Eugene Symphony 2017/18 Season Program Magazine 4 by Eugene Symphony Association

2017/18 SEASON

Francesco Lecce-Chong, Music Director & Conductor

EXPLORE WITH US

PROGRAM MAGAZINE 4 | APR. â&#x20AC;&#x201C; MAY 2018

Third Coast Percussion

Lemony Snicket Family Concert

Augusta Read Thomas, Composer-in-Residence

New Homes

Remodels

Kitchens

Small Cottages

Rainbow Valley: Where Homes are Designed with Sunsets in Mind Some homes are designed from the inside out. Others, like this one, are designed from the outside in. Windows were placed to frame specific views and the home was oriented at just the right angle to power a solar array. A decade after the property was purchased, these recently retired homeowners are ready to sit back and enjoy the view. Ready for a custom new home? Come to Rainbow Valley.

EUGENE SYMPHONY

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

AT OAKMONT FAMILY DENTAL

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

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

Dr. Matthew McLaughlin

• • • • • • • • • •

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

Now Accepting

NEW PATIENTS! 541-484-2046

Dr. Matthew McLaughlin www.oakmontfamilydental.com |

541-484-2046 |

2457 Oakmont Way, Eugene, OR | 97401

Great Music Inspires Great Conversation,

Don’t Get Left Out. There is no more lively or electric place for conversation than a symphony lobby. Don’t let hearing loss keep you from the height of social interaction. Tune back into your life with a free hearing screening and consultation from our caring professionals. Call Us Today!

Your Sound Choice for Better Hearing

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

APRIL – MAY 2018

R. Craig Ford, Au.D.

Donna Hill, Au.D.

Oregon Eye Consultants, LLC. Physicians & Surgeons Ophthalmology Eugene I Springfield I Roseburg I Florence I Newport I North Bend

Keyhan Aryah, MD

John W. Karth, MD

W. Benjamin Kunz, MD

Robert Beardsley, MD

Peter A. Karth, MD, MBA

Robert J. Champer, MD, PhD

Comprehensive Ophthalmology Retina I Uveitis I Cornea Proudly Supporting the Eugene Symphony for Over 20 Years 541-687-1927 I OregonEyeConsultants.com

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)

541-682-5000 | EUGENESYMPHONY.ORG APRIL – MAY 2018

EXPECT THE BEST When it comes to brain and spine surgery, you deserve the best. The world-class team at Oregon Neurosurgery offers the full-range of brain and spine surgical services, including pain management options. Our highly trained specialists use minimally invasive techniques and innovative technology to provide the best possible outcomes for our patients. Learn more at oregonneurosurgery.com

EUGENE SYMPHONY

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

Don’t miss the West Coast premiere of Augusta Read Thomas’ Sonorous Earth, featuring Third Coast Percussion and ceremonial bells from cultures all over the world. CONCERT SPONSOR

GUEST ARTIST SPONSOR

Tickets start at $25 | $10 for youth/college. 541-682-5000 | EUGENESYMPHONY.ORG

APRIL – MAY 2018

The power of one. The power of many. Hershner Hunter is a comprehensive business law firm with specialty areas to match your unique needs. So whether you’re a small start-up, a growing area employer, or an established business, you’re not just getting one attorney, you’re getting the power of an entire firm behind you.

541-686-8511 | HershnerHunter.com

EUGENE SYMPHONY

Contents April – May 2018 CONCERTS 17 Earth and Sea April 19 Sponsored by Roaring Rapids Pizza Company 25 Family Concert: The Composer is Dead April 29 Sponsored by Delta Sand & Gravel 33 Mahler’s Fifth May 17 FEATURES 28 In the Key of E[ducation] 43 Donor Spotlight 45 On That Note ON STAGE AND OFF 11 Welcome 13 Calendar 14 Orchestra Roster

21 On April 19, Grammy Award-winning ensemble

Third Coast Percussion joins the Eugene Symphony to perform Augusta Read Thomas’ Sonorous Earth.

25 Mystery and

hilarity lurk around every corner in The Composer is Dead, a familyfriendly whodunit on April 29 in which an inspector investigates the orchestra.

15 Conductor 46 Scenes from Offstage 47 Support the Symphony 48 Founders Society 49 52nd Season Partners 50 Thank You to Our Supporters 55 Endowment Fund 56 Board of Directors and Administrative Staff

APRIL – MAY 2018

33 To close the 2017/18 season on May 17,

Francesco leads the orchestra in Mahler’s monumental Fifth Symphony.

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 April – May 2018 Greetings all! It’s my pleasure to welcome you to this Eugene Symphony performance! It is hard to believe that I am already close to completing my first season as your Music Director. In some ways, it feels like hardly any time has passed, but then I consider the multitude of memorable experiences I have been able to share with you all. From my first concert last summer in Cuthbert Amphitheater with my light saber baton, to an amazing opening night with Renée Fleming, to working with the Eugene Symphony Chorus on Handel’s Messiah, to conducting thousands of students playing recorders at our Youth Concerts in March—I truly feel blessed to have found a musical home like Eugene. Our season concludes with two blockbuster programs that will require every bit of teamwork and chemistry the orchestra and I have developed together. From the West Coast premiere of Augusta Read Thomas’ percussion concerto Sonorous Earth to Mahler’s epic Fifth Symphony—the challenges will be as diverse as they are exciting. In between those programs, I hope you’ll help spread the word about one of my first new initiatives with the orchestra (and a particular passion of mine)—a Family Concert presentation on April 29 of Lemony Snicket’s “The Composer is Dead.” It’s a concert-meets-detective-show where great music, comedy, and education will all come together for an entertaining afternoon for all ages. With your support, I hope to continue Family Concerts each season as an important part of the Eugene Symphony’s mission. Thank you for being such an amazing audience at this concert and all season long! The musicians and I love the enthusiasm you bring to our concerts and your engagement inspires us to ever-greater heights. Yours truly,

Francesco Lecce-Chong, Music Director & Conductor Dear Friends, As we wrap up our 52nd season, I am struck by the strong support the Eugene Symphony has received from the community. Two programs come to mind. First, “The Four Seasons of the McKenzie River,” which was a collaboration not only with McKenzie River Trust and Travel Lane County, but also with the entire EugeneSpringfield area and beyond. Vivaldi’s timeless classic was paired with photographs and videos submitted by both amateur and professional photographers. The result was a memorable and well-received program that invited a cross-section of the community to experience the concert together. Second, cellist Zuill Bailey’s weeklong residency. During his stay, he performed in NINE places outside the concert hall, including the Boys & Girls Clubs of Emerald Valley, Eugene Public Library, Kelly Middle School, University of Oregon, FOOD For Lane County’s Dining Room, and PeaceHealth Sacred Heart Medical Center at RiverBend, where his performance was simulcast to all televisions in patient rooms. Read more about the impact of his visit in our Key of [E]ducation article on page 28. Our community engagement work continues in April with composer Augusta Read Thomas giving lectures at Eugene Public Library and the Museum of Natural and Cultural History, as well as Third Coast Percussion visiting several regional schools. Over the summer, I hope you’ll attend our Eugene Symphony in the Park concerts—Saturday, July 21 will be our 10th annual at Cuthbert Amphitheater in Eugene and Monday, July 23 will be our third annual at Bohemia Park in Cottage Grove. Thanks to the support of community organizations and our donors, we are happy to provide tickets at no cost to attendees. Please consider contributing a gift by the end of this season to help cover the cost of the community engagement programs we have done throughout the year, as well as the world-class performances you’ve experienced in this concert hall. Thank you for your ongoing support. See you in the concert hall.

David Pottinger, President of Eugene Symphony Board of Directors APRIL – MAY 2018

Eugen

mphon Sy y ild Gu

Proudly sponsored by

in g

50 Y

EUGENE SYMPHONY GUILD’S 2018

Music in the Garden Sunday, June 10 10 am–4 pm 21st Annual Self-Guided Garden Tour FEATURING 30 LIVE MUSICAL PERFORMANCES! DeSpain Garden

Gerot Garden/Plant Sale

720 River Road, Eugene

Furrow Garden

1270 River Road, Eugene

Kayfes Garden

1088 Tyson Lane, Eugene

3000 Calla Street, Eugene

Welch Garden

333 Blackfoot Avenue, Eugene

For More Information Call 541-255-7323

mphon Sy y ild Gu

Eugen

eugenesymphonyguild.org

a ti

50 Y

Events 12

Join Eugene Symphony Guild member Ada Weeks, the May First Friday ArtWalk Host. Take the guided tour and hear from featured artists, or explore the galleries and venues from 5:30 to 8:00 pm on your own. Presented by Lane Arts Council.

First Friday ArtWalk | May 4, 2018

50th Anniversary Celebration | June 2, 2018 There will be cake! The Eugene Public Library hosts a free celebration of our 50th Anniversary featuring ESYO Ambassador Musicians from 2:00 to 3:00 pm.

EUGENE SYMPHONY

EARTH AND SEA

Calendar

April 19

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

APR 16

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

APR 17

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 Augusta Read Thomas Composer-in-Residence 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

APR 29

FAMILY CONCERT: LEMONY SNICKET’S THE COMPOSER IS DEAD Francesco Lecce-Chong Music Director & Conductor William Hulings, Inspector

2:00 pm First performance, Soreng Theater 4:00 pm Second performance, Soreng Theater Instrument Petting Zoo and other familyfriendly activities precede each performance Sponsored by Delta Sand & Gravel

MAY 14

Symphony Happy Hour with Francesco, 5:00 pm First National Taphouse 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

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

JUN 13

Eugene Symphony in the Park tickets 12:00 pm available to 2018/19 full and partial-season subscribers, Hult Center Ticket Office

JUN 19 MAHLER’S FIFTH May 17

Eugene Symphony in the Park tickets 11:00 am available to the public, Hult Center Ticket Office

JUL 21

8:00 pm

10TH ANNUAL EUGENE SYMPHONY IN THE PARK

Free, tickets required Cuthbert Amphitheater, Eugene

JUL 23

7:30 pm

EUGENE SYMPHONY IN THE PARK

Free, no tickets required Bohemia Park, Cottage Grove

All Master Classes, Residency Activities, Guild Concert Previews, and the Play it Again! performance are free and open to the public. APRIL – MAY 2018

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 Pamela Burovac Lauren Culver* Lauren Elledge Marilyn Kays Anamaria Ghitea Karlie Roberts Kim Uwate

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

TRUMPET Sarah Viens, Principal Jeff & Julie Collins Vacant 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

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

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

CLARINET

KEYBOARD

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

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

Christine Mirabella, Principal Garr & Joan Cutler

HARP Jane Allen, Principal Laura Maverick Graves Avery Chair

CHORUS DIRECTOR Sharon J. Paul * denotes University of Oregon Graduate 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– ) APRIL – MAY 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.

Roaring Rapids Pizza Company is proud to support the Eugene Symphony and ALL kinds of live music, and the musicians who play it, in the Eugene-Springfield area. This summer, check out our riverside patio for our weekly Jazz by the River set, featuring the best in West Coast (and beyond) jazz musicians. Check our website, roaringrapidspizza.com, for the latest live music event schedule. Thank YOU for supporting Eugene Symphony!

EUGENE SYMPHONY

Earth and Sea Eugene Symphony Francesco Lecce-Chong, conductor Third Coast Percussion | Augusta Read Thomas, composer-in-residence Thursday, April 19, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Paul Dukas (1865–1935)

Fanfare from La Péri

Augusta Read Thomas (b. 1964)

Sonorous Earth (West Coast Premiere – Eugene Symphony Co-Commission) I. Invocation – Pulse Radiance II. Prayer – Star Dust Orbits III. Mantra – Ceremonial Time Shapes IV. Reverie Carillon – Crystal Lattice Third Coast Percussion

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

Richard Wagner (1813–1883)

Siegfried’s Rhine Journey from Götterdämmerung

Claude Debussy (1862–1918)

La mer (The Sea) I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and Sea)

Concert Sponsor

Guest Artist Sponsor

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, May 15 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

APRIL – MAY 2018

”I am so excited for the second part of Augusta Read Thomas’ residency in Eugene this season with the West Coast premiere of her percussion concerto, Sonorous Earth, co-commissioned by the Eugene Symphony. Thomas is one of the most celebrated American composers today and we are truly honored to be taking part in her latest creation. The renowned ensemble Third Coast Percussion will play on approximately 300 bells of all kinds. It is an intriguing sound world based on the percussive quality of bells, and the breathtaking silences that appear naturally as the sound decays. On the second half, we move to the reflective nature of water in music. Wagner’s depiction of a journey down the Rhine is full of nostalgia and mythical inevitability, while Debussy brilliantly captures the myriad changes in waves in his aweinspiring work, La mer.” — Francesco Lecce-Chong

PAUL DUKAS (1865–1935) Fanfare from La Péri (1912) Scored for four horns, three trumpets, three trombones, and tuba. This is the first Eugene Symphony performance, and performance time is approximately two minutes. The gist of Dukas’ fanfare: An annunciatory introduction in chattering repeated tones; two bars of cadence formula; a heroic, rising first theme, with a bit of development; the cadence formula extended, serves as transition to a creamy second theme marked by a flowing triplet; a brief return of the intro; a little coda crafted from bits of the intro and the cadence formula. That’s it, except to say that Dukas wrote La Péri, a 40-minute ballet, on a commission from Serge Diaghilev and the Ballets Russes. But Diaghilev pulled it from the schedule, and the Ballets Russes never performed it. Diaghilev thought that Natalia Trouhanova—the toast of Paris after appearing in a scandalous costume in Salome—lacked the skill to dance the title role. (She did dance the title role, with a new set of collaborators, a year later.) Dukas, also an accomplished journalist and poet, based the ballet scenario on his own prose poem. The conqueror Iskender roams the world in search of the Flower of Eternal Life. On the steps of the Temple of Ormuzd, he comes across a sleeping Péri, a sort of Persian female genie. Even in her slumber, she holds the flower tight; without it, she cannot enter the sacred light of Ormuzd—that is, Paradise. Iskender yanks the flower from La Péri, who awakens and screams in alarm, then decides that a seductive dance might be a better approach to flower retrieval. It works. The Péri disappears into Paradise, leaving Iskender to ponder his mortality—which is imminent, given that he is alone and in the middle of nowhere. AUGUSTA READ THOMAS (b. 1964) Sonorous Earth (2017) In addition to the solo percussion quartet, which plays a wide array of bells and other metallic instruments, this work is scored for two flutes, piccolo, two oboes, two clarinets, bass clarinet, two bassoons, two horns, two trumpets, two trombones, tuba, percussion, harp, and strings. This is the West Coast Premiere and the first Eugene Symphony performance. Performance time is approximately 30 minutes.

EUGENE SYMPHONY

When Augusta Read Thomas started work on Resounding Earth, about six years ago for Third Coast Percussion, she had no idea it would become the precursor of Sonorous Earth, which Third Coast and the Eugene Symphony are playing tonight. The idea of transforming the piece from percussion quartet, involving more than 300 bells, to framing those bells as an orchestral concerto came from Third Coast’s players. “It was like taking a house, putting it on wheels and moving it to another state,” Thomas said, in a recent phone interview. “It ends up in a new light on a new site.” Not to mention new paint, a new foundation, and new landscaping. Resounding Earth became a new piece. “You can’t do five minutes of bells with the orchestra just sitting there,” she said. She completely replaced the fourth movement and drastically transformed the rest, with the aim of creating interaction between the orchestra and the clanging, ringing percussion ensemble. “It’s been hard for Third Coast, too,” she said. “They thought they knew the piece. Then they had to learn a new one.” No hard feelings on the part of David Skidmore, Robert Dillon, Peter Martin and Sean Connors. Their relationship with Thomas goes back to their student days at Northwestern University; she was one of their professors. She asked about writing something with lots of bells for them. That innocent question launched a years-long journey.

The composer had to organize the piece down to the smallest detail. Every bell is named in the score. “I’d been collecting bells for years and had always written for percussion,” she said. “This is a natural extension of my work of 30 years, though it is something of an extreme case.” The five of them researched bells in use around the world and bought dozens of them. They experimented for countless hours, to see how these instruments interact. They also experimented with set-up and a vast battery of mallets. Choreography is always crucial to percussion pieces; Thomas and her collaborators plotted every move. The composer had to organize the piece down to the smallest detail. Every bell is named in the score. All the instruments pitched sharp hang from

APRIL – MAY 2018

Leon Bakst’s sketch for La Péri’s costume, for the ill-fated Ballets Russes production of the Dukas ballet. Bakst’s Art Nouveau designs made him internationally famous in the decades between World Wars I and II.

racks. Those on the table are natural. Those on the floor are flat. With more than 300 ringy things at hand, narrowing choices is a top compositional priority. Thomas made bell choice a structural element. “Each movement involves specific sets of bells,” she said. “So each movement sounds very different. In the last movement, they strike every bell on the stage.” Thomas described the first movement (“Invocation”) as jazzy and syncopated, with a big climax and long denouement. In the poetic and dreamy “Prayer,” the orchestra weaves around the bells like “a gossamer thread, a halo.” In “Mantra,” pizzicato strings, harp and wood blocks complement 18 kyeezees, Burmese bronze bells that spin when struck. In the clangorous “Reverie Carillon,” massive “pillar chords” sounded on eight bells anchor a swift, riotous finale. The sounds of the various bells decay at vastly different rates. And unstruck bells presumed silent ring quietly in sympathy with other bells as they resound. In these respects, bells are unpredictable. Thomas celebrates that. (Continued on page 20)

Earth and Sea Program Notes (Continued from page 19) “We never stop any bell,” she said. “We always let them ring out. I like that they play out naturally.” Thomas meticulously details scores, for tight control over every parameter of the music. Before the November world premiere, she was concerned that the Chicago Philharmonic Orchestra might drown out the bells. No worries: “I realized that even a little bell can cut through an orchestra.” RICHARD WAGNER (1813–1883) Siegfried’s Rhine Journey, as arranged and extracted by Engelbert Humperdinck, from the opera Götterdämmerung (1848–1874) Scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings. First performed by the Eugene Symphony in November 1987 under the direction of Adrian Gnam. Performance time is approximately 10 minutes. Wagner’s Rhine Journey, an orchestral interlude, connects the Prologue to Act I of Götterdämmerung (“Twilight of the Gods”), the last of the four “Ring” operas. The hero, Siegfried, has finally consummated his love with Brunnhilde. But he must leave her behind, protected within the Ring of Fire, as he departs on another mission. He gives her his ring. She gives him her flying horse, Grane. From the edge of her rocky aerie, she watches horse and rider descend to the river valley far below. He finds a boat, leads Grane aboard, and rows toward the domain of the weak and hateful Gibichungs. During the 10-minute orchestral interlude, Siegfried ponders his fate. Wagner portrays all this musically—the curtain is down throughout. He weaves the interlude from leitmotifs: the staccato 16ths of the Magic Fire, Siegfried’s horn call, the dissonant chords of Fate, Brunnhilde’s fitful 32nd notes and leap of a major sixth, a bit of the Ride of the Valkyries, Rhine music from the first opera in the cycle, and the dramatic Curse of the stolen Ring—the very one Siegfried left with Brunnhilde. “We feel the Rhine change over the course of the day,” said Music Director & Conductor Francesco Lecce-Chong. “As he rides down the Rhine, everything in Siegfried’s past haunts him and everything that will happen is foreshadowed.”

CLAUDE DEBUSSY (1862–1918) La mer (The Sea, 1905) Scored for two flutes, piccolo, two oboes, English horn, two clarinets, three bassoons, contrabassoon, four horns, three trumpets, two cornets, three trombones, tuba, timpani, percussion, two harps, and strings. First performed by the Eugene Symphony in March 1977 under the direction of Lawrence Maves, and last performed in March 2011 under the direction of Danail Rachev. Performance time is approximately 23 minutes. “I was interested in how Wagner and Debussy viewed water,” Lecce-Chong said, of the pairing on this program. The “Rhine Journey” gave Wagner opportunity for a musical plot summary. Debussy took a more painterly— yes, Impressionistic—approach to the sea. He has no protagonist or plot; he need address only the waves, the sky, the colors, the heave of swells and troughs, the crests of surf and the chop of whitecaps.

“Listening to La mer is just like staring at the ocean. It’s always different, but always the same. You know the waves will break, but not when or how.” “He calls the three movements ‘sketches’,” Lecce-Chong said, “and that’s how they feel. They’re through-composed, a series of episodes. Listening to it is just like staring at the ocean. It’s always different, but always the same. You know the waves will break, but not when or how.” La mer is not always adrift in meditation. A storm brews in the last movement, and the sketch becomes more like a thought-through painting. “The whole piece,” Lecce-Chong said, “has been ‘don’t look back, don’t repeat.’ In the end, finally, a theme comes back three times. And he brings back a fragment of a chorale from the first movement. But he’s still not like Wagner, where everything must tie up with everything else. Debussy just goes forward.” So does the sea. It just goes on. Lecce-Chong: “That’s the tragedy of nature—it’s only in that moment. The sun hits that wave in a certain beautiful way, and then it’s gone.”

Historical sources: Mary E. Davis, Classic Chic: Music, Fashion and Modernism, University of California Press, 2006; Helen Julia Minors’ essay, “La Péri, poème dansé (1911–12): A Problematic Creative-Collaborative Journey,” University of Kingston, U.K.; Wikipedia article on La Péri Wikipedia article on Götterdämmerung; Rudolph Sabor, Richard Wagner Götterdämmerung, Phaidon Press, 1997.

EUGENE SYMPHONY

Earth and Sea Guest Artists Third Coast Percussion Third Coast Percussion is a Grammy-winning, artist-run quartet of classically-trained percussionists hailing from Chicago. For more than 10 years, the ensemble has forged a unique path in the musical landscape with virtuosic, energetic performances that celebrate the extraordinary depth and breadth of musical possibilities in the world of percussion. The ensemble has been praised for “commandingly elegant” performances by The New York Times, the “rare power” of their recordings by The Washington Post, and “an inspirational sense of fun and curiosity” by the Minnesota Star-Tribune. The four members of Third Coast—David Skidmore, Robert Dillon, Peter Martin, and Sean Conners—are also accomplished teachers, and since 2012, have served as ensemble-in-residence at the University of Notre Dame’s DeBartolo Performing Arts Center.

In 2017 Third Coast Percussion won the Grammy Award for Best Chamber Music/ Small Ensemble performance. Third Coast Percussion maintains a busy touring schedule, with past performances in 32 of the 50 states plus Canada, Germany, Italy, the Netherlands, and Poland, and venues ranging from concert halls at the Metropolitan Museum of Art and De Doelen to clubs and alternative performance spaces such as New York’s Le Poisson Rouge and the National Gallery’s West Garden Court. The quartet’s curiosity and eclectic taste have led to a series of unlikely collaborations that have produced exciting new art. The ensemble has worked with engineers at the University of Notre Dame, architects at the Frank Lloyd Wright Foundation, dancers at Hubbard Street Dance Chicago, and musicians from traditions ranging from the mbira music of Zimbabwe’s Shona people, to indie rockers, to some of the world’s leading concert musicians. A commission for a new work from composer Augusta Read Thomas in 2012 led to the realization that commissioning new musical works can be—and should be—as collaborative as any other artistic partnership. Through extensive APRIL – MAY 2018

workshopping and close contact with composers, Third Coast Percussion has commissioned and premiered new works from Donnacha Dennehy, Glenn Kotche, Lei Liang, Gavin Bryars, Christopher Cerrone, Timo Andres, Marcos Balter, Ted Hearne, and today’s leading up-and-coming composers through their Emerging Composers Partnership Program. Third Coast Percussion’s recordings include three full-length albums, three EPs, and a number of appearances on other releases. The quartet has put its stamp on iconic percussion works by John Cage and Steve Reich, and Third Coast has also created first recordings of commissioned works by Augusta Read Thomas, David T. Little, and Ted Hearne, in addition to recordings of the ensemble’s own compositions. In 2017 the ensemble won the Grammy Award for Best Chamber Music/ Small Ensemble performance for their recording of Steve Reich’s works for percussion. The four members of Third Coast Percussion met while studying percussion music at Northwestern University. Members of Third Coast also hold degrees from the Eastman School of Music, Rutgers University, the New England Conservatory, and the Yale School of Music.

Earth and Sea Composer-in-Residence Augusta Read Thomas The music of Augusta Read Thomas (born in 1964 in New York) is nuanced, majestic, elegant, capricious, lyrical, and colorful—“it is boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music.” (Philadelphia Inquirer)

In 2013/14, Thomas had the distinction of having her work performed more frequently than any other living ASCAP composer. In February 2015, music critic Edward Reichel wrote, “Augusta Read Thomas has secured for herself a permanent place in the pantheon of American composers of the 20th and 21st centuries. She is without question one of the best and most important composers that this country has today. Her music has substance and depth and a sense of purpose. She has a lot to say and she knows how to say it—and say it in a way that is intelligent yet appealing and sophisticated.” The New York Times article of March 6, 2015 states that Thomas had the distinction of having her work performed more frequently in 2013/14 than any other living composer represented by ASCAP (The American Society of Composers, Authors and Publishers) according to statistics from the performing rights organization. Former Chairperson of the American Music Center, she serves on many boards, is a generous citizen in the profession at large, and, according to the American Academy of Arts and Letters, “has become one of the most recognizable and widely loved figures in American Music.” A Grammy winner, her impressive body of works embodies unbridled passion and fierce poetry. The New Yorker called her “a true virtuoso composer.” Championed by such luminaries as Barenboim, Rostropovich, Boulez, Eschenbach, Salonen, Maazel, Ozawa, and Knussen, she rose early to the top of her profession. Thomas studied composition with Oliver Knussen at Tanglewood, Jacob Druckman at Yale University, Alan Stout and Bill Karlins at Northwestern University, and at the Royal Academy of Music in London. She was a Junior Fellow in the Society of Fellows at Harvard University, and a Bunting Fellow at Radcliffe College.

�

partnered� solutions IT

Business Integration & Automation Managed IT Services Security Audits Cloud Solutions Disaster Recovery PCI & HIPAA Compliance

Manage. Secure. Optimize. Defend. 58 West 11th Ave. Ste. A 541.255-4980 • 't# in f S• @ PartneredSolutionsIT.com

APRIL – MAY 2018

Amanda L Smith Photography

From Our Family To Your Family

Since 1927, Delta Sand & Gravel has been the Willamette Valley’s first choice for quality aggregate materials, service and expertise. When we say “Rock Solid,” we’re talking about the strength and stability that comes from being an important part of our community for over 90 years. We’re proud to sponsor Eugene Symphony’s Family Concert. Enjoy the performance! Delta Sand & Gravel Co. | 999 Division Ave, Eugene, OR 97404 | 541-688-2233 | deltasg.com

EUGENE SYMPHONY

Family Concert: The Composer is Dead Eugene Symphony Francesco Lecce-Chong, conductor | William J. Hulings, inspector Sunday, April 29, 2018 2:00 & 4:00 PM | Soreng Theater, Hult Center Prologue featuring excerpts from Modest Mussorgsky

A Night on Bald Mountain

Edvard Grieg

Holberg Suite

Richard Strauss

Serenade in E-flat

Peter Ilyich Tchaikovsky

Symphony No. 4 in F minor

Leonard Bernstein/arr. Peress

West Side Story Overture

The Mystery Music by Nathaniel Stookey (b. 1970) Text by Lemony Snicket (b. 1970)

The Composer is Dead

Instrument Petting Zoos precede each performance in the lobby with the generous support of the Eugene-Irkutsk Sister City Committee. Zines distributed at this event feature stories by young writers developed at “Write Your Own Mystery” workshops presented in partnership with Wordcrafters in Eugene.

Concert Sponsor

Community Support Sponsor

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

APRIL – MAY 2018

The Composer is Dead Guest Artist William J. Hulings William J. Hulings is an actor, singer, dancer, and director who has called Eugene home since 2002. He holds a MFA in theatre from the University of Minnesota, and a BA in History and Political Science from Colorado College. He is the long-time narrator of Eugene Symphony’s elementary school Youth Concerts. Most recently, Hulings played the role of Hugh at Oregon Contemporary Theatre’s world premiere of Successful Strategies. He can be seen at The Shedd in the Contemporary Song Book Project on April 27 and 28, and then again at The Shedd for the Emerald City Jazz Kings “You Asked For It” concerts on May 10 and 13. Hulings’ credits here in Eugene also include performances with Eugene Opera, Eugene Concert Choir, Eugene Ballet, and Shedd Theatricals. His national credits include performances with the Guthrie Theatre, Seattle Rep., Arizona Theatre Company, Shakespeare Santa Cruz, The Acting Company, and The Shakespeare Theatre and Studio Theatre in Washington, D.C.

EUGENE SYMPHONY

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

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

Giftin made eag sy We ship . !

Monthly wine dinners & tastings • Custom Wine & Cheese Clubs

Excellent cheese selection including artisan cheese plates, cheese fondue & gourmet grilled cheese Amazing wines by the glass every day! Monday–Thursday & Saturday 10–8 • Friday 10–10 • Sunday 10–6 • 17 Oakway Center, Eugene, OR 97401 oregonwineandmore.com

APRIL – MAY 2018

541-685-0790

facebook.com/TheBroadwayWineMerchants

In the Key of E[ducation] Cellist Zuill Bailey’s weeklong residency shares the joy of music with the community By Katy Vizdal, Education & Community Engagement Director Grammy Award-winning artist Zuill Bailey, widely considered one of the premier cellists living today, spent a week in March “popping up” around Eugene, performing at schools, a hospital, and community venues to share his passion for music with people who may not otherwise have the opportunity to experience it. Bailey is not only a phenomenal cellist, he is a musician of deep integrity who will step off the plane when he visits a new community and ask, “How can I help?” That is exactly the question we sought to answer during his week-long artist residency, leading up to his remarkable performance of Michael Daugherty’s Tales of Hemingway with the Eugene Symphony on March 15, 2018.

“The goal of us as musicians and educators, is to bring [the joy of music] to young people so they have more time to enjoy classical music throughout their lives.” “The goal of us as musicians and educators, is to bring [the joy of music] to young people so they have more time to enjoy classical music throughout their lives,” Bailey says. At one stop in his whirlwind visit, he performed for a crowd of bustling youngsters at the Boys & Girls Clubs of Emerald Valley. The energy was boisterous, bordering on chaotic at first, but all were captivated by his playing, and by the end of his session he had the room sitting silent and focused on the subtlety of his playing. He had spoken about the importance of silence, explaining how the space between the notes is integral to the music. As a result, the room was still for several minutes after Bailey had played the last note: they were absorbed, completely tuned in. For this age group, that kind of attention is rare and remarkable.

“Having Zuill Bailey speak and play at our Boys & Girls Club was absolutely amazing—breathtaking in fact!” said Aaron Haack, CEO/Executive Director of Boys & Girls Clubs of Emerald Valley. “Most people can’t say they have met a Grammy Award winner and our members felt like they got to be a part of something special. We want our members to have energy and passion for whatever they strive for, and Zuill set a great example through his words and his music.” “Music education in public schools for a long time was a given,” says Bailey in an interview with Living the Classical Life, “and that’s fantastic, but things do change. And that’s inevitable. So people have to change with it.” Music was available to him as a young person, and he now sees it as his turn to carry that torch forward to new generations to honor what was provided to him. During his residency, Bailey also spoke with beginner orchestra students at Kelly Middle School, and led a master class for local cello students as part of the Laura Avery Visiting Master Series. Eighth grader Adrian Hsieh, who performed a movement from Sir Edward Elgar’s Cello Concerto in E minor during the master class, said of his experience, “Zuill is a great teacher and knows how to describe intricate concepts [clearly] even to a middle school student like me. I have learned new ideas and strategies to play and practice cello from his wonderful instruction.” Bailey also spent part of his week performing for groups of people who may not otherwise have the opportunity to experience traditional performing arts. He performed at FOOD for Lane County’s Dining Room, a restaurant that serves vulnerable populations a dignified meal. He also brought a handful of Bach’s Unaccompanied Cello Suites to the intimate chapel at PeaceHealth Sacred Heart Medical Center at RiverBend. The performance was simulcast to all televisions in

Zuill Bailey gives instructions to a cello student at the Laura Avery Visiting Masters series, and (right) performs at the Boys & Girls Clubs of Emerald Valley.

EUGENE SYMPHONY

All told, Bailey performed for about 1,000 people outside the concert hall. He reflected on his time in Eugene positively, knowing there was nothing more he could possibly give at the end of each day. A pop-up performance at the Eugene Public Library.

patient rooms, allowing patients, caregivers, and hospital staff to and library-goers were inspired in the rotunda with a musical experience the performance live, even if they couldn’t get to the soundtrack for the stories they recently discovered amidst the chapel in person. library’s stacks. In an interview with KVAL News, one patient discussed At the concert on Thursday, March 15, his performance how hospital stays carry a certain amount of stress, no matter with Eugene Symphony was met with enthusiastic applause, the situation you’re in. She had been admitted to the hospital which could be taken as a celebration of his music-making with nine days before, and said, “You can sit in these rooms, and if the orchestra, his recent Grammy Awards, and the community everything’s status quo [all the time], it gets very anxious. You performances he did earlier in the week. start to ruminate about possible situations. That’s where the music comes in—it just takes you away “That’s where the music comes in—it just takes you from that for a little while, and sometimes that’s away from that for a little while, and sometimes that’s all you need is that little time off to keep going.” all you need is that little time off to keep going.” “We should be bringing this music everywhere,” Bailey said in the KVAL interview, “because it has Several young middle school orchestra students attended the so many aspects to healing as well as invigorating and reminding concert that night and we heard they had plans to quit music. us of how special life is.” After hearing Bailey and the Symphony perform, they had a Bailey also captivated unsuspecting audiences through a change of heart and decided to sign up again next year. series of impromptu performances at the Eugene Public Library, The reach of artist residencies has impacts far beyond the the Broadway Commerce Center, and University of Oregon’s concert hall, as proven by Bailey’s visit in March. Imagine a whole Erb Memorial Union. Students were surprised with a moment of world where musicians step off stage and instead of putting their musical escape during their strenuous finals preparations, busy instruments away, they keep them at the ready, like Zuill Bailey, workers were given a moment of relief during their workday, to connect, inspire, and heal. APRIL – MAY 2018

EUGENE SYMPHONY

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

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

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

APRIL – MAY 2018

Evoke emotion

WE’VE GOT THE S PA C E S Y O U ’ L L L O V E With gorgeous apartment homes up to 2,700 square feet and stunning community spaces, Cascade Manor offers abundant space to do the things you love while enjoying a maintenance-free lifestyle. Enjoy high-end finishes and amenities every day. Plus, we’re an exclusive partner of the University of Oregon Alumni Association! Stay even more connected to university life with lifelong learning opportunities and mountains of Duck pride.

OFFICIAL PARTNER OF THE UNIVERSITY OF OREGON ALUMNI ASSOCIATION

Call today to learn about our special incentives and promotions. 541-434-5411 retirement.org/cascade

Cascade Manor is a not-for-profit, resident centered community

Cascade Manor is a Pacific Retirement Services community and an equal housing opportunity.

Ava i l a b l e A t

HAMLET

October 6–7, 2018

Complexions STAR DUST October 26, 2018

THE NUTCRACKER December 21–23, 2018

ROMEO & JULIET February 9–10, 2019 40TH ANNIVERSARY

40th Anniversary MASQUERADE BALL February 23, 2019

THE FIREBIRD April 13–14, 2019

SAVE 40% ON SEASON SUBSCRIPTIONS ORDERED BY MAY 10, 2018 | eugeneballet.org

APRIL – MAY 2018

Francesco Lecce-Chong, Music Director & Conductor

2018/19

DECEMBER 1, 2018

SPECIAL CONCERT

STAR WARS: A NEW HOPE LIVE WITH ORCHESTRA

OCTOBER 18, 2018

BERNSTEIN & BEETHOVEN

SUBSCRIBE TODAY

For first access to these concerts and more!

Full- and partial-season packages available now, starting at $21 per concert.

FEBRUARY 14, 2019

RHAPSODY IN BLUE

541-682-5000 | EUGENESYMPHONY.ORG

EUGENE SYMPHONY

Mahler’s Fifth Eugene Symphony Francesco Lecce-Chong, conductor Thursday, May 17, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center Franz Joseph Haydn (1732–1809)

Symphony No. 88 in G Major I. Adagio – Allegro II. Largo III. Menuetto: Allegretto IV. Allegro con spirito

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

Gustav Mahler (1860–1911)

Symphony No. 5 in C-sharp minor I. Trauermarsch (Funeral March) II. Stürmisch bewegt, mit größter Vehemenz (Moving stormily, with the greatest vehemence) III. Scherzo: Kräftig, nicht zu schnell (Strong and not too fast) IV. Adagietto: Sehr langsam (Very slowly) V. Rondo-Finale

Tonight’s performance is dedicated in loving memory to Caroline Boekelheide (1924–2018) by the Board of Directors of the Eugene Symphony Association.

Additional Support Sponsor

This concert will be broadcast on KWAX-FM 91.1 on Monday, June 11 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

APRIL – MAY 2018

”Eugene Symphony Conductor Laureate Marin Alsop was once asked to describe Mahler’s Fifth Symphony for NPR. She said, ‘I’ve never aspired to climb Mount Everest, but I can imagine the nervous anticipation of the climber who stands looking upward at the task ahead. Regardless of preparation, training, desire or zeal, it’s impossible to know exactly how the climb will go.’ While I have been lucky enough to work with many legendary conductors on this monumental work, this will be my first ‘climb.’ As daunting as it is, I am grateful for the amazing team I have in the Eugene Symphony and what better way to cap off my first season in Eugene than with our most thrilling challenge yet! From the death-obsessed opening movements, to the vigorous, folklike scherzo, to the heart-breakingly beautiful love letter ‘Adagietto,’ to the exuberant finale, Mahler composes a symphony for humanity like no other.‘’ — Francesco Lecce-Chong

FRANZ JOSEPH HAYDN (1732–1809) Symphony No. 88, in G Major (1787) Scored for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. This is the first Eugene Symphony performance, and performance time is approximately 23 minutes. Haydn spent most of his professional career as a servant of the aristocratic Esterhazy family. He was well-paid and highly respected, but a servant nonetheless. Until he renegotiated his contract in 1779, the Esterhazys held ownership of all Haydn’s compositions. Under the new contract, the composer owned his work and could sell and publish as he would. By 1787, his works were being performed all over Europe, although his commitments at the remote Esterhazy estate in Hungary restricted his travel. He could not venture to Paris, for example, to hear the extraordinarily large Concert de la Loge Olympic orchestra perform five symphonies—Nos. 82–87—it commissioned from him. He likely wrote the Symphony No. 88 with Paris in mind, but by the time it was ready for performance, France was engulfed in revolution. It was played in London in 1789, to great acclaim, and Haydn likely at least tried it out on the orchestra of 25 or so he maintained at Esterhaza. Throughout the 88th, Haydn contrasts rustic and high-minded elements. In the first movement, a slow, solemn introduction recalls the formal French Overture style of the not-so-distant Baroque. That leads to a lively first theme based on a folk tune and orchestrated in village-band style, with the melody doubled in two different instruments, often over drones. The second theme restores decorum.

“...you have to bring out Haydn’s quirky and ambiguous phrases to keep the listeners on their toes.” “The most important things,” said Music Director & Conductor Francesco Lecce-Chong, “are to clarify the textures and maintain lightness, even at high volume. At the same time, you have to bring out Haydn’s quirky and ambiguous phrases to keep the listeners on their toes.” The noble three-quarter theme of the second movement alludes to the courtly minuet, although some of the ensuing variations treat it rudely. The nominal minuet is more of a rough-shod village dance, and therefore something of a joke, complete

EUGENE SYMPHONY

with a hornpipe tune over bagpipe drones in the trio. The finale, a brief, lively hybrid of rondo and sonata forms, runs another comic, rustic dance idea through clever paces, including some counterpoint, every Classical composer’s signal of mastery of the brainy side of music. Even that episode remains fun, in a symphony with fun as its highest value. Lecce-Chong smiled and shook his head as he admired some of Haydn’s rhythmic mischief: “You can’t tell the downbeat from the upbeat there. That’s just Haydn playing his tricks.” GUSTAV MAHLER (1860–1911) Symphony No. 5 in C-sharp minor (1902) Scored for four flutes all doubling piccolos, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, percussion, harp, and strings. The Adagietto movement was first performed by the Eugene Symphony in April 1983 under the direction of William McGlaughlin, and the complete work was first performed in March 1994 under the direction of Marin Alsop. It was last performed in January 2009 under the direction of Giancarlo Guerrero. Performance time is approximately 68 minutes. Big Romantic pieces tend to read like grand novels of innocence lost, with faith the next to go, a plunge into despair, with a heroic rise to a grand re-affirmation at the end. (Think of George Bailey shouting “I want to live!” at the end of It’s a Wonderful Life.) Mahler usually followed that well-worn path— but not in the Symphony No. 5. “Even for Mahler, this symphony is something different,” Music Director & Conductor Francesco Lecce-Chong said. He ticked off some of its oddities, starting with a five-movement structure that isn’t really five movements. The first and second movements tie together in their rhetoric, as do the fourth and fifth, leaving the third to stand alone. “It’s really a 2-1-2 structure, three movements disguised as five,” he said. “Subtle thematic connections between movements support that idea.” Then there’s the matter of key. The key of the principal theme in the exposition of the first movement traditionally establishes the overall tonal center of a symphony. Beethoven, for example, strayed from C minor in his Symphony No. 5, but returned to it in the end.

APRIL – MAY 2018

Alma Mahler and the composer had two daughters, Maria (left) who died at age five, and Anna, who had a career as a sculptor. Alma’s long, fascinating life included subsequent marriages to architect Walter Gropius, of Bauhaus fame, and the poet Franz Werfel, not to mention a tempestuous affair with the painter Oskar Kokoschka and an early liaison with Gustav Klimt. She was also a composer and pianist. She and Werfel fled Europe for Los Angeles in 1938, and their home became a sort of salon for European expatriot artists. She died in New York in 1964.

Mahler’s key plan for his five movements: C-sharp minor, A minor, D Major, F Major, D Major. Music theorists can only shrug their shoulders over that sequence. But it makes dramatic sense here. Lecce-Chong is not alone in suggesting that most of the work is a struggle to escape the oppressive funeral march that serves as the first principal theme. Mahler wrote funeral marches before this one, but never one so pitiless and persistent. Maybe its special grimness rose from the composer nearly bleeding to death just before starting work on this symphony. “I want the opening movements to feel like an inescapable, terrifying funeral march,” LecceChong said. “The timpani and pizzicato in the bass create an oppressive and relentless character that ties together the first two movements. Mahler keeps bringing in new ideas – at one point, even bringing in a glorious brass chorale to escape that funeral march. But it always comes back and each time it feels more brutal. At one point, Mahler even has the second violins make this giant, ugly slide that drags us back into the march.” (Continued on page 40)

Mahler’s Fifth Program Notes (Continued from page 39) Several of the futile escape attempts are a rictus of a klezmer party tune suggesting nothing so much as a surreal, drunken wake gone horribly wrong. The third movement—Part II, in Mahler’s designation—weighs in at a hefty 17 minutes or so, a lot for an alleged Scherzo. “It sounds pretty sunny, after all that funeral music,” Lecce-Chong said. “It’s very Viennese, all about rubato. It fades in and out of episodes, with waltzes and ländlers.” That’s true, but to my ear, the occasional panic attack takes place in that Viennese ballroom. It’s still Mahler. “There is a huge debate about whether the Adagietto (the fourth movement, or to Mahler, the beginning of Part III) is sad or happy,” Lecce-Chong said. Mahler’s wife, Alma, is on record as saying the Adagietto is a love song to her. It’s easy to hear it that way. Time stands still as wisps of string melody float over a harp ostinato that also sounds adrift. “The harp never plays the same rhythm twice,” Lecce-Chong said. “It gives that timeless feel—you can’t measure the pulse.”

Ever since Leonard Bernstein conducted the Adagietto at Robert F. Kennedy’s funeral, the piece has been an orchestral go-to for tragic occasions. Even as a love song, it has a tragic dimension, in its evocation of a fragility, of a preciousness, that can make love almost impossible to bear. At this point in the symphony, we would expect the usual Romantic apotheosis, a long hard climb to that redemptive, I-want-to-live climax. Mahler refuses to deliver it.

“We’ve been terrified, we’ve cried, we’ve danced, we’ve loved...what’s left to do but laugh?” This Rondo-Finale, a contrapuntal tour-de-force, draws on material from the preceding music, but transforms it into a rollicking, antic delight. Mahler seizes the day, celebrates, and forgets the existential gloom that prevailed for the previous hour. “You want to believe that this is a big Mahler symphony that encompasses the whole world and everything deep about life,” Lecce-Chong said. “And then the Rondo-Finale begins, and you think: We’ve been terrified, we’ve cried, we’ve danced, we’ve loved…what’s left to do but laugh?”

Historical sources: D. Kern Holoman, in the UC-Davis Arts Newsletter; Chris Morrison, writing at Allmusic.com; and the main Wikipedia article on Haydn; Gene de Lisa’s music blog.

Oregon Humanities Center

Phillip Huscher’s notes for the Chicago Symphony Orchestra; the Mahler Symphony No. 5 page at the Lumen Music Appreciation Class; the Wikipedia page for Mahler’s Symphony No. 5.

2017–18

2017–18 Kritikos Lecture

From “I” to “We”

The Role of the Citizen-Critic Margo Jefferson, cultural critic and the author of Negroland: A Memoir

Wednesday, May 30, 2018 7:30 p.m. • 182 Lillis Hall ohc.uoregon.edu • (541) 346-3934

EO/AA/ADA institution committed to cultural diversity

EUGENE SYMPHONY

APRIL â&#x20AC;&#x201C; MAY 2018

EUGENE SYMPHONY

Donor SPOTLIGHT Paul Roth: Eugene Symphony’s pizza-slinging, trombone-playing sponsor and Board member

Why do you value music?

Why do you prioritize supporting music?

I value it because it has become one of the great centers of gravity in my life. I’ve been playing the trombone since 6th grade and have stuck with it, so I’ve experienced what music can do. I play in several bands around town and even though I’m not the greatest musician, I’m good enough that playing it brings great joy and a sense of accomplishment, and playing it with others has brought me true friendships. Music demands the best from those who devote their lives to it—sensitivity, perception, self-awareness, teamwork, humility, persistence, hard work—so it’s no wonder musicians are great people and fun to hang around with! They have to be to succeed at their art. They are so worthy of our support.

I support music in our community for the above reasons, and because even the smallest level of support can have so many benefits. A $100 donation to your local elementary school music program will have a HUGE impact! Imagine what $1,000 would do. I encourage everyone who reads this to consider making a small donation to their local school and see what happens! And donating to the Symphony supports musicians who have devoted their lives to their art and inspires youth, which is so cool.

What do you believe music provides to a community? It is a means of expression for many and a means of connecting to emotions for many more. It means a fun night out for a lot of people! It is a center point around which people in a community can gather and share an experience. It provides a forum for some people to literally amaze others with what they can do. Why do you choose to support the Eugene Symphony? The Eugene Symphony is the great symbol and pinnacle of music in our community, so I think it demands our support. It is a community treasure. There is so much talent, creativity, emotion, and commitment represented by the orchestra musicians and staff that to not support it would be literally a crime against humanity. What other music organizations to you support? Do you find supporting several creates synergy and prosperity for all? I support many music organizations. My business does fundraisers for school bands, we’ve hired hundreds of local musicians to perform at Roaring Rapids, we sponsor music events like the Springfield Orchestra Festival, and host groups like Swing Shift Jazz Orchestra and the bands at the University of Oregon. There is so much musical talent in our community that deserves to be showcased. I also love to connect the different areas, like seeing our Music Director Francesco Lecce-Chong conduct the UO Marching Band at Autzen Stadium last September!

APRIL – MAY 2018

What benefits have you experienced through supporting the Eugene Symphony? I think one of the main benefits is being able to be around others who really appreciate music and musicians. Being a supporter and a subscriber to our Symphony opens up a wonderful community and sense of shared connection. Share a story about the power of music in your life. I am a proud supporter of the University of Oregon Marching Band in addition to the Symphony. I’ve been lucky to be able to play with them on occasion at football and basketball games, which I’ve done for more than 25 years! The kids in the band are so cool! Last year, the band needed a trombone and they invited me (old enough to be their dad) to play with them at the Women’s First Round NCAA Basketball Tournament held at Duke University. We won both games. The power of music got me a really fun trip! Share a specific story of seeing your contributions to the Eugene Symphony at work. I have many. In early March, Roaring Rapids sponsored the first annual Springfield Orchestra Festival, in which the Eugene Symphony played a major role. What a treat to see Francesco working with 200-plus young kids from all around the state! This was a great example of how the symphony enriches lives through the power of music.

Award Winning Arborists

541-461-1737

OPEN DAILY 12-5 PM | WWW.SILVANRIDGE.COM

On That

Note

hony Dye

...with Ant

would we ument, what either ng your instr be found doing e not playi g? I can probably resting from When you’r doin find you Jiu Jitsu, or for the other. ce most likely or Brazilian orchestra. capoeira great balan ber of the not a practicing found each to be a be? If I was duces a mem to Note intro ony Dyer. would you be. I would have d to those. I have On That d cian what family move the ist Anth n’t a musi what I woul tainment. ns but my for were know Orlea there features violin you If don’t in New of enter Since I was . I honestly My n? I was born nine months old. form or form hometown musician, and why? Hometow other art being my play I was as to some Violin: in when that les dabble of all time have you ories. Solo I consider Los Ange how long of my life, a favorite piecey fall into three categ BWV 1001; stra, and t is your in 1990 as ta, first 26 years orche totall Wha hony d Sona the s woul mertime” his First Eugene SympOregon. did you join favorite piece nor Fugue from ; Jazz: “Sum of What year music? I joined the D-mi Symphony ng the University J.S. Bach’s Shostakovich’s 5th mother been playi Fellow at : d it be Teaching ument? My t Symphonic Graduate who woul d be your instr children: my oldes and Bess. e to play musician, woul ed from Porgy you decid s to all three of her composer/ oven that cian on le sister receiv Why did meet one ig van Beeth ite musi music lesson and piano, my midd . That’s how the If you could I could meet Ludw is my favor questions. provided flute If the violin given the h Yo-Yo Ma and why? so many I was given sister was al. Even thougto ask Beethoven pieces of violin, and ing speci and amaz quite want the piano of the most , I would . this earth doubted that some journey began be ot Probably man. It cann t and why? from this on the plane t is Morro de São music came ite place your favor on this plane one of the most Where is ite places l. It was most favor eastern Brazi ever been. ...with Mik one of my I have Bahia in north e Grose ila, Red,On That Note Paulo, and relaxing places that above? Tequ and the features Princ introduces a mem iful of beaut ber of y or none ipal Tuba Mike Grose the orchestra. This , stout, hopp etown? Portl Red, white . issue My favoriteHom Cachaça. recently? and, OR Where is Joe, but Stout, and Charcoal What year your favor e read/seen s). ite place am at the did you join /movie you’v read his latest book early work book on the plane mom been playi the orche Favorite ey. I just cially his ng musi of Mt. Hood ent. I love Hawa t and why? stra, Walter Mosl read (espe ii, Alask . But wher Where I t findby Giancarlo Guer c? I was hired begin and how long have author is worth the migh are an s e adven I am is wher an glaciers, and bers you book ning with rero. I move ture. timeto accep nce mem the any of his e I love to the 2002 a lot of2001 d to Euge t the some audie season, be. Every top Red, white young I spent listenUniv to jazz. you think ersity of Oreg position of tuba and ne on September day is , stout, hopp When I was apt to What do 11, euphonium Or a nice y or none about you? c. Now, I am more . grader. My first on. I began study Syrah. professor of the abov surprising ing music musi in the genre instrument at e? Belgian in 1970 as to classical t that can be found s were in What do Why did Blonde! listening a 5th every the percu you ive talen ls? Before schooe call you decide to play ssion sectio surprising think some audie There is mass l, I was tryin n. your instr mance ritua an hour befor nce mem abou erfor t you? bers umen g many instru a YouTube or I euph tuxonium esting pre-p to the hall at least never my channel calledtell really great tuba might find ments: trum t? Throughout get Any inter rt , and trombone TubaPeop jokes, and at le clothes, pet, clarin conce TubaPeop the ce, I try to my , end all ortab le.com rman on with of I et, have comf leTV and the junior perfo I put called . Too nerdy limited succe a website year of ng my most 20 minutes before, ? Any inter me into his ss. called t time weari rmance.he esting pre-p office. “Mik high school, my band One day askedto . Come abou , then play the perfo the perfo erformanc e, have you . direc tux shoes rman d in e rituals? you’d like I replie thought abou tor rt shoes nothing happ ce with twice as I always leave I caning the affirmative. endeavors “Arenyou thatplann t college?” clothes, conce much His probi on ens along exciting life the best perso for is a tuba. steem ng conti (which is the way then time as I actually any other Take it homegoing?” I said sure. being self-e why need. If “Great, becau nued. a health I’ll be comf makeyof it. Do you have endeavors involve over the summ I’ll have time I’m usually at the espect, and life ortably early If you get se here Hult er and I can. to fix a flat decent at thatreceiv iness, self-r share? My ing a tuba tire and still at least 45 minutes it you’ll alway see what you can to pass happ love to all in any way Do you have scholarshi early), or get to dot be on time. be. I seek s be assur and p in colleg any other nts, the ed stude share ‘i’ of e, in exciting life and you migh Ohio” (in ? I play senior year onto my marc t even fast at UO and full-court basketball endeavors you’d into my daily approached and hing band formation like to continue I had incor ). to show them with 18 year-olds was still my practice regimen porated the My twice week how to foul along with favorite and ly effectively. the trombonetuba 1977, the intended NY , which they began Brass Quintet came instrument. In the fall of playing, I to my town heard this beautifully fellow play , and as soon as volup voice. I imme tuous and rich the tuba with sound; it diate a ly was put recalibratin g what I thougtrombone out of my a singing brass receive a mind and ht the tuba tuba schol began could arship all be. When you’r 43seven years I was In the end, I did e in college! most likely not playing your instr find you doing? Playi ument, what woul history or theol ng basketball, d we with my teena ogy, working on reading book my research s on in the Mari ged daughter, and project, hang following nes. ing out what my If you were H 2018 son is doing – MARC n’t JANUARY I have never a musician what would you ...with Kristen Halay looked back. pondered. I don’t know. Since be? That’s a quest It’s been musi ion high schoo c all the way. What are l I’ve never you Strauss’s Till excited to play in our Eulenspieg and el, Siegfried’s 52nd Season and why? On That Note introduces a member of the orchestra. This issue Connecticut. There is nothing that compares to being out in the amazMahler’s 5th Symp Rhine Journ hony features Principal Flute Kristen Halay. open ocean at night. The sounds, smells, stars, phosphorescent fabricing at weaving toget . All three of those ey by Wagner, her an exciti composers . They are pools behind the boat… are all highl ngly intric emotional What year did you join the orchestra, and how long have you ate musi ism in their y effective at imbe dding irresi cal Francesco been playing music? I joined the orchestra in 1997 when in Red, white, stout, hoppy or none of the above? Whiskey! music. I’m does with stible each of themsuper excited to see college at UO. I started playing music when I was eight. Favorite book/movie you’ve read/seen recently? I’m a bit of a no doubt! what . It’s going be goosebump Why did you decide to play your instrument? Initially I wanted movie nut. My embarrassing guilty pleasure there is that I have What is your s city, to play clarinet, but my father told me that if I had to play a weakness for post-apocalyptic and science fiction films (even is like askin favorite piece of all time to g which is balle play your something, I should at least pick something easy like the flute. I the really terrible ones). Recently re-watched Delicatessen. The t score to and why? Cinderella favorite child. Mayb This added tuba and bass trombone throughout school just so I could newest film on my list is Rogue One. . e Prokofiev ’s be in the jazz bands. What do you think some audience members might find When you’re not playing your instrument, what would we surprising about you? I think most audience members would most likely find you doing? I’m either playing with vintage be surprised that the majority of music I listen to outside of work stereo equipment, gardening or biking. is rock/progressive rock. A LOT. King Crimson, Yes, Rush, Led Zeppelin, Metallica, Thank You Scientist, The Dear Hunter. There If you weren’t a musician what would you be? Easy. are upwards of 900 albums (on vinyl) on my shelves. Astrophysicist, working at the Jet Propulsion Laboratory! This issue

On That

Note

On That Note

What are you excited to play in our 52nd Season and why? Sibelius 5th Symphony. I’ve always been drawn to the romanticism of Sibelius. His 2nd Symphony was the first real full symphonic performance for me as a student in Aspen Music Festival with Robert Spano conducting.

Any interesting pre-performance rituals? Not really. I don’t get nervous unless I’m unprepared, so there is no pre-game ritual. I do have to pull over at LEAST once on the way to concerts to check that I have my music, even though I checked before leaving home. Every single time.

What is your favorite piece of all time to play and why? One favorite piece is impossible to choose, though I would say the second movement of Beethoven’s 7th Symphony always comes to mind. Its absolute simplicity combines with the heart-wrenching anguish I sometimes feel when playing. If you could meet one composer/musician, who would it be and why? Thomas Ades. I think he is one of our most brilliant living composers. After playing “America: A Prophecy,” that was it, I was hooked. Where is your favorite place on the planet and why? The ocean. I spent nearly every summer on a sailboat growing up in

SEPTEMBER – OCTOBER 2017

Graphic Design/Art Direction Social Media/Web Design Copywriting/Editing Supporting Eugene Symphony since 1997 Program Magazine Design/Production 541.484.0651 | jln@jlndesign.com

EUGENE SYMPHONY

On That Note On That Note introduces a member of the orchestra. This issue features assistant concertmaster Lisa McWhorter. Hometown? Albuquerque, New Mexico. I was born there and grew up there, and went back after college to play in the New Mexico Symphony for a few years. What year did you join the orchestra, and how long have you been playing music? I joined the Eugene Symphony for the 2006/07 season. I’ve been playing violin since I was nearly five years old. Why did you decide to play the violin? I have a clear memory from when I was four and really wanted a violin. I was on a camping trip at Echo Canyon with my family, and my sister brought her flute. She would play a beautiful melody and we’d hear the music echo back to us. It was such an inspiring experience. After that trip I kept asking my parents for a violin. My dad says I used to hear the violin on the radio when I was very young, and I’d say, “that’s what I want to do when I grow up!” When you’re not playing your instrument, what would we most likely find you doing? Hanging out with my two amazing kids.

...with Lisa McWhorter

If you weren’t a musician what would you be? I enjoy working with others and helping people; there are many interesting capacities in which to do that. What is your favorite piece of all time to play and why? There are so many! It really depends upon my state of mind. But if I’m home alone, I’m drawn to Bach’s Sonatas and Partitas for solo violin. If you could meet one composer/musician, who would it be and why? It’s so hard to choose! I prefer a breadth of possibilities than to be narrowed down to one difficult choice! Where is your favorite place on the planet and why? Out in nature is the best; we have such a beautiful and diverse planet. A favorite place could really be anywhere, if at peace. Red, white, stout, hoppy or none of the above? Hot tea. Favorite book/movie you’ve read/seen recently? Among many others, I’m reading The Book of Joy by His Holiness the Dalai Lama and Archbishop Desmond Tutu. They are both such amazing people. What do you think some audience members might find surprising about you? That I spend a lot of time in silence; as much as I love music, I need the silence. Any interesting pre-performance rituals? Trying to find a parking spot! Do you have any other exciting life endeavors you’d like to share? I’m always looking to grow and be a better person.

APRIL – MAY 2018

Scenes from Offstage

(From top left, clockwise) Music Director Francesco Lecce-Chong poses for a selfie with attendees of GALA 2018: Explore the Music. Two young violinists play their instruments in the audience at The Orchestra Swings Youth Concert. After the elementary school Youth Concert, Francesco high-fives a young musician who played recorder onstage as part of the Link Up program. Rob and Jenny Bennett pause for a photo upon entering â&#x20AC;&#x153;Date Night with the Symphony,â&#x20AC;? a second annual partnership between Technology Association of Oregon and Eugene Symphony that offers a wrap-around evening perfect for a night out with loved ones, friends, and business colleagues. Francesco meets University of Oregon President Michael Schill at the Tales of Hemingway concert on March 15.

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

EUGENE SYMPHONY

DONORS

CONTRIBUTOR BENEFITS

MAKE THE DIFFERENCE

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

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

Ticket sales cover less than 50% of the operating costs to support our musicians and performances. Whether you are able to give $10, $100, $1,000, or $10,000, every gift makes a difference and ensures our symphony can keep playing for you, your neighbor, and the next generation. Your gift also supports Eugene Symphony’s community engagement and music education programs, extending our reach to allow more than 20,000 children and adults experience the joy of music. MAKE A GIFT

TODAY!

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

Notice of special events

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

SUSTAINING MEMBER: $250–499 All of the above, plus: Quarterly insider update from Maestro Lecce-Chong

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

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

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

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

APRIL – MAY 2018

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

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

The Eugene Symphony Founders Society is a group of donors who have made an extraordinary and profound commitment to the Symphony with an annual contribution of $2,500 or more. We are proud to acknowledge our Founders Society members whose gifts have strengthened our onstage, community engagement, and music education programs. For more information on the Founders Society, its benefits, and how to join, please contact Development Director Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x104, or visit our website at eugenesymphony.org.

PLATINUM PATRONS | $25,000 + Niles & Mary Ann Hanson Marie Jones & Suzanne Penegor

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 Barbara & James Walker

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 Bill & Judy Freck Pamela Graves in memory of Glendora Burbank

George & Kay Hanson Starly Hodges Jenny Jonak & Mike Bragg Bob & Brenda Macherione Sarah G Maggio 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 Sharon Ungerleider Paul J. & Lory Utz Jack & Florence Vollstedt

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 Anne & Terry Carter William & Karla Chambers The Chambers Family Foundation Harriet Cherry & John Leavens Jeff & Julie Collins Edna P. DeHaven Erin Dickinson Ed & Molly Emberlin Ray & Libby Englander Ginger Fifield Susan & Greg Fitz-Gerald

Kevin Forsythe & Elizabeth Tippett Scott & Leslie Anderson Freck 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 Lin & Don Hirst Hugh Johnston Kelley Family Charitable Giving Phillip Kimmel & Stephanie Pearl-Kimmel Deborah Lewis Larson Diane G. Learner & Carolyn Simms Michael Lewis & Martha MacRitchie 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 Inge Tarantola Michael Vergamini Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish Bruce & Carol Whitaker Walt Woliver & Ashlee Crib John & Emilie York

EUGENE SYMPHONY

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

CONCERT SPONSORS

The Haugland Family Foundation

Marie Jones & Suzanne Penegor

GUEST ARTIST SPONSORS Banner Bank Chvatal Orthodontics 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 Mountain Rose Herbs 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

COMMUNITY SUPPORT SPONSORS Essex Construction Comfort Flow Heating

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 Euphoria Chocolate Company

FOUNDATION PARTNERS

The Silva Endowment Fund of The Oregon Community Foundation

The Ann & Gordon Getty Foundation APRIL – MAY 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 (2) Gil & Roberta Achterhof The Alsop Family Foundation Virginia P. Anderson Laura Avery Ted & Marie Baker Allan & Caitlin Benavides Louise Bishop & James Earl Ruby Brockett John & Christa Brombaugh Jim & Bev Buckley Delpha Camp Robert & Kathleen Carolan Curtis Chong Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation Allan & Nancy Coons Jana & Mark Cox

John & Linda Cummens Wendy Dame & Don Doerr Joan Dunbar & William Starbuck Stephen & Francoise Durrant Dieter & Juanita Engel John & Jo Fisher Eric & Kristin Forrest Robert & Violet Fraser Lynn Frohnmayer Liz & Greg Gill Donald Gudehus & Gloria Page Ron & Marge Hamilton Michael & Janet Harbour Erwin & Vicki Haussler Dr. Larry & Sharon Hirons Monica Careaga Houck Ellen Hyman John & Robin Jaqua Fund of the Oregon Community Foundation

Ms. Chris K. Johnson Allan & Dorothy Kays Doreen Kilen Jim & Janet Kissman Steve & Cyndy Lane Lynda Lanker Gary J. LeClair & Janice R. Friend Kaye LeFrancq Gary P. Marcus Lee & Mary Jean Michels J Anthony & Mary Mohr John & Barbara Mundall Nancy Oft & Mike Rose Theodore & Laramie Palmer Judson Parsons & Diana Gardener Stan & Julie Pickett 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 John & Betty Siebs Ken & Kenda Singer Ginny Starr Martha J. Steward Marion Sweeney, Kate Laue, & Cama Evans Cathye Tritten Ellen Tykeson Gayle Umenhofer Jim & Cathy Walker John & Sandy Watkinson Jim & Sally Weston Harry & Connie Wonham Woodard Family Foundation Marguerite Zolman

Mary Louise Douda Howard & Kathleen Epstein Jane & Latham Flanagan, MD Mark & Carey Garber Lisa A. Hawley Ronald & Cecilia Head Lucille P. Heitz Kenneth Helphand David & Marcia Hilton Cynthia Hostetter Emmy Jenson Stephen Jones & Kay Hayford Brandon Julio & Haydn Zhang Toshiro & Irene Katsura Doris Kuehn Andrew Lewinter Richard & Jacquie Litchfield Lois Long in memory of Dr. George M. Long

Mark & Denise Lyon John & Ethel MacKinnon Robert & Colleen McKee Bonita Merten Mary Ann Moore Boyd & Natalie Morgan Darian & Karen Morray Alexander Murphy & Susan Gary Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen Doug Park & Beth Stormshak C Bennett & Ilene Pascal David & Jane Pubols Michelle Quinney Marjory Ramey Reed Family Foundation Ellen Rentz

Royce & Phyllis Saltzman Karen Seidel Roberta Singer Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Mike & Catheryn Stickel Sing & David Tam Jason Tavakolian & Jennifer Lamberg Jeff & Linda Taylor Charitable Fund Carol Thibeau Mandi Tribble & Steve Engel Pierre & Mary Lou Van Rysselberghe Dave Veldhuizen & Roanne Bank Peter & Josephine Von Hippel Forrest & Anna Williams

Jack & Toni Brown Sara Brownmiller & Milo Mecham Sue Burkholder Leonard & Janet Calvert Julia Carver & Brooks Tull Chris & Judy Chavez Ernest Chizinski Suzanne Clark Hiett & Caron Cooper

Roger Coulter Ashlee Cribb & Walt Woliver Nancy Cummings Brian & Nancy Davies Tom Stevens & Flo Delaney Tomi Douglas Peter Edberg & Bryna Goodman Nena Lovinger & Robert Emmons John Etter

Benefactors ($500–$999) Anonymous (2) Linda Ague & Kirk Kneeland Frank & Dorothy Anderson Carmen Bayley John Blackburn David & Sheila Bong Barbara Britt Greg Brokaw & Elaine Lawson Kevin & Ann Burgess Michael Burkhardt Bill & Lynn Buskirk Susan Bulkeley Butler Melvin Carlson Jr. George & Fanny Carroll Laura Coffin & Gerard Ostheimer Carol Crumlish Paul & Vivian Day Marilyn Deaton David Guy

Sustaining Members ($250–$499) Anonymous Carolyn Abbott Lucille Allsen Tony Anthony & Christine Shirley Vernon Arne Karen Artiaco & Jack Hart Ronald & Julia Babcock Robert Baechtold

Loren C. Barlow John & Sylvia Barry David Baslaw & Ginny Burkey Janine Benner & Greg Dotson Ron & Janet Bertucci Laird & Ronnie Black David & Sheila Bong Lynn & Ben Bonner Jim & Joanna Branvold

This listing is current as of March 14, 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) Gary Ferrington Robert & Jill Foster David Foulkes & Nancy Kerr Barbara Gates Mary Gent Pat Candeaux Gilberts Sylvia Giustina Scott Ricker & Mary Gleason-Ricker Jeff & Susan Gusinow Grayson & Esther Haclerode Desiree Hansen & Breon Price John & Claudia Hardwick Jamie Harper & Roxie Thoren David & Donna Hawkins Bob & Debbie Heaton Robert & Deborah Heaton Jim & Judith Hendrickson Richard Herskowitz & Jill Hartz Richard & Judith Hicks Ken Higgins Sara Hodges

Donald Holst & Kathy Locurto Lewis & Sandra Horne Robert H. Horner & Polly Ashworth Judith Johnson Pamela McClure-Johnston & Roy Johnston Peter & Jane Kay Sue Keene Dorothy Kemp Tim & Linda King John & Muriel Kurtz Martin Jones & Gayle Landt Doug & Diane Livermore Bert Lund Gerald MacLean Charles & Leslie Martinez Sara & David Mason Robert & Barbara Maurer Jo Ann McCabe Michael McCarthy

Lucille McKenzie in memory of Dean McKenzie Mary Mercier Michael Milstein Jack & Barbara Miner Dr. Jeffrey Morey & Gail Harris Mary Anne Morrison Judith Mortimore Kenneth & Jackie Murdoff Chris Murray David & Anne O’Brien Jill Overley Harold & Joyce Owen Dana O’Leary-Parrish James Pelley & Susan McConnell Ashley Petsch William & Cheryl Pickerd Dave & Linda Pompel Dr. R Charles & Karen Ray Joe & Marian Richards Norman & Barbara Savage

Eric Schabtach & Bonnie Murdock Sarah Schram Dr. Susan Rieke-Smith & Jeffry Smith Betty Lou Snyder Richard D. Spurlin Jane Stephens Gerald & Heidi Stolp Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Wayne & Leslie Taubenfeld Jean Tuesday Linda & John Van Peenen Jerome & Judy Vergamini Phyllis Villec Gerald & Veronika Walton Hilda H. Whipple Terry & Lucy White Illona Wilken Robert & Patricia Wilson Kelly B. Wolf

The Lillegard Family Janet Logan & William Oakley Eileen Loritsch Margaret Malsch Greg & Lynne McCutcheon Gary & Jill McKenney Suzanne Gilbrt McRae Sarah & Josh McCoy Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor Judith Moomaw Beth Moore & Lorne Bigley John & Cheryl Moore Kathy Moulton Karen Murphy Duncan & Saundra Murray Beverly A. Murrow Diane Vandehey-Neale Marilyn Nelson Melvin Nygaard & Mary Sykes Carol Nylander Ruth Obadal Jeffrey & Deborah Ogburn Joy Olgyay & William Taliaferro Dorothy Parrott Lindsay Pearson Michele Piastro & Allen Jablonski Douglas W. Pierce & Cynthia L. Secrest Jim Pilling Guntis & Mara Plesums Michael & Judy Ponichtera Sharon & Michael Posner Andrzej Wieckowski & Teresa Prussak-Wieckowska Richard & Patricia Rankin Lloyd & Marilyn Rawlings

Jim & Sandy Ridlington Edith C. Roberts Daniel & Kay Robinhold Gerald & Marcia Romick Sally Ann Ross Robert S. Russell Michael & Wendy Russo Eva Safar Madeline Malsch Richard & Karen Scheeland Gregory Schultz Suzanne & Marc Shapiro Marty & Mary Lou Smith Joanne & John Soper Dave & Dorothy Soper Howard & Sharon Speer John & Julie Stacy Phoebe Staples Barry & Marilyn Stenberg Maria & Delmar Storment Patrick & Marjorie Sullivan Fay Sunada & Patrick Wagner Susan & Bahram Tavakolian Edward Teague Gary Tepfer & Esther Jacobson-Tepfer John & Renate Tilson Liz Tritz Addie Vandehey William Waddel Carol Myree Welch Mary Ellen West Donald Wisely William & Pat Wiswall V. Gerald & Ann Woeste Thomas & Mariol Wogaman Susannah Wielesek & Bob Wright JoAnn Zinniker Alex Zunterstein

Symphony Members ($125–$249) Anonymous (2) Mardi Abbott Dr. Don & Marianne Anderson Susan Archbald Jo Anne Arnold Gerry Aster Roger & Lela Aydelott Avon Lee & Robin Babb Sue Bach Don Baldwin George Bateman Diane Baxter Joan Bayliss & Irwin Noparstak Lawrence & Linda Ann Beach William & Alice Beckett Joyce Benjamin David & Judith Berg Richard & Betsy Berg Sara Bergsund John & Lucy Bigelow Robert & Patricia Brasch The Kiva Grocers - Booksellers Norma Bryan Susan Burke & Clive Thomas June Hopkins & Don Campbell Elizabeth Charley Linda Cheney & Fred Felter Gary & Carole Chenkin Anthony J. Meyer & Joan Claffey Victor Congleton Alan Contreras Mark & Anne Dean Dale Derby & Ingrid Horvath Cynthia Dickinson Donald & Jenna Diment Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy John Faville

APRIL – MAY 2018

Margot Fetz Lamar & Jane Forvilly Carl J. Frank Dorothy Frear Carole Gillett Tony & Courtney Glausi Elizabeth G. Glover Warren & Susan Griffith James Grimm & Jocelyn Bonner Mary Grinage Sally Grosscup David Gusset Haissam Haidar Scott & Mary Halpert Roger & Karen Hamilton Gale & Rosemary Hatleberg Bernard Robe & Diane Hawley Andrew & Marilyn Hays Phyllis Helland & Raymond Morse Leslie Hildreth Harold & Martha Hockman Judith Horstmann & Howard Bonnett James & Helen Jackson Carol A. James Benton Johnson Robert Kendall Alan & Martha Kimball Charles & Reida Kimmel Anita Klock Margaret Knudsen John & Judith Kraft Donald Landstrom & Zachary Ruhl William Langdon John & Karen Lawrence Edward Lawry & Sandra Wu Joyce Leader Hope Lewis

Season Supporters Associate Members ($60–$124) Anonymous (7) Ethel Allan Florence Alvergue Howard Anderson & Susan Rutherford Jim Angsten & Lynn Joseph John Attig Sheryll Jo Aydelott Carolyn Ballin Walter & Carole Barnes Margaret Bennett Sally Bethel Adrienne Borg Dale & Shawna Bradley Cecelia Brands Lavaina Brown Stephen Bryan George Burgott Frances Burns & Mary Furr Chris & Julie Butler Rebecca Callison Frank & Nancy Carlton Dennis Chapman Stephen Chong Lynda & Eric Christiansen Laura & Dan Betty Hernando Convers Carrie Copeland & Jeff Parker Lawrence Crumb Ellwood & Deborah Cushman Jr. Tami Dean Dexter Dewey Marie Dochnahl Ken & Connie Doerksen Laura Donato Jim & Susan Douglas Marie Vitulli & Sarah Douglas Ritta Dreier John & Joanne Eggink Bob & JoAnn Ellis

Jenny Ellis Gary Moye & Iris Esau Moye David & Jean Fenton Jim & Darlene Fisher Martin Fitzpatrick & Hilary Egna Jo-Anne Flanders Clifford & Nancy Flesch Charles Fletcher Mary Forestieri Amy Gage Gail Galbreath-Sheredy Albert Gardner John Garrett & Ruth Kaminski Clayton Gautier & Gail Baker Bentley Gilbert Nancy Golden & Roger Guthrie Sharon Gubrud David & Janet Gustafson Roger Guthrie & Nancy Golden Quinton Hallett & Dennis Gould Bryce & Sandy Halonen Darlene Harris Robert & Sandra Harty Robert Haskett & Stephanie Wood Karen Hays Holly Helton & Peter Gallagher Jack & Mary Holley Mary Holton Ardis N. Hughes Trey Imfeld & Barbara Davis Roger & Susan Irwin Dave & Karen Jewett Skip & Mari Jones Richard & Irmgard Jones Ronald & Sylvia Kaufman Sue Keene Virginia G. Kelly Patricia Kennedy Sunshine Kesey Alan & Theresa Hernried

Jack & Jane Quien Susan Lacer Diane Lane John & Darlene Lashbrook Jan Lintz Dr. Mark & Marie Litchman Susan Macomson Debra Marquess Maurine & Nicholas Maskal Thomas McCann Stephen & Clari McDermott John & Lilla McDonald Bill McGuire Lisa McWhorter William P. & Maxine McWhorter Stephen & Marjorie Mealey Paul Medaille Ruth Miller Heather Mills Edward Black & Geraldine Moreno-Black Gary & Iris Moye Darlene Moyer Jane Murphy Donna Nagy Annette Newman Heather Nolle Nancy Nott Richard J. O’Brien Maureen Olsen Dr. Eric & Ms. Sheri Olson Wayne & Ruth Osborn Dr. Susan K. Palmer Leslie Parker Judy & Marc Parnes Monica Parvin Mary Beth Pattyn Rodger & Joan Person Walter Petty Amanda Powell Linda Powell

Supporting the Arts in Lane County

Musgroves.com

Margaret E. Prentice Norm Purdy Joyce Pytkowicz Brian Price & Elizabeth Radke Tyler Radke Robert & Nancy Rathmann William Ready Lindsey Reaves Jane Rincon Richard Romm Dick Ruf Arlen & Patricia Salthouse Bill & Joan Schaaf Tracy Schmitz Douglas & Stephanie Sears Paul Shang & Laura Macagno Shang Kim & Tim Sheehan Carol Shininger Christina Sjoblom George & Dionne Sjolund Hope Smith Judy Sobba James & Irene Spindler Mary Ellen Spink Rebecca Sprinson Renee Stark Verner Steigleder Christina Svarverud Betty Taylor Josiah Thornton Harold & Janet Titus Joyce Trawle & Douglas Berg Emily Uhlman John DeWenter & Dorothy Velasco Lawrence & Marilyn Von Seeger Robert Voss Douglas & Jean Walker Marilyn Wewerka Carol White Herb Wisner Joan Wozniak

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

EUGENE SYMPHONY

Season Supporters Memorial Funds

Foundation Support

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

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

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

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

APRIL – MAY 2018

Melvin Lindley 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

GALA 2018: EXPLORE THE MUSIC

THANK YOU

to the sponsors and in-kind donors who helped make this event possible and successful on Saturday, February 3.

PERFORMANCE SPONSOR

Alesong Brewing & Blending Marin Alsop Zuill Bailey Warren & Kathy Barnes Baltimore Symphony Orchestra Beaudet Jewelry The Broadway Wine Merchants Deb Carver & John Pegg Elizabeth Chambers Cellar Eugene Symphony Association Ferguson Wellman Capital Management Niles & Mary Ann Hanson Heritage Distillery Hilton Eugene Angus James Dave & Sherrie Kammerer Liz Kelly Phil Kimmel & Stephanie Pearl Kimmel Thomas Lauderdale MarchĂŠ Restaurant Duncan & Jane McDonald

FIRST CLASS TABLE SPONSORS

The Metropolitan Opera New Tw!st The New York Philharmonic Jerril Nilson Pink Martini David & Paula Pottinger Otto & Joanna Radke Rhythm & Blooms Roaring Rapids Pizza Paul Roth Rye Restaurant Dr. Doneka Scott Silvan Ridge Winery Sports Car Shop Steinway & Sons Sweet Cheeks Winery Swing Shift Jazz Orchestra Sharon Ungerleider Eugene Active 20-30 Club Theta Chi - Alpha Sigma Chapter University of Oregon

Your support ensures the power of music to inspire, connect and heal more than 50,000 people in our region both on stage and in our community. To learn more and see highlights of the evening, visit EUGENESYMPHONY.ORG/GALA

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 Ann & Terry Carter Dr. & Mrs. John Cockrell (Irrevocable Trust) Julie Collis

Ray Englander Starly Kathryn Friar (Irrevocable Trust) Jo-Anne Flanders Ed & Ann Gordon Ms. Chris K. Johnson

Dan & Gloria Lagalo Theodore & Monica Nicholas Wally Prawicki Sandra Weingarten Harry Wolcott Estate

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

Leave a legacy that provides the joy of music for future generations. Please remember the Eugene Symphony in your will or trust. For information about planned gifts or gifts to the Endowment Fund, contact Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x104 or visit our website at eugenesymphony.org.

APRIL – MAY 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

Warren Barnes, Treasurer Dr. Matthew Shapiro, Past President

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

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

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

Betty Soreng David Ogden Stiers

FINANCE Lisa Raffin, Finance & Administrative Director Brandi Geddis, Accounting Associate Suzanne Shapiro, Volunteer Coordinator

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 DIRECTORS EMERITUS Phil Cass, Jr. Carolyn S. Chambers

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

DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director

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

APRIL â&#x20AC;&#x201C; MAY 2018

WINE

GIFTS

COFFEE

PIZZA & MORE...

INSIDE EUGENE’S 5TH STREET PUBLIC MARKET 296 E. FIFTH AVE., EUGENE • 541.743.0660 • PROVISIONSMARKETHALL.COM

EUGENE SYMPHONY

Featuring Women’s Clothing for Special Occasion Mother of Clothing, the Bride Contemporary and Sportswear and our Other Unique Collection of Special Ethnic Occasions and Fashion Jewelry

Let’s eat, let’s laugh, let’s

shop!

Personalized Customer Service

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

(541) 431-3411

Uncommon Scents • Folkways Sattva Gallery • Café Yumm!

18 TH and WILLAMETTE

Open 7 days a week

Symphony program ad size = 3.625” wide x4.75” high (1/4 page vertical)

Toni Pimble’s new full length ballet with Orchestra Next playing Grieg’s score live!

PEER GYNT April 14 7:30 pm | April 15 2:00 pm

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

The Hult Endowment of The Oregon Community Foundation

APRIL – MAY 2018

Francesco Lecce-Chong, Music Director and Conductor

MUSIC

DIFFERENTLY ANNOUNCING THE 2018/19 S E A S O N Season tickets available February 14.

EUGENE SYMPHONY

APRIL â&#x20AC;&#x201C; MAY 2018

2018

oregon bach festival

june 29 - july 14 www.OregonBachFestival.com • 541-682-5000

GET MORE OF KARASTAN’S SOPHISTICATED STYLING NOW FOR LESS. Welcome Francesco Lecce-Chong to the Eugene Symphony! We are proud to support the music of Eugene Symphony’s 2017-18 Season.

Beautiful rooms begin at Imperial Floors! DEALER NAME ADDRESS CITY, ZIP Doug Gubrud, Owner WEBSITE

541.342.5031

355 Lincoln Street, Eugene

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

www.imperialfloors.com

EUGENE SYMPHONY

The Oregon Community Foundation provides many tax-deductible options to put your clientâ&#x20AC;&#x2122;s gift into the hearts and hands of Oregonians.

APRIL â&#x20AC;&#x201C; MAY 2018

oregoncf.org

Nonstop

EUG to PHX