Eugene Symphony 2017/18 Program Magazine 3 by Eugene Symphony Association

2017/18 SEASON

Francesco Lecce-Chong, Music Director & Conductor

EXPLORE WITH US

PROGRAM MAGAZINE 3 | JAN. â&#x20AC;&#x201C; MAR. 2018

Rachel Barton Pine, Violin

Zuill Bailey, Cello

Jon Kimura Parker, Piano

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EUGENE SYMPHONY

2017/18 Season | Francesco Lecce-Chong, Music Director & Conductor

F A M I LY C O N CERT!

LEMONY SNICKET’S

SUNDAY, APRIL 29, 2018 | 2 & 4 PM Soreng Theater, Hult Center A “Whodunit” family-friendly concert based on Lemony Snicket’s book by the same name. Fun for all ages and featuring familiar classical music, the story features a detective – played by local actor William Hulings – who amusingly interrogates the audience and the orchestra to uncover what happened to the composer. CONCERT SPONSOR

Tickets: $20 for Adults and $15 for Youth (Ages 6 & up recommended)

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APRIL 19, 2018 | 7:30PM

EARTH AND SEA

DUKAS

Fanfare from La Peri

AUGUSTA READ THOMAS

Sonorous Earth

WAGNER

Siegfried’s Rhine Journey from Götterdämmerung

DEBUSSY

La mer (The sea)

Third Coast Percussion

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Contents January – March 2018 CONCERTS 19 Grieg & Schubert January 25 Sponsored by Eugene Symphony Guild 29 The Four Seasons of the McKenzie River February 15 Sponsored by Summit Funding 43 Elementary School Youth Concerts: The Orchestra Swings March 13 Sponsored by Marie Jones & Suzanne Penegor

and US Bank

45 Tales of Hemingway March 15 Sponsored by Ward Insurance FEATURES 26 Eugene Symphony Guild 40 In the Key of E[ducation] 53 Donor Spotlight 55 On That Note ON STAGE AND OFF 11 Welcome 12 Calendar 14 Orchestra Roster 15 Conductor 56 Scenes from Offstage 57 Support the Symphony 58 Founders Society 59 52nd Season Partners 60 Thank You to Our Supporters 63 Endowment Fund 64 Board of Directors and Administrative Staff

24 On January 25, pianist Jon Kimura Parker joins the Eugene Symphony to perform Grieg’s Piano Concerto.

29 Images and videos

taken by local photographers will be projected above the stage during The Four Seasons of the McKenzie River on February 15.

49 Grammy Award-

winning cellist Zuill Bailey performs Michael Daugherty’s Tales of Hemingway on March 15.

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 Symphonyâ&#x20AC;&#x2122;s Instrument Petting Zoos

EUGENE SYMPHONY

Welcome January – March 2018 Greetings all! It’s my pleasure to welcome you to this Eugene Symphony performance! We’re starting off 2018 with a thrilling set of performances covering a wide range of music and experiences. January is a celebration of the classics with beloved works by Grieg and Schubert. In February, we bring you a classic seen through a new lens— Vivaldi’s Four Seasons—in partnership with McKenzie River Trust, Travel Lane County, and the community to showcase beautiful imagery of the McKenzie River throughout the year. And in March, you’ll experience a modern classic in Michael Daugherty’s Tales of Hemingway, winner of THREE Grammy Awards last year! I am also looking forward to leading my first set of Youth Concerts as Music Director in March. Thousands of students will pack the Hult Center to play recorders and sing along with the orchestra in Link Up, an interactive program developed by Carnegie Hall. Additionally, I am delighted to launch a project very dear to me: a family concert on April 29 titled “The Composer is Dead,” based on the book by Lemony Snicket. Combining original music with orchestral favorites, the audience is led on a hunt for musical clues where mystery and hilarity lurk in every corner. Having created and performed this program several times, I can promise you it will be a fun adventure for people of all ages, including the musicians on stage. These are just a few examples of our tireless push to bring music to everyone in our community. So remember, every time you attend the Symphony, you are not only enriching your own life, but you are also helping us spread that joy to others in our great city. Thank you so much for joining us! Yours truly,

Francesco Lecce-Chong, Music Director & Conductor Dear Friends, As our exciting 52nd season continues, the Eugene Symphony is hitting high notes in both the concert hall and the community. There are too many moments to mention here, but one is worth revisiting. On December 7, Music Director Francesco Lecce-Chong conducted and played harpsichord in a refreshing interpretation of Handel’s Messiah. The orchestra, chorus and soloists joined forces with him to produce one of the most moving and wellreceived performances of the work in recent memory. For more than four decades, our Youth Concerts have continued to bring the thrill of a live concert performance to the young people of our community—and in March—the orchestra will again play host to thousands of elementary students. Kudos to the Eugene Symphony Guild—celebrating its 50th Anniversary this season— and the Symphony’s Education Department, for their passion and devotion to this wonderful program. The next few months offer opportunities to experience music outside the concert hall, including our annual Gala on February 3 at which Francesco will perform with a small ensemble of musicians. Grammy Awardwinning cellist Zuill Bailey will be here in March for a week-long residency, performing and teaching throughout the community. Along with our concert hall productions, these community engagement programs reinforce our mission of enriching lives through the power of music. Learn more about these events on our website— eugenesymphony.org. I encourage you to continue to utilize the whiteboard in the lobby to express and share your experiences at the concert. And, if you are not yet a subscriber, there is still time to purchase and enjoy benefits of a three-concert pack for the remainder of this extraordinary season. Thank you for your ongoing support!

David Pottinger, President of Eugene Symphony Board of Directors

JANUARY – MARCH 2018

Calendar JAN 23

Master class with pianist Jon Kimura Parker, 4:00 pm Beall Hall, University of Oregon School of Music and Dance

FEB 3

JAN 25 GRIEG & SCHUBERT

Stuart Malina, guest conductor Jon Kimura Parker, 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 Eugene Symphony Guild

GALA 2018: Explore the Music

5:30 pm Celebrate with dinner, performance, dancing and a live auction at Eugene Symphonyâ&#x20AC;&#x2122;s biggest benefit event of the year, at Eugene Hilton. Details at eugenesymphony.org/gala

FEB 12

Symphony Happy Hour with Francesco 5:00 pm Details at eugenesymphony.org

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

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

MAR 12-15 Artist Residency with Zuill Bailey Details at eugenesymphony.org

MAR 12

Symphony Happy Hour with Francesco 5:00 pm Details at eugenesymphony.org

MAR 13

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

4:00 pm Master class with cellist Zuill Bailey, The Studio, lower level of the Hult Center

MAR 15 TALES OF HEMINGWAY

THE FOUR SEASONS OF THE McKENZIE RIVER February 15

Francesco Lecce-Chong Music Director & Conductor Zuill Bailey, cello

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 Ward Insurance

APR 16-19 Joint Artist Residency with August Read Thomas and Third Coast Percussion Details at eugenesymphony.org

EUGENE SYMPHONY

ELEMENTARY YOUTH CONCERTS: THE ORCHESTRA SWINGS March 13

APR 16

APR 29

APR 17

Symphony Happy Hour with Francesco 5:00 pm Details at eugenesymphony.org 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

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

Francesco Lecce-Chong Music Director & Conductor William Hulings, Detective

2:00 pm First performance, Soreng Theater 4:00 pm Second performance, Soreng Theater Sponsored by Delta Sand & Gravel

MAY 14

Symphony Happy Hour with Francesco 5:00 pm Details at eugenesymphony.org

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

MAY 27

JANUARY – MARCH 2018

FAMILY CONCERT: LEMONY SNICKET’S THE COMPOSER IS DEAD

Play It Again! Adult Chamber Music 2:30 pm performance at First Christian Church, Eugene

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 Jamie Chimchirian 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 Dale Bradley David Chinburg Marion Sweeney, Kate Laue & Cama Evans Joseph Eggleston* 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 Vacant

VIOLA Holland Phillips, Principal† Don & Lin Hirst Shauna Keyes, Principal** Miriam English Ward, Assistant Principal Lauren Culver* Lauren Elledge Marilyn Kays Anamaria Ghitea Karlie Roberts Kim Uwate Vacant

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

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

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

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

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

TROMBONE Henry Henniger, Principal Michael & Nancy Oft-Rose Vacant James Meyer Stephen & Cyndy Lane

TUBA Michael Grose, Principal

TIMPANI Ian Kerr, Principal Jim & Janet Kissman

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

KEYBOARD Christine Mirabella, Principal Garr & Joan Cutler

HARP Jane Allen, Principal Laura Maverick Graves Avery Chair

BASSOON

CHORUS DIRECTOR

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

Sharon J. Paul * denotes University of Oregon Graduate Employee ** denotes one-year appointment † denotes leave of absence

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 Associate Conductor of the Pittsburgh Symphony Orchestra and Principal Conductor 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– ) JANUARY – MARCH 2018

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.

EUGENE SYMPHONY

Performing together live on stage!

PINK MARTINI Plus Val Caniparoli’s Tutto Eccetto il Lavandino (Everything But the Kitchen Sink)

February 17 7:30 pm | February 18 2:00 pm $15

YOU TICKETTHS AV AILABLE

JANUARY – MARCH 2018

Hult Center | eugeneballet.org | 541-682-5000 PERFORMANCE SPONSORS

Eugen

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Happy 50th Birthday

to the Eugene Symphony Guild! The Eugene Symphony Guild supports the Eugene Symphony through fundraising, community education, and volunteer services. Over the past half-century, we have donated more than $1 million to the Symphony to promote music for adults and youth in our community. We sponsor a Symphony concert each year. We sponsor the concert preview on the evening of each concert. We help sponsor, host, and staff the semi-annual youth concerts. We sponsor and fund an annual youth competition for local musicians. We raise money through many enjoyable activities, including: • Music in the Garden (June) • Holiday Festival • Musical Chairs Parties (April–October)

Please join us!

SAVE THE DAT

Music in! the Garde June 10 n

Membership is open to all. Join our group and attend monthly meetings to plan, socialize and enjoy performances by guest musicians. For membership information, contact Susan Greenwald at 541-686-2895, email Susan at susangwald@gmail.com, or visit eugenesymphonyguild.org

EUGENE SYMPHONY

Grieg & Schubert Eugene Symphony Stuart Malina, conductor | Jon Kimura Parker, piano Thursday, January 25, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center Piano Concerto in A minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Jon Kimura Parker, piano

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

Franz Schubert (1797–1828)

Symphony No. 9 in C Major, D.944, “The Great” I. Andante; Allegro ma non troppo II. Andante con moto III. Scherzo: Allegro vivace IV. Allegro vivace

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Concert Sponsor

Eugen

Edvard Grieg (1843–1907)

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This concert will be broadcast on KWAX-FM 91.1 on Tuesday, February 13 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

JANUARY – MARCH 2018

”I first met Stuart Malina when I was a student at the Curtis Institute of Music, and he’s been a wonderful mentor, colleague, and friend ever since. Indeed, he helped me prepare for my interviews in Eugene and he’s been an invaluable resource during my first season here. Stuart’s joyful, collaborative music-making is perfect for Schubert’s final completed symphony known as “The Great.” A towering pillar of the repertoire, its lyricism and exuberance hide the fiendishly difficult playing required of the orchestra. Acclaimed soloist Jon Kimura Parker will delight you with Grieg’s Piano Concerto—a beloved work which has one of the most distinctive openings of any piano concerto. A perfect companion to Schubert, Grieg lavishes us with stunningly beautiful melodies and memorable rhythmic motifs throughout the concerto. I have had the pleasure of hearing “Jackie” on several occasions, and trust me—you are in for a real treat.‘’ — Francesco Lecce-Chong

EDVARD GRIEG (1843–1907) Piano Concerto in A minor, Opus 16 (1868) In addition to the solo piano, this work is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. First performed by the Eugene Symphony in September 1983 under the direction of Willam McLaughlin with Misha Dichter as soloist, and last performed in March 2009 under the direction of Danail Rachev with Benedetto Lupo as soloist. Performance time is approximately 30 minutes. Conductor Stuart Malina, in comparing the composers on this program, suggested that both were essentially short-form lyrical artists with long-form ambitions. Schubert diverged radically from his usual path in the Ninth Symphony; Grieg treads his customary, gorgeously melodious trail, but through the larger landscape of his 30-minute Piano Concerto in A Minor. “Grieg never loses that miniaturist approach,” Malina said. “It’s beautiful melody after beautiful melody.”

Grieg’s Piano Concerto is the first piece Jon Kimura Parker played with a professional orchestra. The concerto, though endowed with fair measures of grandeur and virtuosity, is indeed tune after tune. But it has a less tangible element: Norwegian soul. Grieg is to Norwegians what Verdi is to Italians, Dvořák to Czechs, and Sibelius to Finlanders: The national identity composer. Grieg often drew on Norwegian folk materials. In the concerto, for example, the pounding rhythm of the opening finale theme is a halling, a competitive solo folk dance originally for young men. The music, in speedy 6/8 or 2/4, propels them through show-off tricks. The best-known is the hallingkast: A girl holds a hat aloft on a stick; the boy tries to fly through the air and kick the hat off, in a sort of Norwegian kung-fu move. You can imagine the action as the third movement zips by. Jon Kimura Parker, tonight’s soloist, has a special affinity for this piece. It was the first concerto he played with a professional orchestra, with his hometown Vancouver Symphony in Canada, at age 20. He’s also played it in Norway at the Bergen Festival with the Oslo Philharmonic, a

EUGENE SYMPHONY

gig that confers Honorary Norwegian status. “The concerto has a quality that many would say evokes Norway,” Parker said, in an interview via email. “But how, exactly, can one truly picture a country in musical terms? There are a few specific moments—the halling, for one. But for me, the essence of what makes this music Norwegian…” The pianist interrupted his explanation to apologize for being a music theory geek: “Remember, here, that I am a Professor of Piano at the Shepherd School of Music at Rice University. I happen to love chord analysis.” He went on to point out Grieg’s fondness for minor-major 11th chords. That would be a stack of notes comprising, for example, A-C-E-G-B. “These chords, which can be heard as interlocking fifths, just say ‘fjords’ to me,” Parker wrote. “Honestly, I have absolutely no reason why I would say that!” Well, one might suggest that the uncanny, haunting resonance of this chord conjures vast spaces and long vistas, deep, cold waters and high cliffs that amplify the calls of birds and the lapping of waves. And one might point out that the intervals in this very chord match the open strings of the Blinde-Rasmus-stillet tuning of the overtone-rich Hardanger fiddle, Norway’s resonant national instrument. Grieg knew it well. He had a cabin, where he composed, in the town of Hardanger. On his walks, he often stopped to listen to the local fiddlers. Their haunting, unusual harmonies fell upon an alert composer’s ear. Way to feel those good vibrations, Jon Kimura Parker. FRANZ SCHUBERT (1797–1828) Symphony No. 9 in C Major, D. 944, “The Great” (1825–1826) Scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and strings. First performed by the Eugene Symphony in March 2004 under the direction of Daniel Hege, and performance time is approximately 55 minutes. Schubert poured all of his intensity and ambition into the Symphony No. 9, his response to Beethoven’s Ninth, which he’d heard at its premiere in 1824. He even quotes the “Ode to Joy” from Beethoven’s work, although he slyly slips it in, apropos of nothing, in a quiet moment of the boisterous finale. Schubert, like Beethoven,

JANUARY – MARCH 2018

The Hardanger fiddle, Norway’s national instrument, has eight or nine strings tuned in one of 20 traditional ways. Four are played in the usual way, and the rest are tuned to vibrate sympathetically. Photo: Michelle Bailey Music website

wrote at epic length; his Ninth weighs in at about 55 minutes, 10 shy of Beethoven’s. Both open with complex, lengthy, structurally important introductions. Schubert exceeded his own comfort zone—and the comfort zone of his time—in this piece. He draws on his great gift for melody, which made him the greatest writer of songs in the Western Classical tradition, only occasionally in this symphony. He packed this score to maximum density; almost everyone plays almost all the time. He stretched the capabilities of contemporary orchestras in every way, especially in his relentless woodwind parts. Even in the 1840s, when Felix Mendelssohn was traveling around Europe with score in hand attempting to perform the Ninth, orchestras in London and Paris flatly refused to play it. All of which explains why the symphony went unpublished and unperformed during the composer’s lifetime. Schubert heard only a messy read-through by a student orchestra behind closed doors. Stuart Malina, the guest conductor for the Eugene Symphony performance, said that “The Great” remains a challenge. (Continued on page 14)

Grieg & Schubert Program Notes (Continued from page 13) “It’s like a toddler, whose feet are already moving before they hit the floor,” Malina said, in a recent phone interview. “You put him down, and he’s just off. It goes on without an obvious arc or shape, and with lyrical phrases that are not all that lyrical.” “The Great” places two challenges before conductors, according to Malina: conducting and cheerleading. “It’s exhausting to play,” he said. “It never lets up, especially in the finale. The orchestra must remain focused, hold that edge of concentration, and keep that propelling motor running strong. Without it, the piece dies.”

Schubert’s “Great” Symphony places two challenges before conductors: conducting and cheerleading. Malina has decided not to take the optional repeat of the finale. That would be “cruel and unusual punishment.” The density of the scoring is another issue. Malina said that considerable rehearsal time would go to identifying and bringing out the most critical lines in the mix. “Schubert creates a wall of sound that you must somehow make translucent,” he said. Schubert’s obsession with Beethoven, 27 years his senior, is evident throughout, quite apart from the “Ode to Joy” quotation. Abrupt shifts among tonally distant keys, violent swings in mood and dynamics, and the tendency

to sit on repeated notes and chords for long stretches all follow Beethoven’s lead. “But Schubert went a step or two beyond Beethoven,” Malina said. “He’ll pare down to a single note and milk it for all it’s worth. If he wants to change keys, he’ll just jump there, with no regard for proper Classical chord progression. This is Classicism going into bold Romanticism.” The Ninth represents the late period of Schubert’s short life, a period that began around 1822. In that year, Schubert suffered a debilitating syphilis attack, and his health never really recovered. He continued to write songs, including the epic, landmark Winterreise cycle. But he turned in large part to larger forms, more adventurous styles, more complex architectures, and deeper levels of profundity. Schubert worked furiously right up until his death, at age 31, in 1828. In this late period, he composed the Ninth and the “Unfinished” Symphony, the Piano Sonata in B-flat, four operas and three string quartets, among other works. Many of them went unpublished and unperformed, but Schubert remained undeterred. He just kept composing, a focused artist intent on planting his flag in music history before his last grain of sand slipped through the waist of life’s hourglass. This work, especially, demonstrates his driven awareness of music history and hunger for a place within it. Here Schubert says: “You’ve heard Beethoven’s Ninth. Now hear mine.

Historical sources: “In the footsteps of Edvard Grieg,” from the blog of the Hotel Ullensvag, Hardanger, Norway; the website of the Edvard Grieg Museum; Wikipedia entry on the Piano Concerto in A Minor; the Gramophone Masterclass page on the concerto, with commentary by Stephen Kovacevich, Jean-Yves Thibaudet and Richard Whitehouse; and Karin Løberg Code’s Guide to Tunings page at the Hardanger Fiddle Association of America website. Tom Service’s “Symphony Guide: Schubert’s Ninth,” Manchester Guardian; Wikipedia articles on Schubert and on the Symphony No. 9.

Grieg & Schubert Guest Conductor Stuart Malina Now in his 15th season as Music Director and Conductor of the Harrisburg Symphony Orchestra, Stuart Malina has built a reputation for orchestra building and multi-faceted versatility. In a wide variety of concerts, from masterworks and grand opera to pops, Malina’s ease on the podium, engaging personality, and insightful interpretations have thrilled audiences and helped to break down the barriers between performer and listener wherever he has worked. Malina was previously Music Director of the Greensboro Symphony Orchestra (1996–2003), and Associate Conductor of the Charleston Symphony Orchestra (1993–1997).

London. Malina has also served as Associate Conductor of the National touring company of West Side Story and as conductor of the Charleston production of Porgy and Bess with performances throughout the United States, Canada, and at the Israel Festival in Caesarea. Malina holds degrees from Harvard University, the Yale School of Music, and the Curtis Institute of Music, where he studied conducting with Otto-Werner Mueller. He studied piano with Drora and Baruch Arnon and with Keiko Sato.

In 2003, Malina won the Tony award for orchestration with Billy Joel for the musical Movin’ Out. In 2013, Malina was appointed Principal Guest Conductor of the Florida Orchestra, leading nine concerts each season, including the orchestra’s highly acclaimed Coffee series. He returns for the third time this winter to the Jacobs School of Music at Indiana University for a two-week residency. He made his Carnegie Hall debut in February of 2007, conducting the New York Pops in an all-Gershwin tribute including Rhapsody in Blue, which he conducted from the keyboard, and returned to Carnegie and the Pops in October of 2007. In 2009, Pennsylvania Public Television awarded Malina with the Joanne Rogers Award for contribution to the artistic life of Pennsylvania, and in 2010, he was given the Jump Street Spectrum Award for excellence in the arts. He was honored by Lebanon Valley College in 2012 with the Founders Day Award, and received that same year The Award for Distinguished Service to the Arts from Theater Harrisburg. In 2013, he received Leadership Harrisburg’s Platinum Award for Servant Leadership. An accomplished pianist, Malina has impressive credits as soloist and chamber musician. He has performed concertos in Harrisburg, Greensboro, Charleston, New York and Chautauqua, most often conducting from the keyboard. Malina’s activities also extend to Broadway. In June 2003, he won the Tony award for orchestration with Billy Joel for the musical Movin’ Out, which Malina helped create with director/choreographer Twyla Tharp. He has served as music supervisor for every production of the show, both in the United States and in JANUARY – MARCH 2018

Grieg & Schubert Guest Artist Jon Kimura Parker Known for his passionate artistry and engaging stage presence, pianist Jon Kimura Parker has performed as guest soloist with the Philadelphia Orchestra and Wolfgang Sawallisch in Carnegie Hall, toured Europe with the Royal Philharmonic Orchestra and Andre Previn, and shared the stage with Jessye Norman at Berlin’s Philharmonie. Conductors with whom he has recently worked with include Teddy Abrams, Pablo HerasCasado, Claus Peter Flor, Hans Graf, Matthew Halls, Jeffrey Kahane, Peter Oundjian, Larry Rachleff, Bramwell Tovey, Xu Zhong, and Pinchas Zukerman. A true Canadian ambassador of music, Parker has given command performances for Queen Elizabeth II, the U.S. Supreme Court, and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Canada, his country’s highest civilian honor.

lectured at The Juilliard School, The Colburn School, The Steans Institute, New York University, and Yale University. Parker is also Artistic Advisor of the Orcas Island Chamber Music Festival, where he has given world premieres of new works by Peter Schickele and Jake Heggie. Parker studied with Edward Parker and Keiko Parker privately, Lee Kum-Sing at the Vancouver Academy of Music and the University of British Columbia, Robin Wood at the Victoria Conservatory, Marek Jablonski at the Banff Centre, and Adele Marcus at The Juilliard School. He won the Gold Medal at the 1984 Leeds International Piano Competition. He lives in Houston with his wife, violinist Aloysia Friedmann, and their daughter Sophie.

Parker has also jammed with Audra McDonald, Bobby McFerrin, and Doc Severinsen, and this season performed tangos on two pianos with Pablo Ziegler. He performs as duo partner regularly with James Ehnes, Aloysia Friedmann, Lynn Harrell, Jamie Parker, Orli Shaham, and Cho-Liang Lin, with whom he has given world premieres of sonatas by Paul Schoenfield, John Harbison, and Steven Stucky. He performs regularly with the Miró Quartet, and is a founding member of the Montrose Trio with violinist Martin Beaver and cellist Clive Greensmith. The Washington Post’s review of the Montrose Trio’s first tour in 2015 proclaimed them “poised to become one of the top piano trios in the world.” An unusually versatile artist, Parker has also jammed with Audra McDonald, Bobby McFerrin, and Doc Severinsen, and this season performed tangos on two pianos with Pablo Ziegler. Parker also tours his new project “Off The Score” in a quintet with legendary drummer Stewart Copeland of The Police, featuring both original compositions and fresh takes on music of Ravel, Prokofiev, and Stravinsky. A committed educator, Parker is Professor of Piano at The Shepherd School of Music at Rice University. His students have won international piano competitions, performed with major orchestras across the U.S., and given recitals in Amsterdam, Beijing, New York and Moscow. He has

EUGENE SYMPHONY

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Celebrating 50 years of the Eugene Symphony Guild Start an orchestra and you immediately realize that it takes more than concert ticket sales to cover costs. The first Board of Directors of the Eugene Symphony Association luckily found help from then women of the Junior League. Betty Soreng recalls, “I was on the project finding committee of the Junior League at the time, and I learned that the Symphony was having so much trouble covering its $6,000 annual budget that many of the musicians were turning back their pay to help cover expenses.” A group of about a dozen ladies, including Soreng and Amy Jo Butler, a member of the Junior League and a violinist in the orchestra, helped organize the Women’s Committee of the Eugene Symphony Association to conduct fundraisers to support the Symphony. That committee became the Eugene Symphony Guild in 1968. Carolyn Abbott, current President of the Guild, affirms that still today, 50 years later, “Raising funds for the Symphony is the primary mission of the Guild.” Soreng and Butler both recall that the first fundraiser arranged by the Women’s Committee was called The Symphony Gala and Champagne Reception. It was held on September 30, 1968 in the banquet room of the Country Squire Motel, just north of Eugene. Soreng remembers that the show featured fall fashions provided by “the Bon” (then known as the “Bon Marché Russell’s”). About 300

people attended. Members of the Eugene Symphony performed and The Starlighters provided music for dancing. The Guild produced the second Gala in 1970 in the Valley River Mall. Very soon, the Guild was producing fundraising events year round, always searching for new ideas to keep the events fresh and productive: a 10K run; tours to music destinations across the country; a “Christmas Tea” at the UO Chancellor’s residence; Christmas Walks; fashion shows; “Music in the Garden” tours; a series of house parties known as “Musical Chairs” featuring a wide variety of presentations, performances, and dinners; Holiday Kitchen tours and a dinner with a floor show called “Cabaret;” and, most recently, a Holiday Performance Festival. Many fundraising events require the work of many members; the event committee alone is 30 members and almost all the other members assist in some capacity. This year the Guild is presenting special 50th anniversary events to raise awareness of the role it has played in helping enrich the arts within the community. Today the Guild has more than 100 all-volunteer members including some of the founding members who are still actively involved and highly valued. Many committees plan the various events and monthly general meetings are held to keep members up-to-date and involved.

An early gathering of Eugene Symphony Guild members in the late 1960s.

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(Above) Members of the Guild pose for a photo after volunteering at another successful Youth Concert; (below) A collection of promotional materials from Guild fundraisers over the years.

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started out as gatherings the week before each concert in private homes of Guild members, and they now fill The Studio in the Hult Center to capacity. Recently the Guild has sponsored the Young Artist Competition, which awards scholarships to young musicians in Oregon. See page 28 for a story about one of last year’s Young Artist Competition winners. The Guild has been an integral part of Eugene Symphony since nearly the beginning, and with the work of so many dedicated people, it will be far into the future.

A note from the Officers of the Eugene Symphony Guild

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Guild members are passionate about supporting the Symphony in its pursuit of enriching lives through the power of music. Abbott notes that “the total contribution of the Guild over the years exceeds $1.3 million, putting it in the top tier of donors.” In addition to fundraising, the Guild provides logistical support for the elementary school Youth Concerts, staffs the front desk in the Symphony office and assists with clerical projects, and helps the Eugene Symphony staff and Board of Directors whenever needed. The Guild continues to sponsor the Concert Previews before every Symphonic Series concert; these

We want to thank and recognize all of our current members, as well as those who belonged in prior years and all who have helped our progress over the years. We especially appreciate the advice and counsel of the Eugene Symphony Association and their support of our endeavors. Membership is open to all who are interested in sharing our goals and working to raise money for the Eugene Symphony. Visit our website at eugenesymphonyguild.org or call Susan Greenwald at 541-686-2895 for membership information.

David Kammerer

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The Four Seasons of the Mckenzie River Eugene Symphony Francesco Lecce-Chong, conductor | Rachel Barton Pine, violin Thursday, February 15, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center Gabriella Smith (b. 1992)

Tumblebird Contrails

Antonio Vivaldi (1678–1741)

The Four Seasons La Primavera in E Major, RV 269 (Spring) I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale Rachel Barton Pine, violin

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

Antonio Vivaldi

The Four Seasons L’autunno in F Major, RV 293 (Autumn) I. Allegro II. Adagio molto III. Allegro Rachel Barton Pine, violin

Edward Elgar (1857–1934)

In the South, Op. 50 (Alassio)

Concert Sponsor

L’estate in G minor, RV 315 (Summer) I. Allegro non molto II. Adagio e piano – Presto e forte III. Presto

L’inverno in F minor, RV 297 (Winter) I. Allegro non molto II. Largo III. Allegro

Guest Artist Sponsor Multimedia Sponsor

Additional Support

Paul J. and Lory Utz

Andy and Elizabeth McWilliams

In partnership with This project was made possible with grant support from the Nils & Jewel Hult Endowment – Arts Fund of The Oregon Community Foundation

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, March 13 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

JANUARY – MARCH 2018

” I am especially delighted with tonight’s presentation of Vivaldi’s well-known The Four Seasons that culminates a year-long process to collect imagery of our glorious McKenzie River. In partnership with McKenzie River Trust and Travel Lane County, the community (including some of you in the audience!) submitted more than 600 photos and videos, and I am thrilled to see the selections projected on stage tonight. My hope is that the imagery heightens our awareness to the sounds of nature Vivaldi so strikingly places in his concertos. Another highlight tonight is Tumblebird Contrails by Gabriella Smith, a former classmate of mine from the Curtis Institute of Music. This piece was inspired by her hikes along the Pacific Coast Trail—listen for sounds you may recognize from the Oregon Coast, like crashing waves, ocean breezes, and seagulls.‘’ — Francesco Lecce-Chong 30

GABRIELLA SMITH (b. 1992) Tumblebird Contrails (2014) Scored for three flutes, three oboes, three clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, timpani, percussion and strings. This is the first Eugene Symphony performance and performance time is approximately 12 minutes. What do we hear during the 12 minutes of Tumblebird Contrails? A ship’s horn? The roar of surf? The cries of shorebirds? Sea breezes setting leaves aquiver? A whale’s song? We hear all of that and none of it. Musical instruments, through both traditional and extended techniques, generate every sound in this musical Rorschach test. Our minds sculpt meanings from Gabriella Smith’s fog of carefully chosen, precisely notated fragments, gestures, and washes of sound. Smith, 26, did not set out to find musical inspiration when she embarked on a three-day backpacking trip in Point Reyes, California, a few years ago. But inspiration found her.

People worry about “not getting it.” Give up all of that and let it wash over you. — Gabriella Smith “Nature, backpacking and music are all huge parts of my life,” the Berkeley native said, in a phone interview from Marseilles, France, where she is at work on her Princeton doctoral dissertation. “In that particular moment, sitting in the sand at the edge of the ocean, I think I knew that this piece would come out of it. That moment seemed so perfect.” Her goal, she said, was not to recreate the intoxicating sounds of that environment, but to capture the feeling of being lost in that moment. That’s why she composed music, rather than make an HD surround-sound recording of seaside sounds. This is immersion music; you don’t listen to it as you would listen to Mozart. “People worry about not ‘getting it,’” she said. “I advise them to give up trying. Give up all of that, and let it wash over you.” To compose it, she had to “get over it,” too, in a way. As an even younger composer, she was obsessed with traditional forms—the sonata, for example— and explored them fully. “I decided to simply let Tumblebird Contrails grow organically, from nothing to a climax,” she

EUGENE SYMPHONY

said. “It grows to a big place and dies down, then grows to a bigger place and dies down.” Aristotle would have recognized that classic dramatic arc; the piece does have structure. And it reflects notable historical influences, one of them literary: The fantastical poetical ending of Jack Kerouac’s novel, Big Sur. The musical influences: Debussy, Ravel, Bach, the Minimalists, Björk. “I’m influenced by so many styles,” Smith said. “They all sort of mash together.” “Gabriella’s music is all about the way she conceives and understands sound,” said Music Director & Conductor Francesco Lecce-Chong, who conducted two of her early works when they were students at the Curtis Institute. “Tumblebird Contrails fits so well with The Four Seasons. They both surround you with nature.” ANTONIO VIVALDI (1678–1741) The Four Seasons Violin Concerto Cycle, for soloist, strings and continuo (c. 1721) 1. Spring 2. Summer 3. Autumn 4. Winter In addition to the solo violin, this work is scored for harpsichord and strings. First performed by the Eugene Symphony in January 2007 under the direction of Giancarlo Guerrero with Kathryn Lucktenberg as soloist. Performance time is approximately 11 minutes for Spring, 10 minutes for Summer, nine minutes for Autumn, and seven minutes for Winter. In these concerti, composed in Mantua around 1721, Vivaldi mimics Spring and Summer thunderstorms, barking dogs, rustic bagpipes, the call of the cuckoo, buzzing insects, Autumn harvest revelry, the chase and hunters’ gunfire, and stamping feet amid a frigid Winter. More subtly, he evokes soft breezes, rising heat, numbing cold, slipping on ice. Vivaldi provided sonnets—possibly his own—as cheat sheets for listeners. The Four Seasons launched a revolution that led to Romantic program music and continues to this day—with Gabriella Smith’s Tumblebird Contrails, for example. No one prior to Vivaldi—and few since—conjured scenes so specifically and vividly. “Vivaldi figured out how to express hot and cold in music,” said Lecce-Chong. “How crazy is that?” “Some of the sonnets and movements don’t have plots,” said Rachel Barton Pine, tonight’s violin soloist, in a phone interview from her Chicago home. “Shivering, icy blast, chattering teeth, stamping feet—they’re just four things about Winter. The last

JANUARY – MARCH 2018

movement of Autumn tells a story—the hunt, the chase, the wounded prey holding onto hope until it dies. The first movement of summer is a lament, a farmer worrying about his crops. When I play it, I definitely think ‘worried farmer.’” Barton Pine has performed these concerti with period-instrument groups and conducted at the same time, as Vivaldi would have. She will soon record the Vivaldi set with a period orchestra, complete with her own narration.

In The Four Seasons, Vivaldi mimics thunderstorms, rustic bagpipes, and buzzing insects. In Eugene, she will simply play, as imagery of the local McKenzie River, contributed by many area photographers as part of a year-long project, are projected along with the music. She’s fine working with conductors (that is, Lecce-Chong) and with orchestras that stick with their “modern”—that is, later 19th-century—bows. Baroque bows are generally shorter, straighter and springier than the modern Tourte bow. (Continued on page 24)

Sir Edward Elgar, the very model of a well-dressed English gentleman cyclist. He named his bike, a 1900 Sunbeam model, Mr. Phoebus.

The Four Seasons of the McKenzie River Program Notes (Continued from page 23) “But I always play it with a Baroque bow in hand,” she said. “And I will ask the orchestra to imitate that sound as closely as possible. I’m interested in the affect and the rhetoric of the music, which relate to the subtleties of articulation of the bow.” Another Baroque practice will display her own creativity. “I extemporize all the ornaments,” she said. This practice requires hard-won knowledge of Baroque performance style. The payoff: each Rachel Barton Pine performance of The Four Seasons is unique. Combined with imagery of the McKenzie River, tonight that should prove especially true. EDWARD ELGAR (1857–1934) In the South (Alassio), Opus 50 (1903–1904) Scored for three flutes, piccolo, two oboes, English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings. This is the first Eugene Symphony performance, and performance time is approximately 20 minutes. In the winter of 1903–1904, Edward Elgar and his family settled into the town of Alassio, on the Italian Riviera. The vacation, like Gabriella Smith’s hike, spawned an orchestral work. In 1907, Elgar recalled his inspiration in an interview with the Chicago Sunday Examiner: “Then in a flash, it all came to me—the conflict of the armies on that very spot long ago, where I now stood—the contrast of the ruin and the shepherd—and then, all of a sudden, I came back to reality. In that time, I had composed the overture—the rest was merely writing it down.” And yet, the 20-minute In the South doesn’t sound very Italian. Or southern.

“This is Elgar trying to be Richard Strauss on the technical level,” Lecce-Chong said, “with the cross rhythms, the active inside voices, the second violins playing higher than the first—all so Strauss.” Lecce-Chong distinguished Elgar from both Smith and Vivaldi. Smith absorbed the external world of the California coast; Vivaldi described the Italian countryside over the passage of time; and Elgar goes for the feelings that well up when nature inspires us. “That town in Italy was the one place he could relax,” Lecce-Chong said. “Elgar never expresses abandon— except in this piece. There is an incredible joy and release of energy. He just piles on the themes.

With In the South, Elgar goes for the feelings that well up when nature inspires us. “We think of Elgar and we think of Pomp and Circumstance and Enigma Variations—small forms. In the South shows his mastery of large forces and large forms. Yet you never feel lost. You’re comfortable. You’re on vacation.” The principal violist gets the work’s hit tune, in the middle section. At his publisher’s urging, Elgar extracted a solo viola and piano version and went on to arrange it for other small ensembles. He wedded it to a poem by Shelley, in the song “In Moonlight.” He titled all the instrumental versions “Canto Populare”—“folk song” in Italian. But even that tune fails to sound Italian. Eventually, Elgar admitted inventing both the melody and that his folk-song claim was baloney. Italian locale and Germanic ambitions notwithstanding, In the South sounds like Elgar. That is, it rightly sounds like an Englishman on vacation.

Historical sources: Corilon Violin Shop newsletter article on period bows; Wikipedia articles on Baroque violin, Vivaldi, The Four Seasons, and J.J. Froberger; Micheline Walker’s blog on Le chant des Oyseaulx; Essays in Musical Analysis Vol. 4: Illustrative Music, by Donald Francis Tovey, Oxford University Press, 1936. Sources: Andrew Farach-Colton, “Elgar the Outsider,” Gramophone Online; Wikipedia articles on “Canto Populare,” Elgar, In the South; English Pastoral Music, From Arcadia to Utopia, 1900-1955, University of Illinois Press, 2017.

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The Four Seasons of the McKenzie River Guest Artist Rachel Barton Pine In both art and life, violinist Rachel Barton Pine has an extraordinary ability to connect with people. Celebrated as a leading interpreter of great classical and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction across an extensive repertoire, thrilling audiences with her dazzling technique, lustrous tone, and infectious joy in music making.

Barton Pine often visits rock radio stations and clubs to perform her own arrangements of rock and metal songs followed by classical pieces. Pine has appeared as a soloist with many of North America’s most prestigious ensembles, including the Chicago, Montreal, Atlanta, San Diego, Baltimore, St. Louis and Dallas Symphonies; the Buffalo, Calgary, and Rochester Philharmonics, and the Philadelphia and Louisville Orchestras. Overseas, she has performed with the Vienna, New Zealand, Iceland and Budapest Symphonies; the Royal Scottish Philharmonic, the Belgian and Russian National Orchestras; the Mozarteum, Scottish and Israel Chamber Orchestras; the Royal Philharmonic, and, and the Netherlands Radio Kamer Filharmonie. She traveled to West Africa to play for the President of the Republic of Ghana, and to Southeast Asia to perform for the President of the Republic of Singapore. Stateside she has played for the Justices of the U.S. Supreme Court. A fan of rock and heavy metal since her pre-teens, Pine’s ability to see the connecting threads between classical and rock music makes her the perfect bridge between generations of music fans. Hailed as an artistic ambassador, she often visits rock radio stations and clubs to perform her own arrangements of rock and metal songs followed by classical pieces to illustrate how the two genres share a similar intensity and compositional complexity. The success of these experiences inspired her orchestral initiative “Shredding with the Symphony,” aimed at drawing new audience members. The program features pieces by Van Halen, AC/DC, Black Sabbath, Led Zeppelin, and Metallica alongside pieces by Bruch, Vivaldi, Sibelius, and Shostakovich. Pine is committed to encouraging the next generation to experience the transformative power of the arts. Her Rachel Barton Pine Foundation assists young artists with programs including Grants for Education and Career, Global HeartStrings (supporting classical musicians in developing countries), and a curricular series in development in conjunction with the University of Michigan: Music by Black Composers. Pine was a torchbearer in the 1996 Olympic torch relay and JANUARY – MARCH 2018

performed at the Democratic National Convention that same year. She has been featured on CBS Sunday Morning, PBS Newshour, appeared five times on NBC’s Today Show, and frequently has been a guest on nationally-syndicated radio shows including Performance Today, A Prairie Home Companion, as well as National Public Radio’s All Things Considered and Tiny Desk. A Chicago native, Pine began violin studies at age three and made her professional debut four years later at age seven with the Chicago String Ensemble. Her earliest appearances with the Chicago Symphony (at ages 10 and 15) were broadcast on television. Her principal teachers were Roland and Almita Vamos and she has also studied with Ruben Gonzalez, Werner Scholz, Elmira Darvarova and several early music specialists. Pine resides in Chicago with her husband and daughter. She performs on the Joseph Guarnerius del Gesu (Cremona 1742), known as the “ex-Bazzini, ex-Soldat” on lifetime loan from her patron.

The Four Seasons of the McKenzie River Composer Gabriella Smith Gabriella Smith is a composer from the San Francisco Bay Area whose music is described as “highvoltage and wildly imaginative” (Philadelphia Inquirer), “bold, original and suggests exciting new directions for American music” (Giancarlo Guerrero), and “You really get the Pacific Ocean, man!” (Cabrillo Festival audience member). Her music has been performed throughout the U.S. and internationally by eighth blackbird, Bang on a Can All-Stars, the Cabrillo Festival Orchestra, the Nashville Symphony, PRISM Quartet, Aizuri Quartet, and ymusic, among others. During the 2016/17 season, Gabriella was the Nashville Symphony’s inaugural Composer Lab & Workshop Fellow. Other

recent residencies include two months as an artist fellow at Instituto Sacatar on the island of Itaparica in Bahia, Brazil and a Copland House Residency at Aaron Copland’s home in Cortlandt Manor, New York. Gabriella is currently a doctoral candidate at Princeton University, where she has studied with Steve Mackey, Paul Lansky, Dan Trueman, Dmitri Tymoczko, Donnacha Dennehey, and Ju Ri Seo. She received her Bachelors of Music in composition from the Curtis Institute of Music. After graduating, she returned to the Curtis Institute of Music as an ArtistYear Fellow for the 2015/16 season, dedicating a citizen-artist year of national service in the Philadelphia region. When not composing, she can be found backpacking (playing trail songs on her ukulele along the way), birding, playing capoeira, working on small-scale organic farms and environmental projects around the world, and recording underwater soundscapes with her hydrophone.

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In the Key of E[ducation] Young Artist Highlight: Violist Karlie Roberts Takes the Stage By Katy Vizdal, Education & Community Engagement Director Karlie Roberts, 17 years old, is the youngest musician on record to be a member of the Eugene Symphony. She first caught our ‘ears’ at last year’s Young Artist Competition [now sponsored by the Eugene Symphony Guild], at which she won second prize in the Junior Division, for musicians 14 to 18 of age. Dating back more than three decades, the Eugene Symphony’s Young Artist Competition has provided talented young musicians with the opportunity to perform short works for a panel of Eugene Symphony musicians. Winners receive cash prizes and, sometimes, the chance to perform as a featured soloist with the Eugene Symphony. “The Young Artist Competition was valuable because competitions are so different than performances,” said Roberts. “There isn’t a big audience, just a few people in the room. It was really nice to receive the cash award and the other

opportunities to play for the Eugene Symphony Guild, which are always good experiences.” Like most juniors in High School, Roberts worries about her homework and stays in touch with friends via Snapchat, but she is also dedicated to practicing her viola at least two hours each day and even longer on the weekends. It is this dedication that recently won her a position with the Eugene Symphony, an opportunity she says she never could have imagined. Preparing for the audition It was Robert’s viola teacher Kim Uwate, also a member of the Eugene Symphony, who encouraged her to take the audition last fall. At the beginning of the summer, Uwate suggested to Roberts that she could gain valuable experience with the audition process and learn all of the most commonly required orchestral excerpts.

I want to thank the Eugene Symphony for giving me so many opportunities...I feel really blessed to be able to play with all of these incredible musicians and play all of this incredible symphonic repertoire. — Karlie Roberts Then, over the summer, Roberts had the incredible opportunity to play with the National Youth Orchestra under the leadership of former Eugene Symphony Conductor Laureate Marin Alsop. Roberts describes her experience playing under Marin as…“incredible. That was the first time I had played under a woman conductor, and for her to be so successful in her field is really inspiring, especially in classical music which used to be very male-dominated. Before that I hadn’t really played in a full orchestra, so I don’t think I could’ve auditioned for the Eugene Symphony job if I hadn’t received such valuable experience.” Karlie doesn’t have an orchestra at her school, but in middle school played trombone and currently also sings in her high school’s choir.

Karlie Roberts with Marin Alsop

Behind the screen When Roberts returned, she began preparing for her Eugene Symphony audition, and she felt nervous about auditioning among adult musicians. The Eugene Symphony holds blind auditions, a process used widely by orchestras across the nation to preserve applicants’ anonymity behind a screen. “I’ve never been in a blind audition before, and it was way more nerve-racking than I imagined,” Roberts said. “I thought it would be less stressful since you can’t see who is behind the screen, but it made it more stressful since you didn’t know who was there or what they thought. The first round I went in to play I was so scared, I was shaking and

EUGENE SYMPHONY

17-year-old violist Karlie Roberts earned a position with Eugene Symphony last fall. (Photo by Amanda L. Smith)

my hands were sweating.” She played well enough to advance to a final round, and then was offered the position by Music Director & Conductor Francesco Lecce-Chong. How it all began Like most talented young artists, Roberts’ success has been cultivated by her dedication, as well as the support of her family and a strong musical community. One day at the age of five, she saw some kids playing violin at a bookstore, and told her mom that’s what she wanted to do. A few months later, her mom enrolled her in the UO Community Music Institute (CMI) Suzuki program.“When I was nine, I wanted to play chamber music in the Suzuki program, but they already had too many violinists. They told me that if I played viola I could join. Once I discovered viola, I started to take it more seriously and started actually practicing more.

Later, when I was 15, I played in a violin master class for Adele Anthony as part of the Laura Avery Visiting Masters program [April 2016] and that was a good experience. I remember being so nervous for it, but Adele was so nice and inspiring.” When asked about her musical role models, Roberts said, “I have a lot. My teacher [Kim Uwate] and definitely Francesco [Lecce-Chong]…I like the way he conducts and interacts with the orchestra. Of course, [cellist] Yo-Yo Ma and [pianist] Yuja Wang, I love their playing. I also admire Nina Simone. I admire that she paved her own way despite the discrimination she faced as an African-American woman in classical music. I remember when I was a kid, I came to the Eugene Symphony a couple of times and it was always really inspiring for me to see so many people playing music and making that big sound. And now I can’t believe I’m on stage with them!”

2018 Eugene Symphony Guild Young Artist Competition Friday, April 6 — Deadline to Register Sunday, April 15 — Preliminary and Final Rounds Open to all instrumentalists ages 14–25 For more information visit eugenesymphony.org

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Youth Concerts: The Orchestra Swings Eugene Symphony Francesco Lecce-Chong, conductor | William Hulings, narrator Tuesday, March 13, 2018 10:30 AM & 12:30 PM | Silva Concert Hall, Hult Center Thomas Cabaniss/arr. Cabaniss and Washburne (b. 1962)

“Come to Play”

Antonín Dvoˇrák (1841–1904)

Slavonic Dance No. 1

Duke Ellington, Ruth Roberts, Bill Katz, and Robert Thiele/ arr. Washburne

Duke’s Place

Scott Joplin/ed. Schuller (1868–1917)

Maple Leaf Rag

George & Ira Gershwin/arr. Washburne (1898–1937 & 1896–1983)

“I Got Rhythm”

Leonard Bernstein (1918–1990)

Times Square 1944 from On The Town

Edward Kennedy “Duke” Ellington/arr. Washburne (1899–1974)

“It Don’t Mean a Thing”

Traditional/arr. Washburne and Rothman

“When the Saints Go Marching In”

Youth Concert Season Sponsors

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Tales of Hemingway Eugene Symphony Francesco Lecce-Chong, conductor | Zuill Bailey, cello Thursday, March 15, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center Ernesto Lecuona (1895–1963) orch. Grofe

Malagueña

Michael Daugherty (b. 1954)

Tales of Hemingway I. Big Two-Hearted River II. For Whom the Bell Tolls III. The Old Man and the Sea IV. The Sun Also Rises Zuill Bailey, cello

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

Jean Sibelius (1865–1957)

Valse Triste from Kuolema, Op. 44, No. 1

Jean Sibelius

Symphony No. 5 in E-flat Major, Op. 82 I. Tempo molto moderato; Allegro moderato – Presto II. Andante mosso, quasi allegretto III. Allegro molto; Misterioso Zuill Bailey is represented by Colbert Artists Management, Inc., New York, NY colbertartists.com

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This concert will be broadcast on KWAX-FM 91.1 on Thursday, April 12 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

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”It is always a special joy to present new works that have quickly become modern classics. Michael Daugherty’s Tales of Hemingway is such a work. Written in 2015, this cello concerto won three Grammy Awards last year. On the recording was our soloist this evening, Zuill Bailey, with the Nashville Symphony conducted by former Eugene Symphony Music Director Giancarlo Guerrero. Zuill has been performing the concerto around the country and we are delighted to welcome him to Eugene. On the second half are two of the greatest works by Finnish master Jean Sibelius. At the turn of the 20th century, he found his own unique voice with music that sings and soars, but also bears witness to a fractured, struggling Europe. For me, his music carries an emotional weight and sweeps me along in a journey that, in the Fifth Symphony, ends in a moment of catharsis and one of the most memorable finales ever conceived.‘’ — Francesco Lecce-Chong

ERNESTO LECUONA (1895–1963) Malagueňa (1928) Scored for flute, oboe, two clarinets, bassoon, two horns, three trumpets, two trombones, timpani, percussion and strings. First performed by the Eugene Symphony in October 1981 under the direction of Wayne Bennett, and performance time is approximately four minutes. Malagueňa, probably the single most famous composition by a Cuban composer, leads many lives. The piece, based on a flamenco form rooted in Malaga, Spain, began life as the sixth and final movement of Suite Andalucía, a piano work that Lecuona played on his wide-ranging tours. He recognized its potential and recast it as a song, complete with his own Spanish lyrics. German, English, French and even Farsi versions popped up throughout the 1950s and ’60s. Malagueňa graced the B-side of Connie Francis’ 1960 hit, “My Heart Has a Mind of Its Own.” Stan Kenton made it a jazz-band extravaganza. Marching bands play it at halftime. It came full circle when flamenco guitarists took it up. Lecuona, like his friend George Gershwin, strode the world stage with one foot in classical and the other in pop, as a master of both. Ferde Grofé, the famous orchestrator of Gershwin’s Rhapsody in Blue, also created this evening’s version of Malagueňa. MICHAEL DAUGHERTY (b. 1954) Tales of Hemingway (2015) In addition to the solo cello, this work is scored for two flutes, piccolo, oboe, English horn, two clarinets, two bassoons and contrabassoon, two horns, two trumpets, two trombones, timpani, percussion, harp, and strings. This is the first Eugene Symphony performance, and performance time is approximately 30 minutes. Michael Daugherty had four Hemingway stories in mind as he composed this 30-minute work for cello and orchestra. The first is “Big Two-Hearted River,” from 1925. Nick Adams, damaged from soldiering in World War I, seeks solace and restoration in remote Michigan woodlands. You can hear Nick’s pain in the cello’s laments and the healing in the orchestra’s shimmering waters and birdsongs. “I live in Michigan,” Daugherty said, in a phone interview. “I went up to Northern Michigan and followed Nick Adams’ footsteps.”

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Though Daugherty delved deeply into Hemingway’s life and works, he did not set out to musically re-tell the stories. “It’s not a blow-by-blow narrative,” he said. “But I did put some passages, little fragments of text from Hemingway, into the score, to give the players an idea of what’s going on. I’ve never done that before.” The second story, For Whom the Bell Tolls (1940), tells of a loyalist guerrilla group and a volunteer American fighting Franco’s Fascists during the Spanish Civil War. Daugherty relates the violence, relentlessness and desperation of it in a surreal danza macabra of slashing, grinding gestures and implacable drive. A cello soliloquy parallels the Cuban fisherman’s pre-dawn preparation in The Old Man and the Sea (1952), the third movement’s tale. The low strings suggest the ocean’s swells and troughs. Ruminative lines allude to the passage of time and the solitude of one man in one small boat on the trackless sea. Pounding timpani and heavy strings suggest brawn against brawn in the fisherman’s epic battle with the catch of his life. Spanish-sounding trumpets near the end foreshadow the next movement and compare the fisherman’s challenge with that of the matador. The finale, The Sun Also Rises (1926), focused on another wounded World War I doughboy, Jake Barnes, left impotent and foundering in France and Spain in the 1920s. He and his circle of expats engage in a desperate revelry that Daugherty captures in crazed, whirlwind dances. The Brave Bulls trumpets, lots of Phrygian mode, and a remarkable pizzicato evocation of flamenco guitar soak the music in Spanish atmosphere. (The running of the bulls in Pamplona figures prominently in this roman à clef based on Hemingway and his Lost Generation companions.)

It’s hard to write a great tune that is not a cliché. Great tunes suit the cello. — Michael Daugherty Hemingway hated the movie adaptions of his novels and stories, but Daugherty is a fan. In some ways, Tales of Hemingway recalls the lush harmony, melody and high drama of mid-century film scores. “It’s hard to write a great tune that is not a cliché,” Daugherty said. “I set that particular challenge for myself. Great tunes suit the cello.”

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Hemingway in Idaho, 1939, by Lloyd Arnold, photographer for the Sun Valley Resort. (Getty Images)

The Nashville Symphony commissioned the concerto. Giancarlo Guerrero, former Eugene Symphony Music Director, conducted the premiere, with Zuill Bailey, tonight’s soloist. “I listened to every cello concerto written in the last 50 years,” Daugherty said. “Most of them are really about the orchestra, with the cello buried a good part of the time. I wanted this to be about the cello. I actually wrote the cello part first and orchestrated around it.” Daugherty famously takes on American icons; among his subjects: Rosa Parks, Liberace, Jacqueline Kennedy Onassis, Abraham Lincoln, Georgia O’Keefe, Superman, Hemingway. “Hemingway continues a very long arc,” he said. “I wanted someone literary. I found out that, as a youth, Hemingway played the cello. That was the clincher.” (Continued on page 36)

Tales of Hemingway Program Notes (Continued from page 35) JEAN SIBELIUS (1865–1957) Valse Triste (1903-04) Scored for flute, clarinet, two horns, timpani and strings. First performed by the Eugene Symphony in October 2016 under the direction of Danail Rachev at a pair of elementary school Youth Concerts. Performance time is approximately six minutes. Symphony No. 5 (1915, rev. 1919) Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani and strings. First performed by the Eugene Symphony in March 1975 under the direction of Lawrence Maves, and last performed in February 1984 under the direction of William McGlaughlin. Performance time is approximately 30 minutes. Jean Sibelius’ musical star rose with Finnish nationalism in the early 1890s. It ascended further with Valse Triste, from incidental music to a play, Kuolema (Death), by his brother-in-law, Arvid Järnefelt. The project arose from one of many long evenings of eating and drinking with a group of Finnish literary men. The piece was a hit, but something of a Pyrrhic victory. The composer’s excessive partying with his pals distressed his wife and lightened his wallet. Soon after the premiere, he had to sell the rights to Valse Triste—before it had become world famous—to cover his extravagant restaurant bills. His family urged him to stop drinking and move to the country, away from Helsinki’s temptations. Eventually, he did. In the play, an old woman waltzes with a man she believes to be her deceased husband, miraculously brought back to life. Her dance partner turns out to be Death Himself. “It’s a short study in what the Fifth Symphony would become,” said Music Director Francesco Lecce-Chong. “It’s really dark, and it’s momentum momentum momentum with a big whack at the end.” Sibelius conducted the premiere of his 35-minute Symphony No. 5 in Helsinki on his 50th birthday, with great success. The piece advanced

his ongoing evolution away from the contrasting themes of rigid Classical forms and toward ideas that evolve, as if organically, over long stretches of time (so subtly that theorists argue about where some themes begin and others end). Prominent conductor Robert Kajanus declared it the dawn of a truly Finnish style. But it failed to satisfy Sibelius. He published version two in 1916 and version three in 1919. He reduced four movements to three, installed the famous long, long rests among the final, thunderous chords, and added the French horn call to the opening.

[When] the winds play a gorgeous, but simple melody all in unison, your heart just opens up. — Francesco Lecce-Chong “It asks for an incredible level of finesse and for expressiveness from the orchestra as an entire group,” Lecce-Chong said. “Long melodies go on and on. If you linger to put your individual stamp on them, the music loses momentum, and the Fifth is nothing if not a study in momentum. “He builds tension. He leaves you uncertain. You feel that he’s always on the verge of ruining everything. And then comes that moment, 22 minutes in, where the horns begin this ostinato of leaping thirds and over them, the winds play a gorgeous, but simple, melody all in unison. Your heart just opens up. And you realize that Sibelius has absolutely been in charge from the very first notes, guiding us on this journey. “His pacing is different than that of any other composer, because Sibelius plays such a long game. It takes patience. You have to stay with it to the end.” Ah, that ending, with those crazy gaps among the final chords—gaps that make the audience applaud before the symphony actually ends. But you won’t make that mistake, dear reader, because you stayed with the program notes all the way to the end. Well done.

Sources: Wikipedia pages on Malagueňa, Lecuona, flamenco malagueňa; the detailed bio at encyclopedia.com; http://en.wikipedia.org/wiki/Ernesto_Lecuona Michael Daugherty’s website; “The Composer in the Rehearsal Room,” Tom Strini, Third Coast Daily, now Urban Milwaukee. The Jean Sibelius website; Wikipedia articles on Sibelius, Valse Triste and the Symphony No. 5; the Allmusic article on the Symphony No. 5.

EUGENE SYMPHONY

Tales of Hemingway Guest Artist Zuill Bailey, cello Zuill Bailey, widely considered one of the premier cellists in the world, is a Grammy Award-winning, internationally renowned soloist, recitalist, Artistic Director, and teacher. His rare combination of celebrated artistry, technical wizardry, and engaging personality has secured his place as one of the most sought after and active cellists today.

Bailey won a Best Solo Performance Grammy Award in 2017 for his live recording of Tales of Hemingway.

Joel Krosnick. Bailey performs on the “Rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/Series and Cello Seminar (Alaska), the Northwest Bach Festival (Washington), Classical Inside and Out Series (Arizona), and Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso.

A consummate concerto soloist, Bailey has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Colorado, Minnesota, Utah, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, Neeme Järvi, Giancarlo Guerrero, James DePreist, Jun Märkl, Carlos Kalmar, Andrey Boreyko, Krzysztof Urbanski, Jacques Lacombe, Grant Llewellyn, and Stanislaw Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell, and Janos Starker. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y, and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ Rhapsody for Cello and Orchestra. In addition, he made his New York recital debut in a sold-out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented the U.S. premiere of Nico Muhly’s Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch, and Michael Daugherty. Bailey is a renowned recording artist with more than 20 titles. He won a Best Solo Performance Grammy Award in 2017 for his live recording of Tales of Hemingway, by composer Michael Daugherty. The celebrated CD, recorded with the Nashville Symphony and Giancarlo Guerrero, conductor, also won a Grammy for Best Composition, and Best Compendium. Network television appearances include a recurring role on the HBO series Oz, NBC’s Homicide, A&E, NHK TV in Japan, a live broadcast and DVD release of Beethoven’s Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School respectively. His primary teachers include Loran Stephenson, Stephen Kates and JANUARY – MARCH 2018

Tales of Hemingway Composer Michael Daugherty Grammy Award-winning composer Michael Daugherty was born in Cedar Rapids, Iowa in 1954. He is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. As a young man, Daugherty studied composition with many of the preeminent composers of the 20th century including Jacob Druckman, Earle Brown, Bernard Rands and Roger Reynolds at Yale, Pierre Boulez at IRCAM in Paris and György Ligeti in Hamburg. Daugherty was also an assistant to jazz arranger Gil Evans in New York from 1980–1982. In 1991, Daugherty joined the University of Michigan School of Music, Theatre and Dance as Professor of Composition, where he is a mentor to many of today’s most talented young composers. He is also a frequent guest of professional orchestras, festivals,

universities and conservatories around the world. Daugherty’s music has entered the orchestral, band and chamber music repertoire and made him one of the 10 most performed American composers of concert music today according to the League of American Orchestras. His music is rich with cultural allusions and bears the stamp of classic modernism, with colliding tonalities and blocks of sound; at the same time, his melodies can be eloquent and stirring. Daugherty has been hailed by The Times (London) as “a master icon maker” with a “maverick imagination, fearless structural sense and meticulous ear.” Recordings of Daugherty’s music on Naxos, by the Nashville Symphony conducted by Giancarlo Guerrero, have received six Grammy Awards including Best Classical Contemporary Composition in 2011 for Deus ex Machina for piano and orchestra and in 2017 for Tales of Hemingway for cello and orchestra. His music is published by Peermusic Classical/Faber Music, Boosey & Hawkes and Michael Daugherty Music.

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Donor SPOTLIGHT Celebrating Dr. James and Barbara Walker, 2018 Advocate for the Arts Award Honorees The Eugene Symphony Association’s Board of Directors honors Dr. James and Barbara Walker with the 2018 Advocate for the Arts Award at its annual Gala on February 3, 2018. Both have been active and passionate supporters of a variety of social service and cultural nonprofits in the region, especially the Eugene Symphony and the Jordan Schnitzer Museum of Art. Why did you first become involved in the arts? We have always enjoyed classical music and art. Even when we were starting out as newlyweds in Cleveland on a shoestring, we found ways to attend symphonic concerts and visit museums. Very soon after our arrival in Eugene, friends invited us to attend concerts and visit the University of Oregon’s Museum of Art (now the Jordan Schnitzer Museum of Art or JSMA). We loved the intimacy of Beall Hall and found the Museum’s collections to be extraordinary. Why did you choose to commit your time to board service? Barbara: Over the years I have served on several boards of nonprofit health service agencies. Joining the Symphony’s Board offered me an opportunity to become more involved with the arts. I have met an incredible group of volunteer community members who invest considerable expertise, time, and treasure to ensure that the Symphony maintains its current integrity and vitality, both artistically and financially. My most challenging and rewarding board experience was as Chair of the Symphony’s 50th Anniversary Celebration. Together, the Board, staff, and community volunteers and business partners created festive events that honored the Symphony’s past and invigorated our commitment to its future. Jim: I have been rewarded by my own private experience at JSMA. The museum is a place where you can roam from one gallery featuring the sublime into another featuring the inscrutable, and encounter something new and challenging in both. My desire for a public leadership role developed from a deeper appreciation of what lay behind these exhibits. I want to promote the staff, volunteers, and committee members who operate JSMA and create the exhibits, programs, scholarship, and publications. Their work is usually not visible but is responsible for the majority of what is experienced by the museum visitor. My primary responsibility is to become the best advocate and steward for JSMA both within and outside this community. What would you tell others about coming to and supporting the Symphony and the JSMA? We often hear people say they’ve never attended concerts or visited JSMA. Or that they’re not sure they’ll understand or be comfortable with the music or the art. We say, “Give it a try! You may be surprised.” Neither of us began with much knowledge of classical music or the visual arts, but when we are attending a symphonic performance or standing before a work of art and just

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Jim and Barbara Walker at their 50th wedding anniversary.

listening or observing, we now find much that delights us, opens our minds, and puts us in touch with both the genius and the humanity of talented artists. Both the Symphony and the JSMA strive to bring exceptional classical music and visual arts to our region. We are impressed and enthusiastic about the numerous community outreach and educational activities these organizations make available to all ages. All this—the concerts, the exhibitions, the community activities—require considerably more money than is collected from ticket purchases. Both the Symphony and JSMA rely on donations from individuals and community businesses to remain vital. We started years ago with a modest annual gift in addition to our ticket purchases, and have increased our giving as circumstances have allowed. We have wanted to do our part to support the arts organizations we have so enjoyed. What does it mean for you to advocate for the arts? For us, the arts are essential, both as an expression of the human experience and as a vital source of enrichment. We believe our community benefits enormously both culturally and economically by having these two superb organizations available to us. Advocacy means commitment beyond the enjoyment and enrichment we derive from participating in the performances and exhibitions. It means working to promote organizations we believe are critical to our community. It means spreading the word and sharing with others our enthusiasm for the music and the art.

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On That Note On That Note introduces a member of the orchestra. This issue features violinist Anthony Dyer. Hometown? I was born in New Orleans but my family moved to Los Angeles when I was nine months old. Since I was there for the first 26 years of my life, I consider that as being my hometown. What year did you join the orchestra, and how long have you been playing music? I joined the Eugene Symphony in 1990 as a Graduate Teaching Fellow at the University of Oregon. Why did you decide to play your instrument? My mother provided music lessons to all three of her children: my oldest sister was given the flute and piano, my middle sister received the piano and violin, and I was given the violin. That’s how the journey began.

...with Anthony Dyer

When you’re not playing your instrument, what would we most likely find you doing? I can probably be found either practicing capoeira or Brazilian Jiu Jitsu, or resting from doing those. I have found each to be a great balance for the other. If you weren’t a musician what would you be? If I was not a musician, I honestly don’t know what I would be. I would have to dabble in some other art form or form of entertainment. What is your favorite piece of all time to play and why? My favorite pieces would totally fall into three categories. Solo Violin: J.S. Bach’s D-minor Fugue from his First Sonata, BWV 1001; Symphonic: Shostakovich’s 5th Symphony; Jazz: “Summertime” from Porgy and Bess. If you could meet one composer/musician, who would it be and why? If I could meet Ludwig van Beethoven that would be quite special. Even though Yo-Yo Ma is my favorite musician on this earth, I would want to ask Beethoven so many questions. It cannot be doubted that some of the most amazing pieces of music came from this man. Where is your favorite place on the planet and why? Probably one of my most favorite places on this planet is Morro de São Paulo, and Bahia in northeastern Brazil. It was one of the most beautiful and relaxing places that I have ever been. Red, white, stout, hoppy or none of the above? Tequila, Red, Stout, and Cachaça. Favorite book/movie you’ve read/seen recently? My favorite author is Walter Mosley. I just read his latest book Charcoal Joe, but any of his books are worth the read (especially his early works). What do you think some audience members might find surprising about you? When I was young I spent a lot of time listening to classical music. Now, I am more apt to listen to jazz. There is massive talent that can be found in the genre. Any interesting pre-performance rituals? Before every performance, I try to get to the hall at least an hour before call time wearing my most comfortable clothes, never my tux or tux shoes. Come about 20 minutes before, I put on my concert clothes, concert shoes, then play the performance. Do you have any other exciting life endeavors you’d like to share? My life endeavors involve being the best person that I can be. I seek to pass happiness, self-respect, and a healthy self-esteem onto my students, and love to all in any way that I can.

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Scenes from Offstage

(From top left, clockwise) Guest Conductor Laura Jackson talks with students from Siuslaw High School in Florence before the Paganini Violin Concerto on November 16. A young attendee at Cirque de la Symphonie Holiday Spectacular on December 17 poses at the photo booth before the show. Handelâ&#x20AC;&#x2122;s Messiah soprano soloist Sarah Shafer laughs with Eugene Symphony Board member Barbara Walker at a post-concert reception on December 7. Elementary students enjoy the November Youth Concert: Musical Time Machine, designed to introduce them to a variety of musical eras.

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

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Nathan & Marilyn Cammack Eugene Symphony Guild

Terry West & Jack Viscardi

GOLD PATRONS | $10,000 – $24,999 Keyhan & Lauren Aryah Dennis & Janet Beetham Natalie & Zack Blalack Caroline Boekelheide Dave & Sherrie Kammerer

Meg Mitchell David & Paula Pottinger James & Jane Ratzlaff Paul Roth

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

SILVER PATRONS | $5,000 – $9,999 Anonymous Warren & Kathy Barnes Deb Carver & John Pegg Marci Daneman G. Burnette Dillon & Louise Di Tullio Dillon Mike Fox & Rebekah Lambert Pamela Graves in memory of Glendora Burbank George & Kay Hanson

Starly Hodges John & Robin Jaqua Fund of The Oregon Community Foundation Jenny Jonak & Mike Bragg Diana G. Learner & Carolyn Simms Matthew McLaughlin Trieber & Michelle Meador Herb Merker & Marcy Hammock Otto & Joanna Radke

Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Dunny & Debbie Sorensen Andy Storment Elaine Twigg Cornett & Zane J Cornett Paul J. & Lory Utz 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 Robert & Friedl Bell Joanne Berry Shawn & Melva Boles Jack & Dondeana Brinkman Ruby Brockett Anne & Terry Carter William & Karla Chambers The Chambers Family Foundation Harriet Cherry & John Leavens Chvatal Orthodontics Jeff & Julie Collins Edna P. DeHaven Ed & Molly Emberlin Ray & Libby Englander Ginger Fifield Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett

Bill & Judy Freck Scott & Leslie Anderson Freck Dennis & Nancy Garboden Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of The Oregon Community Foundation The Gray Family Peter Gregg Galina Groza Elizabeth & Roger Hall Erwin & Vicki Haussler Lin & Don Hirst Hugh Johnston Kelley Family Charitable Giving Phillip Kimmel & Stephanie Pearl-Kimmel Deborah Lewis Larson Bob & Brenda Macherione Michael Lewis & Martha MacRitchie Sarah G Maggio Duncan & Jane Eyre McDonald Andy & Elizabeth McWilliams

James & Marilyn Murdock Janet Van Nada Arden Olson & Sharon Rudnick Kaz Oveissi Laura Parrish & Richard Matteri Nathan & Robin Phillips Philip & Sandra Piele Blandon Ray & Kim Nies Mike & Casey Roscoe Doneka R. Scott & Cedric Skillon Heinz & Susan Selig Sheppard Family Fund of The Oregon Community Foundation Ellis & Lucille Sprick Brad & Colleen Stangeland Inge Tarantola Michael Vergamini Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish 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

Marie Jones & Suzanne Penegor

The Haugland Family Foundation

GUEST ARTIST SPONSORS Banner Bank Chvatal Orthodontics Delta Sand & Gravel

Eugene-Irkutsk Sister City Committee Jonak Law Group Oakmont Family Dental

Summit Bank Paul J. & Lory Utz Wildish Companies

ADDITIONAL SUPPORT SPONSORS Eugene Airport Ferguson Wellman George Rode Repair Shops Grain Millers, Inc.

The Gilmore Agency Kernutt Stokes Andy & Elizabeth McWilliams Mountain Rose Herbs Mercantile Oregon Neurology

Oregon Neurosurgery Specialists Slocum Center for Orthopedics and Sports Medicine The Wayfarer Resort

IN-KIND SEASON SPONSORS The Broadway Wine Merchants Dot Dotsons Elizabeth Chambers Cellar

Hilton Eugene Marché Oregon Electric Station Perugino & Kaz Oveissi

Rhythm & Blooms Silvan Ridge Winery Technology Association of Oregon

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

Kesey Enterprises JLN Design Partnered Solutions IT

Amanda Smith Photography Technaprint

FOUNDATION PARTNERS

The Silva Endowment Fund of The Oregon Community Foundation

The Ann & Gordon Getty Foundation JANUARY – MARCH 2018

Herbert A.Templeton Foundation Support Hult Center Operations (SHO)

Season Supporters The Eugene Symphony extends our heartfelt thanks to the individuals, corporations, and foundations that have made generous contributions this season. Your support and generosity help keep the arts flourishing in our community. Conductor’s Circle ($1,000–$2,499) Anonymous (3) Gil & Roberta Achterhof The Alsop Family Foundation Virginia P. Anderson Laura Avery Ted & Marie Baker Lauren Bird-Wiser Louise Bishop & James Earl John & Christa Brombaugh Jim & Bev Buckley Delpha Camp Robert & Kathleen Carolan Elizabeth Chambers Curtis Chong Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation Allan & Nancy Coons Jana & Mark Cox John & Linda Cummens

Tami Dean Wendy Dame & Don Doerr Joan Dunbar & William Starbuck Jeff & Noreen Dunnells Stephen & Francoise Durrant Dieter & Juanita Engel Volker & Sheri Engelbert John & Jo Fisher Eric & Kristin Forrest Robert & Violet Fraser Lynn Frohnmayer Donald Gudehus & Gloria Page Michael & Janet Harbour Dr. Larry & Sharon Hirons Monica Careaga Houck Ellen Hyman 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 Mel & Carol Mead Lee & Mary Jean Michels J Anthony & Mary Mohr John & Barbara Mundall David & Jill Niles Nancy Oft & Mike Rose Theodore & Laramie Palmer Judson Parsons & Diana Gardener John & Joanne Porter Hope Hughes Pressman Fund of The Oregon Community Foundation In memory of Britta Putjenter John F. Quilter Dr. Candice Rohr

Jim & Paula Salerno Roger Saydack & Elaine Bernat Jonathan & Maureen Sherman John & Betty Siebs Susan Simmons Mike Simonitch Ken & Kenda Singer Jim St. Clair & Liz Alcott St. Clair Ginny Starr Martha J. Steward Marion Sweeney, Kate Laue, & Cama Evans Cathye Tritten Todd & Lisa Tucker Sharon Ungerleider & Ron Lovinger Chris Walton & Elizabeth Sheehan John & Sandy Watkinson Jim & Sally Weston Pamela Whyte & Ron Saylor Marguerite Zolman

Mary Louise Douda Mark & Jennifer Ensminger Howard & Kathleen Epstein Jane & Latham Flanagan, MD Liz & Greg Gill Lisa A. Hawley Ronald & Cecilia Head Lucille P. Heitz Charles Henry John & Marcia Jarrett Emmy Jenson Peter & Staci Karth Toshiro & Irene Katsura Raychel Kolen & Paul Allen Doris Kuehn Jason Tavakolian & Jennifer Lamberg Gayle Landt & Martin Jones Lynda Lanker Andrew Lewinter

Richard & Jacquie Litchfield Lois Long in memory of Dr. George M. Long Mark & Denise Lyon Ethel MacKinnon John & Lilla McDonald Robert & Colleen McKee Mary Mercier Bonita Merten Mary Ann Moore Boyd & Natalie Morgan Darian & Karen Morray Alexander Murphy & Susan Gary Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen Karen Leigh & Keith Oldham Searmi Park C Bennett & Ilene Pascal Stan & Julie Pickett David & Jane Pubols

Reed Family Foundation Ellen Rentz Linda & Tom Roe Judith Sabah & Amir Tavakkol Royce & Phyllis Saltzman Todd & Martha Schuetz Karen Seidel Marion Shiflet Roberta Singer Trace & Lisa Skopil Jerry Reed South & Sandi South Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Sing & David Tam Jeff & Linda Taylor Charitable Fund Carol Thibeau Pierre & Mary Lou Van Rysselberghe Dave Veldhuizen & Roanne Bank Phyllis Villec Forrest & Anna Williams

Sara Brownmiller & Milo Mecham Michael Burkhardt Sue Burkholder John & Denise Callahan Leonard & Janet Calvert Ernest Chizinski Suzanne Clark

Hiett & Caron Cooper Roger Coulter Ashlee Cribb & Walt Woliver Brian & Nancy Davies Jim Roetman & Jerry de Leon Tom Stevens & Flo Delaney Lance & Ann Devereaux

Benefactors ($500–$999) Anonymous Linda Ague & Kirk Kneeland Frank & Dorothy Anderson Carmen Bayley John Blackburn Karl & Linda Anonymous Barbara Britt Greg Brokaw & Elaine Lawson Robert & Robin Burk Bill & Lynn Buskirk Susan Bulkeley Butler Tap & Growler Melvin Carlson Jr. George & Fanny Carroll Dr. Douglas Smyth & Mr. James Chang Carol Crumlish Paul & Vivian Day James & Hannah Dean Marilyn Deaton David Guy

Sustaining Members ($250–$499) Anonymous Carolyn Abbott Lucille Allsen Kim Anderson Tony Anthony & Christine Shirley Ronald & Julia Babcock Robert Baechtold

Tom & Patti Barkin Loren Barlow Harold & Susan Baurer Jeff & Nancy Beckwith Laird & Ronnie Black Jim & Joanna Branvold Jack & Toni Brown

This listing is current as of January 4, 2018. Every effort has been made to ensure its accuracy. If your name has been inadvertently omitted or incorrectly listed, please accept our apologies and contact Ashley Petsch at ashley.petsch@eugenesymphony.org. Thank you for your generosity.

EUGENE SYMPHONY

Season Supporters Sustaining Members ($250–$499) Tomi Douglas Nena Lovinger John Etter Gary Ferrington Robert & Jill Foster David Foulkes & Nancy Kerr Tanya Garbett Mary Gent George & Lynn Gibson Pat Candeaux Gilberts Scott Ricker & Mary Gleason-Ricker Rick Grosscup John & Claudia Hardwick David & Donna Hawkins Kay Hayford Bob & Debbie Heaton Morley Hegstrom Richard & Judith Hicks Ken Higgins Sara Hodges Donald Holst & Kathy Locurto Lewis & Sandra Horne

Robert H. Horner & Polly Ashworth Ardis N. Hughes Judith Johnson Sue Keene Phillip Kimmel & Stephanie Pearl-Kimmel Tim & Linda King John & Muriel Kurtz Lynnea Lindsey Doug & Diane Livermore Windermere Jean Tate Real Estate Sara Long Dan Temmesfeld & Audrey Lucero Bert Lund Gerald MacLean Robert & Barbara Maurer Jo Ann McCabe Michael McCarthy Janelle McCoy Lucille McKenzie in memory of Dean McKenzie Mary Mercier

Michael Milstein Jack & Barbara Miner Doug & Leslie Moitoza John & Cheryl Moore Dr. Jeffrey Morey & Gail Harris Mary Anne Morrison Judith Mortimore Kenneth & Jackie Murdoff Chris Murray Jerril Nilson David & Anne O’Brien Jill Overley Harold & Joyce Owen James Pelley & Susan McConnell Ashley Petsch Jeffrey & Liz Peyton William & Cheryl Pickerd Dave & Linda Pompel Michael & Judy Ponichtera Joyce Pytkowicz Joe & Marian Richards Norman & Barbara Savage

Eric Schabtach & Bonnie Murdock Dr. Susan Rieke-Smith & Jeffry Smith Betty Lou Snyder Richard D. Spurlin John & Julie Stacy Jane Stephens Gerald & Heidi Stolp Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Michael & Candace Syman-Degler Wayne & Leslie Taubenfeld Jean Tuesday Linda & John Van Peenen Peter & Josephine Von Hippel Gerald & Veronika Walton Hilda H. Whipple Terry & Lucy White Robert & Patricia Wilson Kelly B. Wolf Harry & Connie Wonham

John Karth Robert Kendall Alan & Martha Kimball Charles & Reida Kimmel Alan & Theresa Hernried Anita Klock Margaret Knudsen Benjamin & Heather Kunz Donald Landstrom & Zachary Ruhl William Langdon John & Karen Lawrence Edward Lawry & Sandra Wu Joyce Leader Hope Lewis The Lillegard Family Janet Logan & William Oakley Eileen Loritsch Bert Lund Margaret Malsch Suzanne Gilbert McCrae Greg & Lynne McCutcheon Gary & Jill McKenney William P. & Maxine McWhorter Sarah & Josh McCoy Tia Merwin Heather Mills Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor Judith Moomaw Sheila Morgan Kathy Moulton Karen Murphy Duncan & Saundra Murray Beverly A. Murrow Diane Vandehey-Neale

Marilyn Nelson Terry & Donna Niegel Melvin Nygaard & Mary Sykes Carol Nylander Ruth Obadal Dr. Jay & Mary C. O’Leary Joy Olgyay & William Taliaferro Harry & Julie Park Dorothy Parrott Monica Parvin Michele Piastro & Allen Jablonski Douglas W. Pierce & Cynthia L. Secrest Jim Pilling Guntis & Mara Plesums Virginia Prudell Andrzej Wieckowski & Teresa Prussak-Wieckowska Marjory Ramey Richard & Patricia Rankin Lloyd & Marilyn Rawlings Jim & Sandy Ridlington Bernard Robe & Diane Hawley Edith C. Roberts Daniel & Kay Robinhold Gerald & Marcia Romick Sally Ann Ross Robert S. Russell Michael & Wendy Russo Eva Safar Madeline Malsch Sarah Schram Gregory Schultz Mike & Sheila Schwartz Suzanne & Marc Shapiro Marty & Mary Lou Smith Judy Sobba

Symphony Members ($125–$249) Anonymous (3) Mardi Abbott Patricia Ahlen Dr. Don & Marianne Anderson Richard & Joyce Anderson Susan Archbald David & Sierra Askwith Gerry Aster Roger & Lela Aydelott Sue Bach Don Baldwin George Bateman Diane Baxter Joan Bayliss & Irwin Noparstak Lawrence & Linda Ann Beach Robert & Kari Beardsley William & Alice Beckett Joyce Benjamin Richard & Betsy Berg David & Judith Berg Sara Bergsund John & Lucy Bigelow Robert & Patricia Brasch Norma Bryan Susan Burke & Clive Thomas June Hopkins & Don Campbell Elizabeth Charley Linda Cheney & Fred Felter Gary & Carole Chenkin Anthony J. Meyer & Joan Claffey Suzanne Congdon & Randy Garitty Victor Congleton Sherry De Leon Mark & Anne Dean Dale Derby & Ingrid Horvath Cynthia Dickinson Donald & Jenna Diment

JANUARY – MARCH 2018

Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy Bob & JoAnn Ellis Darian & Edward Fadeley John Faville Margot Fetz Lamar & Jane Forvilly Carl J. Frank Dorothy Frear Barbara Gates Carole Gillett Sylvia Giustina Tony & Courtney Glausi Elizabeth G. Glover Warren & Susan Griffith Mary Grinage Sally Grosscup David Gusset Haissam Haidar Scott & Mary Halpert Roger & Karen Hamilton Becky & Don Haskins Gale & Rosemary Hatleberg Andrew & Marilyn Hays Phyllis Helland & Raymond Morse Jim & Judith Hendrickson Leslie Hildreth Harold & Martha Hockman Judith Horstmann & Howard Bonnett Blaine & Nancy Hoskins Anne Hovland James & Helen Jackson Carol A. James Benton Johnson Pamela McClure-Johnston & Roy Johnston

Season Supporters Symphony Members ($125–$249) Dave & Dorothy Soper Joanne & John Soper John & Julie Stacy Phoebe Staples Verner Steigleder Barry & Marilyn Stenberg Maria & Delmar Storment

Patrick & Marjorie Sullivan Fay Sunada & Patrick Wagner Susan & Bahram Tavakolian Edward Teague Gary Tepfer & Esther Jacobson-Tepfer Anice Thigpen

John & Renate Tilson Addie Vandehey William Waddel Judith West Mary Ellen West Miriam Whiteley Susannah Wielesek & Bob Wright

Donald Wisely William & Pat Wiswall Thomas & Mariol Wogaman JoAnn Zinniker Alex Zunterstein

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.

Gilbert Stiles Avery III Marcia Baldwin Chandler Barkelew Phyllis Barkhurst Constance Mae Beckley Norma Jean Bennett Donald Bick Valentina Bilan Norma Bryan Hanya Etter Bert Evans Laurel Fisher Diane Foley Dave Frohnmayer Jean Glausi Marilyn Graham Ilene Hershner Gorgie Hofma Cory Hultenberg Bruce Kilen Melvin Lindley

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

Donald Lytle Milton Madden Ardice Mick Billie Newman Yun Kol ‘Jin’ Pak Reverend William Pfeffer Jack Pyle Ellen B. Rice Richard Rintoul Cece Romania John A. Schellman Jane Schmidt Helen R. Shapiro Dr. John A. Siebs John Siebs Benson Snyder Jan Stafl, MD Leonard Tarantola Mary Tibbetts Richard (Dick) G. Williams Barbara Wolfe

Supporting the Arts in Lane County

Musgroves.com

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

EUGENE SYMPHONY

The Eugene Symphony is profoundly grateful to our endowment donors for their vision and commitment to ensuring audiences will continue to enjoy the Symphony for generations to come. Crescendo Society The Crescendo Society is composed of donors who have made gifts of cash, stocks, other cash equivalent gifts, or Charitable Trusts. Anonymous Gil & Laura Avery Laura Maverick Graves Avery Harp Chair Laura Avery Visiting Masters Program Dr. John Bascom Joanne Berry Anne Boekelheide Caroline & Virgil Boekelheide Bill & Barbara Bowerman Nathan & Marilyn Cammack Carter & Carter Financial, Inc. Estate of Adeline Cassettari Carolyn S. Chambers The Phil Cass Memorial Fund Bruce Harlan Clark Crow Farm Foundation Dimmer Family Foundation Clyde & Mardell Quam Family Chair Anna Mae Esslinger The Eugene Symphony Guild The Bob Gray Family Bob Gray Chair Bob Gray Recognition Fund Estate of Lois J. Greenwood Peter Gregg Estate of Marguerite Grundig Niles & Mary Ann Hanson Miguel Harth-Bedoya Fund Rosaria P. Haugland Foundation James L. Hershner Memorial Fund Dr. & Mrs. George Hughes

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

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

Encore Society The Encore Society is composed of donors who have created their legacy of music and the arts by including the Eugene Symphony and/or the Eugene Symphony Endowment Fund in their wills, trusts, or other estate plans. Anonymous (3) Barbara Aster Gilbert S. Avery, III Robert Baechtold 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.

JANUARY – MARCH 2018

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 Laura Parrish, Secretary

Francesco Lecce-Chong, Music Director & Conductor Scott Freck, Executive Director Courtney Glausi, Executive Operations Assistant Sarah Smaw, Executive & Administrative Coordinator

Warren Barnes, Treasurer Dr. Matthew Shapiro, Past President

DIRECTORS Carolyn Abbott Susan Ashton Zachary Blalack Harriet Cherry 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 Joanna Radke Mike Roscoe 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

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers David Hawkins, Chair Varner J. Johns III

Ann Marie Mehlum John Watkinson

ARTISTIC Lindsay Pearson, General Manager Lauren Elledge, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician Emily Wade, Artistic Operations Intern DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director Elizabeth Thornton, Education & Community Engagement Intern 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 The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.

EUGENE SYMPHONY

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JANUARY – MARCH 2018

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EUGENE SYMPHONY

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EUGENE SYMPHONY

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