Program Magazine 4 by Eugene Symphony Association

Francesco Lecce-Chong, Music Director & Conductor

SEASON

PROGRAM MAGAZINE 4

APRIL – JUNE 2019

THE COLOR OF SOUND APR 18

FAMILY CONCERT APR 28

SYMFEST JUNE 1

VERDI’S REQUIEM MAY 9

New Homes

Remodels

Kitchens

Small Cottages

Rainbow Valley: Where Your Ideas Come to Life. At Rainbow Valley, we want to design and build the best house for you. This client had a clear aesthetic vision, and through close collaboration with our Design/Build and Outdoor Spaces teams, she was able to make it a reality. The house was also designed with an eye to the future. Thanks to the sloping site, the basement pottery studio and guest loft are both accessible from the beautifully landscaped yard, allowing our client to age comfortably in her unique and perfectly tailored home.

Envisioning Your Next Home? Come to Rainbow Valley.

541.342.4871 rainbowvalleyinc.com CCB# 56107 LCB# 9533

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

music in motion oregon bach festival june 28 - july 13, 2019

www.OregonBachFestival.org • 541-682-5000 3

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

Keyhan F. Aryah, MD

John W. Karth, MD

Robert M. Beardsley, MD

W. Benjamin Kunz, MD

Peter A. Karth, MD, MBA

Allan A. Hunter, MD

Comprehensive Ophthalmology Retina I Cornea I Uveitis Proudly Supporting the Eugene Symphony for Over 20 Years 541-687-1927 4

OregonEyeConsultants.com

Women's Special Occasion Clothing, Contemporary Sportswear and a Unique

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

Let’s eat, let’s laugh, let’s

shop!

Collection of Fashion and Ethnic Jewelry

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

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

Uncommon Scents • Folkways Sattva Gallery • Café Yumm!

18 TH and WILLAMETTE

Open 7 days a week

Symphony programs. The size for each is 3.625" wide x 4.75" high.

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.

AT TO R N EYS

541-686-8511 | HershnerHunter.com

Contents April – June 2019 CONCERTS 17 The Color of Sound April 18 Sponsored by Imagination International 29 Family Concert: An Afternoon with Beethoven April 28 Sponsored by Delta Sand & Gravel

17 Alexander Scriabin’s

Prometheus: Poem of Fire anchors a thrilling multi-media production called “The Color of Sound” on April 18, featuring Light at Play’s eightfoot Radiance Orb.

41 Verdi’s Requiem May 9 Sponsored by Oregon Neurosurgery 51 SymFest June 1 Sponsored by Roaring Rapids Pizza FEATURES 13 On That Note 24 Key of E[ducation] 32 Donor Spotlight ON STAGE AND OFF 9 Welcome 11 Conductor 12 Orchestra Roster 15 Calendar 49 Scenes from Offstage 57 Support the Symphony 58 Founders Society 59 53rd Season Partners 60 Thank You to Our Supporters 65 Endowment Fund 66 Board of Directors and Administrative Staff

41 Music Director & Conductor Francesco

Lecce-Chong leads the Eugene Symphony Chorus in Verdi’s Requiem to close the 2018/19 Symphonic series on May 9.

51 The Eugene Symphony’s

brewfest-meets community celebrationmeets concert SymFest returns on Saturday, June 1, featuring vocalist Halie Loren, trumpeter Tony Glausi, new choreography by Ballet Fantastique, and more.

2019 PROUDLY SPONSORED BY

PROUDLY SPONSORED BY

Music in the Garden Sunday, June 9 10 am–4 pm 22nd Annual Self-Guided Garden Tour FEATURING 30 LIVE MUSICAL PERFORMANCES! ALL PROCEEDS BENEFIT THE EUGENE SYMPHONY ASSOCIATION

Kingrey Garden

Goodman & See Garden

Eigner Garden

2372 Park Grove Drive, Eugene

3322 Twin Elms, Eugene

2516 Tandy Turn, Eugene

Garden Art, Plant Sale and Refreshments

242 South Garden Way, Eugene

Kibbey Garden 2130 Greenview Street, Eugene

Robinson Garden

For more information call 541-914-7441

eugenesymphonyguild.org 2019 Music in the Garden Sponsors

EUGENE SYMPHONY

Welcome April – June 2019 Greetings all! It is hard to believe that we’re in the final months of our season! It has been such a joy to share so much inspiring music with you this season. Thank you for being such an enthusiastic audience, embracing our musicians, guest artists, and composers. We are definitely ending our season with a bang! First, we unveil our project “The Color of Sound” that has been in the works for the past 18 months. It celebrates the futuristic ideas of Russian composer Alexander Scriabin who wrote music that was designed to be accompanied by color. His late-Romantic style of music burns with passion and excitement—and given his grandiose ideas, it’s no surprise that his music will require one of the largest orchestras ever on the Silva stage. With our partners Harmonic Laboratory and Light at Play, we’ve recreated Scriabin’s vision for a “color organ”—a never-before-seen instrument that will light up the hall. Verdi’s beloved Requiem will finish off our season with the Eugene Symphony Chorus in dramatic fashion with offstage trumpets, a quartet of powerful vocalists, and the most awe-inspiring moments ever for the bass drum. Outside of our subscription series, bring the whole family to meet Beethoven at our 2nd Annual Family Concert and I am so excited to bring “SymFest” back to Eugene to celebrate the amazing musicians and dancers in our community through classical, jazz, and rock ’n’ roll music! Thank you for your support and passion for great music! I am so grateful to be part of this incredible organization with our talented musicians, and look forward to many more wonderful musical adventures with you next season! Sincerely yours,

Francesco Lecce-Chong, Music Director & Conductor Dear Friends, As we approach the end of our 53rd season, I can’t help but relish the upcoming concerts remaining on the Symphony’s program. I am looking forward to the April concert, when the orchestra will perform work by Scriabin, Debussy, Mendelssohn, Handel, Pärt, and Schuller. Our subscription season then comes to a close in May, with the performance of Verdi’s Requiem. These two performances are not to be missed. Along with the subscription concerts, the Symphony will also be presenting a family concert on Sunday, April 28. An Afternoon with Beethoven will be entertaining and educational for all ages. On Saturday, June 1, the third installment of our popular SymFest event will be presented. This event is totally Eugene, and brings together local talent, local brewers, local wineries, and local food trucks, plus, our local orchestra. Looking back over the past season, I have tried to whittle down my favorites to two or three. I can’t do it. From our opening night with music of Bernstein and Shostakovich through our most recent, “Doctor Atomic & Brahms,” this season has been tremendously satisfying and at the same time challenging. Music Director Francesco Lecce-Chong has said he wants the concert experience to be immersive, and for the concert-goer to hear the music in an personal way that includes social interactions with other patrons and a sense of shared experience. He does not require or expect the audience to like what they hear. He does not expect the audience to understand the structure of classical music. He does, however, want patrons to be deeply engaged with the concert experience and make the concert performance their own. In a recent New York Times article, “A Note to the Classically Insecure,” Miles Hoffman argues that classical music patrons “hear more than they can name, and that the very point of listening to great music is to be moved, not to put names on what moves you.” I like the sound of that. Thank you for your ongoing support. See you inside (or outside) the concert hall.

David Pottinger, President of Eugene Symphony Board of Directors APRIL – JUNE 2019

Congratulations Francesco Lecce-Chong on your first anniversary of a â&#x2122;Ť noteworthyâ&#x2122;Ť year as Music Director & Conductor of the Eugene Symphony! Thank you for your enthusiastic support of the Instrument Petting Zoo and opportunities for youth and families to experience the power of music. Instrument Petting Zoo Sponsor: Galina Groza and Family In Honor of Eugene-Irkutsk Sister City Committee

EUGENE SYMPHONY

MUSIC DIRECTOR & CONDUCTOR

Francesco Lecce-Chong American conductor Francesco Lecce-Chong has garnered acclaim for his dynamic performances, commitment to innovative programming and profound engagement in community outreach. In April 2017, Lecce-Chong was appointed Music Director & Conductor of the Eugene Symphony, following in the paths of renowned predecessors including Marin Alsop and Giancarlo Guerrero. In the same season, he became the winning Music Director candidate of the Santa Rosa Symphony, a post he assumes in 2018/19. In summer 2018, he concluded his three-year tenure as Associate Conductor of the Pittsburgh Symphony Orchestra and Principal Conductor of the Pittsburgh Youth Symphony Orchestra. His previous posts include Associate Conductor of the Milwaukee Symphony Orchestra and Grand Teton Music Festival. Active as a guest conductor, he has appeared with orchestras around the world including the National Symphony, Atlanta Symphony, Toronto Symphony, Milwaukee Symphony, St. Louis Symphony, and Hong Kong Philharmonic while collaborating with renowned soloists such as Renée Fleming and Itzhak Perlman. During the current and the coming seasons, Lecce-Chong makes his subscription debuts with the Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic, Xi’An Symphony Orchestra and returns to the Civic Orchestra and Milwaukee Symphony. He is equally at home with opera repertoire, having built his opera credentials as staff conductor with the Santa Fe Opera and conducted Madama Butterfly at the Florentine Opera with the Milwaukee Symphony. Also trained as a pianist and composer, Lecce-Chong champions the work of new composers and the need for arts education. With the Milwaukee Symphony, he helped create their first Composer Institute, providing performance opportunities for young American composers. In his leadership positions, he has curated and presented the works of both active and lesser-known composers, presenting the premieres of commissions by the Milwaukee Symphony, Eugene Symphony, and the Pittsburgh Youth Symphony Orchestra. Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. For four seasons, he provided artistic leadership for the Milwaukee Symphony’s nationally lauded Arts in Community Education program—one of the largest arts integration programs in the country. In his first season in Eugene, he has devoted

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 – JUNE 2019

his time to connecting the orchestra and community by launching a family concert series, creating a monthly Symphony Happy Hour and building collaborations with schools, human service agencies, and businesses. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. A native of Boulder, Colorado, he began conducting at the age of 16 and graduated from the Mannes College of Music and Curtis Institute of Music, where he studied with Otto-Werner Mueller. He has had the opportunity to work closely with many internationally celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, and Manfred Honeck.

Eugene Symphony MUSIC DIRECTOR & CONDUCTOR Francesco Lecce-Chong Betty Soreng

VIOLIN I Jennifer Estrin**, Acting Concertmaster Della Davies**, Acting Assistant Concertmaster Ray & Cathie Staton Lisa McWhorter†, Assistant Concertmaster Jamie Chimchirian Stephen Chong Joanne Berry Della Davies Sandra Weingarten & Ryan Darwish Anthony Dyer Rosemary Erb† John & Emilie York Clara Fuhrman* Yvonne Hsueh Debra & Dunny Sorensen Sophie Therrell Matthew, Aaron & Alex Shapiro Vacant

VIOLIN II Matthew Fuller, Principal Ray & Libby Englander Julia Frantz, Assistant Principal Bob & Friedl Bell Dan Athearn Bob Gray Memorial Chair Alice Blankenship Theodore W. & Laramie Palmer David Burham Rosemary Erb† Virginia Kaiser Claudia Miller Marilyn Tyler Herb Merker & Marcy Hammock Jannie Wei Vacant

VIOLA Holland Phillips, Principal Don & Lin Hirst Miriam English Ward, Assistant Principal Devin Burgess* Pamela Burovac Lauren Elledge Marilyn Kays Anamaria Ghitea

Shauna Keyes Karlie Roberts Kim Uwate

CELLO 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

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

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

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

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

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

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

TRUMPET Sarah Viens, Principal Jeff & Julie Collins Joseph Klause** David Bender G. Burnette Dillon & Louise Di Tullio Dillon

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

TUBA Michael Grose, Principal

TIMPANI Ian Kerr, Principal Jim & Janet Kissman

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

KEYBOARD Christine Mirabella, Principal Garr & Joan Cutler

HARP Jane Allen, Principal Laura Maverick Graves Avery Chair

CHORUS DIRECTOR Sharon J. Paul

CONDUCTING FELLOWS Jonathan DeBruyn Nicholas Sharma * denotes University of Oregon Graduate Employee ** denotes one-year appointment † denotes leave of absence

EUGENE SYMPHONY

ON THAT NOTE

Julia Frantz On that Note introduces a member of the orchestra. This issue features Julia Frantz, who was appointed to the position of Assistant Principal Violin II in January 2019, after three-anda-half years as a member of that section. She also previously served as a member of the administrative staff as Donor Relations Manager 2010 to 2015. Where is home originally and when did you first start playing music? I grew up here in Eugene! I started playing violin at age five. When you’re not playing your instrument, what would you most likely be doing? Probably running or hiking. I love being outside and exploring new places. My fiancée, Phil, and I hiked the Pacific Crest Trail in 2014 and that started a kind of obsession with long-distance hiking. Since then, we’ve also done the Continental Divide Trail (CDT), which is 3,100 miles long and goes from Mexico to Canada by way of the Rockies. On the CDT, I didn’t think I should go so long without practicing, so I strapped a cheap violin to my pack in a lightweight, styrofoam case. I carried it about 800 miles, but sent it home in Colorado because I wasn’t practicing very much. I did have some great jam sessions with people we met in New Mexico, though! If you weren’t a musician, what would you be? I have a lot of interests outside of music, and they’re always changing. When I was young I wanted to be an author/illustrator. Then, I wanted to be a sociologist. Now, I think I’d be a physical therapist. Playing the violin is what brings me the most joy, though.

What’s your favorite type of music? I love all types of music. I listen to a lot of pop, hip-hop, rock, and country, as well as whatever orchestral pieces I’m playing at the moment. Lately I’ve been in more of a country phase. I like to know what the trends are in current music and give everything a fair chance. I always listen to music when I run and this is often when I feel the most inspired and connected to the joy in music. What do you think some audience members may find surprising about you? I’m usually training for some sort of race, and will often get enticed by the longest distance available (even if I have no business doing it). I ran my first marathon when I was 19 and lost five toenails in the process. When I was in grad school, I did a triathlon without really knowing how to swim, so I did the entire 1.2-mile swim with my head above water. Several people asked “if I was okay” and I think my parents were a bit worried, but I finished it. Any interesting pre- or post-performance rituals? After concerts, I often listen to the pieces we just played at full blast while I drive home, just to experience certain moments again. I can’t listen to any other music after a concert. Tell us any fun facts about yourself or your loved ones. I also play the fiddle! For a long time, my dream was to move to Nashville and be a fiddler in a country band.

What’s your favorite part of being a musician? I love the constant challenge of it, how there are always new things to learn and new ways to develop as a musician. That’s also what can be frustrating about it. Most of all, I love how music lets me express myself fully. What is your favorite all-time piece to play and why? I don’t think I could choose just one. I love playing any Brahms symphony and most Mahler symphonies. I’ve always been kind of obsessed with Mozart. I also LOVE playing opera. What are some of your favorite Eugene Symphony memories or performances? I really loved playing Handel’s Messiah last year. Francesco got such great passion and intensity out of the orchestra. I also loved playing the Suite from Der Rosenkavalier a few years ago. I love how Strauss lets you be as crazily expressive as you want to be. What are some of your favorite places in Oregon and why? I do a lot of running at Mt. Pisgah and on the Ridgeline Trail, and am always amazed at how beautiful yet accessible those places are. I love the trail that goes around the Three Sisters in the Cascades. I also love Waldo Lake on a warm September day. It has such idyllic beaches and the water is clear and turquoise. What are some of your favorite foods/beverages? Anyone who knows me knows I have a HUGE sweet tooth. I really think I’d be happy eating cookies and cake for the rest of my life.

APRIL – JUNE 2019

Season Subscriptions ordered by May 10, 2019

PASSION Swan Lake | NOV 9–10, 2019

SAVE 30% on single ticket prices.

IMPACT

Alice in Wonderland | FEB 8–9, 2020

2019/2020 SEASON 14

POWER

Heaven and Earth | APR 4–5, 2020

eugeneballet.org | 541-682-5000

EUGENE SYMPHONY

Calendar APR 15

Happy Hour with Francesco, details at 5:00 pm eugenesymphony.org/events

SYMFEST June 1

APR 16

Master class with pianist Christopher Taylor, 4:00 pm Beall Hall, University of Oregon School of Music and Dance 5:00 pm A Conversation with Joseph Conyers (Acting Associate Principal Bass, Philadelphia Orchestra), The Studio, lower level of the Hult Center

APR 18

THE COLOR OF SOUND

Francesco Lecce-Chong, conductor Christopher Taylor, piano

6:30 pm Guild Concert Preview, The Studio, lower level of the Hult Center

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Imagination International

APR 28

FAMILY CONCERT: AN AFTERNOON WITH BEETHOVEN

Francesco Lecce-Chong, conductor 1:30 pm First performance, Soreng Theater

3:30 pm Second performance, Soreng Theater Instrument Petting Zoo and other family friendly activities precede each performance Sponsored by Delta Sand & Gravel

MAY 6

Happy Hour with Francesco, details at 5:00 pm eugenesymphony.org/events

MAY 9

VERDI’S REQUIEM

Francesco Lecce-Chong, conductor Eugene Symphony Chorus Katie Van Kooten, soprano Nancy Maultsby, mezzo-soprano Kang Wang, tenor Michael Dean, baritone

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 Oregon Neurosurgery

JUNE 1 SYMFEST

5:30 pm Pre-concert festivities including beer and wine tastings, food carts, and live music 7:30 pm Eugene Symphony performance featuring various Eugene performing artists and groups 9:00 pm Post-concert dance party in the Lobby and jazz lounge by The Jazz Station in Soreng Theater Sponsored by Roaring Rapids Pizza Company

JUNE 18 Eugene Symphony in the Park tickets

12:00 pm available to 2019/20 full and partial-season subscribers, Hult Center Ticket Office

JUNE 25 Eugene Symphony in the Park tickets 11:00 am available to the public, Hult Center Ticket Office

JULY 26 EUGENE SYMPHONY 8:00 pm IN THE PARK

Free, tickets required Cuthbert Amphitheater, Eugene

JULY 29 EUGENE SYMPHONY 7:30 pm IN THE PARK

Free, Bohemia Park, Cottage Grove

JULY 30 EUGENE SYMPHONY 7:30 pm IN THE PARK Free, Stewart Park, Roseburg

All Master Classes, Residency Activities, and Guild Concert Previews are free and open to the public.

APRIL – JUNE 2019

EUGENE SYMPHONY

SYMPHONIC VIII — APR 18

The Color of Sound Eugene Symphony Francesco Lecce-Chong, conductor | Christopher Taylor, piano in partnership with Harmonic Laboratory and Light at Play Thursday, April 18, 2019 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center Edvard Grieg (1843–1907)

Morning Mood from Peer Gynt Digital Projections by Elliette Phillips

Gunther Schuller (1925–2015)

Little Blue Devil from Seven Studies on Themes of Paul Klee Digital Projections by Kashi Hughes

Claude Debussy/orch. Caplet (1862–1918)

Clair de lune Digital Projections by Rimona Livie

Alexander Scriabin (1872–1915)

Prometheus: Poem of Fire (Symphony No. 5), Op. 60 Christopher Taylor, piano Jeremy Schropp, light organ Radiance Orb by Light at Play Digital Projections by Harmonic Laboratory University of Oregon Chamber Choir, Dr. Sharon J. Paul, conductor and Cera Babb, assistant conductor

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

Felix Mendelssohn (1809–1847)

Scherzo from A Midsummer Night’s Dream Digital Projections by Felix Neeleman

Georg Frideric Handel (1685–1759)

La Rejouissance from Music for the Royal Fireworks Digital Projections by Krista Ortiz

Arvo Pärt (b. 1935)

Cantus in Memory of Benjamin Britten Digital Projections by John Park

Alexander Scriabin

The Poem of Ecstasy (Symphony No. 4), Op. 54

Guest Artist Sponsor

Concert Sponsor

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

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, May 7 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

APRIL – JUNE 2019

The Color of Sound Three short pieces to precede Alexander Scriabin’s Prometheus: Poem of Fire EDVARD GRIEG (1843–1907) Morning Mood (1875) You will immediately recognize flowing flute and oboe of this oft-used pastorale from Grieg’s incidental music for Henrik Ibsen’s epic play, Peer Gynt. SCORED: For two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. HISTORY: First performed by the Eugene Symphony in February 1984 under the direction of William McGlaughlin, and last performed in September 2014 under the direction of Danail Rachev. DURATION: Approximately four minutes. GUTHER SCHULLER (1925–2015) Little Blue Devil, from Seven Studies on Themes of Paul Klee (1959) Klee’s funny/scary painting of the same name inspired Schuller to write this jazzy, wacky piece, which would also pair well with a Looney Tunes cartoon. SCORED: For three flutes, two piccolos, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings. HISTORY: First performed by the Eugene Symphony in April 1982 under the direction of William McGlaughlin. DURATION: Approximately three minutes. CLAUDE DEBUSSY (1862–1918) Claire de Lune (1890/1905) Moonlight. The French kind. The dreamy kind. SCORED: For two flutes, two oboes, two clarinets, two bassoons, two horns, harp, and strings. HISTORY: First performed by the Eugene Symphony in January 2009 under the direction of Giancarlo Guerrero. DURATION: Approximately five minutes.

Three short pieces to precede Scriabin’s The Poem of Ecstasy FELIX MENDELSSOHN (1809–1847) Scherzo from A Midsummer Night’s Dream (1842) Midsummer is the best-known of several Mendelssohn theater commissions. The Scherzo, an intermezzo, covered the stage reset between Acts I and II of a Potsdam production. This is Mendelssohn at his best and brightest. SCORED: For two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. HISTORY: First performed by the Eugene Symphony in March 2002 under the direction of Miguel Harth-Bedoya, as part of a production of Shakespeare’s A Midsummer Night’s Dream using Mendelssohn’s Overture and Incidental Music for the play. DURATION: Approximately five minutes. GEORG FRIDERIC HANDEL (1685–1759) La Réjouissance (1749) Handel wrote this brilliant, extended fanfare to entertain at the London fireworks celebrating the end of the War of Austrian Succession. SCORED: For three oboes, two bassoons, contrabassoon, three horns, three trumpets, timpani, and strings. HISTORY: First performed by the Eugene Symphony in December 1973 under the direction of Lawrence Maves, and last performed in March 2010 under the direction of Danail Rachev. DURATION: Approximately three minutes. ARVO PÄRT (b. 1935) Cantus in Memory of Benjamin Britten (1977) The sustained chimes toll for the celebrated British composer as the basses drone and the higher strings turn a minimal theme over and over in heaving canons. SCORED: For percussion and strings. HISTORY: First performed by the Eugene Symphony in March 2004 under the direction of Giancarlo Guerrero. DURATION: Approximately six minutes.

”This concert started as a dream long before I came to Eugene and I did not think it would ever be possible. Even the largest orchestras in the biggest cities have been unable to recreate Scriabin’s grandiose vision of a color/ sound performance in this way. 18

It truly is a testament to the unique talent in Eugene that this project came together. Harmonic Laboratory had the essential mix of skills in both music and technology to understand Scriabin’s ideas and imagine how to make it come alive. Light at Play has EUGENE SYMPHONY

PROGRAM NOTES — APR 18

ALEXANDER SCRIABIN (1872–1915) Prometheus: Poem of Fire (Symphony No. 5), Op. 60, for orchestra, piano, and color organ (1910) Poem of Ecstasy (Symphony No. 4), Op.54 (1908) In 2016, Gramophone Magazine’s Geoffrey Norris found Alexander Scriabin’s Moscow apartment about as the composer left it when he died in 1915: Two grand pianos, Art Nouveau furnishings, Orientalist trinkets, along with private notebooks that reflect his mystical beliefs. For us, the most significant apartment item would be a ring of colored light bulbs arranged on a custom-made circular board. Doorbell pushbuttons link to and control the 12 bulbs —one for each tone of the chromatic scale. In Scriabin’s mind, the musical note C = red, D = yellow, A = green, and so on. Prometheus: Poem of Fire, ends on an F-sharp triad, and thus calls for a blaze of glorious blue.

LOOK for Harmonic Laboratory’s Jeremy Schropp playing a touch-sensitive MIDI keyboard to control Light at Play’s Radiance Orb in Scriabin’s Prometheus: Poem of Fire.

“We’re after enveloping visual effects,” said Music Director & Conductor Francesco Lecce-Chong. “Harmonic Lab suggested we use the eight-foot Radiance Orb [invented by Eugene’s Light at Play] that will be suspended over the front of the stage. Scriabin wanted a ‘light organ,’ something to be played expressively, like an instrument, and that’s our goal. All this got crazier the more we looked into Scriabin’s directions.” Animator and digital artist John Park is part of the Harmonic Laboratory team collaborating with the orchestra and Light at Play. Harmonic Lab’s Brad Garner set up the stage lighting, along with wireless light for choristers, projectionmapping on unique stretch-fabric screens to illuminate the orchestra shell during the six short pieces, and innovative methods of bathing the audience in color. “We’re energized by the opportunity to respond to Alexander Scriabin’s visionary and technically unattainable intentions to flood the symphony hall with the colors from a clavier à lumières, or color organ,” Park said. “We see a unique opportunity to match Scriabin’s 1910 intentions with 21st-century technologies, such (Continued on page 20)

Some commentators have suggested that Scriabin was a synesthete, a person in whom stimulation of one sensory pathway triggers involuntary experience in a second. That is, he “heard” color. Most Scriabin experts discount that. Many composers ascribe color to pitch on theoretical or intuitive grounds— Scriabin’s friend Rimsky-Korsakov, for example, argued with him over blue. Rimsky-Korsakov thought it matched E-flat. When Scriabin played the Poem of Fire in his apartment, his second wife, Tatyana Schloezer, would press the buttons and light the lights as designated in the score. The effect, surely, fell far short of the auditorium-bathing light Scriabin imagined. He came closest in New York in 1915, when lighting designer Preston S. Miller shone the colors onto a screen. We can do much better these days.

been programming their one-of-a-kind light orbs that travel all around the country—and it has been amazing to watch them turn a giant, glowing orb into an expressive instrument. Truly, this will be a night to remember!” — Francesco Lecce-Chong APRIL – JUNE 2019

Alexander Scriabin’s Circle of Fifths (at top), which correlates musical notes with colors; see a color image at eugenesymphony.org. Scriabin and his second wife Tatyana Schloezer (above), who played Scriabin’s prototype of the light organ.

PROGRAM NOTES — APR 18

The Color of Sound (Continued from page 19) as digital lighting, multi-channel projection, and interactive wireless lighting. With Francesco and Jeremy Schropp [also of Harmonic Laboratory], we derived a color palette based upon color indications in the 1913 Parisian score.” Lecce-Chong retained the composer’s color associations, but rewrote the color organ score with expressive color transformations in mind. Lecce-Chong said that the score has two parts, a slow-moving “cantus firmus” that changes just seven times during the 21-minute work, along with steps from one bass drone to another. The other part is “dense and tricky.” Harmonic Lab’s resident musician, Jeremy Schropp, will play the Radiance Orb via a keyboard with programming developed by Yona Appletree of Light at Play. “It allows me to manipulate the color, intensity and motion of light around the LED orb in an intuitively musical manner,” Schropp said. “Francesco and I have also updated the original light organ part to include articulations, dynamics and phrasing. We ascribe to Scriabin’s 1913 Parisian score color indications for all 12 chromatic pitches, and we observe the part’s rhythmic figurations and textures, which align directly with the orchestral score. Lecce-Chong emphasized the idea of “feeling” the light, rather than watching it, as you would a fireworks display or a Pink Floyd Laser Show. “The color is all-encompassing, but subtle,” he said. “This isn’t like something you find at Disney World. It’s art.” The Poem of Fire is fantastical quite apart from the lighting effects. Scriabin, especially in his later years, drifted further and further from Classical harmonies and structures. For example: That final F-sharp chord is the one and only F-sharp in the piece. The idea of returning to the home key? Gone. “Yet he was acutely aware of long-term connections of harmony and had a keen eye for structure,” Lecce-Chong said. “The music is like a roller-coaster ride, with so many climaxes, wave after wave. The crescendos become more and more epic—he knows what he’s doing. Scriabin breaks the constraints of traditional progressions of harmony without sacrificing the richness of traditional harmony. He fused the sonority of the French Impressionists with the fervor of the Russian Romantics.” Scriabin employed exotic scales in both Prometheus:

LISTEN for Acting Concertmaster Jenny Estrin‘s series of short but gorgeous solos in Scriabin’s The Poem of Ecstasy. Poem of Fire and The Poem of Ecstasy. You needn’t know the theoretical details of the Octatonic and Acoustic scales in the former and the Whole Tone scales in the latter to feel their effect. To a great extent, they purge the music of the push and pull of tension and release that is the essence of traditional Western harmony. The composer associated such scales with what he perceived to be higher planes of metaphysical existence. He dubbed his

signature harmony, a towering structure built on fourths (C, F-sharp, B-flat, E, A, in the Acoustic scale version), the “Mystic Chord.” He moved freely between parallel major and minor modes, with no regard for step-by-step norms for shifting between keys and modes. He wrote a 300-line poem (not intended to be read in performance) that detailed his spiritual ambitions for the Poem of Ecstasy. Here is a sample, in Günther Philipp’s translation: I call you to life, oh mysterious forces! Drowned in the obscure depths Of the creative spirit, timid Shadows of life, to you I bring audacity! Scriabin gathered most of his ideas from one Madame Blavatsky (1831–1891), who claimed to be a medium and founded Theosophy, an esoteric blend quasi-religion. The Romantic age was one of seances and other occult fads, and the good Madame gained a substantial following—and an army of skeptics. Scriabin carried the grandiose claims of Theosophy to extremes within his own mind. He began to think of himself as a sort of Mystic Messiah, a claim that exasperated many of his friends and admirers, including Rimsky-Korsakov. (Note in one of his journals: “I am God.”) At the end of his life, Scriabin was planning a seven-day musico-poetical event for the foothills of the Himalayas, the culmination of which would be a spiritual transformation of all mankind. He died—of an infection stemming from a boil on his lip—before he could get more than a few sketches on paper. A Radiance Orb might seem just the sort of thing Scriabin might have approved to enhance both Fire and Ecstasy, but Lecce-Chong resisted the temptation add it to the latter. The composer wrote no color organ part for it. Also… “After all that color,” he said, “I thought we should re-focus on the orchestra and Scriabin’s incredible music.” Prometheus: Poem of Fire SCORED: For solo piano, three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, percussion, two harps, celesta, organ, and strings, along with a ‘tastiera per luce’ or ‘color organ,’ here realized by Light at Play’s Radiance Orb. HISTORY: This is the first Eugene Symphony performance. DURATION: Approximately 24 minutes. The Poem of Ecstasy SCORED: For three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, three bassoons, contrabassoon, eight horns, five trumpets, three trombones, tuba, timpani, percussion, two harps, celesta, organ, and strings. HISTORY: This is the first Eugene Symphony performance. DURATION: Approximately 22 minutes.

EUGENE SYMPHONY

GUEST ARTIST — APR 18

Christopher Taylor “Those who know the pianist Christopher Taylor tend to speak of him in the hushed, reverent tones typically reserved for natural wonders if not the otherworldly. Colleagues trip over words like ‘innocence,’ ‘fervor,’ ‘beauty’ and ‘vision’ in an attempt to capture his elusive personality. Critics praise his virtuosity, his cerebral interpretations tempered by an aching tenderness, his unconventional programming and his advocacy of late-20thcentury music.” So goes the opening of the recent New York Times preview article about this remarkable young American pianist, an artist pursuing a varied and truly acclaimed career.

“Critics praise Christopher Taylor’s virtuosity, his cerebral interpretations tempered by an aching tenderness, his unconventional programming and his advocacy of late-20th-century music.” —The New York Times Taylor’s expansive concerto repertoire which runs from Bach to Vaughan Williams, includes the Lutosławski Concerto which he recently performed with the Milwaukee Symphony to very strong press: “precise playing and interpretive conviction .Taylor’s performance was commanding, fiercely punctuated and full of physical power.” —Milwaukee Journal Sentinel Following his thoughtful programming compass, Christopher Taylor is involved in several other fascinating projects—from the Bach Goldberg Variations performed on a unique dual-manual Steinway, to the complete Messiaen Vingt Regards sur L’Enfant Jesus from memory, currently in DVD release. Engagements in recent seasons include performances for such distinguished venues and series as Carnegie Hall, the Kennedy Center, the Cleveland Museum of Art, the Detroit Chamber Music Society, Spivey Hall, the Krannert Center at the University of Illinois, the Ravinia Festival, Caramoor Festival, and the University of California at Berkeley. In addition he is frequently tapped for concerto repertoire from Liszt and Beethoven to Gershwin and Ullman. At home in the U.S. he has appeared with such orchestras as the New York Philharmonic, Los Angeles Philharmonic, and the Symphonies of Colorado, Detroit, St. Louis, Atlanta, Houston, Indianapolis, the Boston Pops. Taylor has toured North America with the Polish Chamber Philharmonic. And with Orpheus, he has toured the premiere performances of Sir Peter Maxwell Davies’ Sea Orpheus, including an appearance at Carnegie Hall about which the New York Times wrote “Christopher Taylor gave a brilliant, energetic account.” During the recent “Hope From Despair” project Taylor gave two performances of the Viktor Ullman Piano Concerto and the Concertino by Wladyslaw Szpilman with the APRIL – JUNE 2019

Colorado Symphony. About the Ullman, The Denver Post wrote: “Taylor, a versatile, ready-for-anything soloist, delivered a brilliant, intense performance, adroitly handling the pounding, sometimes repetitive passagework of the opening movement. He then showed a totally different side, bringing a suave elegance to Wladyslaw Szpilman’s surprisingly upbeat Concertino for Piano and Orchestra, a kind of Polish Rhapsody in Blue.” While Taylor has a well-earned reputation for his exquisite performances of Bach and his exciting performances of romantic piano concertos, he has captured the attention of the music world with his recent tour de force programming of Olivier Messiaen’s Vingt Regards sur l’Enfant-Jésus. “Before a rapt audience at the Miller Theater on Saturday night, Mr. Taylor, a lanky 31-yearold pianist who graduated summa cum laude in mathematics from Harvard, gave an astonishing performance of Messiaen’s complete work, more than two hours of some of the most complex and difficult music ever written for the piano. And he played the 176-page score from memory.” Christopher Taylor was honored with an Avery Fisher Career Grant, he is the winner of the Kapell Competition, the Gilmore Young Artist Award, and the Bronze Medal at the Van Cliburn Competition. He is Paul Collins Professor of Piano Performance at the University of Wisconsin, Madison. His many recordings include those on the JonathanDigital label.

GUEST ARTISTS — APR 18

The Color of Sound Harmonic Laboratory is an award-winning art collective that has curated art festivals and developed works for stage, gallery, and common spaces since 2010. The group is a collective of artists, thinkers, educators and innovators that investigate the human experience through the integration of media and common theme. Based in Eugene, OR, Harmonic Laboratory is comprised of Brad Garner, Jon Bellona, Jeremy Schropp, and John Park. Light at Play is a technology-focused group of artists, exploring interactive sculpture inspired by sacred geometry and scientific data visualization. John Park is an artist and educator, known as a co-founder of the interdisciplinary arts collective Harmonic Laboratory and a Senior Instructor of Art & Technology at the University of Oregon. Park’s creative practice includes installation art, projection mapping, animation, and visual computer programming. Communitybased collaborations include Winter Light (with Eugene Cultural Services), Culture Caravan (with U.S. Ignite Foundation), Desert Reflections: Water Shapes the West (High Desert Museum), and board membership on the Lane Arts Council.

Jeremy Schropp is a composer, performer and producer for the interdisciplinary arts collective Harmonic Laboratory and a media-arts technician for the Department of Art & Technology at the University of Oregon. His creative endeavors explore the intersection of classical and contemporary music, science and emerging technology. He is currently the principal producer for the Artistic Encounters summer programming series presented by Harmonic Laboratory and City of Eugene Cultural Services and a board member of the Arts and Business Alliance of Eugene. The five student designers and their respective schools are: Elliette Phillips, Marist High School (Grieg’s Morning Mood from Peer Gynt); Kashi Hughes, Academy of Arts and Academics (Schuller’s Little Blue Devil); Rimona Livie, North Eugene High School (Debussy’s Clair de lune); Felix Neeleman, University of Oregon (Mendelssohn’s Scherzo from A Midsummer Night’s Dream); and Krista Ortiz, Lane Community College (Handel’s La Rejouissance). (Please see the Key of [E]ducation article on pages 24–26 for more information about this component of “The Color of Sound” project.)

YOUR LOCAL BANK PROUDLY SUPPORTING YOUR LOCAL ARTS

96 East Broadway in Eugene • 541-684-7500 • www.SBKO.bank

EUGENE SYMPHONY

APRIL â&#x20AC;&#x201C; JUNE 2019

KEY OF E[DUCATION]

Students Learn About the Connection Between Color and Sound

Artie the Art Bus and the Music, Art & Technology Mentorship By Katy Vizdal, Education & Community Engagement Director Months before rich tapestries of light fill Silva Concert Hall at “The Color of Sound” concert on April 18, dozens of area students used their own imagination to explore the connection between color and sound. In anticipation of the performance featuring Alexander Scriabin’s blazingly vivid Prometheus: Poem of Fire, the Eugene Symphony Association began two education projects that would assist in the colorful and illuminating multimedia performance for all to enjoy. The Color of Sound Project with Artie the Art Bus With their eyes tightly closed and paintbrushes in hand, hundreds of fourth graders experienced their own personal interpretation of the connection between color and sound. In the three months leading up to the concert, ESA’s Education and Community Engagement department partnered with Imagination International’s Artie the Art Bus to bring a series of mobile art workshops to three regional elementary schools: Howard (Eugene), Elizabeth Page (Springfield), and Fairfield (Bethel). The two-day music and art project was led by Teaching

Artist Melanie Pearson, who taught students about synesthesia, a condition which combines two senses. During each visit, students explored the connection between the senses of sound and sight, and were asked to create abstract art inspired by the classical music they heard. The Music, Art & Technology Mentorship The digital projections seen above and around the stage during “The Color of Sound” concert were also a creation of community partnerships. In the six months leading up to the concert, John Park, of Harmonic Laboratory and UO Digital Arts faculty member, led five students ages 16–24 through a Music, Art & Technology mentorship. Participants—selected competitively by a special application process—worked monthly one-on-one and in group sessions to gain insight and knowledge from their mentor, professional digital artist, Park. Park says, “Working with the five student-artists has been an absolute pleasure. The experience has been a repeated reminder that the talent, creative audacity and perseverance shown by this group is not bound by age or experience. The group of students

“ It is one thing to feel creatively empowered to express an idea to the point of seeing it realized, but another thing altogether to find an audience and context to have that expression shown.’The Color of Sound’ concert is a grand platform for these young artists to see their own work at a large scale (projected behind the symphony) and to share it in front of more than 2,000 patrons of the Eugene Symphony.” — John Park, Harmonic Laboratory 24

EUGENE SYMPHONY

involved was selected by a juried panel and the majority of the learning process has been an exploration of bringing still visual artworks to life through the medium of animation.” During the mentorship, students learned new technologies and gained a deeper understanding of classical music through the perspective of a performing arts organization. Each of the five high-school or college-level students was asked to create their culminating work, a digital projection that would be used during “The Color of Sound” concert inspired by a different musical piece on the program. Park adds, “It is one thing to feel creatively empowered to express an idea to the point of seeing it realized, but another thing altogether to find an audience and context to have that expression shown. ‘The Color of Sound’ concert is a grand platform for these young artists to see their own work at a large scale (projected behind the symphony) and to share it in front of more than 2,000 patrons of the Eugene Symphony.” The Music, Art & Technology Mentorship was created by the Eugene Symphony in the fall of 2018 to advance the critical, creative, and technical skills of young adults with a demonstrated interest and proficiency in the visual arts. Park concludes, “This experience offers these students one of the many unexpected ways that visual and digital media is produced and appreciated in our culture today. Museums and galleries will always be an important space for fine art, but experiential and time-based arts are finding new homes in unexpected places, from pop-up shows in urban alleys, to the most revered of performance halls. It is my hope that by engaging in new media performance, these young artists will feel emboldened to imagine new venues for their future creative endeavors.”

Art, Music & Technology Mentorship student-artists work with John Park at UO’s Fusion Lab. APRIL – JUNE 2019

Meet the Student Artists ELLIETTE PHILLIPS Marist High School Grieg: Morning Mood from Peer Gynt Elliette is a Junior at Marist High School. She has been involved in many forms of art throughout her life. She started ballet at age six, as well as many other types of dance, but stopped after a knee surgery when she was 16. Since then, she has focused her efforts on theatre and art. Though all mediums of art interest her, Elliette has always wanted to be a comic book artist. Her goal is to attend Pratt Institute of Art and Design’s Pre-College Summer Program in Brooklyn, New York, where she hopes to focus on developing her portfolio for college admissions. “To me this project has been a great experience to see what the art world is really like. Collaborating with other amazing young artists has opened my eyes to the collectiveness of art and pushed me to experiment with things I wouldn’t have thought of.” KASHI HUGHES Academy of Arts and Academics Schuller: Little Blue Devil from Seven Studies on Themes of Paul Klee “Filmmaking is my passion, and I plan to study film at Portland State University this fall. The Color of Sound Internship is an opportunity for me to showcase noir film style into a live contemporary musical performance. Typically in noir style, the visuals flow along with the pace of the music. I am hopeful that having two visuals will strengthen the performance tremendously for the audience. This project allows me to use the medium of film cohesively with live music. I am eager to see how the performers impact the visuals and vice versa. That being said, I am aware that this project is unique, making me more open to a finessed outcome. Ultimately I hope to capture the classic jazzy noir style through a character exploration inspired by both Paul Klee and Gunther Schuller.” (Continued on page 26)

KEY OF E[DUCATION]

Meet the Student Artists (Continued from page 25)

RIMONA LIVIE North Eugene High School Debussy: Clair de Lune “Visual art has been a part of my life since day one, it gives me incredible joy. Creating art is an opportunity for me to express the concerns I have for the world in a beautiful way. I feel strongly that the art I create should have a message that can help foster positive change. I hope that my animation can inspire the viewer to give a little more love to themselves and the world around them. My piece is completely hand-drawn and animated by me. This project gave me the opportunity to add motion to my artwork, something I have never attempted before. I was able to combine my skill set in drawing and painting with animation software that allowed me to bring it to life. Creating a video that expressed the feeling and color of a piece of music was an eye opening way to create art. I am so proud of the artwork I created because it allowed me to push the boundaries of what my creativity is capable of.” FELIX NEELEMAN University of Oregon Mendelssohn: Scherzo from A Midsummer Night’s Dream “I have always had a passion for both visual art and music. I’ve more or less been drawing since I could hold a crayon, and also have been trained on the piano since I was very young. The two for me have always been related to one another, although this connection has never been something I deliberately set out to explore, until now. Early on in the process, I spent a lot of time just listening to the Mendelssohn and really trying to let my imagination wander and allow myself to find those connections between color and sound organically. I found myself surprised by how many associations already existed there, but that just needed to be consciously acknowledged. Participating in this project with the Eugene Symphony has provided me with such a unique opportunity to not only dive deeper into the relationship between color and sound, but also to analyze how being more aware of this relationship can enhance my own work as a visual artist. Additionally, the chance to

work collaboratively with other young artists in my field to put on a production of this scale has been an absolutely invaluable experience for me, and one that I’m sure has provided me with skills that will come into play even more as I get further into my career. Lastly, I’m so grateful as a student artist to have been given so much freedom to imagine and create throughout this process, especially while collaborating on a project that engages the community in such a tangible way.” Originally from northern Washington state, Felix is now a fourth-year University of Oregon student majoring in Art and Technology. In the coming weeks, she will apply for her department’s Bachelor of Fine Arts degree and continue her art education at UO next year. Within her program, she has a particular interest in creative coding, although she comes from a painting background. In addition to her artistic endeavors, she is also minoring in Mandarin Chinese and has studied abroad in China these past two summers on language immersion programs. After graduation, Felix hopes to find a job that relates to both of these fields of study. KRISTA ORTIZ Lane Community College Handel: La Rejouissance from Music for the Royal Fireworks Krista is a 20-year-old multimedia arts student at Lane Community College. She has always had a passion for visual arts and music. Krista has been a musician for 10 years (and counting!) and primarily plays flute and electric bass guitar. She is also a painter, using acrylic as her medium. She is eager to learn the world of digital art. Since starting at Lane Community College, Krista has immersed herself into the realm of digital art. Getting the opportunity to be a part of this production is one step closer to achieving her dreams of becoming a visual artist for live performances and creating visual art for producers. This project has definitely had its challenges, but nonetheless, it has been a learning experience. Mostly, this project has pushed her to learn digital art programs like Adobe After Effects and Adobe Illustrator. She has always been an analog artist so being introduced to digital art has had an impact on her skill set. Since Krista has such a passion for visual arts and music, participation in this project has helped her gain a better understanding of time-based art. This project has also given her knowledge to better her skill set and advance her future career.

EUGENE SYMPHONY

Francesco Lecce-Chong, Music Director and Conductor

SEASON SEPTEMBER 26, 2019

NOVEMBER 14, 2019

FEBRUARY 29, 2020

APRIL 26, 2020

TCHAIKOVSKY’S FIFTH

MOZART’S REQUIEM

SPECIAL CONCERT

FAMILY CONCERT

LESLIE ODOM, JR.

OCTOBER 17, 2019

DECEMBER 12, 2019

MARCH 19, 2020

PETER AND THE WOLF

MAHLER’S “TITAN”

THE “ORGAN” SYMPHONY

RACHMANINOV’S SECOND

MAY 14, 2020

SPECIAL CONCERT

JANUARY 23, 2020

BRAHMS AND SIBELIUS

APRIL 23, 2020

MAY 30, 2020

STAR WARS: THE EMPIRE STRIKES BACK

BEETHOVEN’S FIFTH

SPECIAL CONCERT

NOVEMBER 2, 2019

BOLERO

SYMFEST

FEBRUARY 13, 2020

KAHANE PLAYS BEETHOVEN

SUBSCRIBE TODAY FOR FIRST ACCESS TO THESE CONCERTS & MORE! 541-682-5000 | EUGENESYMPHONY.ORG

APRIL – JUNE 2019

Amanda L Smith Photography

From Our Family To Yours

Since 1927, Delta Sand & Gravel has been Lane County’s premier 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 — APR 28

An Afternoon with Beethoven Eugene Symphony Francesco Lecce-Chong, conductor | William J. Hulings as Ludwig van Beethoven Sunday, April 28, 2019 1:30 & 3:30 PM | Soreng Theater, Hult Center

featuring excerpts from: Ludwig van Beethoven (1770–1827)

Symphony No. 3 in E-flat Major, Op. 55, “Eroica” Symphony No. 5 in C minor, Op. 67 Symphony No. 6 in F Major, Op. 68, “Pastorale” Symphony No. 7 in A Major, Op. 92 Symphony No. 9 in D minor, Op. 125, “Choral”

Instrument Petting Zoos precede each performance in the lobby with the generous support of the Eugene-Irkutsk Sister City Committee

Musical Time Machine designed and programmed by members of the South Eugene Robotics Team

Concert Sponsor

Community Support Sponsors

APRIL – JUNE 2019

GUEST ARTIST — APR 28

William Hulings William Hulings (Bill) is a theatre professional living in Eugene, Oregon. He hails from Littleton, Colorado, and moved to Eugene from New York City in 2002. Hulings holds a MFA in Theatre Arts from the University of Minnesota, and a BA in History and Political Science from The Colorado College. His theatre credits around the country include The Guthrie Theatre, GEVA, Seattle Repertory Theatre, The Acting Company, The Shakespeare Theatre and Studio Theater of Washington, DC, and more. His work in Eugene has been seen with Oregon Contemporary Theater, Eugene Opera, the Shedd Institute for the Arts, Eugene Ballet, and Eugene Concert Choir. Hulings has been working with Eugene Symphony for many years as the host for the Symphony’s Youth Concerts and in April 2018 he played Inspector Bill for the Symphony’s Family Concert of The Composer is Dead by Lemony Snicket. Recently Hulings directed and performed in The Seven Deadly Sins with Siri Vik at the Jaqua Concert Hall. Look for him on stage in May 2019 with Oregon Contemporary Theater’s production Good People.

EUGENE SYMPHONY

SALEM SEASON FRI. OCT. 26 | 7:30pm*

FRI. JAN. 18 | 7:30pm*

Tchaikovsky’s Symphony No. 4

Americana with Edgar Meyer

Carlos Kalmar, conductor • Jeffrey Kahane, piano

Norman Huynh, conductor • Edgar Meyer, double bass

Bernstein: On the Town: Three Dance Episodes • Andrew Norman: Split Tchaikovsky: Symphony No. 4

Copland: Appalachian Spring Suite • Bottesini: Double Bass Concerto No. 2 • Meyer: Double Bass Concerto No. 3 Still: Afro-American Symphony

FRI. NOV. 16 | 7:30pm*

FRI. FEB. 8 | 7:30pm*

Beethoven’s “Emperor”

Dvořák’s Eighth Symphony

Alexander Soddy, conductor • Ingrid Fliter, piano

Carlos Kalmar, conductor • Simone Lamsma, violin

• Beethoven: Piano Concerto No. 5, “Emperor” Bruckner: Symphony No. 7

Prokofiev: Symphony No. 1, “Classical” • Khachaturian: Violin Concerto Dvořák: Symphony No. 8

FRI. NOV. 30 | 7:30pm*

FRI. MAY 10 | 7:30pm*

Rachmaninoff’s Symphonic Dances

Peer Gynt

Eivind Gullberg Jensen, conductor • James Ehnes, violin Anders Hillborg: Exquisite Corpse • Walton: Violin Concerto Rachmaninoff: Symphonic Dances

Carlos Kalmar, conductor • Jane Archibald, soprano Mozart: Don Giovanni Overture • Britten: Les Illuminations • Grieg: Peer Gynt

NEW SUBSCRIBERS SAVE

Order your season tickets today!

30%

orsymphonysalem.org | 503-364-0149

Promo Code: Kickoff Expires Oct. 15

* NEW! All 2018/19 Salem concerts will be starting at 7:30 pm in Smith Auditorium at Willamette University

APRIL – JUNE 2019

DONOR SPOTLIGHT

Estate Gifts Ensure Symphony’s Future By Zanne Miller Generations of South Eugene High School students knew him as “Herr Webking” for the German classes he taught there for more than 30 years, beginning in 1962 until his retirement in the early 90s. They may not have known of his Fulbright Scholarship to teach English in Germany or his many honors and fellowships toward studying and teaching German, or that he had received a letter of commendation from the German Consulate. Some may have known of his interest in music, but probably did not know of his early support of the Eugene Symphony. To those students, Jerry Webking was their “always respected, sometimes feared” teacher, advisor to the International Relations League, the Ski Club, Bridge Club, and of course, the German Club. A quiet, modest annual supporter of the Symphony from 1955 until his death in 2018, Webking left an estate gift to the Eugene Symphony which will have an impact for generations to come. Never married and without heirs, and unbeknownst to the beneficiaries, Webking had created a trust to benefit the Symphony along with several other Eugene arts

JERRY WEBKING

organizations. “He felt he had many, many years of good living,” says Scott Russell, his friend and the executor of his will. “He never talked about money; I don’t think he really knew what he had.” The Eugene Symphony and Oregon Bach Festival have been the major beneficiaries in a list that also includes the Oregon Mozart Players, Chamber Music Amici, and the Jordan Schnitzer Museum of Art at the University of Oregon, as well as Congregational Church of Eugene and First Christian Church of Eugene along with other cultural institutions. Webking also listed 21 friends in his trust to receive a small gift from his estate, enough for a small home remodel or a trip to Hawaii. “We went around and delivered checks,” Russell says, referring to himself and Webking’s accountant, Dave Sparks. “Because it was a trust, most organizations only knew that they were getting a percentage of the estate. They didn’t know what the dollar amount was.” Russell says that the surprise factor made delivering the checks fun. “This gift deeply moved us all,” says Symphony Executive Director Scott Freck, who notes that Webking’s gift will be added to the Symphony’s Endowment Fund, where it will benefit the organization in perpetuity. “It’s an honor to know that the Symphony made a difference in Mr. Webking’s life, and we are tremendously heartened by his generosity.” “Art and Music were Jerry’s life,” says Russell of his friend and neighbor, who he describes as “kind of like an uncle for our kids.” “He never sang in a choir or played an instrument, but music was very important to him.” Caroline Boekelheide, an original founding member and “leading light” of the Eugene Symphony, who died in February 2018, would have delighted in such a gift. “My mother’s fervent wish for the Symphony going forward would be to stay financially healthy,” says Karl Boekelheide. Boekelheide remembers his mother, who learned to play the flute when her daughter joined the middle school band, conducting get-togethers, rehearsals, and performances at their home in Southeast Eugene. “I’d come home from school and there would be a living room full of musicians,” he remembers. Over time, as the Symphony grew too large for the living room, rehearsals and performances took place in high school auditoriums. Boekelheide was also instrumental in helping form what would become the Eugene Symphony Guild.

EUGENE SYMPHONY

CAROLINE BOEKELHEIDE Of his mother’s own estate gift, Karl Boekelheide states “My mom was a driving force. She felt like the Symphony was her deal; it was her major activity throughout her life.”

“My mother’s fervent wish for the Eugene Symphony going forward would be to stay financially healthy.”

— Karl Boekelheide

“Caroline was indeed a powerful influence on the Symphony,” says Scott Freck. “Without her devotion and dedication along with that of so many others, we truly wouldn’t exist. We will always be grateful for her contributions to our community.” Symphony Board Member Ray Englander, who with his wife, Libby, has planned an estate gift to the orchestra. He notes his “long background enjoying classical music” to explain his desire to contribute. Says Englander, “I think it’s in my DNA.” “My father was a violinist who trained at the Prague Conservatory and my mother a pianist/piano teacher who also trained in what was Czechoslovakia at the time. They were fortunate to escape in late 1939 as they were Jewish. I started piano at age five, violin at seven, and clarinet at nine. I really haven’t kept up my instruments since long

APRIL – JUNE 2019

RAY & LIBBY ENGLANDER ago, though my love for the music never stopped. I think the world is better off having me listen and financially support the real musicians.” “I feel like I’m contributing toward something that makes our city remarkable,” Englander adds. “It is a great feeling to support an organization that enhances the entire community, is nationally and internationally recognized for its excellence, and an organization that goes way beyond entertainment to educate youth in this era of declining school support for the arts.” When you make a gift or commitment through your estate, either now or at the end of your life, you provide invaluable support to the Eugene Symphony. In addition, you or your heirs may receive various financial advantages, including significant tax benefits. When you make a legacy commitment or gift of any size, we also welcome you as a lifelong member of the Encore Society. Membership has many benefits in addition to recognition in the program magazine (see page 47), including passes to donor-only receptions and events. If you are interested in following the examples set by Jerry Webking, Caroline Boekelheide, and the Englanders, please talk to your financial adviser, call Development Director Sara Mason at the Eugene Symphony Association office at 541-687-9487 ext 1104, or visit eugenesymphony.org/ support-us/for-individuals/legacy-giving-endowment.

�

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

Florist ~ Grower

Proudly Serving the Eugene Symphony

“...in tune with nature” 5th St Public Market | 24th & Hilyard eugenesfavoriteflorist.com

EUGENE SYMPHONY

WEâ&#x20AC;&#x2122;VE GOT THE S PA C E S Y O U â&#x20AC;&#x2122; 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. We also bring UO Osher Lifelong Learning Institute classes directly from the university campus to ours. Enjoy lifelong learning and healthcare peace of mind in spaces you will love.

Call today to join us for a free informational seminar. 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.

Collaborating to bring art to the world and music to your ears with the Color of Sound Imagination International supplies the highest quality creative tools in the world to support artists everywhere, especially those right in our backyard.

Proud sponsor of: The Eugene Symphony, the Imagination Mural Project, and the River Road Park & Recreation Art Bus. Visit www.iii.global

APRIL â&#x20AC;&#x201C; JUNE 2019

EUGENE SYMPHONY

SYMPHONIC IX — MAY 9

Verdi’s Requiem Eugene Symphony Francesco Lecce-Chong, conductor Katie Van Kooten, soprano | Nancy Maultsby, mezzo-soprano Kang Wang, tenor | Michael Dean, bass Eugene Symphony Chorus | Dr. Sharon J. Paul, chorus director Thursday, May 9, 2019 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Giuseppe Verdi (1813–1901)

Requiem I. Requiem and Kyrie II. Sequence (Dies Irae) III. Offertorio (Domine Jesu) IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me Katie Van Kooten, soprano; Nancy Maultsby, mezzo-soprano; Kang Wang, tenor; Michael Dean, bass; Eugene Symphony Chorus

This evening’s concert will be performed without intermission.

Concert Sponsor

Guest Artist Sponsor

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, May 28 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.

APRIL – JUNE 2019

Verdi’s Requiem GIUSEPPE VERDI (1813–1901) Requiem (1874) By the time of the first performance of his Requiem, at the Church of San Marco in Milan, Verdi was a national treasure composing a memorial in honor of another national treasure, Alessandro Manzoni (1785–1873). Manzoni was a poet, novelist, Italian patriot, and by all accounts a good and generous human being. Both Verdi and Manzoni had been appointed senators of the new Republic of Italy by Vittorio Emanuele, the Sardinian king and figurehead of the new nation. The Senate appointments were largely ceremonial—rather like membership in England’s House of Lords—but still, quite the honor. To this day, Manzoni’s I promessi sposi (The Betrothed), his 1827 novel, remains a widely read landmark of Italian literature. The novel helped to solidify modern Italian as a national language that overarches a patchwork of distinct Romance dialects. To a great extent, the book inspired the movement that led to the creation of modern Italy. Without Manzoni, Verdi never would have composed the Requiem. Manzoni came from Milan and a family of northern landowners with regional roots extending to medieval times. In the early 1800s, the North was a hotbed of national and liberal ambitions. The French, Spanish and Austrians, at various times and in various proportions, controlled many of the disconnected Italian states. Manzoni and many other intellectuals and would-be politicians from the North sought to purge foreign occupation, to liberalize the Catholic Church and reduce its political influence, and to unify Italy into a modern nation state. Manzoni set The Betrothed in 1628, a time of oppressive Spanish rule. The plot, in addition to a tragic young couple, involves crooked priests and saintly ones, who embody Manzoni’s ideas about how the Church worked and ought to work. The Spanish villains stood in for the Austrians, who dominated much of Italy in Manzoni’s time. The book helped launch the Risorgimento, or Resurgence, an ideological, political, and literary movement closely associated with unification.

Verdi eventually became part of the Risorgimento. He read The Betrothed and other works by Manzoni, became a devoted fan, and took interest in the politics of unification. That did not prevent him from accepting commissions from the local Austrian authorities as a young composer, but his commitment to Italy grew over time. As he became more involved, Risorgimento figures began to read patriotic themes into some of his early operas. When a friend, poet Giuseppe Giusti, objected to Verdi’s Macbeth on grounds that it lacked an Italian patriotic theme, Verdi responded with a super-patriotic opera, The Battle of Legnano, commissioned by the Argentina Theatre in Rome.

LISTEN for mezzo-soprano Nancy Maultsby’s stunningly beautiful solo at the very beginning of the Lux aeterna section of Verdi’s Requiem. The first staging came, opportunely, in 1849, just after liberal uprisings all over Europe shook the aristocratic order. In Italy, that meant sending the Austrians running—for a while, anyway. The story, set in Milan in 1176, involved Lombard Milanese resistance to Frederick Barbarossa’s invading Germans. The implications were obvious, Roman audiences went wild for The Battle of Legnano, and Verdi’s credentials as an inspirational patriot became unshakeable. By 1859, the “Va Pensiero” chorus, sung by Jews captive in Babylon in the course of Verdi’s Nabucco (1842), became something of a Risorgimento national anthem. Verdi’s name became an acronym for unification under the king (Viva VERDI! Vittorio Emanuele, Re D’Italia!) So a Verdi Requiem for Manzoni was all but inevitable by the time the writer died, just three years after the dream of Italian unification became reality in 1871. Manzoni’s death also offered Verdi another opportunity to burnish his co-fatherof-the-country reputation. He never tired of polishing that reputation, sometimes with fictitious accounts of his “peasant”

”Verdi’s Requiem is a daunting task to undertake for the orchestra, chorus, and conductor. For me, it is a fitting challenge to finish this season with as I have taken various trips throughout this season to especially prepare for this performance. First to Chicago, to watch

the greatest conductor of the Italian repertoire, Riccardi Muti, rehearse the Requiem, and then I visited with my first conducting teacher in New York who prepared choruses for the Philadelphia Orchestra for two decades. Perhaps what makes this work most challenging

EUGENE SYMPHONY

PROGRAM NOTES — MAY 9

upbringing and “self-education” in music. (In fact, his father, Carlo Verdi, owned an inn/general store in Busetto. He could read and write. Carlo had his financial problems, yet managed to secure a musical and general education for his obviously talented son.) Verdi was a public Catholic but a private agnostic. He admired Manzoni, whom he had met in 1868, and was certainly moved to honor him. But the Requiem was more a musical project than a sacred one. (For one thing, Verdi wrote for female soloists even though Catholic authorities at the time prohibited women from singing in church.) He’d been thinking about a Requiem since at least since 1868. In that year, he proposed that 11 other well-known Italian composers join him in creating a composite Requiem as a memorial for the recently deceased Gioacchino Rossini. Verdi succeeded in gathering the 11 contributions. The score was ready, but the performance fell through, in part because of a falling out between Verdi and his long-time favorite conductor, Angelo Mariani. All was not lost. The Libera Me he composed for the Rossini project found its way into his 85-minute Manzoni Requiem. The Requiem was a big popular hit in Italy. Verdi compounded its success by conducting it on a sort of victory tour to Paris, Vienna (big wins) and London (not so much). All the drama wasn’t on the stage. On this tour—and before and after it—he very much enjoyed the company of dramatic soprano Teresa Stolz, whom Verdi had stolen away from Mariani at about the time of the Rossini project. Verdi’s longsuffering wife, Giuseppina Strepponi-Verdi, wrote to ask him to be more discreet with Stolz: “Remember that I, your wife, while despising past rumors, am living at this very moment à trois and that I have the right to ask if not for your caresses at least for your consideration.” Verdi went about writing the Requiem in pretty much the same way he went about writing his operas. The bits of chant in it function about the way allusions to Spanish Gypsy music function in Il trovatore—as local color. If the Requiem is sacred (Continued on page 44)

is the way it blurs the line between sacred and dramatic, heavenly beauty and earthly virtuosity. But those are also the contradictions that have made this piece one of the most enduring musical testaments. I can’t wait.”

Alessandro Manzoni, in an 1841 portrait by Francesco Hayez (at top); Manzoni’s funeral procession on May 29, 1873 in Milan (at middle); the title page of the first edition of Verdi’s Requiem, published in 1874.

— Francesco Lecce-Chong

APRIL – JUNE 2019

PROGRAM NOTES — MAY 9

Verdi’s Requiem (Continued from page43) music, it is holiness drenched in chianti, olive oil and juicy theatricality. Do not sing it chastely. “For the chorus, the Verdi is all about extremes,” said Sharon Paul, the Eugene Symphony’s Chorus Director. “He takes the chorus from extremely hushed, whisper-like tones, to some of the loudest sounds you will ever hear in a choral/orchestral work. This is, of course, quite different from our last project with the symphony, Handel’s Messiah. “The operatic nature of Verdi’s writing is great fun for the chorus. They can really open up their sound full throttle in so many places.”

LOOK for Principal Percussion Tim Cogswell as he emphatically whacks a bass drum during the Dies Irae section of Verdi’s Requiem. Just before the premiere, the renowned German conductor Hans von Bülow, who had somehow got a look at a score, attacked the work as “Verdi’s latest opera, in ecclesiastical robes”—that is, too theatrical and vulgar for church and the occasion, a criticism

that persists as a minority opinion to this day. The Italian press, outraged, sought professional opinion supporting Verdi. His fans especially savored a remark from Brahms: “Bülow has made an almighty fool of himself. Only a genius could have written such a work.” “Bringing out the contrasts between the ‘sacred’ and ‘opera’ music is the fun part,” said Francesco Lecce-Chong, the Eugene Symphony’s Music Director & Conductor. “But creating a unified whole and bringing the 85-minute journey to a satisfying close is the true challenge. There are so many individual moments in the work that make it a crowd favorite, but I hope to bring that sense of a single journey that begins and ends in a whisper.” SCORED: For soprano, mezzo-soprano, tenor, and bass soloists, chorus, along with three flutes, piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets, three trombones, tuba, timpani, percussion, and strings. HISTORY: First performed by the Eugene Symphony in May 2009 under the direction of Giancarlo Guerrero. DURATION: Approximately 85 minutes.

Kritikos Lecture in the Humanities

The Ethics of Public Participation in a Digital Age

Oregon Humanities Center ohc.uoregon.edu (541) 346-3934

Tuesday, May 21, 2019 7:30 p.m. • 156 Straub Hall

Danielle Allen

Danielle Allen is the James Bryant Conant University Professor at Harvard University, and Director of Harvard’s Edmond J. Safra Center for Ethics. Allen is also the principal investigator for the Democratic Knowledge Project. 2018–19 THE COMMON GOOD

EO/AA/ADA institution committed to cultural diversity

EUGENE SYMPHONY

GUEST ARTISTS — MAY 9

Katie Van Kooten soprano American soprano Katie Van Kooten’s operatic and concert appearances continue to thrill audiences and earn her praise for using her “powerful, gleaming soprano” to bring vibrancy and life to all of her performances. Of her recent role debut as Tatyana in Tchaikovsky’s Yevgeny Onegin, the Houston Chronicle wrote, “Her singing is extraordinary in its radiance, power and sheer expressiveness. Her ‘Letter Scene’ alone, would be reason enough to attend.” In the 2018/19 season, Van Kooten will make her house debut with Arizona Opera as the Countess in Mozart’s Le nozze di Figaro. Concert appearances this season include Beethoven’s Ninth Symphony with the Calgary Philharmonic Orchestra and the Fort Wayne Philharmonic. In the 2017/18 season, Van Kooten made her house debut at Dallas Opera as Donna Elvira in Mozart’s Don Giovanni, under the baton of music director Emmanuel Villaume. Operatic highlights from past seasons include Liù in Turandot with Opera New Orleans, her return to Covent Garden in 2004 as Magda in La Rondine and return performances there have included Antonia in Les Contes d’Hoffmann opposite Rolando Villazón and led by Antonio Pappano, Pamina in Die Zauberflöte, Mimi in La bohème, and Marguerite in Faust. On the concert stage, she returned to the Boston Symphony at the Tanglewood Festival for Beethoven’s Ninth Symphony conducted by Andris Nelsons, a piece with she also sang with San Francisco Symphony and Michael Tilson Thomas, as well as Beethoven’s Missa Solemnis with Tucson Symphony Orchestra. She has sung Mozart’s Requiem with the London Philharmonic Orchestra under the direction of Vladimir Jurowski and Strauss’s Four Last Songs with the Halle Orchestra led by Edward Gardner. She made her San Francisco Symphony debut in a special New Year’s Eve program with Dmitry Sitkovetsky, and made her Minnesota Opera and role debut as the Marschallin in Der Rosenkavalier under the direction of Andrew Litton. A graduate of the Guildhall School of Music and Drama in London, Van Kooten studied voice with Rudolf Piernay. She received her Bachelor’s degree in vocal performance from Biola University where she studied with Dr. Jeanne Robison and is a graduate and perpetual member of the Torrey Honors Institute.

APRIL – JUNE 2019

Nancy Maultsby mezzo-soprano American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of 19th-century French, Italian, and German opera and the

great symphonic masterpieces. Highlights of Maultsby’s future and recent seasons include performances of Debussy’s Pelléas et Mélisande with the Cleveland Orchestra as Geneviève in a new semi-staged production by Yuval Sharon, conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah. At the Los Angeles Philharmonic, Maultsby performed the role of Julia in Lou Harrison’s Young Caesar, a reimagining of the classic piece by Yuval Sharon, which was later released on recording, and Bianca in Boston Lyric Opera’s production of The Rape of Lucretia. Maultsby also performed Handel’s Messiah with the New Jersey Symphony Orchestra, Mozart’s Requiem with the Indianapolis Symphony and Verdi’s Requiem with the Florida Orchestra and Akron Symphony. She was also featured in performances of Beethoven’s Symphony No. 9 with the San Antonio Symphony conducted by Sebastian LangLessing, Handel’s Messiah with the Baltimore Symphony under the baton of Edward Polochick, as well as a return to Lyric Opera of Kansas City as Ježibaba in Dvořák’s Rusalka. Maultsby’s orchestral repertoire extends from the Baroque to the most important works of the 20th century. Throughout her career, she has enjoyed frequent engagements with many leading conductors. Her collaborations include performances under Zubin Mehta, Christoph von Dohnányi, Kurt Masur, Edo de Waart, James Conlon, Yuri Temirkanov, Sir Andrew Davis, Lorin Maazel, Sir Colin Davis, Riccardo Chailly, David Zinman, Bruno Bartoletti, Robert Spano, Christian Thielemann, Franz WelserMöst, Neeme Järvi, the late Hans Vonk, Wolfgang Sawallisch, Leonard Slatkin and the late Robert Shaw. Maultsby, a North Carolina native, is a graduate of Westminster Choir College, where she studied with Lindsey Christiansen, and was a graduate student at Indiana University School of Music, where she studied with Margaret Harshaw. She is an alumna of the Lyric Opera of Chicago’s Center for American Artists. Among numerous other awards, she is the winner of the Marian Anderson Award and the Martin E. Segal Award. She is on voice faculty at Baldwin Wallace University in Berea, Ohio.

GUEST ARTISTS — MAY 9

Kang Wang tenor

Michael Dean bass

Australian-Chinese tenor Kang Wang is a quickly becoming one of the most sought-after young lyric tenors in the opera world. He is a former member of the Lindemann Young Artist Development Program of the Metropolitan Opera and a finalist in the 2017 Cardiff Singer of the World competition. During the 2018/19 season, Wang will make his role and house debuts as Alfredo in Verdi’s La Traviata with Welsh National Opera and The Glimmerglass Festival, Tamino in Mozart’s Die Zauberflöte for Opera North, and Rodolfo in Puccini’s La bohème at Austin Lyric Opera. He makes his first appearance with the Los Angeles Philharmonic performing Tan Dun’s Buddha Passion, a work he premiered with the Münchner Philharmoniker as part of the Dresdner Musikfestspiele in the spring of 2018. In the 2017/18 season, Wang made an exciting last-minute debut in Moscow, replacing tenor Jonas Kaufmann in a New Year’s Eve Gala performance of opera arias with orchestra, and stayed on to perform a solo recital of song repertoire in the Grand Hall of the Tchaikovsky Conservatory. Estonia’s Tallinn Portrait Gallery also presented Wang in recital at Vene Teater and he sang a concert at the Musique et vin au Clos Vougeot festival in France. On the opera stage, he performed the role of Mitrane in Rossini’s Semiramide at the Metropolitan Opera conducted by Maurizio Benini, where he also covered both the role of Arturo in Lucia di Lammermoor with conductor Roberto Abbado and the tenor soloist in Verdi’s Requiem under Maestro James Levine. Highlights of recent seasons include performances with the Metropolitan Opera as Narraboth in a new production of Salome, First Prisoner in Beethoven’s Fidelio, as well as participation in the Summer Recital Series in various New York City parks. He sang Elvino in La Sonnambula in a coproduction with the Lindemann Program and the Juilliard School, and a program of opera scenes conducted by James Levine. Wang sang with the Beijing Symphony Orchestra as the tenor soloist in Mahler’s Das Lied von der Erde, which began with performances in Beijing and was subsequently presented by the Kennedy Center in celebration of the Chinese New Year. Wang made his operatic debut as Rinuccio in Queensland Conservatorium’s production of Gianni Schicchi, where he also performed the title role Tom Rakewell in Stravinsky’s The Rake’s Progress. Originally from Harbin, China, Wang is the son of two renowned opera singers. He received an International Artist Diploma at the Royal Northern College of Music in Manchester, United Kingdom, and a Master’s of Music from the Queensland Conservatorium at Griffith University in Australia.

Lauded by the New York Times for his “strong appealing bassbaritone,” American Michael Dean has been hailed by the San Jose Mercury News as “the standout, his voice a penetrating wake-up call.” 2018/19 season highlights include performances of Mozart’s Great Mass in C Minor and Bach’s St. John Passion at the Bach Festival Society of Winter Park, Beethoven’s Symphony No. 9 with the Fort Wayne Philharmonic, and Haydn’s The Creation with the Florida Orchestra. In the 2017/18 season Dean was a soloist in Mozart’s Requiem with the Baltimore Symphony Orchestra, in Handel’s Messiah with the Eugene Symphony and the Milwaukee Symphony, and returns again to the Bach Festival Society of Winter Park. In other recent seasons he was featured soloist in Messiah with the Richmond Symphony; in Faure’s Requiem and Mozart’s Requiem with the Bach Festival Society of Winter Park (the latter recorded and released); Messiah with the Indianapolis Chamber Orchestra and the Milwaukee Symphony; and Beethoven’s Mass in C with the Naples Philharmonic. He recently made his debut with the Utah Symphony in Beethoven’s Symphony No. 9, and with the Boulder Bach Festival as soloist in Bach’s Mass in B Minor. Dean made his New York Philharmonic debut in the world premiere of Aaron Jay Kernis’ Garden of Light, and returned the following season for a concert performance of Weill’s Street Scene. His other successes on the concert stage include Handel’s Messiah with the Pacific Symphony, Alabama Symphony, Baltimore Symphony, Calgary Philharmonic, Houston Symphony, Louisiana Philharmonic, Nashville Symphony, Pittsburgh Symphony, and I Musici de Montréal; Mozart’s Requiem with the Louisiana Philharmonic, Modesto Symphony, and Quad City Symphony; Michael Tippett’s A Child of Our Time with the Bach Festival Society of Winter Park; Beethoven’s Missa Solemnis with the Richmond Symphony; and Haydn’s The Creation and Brahms’s Ein deutsches Requiem with the Louisiana Philharmonic. On opera stages Dean has made frequent appearances with the legendary New York City Opera, where he performed the title role in Le nozze di Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Papageno in Die Zauberflöte, and was seen and heard as Jason McFarlane in the “Live from Lincoln Center” broadcast of Lizzie Borden. Dean is currently the Music Department Chair and Professor of Voice at The University of California, Los Angeles and a member of the voice faculty at the Chautauqua Music Festival.

EUGENE SYMPHONY

GUEST ARTISTS — MAY 9

Dr. Sharon J. Paul chorus director

Eugene Symphony Chorus

Sharon J. Paul is Professor of Choral Conducting, Director of Choral Activities, and Chair of Vocal and Choral Studies at the University of Oregon, where she teaches graduate courses in choral conducting, repertoire, and pedagogy, and conducts the Chamber Choir and University Singers. She earned her Doctor of Musical Arts in choral conducting from Stanford University, a Master of Fine Arts in conducting from UCLA, and a Bachelor of Arts in music from Pomona College. The University of Oregon Chamber Choir, under her direction, has garnered international acclaim, winning First Prize at the 2013 Fleischmann International Trophy Competition at the Cork International Choral Festival in Cork, Ireland, and taking top honors in two categories at the 2011 Tallinn International Choral Festival in Tallinn, Estonia. In 2015, the Chamber Choir was one of 10 choirs worldwide invited to compete at the 14th International Chamber Choir Competition in Marktoberdorf, Germany, where they received second prize overall, won a special prize for the best interpretation of the compulsory work, and were the only student group to achieve a Level I recognition for an “excellent performance at the international level.” In 2014 the Chamber Choir became a resident ensemble at the Oregon Bach Festival, performing each summer under the direction of Helmuth Rilling and Matthew Halls. Paul served as Artistic Director of the San Francisco Girls Chorus (SFGC) and conductor of Chorissima and Virtuose, the organization’s acclaimed performance ensembles, from 1992 to July 2000. Under her leadership, the chorus released four compact discs, premiered major works by composers such as Chen Yi and Jake Heggie, and represented the US at four international festivals. In June 2000 the SFGC was the first youth chorus to win the Margaret Hillis Achievement Award for Choral Excellence. In the same year they were also awarded an ASCAP Award for Adventurous Programming. Paul has prepared singers for performances under worldclass conductors such as Helmuth Rilling, Matthew Halls, Michael Tilson Thomas, and Herbert Blomstedt. She has presented interest sessions at regional, state, division, national, and international music conferences and appears frequently as adjudicator, clinician, and honor choir director throughout the US. In 2014 she received the University of Oregon’s Fund for Faculty Excellence Award, and in 2015 she was named the Robert M. Trotter Chair of Music, one of only three endowed chairs at the University of Oregon’s School of Music and Dance.

Soprano Amy Adams Margaret Alexander Kathy Aprill Mary Backus Robin Chinburg Angela Egremont Jill Gillett Erica Gingerich Bailey Halleen Mary Ann Hanson Diane Hawley Christine Hinrichs Tasker Houston Amy Kappeler Meghan Loftus Susannah Manton Victoria McCoy Sheena Moore Debbie Ogburn Annie Paschall Mercedes Rathswohl Sharon Skidmore Sarah Smaw Harriett Smith Alice Somerville Lois Stark Karen Stingle Alayne Switzer Allie Thompson Sandra Weingarten Abbie Winn Anne Wythington Elena Zilar

APRIL – JUNE 2019

Alto Kathy Barnes Lauren Bird-Wiser Louise Bishop Betsy Brown Camilla Carter Naomi Castro Barbara Clauson Charlotte Coons Sue Cooper Jean Cottel Paula Ellister

Margaret Essenberg Shira Fadeley Carolyn Flatley-Gilkey Catherine Harris Wendy Harshbarger Kami Hendrix Joni Ingman Lisa Johnson Jackie Kennedy Audrey Lewis Jill Liberty Paula Litchfield Kathryn Madden Amelia Mau Mary Moyer Jean Murphy Barbara Myrick Laura M. Ohanian Sue Palsbo Laura Parker Caroline Passerotti Suzanne Shapiro Christina Sjoblom Jamie Smith Irene Sogge Debbie Sorensen Holly Spencer Heidi Von Brockdorff Alyssa Warnick-Hesse Ingrid Wendt Tenor Wayne Amondson Everett Davis Dianne Dugaw Ransom Hovekamp Brian Hughes Jason Johnson Jack Jordan Roy Lisi Carson Lott Easton Marks Tim McCoy Ryan Moser Daniel Phillips Bernie Robe Randall Smith

Austin Walker Dean Walker Winston Wang Nancy-Jo White Tim Williams Daniel Yim Bass David Bersch Ross Bondurant John Bredesen Ben Brown Dylan Bunten Don Campbell Zari Crier Loren Crow Jim Dotson Dale DuVall Steve Eccles Kermit Finstad Josh Francis John Henzie Tom Hodgin Jon Hofmeister Timothy Johns Chris King Mark King John Kline John Koelling Jim Kolstoe Matt Laubach Garrett Ledgerwood Brad Litchfield Roger Ludeman Scott Manton Leith McKenzie Dennis Mills Rod Morris Mark Nyegaard David Paulson Nathan Philips Ron Raynes Marc Shapiro Mike Stark Stu Thomas Greg Williams

Musical Chairs! Fabulous Festivities to Benefit the Eugene Symphony Riverfront Redevelopment and the Former EWEB Site APR 26 | 5:30 PM | $25

Lunch and Fashion Show at Willamette Oaks MAY 18 | 11:30 AM | $30

A Time of Great Courage: The Apollo 11 Mission with Dr. Bernard Bopp JUL 20 | 4:00 PM | $25

Murder Mystery Dinner at The Very Little Theatre JUN 29 | 5:00 PM | $45

Summer Bounty in the Whit! Alfresco Dining for 35 Guests AUG 23 | 4:30 PM | $50

Curious About Cannabis? JUL 10 | 5:00 PM | $25

New Orleans/Louisiana Low Country Dinner Featuring Frogmore Stew SEPT 22 | 5:00 PM | $45

For more Musical Chairs details visit eugenesymphonyguild.org and follow us on Facebook

Build the Guild! Join the Eugene Symphony Guild today. Membership Information: Nancy Holloman | 541-228-1805 | nmholloman@gmail.com

EUGENE SYMPHONY

Scenes from Offstage

(Clockwise from top left) Eugene Symphony violinist Anthony Dyer and Music Director & Conductor Francesco Lecce-Chong perform at an event honoring Dr. Martin Luther King, Jr. at The Shedd Institute on January 21, in partnership with the Eugene-Springfield NAACP. Francesco Lecce-Chong and his fiancée, Chloe Tula, arrive at Gala 2019: Symphony Celebration on February 2. Gretchen Hult Pierce, who accepted the 2019 Advocate for the Arts Award on behalf of her family at Gala 2019, shares a word with Johan Mehlum. An excited family waits to have their tickets scanned as they enter Silva Concert Hall for “Rhapsody in Blue” on February 14. For more photos, like the Eugene Symphony Association at facebook.com/eugenesymphony and follow us on Instagram at @eugene.symphony

APRIL – JUNE MAY 2018 2019

A group of students from Cascade Middle School attend the “Rhapsody in Blue” concert and pose for a portrait in The Studio.

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

SPECIAL CONCERT — JUNE 1

SymFest Eugene Symphony Francesco Lecce-Chong, conductor Halie Loren, vocalist | Toni Glausi, trumpet | Ballet Fantastique David Lee, marimba | The Dorians of South Eugene High School Members of the Eugene-Springfield Youth Symphony Saturday, June 1, 2019 7:30 PM | Silva Concert Hall, Hult Center Kenji Bunch (b. 1973)

Groovebox Fantasy Members of the Eugene-Springfield Youth Symphony

Reinhold Gliere (1875–1956)

Russian Sailors’ Dance from The Red Poppy Ballet Fantastique

Emmanuel Séjourné (b. 1961)

Concerto for Marimba and Strings Mvt. I: Tempo souple David Lee, marimba

Selections to be announced from stage featuring Halie Loren, vocalist, and Tony Glausi, trumpet Lennon & McCartney/arr. Murtha Hall & Oates/arr. Kunz

“Can’t Buy Me Love” “You Make My Dreams Come True” The Dorians of South Eugene High School

Reid, Simmons, Houston, Babyface/ arr. Lopez

A Whitney Houston Tribute

Peter Townshend/arr. Phillips

“The Rock” from Quadrophenia Ballet Fantastique

Concert Sponsor

Artist Sponsor

Tastings Sponsor

Media Sponsor

APRIL – JUNE 2019

GUEST ARTIST — JUNE 1

Halie Loren Halie Loren is an international, award-winning jazz/pop singer/songwriter. She brings a fresh and original perspective to time-honored musical paths, channeling her innate understanding of connectedness across musical boundaries to forge bonds with diverse audiences in North America, Asia, and Europe. Her multi-genre and multi-lingual musical blend across her 10 albums to date has earned several national and international awards in multiple genres as well as significant critical and chart success along the way, with her albums consistently charting at #1 on the Billboard/Japan Jazz Charts, iTunes (Canada and Japan) and Amazon Music.

Halie Loren’s multi-genre and multi-lingual musical blend has earned international awards and critical success. Loren’s creative journey began during her Alaskan youth: her performance debut at the Sitka Fine Arts Camp at age 10 (with a live jazz trio) inspired her to continue on toward becoming a professional musician, which she’d achieved by the time she began touring regionally at age 14 after moving to Oregon. An award-winning songwriter since her early teens, she began garnering international acclaim as a recording artist by age 23 when her debut jazz CD “They Oughta Write a Song,” was named

the Best Vocal Jazz Album of the year at the 2009 JPF Music Awards (the largest independent music awards in the world). She was subsequently signed in Asia by major label JVC/Victor Entertainment and in North America with celebrated Canadianbased jazz label Justin Time Records. Loren’s accolades in more recent years include an Independent Music Award for her original song “Thirsty” in 2011, a Best Vocal Jazz Album 2012 award in Japan’s Jazz Critique Magazine for her album Heart First, (which also reached #1 on Canada’s iTunes Jazz chart), and a total of four Billboard #1 albums on Japan’s jazz charts since 2013. Along with recording and songwriting successes, Loren’s live performances have brought her around the world several times, with performances on 4 continents thus far, including tours across the U.S., Canada, France, the U.K., Japan, Italy, Egypt, China, Hong Kong, Taiwan, South Korea, Egypt, and Haiti. Her concerts range from intimate to expansive, from a classic jazz trio format to lush orchestral collaborations (which have thus far included the Jazz Orchestra of Sicily, the Monroe Symphony in Louisiana, and the prestigious International Britt Fest Orchestra, and others). She is currently touring in support of her new original music album, From the Wild Sky, produced by U.K. tourde-force Troy Miller (Amy Winehouse, Jaime Cullum, Gregory Porter) and beginning work on several new recording projects and collaborations.

EUGENE SYMPHONY

GUEST ARTIST — JUNE 1

Tony Glausi Hailed as “a great writer and a terrific trumpet player” by legendary songwriter Burt Bacharach, and said by renowned jazz artist Dave Douglas to be “one of the finest young trumpeters”, Tony Glausi has established his voice as an international awardwinning trumpeter, keyboardist, composer, and producer in New York City.

Tony Glausi played more than 100 shows last year and has recorded on more than 25 albums. Among other accolades, Tony won first prize in the 2017 Carmine Caruso International Jazz Solo Competition, first prize in the jazz division of the 2017 ITG International Trumpet Competition, and first prize in the jazz division of the 2014 National Trumpet Competition. Tony has been recognized in two separate issues of Downbeat Jazz & Blues Magazine for outstanding improvised solos and compositions. Tony has also had the unique privilege of engaging in private studies with Wynton Marsalis, one of his greatest heroes and influences. Tony Glausi grew up in a musical family in Portland, Oregon—his mother and all four of his grandparents were

APRIL – JUNE 2019

professional musicians in varying capacities—and was exposed to all types of music, developing a profound love for jazz, R&B, hiphop, and everything else in the Black American Music tradition. At a very young age he taught himself to play his favorite melodies on the piano by ear and later mastered these abilities through advanced studies in piano performance and theory. A trumpeter and composer by the age of 10, it was later in high school when Tony began to focus on jazz and improvisation. Playing more than 100 shows last year and having recorded on more than 25 albums, Tony currently maintains a full schedule as an active performer and recording artist on the trumpet, flugelhorn, and keyboards. As a composer and arranger, Tony draws inspiration from his earliest musical influences while also channeling current trends in the music industry. He has written works for small and large jazz ensembles, various chamber ensembles, pop and hip-hop groups, and several short films and television web series. His pieces have been commissioned on more than a dozen occasions to be performed and recorded by numerous world-class musicians. To date, Tony has released six records of his own music in physical and digital formats—iTunes, Spotify, YouTube, Amazon Music, Google Play, and more. His debut jazz album, Identity Crisis (December 2015), which features 10 original compositions for small jazz ensembles, earned him several noteworthy awards and garnered much praise.

GUEST ARTISTS — JUNE 1

SymFest David Lee marimba

Ballet Fantastique Ballet Fantastique is a powerhouse for inventive dance theater in the Northwest. Established in 2000 by resident Choreographer-Producers (and mother-daughter team) Donna Marisa and Hannah Bontrager, Ballet Fantastique re-imagines the future of dance through renegade new ballet theater and all-live music, including a steampunk, electro-swing Alice in Wonderland, a rock opera ballet Aladdin set to the music of Queen, a Roaring 20’s Parisian jazz version of Jane Austen’s Pride and Prejudice, and the first-ever ballet version of Crouching Tiger, Hidden Dragon to the award-winning Tan Dun movie score with international guest cellist DaXun Zhang. Ballet Fantastique has been heralded “a bold, cross-disciplinary dance company” (Eugene Weekly), “imaginative geniuses” (Portland Monthly Magazine), and featured in the Washington Post. The company’s 15 international artists perform at home at the Hult Center as a proud Hult Resident Company, as well as across the Northwest and the world. Ballet Fantastique loves performing with the incredible, world-class musicians of the Eugene Symphony. More at balletfantastique.org. (Above: Artists of Ballet Fantastique, photo by Stephanie Urso)

David Lee was first introduced to music in the form of the piano and the drum set when he moved to South Korea in elementary school. After living in Korea for four and a half years, Lee moved back to America to finish middle school and high school. He was exposed to classical percussion in middle school band. Lee participated in the Seattle Youth Symphony Orchestra program from 2013 to 2017, and also worked with Seattle Music Partners, in which skilled musicians go to Seattle elementary schools and teach disadvantaged children how to play instruments. Lee won the Washington State Solo/Ensemble Competition in the timpani and mallets category and placed third in the snare drum category in 2016. In 2017, he received the John Philip Sousa Band Award immediately prior to graduating from high school. In 2018, Lee won the Eugene Symphony Guild Senior Division Young Artists Competition, and studies with Pius Cheung at the University of Oregon as an undergraduate student.

Eugene-Springfield Youth Symphony Eugene-Springfield Youth Orchestras (ESYO) has been keeping youth music alive in our community since 1934. Its mission is to inspire and lead students on a journey of discovery through orchestral instruction and performance. ESYO’s premier orchestra, the Youth Symphony, boasts some of the area’s finest youth musicians, who perform with remarkable sophistication and artistry.

The Dorians Jazz Choir The Dorians Jazz Choir is an ensemble at South Eugene High School that performs primarily jazz music. It comprises students with advanced understanding of music theory and aural skills, and performs jazz genres including swing, bebop, Latin, ballads, funk and blues.

EUGENE SYMPHONY

Enriching lives, inspiring inspiring Enriching lives, new possibilities. new possibilities. Enriching lives, inspiring

At U.S. Bank, we believe art enriches and inspires new Enriching lives, inspiring At U.S. Bank, we believe art possibilities. enriches and inspires our community. That’s we support the visual our community. That’s whywhy we support theart visual new possibilities. At U.S. Bank, we believe enriches and inspires and performing arts organizations that push ourthe visual and performing arts organizations that push our our community. That’s why we support

At U.S. Bank, we believe art enriches and inspires creativity and passion to new levels. When we and performing arts organizations that push our creativity and passion to new levels. When we our community. That’s why we support the visual creativity and passion to new levels. When we test the limits of possible, we find more ways and performing that pushwe ourfind more ways test arts the organizations limits of possible, test the limits of possible, we fi nd more ways creativity and tousbank.com/communitypossible new levels. When we to shine.usbank.com/communitypossible to passion shine. to shine. test the limits of possible, we find more ways usbank.com/communitypossible to shine. usbank.com/communitypossible

U.S. Bank proud to support the Eugene U.S. Bankis is proud support Eugene Symphony. U.S.to Bank is proudthe to support the Eugene

Symphony . U.S. Bank is proud to support the Eugene Symphony . Symphony .

Eugene Main Eugene Main

Eugene Main

Eugene Main 800 Willamette 800StWillamette St St800 Willamette St 800 Willamette Eugene, OR 97401 Eugene, 97401 Eugene, OREugene, 97401 OR OR 97401 541.465.4001 541.465.4001 541.465.4001

541.485.4001

APRIL – JUNE 2019

Award Winning Arborists

541-461-1737

Support the Symphony Players of Tomorrow...

Today

Celebrating 85 Years of Youth Music!

Final Concerts of the 85th Anniversary Season Tuesday, May 21: Little Symphony & String Academy 2 Wednesday, May 22: Junior Orchestra Thursday, May 23: Eugene-Springfield Youth Symphony 7:30pm â&#x20AC;¢ South Eugene High School Auditorium

www.ESYOrchestras.org

www.facebook.com/ESYOrchestras/

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

EUGENE SYMPHONY

BENEFITS

BECOME A SYMPHONY MEMBER

SYMPHONY MEMBER: $100–250 Season program magazine recognition Invitation to Annual Meeting Celebration Receive Music Matters, insider newsletter from Music Director & Conductor Francesco Lecce-Chong

SUSTAINING MEMBER: $250–499 All of the above, plus: Invitation to special events Opportunity to attend two open dress rehearsals

BENEFACTOR: $500–999 All of the above, plus: Invitation to one Meet Francesco & Musicians post-concert private reception Voucher for a pre-concert and intermission visit to Founders Club donor lounge Voucher redeemable for two Symphonic series concert tickets

CONDUCTOR’S CIRCLE: $1,000–2,499 OUR PROGRAMS AND PERFORMANCES ARE NOT ONLY FOR YOU, THEY ARE POSSIBLE BECAUSE OF YOU.

Ticket sales cover less than 50% of the costs required to support the Eugene Symphony. As a member, your gift will help bring music to more than 45,000 people in our region this season, as you invest in all of Eugene Symphony’s onstage, community engagement, and music education programs.

MEMBERS Contact Sara Mason, Development Director 541.687.9487 x1104 | sara.mason@eugenesymphony.org or visit eugenesymphony.org/support-us

APRIL – JUNE 2019

All of the above, plus: Opportunity to attend all open dress rehearsals Voucher for three pre-concert and intermission visits to Founders Club donor lounge Access to Conductor’s Circle priority subscription seating Opportunity to be acknowledged as musician sponsor for season ($1,500 and above)

FOUNDERS SOCIETY: $2,500+ All of the above, plus: Donors receive exclusive benefits, such as an invitation to all Meet Francesco & Musicians post-concert receptions, 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, x1104, or visit our website at eugenesymphony.org.

PLATINUM PATRONS | $25,000 + Nathan & Marilyn Cammack Eugene Symphony Guild

Niles & Mary Ann Hanson Marie Jones & Suzanne Penegor

Terry West & Jack Viscardi

GOLD PATRONS | $10,000 – $24,999 Keyhan & Lauren Aryah Natalie & Zack Blalack David & Patricia Giuliani Family Foundation Dave & Sherrie Kammerer Trieber & Michelle Meador

Meg Mitchell David & Paula Pottinger James & Jane Ratzlaff Paul Roth Betty L. Soreng Fund of The Oregon Community Foundation

Dr. Matthew Shapiro & Maylian Pak Dunny & Debbie Sorenson Ray & Cathie Staton Barbara & James Walker

SILVER PATRONS | $5,000 – $9,999 Anonymous Gil & Roberta Achterhof Kevin & Irene Alltucker Family Fund of The Oregon Community Foundation Warren & Kathy Barnes Deb Carver & John Pegg Brad Chvatal & Erin Dickinson Elaine Twigg Cornett & Zane Cornett Marci Daneman

Bill & Judy Freck Pam Graves in memory of Glendora Burbank Herb Merker & Marcy Hammock George Hanson Starly Hodges Mike Fox & Rebekah Lambert Sarah G Maggio Matthew & Hollan McLaughlin

Philip & Sandra Piele Otto & Joanna Radke Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Andy Storment Sharon Ungerleider Jack & Florence Vollstedt

BRONZE PATRONS | $2,500 – $4,999 Anonymous (2) Joseph & Margaret Adelsberger Robert & Friedl Bell Mary Joanne Berry Shawn & Melva Boles Jack & Dondeana Brinkman Susan K. Gilmore & Phyllis J. Brown Anne & Terry Carter William & Karla Chambers Harriet Cherry & John Leavens Jeff & Julie Collins Allan & Nancy Coons Ashlee Crib & Walt Woliver G. Burnette Dillon & Louise Di Tullio Dillon Ray & Libby Englander Ginger Fifield Susan & Greg Fitz-Gerald Scott & Leslie Anderson Freck Verda M. Giustina Fund of The Oregon Community Foundation

Peter Gregg Galina Groza Elizabeth & Roger Hall Michael & Janet Harbour Erwin & Vicki Haussler Lin & Don Hirst Hugh Johnston Marilyn & Michael Kelley Phillip Kimmel & Stephanie Pearl Kimmel Steve & Cyndy Lane Deborah Lewis Larson Diana G. Learner & Carolyn Simms Michael Lewis & Martha MacRitchie Duncan & Jane Eyre McDonald Johan & Emel Mehlum Lee & Mary Jean Michels James & Marilyn Murdock John & Andrea Murphy John & Chrissy Murphy Blandon Ray & Kim Niles

Arden Olson & Sharon Rudnick Laura Parrish & Richard Matteri In memory of Britta Putjenter John F. Quilter Mike & Casey Roscoe Doneka R. Scott & Cedric Skillon Heinz & Susan Selig Chris Walton & Elizabeth Sheehan Sheppard Family Fund of The Oregon Community Foundation Ellis Sprick Inge Tarantola Kevin Forsythe & Elizabeth Tippett Michael Vergamini Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker Harry & ConnieWonham 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 Chvatal Orthodontics Eugene-Irkutsk Sister City Committee Oakmont Family Dental Roseburg Forest Products

Summit Bank Slocum Center for Orthopedics and Sports Medicine

US Bank Wildish Companies

ADDITIONAL SUPPORT SPONSORS Eugene Airport Bigfoot Beverages Ferguson Wellman George Rode Repair Shops

Grain Millers, Inc. The Gilmore Agency KMTR-TV

Kernutt Stokes Oregon Community Credit Union Ward Insurance

IN-KIND SEASON SPONSORS Elizabeth Chambers Cellar Hotel Eugene

Marché Rhythm & Blooms

COMMUNITY SUPPORT SPONSORS

Silvan Ridge Winery Technology Association of Oregon

SPECIAL THANKS TO... City of Eugene/Hult Center for the Performing Arts Euphoria Chocolate Company Framin’ Artworks Kesey Enterprises

Comfort Flow Heating

JLN Design Partnered Solutions IT Amanda Smith Photography Technaprint

FOUNDATION PARTNERS

The Silva Endowment Fund of The Oregon Community Foundation

Herbert A.Templeton Foundation APRIL – JUNE 2019

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 The Alsop Family Foundation Virginia P. Anderson Laura Avery Ted & Marie Baker Allan & Caitlin Benavides Roger Saydack & Elaine Bernat Carl Bjerre & Andrea Coles-Bjerre Ruby Brockett John & Christa Brombaugh Jim & Bev Buckley Susan Bulkeley Butler Delpha Camp Patric & Holly Campbell Robert & Kathleen Carolan Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation Jana & Mark Cox John & Linda Cummens Marilyn Deaton Wendy Dame & Don Doerr Louise Bishop & James Earl Juanita & Dieter Engel James & Susan Finney John & Jo Fisher

Brad Foley Eric & Kristin Forrest Violet Fraser Lynn Frohnmayer Liz & Greg Gill Marilyn Graham The Gray Family Scott & Mary Halpert Barbara Hamilton Brent & Monica Hample Dr. Stephanie Harris Lucille P. Heitz Dr. Larry & Sharon Hirons Monica Careaga Houck Ellen Hyman John & Robin Jaqua Fund of the Oregon Community Foundation Emmy Jenson Ms. Chris K. Johnson Dave & Sherrie Kammerer Allan & Dorothy Kays Doreen Kilen Jim & Janet Kissman Eunice Kjaer Lynda Lanker Gary J. LeClair & Janice R. Friend

Kaye LeFrancq Lois Long in memory of Dr. George M. Long Bob & Brenda Macherione Gary P. Marcus Andy & Elizabeth McWilliams Trieber & Michelle Meador J Anthony & Mary Mohr Mary Ann Moore Darian & Karen Morray John & Barbara Mundall Alexander Murphy & Susan Gary Nancy Oft & Mike Rose Donald Gudehus & Gloria Page Theodore & Laramie Palmer Judson Parsons & Diana Gardener Nathan & Robin Philips Stan & Julie Pickett John & Joanne Porter Hope Hughes Pressman Fund of The Oregon Community Foundation David & Jane Pubols Michelle Quinney Reed Family Foundation Dr. Candice Rohr

Jim & Paula Salerno Royce & Phyllis Saltzman Douglas Pierce & Cynthia Seacrest Suzanne & Marc Shapiro John & Betty Siebs Ken & Kenda Singer Bill Starbuck & Joan Dunbar Designated Fund Ginny Starr Martha J. Steward Marion Sweeney, Kate Laue, & Cama Evans Sing & David Tam Jason Tavakolian & Jennifer Lamberg Jeff & Linda Taylor Charitable Fund Cathye Tritten Ellen Tykeson Gayle Umenhofer Linda & John Van Peenen The Gray Family Jim & Cathy Walker John & Sandy Watkinson The Gray Family Steve & Kim Wildish

Erin Cunning Erin Cunningham Paul & Vivian Day James & Hannah Dean Tom Stevens & Flo Delaney Nena Lovinger & Robert Emmons Howard & Kathleen Epstein John Etter Jane & Latham Flanagan, MD Robert & Jill Foster Mark & Carey Garber Mary Gent Mr. & Mrs. A.J. Giustina David Guy Lisa A. Hawley Ronald & Cecilia Head Bob & Debbie Heaton Donald Holst Cynthia Hostetter Brandon Julio & Haydn Zhang

Toshiro & Irene Katsura Linda Ague & Kirk Kneeland Doris Kuehn David & Kathy Lees Andrew Lewinter Richard & Jacquie Litchfield Mark & Denise Lyon John & Ethel MacKinnon Robert & Colleen McKee Mary Mercier Bonita Merten The Gray Family Boyd & Natalie Morgan Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen Carol Nylander David & Anne O’Brien Dana O’Leary-Parrish

Harold & Joyce Owen Douglas Park & Beth Stormshak C Bennett & Ilene Pascal Ellen Rentz Richard Romm Karen Seidel Kim & Tim Sheehan Roberta Singer Jerry & Sandi South Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Mike & Catheryn Stickel Gerry & Heidi Stolp Joe Terry Carol Thibeau Pierre & Mary Lou Van Rysselberghe Phyllis Villec Forrest & Anna Williams

Benefactors ($500–$999) Anonymous Carolyn Abbott Raychel Kolen & Paul Allen Frank & Dorothy Anderson Roanne Bank Lauren Bird-Wiser & David E. Wiser John Blackburn Mary Breiter & Scott Pratt Barbara Britt Greg Brokaw & Elaine Lawson Ann Burgess Michael Burkhardt Bill & Lynn Buskirk Melvin Carlson Jr. George & Fanny Carroll Polly &Brian Caughey Mary Clayton Laura Coffin & Gerard Ostheimer Carol Crumlish

This listing is current as of February 28, 2019. 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 the Eugene Symphony Development Department at 541-687-9487 ext. 1110. Thank you for your generosity.

EUGENE SYMPHONY

Season Supporters Sustaining Members ($250–$499) Anonymous Lucille Allsen Ronald & Julia Babcock Robert Baechtold Loren C. Barlow John & Sylvia Barry David Baslaw Joan Bayliss & Irwin Noparstak Janine Benner Ron & Janet Bertucci Laird & Ronnie Black David & Sheila Bong Benjamin Bonner Gerald & Patricia Bradley Jonathan & Sara Brandt Jim & Joanna Branvold Jack & Toni Brown Sue Burkholder Leonard & Janet Calvert John Chalmers & Michele Gladieux Chris & Judy Chavez Ernest Chizinski Suzanne Clark Scott Coltrane Hiett & Caron Cooper Roger Coulter Nancy Cummings Marie Dochnahl Mary Louise Douda Tomi Douglas Michael Drennan Peter Edberg & Bryna Goodman

Brian Erickson Gary Ferrington Mary Forestieri David Foulkes & Nancy Kerr Julie Gemmell Bentley Gilbert Pat Candeaux Gilberts Sylvia Giustina Tim Gleason & Jenny Ulum Scott Ricker & Mary Gleason-Ricker Roger Guthrie & Nancy Golden James Grimm & Jocelyn Bonner Jeff & Susan Gusinow Desiree Hansen & Breon Price Esther Harclerode John & Claudia Hardwick Jamie Harper & Roxie Thoren Karen Artiaco & Jack Hart Gale & Rosemary Hatleberg David & Donna Hawkins Kenneth And Margot Helphand Jim & Judith Hendrickson Christopher & Deborah Hiatt Dr. Richard & Judith Hicks Ken Higgins Sara Hodges Lewis & Sandra Horne Robert H. Horner & Polly Ashworth Virginia Hurwitz in memory of Robert Hurwitz Judith Johnson

Peter & Jane Kay Sue Keene Dorothy Kemp Phillip Kimmel & Stephanie Pearl-Kimmel Tim & Linda King Anita Klock John & Muriel Kurtz William Langdon Jeffrey Librett Doug & Diane Livermore Sara Long Charles & Leslie Martinez Sara & David Mason Robert & Barbara Maurer Michael McCarthy Pamela McClure-Johnston Lucille McKenzie in memory of Dean McKenzie Melvin and Carol Mead Fund Michael Milstein Jack & Barbara Miner Dr. Jeffrey Morey & Gail Harris Gerald Morgan Kenneth & Jackie Murdoff Chris Murray Melvin Nygaard & Mary Sykes Ruth Obadal Lindsay Pearson James Pelley & Susan McConnell Oregon Symphony Dave & Linda Pompel

Michael & Judy Ponichtera Amanda Powell & Dianne Dugaw Michael Racine Dr. R Charles & Karen Ray Joe & Marian Richards Sally Ann Ross Robert S. Russell Morgan-Wixson Theater Christine Santoro Eric Schabtach & Bonnie Murdock Richard & Karen Scheeland Catherine Siegmund Laura Littlejohn & Paul Leighton Betty Lou Snyder James & Irene Spindler Rebecca Sprinson Richard D. Spurlin Jane Stephens Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Susan Tate Wayne, Leslie & Ari Taubenfeld Susan & Bahram Tavakolian Jean Tuesday Barry Cooper & Beth Valentine Lawrence & Marilyn Von Seeger Alicia Voorhees Terry & Lucy White Robert & Patricia Wilson William & Pat Wiswall

Margot Fetz Jim & Darlene Fisher Charles Fletcher Lamar & Jane Forvilly Jennifer & Dino Francois Carl J. Frank Dorothy Frear Gail Galbreath-Sheredy Charles & Barbara Ganzel John Garrett & Ruth Kaminski Eric Geyer Charles & Ann Gibson Carole Gillett Jill Gillett & Timothy Johns Thomas Kreider & Paula Gordinier Don & MJ Gordon Peter van de Graaff Mary Grinage Sally Grosscup David Gusset Haissam Haidar Bryce & Sandy Halonen Barbara Hamilton Roger & Karen Hamilton Robert & Sandra Harty Andrew & Marilyn Hays Holly Helton & Peter Gallagher Harold & Martha Hockman

Nancy Holloman Judith Horstmann & Howard Bonnett Blaine & Nancy Hoskins John & Lorna Hudson Tom Ing James & Helen Jackson Carol A. James John & Marcia Jarrett Benton Johnson Skip & Mari Jones Virginia G. Kelly Robert Kendall Alan & Martha Kimball Charles & Reida Kimmel Margaret Knudsen Donald Landstrom & Zachary Ruhl Edward Lawry & Sandra Wu Joyce Leader Hope Lewis The Lillegard Family Jan Lintz Dr. Mark & Marie Litchman Lisa Livoni & Robert Wilson Eileen Loritsch Bert Lund Susan Macomson Madeline Malsch

Symphony Members ($100–$249) Anonymous Mardi Abbott Dr. Don & Marianne Anderson Howard Anderson & Susan Rutherford Susan Archbald Ben Farber & Adam Are Vernon Arne Jo Anne Arnold Julie Aspinwall-Lamberts Gerry Aster Sandra & Fred Austin Roger & Lela Aydelott Avon Lee & Robin Babb Sue Bach Don Baldwin Scott E. Barkhurst David Baslaw George Bateman Diane Baxter Carmen Bayley Lawrence & Linda Ann Beach William & Alice Beckett Joyce Benjamin David & Judith Berg Richard & Betsy Berg Sara Bergsund John & Lucy Bigelow

APRIL – JUNE 2019

David & Sheila Bong Susan Burke & Clive Thomas Helen Callison June Hopkins & Don Campbell Frank & Nancy Carlton Daniel Chandler Dennis Chapman Elizabeth Charley Linda Cheney & Fred Felter Gary & Carole Chenkin Nikki Chery Jamie & Carrie Christopher Anthony J. Meyer & Joan Claffey Victor Congleton Alan Lee Contreras Lawrence Crumb Cassandra & Darryl Dare Mark & Anne Dean Dale Derby & Ingrid Horvath Frank & Jennifer Diaz Cynthia Dickinson Steen V. Mitchell & Sue Dockstader Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy Martin Fitzpatrick & Hilary Egna Jennifer & Wayne Espinola Shira Fadeley John Faville

Season Supporters Symphony Members ($100–$249) Sarah & Josh McCoy Greg & Lynne McCutcheon Gary & Jill McKenney Micheal & Tamara McLaughlin Suzanne Gilbrt McRae William P. & Maxine McWhorter Stephen & Marjorie Mealey Sara Brownmiller & Milo Mecham Ruth Miller Robert Huffman & Mary Miller Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor Beth Moore & Lorne Bigley John & Cheryl Moore Phyllis Helland & Raymond Morse Jay Moseley Kathy Moulton Ken Murdoff Karen Murphy Beverly A. Murrow Evelyn Nagy Diane Vandehey-Neale John & Marilyn Nelson

Blandon Ray & Kim Niles Chris & Elise Noonan Richard J. O’Brien Jeffrey & Deborah Ogburn Dr. Jay & Mary C. O’Leary Joy Olgyay & William Taliaferro Maureen Olsen Dr. Susan K. Palmer Dorothy Parrott Jeffrey Pierce Dave & Mary Lynn Pierce Mr. & Mrs. Gene Pierson Jim Pilling Mary Jo Pitts Helmut Plant in memory of Carol Hamrick Plant Guntis & Mara Plesums Sharon & Michael Posner Randy Prince Joyce Pytkowicz Richard & Patricia Rankin Lloyd & Marilyn Rawlings David Reinhard Jim & Sandy Ridlington

Bernard Robe & Diane Hawley Edith C. Roberts Daniel & Kay Robinhold Gerald & Marcia Romick Michael Rudolph Michael & Wendy Russo Eva Safar Michael Schaefer Sarah Schram Gregory Schultz Carol Shininger George & Dionne Sjolund Sarah Smaw Marty & Mary Lou Smith Hope Smith Dave & Dorothy Soper Joanne & John Soper Howard & Sharon Speer John & Julie Stacy Phoebe Staples Roz Stein Barry & Marilyn Stenberg Maria & Delmar Storment

Bob Keefer & Lisa Strycker Joan Stuart Patrick & Marjorie Sullivan Christina Svarverud Betty Taylor Edward Teague Mary Jo Templeman Gary Tepfer & Esther Jacobson-Tepfer John & Renate Tilson Liz Tritz Addie Vandehey William Waddel Fay Sunada & Patrick Wagner Kent & Michelle Walker Gerald & Veronika Walton Mary Ellen West Barbara Wheatley Miriam Whiteley Donald Wisely Susannah Wielesek & Bob Wright JoAnn Zinniker Alex Zunterstein

Gary & Betty Martin Bob McDonald Edward Black & Geraldine Moreno-Black Darlene Moyer Annette Newman Debra Noel Heather Nolle Nancy Nott Dr. Eric & Ms. Sheri Olson Joseph & Kasdina Palen Judy & Marc Parnes Mary Beth Pattyn Charlotte Pearce Rodger & Joan Person Walter Petty Margaret E. Prentice

Jack & Jane Quien Marilyn & Angela Rear Arlen & Patricia Salthouse Tracy Schmitz Douglas & Stephanie Sears Paul Shang & Laura Macagno Shang Christina Sjoblom Judy Sobba Jon & Roberta Sobotka Renee Stark Harold & Janet Titus Angus Vail Carol Vantrees John DeWenter & Dorothy Velasco Roger & Carol Welch Herb Wisner Robert Haskett & Stephanie Wood Joan Wozniak

Associate Members ($60–$99) Anonymous (3) Jim Angsten & Lynn Joseph Susan Ashton John Attig Sheryll Jo Aydelott Victoria Blackman Robert Voss & Patricia Braunlich Joe Brazie Stephen Bryan Frances Burns & Mary Furr Lynda & Eric Christiansen Riccardo & Paula Coen Hernando Convers Ellwood & Deborah Cushman Jr. Ken & Connie Doerksen Laura Donato Marie Vitulli & Sarah Douglas

Ritta Dreier Bob & JoAnn Ellis David & Jean Fenton Jo-Anne Flanders Amy Gage Elizabeth Glover Alan Grapel George & Susan Greenwald Michael & Grace Grose Janet Gustafson Jack & Mary Holley Roger & Susan Irwin Virginia Iverson Brenda Kame’Enui John & Judith Kraft Susan Lacer John & Darlene Lashbrook

Balance. Harmony. Yours. Balance. Balance. Harmony. Harmony. Yours. Yours. Zanne Miller, MS, Zanne Miller, Zanne MS, Miller, LPCLPC MS, LPC

Therapy for individuals, couples, and families Therapy for Therapy individuals, for individuals, couples, and couples, families and families 245 East Broadway, Downtown Eugene 245 East Broadway, 245 East Broadway, Downtown Downtown Eugene Eugene to to schedule toan schedule appointment: an appointment: schedule an appointment: email: zanne@mind.net email: zanne@mind.net or call: 541-228-2228 or541-228-2228 call: 541-228-2228 email: zanne@mind.net or call:

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 Carolyn Chambers Marcia Baldwin Chandler Barkelew Phyllis Barkhurst Constance Mae Beckley Norma Jean Bennett Donald Bick Valentina Bilan Caroline Boekelheide Norma Bryan Glendora Burbank Hanya Etter Bert Evans Laurel Fisher Diane Foley Dave Frohnmayer Jean Glausi Kay Hanson Ilene Hershner Gorgie Hofma Cory Hultenberg Marilyn Kays Bruce Kilen Melvin Lindley

American Federation of Musicians, Local 689 The Chambers Family Foundation The Haugland Family Foundation Herbert A. Templeton Foundation National Endowment for the Arts 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 Supporting Hult Operations (S.H.O.) Woodard Family Foundation

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

Supporting the Arts in Lane County

Musgroves.com

APRIL – JUNE 2019

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

SYMPHONY CELEBRATION

YOU! PRESENTING SPONSOR

to the sponsors, in-kind donors, and supporters who helped make this event possible and successful on Saturday, February 2. Life of the Party TABLE SPONSORS Chambers Construction Sharon Ungerleider Wildish Companies

Beaudet Jewelry Jack & Dondeana Brinkman Caddis Fly Fishing Chicago Symphony Chicago Lyric Opera Chicago Cubs Eugene Airport Eugene Emeralds Neil Everett Francesco Lecce-Chong Getty Museum Grand Teton Music Festival Niles & Mary Ann Hanson Heritage Distillery Hotel Eugene Jackson Hole Whitewater Jazz at Lincoln Center The LA Opera The LA Philharmonic Marché Restaurant

McKenzie River Trust Andy & Elizabeth McWilliams The Metropolitan Opera New Tw!st The New York Philharmonic Jerril Nilson/JLN Design Osprey Outfitters David & Paula Pottinger Rhythm & Blooms Roaring Rapids Pizza Paul Roth Rye Restaurant Santa Rosa Symphony Schulz Family Silvan Ridge Winery Skeie’s Jewelers Steinway & Sons Sweet Cheeks Winery Swing Shift Jazz Orchestra Wayfarer Resort

YOUR SUPPORT ENSURES THE POWER OF MUSIC TO INSPIRE AND CONNECT MORE THAN 50,000 PEOPLE IN OUR REGION BOTH ON STAGE AND IN OUR COMMUNITY. 64

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

Gerald Webking 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 David & Paula Pottinger Wally Prawicki Gerald Webking 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, x1104 or visit our website at eugenesymphony.org.

APRIL – JUNE 2019

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 Dr. Matthew McLaughlin, Secretary Warren Barnes, Treasurer

Dr. Matthew Shapiro, Past President Zachary Blalack, Treasurer-Elect

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

Arden Olson Joanna Radke Mike Roscoe Paul Roth Dr. Doneka Scott Suzanne Shapiro Dunny Sorenson Andrew Stiltner Elizabeth Tippett Michael Vergamini Jack Viscardi Alicia Voorhees Sean Wagoner Connie Wonham

ARTISTIC Lindsay Pearson, General Manager Lauren Elledge, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician

DIRECTORS Susan Ashton Harriet Cherry Julie Collins Ashlee Cribb Mike Curtis Erin Dickinson Dr. Raymond N. Englander Mary Ann Hanson David Kammerer Stephanie Pearl Kimmel Sarah Maggio Jane Eyre McDonald Trieber Meador Meg Mitchell DIRECTORS EMERITUS Phil Cass, Jr. Carolyn S. Chambers

Betty Soreng David Ogden Stiers

EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS

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

1988–1991 James Forbes 1991–1993 John Watkinson 1993–1995 Georgiann Beaudet 1995–1997 Clark Compton 1997–1999 Gary Grinage 1999–2002 John Watkinson 2002–2003 Gil Achterhof 2003–2006 David Kammerer 2006–2012 Mary Ann Hanson 2012–2015 Dunny Sorensen 2015–2017 Dr. Matthew Shapiro

DEVELOPMENT Sara Mason, Development Director Tegan DeBolt, Development & Fundraising Manager Rhys Gates, Development Intern EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director Kathie Hsieh, Education & Community Engagement Intern FINANCE Mary Scarpinato, Finance & Administrative Director Nancy Holloman & Caroline Manewal, Volunteer Coordinators MARKETING & COMMUNICATIONS Stephanie Domurat, Marketing & Communications Director Samira Lobby, Marketing & Communications Coordinator Season Design: Cricket Design Works Program Magazine Design/Production: JLN Design, Jerril Nilson

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers, Vice Chair David Hawkins Varner J. Johns III, Chair

Ann Marie Mehlum John Watkinson, Treasurer

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

EUGENE SYMPHONY

Whatever you’re in the mood for, something delicious awaits–just steps from the Hult Center.

IN THE HISTORIC 5TH STREET PUBLIC MARKET

296 EAST FIFTH AVENUE, EUGENE

Proud Supporter of The Eugene Symphonyâ&#x20AC;&#x2122;s 2018-2019 Season!

John E. Villano, DDS, PC

Join us for meatball monday

$7.95 for our handmade Spaghetti and Meatballs every Monday

wine wednesday

Half priced bottles of wine every Wednesday

ten for $9

Ten delicious $9 lunch specials M-F until 3pm Regular menu also available

THE FIREBIRD

Scratch-made pastas, appetizers, salads, sandwich and desserts

April 13–14 | Hult Center

Orchestra Next plays Stravinsky live Tickets $30–$60 , $15 College/Youth eugeneballet.org | 541-682-5000

PERFORMANCE SPONSORS Bergsund DeLaney Architecture & Planning, PC | Essex General Construction, Inc.

“ My vision for The Firebird is to keep the myth alive in my retelling while using contemporary ballet movement to portray a world in need of saving by a group of powerful people.” — Suzanne Haag, Choreographer

Q E @pastini

pastini.com

2018 TOP report: Community Engagement Opens Opportunities In Oregon, we know that when our communities, and the local heroes within them, focus on strengths and mobilize resources, they reveal powerful potential for positive change.

MIND THE OPPORTUNIT Y GAP

Low-income kids, kids of color and rural kids do not receive the same opportunities in their homes, schools and communities available to other Oregonians, making it more challenging to flourish and succeed as adults.

CLOSING THE GAP

Community-led problem solving is an essential ingredient to closing Oregonâ&#x20AC;&#x2122;s opportunity gap.

Read stories of community changemakers and download the full Tracking Oregonâ&#x20AC;&#x2122;s Progress (TOP) report, Oregonians Mobilizing for Change, at oregoncf.org/TOP2018.

O R E G O N C F.O R G