2017/18 SEASON
Francesco Lecce-Chong, Music Director & Conductor
EXPLORE WITH US
PROGRAM MAGAZINE 1 | SEPT. – OCT. 2017
Henry Henniger, Principal Trombone
Conrad Tao, Piano
Renée Fleming, Soprano
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EUGENE SYMPHONY
Contents September – October 2017 CONCERTS 19 Renée Fleming September 19 Sponsored by Oregon Eye Consultants 23 Circles of Life September 28 Sponsored by Zachary Blalack –
Ameriprise Financial
39 Piano Fireworks October 19 Sponsored by The Haugland Family
Foundation
20 On September 19,
international superstar Renée Fleming joins the Eugene Symphony for a concert featuring some of the most popular arias in the opera repetoire.
FEATURES
27 Pianist Joyce
Yang kicks off the 2017/18 Symphonic Series with Beethoven’s First Piano Concerto on September 28.
36 In the Key of E[ducation] 45 Donor Spotlight 47 On That Note ON STAGE AND OFF 11 12 14 15 48 49 50 51 52 55 56
Welcome Calendar Orchestra Roster Conductor Scenes from Offstage Support the Symphony Founders Society 52nd Season Partners Thank You to Our Supporters Endowment Fund Board of Directors and Administrative Staff
43 On October 19,
pianist Conrad Tao takes the stage for a program featuring Ravel’s unique Piano Concerto for the Left Hand and Liszt’s thrilling Totentanz.
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We welcome you, Francesco Lecce-Chong, to our musical family in an enthusiastic community of many cultural heritages, generations, and walks of life. We congratulate you on your first season as our Maestro and wish you joyous notes as you share your love of music. 10
In the name of the Eugene-Irkutsk Sister City Committee and in memory of the Groza-Gorbatenko Family Sponsor of Eugene Symphony’s Instrument Petting Zoos
EUGENE SYMPHONY
Welcome September – October 2017 Greetings all! It is truly my privilege and honor to welcome you to this Eugene Symphony performance. I am filled with the greatest excitement as I enter into my first season as your Music Director and join forces with these brilliant musicians. Over the coming years, I look forward to sharing in powerful musical experiences with all of you. Take a moment right now and look around you—find someone you don’t know and say hello. What are they looking forward to the most about the concert? Share your favorite composer or piece of music. Did you do it? Good. Congratulations, you just helped create a more welcoming environment for great music! At the same time, you ensured that you and someone else will have an even stronger connection to the music through your collective experience. I encourage you to join me in having this interaction at concerts because we all know this music can inspire the imagination, stir the emotions, and revitalize the soul. The more we ready ourselves to connect with the music in an active way, the more our lives will be enriched by the experience. As part of finding more ways to interact and create dialogue around our concerts, I encourage you to check out our new format for program notes. I am delighted to introduce you to my dear friend, Tom Strini, long-time music critic for the Milwaukee Journal Sentinel and now an instructor at Oregon State University. Tom and I will be working together to bring you program notes unique to each performance by the Eugene Symphony in an informal, colorful way! This is an experiment for all of us, so we welcome your feedback throughout this season. Thank you for joining us!
Francesco Lecce-Chong, Music Director & Conductor Dear Friends, Welcome! It’s an exciting time at Eugene Symphony. After completing the search for our new Music Director & Conductor with the unflagging effort of our search committee and strong community support, we are proud to welcome Francesco Lecce-Chong to the podium! Francesco will share his talent and energy to support our mission of enriching lives through the power of music and continue the development of one of the finest regional orchestras in the country. With him at our helm, we expect the concert hall experience to be one of excitement, passion and joy. Changes this season also include the 7:30 p.m. start time for Symphonic series concerts. The earlier start time has been on our radar thanks to audience survey input, and we are glad to now implement the change. We will continue to embrace feedback about your concert experience. The Eugene Symphony Board of Directors, staff, and musicians strive to increase access to music in all corners of our community, and we are happy to report those initiatives are growing. We are proud of our existing Education & Community Engagement programs that reach thousands of children and adults each year, including our Youth Concerts and our annual free summer concert, Symphony in the Park, which is now performed in three communities: Eugene, Cottage Grove and Roseburg. Through one of our newest programs, Symphony Connect, we partner with local human service agencies to share the power of music to heal and elicit joy. We are also thrilled to branch into the community through our collaboration with McKenzie River Trust and Travel Lane County for February’s “Four Seasons of the McKenzie River” concert. I encourage you to participate in this project, which you can learn about at eugenesymphony.org/mckenzie4seasons. After the November 22 deadline, submitted imagery will be selected for compilation and then projected during the performance of Vivaldi’s famous work. It’s sure to be a highlight of the season! We are glad you are here. Thank you for your support!
Dave Pottinger, President of Eugene Symphony Board of Directors SEPTEMBER – OCTOBER 2017
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Calendar
OCT 17
Master class with pianist Conrad Tao 4:00 pm Beall Hall, University of Oregon School of Music and Dance
OCT 19 PIANO FIREWORKS
Francesco Lecce-Chong, Music Director & Conductor Conrad Tao, piano
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by The Haugland Family Foundation
NOV 14
Elementary School Youth Concerts: 10:30 am Musical Time Machine 12:30 pm Sponsored by Marie Jones & Suzanne Penegor, Oregon Community Credit Union and Chvatal Orthodontics
4:00 pm Master class with violinist Simone Porter, The Studio, lower level of the Hult Center
NOV 16 PAGANINI VIOLIN CONCERTO
RENÉE FLEMING September 19
Laura Jackson, guest conductor Simone Porter, violin
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Comfort Flow Heating
NOV 22
Imagery submission deadline for the McKenzie Four Seasons project. More information at eugenesymphony.org/ mckenzie4seasons
DEC 7
HANDEL’S MESSIAH
SEPT 19 RENÉE FLEMING
Francesco Lecce-Chong, Music Director & Conductor Renée Fleming, soprano
7:30 pm Special Concert, Silva Concert Hall Sponsored by Oregon Eye Consultants
SEPT 26
Master class with pianist Joyce Yang 4:00 pm Beall Hall, University of Oregon School of Music and Dance
Francesco Lecce-Chong, Music Director & Conductor Eugene Symphony Chorus
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
SEPT 28 CIRCLES OF LIFE
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Skeie’s Jewelers
DEC 17 CIRQUE DE LA SYMPHONIE HOLIDAY SPECTACULAR
Francesco Lecce-Chong, Music Director & Conductor Augusta Read Thomas, Composer-inResidence Joyce Yang, piano
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Zachary Blalack – Ameriprise Financial
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2:30 pm Special Concert, Silva Concert Hall Sponsored by Imagination International
JAN 23
Master class with pianist Jon Kimura Parker, 4:00 pm Beall Hall, University of Oregon School of Music and Dance
EUGENE SYMPHONY
CIRCLES OF LIFE September 28
JAN 25 GRIEG AND SCHUBERT
Stuart Melina, guest conductor Jon Kimura Parker, piano
MAR 15 TALES OF HEMINGWAY
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
Francesco Lecce-Chong, Music Director & Conductor Zuill Bailey, cello
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Eugene Symphony Guild
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall
FEB 3
APR 17
GALA 2018: Explore the Music
Celebrate with dinner, performance, dancing and a live auction at Eugene Symphony’s biggest benefit event of the year. For details, visit eugenesymphony.org/ events/special-events/gala
FEB 13
Master class with violinist Rachel Barton Pine, 4:00 pm The Studio, lower level of the Hult Center
FEB 15
Francesco Lecce-Chong, Music Director & Conductor Rachel Barton Pine, violin
THE FOUR SEASONS OF THE MCKENZIE RIVER
Master class with Third Coast Percussion, 4:00 pm The Studio, lower level of the Hult Center
APR 19
EARTH AND SEA
Francesco Lecce-Chong, Music Director & Conductor Third Coast Percussion
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Roaring Rapids Pizza Company
MAY 17 MAHLER’S FIFTH
Francesco Lecce-Chong, Music Director & Conductor
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Summit Funding
6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center
7:30 pm Symphonic series concert, Silva Concert Hall
MAR 13
MAY 22
Elementary School Youth Concerts: 10:30 am The Orchestra Swings 12:30 pm Sponsored by Marie Jones & Suzanne Penegor and US Bank
Play It Again! Adult Chamber Music 2:30 pm performance at First Christian Church, Eugene
4:00 pm Master class with celllist Zuill Bailey, The Studio, lower level of the Hult Center
All Master Classes, Residency Activities, Guild Concert Previews, and the Play it Again! performance are free and open to the public.
SEPTEMBER – OCTOBER 2017
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Eugene Symphony
ORCHESTRA PERSONNEL 2017/18 Francesco Lecce-Chong, Music Director & Conductor Music Director & Conductor Chair is sponsored by Betty Soreng
VIOLIN I
CELLO
HORN
Vacant, 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 Eric Alterman, Assistant Principal Carol Crumlish Dale Bradley Joseph Eggleston* David Chinburg Marion Sweeney, Kate & Cama Laue Ann Grabe James Pelley Nancy Sowdon Vacant
David Kruse, Principal David & Paula Pottinger Jennifer Harrison Lydia Van Dreel Duncan & Jane Eyre McDonald Scott King Jonathan Kuhns-Obana (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 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 Vacant
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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 Employee ** denotes one-year appointment † denotes leave of absence
Sharon J. Paul
EUGENE SYMPHONY
Francesco Lecce-Chong A captivating presence on the podium, American conductor Francesco Lecce-Chong has garnered acclaim for his dynamic performances, commitment to innovative programming, and passion for community engagement. As Music Director & Conductor of the Eugene Symphony, Lecce-Chong follows in the path of renowned predecessors including Marin Alsop and Giancarlo Guerrero. He currently also holds the positions of Assistant Conductor of the Pittsburgh Symphony Orchestra and Music Director of the Pittsburgh Youth Symphony Orchestra. Active as a guest conductor, he has appeared with orchestras around the world including the National Symphony Orchestra, Atlanta Symphony Orchestra, Toronto Symphony Orchestra, Milwaukee Symphony Orchestra, St. Louis Symphony, and Hong Kong Philharmonic. Also trained as a pianist and composer, Lecce-Chong champions the work of new composers and the need for arts education. As Associate Conductor of the Milwaukee Symphony Orchestra (MSO) from 2011–2015, he curated and presented the works of both active and lesser-known composers, including two works commissioned by the orchestra, as well as two U.S. premieres. He also helped create the first MSO Composer Institute, providing performance opportunities for young American composers. Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. In Milwaukee, he provided artistic leadership for the MSO’s nationally lauded Arts in Community Education program—one of the largest arts integration programs in the country. His dedication to connecting orchestras and communities continues in Pittsburgh where he gives preconcert talks, conducts concerts for school audiences, and leads specially designed sensory-friendly performances. A native of Boulder, Colorado, Lecce-Chong began conducting at the age of 16. He is a
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) Francesco Lecce-Chong (2017– ) SEPTEMBER – OCTOBER 2017
MUSIC DIRECTOR & CONDUCTOR
graduate of the Mannes College of Music and Curtis Institute of Music, where he studied with Otto-Werner Mueller. He has worked with many internationally celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, and Manfred Honeck. Now residing in Eugene, Lecce-Chong looks forward to building upon Eugene Symphony’s legacy and connecting with the community in new ways. In his free time, he plans to explore the outdoors and visit all of Eugene’s used bookstores, coffee shops and local breweries.
Eugen
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Cheers to 50 Years!
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Volunteer with the Eugene Symphony Guild
(Front row, left to right) Suzanne Shapiro, Education & Social VP; Carolyn Abbott, President; Nan Helsabeck, Secretary (Back row, left to right) Ginger Fifield, Promotion VP; Carol Myree Welch, Treasurer; Darian Fadeley, Fundraising VP; Susan Ashton, Executive VP.
Interested in joining an active group of Symphony supporters? Membership in the Eugene Symphony Guild is a great way to get involved! Learn more at an open house for new and prospective members:
New/Prospective Members Open House Saturday, October 14, 2017 | 3:00–5:00 pm The Tate, 1375 Olive Street, Eugene Join Scott Freck, Eugene Symphony Executive Director, to learn how the Guild supports the Symphony.
FREE | Seating is limited
RSVP: Ginger Fifield 760-550-0515 or gfifield11@gmail.com
Save the date for our Fall Fundraiser
HOLIDAY PERFORMANCE FESTIVAL Saturday, November 11, 2017 Membership Information
Suzanne Shapiro | 541-342-4795 | mrses70@gmail.com
“I'm so excited to get going on this wonderful 50th Anniversary year for the Guild and the 52nd year for the Symphony, with a new Director!” —Carolyn Abbott “I joined the Eugene Symphony Guild because I wanted to meet people who shared my love of music and work with others to help support the Symphony. I have not been disappointed.” — Carol Welch “I’m truly delighted that our Guild sponsors children’s concerts. Thank you to the players, the teachers, the children, and the organizers.” —Ginger Bopp “Joining the Eugene Symphony Guild is the very best way to meet people who love classical music and the Eugene Symphony. The Guild is a lively group with a wide variety of interests who host events throughout the year.” —Judy England
Visit us at www.eugenesymphonyguild.org | Follow us on Facebook 16
EUGENE SYMPHONY
SEPTEMBER – OCTOBER 2017
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EUGENE SYMPHONY
Renée Fleming Eugene Symphony Francesco Lecce-Chong, conductor Renée Fleming, soprano Tuesday, September 19, 2017 7:30 PM | Silva Concert Hall, Hult Center Georges Bizet (1838–1875)
Selections from Carmen Prélude Aragonaise Seguedille Les Toréadors
Gabriel Fauré (1845–1924) Camille Saint-Saëns (1835–1921) Léo Delibes (1836–1891)
“Mandoline” “Soirée en mer” “Les filles de Cadix” Renée Fleming, soprano
Aaron Copland (1900–1990)
Down a Country Lane
Samuel Barber (1910–1981)
Knoxville: Summer of 1915, Op. 24 Renée Fleming, soprano
I N T E R M I S S I O N
Giuseppe Verdi (1813–1901)
Overture to I Vespri Siciliani
Licinio Refice (1883–1954) Francesco Paolo Tosti (1846–1916) Arrigo Boito (1842–1918)
“Ombra di Nube” “Aprile” “L’altra notte in fondo al mare” from Mefistofele Renée Fleming, soprano
Bedˇrich Smetana (1824–1884)
Dance of the Comedians from The Bartered Bride
Antonín Dvoˇrák (1841–1904)
“Když mne stará matka zpívat uˇcívala” (“Songs My Mother Taught Me”) “Mesíˇcku na nebi hlubokém” (“Song to the Moon”) from Rusalka Renée Fleming, soprano
Concert Sponsor
This concert will be broadcast on KWAX-FM 91.1 on Wednesday, September 27 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes. Renée Fleming appears by arrangement with IMG Artists, www.imgartists.com. Ms. Fleming is an exclusive recording artist for Decca and Mecury Records (UK). Ms. Fleming's gowns are by Vivienne Westwood. Ms. Fleming's jewelry is by Ann Ziff for Tamsen Z. Learn more at www.reneefleming.com
SEPTEMBER – OCTOBER 2017
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Renée Fleming Guest Artist Renée Fleming Renée Fleming is one of the most acclaimed singers of our time. In 2013, President Obama awarded her America’s highest honor for an artist, the National Medal of Arts. She brought her voice to a vast new audience in 2014, as the first classical artist ever to sing the National Anthem at the Super Bowl. Winner of the 2013 Grammy Award for Best Classical Vocal Solo, Fleming has sung for momentous occasions from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at Buckingham Palace. A ground-breaking distinction came in 2008 when Fleming became the first woman in the 125-year history of the Metropolitan Opera to solo headline an opening night gala.
Toro’s upcoming film The Shape of Water, which recently won the Golden Lion Award at the Venice Film Festival. In 2016, Fleming was appointed Artistic Advisor for the John F. Kennedy Center for the Performing Arts. In 2010, she was named the first-ever creative consultant at Lyric Opera of Chicago. Fleming’s memoir The Inner Voice, published in 2004, is currently in its 16th printing. Among her awards are the Fulbright Lifetime Achievement Medal, Germany’s Cross of the Order of Merit, Sweden’s Polar Music Prize, and France’s Chevalier de la Légion d’Honneur.
Receipient of 14 Grammy nominations to date, she has recorded everything from complete operas and song recitals to indie rock, jazz, and the movie soundtrack of The Lord of the Rings: The Return of the King. Last season she appeared as the Marschallin in a new production of Strauss’s Der Rosenkavalier at the Royal Opera, Covent Garden, reprising the role in the Metropolitan Opera premiere of the production in the spring. Fleming’s 2017 tour schedule includes concerts and recitals in New York, Budapest, Vienna, Paris, Madrid, Brussels, Hong Kong, Beijing, and Tokyo. In 2018, Fleming will appear on Broadway in a major revival of Rodgers and Hammerstein’s Carousel. Known for bringing new audiences to classical music and opera, Fleming has sung not only with Luciano Pavarotti, Plácido Domingo, and Andrea Bocelli, but also with Elton John, Paul Simon, Sting, Josh Groban, and Joan Baez. She has hosted a wide variety of television and radio broadcasts, including the Metropolitan Opera’s Live in HD series, and Live from Lincoln Center. She is currently spearheading a collaboration between the John F. Kennedy Center and the U.S. National Institutes of Health focused on the science connecting music, wellness, and the brain. Fleming won her fourth Grammy Award for her album Poèmes. Her most recent album Distant Light was released in January by Decca. Recipient of 14 Grammy nominations to date, she has recorded everything from complete operas and song recitals to indie rock, jazz, and the movie soundtrack of The Lord of the Rings: The Return of the King. Fleming will be heard as the singing voice of Roxane, played by Julianne Moore, in the upcoming film of Ann Patchett’s best-selling novel Bel Canto. She is also heard on the soundtrack of Guillermo del
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KLCC NPR news. Local & regional news. Compelling stories. Intelligent ideas. Driveway moments. For the curious, the discerning, the interested.
SEPTEMBER – OCTOBER 2017
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EUGENE SYMPHONY
Circles of Life Eugene Symphony Francesco Lecce-Chong, conductor Joyce Yang, piano | Augusta Read Thomas, composer-in-residence Thursday, September 28, 2017 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, September 28, 2017 6:30 PM | The Studio, Hult Center
Augusta Read Thomas (b. 1964)
Aureole
Ludwig van Beethoven (1770–1827)
Piano Concerto No. 1 in C Major, Op. 15 I. Allegro con brio II. Largo III. Rondo: Allegro Joyce Yang, piano
I N T E R M I S S I O N
Peter Ilyich Tchaikovsky (1840–1893)
Symphony No. 4 in F minor, Op. 36 I. Andante sostenuto – Moderato con anima – II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco
Concert Sponsor
Guest Artist Sponsor
This concert will be broadcast on KWAX-FM 91.1 on Thursday, October 5 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.
SEPTEMBER – OCTOBER 2017
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Circles of Life September 28, 2017 Program Notes by Tom Strini ©2017
” I am delighted to welcome two special guests for our first classical series concert—composer Augusta Read Thomas and pianist Joyce Yang. I first worked with “Gusty” last year for a performance of her music for the American Philosophical Society and was immediately taken with the variety of sounds in her music—from delicate, shimmering layers to violent, driving rhythms. As former Composerin-Residence with the Chicago Symphony for nine years, Gusty is one of the most performed and influential composers today. We are proud to present the first performances of her orchestral music in Oregon. My very first performance with a professional orchestra was with the Milwaukee Symphony Orchestra with Joyce Yang as soloist. Needless to say, I have many fond memories of that experience and seven years later, I am delighted to welcome Joyce to Eugene for Beethoven’s first concerto—a work written to showcase the composer’s own prodigious piano skills.‘’ — Francesco Lecce-Chong
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AUGUSTA READ THOMAS (b. 1964) Aureole [2013] Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, two trombones, tuba, percussion, and strings. This is the first performance by the Eugene Symphony, and performance time is approximately nine minutes. Aureole, by Augusta Read Thomas, sounds nothing like Beethoven’s Ninth, and on manuscript paper, this 8-minute-30-second piece looks nothing like it. No Beethoven quotations lurk in its shimmering textures and fragmentary themes. But Thomas wrote it, in 2013, as a companion piece for and a meditation on the Ninth. Beneath Aureole’s 21st-century skin, Beethoven courses through its veins. “You could play the last bars of Aureole and go straight into the Beethoven,” the composer said, in an interview from a distant airport lounge. She noted that the tonal centers that underpin the work—B-flat, F, C, D, A and E—echo Beethoven’s. Stacked or overlapped and widely spaced, these pitches tremble with the charged resonances of open fifths. Such music-theory technicalities translate into deep musical experience and, in some of us, to spiritual experience.
Her process begins with scatsinging, improvising at the piano, and even dancing around her studio...The process is physical, not theorectical. “Aureole is optimistic and colorful,” Thomas said. “It glows from the inside out right down to the core of its materials. If I had built it on tone clusters, it wouldn’t do that.” This glowing optimism, in Thomas’ mind, further weds her work to Beethoven’s magnum opus. She called it one of several “primal rhymes” of ideas found in Ninth, which ends with triumphant, blazing joy. Another such “rhyme” occurs in the importance of drums. Timpani play a crucial role in the Ninth, and drumming drives the culmination of Aureole. “Percussionists love it,” she said. She is an accomplished pianist, trumpeter and guitarist. Her process begins with scat-singing, improvising at the piano, and even dancing around her studio to find chords and bits of melody that
EUGENE SYMPHONY
feel apt and to find germinal rhythms ripe with impetus and possibility. The process is physical, not theoretical. And Thomas, unlike some composers, keeps both musicians and audience in mind as she creates. She doesn’t pander; she respects. “If a musician plays a lick and can feel the why of that lick, it becomes fun to play,” she said. “I want the audience to feel that every moment of time has been well-sculpted.” Thomas meticulously scored Aureole in conventional notation. She also drew a series of “maps,” graphic representations of her musical ideas, as they unfolded. Musicians experienced in interpreting graphic notation could look at the beautiful final version of the map and, under its guidance, improvise something that sounds rather like Aureole. (You can see that map and others at www.augustareadthomas.com.) But such a performance would lack the written version’s close attention to every parameter of every sound and its baked-in sense of inevitability, as ever-richer materials swell and spill from one of the nine sections into the next. Eugene Symphony Music Director Francesco Lecce-Chong noted that sense of opening and widening as he examined the score during a long pre-season interview: “Almost every sustained note has a feeling of rising and growing,” he said. “The whole piece is like preparing for launch.” LUDWIG VAN BEETHOVEN (1770-1827) Piano Concerto No. 1 in C Major, Op. 15 [1795] In addition to the solo piano, this work is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. First performed by the Eugene Symphony in October 1975 with Andor Földes, who conducted from the keyboard, and last performed in December 2009 under the direction of Danail Rachev with Alexandre Dossin as soloist. Performance time is approximately 36 minutes. In the fall of 2011, Francesco Lecce-Chong, just 24 and straight out of the Curtis Institute of Music, landed a job as assistant conductor of the Milwaukee Symphony Orchestra, under maestro Edo de Waart. In November of that year, he led his first mainstage program with a professional orchestra and soloist. The pianist: Joyce Yang. She played Tchaikovsky’s Piano Concerto No. 1. “She’s the first soloist who had to deal with me,” Lecce-Chong said. “I’ll be forever grateful for that. And now, she’s my first soloist here.”
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Yang, in those days, was a rapidly rising young star known especially for big, Romantic repertoire. She’d dazzled Milwaukee audiences with fierce readings of Rachmaninov’s Second and Third Concertos and Tchaikovsky’s Concerto No. 1 in consecutive seasons. Now, she’s a fixture on the international circuit and possesses a broad repertoire. The present Beethoven concerto, in three movements (about 16, 10 and nine minutes), premiered in 1795, when he was 25. Beethoven revised it in 1801. The piano evolved rapidly during this time. Beethoven’s ambitions for the instrument, in terms of volume and range, drove that development to an extent, and advancing piano technology likewise drove his composition for the instrument. In 1817, London’s Broadwood company, a leader in piano R&D, sent Beethoven an instrument, in one of the first celebrity endorsement deals. Beethoven preferred the robust, factory-made Broadwood to the delicate instruments produced in Viennese workshops. Beethoven, at this point in his career, built his reputation as much on his prodigious piano playing as on composition. “He wrote it to show off,” Lecce-Chong said. “’Look at everything I can do with the piano!’ You play Mozart and Haydn one way, but when you get to this concerto, you have to play differently.” Lecce-Chong, a pianist himself, sees this concerto as foreshadowing many of the techniques and characteristics of later, more obviously Romantic Beethoven works. He also sees in it early examples of the composer releasing some of his more outrageous inclinations. “You already see the minimlist Beethoven,” he said, of the succinct main theme of the first movement. “The whole melody covers just four pitches. But on that bit of a theme, he builds to an exuberant, almost violent sort of joy. “You can hear the young Beethoven finding his unique musical voice, with those timpani intrusions, random key jumps, all those accents on the upbeat, all those enormous contrasts. The first movement just explodes. Then comes that patient, poetic opening to the slow movement: Time stands still. He has a thought, and he takes as long as he wants to unfurl that thought.” Lecce-Chong talked as we listened to a recording and followed the score. When the antic second (Continued on page 26)
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Circles of Life Program Notes (Continued from page 25) theme of the last movement Rondo scampered in, we both looked up and said: Looney Tunes! That theme sits at No. 2 on the maestro’s list of Beethoven’s Silliest Themes. It always makes him laugh. “You know it’s coming, but still, you get there and think: WHAT?!” PETER ILYICH TCHAIKOVSKY (1840–1893) Symphony No. 4, Op. 36 [1878] Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. First performed by the Eugene Symphony in March 1986 under the direction of Neal Gittleman, and last performed in March 2009 under the direction of Danail Rachev. Performance time is approximately 44 minutes. Tchaikovsky’s Symphony No. 4, Opus 36, premiered in 1878. Around that time, Tchaikovsky’s disastrous marriage ended and he took up his entirely epistolary relationship with Nadezhda von Meck, the wealthy woman who became his patron, confidante and the dedicatee of the Symphony No. 4. According to letters between them and an early narrative program that Tchaikovsky later suppressed, all of Tchaikovsky’s hopes, fears, doubts, agonies and affections soaked into notes on the page. This fourmovement, 46-minute symphony—the tortured first movement fills more than 18 of those minutes—is a deeply personal and quintessentially Romantic document. Tchaikovsky bends and breaks Classical conventions with a newfound willfulness characteristic of the more fevered Romantics. That gives the piece both emotional intensity and formal issues. This symphony challenges conductors and benefits from their judicious shaping. “That fourth movement, most of the time, just isn’t convincing,” Lecce-Chong said. “Everyone overdoes this symphony. It’s so intrinsically expressive, that if you try to get in there and do more with it, it’s too much. But isn’t that the problem with conductors, including me?” The modernist bias would eschew the biographical notes and stick to making sense of the musical notes as written. “It’s a life-vs.-art problem,” Lecce-Chong said. “To say ‘there’s no story in the music’ makes it a less personal work. Tchaikovsky’s genius lay in his ability to convey universal human drama in music. This piece is so popular because no one has to tell us what it’s about.” As we listened to the music and followed the score, the conductor noted key aspects of each movement, starting
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with the opening, and then recurrent, brass blast: “It’s not a military fanfare. It’s an oppressive, weighty fanfare.” Tchaikovsky creates unease by extending the tonally ambiguous introduction. It creates a pall that never really lets up, even in the “tempo di valse” section: “You don’t usually have a mental breakdown in three-quarter waltz time. This graceful, elegant dance sounding so painful and lonely is the most heartbreaking aspect of this first movement for me. It’s so heartbreaking...how can such a beautiful dance sound so painful and lonely?”
...all of Tchaikovsky‘s hopes, fears, doubts, agonies and affections soaked into notes on the page. The nine-minute second movement, Andantino in modo di canzone, contrasts sharply with the first in every way but their shared sentiments. Lecce-Chong noted that Tchaikovsky defines every melodic idea with rhythm in the opening movement, but the second movement themes are nearly devoid of rhythmic identity. “The way the main theme is passed from the oboe, to cellos, and eventually the bassoon is haunting,” he said. “Each of the instruments plays the entire winding melody like different characters sharing the same sad story.” The third movement, Scherzo pizzicato, offers comic relief, but just a little—five minutes and 30 or so seconds of it. “The sparkling pizzicati in the strings and the colorful flourishes in the winds sound all the more refreshing and brilliant in contrast to the dark journey we’ve taken thus far,” Lecce-Chong said. The closing Allegro fuoco challenges both conductor and players. How to top the tumult that has preceded it? “One of the most difficult aspects about conducting any Tchaikovsky symphony is creating a large-scale, cohesive journey through all four movements. In this one, you can look at the dynamics—expressive markings in the score—and see that Tchaikovsky feels that every moment is the most important moment. We conductors have to find a way to navigate that problem. At the same time, it’s exactly that problem—the conflicting emotions laid bare in the music—that make this one of the most powerful symphonic statements in our repertoire. “Tchaikovsky’s going for a triumphant finale,” LecceChong said, “but the first movement is so dark that it’s hard to escape. Sure enough, the oppressive opening fanfare comes back to terrify the otherwise upbeat music. I often feel the final moment of blazing glory that closes the symphony is maniacal laughter in the face of so much darkness—not a triumph over it.”
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Circles of Life Guest Artist Joyce Yang Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity. As a Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Yang showcases her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians.
Yang came to international attention in 2005 when, as the youngest contestant, she won the silver medal at the 12th Van Cliburn International Piano Competition. Yang came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work. Since her spectacular debut, she has blossomed into an “astonishing artist” (Neue Zürcher Zeitung). She has performed as soloist with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, the Baltimore, Detroit, Houston, Milwaukee, San Francisco, Sydney, and Toronto symphony orchestras, Deutsches Symphonie-Orchester Berlin, and the BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Leonard Slatkin, David Robertson, Bramwell Tovey, Peter Oundjian, and Jaap van Zweden. In recital, Yang has taken the stage at New York’s Lincoln Center and Metropolitan Museum; the Kennedy Center in Washington, DC; Chicago’s Symphony Hall; and Zurich’s Tonhalle. Born in 1986 in Seoul, South Korea, Yang received her first piano lesson at the age of four. She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in her native country. By the age of 10, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yang won the pre-college division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with The Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just 12 years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Annual William A. Petschek Piano Recital Award. Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. A Steinway artist, she currently lives in New York City.
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EUGENE SYMPHONY
Circles of Life Composer-in-Residence Augusta Read Thomas The music of Augusta Read Thomas (born in 1964 in New York) is nuanced, majestic, elegant, capricious, lyrical, and colorful—”it is boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music.” (Philadelphia Inquirer)
In 2013/14, Thomas had the distinction of having her work performed more frequently than any other living ASCAP composer. In February 2015, music critic Edward Reichel wrote, “Augusta Read Thomas has secured for herself a permanent place in the pantheon of American composers of the 20th and 21st centuries. She is without question one of the best and most important composers that this country has today. Her music has substance and depth and a sense of purpose. She has a lot to say and she knows how to say it—and say it in a way that is intelligent yet appealing and sophisticated.” The New York Times article of March 6, 2015 states that Thomas had the distinction of having her work performed more frequently in 2013–2014 than any other living composer represented by ASCAP (The American Society of Composers, Authors and Publishers) according to statistics from the performing rights organization. Former Chairperson of the American Music Center, she serves on many boards, is a generous citizen in the profession at large, and, according to the American Academy of Arts and Letters, “has become one of the most recognizable and widely loved figures in American Music.” A Grammy winner, her impressive body of works embodies unbridled passion and fierce poetry. The New Yorker called her “a true virtuoso composer.” Championed by such luminaries as Barenboim, Rostropovich, Boulez, Eschenbach, Salonen, Maazel, Ozawa, and Knussen, she rose early to the top of her profession. Thomas studied composition with Oliver Knussen at Tanglewood, Jacob Druckman at Yale University, Alan Stout and Bill Karlins at Northwestern University, and at the Royal Academy of Music in London. She was a Junior Fellow in the Society of Fellows at Harvard University, and a Bunting Fellow at Radcliffe College.
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In the Key of E[ducation] An interview with composer Augusta Read Thomas By Scott Freck, Executive Director Imagine world-famous violinist Midori reading Zin! Zin! Zin! A Violin to a small group of children at the Eugene Public Library. Or saxophone superstar Branford Marsalis providing musical feedback to the Shasta Middle School Jazz Band. Or how about Grammy-winning guitarist Sharon Isbin performing for a group of students in a packed cafeteria at Cal Young Middle School? There’s no need to stretch your imagination too far because all of those events actually happened. When we bring talented soloists and conductors to Eugene to perform with the Symphony, we ask each of them to share what they know with students in our area, most often as part of the Laura Avery Visiting Masters program of master classes. Further, almost every year of the past eight, we have invited an artist or group to invest in building relationships in the community during a residency project that unfolds over the course of a week. This season, we are taking that idea to a deeper level. With the support of the Hult Endowment, the National Endowment for the Arts, and New Music USA, we have invited Grammy-winning composer Augusta Read Thomas to participate in a nearly seasonlong project that runs from September 2017 through April 2018. During her September visit, she’ll establish connections with local schools including Willamette and South Eugene High Schools, the Academy of Arts and Academics in Springfield, and the University of Oregon School of Music and Dance. She’ll also forge a link with Oregon Supported Living Program’s Arts and Culture Program, offer a free “Inside the Composer’s Studio” talk at the Eugene Public Library, and speak at the Museum of Natural and Cultural History on the UO campus. Thomas’ residency also features performances by the Symphony of two of her works—the first, Aureole, an orchestral work written in 2011, will open the Symphonic series concert on September 28, 2017. The second is a concerto for percussion quartet and orchestra, entitled Sonorous Earth, and it was co-commissioned by the Eugene Symphony and the Chicago Philharmonic. I spoke with Gusty, as she insists on being called, by phone in mid-August. I asked her about the new piece, her creative process, and the work she’ll do in the Eugene community as part of the residency. Scott Freck: You have a very interesting creative process, which includes a visual component that I haven’t seen from any other composers. Can you describe it for us? Augusta Read Thomas: When offered the wonderful opportunity of a commission to write a new work, the first thing I do is to start to imagine what I am building. Am I building a huge piece? Am I building a short piece for children’s choir? Am I building a symphony? And then I start to think about what kind of materials do I want to make for that piece. It’s imperative that a
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Augusta Read Thomas working on music in her Chicago studio.
composition is built out of materials that are right for what you’re building, because if you have a piece that’s too short with way too much material in it, it doesn’t work, or a long piece with basically no ideas that goes swarming around forever, it gets boring. And then the second thing I do is start improvising at the piano and scatting. I do a lot of scats and singing, and dancing actually. I’m just trying to physicalize what it is that I’m going for. EUGENE SYMPHONY
After that there are many things that I write down on paper—I’m pushing to get some sort of map for the form. Another page of sketches might include a whole progression of chords, or groups of progressions of chords, that will be the essential DNA of the harmonic fields of the piece. Another sketch might be rhythmic. And you can get a real birds-eye view of the piece…you suddenly get a real sense of where you are in it, what kind of peak, or expanse, or landscape of the piece you are at in any given moment.
ART: It’s such a pleasure from the composer’s point of view to be invited by an orchestra to visit more than once. So often the composer flies in on the Wednesday night, one rehearsal, one concert, boom!, you leave and there really isn’t a sense of building a relationship. [It’s so beautiful] that the Eugene Symphony has invited me to come twice and to really be a member of their organization for the year and to get into the community.
In the “Inside the Composer’s Studio” talk, I’ll perhaps share SF: Talk about the new piece, Sonorous Earth. Where did the fragments of lots of different works and talk about things that ideas come from, and how are central to my work. That could In a way, Sonorous Earth is a statement cross between works— chamber works, did they work themselves out after the piece was of interdependence and the importance choral works, and large ensemble finished? pieces, showing my sketches, my maps of all of these places in the world ringing of the form, and different things that ART: I can’t tell you are inspiring to me for the works that I together. I think that’s a very beautiful, how grateful I am to the was writing at that time. Eugene Symphony for
positive, optimistic image.
co-commissioning my large percussion concerto, titled Sonorous Earth, which is for four percussionists, which in this case will be performed by Third Coast Percussion and the Eugene Symphony. This is a project I have wanted to do for a long time for many reasons, and the percussion quartet is performing only on objects made of metal, essentially bells. The piece involves bells from all around the world: Indian mill bells, Japanese Rin, spinning Burmese bells, and more. [In a way], it’s a statement of interdependence and the importance of all of these places in the world ringing together. I think that’s a very beautiful, positive, optimistic image. My schedule is that I get up very early every day, usually by 4 a.m. working and then I stay up until 11 p.m. I do this 365 days a year, this is in terms of writing music, recording, touring, teaching, doing residencies, and so on. And if one is going to work that hard literally every day, why is one doing that? What kind of music do I want to write? What am I saying in my music? For me, to have music that is optimistic, and positive, and colorful, and whimsical in a certain way, or capricious, or has some sunshine and bubbles and what not in it, is very important.
It will be a huge thrill to be able to work with some of the area high school bands. I have a piece called Magneticfireflies, which is a short piece for high school band. And at the very end, lots and lots of metallic percussion instruments are struck to the extent that as the piece ends, you have about 25 seconds of resonance just hanging in the air from all of these bells ringing, all the way back to silence.
In addition, the opportunity to work at the U of O with their composition students [will] be very meaningful. They have a fabulous program there. [I’ll] work with their students [on what they] are composing, hopefully offering very positive and constructive critique and positive and constructive compliments—what’s really working and what really could be better. Since I spend my entire life writing music, it’s a natural extension to teach. You can’t really separate those two endeavors. SF: We’re very much looking forward to welcoming you into the Eugene community this season. ART: Thank you so much. I can’t wait to be with you all and I appreciate this special opportunity.
SF: Tell us what’s in store during your residency project?
August Read Thomas Residency Public Activities in September Oregon Composers Forum: Augusta Read Thomas September 26, 2017 | 5:00–7:00 pm University of Oregon School of Music and Dance, Room 142 Augusta Read Thomas will give a presentation about her music, discuss her composition process, and answer questions in an interactive dialogue. Guild Concert Preview September 28, 2017 | 6:30–7:00 pm The Studio, Hult Center for the Performing Arts To stay up to date on Augusta Read Thomas' September and April residency activities, visit eugenesymphony.org/education/students/artist-residencies
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Reunion & Community Celebration Looking to Our Past to Create a Brighter Future Thursday, October 19, 2017 6:00-8:00pm Venue 252 252 Lawrence Street, Eugene The evening will feature heavy appetizers and tastings, with an informative focus on the rich history of Womenspace’s place within the movement for women’s rights and safety. The event will conclude with the presentation of the first annual Founders Award, to honor someone who has—in the spirit of the Womenspace founders—collaboratively contributed to making Lane County a community safe from intimate partner violence. For more information or to RSVP visit www.womenspaceinc.org/dvam Thank you to the Haugland Family Foundation for generously donating this ad space.
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October is Domestic Violence Awareness Month (DVAM), and Womenspace will be hosting a series of opportunities for community members to get involved. We hope you join us during this month of action! Womenspace Vigil for Victims and Survivors of Intimate Partner Violence Sunday, October 1 from 6:00-7:00pm Wayne Morse Free Speech Plaza, 701-799 Oak Street, Eugene As the opening event for Domestic Violence Awareness Month, the vigil will remember victims killed by an intimate partner, celebrate the resilience of survivors who have overcome abuse, and support community members who are currently impacted by intimate partner violence. Womenspace Wonder Run Saturday, October 14 from 10:30-12:00pm Alton Baker Park, 100 Day Island Road, Eugene The Wonder Run is Womenspace’s premiere 5k walk/run event. Athletes of all abilities and supporters of Womenspace are encouraged to dress as their favorite superhero to honor the strength and resilience of survivors of intimate partner violence. Womenspace Reunion & Community Celebration Thursday, October 19 from 6:00-8:00pm Venue 252, 252 Lawrence Street, Eugene
EUGENE SYMPHONY
Piano Fireworks Eugene Symphony Francesco Lecce-Chong, conductor | Conrad Tao, piano Thursday, October 19, 2017 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, October 19, 2017 6:30 PM | The Studio, Hult Center
Wolfgang Amadeus Mozart (1756–1791)
Symphony No. 31 in D Major, K.297, “Paris” I. Allegro assai II. Andantino III. Allegro
Maurice Ravel (1875–1937)
Piano Concerto in D Major for the Left Hand Conrad Tao, piano
I N T E R M I S S I O N
Franz Liszt (1811–1886)
Totentanz, S.126 Conrad Tao, piano
Richard Strauss (1864–1949)
Till Eulenspiegel’s Merry Pranks, Op. 28
Concert Sponsor
The Haugland Family Foundation
Guest Artist Sponsor
This concert will be broadcast on KWAX-FM 91.1 on Tuesday, November 14 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.
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Piano Fireworks October 19, 2017 Program Notes by Tom Strini ©2017
” I first met pianist Conrad Tao in 2015 when he was featured as both pianist and composer with the Pittsburgh Symphony. Conrad thrilled the audience with his monstrous technical skills and I’m excited that we have a program that showcases that virtuosity— including a concerto that requires the pianist to only use one hand! The orchestra will be working equally hard on this program including Mozart’s flashiest symphony, written to introduce himself to Parisian audiences. The orchestra will also tackle Richard Strauss’ character masterpiece, Till Eulenspiegel’s Merry Pranks. From the sneaky horn, to the giddy piccolo clarinet, to the grumbling bassoons, Strauss draws us into his drama like the greatest movie directors. I always think of the character of Till as a modern day stand-up comedian— making us laugh and smile, but always ready to shock and appall us when we let our guard down!‘’ — Francesco Lecce-Chong
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WOLFGANG AMADEUS MOZART (1756–1791) Symphony No. 31 (“Paris”) in D Major, K. 297/200a [1779] Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. First performed by the Eugene Symphony in October 2001 under the direction of Giancarlo Guerrero. Performance time is approximately 17 minutes. Wolfgang Amadeus Mozart hated Paris. At 22, he had traveled there with his mother to find a job. He got nowhere with that. He and his mother, Anna, were soon pressed for money and had to retreat to a shabby hotel, where she died on July 3, 1778. At least he managed to compose and procure a performance, in June, of the Symphony No. 31, via the good offices of the ambassador from the Palatinate, a German principality. The piece was well received. The Concerts Spirituels, one of the first public, entrepreneurial concert series in Europe, picked it up and repeated it several times. For these programs, Mozart replaced the original second movement with a new one.
You have to wonder if he was commenting on the attention span of the French audience! “Before the premiere, Mozart wrote to his father that ‘I hope that even these idiots will find something in it to like,’” said Eugene Symphony Music Director Francesco Lecce-Chong. Mozart clearly composed to impress Paris. He employed what was, at the time, a very large orchestra, with a full complement of winds, brasses and timpani. He loaded the score with fashionable “Mannheim rockets,” rapid upward scales and arpeggios. He even yielded to the Concerts Spirituels’ insistence on a premier coup d’archet, an opening unison blast. “It’s a showpiece, almost a concerto for orchestra,” Lecce-Chong said. “He overdoes the Mannheim rockets almost to the point of the ridiculous—everyone gets to play them. This is music to entertain and to challenge the players. He didn’t even bother including the standard minuet movement. It’s just three movements, 20 minutes total, nothing repeated, nothing wasted. You have to wonder if he was commenting on the attention span of the French audience!”
EUGENE SYMPHONY
MAURICE RAVEL (1875–1937) Piano Concerto for the Left Hand in D Major [1932] In addition to the solo piano, this work is scored for three flutes, piccolo, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings. First performed by the Eugene Symphony in April 1982 under the direction of Wiliam McGlaughlin with Leon Fleisher as soloist. Performance time is approximately 19 minutes. In 1914, the Austrian army called up Paul Wittgenstein, a young, promising pianist born into one of the wealthiest European families, for service in World War I. A Russian bullet struck his right elbow. He was taken prisoner, and his arm was amputated. Post-war, Wittgenstein (incidentally, the brother of Ludwig Wittgenstein, the influential philosopher) commissioned Paul Hindemith, Sergei Prokofiev, Erich Korngold, and Richard Strauss, among others, to compose for him to play with his remaining hand. He approached Maurice Ravel about a concerto, which Ravel delivered in 1931. “Sometimes, in practice, I’ll play a passage with two hands, just to work out ideas,” said Conrad Tao, the soloist, in a phone interview. “It’s actually technically more challenging to play the concerto with two hands, which is a testament to how well it’s written.” A good deal of contention and controversy surrounds this music. Alfred Cortot made an unauthorized two-hand version and performed it widely, despite the protests of Ravel and Wittgenstein. Ravel asked Arturo Toscanini to conduct the premiere, but the World’s Most Famous Conductor declined. Wittgenstein altered the piano part somewhat, which led to a permanent falling out with the composer. All that strife has faded into history, but the music is very much alive and well. The concerto, about 20 minutes long in one continuous movement, opens with arpeggios on the open strings—E-A-D-G—of the basses. As the piano and the rest of the orchestra enter, the music slowly ascends from this deep, dark sonic cave. “The great pleasure of this music is textural and harmonic,” Tao said. “The middle section is jaunty and has some Stravinskian humor, but the outer sections ebb and flow sonically, like an organism.”
SEPTEMBER – OCTOBER 2017
FRANZ LISZT (1811–1886) Totentanz for Piano and Orchestra, S. 126 [1849] In addition to the solo piano, this work is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. First performed by the Eugene Symphony in October 1999 under the direction of Miguel Harth-Bedoya with Dean Kramer as soloist. Performance time is approximately 16 minutes. The Romantics—and no one was more Romantic, in every capital- and lower-case sense of the word, than Franz Liszt—found fascination in all things medieval and macabre. According to Liszt scholar Alan Walker, the star pianist and composer descended into dungeons to spend time with condemned prisoners. In 1838, he visited the Campo Santo, in Pisa, home of The Triumph of Death, a huge 14th-century fresco. (He was in Italy after eloping with his mistress, the Countess d’Agoult, one of his many paramours. I told you he was a Romantic.) In 1830, he attended the premiere of Hector Berlioz’s Symphonie fantastique. Berlioz and Liszt had much in common: Radical musical ideas, complicated love lives, and a fascination with the intersection of art, sex, death and religion. Sex, death and religion have a theme song: Dies Irae. That old Gregorian chant looms large in the Symphonie fantastique. In 1838, Liszt chose the tune as the theme for Totentanz and created a wild set of variations on it. He revised it several times over 21 years. “The Dies Irae is solemn,” said Conrad Tao, the pianist. “Mortality and creation are deeply fundamental questions. But not much solemnity is in Totentanz. It has a lot of silliness and absurdity, and there’s a hint of blasphemy. An element of camp is in a lot of Liszt. I like that. I think Liszt only works if you appreciate that. Surface pleasure has a certain honesty; we shouldn’t shy away from it.” The piece, like the source chant, is in D Dorian mode; the scale comprises the white keys of the piano from D to D. The half-steps fall between the second and third and the sixth and seventh degrees of the scale. So the sound differs from the major scale, with half-steps between three-four and seven-eight. Such music-theory technicalities influence what we hear and feel. The raised seventh degree of (Continued on page 42)
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Piano Fireworks Program Notes (Continued from page 41) the major scale—that half-step between seven and eight—gives Western harmony its forward drive and much of its expressive dissonance. Dorian mode, a construct associated with the older music theory that underpinned Gregorian chant, takes it away. “The Dorian mode of the Dies Irae used by Liszt immediately brings to mind a Medieval sound,” Lecce-Chong said. “Although I would point out that Liszt does cheat—eventually, he brings in that leading tone (C-sharp), which takes away one of the coolest things about the opening of the piece.” Some of the music sounds profound. Some of it sounds like the bone-clanking accompaniment to
...some of it is just fun and showing off. That was Liszt's conflict. He had this deeply religious side, but his other side just wanted to be Liberace. skeletons dancing in an old animated cartoon. “In its softest moments, it’s breathtakingly beautiful and sensitive,” Lecce-Chong said, referring especially to the fourth variation, a canon. “And then some of it is just fun and showing off. That was Liszt’s conflict. He had this deeply religious side, but his other side just wanted to be Liberace.” RICHARD STRAUSS (1864–1949) Till Eulenspiegel’s Merry Pranks, Op. 28 [1895] Scored for three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, and strings. First performed by the Eugene Symphony in October 1979 under the direction of Lawrence Maves, and last performed in April 1990 under the direction of Marin Alsop. Performance time is approximately 15 minutes.
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In this 15-minute tone poem, completed in 1895, Strauss illustrates the adventures of a medieval German folk figure, a prankster given to mocking just about everything and everyone. “He’s a comedian who needles people,” LecceChong said. “He finally goes too far and gets hanged.” Technically, the charge is blasphemy—he dressed up as a clergyman and misbehaved. But even at the end of his rope, he manages to get out his needling, cackling themelet. “When that piccolo clarinet comes in, you know it’s that cheeky rascal,” Lecce-Chong said. “It’s amazing how quickly Strauss paints these portraits.” Till’s other, more developed theme is for horn, and every horn player takes up its challenge. Strauss works out these two themes in a Rondo form perfect for framing narrative vignettes. As Till rides his horse (basses) through the marketplace, chases girls (violins), mocks the clergy (violas) and academics (bassoons), and tries to cajole his stolid executioner (embodied by a funeral march), new themes represent the victims of his pranks and the ensuing chaos and outrage. “The episodes are chatty and character-driven, like little operas,” Lecce-Chong said. “In some moments, Strauss makes you think that the music is about to turn beautiful, that it will settle into something. And then a horse stampedes through.” Till Eulenspiegel is fun and funny to hear, but no joke to play. It’s downright nasty. “By all standards, Strauss would have earned an F in orchestration class,” Lecce-Chong said. “It’s as if Strauss took on the Till persona and played a prank on the orchestra.” But when an orchestra nails it, the effect is dazzling. “That’s what this whole program is about,” he said. “Dazzling and amazing the audience.”
EUGENE SYMPHONY
Piano Fireworks Guest Artist Conrad Tao Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by Time Out New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was named a Gilmore Young Artist, an honor awarded every two years highlighting the most promising American pianists of the new generation. In May of 2012, he was awarded the prestigious Avery Fisher Career Grant.
Tao proves himself to be a musician of deep intellectual and emotional means. In June of 2013, Tao kicked off the inaugural UNPLAY Festival at the powerHouse Arena in Brooklyn, which he curated and produced. The festival, designated a “critics’ pick” by Time Out New York and hailed by The New York Times for its “clever organization” and “endlessly engaging” performances, featured Tao with guest artists performing a wide variety of new works. Across three nights encompassing electroacoustic music, performance art, youth ensembles, and much more, UNPLAY explored the fleeting ephemera of the Internet, the possibility of a 21stcentury canon, and music’s role in social activism and critique. That month, Tao, a Warner Classics recording artist, also released Voyages, his first full-length for the label, declared a “spiky debut” by the New Yorker’s Alex Ross.
Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means—as the thoughtful programming on this album…proclaims.” His next album, Pictures, which slots works by David Lang, Toru Takemitsu, Elliott Carter, and Tao himself alongside Mussorgsky’s familiar and beloved Pictures at an Exhibition, was hailed by The New York Times as “a fascinating album [by] a thoughtful artist and dynamic performer…played with enormous imagination, color and command.” Tao’s career as composer has garnered eight consecutive American Society of Composers, Authors and Publishers Morton Gould Young Composer Awards and the Carlos Surinach Prize from Broadcast Music, Inc. In the 2013/14 season, while serving as the Dallas Symphony Orchestra’s artist-in-residence, Tao premiered his orchestral composition The World is Very Different Now. Commissioned in observance of the 50th anniversary of the assassination of President John F. Kennedy, the work was described by The New York Times as “shapely and powerful.” Most recently, the Chamber Orchestra of Philadelphia commissioned a new work for piano, orchestra, and electronics, An Adjustment, which received its premiere in September 2015 with Tao at the piano. The Philadelphia Inquirer declared the piece abundant in “compositional magic,” a “most imaginative [integration of] spiritual post-Romanticism and ‘90s club music.” Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.
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Wildish is happy to welcome music director and conductor, Francesco Lecce-Chong to Eugene. Enjoy an evening with piano soloist, Conrad Tao.
Bravo!
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EUGENE SYMPHONY
Donor SPOTLIGHT Zack Blalack: Donor, sponsor, Board member and dad! What first drew you to a Eugene Symphony concert and later to be a season ticket holder? My wife, Natalie, loves classical music and started as a subscriber on her own. When she renewed her subscription several years back, I asked what seats she had gotten us and was surprised that she had only bought one ticket! We quickly added a second seat because it was a way to spend more time with her while expanding my musical tastes. From that day on we have been subscribers! Tell us why you enjoy going to the Symphony? We really enjoy the social interactions that are possible, before, during and after each performance. We will often grab dinner or drinks before the concert, mingle with friends at the Hult Center, and often finish the night off with a reception or meet at a local restaurant. We also really love an evening free of distractions, where we are immersed in that magical moment of music being created by the talented musicians. What inspired you to serve on the Eugene Symphony Board of Directors? As a community member, the Eugene Symphony Board has allowed me to connect with many people and businesses that support the arts in our area. I have also gained many new insights and abilities through my roles as Development Committee Chair, and as a member of the Executive and Strategic Planning Committees. As a small business owner it has also opened the door to many new relationships, which have led to successful business connections. Tell us how sponsorship fits with your personal and professional goals? As a sponsor, Natalie and I have had the pleasure to meet many wonderful, personable and incredible artists. Because of the perks of being a sponsor, we are able to extend our appreciation of the music and the arts to our clients and close friends. Sponsorship also offers considerable media exposure in the Eugene/Springfield area, from which my business has benefited. How does music impact you, your family, and our community? The music impacts us in a very positive way; we often leave a performance feeling relaxed and energized for the next performance. Our two-year-old son, James, has been able to attend several rehearsals and loves listening to the various instruments make their unique sounds. The Instrument Petting Zoos have given James an appreciation for the instruments while piquing his curiosity. Our community is blessed to have such a wonderful symphony making great music. Natalie and I are especially excited for the inaugural season of our new Music Director, Francesco Lecce-Chong. His vibrancy and enthusiasm will bolster the orchestra for years to come.
(Top) Zack Blalack with his wife Natalie, their son James and daughter Cynthia. (Above) Zack and Natalie meeting Pink Martini's China Forbes at the Eugene Symphony Gala in 2017.
What encouragement or advice would you give to young leaders to attend, serve, and give to our Symphony? Put yourself out there! If you are looking to make new friends, business connections, or just for a fun night out, I would suggest looking to the Eugene Symphony. Some of the music that you will encounter has never been heard before and other pieces are hundreds of years old. A contribution of your time, talent and treasure will be used to carry forward the traditions while ensuring we remain attractive to future music lovers.
SEPTEMBER – OCTOBER 2017
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since 1914
THE AMERICAN FEDERATION OF MUSICIANS
Local 689 of the American Federation of Musicians welcomes Award Winning Arborists
541-461-1737
afm689.org
Live Music is best!
Francesco
Lecce-Chong to our community.
Zen is to have the heart and soul of a little child. — Takuan
A B C D E F G H I
K
M
O P Q R S T U V W X Y Z
D E S I G N
Supporting the Eugene Symphony since 1997 541.484.0651 541.484.0651 | jln@jlndesign.com jln@jlndesign.com
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EUGENE SYMPHONY
On That Note On That Note introduces a member of the orchestra. This issue features Principal Flute Kristen Halay. What year did you join the orchestra, and how long have you been playing music? I joined the orchestra in 1997 when in college at UO. I started playing music when I was eight. Why did you decide to play your instrument? Initially I wanted to play clarinet, but my father told me that if I had to play something, I should at least pick something easy like the flute. I added tuba and bass trombone throughout school just so I could be in the jazz bands. When you’re not playing your instrument, what would we most likely find you doing? I’m either playing with vintage stereo equipment, gardening or biking. If you weren’t a musician what would you be? Easy. Astrophysicist, working at the Jet Propulsion Laboratory! What are you excited to play in our 52nd Season and why? Sibelius 5th Symphony. I’ve always been drawn to the romanticism of Sibelius. His 2nd Symphony was the first real full symphonic performance for me as a student in Aspen Music Festival with Robert Spano conducting.
...with Kristen Halay
Connecticut. There is nothing that compares to being out in the open ocean at night. The sounds, smells, stars, phosphorescent pools behind the boat… Red, white, stout, hoppy or none of the above? Whiskey! Favorite book/movie you’ve read/seen recently? I’m a bit of a movie nut. My embarrassing guilty pleasure there is that I have a weakness for post-apocalyptic and science fiction films (even the really terrible ones). Recently re-watched Delicatessen. The newest film on my list is Rogue One. What do you think some audience members might find surprising about you? I think most audience members would be surprised that the majority of music I listen to outside of work is rock/progressive rock. A LOT. King Crimson, Yes, Rush, Led Zeppelin, Metallica, Thank You Scientist, The Dear Hunter. There are upwards of 900 albums (on vinyl) on my shelves. Any interesting pre-performance rituals? Not really. I don’t get nervous unless I’m unprepared, so there is no pre-game ritual. I do have to pull over at LEAST once on the way to concerts to check that I have my music, even though I checked before leaving home. Every single time.
What is your favorite piece of all time to play and why? One favorite piece is impossible to choose, though I would say the second movement of Beethoven’s 7th Symphony always comes to mind. Its absolute simplicity combines with the heart-wrenching anguish I sometimes feel when playing. If you could meet one composer/musician, who would it be and why? Thomas Ades. I think he is one of our most brilliant living composers. After playing “America: A Prophecy,” that was it, I was hooked. Where is your favorite place on the planet and why? The ocean. I spent nearly every summer on a sailboat growing up in
SEPTEMBER – OCTOBER 2017
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Scenes from Offstage
(Scenes from the Symphony in the Park Summer Concert, July 22 at The Cuthbert Amphitheater) Francesco Lecce-Chong gives some musical advice to two youngsters at the Instrument Petting Zoo. A group of children enjoy the annual event. Francesco Lecce-Chong with Board of Directors Vice President Deborah Carver backstage before taking the stage for his first concert as Music Director & Conductor. (Far left) At the Annual Meeting in June, Eugene Symphony members elected (from left to right) Joanne Radke, Erin Dickinson, and Doneka R. Scott to serve on the Board of Directors. Andrew Stiltner, not pictured, was also elected. (At left) Instrument Petting Zoo volunteer Jenny Gusset holds the cello for a participant trying out different instruments at the Eugene Public Library.
For more photos, like the Eugene Symphony Association on Facebook: facebook.com/EugeneSymphony and follow us on Instagram at @eugene.symphony
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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
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: Quarterly insider update from Maestro Lecce-Chong
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: Opportunity to attend 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.
SEPTEMBER – OCTOBER 2017
All of the above, plus: Donors receive exclusive benefits, such as an invitation to a reception with Maestro Lecce-Chong and special recitals by Symphony musicians, and access to Founders Club receptions at all performances.
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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.
PLATINUM PATRONS | $25,000 + Anonymous Dennis & Janet Beetham Nathan & Marilyn Cammack
Eugene Symphony Guild Niles & Mary Ann Hanson
Marie Jones & Suzanne Penegor Dr. Matthew Shapiro & Maylian Pak
GOLD PATRONS | $10,000 – $24,999 Keyhan & Lauren Aryah Natalie & Zack Blalack Caroline Boekelheide Dave & Sherrie Kammerer
Meg Mitchell David & Paula Pottinger James & Jane Ratzlaff Paul Roth
Betty L. Soreng Fund of The Oregon Community Foundation Ray & Cathie Staton Terry West & Jack Viscardi
SILVER PATRONS | $5,000 – $9,999 Anonymous Warren & Kathy Barnes Elizabeth Chambers Marci Daneman G. Burnette Dillon & Louise Di Tullio Dillon Irene Gerlinger Swindells Fund of The Oregon Community Foundation Pamela Graves Peter Gregg
Galina Groza George & Kay Hanson Starly Hodges John & Robin Jaqua Fund of the Oregon Community Foundation Jenny Jonak & Mike Bragg Herb Merker & Marcy Hammock Deb Carver & John Pegg Otto & Joanna Radke
Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Diana G. Learner & Carolyn Simms Dunny & Debbie Sorensen Elaine Twigg Cornett & Zane J Cornett Jack & Florence Vollstedt Barbara & James Walker
BRONZE PATRONS | $2,500 – $4,999 Anonymous (2) Joseph & Margaret Adelsberger Kevin & Irene Alltucker Family Fund of the Oregon Community Foundation Laura Avery Joanne Berry Robert & Friedl Bell Shawn & Melva Boles Jack & Dondeana Brinkman Ruby Brockett Anne & Terry Carter William & Karla Chambers Chvatal Orthodontics Jeff & Julie Collins Carol Crumlish Edna P. DeHaven Ray & Libby Englander Virginia Fifield Susan & Greg Fitz-Gerald
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Kevin Forsythe & Elizabeth Tippett Mike Fox & Rebekah Lambert Scott & Leslie Anderson Freck Bill & Judy Freck Dennis & Nancy Garboden Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of the Oregon Community Foundation Elizabeth & Roger Hall Erwin & Vicki Haussler Lin & Don Hirst Hugh Johnston Marilyn & Michael Kelley Deborah Lewis Larson Michael Lewis & Martha MacRitchie Bob & Brenda Macherione Sarah G Maggio Duncan & Jane Eyre McDonald
James & Marilyn Murdock Janet Van Nada Arden Olson & Sharon Rudnick Kaz Oveissi Laura Parrish & Richard Matteri Philip & Sandra Piele Jesse & Amy Seery John & Linda Sheppard Jonathan & Maureen Sherman Ellis & Lucille Sprick Brad & Colleen Stangeland Inge Tarantola Michael Vergamini Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker John & Emilie York
EUGENE SYMPHONY
Season Partners The Eugene Symphony extends a special thanks to the individual, corporate, and foundation partners whose generosity and commitment to the arts in our community keep the music playing throughout our season.
CONCERT SPONSORS
The Haugland Family Foundation
GUEST ARTIST SPONSORS Banner Bank Oakmont Family Dental Chvatal Orthodontics
Eugene-Irkutsk Sister City Committee Summit Bank Sports Car Shop Jonak Law Group
Wildish Companies The Office of John E. Villano, DDS Palo Alto Software
ADDITIONAL SUPPORT SPONSORS Kernutt Stokes Ferguson Wellman
Euro-Asian Automotive Eugene Airport The Gilmore Agency
Slocum Center for Orthopedics and Sports Medicine
IN-KIND SEASON SPONSORS Dot Dotsons Hilton Eugene Perugino, Kaz Oveissi
The Broadway Wine Merchants Marché Silvan Ridge Winery
Elizabeth Chambers Wine Cellars Technology Association of Oregon
SPECIAL THANKS TO... City of Eugene/Hult Center for the Performing Arts Framin’ Artworks
Partnered Solutions IT Kesey Enterprises JLN Design
Amanda Smith Photography Technaprint
FOUNDATION PARTNERS
The Silva Endowment Fund of The Oregon Community Foundation
The Ann & Gordon Getty Foundation SEPTEMBER – OCTOBER 2017
Herbert A.Templeton Foundation Support Hult Center Operations (SHO)
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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 (4) Virginia P. Anderson Ted & Marie Baker Lauren Bird-Wiser Louise Bishop & James Earl Carl Bjerre & Andrea Coles-Bjerre John & Christa Brombaugh Jim & Bev Buckley Delpha Camp Robert & Kathleen Carolan Harriet Cherry & John Leavens Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation Allan & Nancy Coons Jana & Mark Cox John & Linda Cummens Tami Dean Marilyn Deaton Joan Dunbar & William Starbuck
Jeff & Noreen Dunnells Stephen & Francoise Durrant Dieter & Juanita Engel Volker & Sheri Engelbert John & Jo Fisher McClure Associates Eric & Kristin Forrest Robert & Violet Fraser Donald Gudehus & Gloria Page Michael & Janet Harbour Shirley J. Hawkins Lucille P. Heitz Monica Careaga Houck Ellen Hyman Hubert John & Linda Kay Van Peenen Ms. Chris K. Johnson Brandon Julio & Haydn Zhang Allan & Dorothy Kays Doreen Kilen
Jim & Janet Kissman Eunice Kjaer Steve & Cyndy Lane Gary J. LeClair & Janice R. Friend Kaye Lefrancq Gary P. Marcus Mel & Carol Mead Lee & Mary Jean Michels John & Barbara Mundall David & Jill Niles Nancy Oft & Mike Rose 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
Mike & Casey Roscoe Jim & Paula Salerno Roger Saydack & Elaine Bernat Heinz & Susan Selig John & Betty Siebs Susan Simmons Mike Simonitch Ken & Kenda Singer Sarah Sprague Jim St. Clair & Liz Alcott St. Clair Ginny Starr Marion Sweeney, Kate, & Cama Laue Todd & Lisa Tucker Sharon Ungerleider & Ron Lovinger Chris Walton & Elizabeth Sheehan John & Sandy Watkinson Pamela Whyte & Ron Saylor Marguerite Zolman
Jane & Latham Flanagan, MD Liz & Greg Gill David Guy Lisa A. Hawley Ronald & Cecilia Head Charles Henry Donald Holst & Kathy Locurto Ronald & Donna Ivanoff John & Marcia Jarrett Peter & Staci Karth Toshiro & Irene Katsura Raychel Kolen & Paul Allen Doris Kuehn Gayle Landt & Martin Jones Linda Lanker Karen Leigh & Keith Oldham Richard & Jacquie Litchfield Lois Long in memory of Dr. George M. Long John & Patricia Lorimer
Sara & David Mason John & Lilla McDonald Bonita Merten Boyd & Natalie Morgan Darian & Karen Morray George & Cheryl Morris Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen Searmi Park Stan & Julie Pickett John & Joanne Porter David & Jane Pubols Joyce Pytkowicz Marjory Ramey Reed Family Foundation Jerry Reed & Sandi South Ellen Rentz Linda & Tom Roe Dr. Candice Rohr
Judith Sabah & Amir Tavakkol Todd & Martha Schuetz Karen Seidel Marion Shiflet Roberta Singer Trace & Lisa Skopil Dr. Douglas Smyth & Mr. James Chang Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Sing & David Tam Tap & Growler Jason Tavakolian & Jennifer Lamberg Jeff & Linda Taylor Charitable Fund Pierre & Mary Lou Van Rysselberghe Dave Veldhuizen & Roanne Bank Jerome & Judy Vergamini Phyllis Villec
Bill & Lynn Buskirk Susan Butler John & Denise Callahan Leonard & Janet Calvert Ernest Chizinski Daniel Claric Suzanne Clark
Hiett & Caron Cooper Roger Coulter Brian & Nancy Davies Lance & Ann Devereaux Tomi Douglas Michael Drennan Peter Edberg & Bryna Goodman
Benefactors ($500–$999) Anonymous 2G Construction Gil & Roberta Achterhof Robert & Colleen McKee Frank & Dorothy Anderson Carmen Bayley Karl & Linda Anonymous Mary Breiter & Scott Pratt Barbara Britt Greg Brokaw & Elaine Lawson Robert & Robin Burk Melvin Carlson Jr. George & Fanny Carroll Mary Clayton Robert & Laoni Davis Paul & Vivian Day James & Hannah Dean Wendy Dame & Don Doerr Mary Louise Douda Mark & Jennifer Ensminger Howard & Kathleen Epstein
Sustaining Members ($250–$499) Anonymous Lucille Allsen Kim Anderson Tony Anthony & Christine Shirley Sue Bach Robert Baechtold Tom & Patti Barkin
Harold & Susan Baurer Jeff & Nancy Beckwith Laird & Ronnie Black Jim & Joanna Branvold Jack & Toni Brown Sara Brownmiller & Milo Mecham Michael Burkhardt
This listing is current as of August 23, 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.
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EUGENE SYMPHONY
Season Supporters Sustaining Members ($250–$499) Bob & JoAnn Ellis Nena Lovinger John Etter Gary Ferrington Robert & Jill Foster David Foulkes & Nancy Kerr David & Deena Frosaker Tanya Garbett Barbara Gates Mary Gent Ann & Ed Gordon Rick Grosscup Sally Grosscup David Gusset John & Claudia Hardwick Mary Globus & Gary Harris David & Donna Hawkins Bob & Debbie Heaton Morley Hegstrom Richard & Gerald Hicks Ken Higgins Dr. Larry & Sharon Hirons Sara Hodges
Robert H. Horner & Polly Ashworth Joseph Hudzikiewicz Judith Johnson Kaye Johnston Kay Hayford Phillip Kimmel & Stephanie Pearl-Kimmel Tim & Linda King John & Muriel Kurtz Thomas & Margaret Leonhardt Ron Lillejord & Catherine Truax Doug & Diane Livermore Sara Long Bert Lund Gerald MacLean Jo Ann McCabe Carrie & Mike McCarthy Michael McCarthy Janelle McCoy Glenn Meares & Marty McGee Mary Mercier Michael Milstein Jack & Barbara Miner
Doug & Leslie Moitoza Gerald Morgan Mary Anne Morrison Judith Mortimore Kenneth & Jackie Murdoff Jerril Nilson Heather Nolle Richard J. O’Brien David & Anne O’Brien Jill Overley Harold & Joyce Owen Dorothy Parrott Ashley Petsch Jeffrey & Liz Peyton Nathan & Robin Phillips William & Cheryl Pickerd Dave & Linda Pompel Joe & Marian Richards Scott Ricker & Mary Gleason-Ricker Jim Roetman & Jerry de Leon Norman & Barbara Savage Eric Schabtach
Dr. Susan Rieke-Smith & Jeffry Smith Judy Sobba Jane Stephens Gerald & Heidi Stolp Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Michael & Candace Syman-Degler Windermere Jean Tate Real Estate Dan Temmesfeld & Audrey Lucero Gary Tepfer & Esther Jacobson-Tepfer John & Margaret Thomas Barry Cooper & Beth Valentine Peter & Josephine Von Hippel Hilda H. Whipple Terry & Lucy White Tina & Tom Williams Forrest & Anna Williams Robert & Patricia Wilson Kelly B. Wolf Harry & Connie Wonham Dr. Steven Yoder
Andrew Lewinter Hope Lewis Jan Lintz Margaret Malsch Gregory McCutcheon David & Doris McKee Gary & Jill McKenney Sarah & Josh McCoy Tia Merwin Anthony J. Meyer & Joan Claffey Heather Mills John & Shanna Molitor Judith Moomaw John & Cheryl Moore Dr. Jeffrey Morey & Gail Harris Sheila Morgan Kathy Moulton Duncan & Saundra Murray Beverly A. Murrow Diane Vandehey-Neale Terry & Donna Niegel Melvin Nygaard & Mary Sykes Dr. Jay & Mary C. O’Leary Joy Olgyay & William Taliaferro Harry & Julie Park Leslie Parker Monica Parvin James & Susan Pelley Douglas W. Pierce & Cynthia L. Secrest Jim Pilling Gary Pischke & Elizabeth Herbert Guntis & Mara Plesums Michael & Judy Ponichtera Randy Prince Virginia Prudell
Andrzej Wieckowski & Teresa Prussak-Wieckowska Richard & Patricia Rankin Lloyd & Marilyn Rawlings Troy & Kathryn Richey Jim & Sandy Ridlington Bernard Robe & Diane Hawley Bernard & Ginger Bopp Edith C. Roberts Daniel & Kay Robinhold Sally Ann Ross Michael & Wendy Russo Madeline Malsch Richard & Karen Scheeland Brandt & Sarah Schram Gregory Schultz M. Jacobs Fine Furniture, Inc. Donald Seiveno Mike Shippey & Mary Minniti Dave & Dorothy Soper Joanne & John Soper Mary Ellen Spink Phoebe Staples Barry & Marilyn Stenberg Maria & Delmar Storment Patrick & Marjorie Sullivan Wayne & Leslie Taubenfeld Susan & Bahram Tavakolian Edward Teague Addie Vandehey Ted & Leslie West Mary Ellen West Donald Wisely V. Gerald & Ann Woeste Thomas & Mariol Wogaman Alex Zunterstein
Symphony Members ($125–$249) Anonymous (2) Mardi Abbott Carolyn Abbott Patricia Ahlen Richard & Joyce Anderson Dr. Don & Marianne Anderson Jo Anne Arnold Susan Ashton David & Sierra Askwith Gerry Aster John Attig Roger & Lela Aydelott Don Baldwin George Bateman Joan Bayliss & Irwin Noparstak Robert & Kari Beardsley William & Alice Beckett David & Judith Berg Richard & Betsy Berg Sara Bergsund John & Lucy Bigelow Gerald & Patricia Bradley Norma Bryan Susan Burke & Clive Thomas Elizabeth Charley Linda Cheney & Fred Felter Gary & Carole Chenkin David Correll Sherry De Leon Mark & Anne Dean Dale Derby & Ingrid Horvath Cynthia Dickinson Donald & Jenna Diment Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy Darian & Edward Fadeley
SEPTEMBER – OCTOBER 2017
John Faville David & Jean Fenton Margot Fetz Mary Forestieri Dorothy Frear Clayton Gautier & Gail Baker Carole Gillett Sylvia Giustina Tony & Courtney Glausi Elizabeth G. Glover Susan Graham Warren & Susan Griffith Haissam Haidar Roger & Karen Hamilton Gale & Rosemary Hatleberg Andrew & Marilyn Hays Holly Helton & Peter Gallagher Jim & Judith Hendrickson Leslie Hildreth Harold & Martha Hockman Judith Horstmann & Howard Bonnett Allen Jablonski & Michele Piastro James & Helen Jackson Benton Johnson Pamela McClure-Johnston & Roy Johnston John Karth Robert Kendall Carolyn Bergquist Margaret Knudsen John & Judith Kraft Benjamin & Heather Kunz Donald Landstrom & Zachary Ruhl William Langdon John & Karen Lawrence
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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 The Haugland Family Foundation Herbert A. Templeton Foundation National Endowment for the Arts New Music USA Nils & Jewel Hult Endowment - Arts Fund of The Oregon Community Foundation James F. & Marion L Miller Foundation Juan Young Trust Oregon Arts Commission Oregon Cultural Trust Oregon Community Foundation The Silva Endowment Fund of The Oregon Community Foundation Support Hult Center Operations (SHO) Woodard Family Foundation
Supporting the Arts in Lane County
Oregon Humanities Center
Musgroves.com
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Let Our Family Help Your Family Celebrate Life
Eugene • Springfield • Junction City • Creswell
2017–18
ohc.uoregon.edu • (541) 346-3934
EO/AA/ADA institution committed to cultural diversity
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.
SEPTEMBER – OCTOBER 2017
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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
David Pottinger, President Deborah Carver, Vice President Vacant, Secretary
Francesco Lecce-Chong, Music Director & Conductor Scott Freck, Executive Director Courtney Glausi, Executive Operations Assistant
Warren Barnes, Treasurer Dr. Matthew Shapiro, Past President
DIRECTORS Carolyn Abbott Susan Ashton Zachary Blalack Julie Collins Mike Curtis Erin Dickinson Dr. Raymond N. Englander Mary Ann Hanson David Kammerer Stephanie Pearl Kimmel Sarah Maggio Jane Eyre McDonald Dr. Matthew McLaughlin
Trieber Meador Meg Mitchell Arden Olson Laura Parrish Joanna Radke Paul Roth Dr. Doneka Scott Suzanne Shapiro Dunny Sorenson Andrew Stiltner Michael Vergamini Jack Viscardi Sean Wagoner Barbara Walker
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 2015–2017 Dr. Matthew Shapiro
ARTISTIC Lindsay Pearson, General Manager Lauren Elledge, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager Lauren Watt, Development Intern EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director FINANCE Lisa Raffin, Finance & Administrative Director Brandi Geddis, Accounting Associate Suzanne Shapiro, Volunteer Coordinator 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
ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES
Silva Chambers David Hawkins, Chair Varner J. Johns III
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Suzanne Penegor John Watkinson
The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.
EUGENE SYMPHONY
SEPTEMBER – OCTOBER 2017
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EUGENE SYMPHONY
SEPTEMBER – OCTOBER 2017
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MIKE BRAGG
CREaTE a LEgaCy
Our beloved McKenzie River provides drinking water to more than 200,000 people and is a recreational centerpiece for our region. Its crystalline waters are considered the last stronghold for wild salmon in the Willamette River system. Both people and fish depend on its purity.
It is up to us to protect this remarkable river. Join the McKenzie Homewaters Campaign to protect, restore and care for Finn Rock Reach, and create a reserve to purchase other conservation lands up and downstream as they become available. We are counting on people like you to help us today.
LEaRn MORE: mckenzieriver.org/homewaters
McKenzie River Trust is a proud partner of the Eugene Symphony for the Four Seasons of the McKenzie River project.
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EUGENE SYMPHONY
SEPTEMBER – OCTOBER 2017
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Welcome! Proud O’Hara Parent and Supporter
New Music Director Francesco Lecce-Chong to the Eugene Symphony!
John E. Villano, DDS, PC
“Figaro! Figaro! Figaro!” Rossini’s Romantic Comedy
The Barber of Seville 2:30 pm Saturday December 30 7:30 pm Sunday December 31 Silva Hall at the Hult
Andrew Bisantz, Artistic Director
Image courtesy of Michal Daniel & Mill City Summer Opera
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EUGENE SYMPHONY
The Oregon Community Foundation provides many tax-deductible options to put your client’s gift into the hearts and hands of Oregonians.
SEPTEMBER – OCTOBER 2017
oregoncf.org
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