4, the Eugene Symphony Association presented the 2017 Advocate for the Arts Award to Drs. Lauren and Keyhan Aryah. Drs. Lauren and Keyhan Aryah moved to Eugene in 1992, and they brought with them a deep love and commitment to arts and music, and the valuable role they play in bringing us together. Both Lauren and Keyhan grew up playing piano. Lauren’s father played clarinet in a community orchestra and from a young age, she was able to experience the New Haven Symphony and see many firstrun Broadway shows at the Schubert Theatre. Keyhan first saw a live orchestral performance when he was 10 years old, attending the Tehran Symphony Orchestra in Iran. These early moments opened their hearts and minds, and paved the way for their lifelong love of the arts. For two-and-a-half decades, our orchestra and our community have greatly benefitted from their investment and experience. Not long after they settled here, they met former Music Director Miguel Harth-Bedoya who invited them into the Symphony family – Keyhan joined the board and has been contributing as a corporate sponsor ever since. Lauren chaired two Galas, supported other events, and hosted countless concerts in their home including the Eugene Symphony Guild’s Music in the Garden tours. They watched as their kids explored music and attended our Youth Concerts through their schools. Their daughter sang the national anthem at Macarthur Court, and performed with the Oregon Mozart Players—opportunities that speak to Eugene’s uniquely rich arts landscape. In addition to the Eugene Symphony, Lauren and Keyhan have attended and donated to the Oregon Bach Festival, and beyond the arts they have supported the Angel Hair Foundation, Food for Lane County, KLCC Public Radio, and Temple Beth Israel. Their generosity and belief in our community is an inspiration to us all.

Drs. Keyhan and Lauren Aryah “This award came as a complete surprise. Thank you to the Eugene Symphony Board. We are humbled by this recognition and deeply honored to receive this award. Our contributions over the years have come from our love of the arts and our desire to see them ﬂourish. Keyhan and I believe that the arts are the heart and soul of our community. The arts evoke emotions, they transport us, and allow us to fantasize. They inspire imagination. Sitting in the Hult Center, listing to the Symphony, creates a gathering place for a collective experience, where participation is uniquely personal and intimate, yet it is shared as a community. This creates opportunity for dialogue. There are not many cities of our size who can boast the cultural resources that Eugene possesses. The arts enrich the citizens of our community, they create incentive for recruiting the best and the brightest to live amongst us. The positive impact on our economy and culture is beyond measure.

At Gala 2017, Drs. Keyhan and Lauren Aryah receive the 2017 Advocate for the Arts award from 2016 recipients Mary Ann and Niles Hanson.

One of the most important aspects of our Symphony’s mission is to introduce our young people to the beauty of music and instill in them the value and appreciation for our orchestra. This outreach instills a sense of pride and purpose in our community. Music appreciation allows our youth to develop a conﬁdence for personal interpretation and expression, without judgement, it challenges them intellectually and touches them spiritually. This universal language speaks directly to the heart. Our community of symphony supporters is committed to invest in the next generation of music lovers and musicians. We should all be proud of this effort. Thank you all for sharing in this commitment.”

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Front row: Peter A. Karth, M.D., M.B.A., Keyhan F. Aryah, M.D., W. Benjamin Kunz, M.D. Back row: Robert M. Beardsley, M.D., John W. Karth, M.D

Oregon Eye Consultants pledges continued commitment to Eugene Symphony “ Oregon Eye Consultant’s commitment to the Eugene Symphony and the City of Eugene has a long and consistent history. Our doctors believe that supporting the Eugene Symphony is central to our commitment to doing our part to make our community better. We believe that providing exceptional eye care to Eugene is our duty and pleasure and we want to do all we can to ensure the Eugene Symphony continues to provide exceptional musical art to our community.” —Peter A. Karth, MD, MBA “ At each phase in one’s life, there is certain music that relates to your experience. Music that expresses the place you are in your life. Being able to support the performance of the music as well as enjoy those performances, marks a very satisfying place in both my personal and professional life.” —John W. Karth, MD

“ The Eugene Symphony expands our minds by sharing some of history’s finest artworks performed by some of the world’s most talented musicians. Oregon Eye Consultants gives patients access to the most modern treatments with personalized medicine by national board certified, fellowship trained ophthalmologists. It is the professional and personal mission of the symphony and OEC to elevate our city and make the national arts and technology available just down the street in Eugene.” —Robert M. Beardsley, MD “ Supporting the orchestra lines up perfectly with our professional goals—to enhance the quality of life for our community. The Eugene Symphony helps to enrich the lives of those around us, and elevates our minds. We are committed to helping them remain the cornerstone of the arts here in Eugene.” —W. Benjamin Kunz, MD

Interested in learning more about opportunities for corporate support? Contact Development Director Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487 x104

APRIL – JUNE 2017

EUGENE SYMPHONY

Join the Jordan Schnitzer Museum of Art! JSMA members have opportunities to experience the museum unlike other guests. n

Unlimited FREE admission for one year

Invitations to the opening receptions for major exhibitions

Invitation to Members’ Season Preview Party

JSMA Member Magazine

Discounts on workshops and classes

10% Discount at The Museum Store

10% Discount at Marché Museum Café

For more information, call our membership office, 541-346-0974 or visit http://jsma.uoregon.edu/membership

Become a member today! EO/AA/ADA institution committed to cultural diversity

APRIL – JUNE 2017

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EUGENE SYMPHONY

On That Note On That Note introduces a member of the orchestra. This issue features contrabassoonist Steve Vacchi, who joined the Eugene Symphony in 2014. Hometown? Portsmouth, Rhode Island How long have you been playing music? I started piano around 1973, then saxophone in 1978, bassoon in 1979, and contrabassoon in 1982. I also played bass clarinet, euphonium, and cello, among others.

...with Steve Vacchi

If you could meet one composer/musician, who would it be and why? Even though Aaron Copland walked into my right elbow at Tanglewood one summer, I’d say Igor Stravinsky. I think his humor would be hilariously dry. Where is your favorite place on the planet and why? I’ve been fortunate to have visited more than 30 countries—there is still much more to see, so ask me again in a few years! Red, white, stout, hoppy or none of the above? Red in winter, and white in summer. I’m an equal opportunity wine enthusiast.

Why did you decide to play the contrabassoon? After starting bassoon and learning that there was an even lower version of it, I couldn’t wait to play it. Low instruments have always appealed to me—there is something about playing in the foundation range of an ensemble.

Favorite book/movie you’ve read/seen recently? I’m always behind on movies, though I enjoy them. I’m currently reading Letters I Never Mailed by Alec Wilder—it’s kind of a diarybiography.

When you’re not playing your contrabassoon, what would we most likely find you doing? Working at my full-time job as professor of bassoon at UO, enjoying food, visiting wineries, distance swimming, and traveling.

What do you think some audience members might find surprising about you? I’m an excellent proofreader, I love languages, I play contrabass clarinet in Eugene’s Platypus Clarinet Orchestra, and I’m an eight-year cancer survivor.

If you weren’t a musician what would you be? I’d work as a linguist, translator, or in international relations.

Do you have any other exciting life endeavors you’d like to share? I’ll be performing at an electroacoustic conference in Birmingham, England later this month, and I’ve been working on my dual citizenship with Italy for the past year or so.

What are you excited to play in our 52nd Season and why? At this point in my career, I’m most interested in pieces that I haven’t played before: Elgar’s In the South and Hovhaness’ Mysterious Mountain will be new for me next season. Of the repertoire that I’ve played before, the Ravel Piano Concerto for the Left Hand opens with a great contrabassoon solo and Mahler’s Fifth Symphony is simply epic.

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Scenes from Offstage

(Clockwise from top) At a visit to Guy Lee Elementary School in Springfield on March 14, Music Director Finalist Francesco Lecce-Chong explains the basics of conducting. Pink Martini lead vocalist China Forbes poses with Symphony Board member Zack Blalack and wife Natalie at a reception before the concert. On January 24, Music Director Finalist Ryan McAdams conducts students at Mt. Vernon Elementary School as part of his presentation about music and conducting. Maylian Pak, Elizabeth Allcott St. Clair, and Raychel Kolen bid on one of the many auction packages at the Eugene Symphony annual Gala. At the Laura Avery Visiting Masters Series on February 14, Grammy Award-winning classical guitarist Sharon Isbin discusses guitar technique with a local student.

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

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.

APRIL – JUNE 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.

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

Dr. Matthew Shapiro & Maylian Pak* Betty L. Soreng Fund of The Oregon Community Foundation*

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

The Haugland Family Foundation Dave & Sherrie Kammerer* Meg Mitchell David & Paula Pottinger* Otto & Joanna Radke

James & Jane Ratzlaff Paul Roth* 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* Jenny Jonak & Mike Bragg Marilyn Kays Diana G. Learner & Carolyn Simms* Matthew McLaughlin*

Herb Merker & Marcy Hammock* Janet Van Nada Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Dunny & Debbie Sorensen Leonard & Inge Tarantola* Jack & Florence Vollstedt

BRONZE PATRONS | $2,500 – $4,999 Anonymous* (3) Joseph & Margaret Adelsberger Laura Avery* Kent Barkhurst Joanne Berry Anne & Terry Carter* Deb Carver & John Pegg William & Karla Chambers Jeff & Julie Collins Carol Crumlish Edna P. DeHaven Virginia Fifield* Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett Mike Fox & Rebekah Lambert* Bill & Judy Freck

Scott & Leslie Anderson Freck Dennis & Nancy Garboden Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of The Oregon Community Foundation Elizabeth & Roger Hall Lin & Don Hirst Starly Hodges Hugh & Janet Johnston Marilyn & Michael Kelly Jeannette Kimball Jim & Janet Kissman Deborah Lewis Larson Bob & Brenda Macherione Michael Lewis & Martha MacRitchie Sarah G Maggio

Duncan & Jane Eyre McDonald James & Marilyn Murdock Arden Olson & Sharon Rudnick Laura Parrish & Richard Matteri Philip & Sandra Piele* Roger Saydack & Elaine Bernat* Heinz & Susan Selig Jonathan & Maureen Sherman Ellis & Lucille Sprick Brad & Colleen Stangeland Michael Vergamini Dr. James & Jan Ward* Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker John & Emilie York

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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 Skeie’s Jewelers Chvatal Orthodontics

Eugene-Irkutsk Sister City Committee Wildish Companies Jonak Law Group

Banner Bank Bigfoot Beverages

ADDITIONAL SUPPORT SPONSORS Kernutt Stokes Ferguson Wellman The Gilmore Agency Oakmont Family Dental Euro-Asian Automotive

Coconut Bliss Eugene Airport The Office of John E. Villano, DDS Sports Car Shop Palo Alto Software

Summit Bank Concentric Sky Mountain Rose Herbs Mercantile 5th Street Public Market

IN-KIND SEASON SPONSORS Dot Dotsons Hilton Eugene

The Broadway Wine Merchants Marché

Oregon Electric Station Technology Association of Oregon

SPECIAL THANKS TO... City of Eugene/Hult Center for the Performing Arts Framin’ Artworks

Partnered Solutions IT Kesey Interprises JLN Design

George Relles Sound, Inc. Amanda Smith Photography Technaprint

FOUNDATION PARTNERS The Silva Endowment Fund of The Oregon Community Foundation

Herbert A.Templeton Foundation

Cow Creek Umpqua Indian Foundation

The Ann & Gordon Getty Foundation

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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 (3) Jim St. Clair & Liz Alcott St. Clair Kevin & Irene Alltucker Virginia P. Anderson Ted & Marie Baker Lauren Bird-Wiser Louise Bishop & James Earl Carl Bjerre & Andrea Coles-Bjerre Shawn & Melva Boles Ruby Brockett John & Christa Brombaugh Delpha Camp Robert & Kathleen Carolan 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 Stephen & Francoise Durrant Dieter & Juanita Engel Volker & Sheri Engelbert John & Jo Fisher Susan & Greg Fitz-Gerald McClure Associates Eric & Kristin Forrest Robert & Violet Fraser Gary J. LeClair & Janice R. Friend Sam Fryefield Michael & Janet Harbour Shirley J. Hawkins Monica Careaga Houck Ellen Hyman Allan & Dorothy Kays Charles & Reida Kimmel Eunice Kjaer Steve & Cyndy Lane

Kaye Lefrancq John & Ethel MacKinnon Gary P. Marcus Sara & David Mason Mel & Carol Mead John & Barbara Mundall David & Jill Niles Charlotte Oien Donald Gudehus & Gloria Page Theodore & Laramie Palmer Judson Parsons & Diana Gardener Hope Hughes Pressman Fund of The Oregon Community Foundation In memory of Britta Putjenter John F. Quilter Blandon Ray & Kim Nies Michael & Marjorie Rear Nancy Oft & Mike Rose Jim & Paula Salerno

Jane Scheidecker Chris Walton & Elizabeth Sheehan Sheppard Family Fund of the Oregon Community Foundation John & Betty Siebs Susan Simmons Mike Simonitch Ken & Kenda Singer Sarah Sprague Marion Sweeney, Kate, & Cama Laue Cathye Tritten Todd & Lisa Tucker Sharon Ungerleider & Ron Lovinger Hubert John & Linda Kay Van Peenen Steve & Kim Wildish Marguerite Zolman

Jane & Latham Flanagan, MD Liz & Greg Gill Sylvia Giustina David Hattenhauer Erwin & Vicki Haussler Lisa A. Hawley Ronald & Cecilia Head Lucille P. Heitz William & Barbara Hemphill Charles Henry Donald Holst & Kathy Locurto Ronald & Donna Ivanoff John & Marcia Jarrett Kaye Johnston Brandon Julio & Haydn Zhang Doreen Kilen Doris Kuehn Jason Tavakolian & Jennifer Lamberg

Linda Lanker Greg Brokaw & Elaine Lawson John & Patricia Lorimer Mark & Denise Lyon Robert & Colleen McKee Lee & Mary Jean Michels Boyd & Natalie Morgan Andrew Nelson & Ann Carney Nelson Dr. Richard & Kristina Padgett Searmi Park John & Joanne Porter David & Jane Pubols Marjory Ramey Reed Family Foundation Dr. Candice Rohr Judith Sabah & Amir Tavakkol Annie Schmidt

Sheppard Motors, Ltd. Roberta Singer Trace & Lisa Skopil Jerry Reed & Sandi South Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Sing & David Tam Jeff & Linda Taylor Charitable Fund Jean Tuesday Pierre & Mary Lou Van Rysselberghe Dave Veldhuizen & Roanne Bank Jerome & Judy Vergamini Phyllis Villec Peter & Josephine Von Hippel Hilda H. Whipple Pamela Whyte & Ron Saylor

Amy Jo Butler Leonard & Janet Calvert Larry & Karlyn Campbell Frank & Nancy Carlton Dr. Douglas Smyth & Mr. James Chang Daniel Claric Hiett & Caron Cooper

Roger Coulter Tami Dean James & Hannah Dean Lance & Ann Devereaux Wendy Dame & Don Doerr Mary Louise Douda Tomi Douglas Michael Drennan

Benefactors ($500–$999) Anonymous Gil & Roberta Achterhof Frank & Dorothy Anderson Howard Anderson & Susan Rutherford Joyce Benjamin Ron & Janet Bertucci Jim & Joanna Branvold Mary Breiter & Scott Pratt Robert & Robin Burk George & Fanny Carroll Mary Clayton Allan & Nancy Coons David & Priscilla Croft Robert & Laoni Davis Paul & Vivian Day Charles & Marilyn Deaton Nena Lovinger Howard & Kathleen Epstein

Sustaining Members ($250–$499) Anonymous (2) Brian & Laurel Allender Lucille Allsen Kim Anderson Tony Anthony & Christine Shirley Sue Bach Robert Baechtold Don Baldwin

Tom & Patti Barkin Harold & Susan Baurer Carmen Bayley Jeff & Nancy Beckwith Laird & Ronnie Black Jack & Toni Brown Michael Burkhardt Susan Butler

This listing is current as of March 20, 2017. 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.

EUGENE SYMPHONY

Season Supporters Sustaining Members ($250–$499) Peter Edberg & Bryna Goodman John Etter Gary Ferrington Ninkasi Brewing Robert & Jill Foster David Foulkes & Nancy Kerr David & Deena Frosaker Barbara Gates Mary Gent Robert Gilberts & Pat Candeaux Gilberts Scott Ricker & Mary Gleason-Ricker Ann & Ed Gordon Sally Grosscup John & Claudia Hardwick Mary Globus & Gary Harris Kay Hayford Bob & Debbie Heaton Morley Hegstrom Richard & Gerald Hicks Ken Higgins Sara Hodges Lewis & Sandra Horne Robert H. Horner & Polly Ashworth

Joseph Hudzikiewicz Judith Johnson Peter & Jane Kay Margaret Knudsen Raychel Kolen & Paul Allen John & Muriel Kurtz Gayle Landt & Martin Jones Thomas & Margaret Leonhardt Ron Lillejord & Catherine Truax Richard & Jacquie Litchfield Doug & Diane Livermore Sara Long Dan Temmesfeld & Audrey Lucero Carrie & Mike McCarthy Janelle McCoy Stephen & Clari McDermott A. Dean & Lucille McKenzie Joseph & Xandra McKeown Glenn Meares & Marty McGee Bonita Merten Michael Milstein Jack & Barbara Miner Doug & Leslie Moitoza

Dr. Jeffrey Morey & Gail Harris Gerald Morgan Jon & Barb Morgan George & Cheryl Morris Judith Mortimore Kenneth & Jackie Murdoff Christian & Betsy Nielsen Heather Nolle David & Anne O’Brien Karen Leigh & Keith Oldham Harold & Joyce Owen Phillip Kimmel & Stephanie Pearl-Kimmel Ashley Petsch Jeffrey & Liz Peyton Nathan & Robin Phillips Dave & Linda Pompel Joyce Pytkowicz Keith & Carol Richard Joe & Marian Richards Linda & Tom Roe Mike & Casey Roscoe Brooks Sanders Norman & Barbara Savage

Eric Schabtach Dawn & Robert Schanafelt Todd & Martha Schuetz Betty Lou Snyder Dave & Dorothy Soper Jerry & Sandi South Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Michael & Candace Syman-Degler Gary Tepfer & Esther Jacobson-Tepfer John & Margaret Thomas Barry Cooper & Beth Valentine Oakshire Brewing Terry & Lucy White Tina & Tom Williams Forrest & Anna Williams Robert & Patricia Wilson Harry & Connie Wonham Candice Woyak Dr. Steven Yoder JoAnn Zinniker Alex Zunterstein

Jan Lintz Janet Logan & William Oakley Bert Lund Gerald & Lynda Green Robert & Barbara Maurer David & Doris McKee Gary & Jill McKenney Sarah & Josh McCoy Mike Shippey & Mary Minniti John & Shanna Molitor John & Cheryl Moore Kathy Moulton Beverly A. Murrow Diane Vandehey-Neale Terry & Donna Niegel Richard J. O’Brien Dr. Jay & Mary C. O’Leary Joy Olgyay & William Taliaferro Leslie Parker Dorothy Parrott James & Susan Pelley William & Cheryl Pickerd Douglas W. Pierce & Cynthia L. Secrest Jim Pilling Gary Pischke & Elizabeth Herbert Guntis & Mara Plesums Michael & Judy Ponichtera Camilla Pratt Randy Prince Virginia Prudell Andrzej Wieckowski & Teresa Prussak-Wieckowska Richard & Patricia Rankin Lloyd & Marilyn Rawlings

Troy & Kathryn Richey Bernard Robe & Diane Hawley Bernard & Ginger Bopp Daniel & Kay Robinhold Gerald & Marcia Romick Sally Ann Ross Michael & Wendy Russo Madeline Malsch Madeline Santoyo Richard & Karen Scheeland Brandt & Sarah Schram Donald Seiveno Kim & Tim Sheehan Judy Sobba Joanne & John Soper Ginny Starr Barry & Marilyn Stenberg Jane Stephens Gerald & Heidi Stolp Maria & Delmar Storment Patrick & Marjorie Sullivan Wayne & Leslie Taubenfeld Susan & Bahram Tavakolian Edward Teague Addie Vandehey Kent & Gail Waggoner Ron Wallace & Elizabeth Rogers-Wallace Jerry & Janet Walsh Ted & Leslie West Mary Ellen West Donald Wisely V. Gerald & Ann Woeste Thomas & Mariol Wogaman

Symphony Members ($125–$249) Carolyn Abbott Mardi Abbott Patricia Ahlen Richard & Joyce Anderson Dr. Don & Marianne Anderson Susan Archbald Jo Anne Arnold Susan Ashton Gerry Aster Roger & Lela Aydelott George Bateman Joan Bayliss & Irwin Noparstak William & Alice Beckett Lawrence & Margaret Bellinger David & Judith Berg Richard & Betsy Berg John & Lucy Bigelow Jack Birky Gerald & Patricia Bradley Bill Brandt Robert & Patricia Brasch Sara Brownmiller & Milo Mecham Susan Burke & Clive Thomas Bill & Lynn Buskirk Gary & Carole Chenkin Anthony J. Meyer & Joan Claffey David Correll Brian & Nancy Davies Sherry De Leon Mark & Anne Dean Dale Derby & Ingrid Horvath Cynthia Dickinson Marion Diermayer & Peter Kosek Donald Diment Dr. John & Virginia Dunphy

APRIL – JUNE 2017

Bob & JoAnn Ellis Darian & Edward Fadeley David & Jean Fenton Margot Fetz Mary Forestieri Dorothy Frear Clayton Gautier & Gail Baker Carole Gillett Elizabeth G. Glover Susan Graham David & Lois Hagen Haissam Haidar Gale & Rosemary Hatleberg Carmen Hayes Andrew & Marilyn Hays Phyllis Helland & Raymond Morse Holly Helton & Peter Gallagher Jim & Judith Hendrickson Alex Dracobly & Julie Hessler Harold & Martha Hockman Judith Horstmann & Howard Bonnett James & Helen Jackson Ms. Chris K. Johnson Benton Johnson Pamela McClure-Johnston & Roy Johnston Robert Kendall George Kloeppel & Carolyn Bergquist John & Judith Kraft William Langdon Andrew Lewinter Hope Lewis

Season Supporters Associate Members ($60â&#x20AC;&#x201C;$124) Anonymous (5) Florence Alvergue Jim Angsten & Lynn Joseph Mary & David Scott Arnold David & Sierra Askwith Ronald & Julia Babcock Emilio Bandiero & Anne S. Bell Scott E. Barkhurst Diane Baxter Lawrence & Linda Ann Beach Vic Bellotti Sally Bethel David & Elizabeth Bickford Sandi & Ron Black Adrienne Borg Joel Bradford Barbara Britt Lavaina Brown Chris & Julie Butler Melvin Carlson Jr. Daniel Chandler Elizabeth Charley Cape Horn Coffee Victor Congleton Alan Contreras Hernando Convers Hernando Converse Sherry Cossey Lavonne Tarbox-Crone Ellwood & Deborah Cushman Jr. Charles Deer Frank & Jennifer Diaz Ken & Connie Doerksen Jim & Susan Douglas Marie Vitulli & Sarah Douglas The Dubins Jeff & Noreen Dunnells John & Joanne Eggink Michael & Evelyn Elder Solveig Evenson Jo-Anne Flanders Clifford & Nancy Flesch Charles Fletcher Jeremiah Fogelson Peggy Funkhouser Diane Garcia John Garrett & Ruth Kaminski George & Lynn Gibson Larry & Connie Gienger Bentley Gilbert Don & MJ Gordon Julie Grossman Sharon Gubrud David Gusset David & Janet Gustafson Duane Haaland Margaret Hadaway & George Jobanek Roger & Karen Hamilton Ross Bondurant & Catherine Harris Darlene Harris Robert & Sandra Harty Robert Haskett & Stephanie Wood

Ralph & Anne Haynes Karen Hays Christopher & Deborah Hiatt Ron Hodges Debbi Honorof & Alan Spiegel James Hord Janes Hord Elizabeth Hosokawa William Griffths & Jill Hubbard Trey Imfeld & Barbara Davis Kraig & Mary Beth Jacobson Carol A. James Barry & Pamela Jarvis Dave & Karen Jewett Kenneth Johnson Skip & Mari Jones Richard & Irmgard Jones Toshiro & Irene Katsura Ronald & Sylvia Kaufman Sue Keene Virginia G. Kelly Lilliane & Edward Kemp Alan & Martha Kimball Alan & Theresa Hernried Jack & Jane Quien Clifford La Forge Susan Lacer Robert & Laural LaFavor Dave & Tasha Lane Diane Lane John & Darlene Lashbrook John & Karen Lawrence Stephen & Jane Levesque Cynthia Lewis-Berry The Lillegard Family Dr. Mark & Marie Litchman Gary & Betty Martin Fred & Libby Masarie Maurine & Nicholas Maskal Winston Maxwell & Llew Wells Michael & Carleen McCornack John & Lilla McDonald Bill McGuire William P. & Maxine McWhorter Stephen & Marjorie Mealey Ruth Miller Rose Marie Moffitt Dennis & Kathleen Monaghan Beth Moore & Lorne Bigley Edward Black & Geraldine Moreno-Black Tony & Elsie Muiderman Jenna & Mike Murphy Jane Murphy Donna Nagy Marilyn Nelson Annette Newman Jerril Nilson Mark & Susan Noah Debi Noel Ruth Obadal Jeffrey & Deborah Ogburn Marjorie Ogle

Dr. Eric & Ms. Sheri Olson Dr. Susan K. Palmer Carol Park Victor & Mary Steinhardt Mary Beth Pattyn Rodger & Joan Person Mark & Donna Peterman Walter Petty Michele Piastro & Allen Jablonski Margaret E. Prentice Norm Purdy Robert & Nancy Rathmann Jim & Sandy Ridlington Mary Jayne Robert Edie Roberts Pat Ryan Arlen & Patricia Salthouse Phyllis Sande Gregory Schultz Douglas & Stephanie Sears Marion Service Suzanne & Marc Shapiro Rosalinda & John Sheaffer Ronald & Mary Sherriffs Christina Sjoblom Bill & Ellen Specht Mary Ellen Spink Phoebe Staples

Verner Steigleder Fay Sunada & Patrick Wagner Eugene Symphony Guild Bradley Taie Betty Taylor Josiah Thornton John & Renate Tilson Harold & Janet Titus Joyce Trawle & Douglas Berg Rex & Julianne Underwood John DeWenter & Dorothy Velasco Lawrence & Marilyn Von Seeger Douglas & Jean Walker Gerald & Veronika Walton Thomas & Vesta Watson Steve Webster Roger & Carol Welch Herman Welch Barry Wheeler Kim Wilbur Tom & Carol Williams Frances Willis Herb & Ruth Wisner William & Pat Wiswall Joan Wozniak Seth Karpinski & Ann Zeidman-Karpinski

EUGENE SYMPHONY

Season Supporters 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 Jin Pak Reverend William Pfeffer Jack Pyle Cece Romania John A. Schellman Jane Schmidt Helen R. Shapiro 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 Supporting Hult Operations (S.H.O) Irene Gerlinger Swindells Fund of The Oregon Community Foundation Herbert A. Templeton Foundation

Supporting the Arts in Lane County

Oregon Humanities Center

Musgroves.com

APRIL – JUNE 2017

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell 2016–17 O’Fallon Memorial Lecture in Law and American Culture

“Most Blessed of the Patriarchs”

Thomas Jefferson and the Empire of Imagination

Annette Gordon-Reed, American Legal History, Harvard Law School; Peter Onuf, Early American History (emeritus), University of Virginia

Friday, April 21, 2017 7:30 p.m. • 175 Knight Law

2016–17 Kritikos Lecture in the Humanities

The Ethics and Aesthetics of Cultural Criticism Margo Jefferson, Pulitzer Prize-winning cultural critic, professor at Columbia University School of the Arts, and author of Negroland: A Memoir

Wednesday, May 10, 2017 7:30 p.m. • 182 Lillis Hall 955 E. 13th Ave., UO campus • FREE

1515 Agate St., UO campus • FREE

ohc.uoregon.edu • (541) 346-3934

EO/AA/ADA institution committed to cultural diversity

Eugene Symphony Association thanks the following sponsors and in-kind donors for their generous contributions to Gala 2017. Adventure! Children’s Museum

Oregon Eye Consultants

Alesong Brewery

Painted Lady

Allison Inn

Passionflower Design

Anasazi Restaurant

Lindsay Pearson

Anonymous

Ashley Petsch

Archery Summit Winery

David & Paula Pottinger

Argyle Winery

Lisa Raffin

Keyhan & Lauren Aryah

Red Hills Market

Babica Hen

Roaring Rapids Pizza Company

Beaudet Jewelry

Ryman Auditorium

Bergstrom Winery Bigfoot Beverages Blue Bus Creatives The Broadway Wine Merchants Carlton Winemakers Studio Carnegie Hall Deb Carver & John Pegg Compass Senior Living Darvill’s Book Store Dobbes Family Estate Domaine Serene Winery Elizabeth Chambers Cellars & Silvan Ridge Winery Essig Entertainment Eugene Active 20-30 Club

San Francisco Opera

GAL A

2017

Benefitting the Eugene Symphony’s onstage, community engagement, and music education programs Niles & Mary Ann Hanson

Sara Mason

Heritage Distillery

Lindsey McCarthy

Horse Radish Deli

Matthew & Hollan McLaughlin

Imagination International, Inc.

McMenamins Hotel Oregon

Britt Festival

Inn at the 5th

Trieber & Michelle Meador

Oregon Shakespeare Festival

Angus James

The Mehlum Family

Fine Arts Museums of San Francisco

JLN Design

The Metropolitan Opera

Greg & Susan Fitz-Gerald

Jordan Schnitzer Museum of Art

Nashville Symphony

Josh Francis

Liz Kelly

Georgia O’Keeffe Museum

Ken Wright Cellars

Gervais Salon & Day Spa

Leslie Larson & Sylvia D’Avanzo

Grand Ole Opry Suzi Gudgell

Sea Star Lofts on the Waterfront Skeie’s Jewelers Amanda Smith Photography Steinway & Sons Sweet Cheeks Winery Swing Shift Jazz Orchestra Eugene Symphony San Francisco Symphony

Ferguson Wellman Capital Management

Courtney Glausi

Santa Fe Chamber Music Festival

Marche Provisions Mira Frohnmayer Mark & Co.

New York Philharmonic NewTw!st Novo Latin Table Restaurant Oakmont Family Dental Orcas Island Chamber Music Festival Oregon Contemporary Theatre

Matt Templeman The Metropolitan Museum of Art The Muse Tyler Abbott Trio University of Oregon School of Music and Dance University of Oregon Rotaracts Theta Chi Chapter Alpha Sigma Chapter University of Oregon U.S. Bank Katy Vizdal Jim & Barbara Walker Paul Winberg & Bruce Czuchna

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.

APRIL – JUNE 2017

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

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers David Hawkins, Chair Varner J. Johns III

Suzanne Penegor John Watkinson

ARTISTIC Lindsay Pearson, General Manager Hanya Etter, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician Emily Wade, Acting Operations Coordinator DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director Lexi Thompson, Education & Community Engagement Intern FINANCE Lisa Raffin, Finance & Administrative Director Kaye Johnston & Heather Nolle, Volunteer Coordinators MARKETING & COMMUNICATIONS Lindsey K. McCarthy, Marketing & Communications Director Josh Francis, Marketing & Communications 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 The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.

EUGENE SYMPHONY

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EUGENE SYMPHONY

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

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