Eugene Symphony Program Magazine November 2019-January 2020

Francesco Lecce-Chong, Music Director & Conductor

PROGRAM MAGAZINE 2

NOVEMBER 2019 – JANUARY 2020

SEASON

NOVEMBER 14, 2019

MOZART’S REQUIEM

DECEMBER 12, 2019

THE “ORGAN” SYMPHONY JANUARY 23, 2020

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EUGENE SYMPHONY

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NOVEMBER 2019 – JANUARY 2020

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EUGENE SYMPHONY

Contents November 2019 – January 2020 CONCERTS 17 Youth Concert: World Beats!

November 12

Sponsored by Marie Jones & Suzanne Penegor

and Chvatal Orthodontics

19 Mozart’s Requiem

November 14

Sponsored by Zachary Blalack–

Ameriprise Financial

39 The “Organ” Symphony

December 12

Sponsored by Roaring Rapids Pizza 47 Brahms and Sibelius

January 23

Sponsored by Summit Funding FEATURES 13 On That Note 30 Key of E[ducation] ON STAGE AND OFF 9 Welcome 11 Conductor 12 Orchestra Roster 14 Calendar 53 Scenes from Offstage 55 Support the Symphony 56 Founders Society 57 54th Season Partners 58 Thank You to Our Supporters 61 Endowment Fund 62 Board of Directors

and Administrative Staff

19 Musicologist Robert Levin’s completion of

Wolfgang Amadeus Mozart’s Requiem is performed on November 14, featuring a quartet of vocal soloists, the Eugene Symphony Chorus, and the orchestra led by Music Director & Conductor Francesco Lecce-Chong.

43 Australian-English

conductor Jessica Cottis leads a program of music

by Hector Berlioz, Sergei Prokofiev, and Camille Saint-Saëns’ mighty “Organ” Symphony No. 3 on December 12.

52 On January 23, Jean Sibelius’ stunning Violin

Concerto, performed by Finnish sensation Elina Vähälä, pairs beautifully with Johannes Brahms’s sunny Symphony No. 2.

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Eugene Symphony’s Instrument Petting Zoo

rument Petting went to the Inst I o, ag s ar ye e trumpet.

About 4 pted to play th m te at I e, er th me choose Zoo. While (sort of) made ay pl d ul co I nt Realizing that nd. As time we in the school ba ay pl to to t y pe pp um the tr onium. I’m ha changed to euph years ago, on, I eventually at July night 4 th on d te ar st l say that it al t Petting Zoo. Thank you, Cali at the Instrumen

Support provided by Galina Groza and Family in recognition of the Eugene-Irkutsk Sister City Committee

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EUGENE SYMPHONY

Welcome November 2019 – January 2020 Greetings all!

I am thrilled to welcome you to this Eugene Symphony performance! This season, we are celebrating the masterpieces of the past through the lens of today’s composers. Our November concert is a wonderful example of past and present coming together in one of the most beloved choral works in the repertoire: Mozart’s Requiem.

Although Mozart completed less than a quarter of the piece before he died, he laid the framework for a work that would truly change the world of music. Our performance features a 1994 completion by Mozart scholar, Robert Levin, based on the first completion by Mozart’s student, Franz Süssmayr, in 1792.

Our December program features three of the most virtuosic and delightful works in our repertoire, including Saint-Saëns’ magnificent Organ Symphony. And in January, I look forward to sharing with you the rich sonorities of Sibelius and Brahms—and show you how their tradition continues today in the hands of one of the most prominent contemporary American composers, Missy Mazzoli.

One of my priorities as Music Director is not only to bring you great music, but also to build an engaged community around that music and stay connected with you outside of concerts. Check out our website to see the many ways to stay engaged between performances and to make new symphony friends, including “Symphony Happy Hour,” which is a chance to kick back with a beverage, listen to some great music, and even win a prize!

Or if yoga is more your thing, try “Symphony Yoga” taught by one of our horn players, Lydia Van Dreel, with music selected from our season. And, of course, follow the Eugene Symphony and myself on Facebook and Instagram to see how active we are bringing music to schools, human service agencies, and community centers around town. Thank you for being a part of our Eugene Symphony family!

Yours truly,

Francesco Lecce-Chong, Music Director & Conductor Dear Friends, What brings you to the Hult Center to hear the Eugene Symphony tonight? With so many entertainment options competing for your time (and money), we appreciate that you chose us! If you’re here for the first time, we understand it can be intimidating to attend classical music concerts. You may ask, “What do I wear? How do I act? When do I applaud? How do you pronounce Prokofiev?”

Yet research shows that once you’re inside the concert hall experiencing live music, you will undoubtedly enjoy and be moved by the performance. We sincerely hope that’s true for you tonight, whether this is your first time here or your fiftieth. If you fall into the latter category and you have friends or acquaintances that have not attended a Eugene Symphony performance, I encourage you to invite them. Make it a double-date night. Enjoy dinner in town, then enter the hall and be transported by the music. Your lives will be enriched.

After our performance of Star Wars: The Empire Strikes Back Live in Concert, an attendee shared with us on social media: “This goes down as one of our family’s favorite memories!” What could be more special than making memories with your family, friends, colleagues or even strangers attending Symphony concerts with you? Our performances onstage resonate beyond the last note on the page—they are carried with audience members through their reflections of shared experiences and connections to the music and to each other.

Around the holidays, consider making a gift to the Eugene Symphony to help us continue this work that provides opportunities for meaningful and lasting connection. Your ticket covers less than half of what it costs us to bring you performances inside the concert hall. Take pride in your Eugene Symphony. Bring a friend. And, give so the gift of music plays on.

Thank you for being here tonight and for your ongoing support,

David Pottinger, President of Eugene Symphony Board of Directors NOVEMBER 2019 – JANUARY 2020

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EUGENE SYMPHONY

MUSIC DIRECTOR & CONDUCTOR

Francesco Lecce-Chong American conductor Francesco Lecce-Chong has garnered acclaim for his dynamic performances combined with a deep commitment to nurturing the art form. Described by critics as a “fast rising talent in the music world” with “the real gift,” he has appeared with orchestras around the world including the National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic while collaborating with renowned soloists such as Renée Fleming and Itzhak Perlman.

Following successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, he serves as Music Director for two North American orchestras, the Eugene Symphony and Santa Rosa Symphony, where he has been dedicated to innovative programming, commissioning new music and engaging in community outreach.

In the 2018/19 season, Lecce-Chong debuted in subscription concerts with the San Francisco Symphony, Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic and Xi’An Symphony in China among others, while returning to conduct the Civic Orchestra of Chicago, Milwaukee and San Diego Symphonies. The 2019/20 season marks his debut with the New York Philharmonic. 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.

Following in the footsteps of renowned predecessors Marin Alsop, Giancarlo Guerrero, and Jeffrey Kahane, Lecce-Chong has swiftly made his mark in Eugene and Santa Rosa with a series of new music and community initiatives. Most recently, both orchestras announced Lecce-Chong’s “First Symphony Project” commissioning four major American orchestral works to be performed over the next four years accompanied by multiple composer residences and community events.

In addition, the Santa Rosa Symphony will present its first ever opera in concert during the 2020/21 season under Lecce-Chong’s leadership. Lecce-Chong is also committed to the training and championing of young orchestral musicians, having served as Music Director

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– )

NOVEMBER 2019 – JANUARY 2020

of the Pittsburgh Youth Symphony Orchestra for three years and working with the Civic Orchestra of Chicago and the New World Symphony.

Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles, and Michael Tilson Thomas.

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

VIOLIN I Jenny Estrin, Concertmaster Lisa McWhorter, Assistant Concertmaster Ray & Cathie Staton Jamie Chimchirian Stephen Chong Della Davies Sandra Weingarten & Ryan Darwish Anthony Dyer Rosemary Erb John & Emilie York Clara Fuhrman* Yvonne Hsueh Debra & Dunny Sorensen Nathan Lowman Sophie Therrell Alwyn Wright

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

VIOLA Holland Phillips, Principal Don & Lin Hirst Miriam English Ward, Assistant Principal∞ Pamela Burovac Devin Burgess* Lauren Elledge Anamaria Ghitea Shauna Keyes Kim Uwate Steve & Cyndy Lane Vacant

CELLO

HORN

Anne Ridlington, Principal Diana G. Learner & Carolyn J. Simms Eric Alterman, Assistant Principal Dr. Matthew Shapiro & Maylian Pak James Pelley Dale Bradley Kathryn Brunhaver David Chinburg Marion Sweeney, Kate Laue & Cama Evans Ann Grabe Christine Sears* Noah Seitz

David Kruse, Principal David & Paula Pottinger Jonathan Kuhns-Obana** Lydia Van Dreel Duncan & Jane Eyre McDonald Scott King Vacant

BASS Keith Wymer, Principal Forrest Moyer, Assistant Principal Tyler Abbott Rick Carter Richard Meyn Ellis Sprick Greg Nathan∞ Nathan Waddell

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

TROMBONE Henry Henniger, Principal Carson Keeble Vacant

TUBA Michael Grose, Principal

FLUTE

TIMPANI

Kristen Halay, Principal Wendy Bamonte Jill Pauls (Piccolo)

Ian Kerr, Principal

OBOE Kelly Gronli, Principal Anonymous Cheryl Denice Annalisa Morton (English Horn) Peter Gregg

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

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

KEYBOARD Christine Mirabella, Principal

HARP Jane Allen, Principal Laura Maverick Graves Avery Harp Chair

BASSOON

CHORUS DIRECTOR

Benjamin Greanya, Principal Anne Kosanovic-Brown** Daniel Yim** (Contrabassoon) Steve Vacchi (Contrabassoon)∞ Ted & Marie Baker David Hattenhauer

Sharon J. Paul∞ Melissa Brunkan, Acting Chorus Director

CONDUCTING FELLOW Daniel Cho * denotes University of Oregon Graduate Employee ** denotes one-year appointment ∞ denotes leave of absence

Sponsor a musician!

A musician sponsorship is a way for you to connect your passion and your contribution to a specific person or instrument in the orchestra.

Donors who give $1,500 or above annually have the opportunity to be acknowledged as a musician sponsor for the season.

Thank you to those donors you see listed above next to musician names.

Contact the Eugene Symphony Development Department at 541-687-9487 ext. 1110 for more details.

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EUGENE SYMPHONY

ON THAT NOTE

Keith Wymer On That Note introduces a member of the orchestra. This issue features Principal Bass Keith Wymer.

Hometown? Portland, OR What year did you join the orchestra, and how long have you been playing music? I just joined the orchestra this year—2019.

I have been playing music my whole life and started studying the double bass seriously when I was 18.

What made you decide to play your instrument? I started out on the cello in elementary school. I really wanted to play in the jazz band once I got to middle school, so I made the switch to bass. No matter the style of music, I’ve always been drawn to the rhythmic and harmonic foundation provided by the bass.

What do you think some audience members might find surprising about you? After growing up in Portland, I moved to Texas for my undergraduate degree. Coming from the Pacific Northwest it was quite a change of scenery for me, but it was a wonderful experience.

Any interesting pre-performance rituals? Usually just a decent meal and a little warm-up is all I need.

Tell us a fun fact about yourself. I’m a die-hard Indianapolis Colts fan, so I usually try to catch a game on Sundays if I don’t have a concert!

When you’re not playing your instrument(s), what would we most likely find you doing? I really enjoy outdoor activities like hiking, fishing, camping or golfing. I also like spending time in the gym lifting weights, running or playing recreational sports like basketball and volleyball. Quality time with my family is always nice and I also enjoy the occasional poker game with friends.

If you weren’t a musician what would you be? Teaching, Physical Therapy, and Non-Profit Management are all areas that I find interesting.

What is your favorite piece of all time to play and why? Hard to choose just one! Dvorak 7, Brahms 4, Rite of Spring, Mahler 1, and Shostakovich 5 are some favorites of mine. Bach, Beethoven, and Mozart are always a privilege to play.

If you could meet one composer/musician, who would it be and why? J.S. Bach. He’s just such an important figure in classical music and I would love to have a beer with him and chat about life and music.

Where is your favorite place in Oregon and why? Anywhere along the Oregon coast, as I have fond memories of visiting there as a kid. I also really love the many amazing waterfalls found throughout the state.

Red, white, stout, hoppy or other? I’m more of a bourbon guy, although I’ve been known to enjoy a cold Hamms beer from time to time.

Favorite book/movie you’ve read/seen recently?

I’m pretty bad when it comes to keeping up with recent movies. I saw Can You Ever Forgive Me not too long ago and thought it was great.

NOVEMBER 2019 – JANUARY 2020

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Calendar NOV 11

Symphony Happy Hour 5:00 pm Details at eugenesymphony.org/events

NOV 12

Elementary School Youth Concerts:

10:30 am World Beats! & 12:30 pm Sponsored by Marie Jones & Suzanne Penegor and Chvatal Orthodontics

MOZART’S REQUIEM

NOV 13

Symphony Yoga 8:00 am Wild Light Yoga Center

November 14

NOV 14 MOZART’S REQUIEM

Francesco Lecce-Chong, conductor

Anne Ridlington and Eric Alterman, cellos Eugene Symphony Chorus

6:30 pm Guild Concert Preview, Silva Concert Hall

DEC 11

DEC 12 THE “ORGAN” SYMPHONY

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Zachary Blalack–Ameriprise Financial

DEC 9

Symphony Happy Hour 5:00 pm Details at eugenesymphony.org/events

DEC 10

Master class with pianist Aristo Sham 4:00 pm The Studio, lower level of the Hult Center

December 12

Jessica Cottis, conductor Aristo Sham, 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 Roaring Rapids Pizza Company

JAN 20

THE “ORGAN” SYMPHONY

Symphony Yoga 8:00 am Wild Light Yoga Center

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

JAN 21

Master class with violinist Elina Vähälä 4:00 pm The Studio, lower level of the Hult Center

JAN 22

Symphony Yoga 8:00 am Wild Light Yoga Center

JAN 23 BRAHMS AND SIBELIUS

Francesco Lecce-Chong, conductor

Elina Vähälä, violin

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

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Summit Funding

FEB 10

Symphony Happy Hour 5:00 pm Details at eugenesymphony.org/events

FEB 11

Master class with pianist Jeffrey Kahane 12:00 pm Beall Hall, UO School of Music and Dance

FEB 12

Symphony Yoga 8:00 am Wild Light Yoga Center

FEB 13 KAHANE PLAYS BEETHOVEN

Jeffrey Kahane, conductor & 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 Summit Bank

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EUGENE SYMPHONY

FEB 29 LESLIE ODOM, JR.

5:00 pm Special concert with Broadway star Leslie Odom, Jr., Silva Concert Hall

7:00 pm

GALA 2020

Celebrate with dinner, dancing, and a live auction to support Eugene Symphony’s onstage, music education, and community engagement programs, Graduate Eugene

MAR

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

MAR 16–19 MAR 17

Residency with Matt Browne First Symphony Project composer

APR 20

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

APR 21

Master class with violist Roberto Díaz 4:00 pm The Studio, lower level of the Hult Center

APR 22

Symphony Yoga 8:00 am Wild Light Yoga Center

APR 23 C3: CONNECTION / BEETHOVEN’S FIFTH

Francesco Lecce-Chong, conductor

Roberto Díaz, viola #instaballet in partnership with Jordan Schnitzer Museum of Art

Elementary School Youth Concerts:

10:30 am The Orchestra Sings & 12:30 pm Sponsored by Marie Jones & Suzanne Penegor

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

7:30 pm Symphonic series concert, Silva Concert Hall

APR 26 FAMILY CONCERT: PETER AND THE WOLF

4:00 pm Master class with pianist Daniel Hsu

The Studio, lower level of the Hult Center

MAR 18

Symphony Yoga 8:00 am Wild Light Yoga Center

MAR 19 C3: CREATIVITY / RACHMANINOV’S SECOND Francesco Lecce-Chong, conductor

Daniel Hsu, 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 Comfort Flow Heating

BRAHMS AND SIBELIUS January 23

Francesco Lecce-Chong, conductor

1:30 pm Soreng Theater & 3:30 pm Instrument Petting Zoo and other family friendly activities precede each performance Sponsored by Delta Sand & Gravel

MAY 11–14 MAY 11

Residency with Joshua Roman Residency activities with cellist Joshua Roman

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

MAY 12

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

MAY 13

Symphony Yoga 8:00 am Wild Light Yoga Center

MAY 14 C3: COMMUNITY / BOLERO Francesco Lecce-Chong, conductor

Joshua Roman, cello

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

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Oregon Neurosurgery

MAY 30 BEN FOLDS + SYMFEST

Francesco Lecce-Chong, conductor Ben Folds, piano and vocals

4:45 pm Pre-concert festivities including beer and wine tastings, food carts, and live music (additional entrance fee required) Sponsored by Bigfoot Beverages

7:30 pm Special concert with singer-songwriter Ben Folds

9:30 pm Post-concert dance party in the Lobby and jazz lounge by The Jazz Station in Soreng Theater All Master Classes, Residency Activities, and Guild Concert Previews are free and open to the public.

NOVEMBER 2019 – JANUARY 2020

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Serving Eugene Symphony Since 2002

YOUR SPECIALIST FOR BRACES OR INVISALIGN

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EUGENE SYMPHONY

YOUTH CONCERT — NOV 12

World Beats!

Eugene Symphony Francesco Lecce-Chong, conductor | Anne Ridlington and Eric Alterman, cellos Tuesday, November 12, 2019 10:30 AM & 12:30 PM | Silva Concert Hall, Hult Center

Johannes Brahms (1833–1897)

Hungarian Dance No. 5

Gustav Holst (1874–1934)

St Paul’s Suite, Op. 29 I. Jig: Vivace

Manuel de Falla (1876–1946)

El sombrero de tres picos (The Three-Cornered Hat): Suite No. 2 IV. Danza final (Jota)

Antonio Vivaldi (1678–1741)

Concerto for Two Cellos in G minor, RV 531 III. Allegro Anne Ridlington and Eric Alterman, cellos

Reinhold Glière (1875–1956)

Russian Sailors’ Dance from The Red Poppy

Nikolai Rimsky-Korsakov (1844–1908)

Scheherazade Excerpt from Mvt IV: The Festival at Baghdad

Traditional

Yangko Folk Dance

Roberto Sierra (b. 1953)

Sinfonía No. 3, “La Salsa” Excerpt from Mvt I: Tumbao

Scott Joplin (1868–1917) arr. Gunther Schuller

Maple Leaf Rag

Aaron Copland (1900–1990)

Hoe-Down from Rodeo

Youth Concert Season Sponsors

Marie Jones and Suzanne Penegor

Concert Sponsor

Education Program Support

NOVEMBER 2019 – JANUARY 2020

Support Hult Operations (SHO)

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18

EUGENE SYMPHONY

SYMPHONIC III — NOV 14

Mozart’s Requiem Eugene Symphony Francesco Lecce-Chong, conductor | Anne Ridlington and Eric Alterman, cellos Hélène Brunet, soprano | Emily Marvosh, mezzo-soprano | Lawrence Wiliford, tenor | Kevin Deas, bass Eugene Symphony Chorus | Dr. Melissa Brunkan, Acting Chorus Director Thursday, November 14, 2019 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | Silva Concert Hall, Hult Center Antonio Vivaldi (1678–1741)

Concert for Two Cellos in G minor, RV 531 I. Allegro II. Largo III. Allegro Anne Ridlington and Eric Alterman, cellos

Jessie Montgomery (b. 1981)

Records from a Vanishing City

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

Wolfgang Amadeus Mozart (1756–1791) Completed by Robert Levin (b. 1947)

Requiem, K.626 I. Introitus Requiem Kyrie II. Sequenz Dies irae Tuba mirum Rex tremendae

Recordare Confutatis Lacrimosa Amen III. Offertorium Domine Jesu Hostias

IV. Sanctus Sanctus Benedictus V. Agnus Dei Agnus Dei Lux aeterna Cum sanctis tuis

Hélène Brunet, Emily Marvosh, Lawrence Wiliford, Kevin Deas Eugene Symphony Chorus

Tonight’s concert is dedicated to Laura Avery, former Board member and arts advocate who provided an Endowment gift in 2006 to support our series of master classes, which has since been called the Laura Avery Visiting Masters program.

We also acknowledge the passing of Nathan and Marilyn Cammack, who were both music educators in our area for more than three decades. Nathan also played with the orchestra for 30 years, from 1982–2012.

Concert Sponsor

Guest Artist Sponsor

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, December 10, 2019 at 10 a.m.

Broadcasts underwritten in part by Kernutt Stokes.

NOVEMBER 2019 – JANUARY 2020

19

Mozart’s Requiem

Program Notes

by Tom Strini ©2019

ANTONIO VIVALDI (1678–1741) Concerto for Two Cellos in G minor, RV 531 (c. 1710)

SCORED: In addition to the solo cellos, this work is scored for harpsichord and strings.

Vivaldi wrote just one concerto for two cellos. Scholars have not pinned down an exact date of composition, but it probably comes from the 1720s. He almost certainly wrote for the girls’ orchestra at the Pio Ospedale della Pietà, the Venice orphanage where Vivaldi served as music director on and off from 1703 to 1740.

The orchestra’s frequent public concerts earned important income for the city-funded orphanage. The orchestra also gave Vivaldi a platform for displaying his extraordinary violin skill and for experimenting with musical forms and effects.

HISTORY: This is the first Eugene Symphony performance.

LOOK for Music Director & Conductor Francesco Lecce-Chong’s graceful transitions from conducting to playing the harpsichord and back again as he and the strings accompany cello soloists Anne Ridlington and Eric Alterman in Vivaldi’s Concerto for Two Cellos.

This rarely performed gem of a concerto features speedy outer movements in ritornello form (in which solo episodes separate recurrences of a principal theme) and an exquisite, central slow movement. Baroque composers rarely showcased cello virtuosity, but Vivaldi assigned the instrument passages of breathtaking speed, close imitation, and rapid-fire exchanges.

“I’ve never performed this concerto, but I have taught students the first two movements,” said Anne Ridlington, featured with Eric Alterman in the concerto. “They love the first movement because it’s so rhythmic and kind of rock’n’roll. The interplay between the two cellos is fun. Sometimes Eric and I copy each other exactly, sometimes we duet, sometimes we interrupt and overlap. We’ve chosen to match some bowings and styles to each other, but at times we play as separate characters.

Why have two cellos if you play identically?”

DURATION: Approximately 10 minutes.

JESSIE MONTGOMERY (b. 1981) Records from a Vanishing City (2016) Imagine a dream in which you walk down a narrow urban lane. Music drifts from every apartment window and shop doorway. The singing and playing and maybe a Miles Davis LP on someone’s record player envelop you. Some of the players listen and respond. Some go their own ways. The sound world around you changes as you walk, as voices rise and fade with proximity. As you turn the corner at the end of the block, the ensemble emits a mysterious harmony that ends the journey without quite bringing closure.

Jessie Montgomery’s 14-minute Records from a Vanishing City is like that. We journey through sonic regions: Murmuring strings beneath a smooth, gentle tune in the horns lead to a pensive oboe song. An interlude for two violas connects to a faster, rhythmically active orchestral elaboration of the viola material. This build-up of mass and momentum evaporates into the stillness of a pair of spectral, widely spaced chords.

The ensuing night music features a gorgeous for bassoon. A Miles Davis-inspired muted trumpet builds on that solo. A clarinet wails. A hymn tune emerges. All of it blends and builds to a climax, which quickly subsides. Flute and bassoon recall, without exactly quoting, the viola duet heard earlier. Other voices swirl around them, like eddies near the banks of a stream.

All come to rest in another set of fantastical chords that end the piece with the poignancy of a fading cherished memory.

And now, the composer’s own program note: “Records from a Vanishing City is a tone poem based on my own recollection of the music that surrounded me growing up on Manhattan’s Lower East Side in the 80s and 90s. Artists, truth seekers and cultures of all kinds defined our vibrant community. The embracing diversity burst out with an effortless

”The completion of the Mozart Requiem this evening is based on the close collaboration between Helmuth Rilling, founding Artistic Director of the Oregon Bach Festival and one of the most beloved conductors in

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Eugene’s history, and one of the greatest Mozart scholars, Robert Levin.

One of my great disappointments is not hearing Rilling at the Oregon Bach Festival before I came to Eugene, but bringing his Mozart Requiem back

EUGENE SYMPHONY

PROGRAM NOTES — NOV 14

everydayness in block parties, festivals and shindigs of every sort. Partly because my parents were artists, but also because I just couldn’t help it, I soaked up what surrounded me: Latin jazz, alternative rock, Western classical, avant-garde jazz, poetry and Caribbean dance music, to name a few.

“A year before completing this work, a very dear family friend passed away, and it was decided that I would be the one to inherit a large portion of his eclectic record collection. James Rose was one of the many suns in the Lower East Side cosmos who often hosted parties and generous gatherings for our extended artist family. His record collection was a treasure trove of the great jazz recordings of the 50s, 60s and beyond—he was mad for John Coltrane, but also Miles Davis, Thelonious Monk and-and-and— as well as traditional folk artists from Africa, Asia, and South America. In the process of imagining the music for tonight’s concert, a specific track on a record of music from Angola caught my ear: a traditional lullaby which is sung in call and response by a women’s chorus. This lullaby rang with an uncanny familiarity in me. An adaptation of this lullaby and the rhythmic chant that follows it appears in each of the three main sections of Records.

This piece is dedicated to the memory of James Rose.”

SCORED: Scored for flute, one oboe, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

HISTORY: This is the first Eugene Symphony performance.

DURATION: Approximately 14 minutes.

WOLFGANG AMADEUS MOZART (1756–1791) Requiem, K.626 (1791) Completed by Robert Levin (b. 1947) in 1994 You know Amadeus, the 1991 movie—the one where the dying Mozart, perhaps poisoned by his rival Salieri, lives in a fever dream while frantically composing a Requiem for a mysterious patron?

Good film. But it’s only a movie.

History it’s not. Salieri admired Mozart and certainly did not poison him. Mozart knew his commissioner, one Count (Continued on page 22)

to our community is my small way of honoring the remarkable impact he had on the arts here.”

— Francesco Lecce-Chong

NOVEMBER 2019 – JANUARY 2020

Antonio Vivaldi served as music director of Venice orphanage (at top) Ospedale della Pietá, seen in this 17th-century illustration showing the building as it looked in 1715. The music of John Coltrane and Thelonius Monk (at middle) and other great jazz artists inspired Jessie Montgomery’s composition, Records from a Vanishing City. Pianist, conductor, and musicologist Robert Levin (at bottom) completed Mozart’s Requiem in honor of the 200th anniversary of the composer’s death.

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PROGRAM NOTES — NOV 14

Mozart’s Requiem (Continued from page 21) Franz von Walsegg, who wanted to keep the commission secret because he liked to claim authorship of works he’d bought from others. Mozart had been writing the Requiem—along with several other pieces—since summer. He was in good health until he took to his bed, on Nov. 20, 1791.

He died on Dec. 5. Mozart left behind a complete, orchestrated Introit and detailed drafts for the Kyrie, the Offertory, and five sections of the Dies Irae sequence. He got just nine bars into the sixth, the Lacrimosa.

LISTEN to Second Trombone Carson Keeble’s beautiful solo in the Tuba mirum section of Wolfgang Amadeus Mozart’s Requiem. It is one of the most renowned among the prominent orchestral parts for that instrument.

Mozart’s widow, Constanze, immediately started securing her late husband’s reputation and financial control over his music, starting with the Requiem. She charged Franz Xaver Süssmayr, a student of Mozart, with completing it. She also arranged for a memorial performance, in part to head off any authorship claims Walsegg (who, by the way, paid the full commission for the Süssmayr completion) might make.

Süssmayr duly delivered orchestrations of Mozart’s detailed sketches and about 10 minutes of new music. He said at the time that he’d built it on “scraps of paper” in Mozart’s hand, but later claimed to have entirely made up the Sanctus and Agnus Dei. Süssmayr’s version was the completion for a couple of centuries.

Then came Robert Levin, the brilliant Harvard scholar, theoretician and keyboard virtuoso. He celebrated the 200th anniversary of Mozart’s death with his completion of the Requiem, commissioned by Helmuth Rilling, Oregon Bach Festival’s founding Artistic Director.

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“I grew up with Süssmayr’s version, and like many musicians, I have a nostalgic and emotional connection to it,” Lecce-Chong said. “But it has obvious problems. Conductors always make quick fixes for the things that annoy them the most. We know that Mozart wrote only about 25% of what we actually hear. And we know that Süssmayr was not a good composer and that he completed the Requiem under great time pressure.”

Lecce-Chong said that Levin corrected voice leadings in Süssmayr’s parts and eliminated mindless orchestral doublings of choral parts. “Mozart never did the obvious thing,” LecceChong said, “and no one knows that better than Robert Levin.”

Lecce-Chong believes that Levin’s biggest contribution is the Amen fugue that concludes the Lacrimosa.

“Mozart gave us just eight bars of Lacrimosa,” he said. “But they are the most stunning eight bars he left us. Süssmayr did a pretty good job of completing the piece. But when he got to the end, it was ‘Ah-MEN’ and done.”

Levin knew that a grand fugue typically ended each major section of masses in Mozart’s time. A tiny fragment of Mozart’s Lacrimosa Amen had turned up in the 1960s. Levin drew on that to create an Amen fugue for the Lacrimosa.

“Süssmayr wasn’t good enough to write such a fugue,” LecceChong said. “Levin’s Lacrimosa fugue gives necessary closure to the Dies Irae sequence and the impetus to move on. This is just one example of how Levin’s alterations and corrections have elevated our experience of this work on every level—musically, emotionally, and spiritually.”

SCORED: Scored for two clarinets, two basset horns, two bassoons, two trumpets, three trombones, timpani, and strings.

HISTORY: First performed by the Eugene Symphony, in this same completion by Robert Levin, in April 2003 under the direction of Giancarlo Guerrero, and last performed, in the completion by Franz Süssmayr, in March 2012 under the direction of Danail Rachev.

DURATION: Approximately 46 minutes.

EUGENE SYMPHONY

GUEST COMPOSER — NOV 14

Jessie Montgomery Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world by leading musicians and ensembles.

Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful and exploding with life” (The Washington Post).

Jessie Montgomery is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, and her works are performed frequently around the world.

Montgomery was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents—her father a musician, her mother a theater artist and storyteller—were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Montgomery has created a life that merges composing, performance, education, and advocacy.

Since 1999, Montgomery has been affiliated with The Sphinx Organization, which supports young African-American and Latinx string players. She currently serves as composer-inresidence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She was a two time laureate of the annual Sphinx Competition and was awarded a generous MPower grant to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization.

Her growing body of work includes solo, chamber, vocal, and orchestral works. Recent highlights include Five Slave Songs (2018) commissioned for soprano Julia Bullock by the Metropolitan Museum of Art, Records from a Vanishing City (2016) for the Orpheus Chamber Orchestra, Caught by the Wind (2016) for the Albany Symphony and the American Music Festival, and Banner (2014)—written to mark the 200th anniversary of The Star-Spangled Banner—for The Sphinx Organization and the Joyce Foundation.

This season new commissioned works will be premiered by the Orpheus Chamber Orchestra, the National Choral Society, and ASCAP Foundation. Montgomery is also teaming up with composer-violinist Jannina Norpoth to reimagine Scott Joplin’s opera Treemonisha. Additionally, the Philharmonia Orchestra, Atlanta Symphony, Dallas Symphony, Minnesota Orchestra, and San Francisco Symphony will all perform Montgomery’s works.

The New York Philharmonic has selected Montgomery as one of the featured composers for their Project 19, which marks the centennial of the ratification of the 19th Amendment, granting equal voting rights in the U.S. to women. Other forthcoming works include a nonet inspired by the Great Migration, told from the perspective of Montgomery’s great-grandfather William McCauley and to be performed by Imani Winds and the Catalyst Quartet; a cello concerto for Thomas Mesa jointly commissioned by Carnegie Hall, New World Symphony, and The Sphinx Organization, and a new orchestral work for the National Symphony.

Montgomery began her violin studies at the Third Street Music School Settlement, one of the oldest community organizations in the country. A founding member of PUBLIQuartet and currently a member of the Catalyst Quartet, she continues to maintain an active performance career as a violinist appearing regularly with her own ensembles, as well as with the Silkroad Ensemble and Sphinx Virtuosi.

Montgomery’s teachers and mentors include Sally Thomas, Ann Setzer, Alice Kanack, Joan Tower, Derek Bermel, Mark Suozzo, Ira Newborn, and Laura Kaminsky.

She holds degrees from the Juilliard School and New York University and is currently a Graduate Fellow in Music Composition at Princeton University.

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GUEST ARTISTS — NOV 14

Eric Alterman and Anne Ridlington Cellist Eric Schatz Alterman has led a varied musical life that has spanned continents and roles as a chamber musician, orchestral performer, and soloist. Residing in Rio de Janeiro, he performed for five years as a section cellist and assistant principal in the Orquestra Sinfônica Brasileira. Currently based in Oregon as cellist of the Delgani String Quartet, considered by Oregon Arts Watch “the state’s finest chamber ensemble,” he has appeared in performances and concert series throughout the state and beyond, including appearances at New York’s Metropolitan Museum of Art and Prague’s Charles University. Alterman serves as Assistant Principal Cellist of the Eugene Symphony and member of the Oregon Mozart Players, and has performed with the Oregon Bach Festival, Britt Festival Orchestra, Chamber Music Amici, and the Shedd Institute Microphilharmonic.

His recitals have been featured at the University of Oregon, Oregon State University, the Rio de Janeiro International Cello Encounter, and the Federal University of Rio de Janeiro.

Alterman grew up in New York City, where he began music studies at a young age at the Mannes College of Music. Going on to receive Bachelors and Masters degrees at Brandeis University and Boston University, he studied cello with former and current Lydian Quartet members, Rhonda Rider and Joshua Gordon, and the late Vermeer Quartet cellist Marc Johnson. Eric has consistently explored and pursued other genres of music since his college days performing, arranging, and composing in an Arabic music ensemble. In Rio he was a frequent performer of bossa nova at Copacabana’s famed music bar, Bip Bip.

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Anne Ridlington has been a member of the Eugene Symphony since 2007. She has been principal cellist since 2013. Ridlington performed Haydn’s D Major cello concerto with the symphony in 2014. She also has performed the Beethoven Triple concerto, Haydn’s C Major cello concerto and the Bloch Schelomo with the Corvallis-OSU Symphony in Corvallis.

Ridlington is principal cellist of the Corvallis-OSU Symphony and teaches cello at Oregon State University. She has a private cello studio for students of all ages at her home, as well at a position teaching violin, viola, and cello to group classes at a local Corvallis grade school.

A Corvallis native, Ridlington started her musical studies early, first taking violin lessons with Peg Varvel and Aida Baker, and later cello, with Nancy Sowdon and Hamilton Cheifetz of Portland. She spent many years playing in local youth orchestras under the direction of Sowdon, Penelope Wolff, and Charles Creighton. Ridlington earned her Bachelor of Music in cello performance at Indiana University School of Music, where she studied primarily with Tsuyoshi Tsutsumi but also took lessons with Helga Winold, Emilio Colón, and Janos Starker. She spent a year playing in the Lübeck Philharmonic Orchestra in Germany, and a year in Santa Barbara, CA, playing on the sidewalk for tourist dollars.

In the summer months, Ridlington performs with the Chintimini Chamber Music Festival and teaches at several chamber music camps.

EUGENE SYMPHONY

GUEST ARTISTS — NOV 14

Hélène Brunet soprano

Emily Marvosh mezzo-soprano

Canadian soprano Hélène Brunet is hailed by the critics as “a singer of tremendous quality” with “a voice of perfect beauty” and “sincere expression.” Recognized for her interpretations of the works of Bach, Handel, and Mozart, her repertoire extends from Baroque to the music of the 20th and 21st centuries.

Brunet has performed with American Bach Soloists in San Francisco, American Classical Orchestra at the Lincoln Center, the Seattle Baroque Orchestra and the Pacific Baroque Festival, the Calgary Philharmonic Orchestra, Columbus Symphony Orchestra, Toronto’s Tafelmusik Baroque Orchestra, and I Musici de Montréal. Distinctions include the Johannes Somary Award at the Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, an Opus Prize for the baroque Concert of The Year with ensemble Caprice and her performance as Abra in Vivaldi’s Juditha Triumphans, and a Juno Award for the Classical Vocal Album of the Year (2016), Las Ciudades de Oro. Brunet recently sang in Lully’s Persée in Toronto and on tour at the Royal Opera House of the Château de Versailles with the famed Opera Atelier.

Contralto Emily Marvosh has been gaining recognition for her “plumwine voice,” and “graceful allure,” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society. Recent appearances include American Bach Soloists, Washington National Cathedral, Charlotte Symphony, Tucson Symphony Orchestra, Chorus Pro Musica , Landmarks Orchestra, and Brookline Symphony, among others.

Awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions, and second place in the New England Regional NATSAA competition.She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. Marvosh can be heard on two GRAMMY®-nominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. She holds degrees from Central Michigan University and Boston University.

Lawrence Wiliford tenor

Kevin Deas bass

Lauded for his luminous projection, lyrical sensitivity, and brilliant coloratura, American-Canadian tenor Lawrence Wiliford is in high demand. Recently he performed Mozart’s Requiem with the Hamilton Philharmonic and ProMusica Chamber Orchestra, Vaughan Williams’ Serenade to Music with Toronto Symphony Orchestra, Handel’s Messiah with Phoenix Symphony, and Bach’s St John Passion with Grand Philharmonic Choir. Wiliford holds a Bachelor of Music from St. Olaf College and a Master of Music in vocal performance from the University of Toronto. Wiliford is co-artistic director of the Canadian Art Song Project. Born in Muskegon, MI, he joined the American Boychoir School in Princeton, NJ, at the age of 10. At St. Olaf College, he sang with the St. Olaf Choir, became a published choral arranger, and was one of the founding members of the male vocal chamber ensemble Cantus. Wiliford has recorded St. John Passion with Les Voix Baroques and the Arion Chamber Orchestra, and his debut solo recording Divine Musick: The Late Works for Tenor and Harp by Benjamin Britten, on the ATMA Classique and NAXOS labels.

Kevin Deas has gained international renown as one of America’s leading bass-baritones, most acclaimed for his signature portrayal of the title role in Porgy and Bess with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, and Pacific Symphony. Recent performances include Beethoven’s Symphony No. 9 with Orquesta Sinfonica de Mineria and Buffalo Philharmonic, Elgar’s Dream of Gerontius with National Symphony Orchestra of Mexico, Bach’s St. John Passion with Louisiana Philharmonic, and Verdi’s Requiem with National Philharmonic. A strong proponent of contemporary music, Deas was heard at Italy’s Spoleto Festival in a new production of Menotti’s Amahl and the Night Visitors in honor of the composer’s 85th birthday. Other releases include Bach’s Mass in B Minor and Handel’s Acis and Galatea (Vox Classics); Dave Brubeck’s To Hope! with Cathedral Choral Society (Telarc). Dvorák in America (Naxos) features Deas in the world premiere recording of Dvorák’s “Hiawatha Melodrama” and the composer’s own arrangement of “Goin’ Home” with the PostClassical Ensemble.

NOVEMBER 2019 – JANUARY 2020

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GUEST ARTISTS — NOV 14

Dr. Melissa C. Brunkan Acting Chorus Director

Eugene Symphony Chorus

An active clinician, conductor, and vocal pedagogue, Dr. Melissa C. Brunkan is currently Assistant Professor of Vocal/Choral Music Education at the University of Oregon where she conducts the University Singers choir—a 70-voice, auditioned group of undergraduate and graduate singers—and teaches courses on conducting, vocal pedagogy, choral teaching methods, and teaching in higher education. She holds degrees from the University of Minnesota, Northwestern University, and The University of Kansas.

For the past 25 years, Brunkan has been an active conductor and clinician, taught a wide range of singers in her private voice studio, and served as musical director with intergenerational theater companies. Brunkan has sung and conducted professionally with choirs and churches as well as opera and theater companies throughout the U.S., such as the Minnesota Chorale, Florentine Opera Company, the Twin Cities Women’s Chorus, and New Venture Theatre.

In recent years, she founded a community choir for adults with intellectual disabilities, a community children’s choir for children experiencing poverty, and an online choir for caregivers of children with chronic illness. Her choirs have sung with artists and conductors from countries such as China, Venezuela, and Indonesia, performing in various venues from the Minnesota State Capitol to the Kennedy Center. As a singing voice specialist serving patients of otolaryngologists in several states, she has worked with a variety of singers, speakers, performers, actors, and artists, focusing on voice habilitation and rehabilitation.

Prior to her work at the university level, Brunkan taught and conducted singers in public and private schools in the Minneapolis/St. Paul, Milwaukee, Kansas City, Baton Rouge, and Chicago areas, teaching students from pre-K through adult with an emphasis on secondary choral/vocal music. A highlight of K–12 teaching included founding a choral/vocal music program at an interdisciplinary arts middle school with a creation-based, conceptual curriculum focusing on collaborative projects with artists and musicians from many global traditions.

As a part of her university work, she is an active researcher specializing in choral conducting, choral/vocal pedagogy, lifespan vocal pedagogy, singers with medical conditions affecting the voice, conductor gesture and behaviors, and the adolescent voice. She has presented research at regional, national, and international venues in Scotland, Greece, Brazil, Newfoundland, and Greece. Her work is published in various journals including Journal of Research in Music Education, International Journal of Research in Choral Singing, and The International Journal of Music Education: Research.

Soprano

Alto

Tenor

Jody Anderson

Louise Bishop

Wayne Amondson

Kathy Aprill

Virginia Bopp

Bernard Bopp

Kathy Barnes

Naomi Castro

Dianne Dugaw

Amie Brecheisen

Barbara Clauson

Patrick Hosfield

Leah Burian

Jean Cottel

Ransom Hovekamp

Brooke Cagno

Paula Ellister

Brian Hughes

Robin Chinburg

Margaret Essenberg

Jason Johnson

Leah Dodrill

Shira Fadeley

Carson Lott

Kasey Eck

Catherine Harris

Easton Marks

Carey Garber

Wendy Harshbarger

Ryan Moser

Erica Gingerich

Lisa Johnson

Bernie Robe

Camille Haakanson

Audrey Lewis

Bailey Halleen

Jill Liberty

Diane Hawley

Paula Litchfield

Christine Hinrichs

Kathryn Madden

Terri Homer

Milaan Moses

Tasker Houston

Natalie North

Wisteria Kang

Laura M. Ohanian

Emma Lynn Abrams

Sue Palsbo

Susannah Manton

Laura Parker

McKenzie Messer

Caroline Passerotti

Sharon Skidmore

Pauline Rughani

Sarah Smaw

Annie Sampson

Alice Somerville

Suzanne Shapiro

Karen Stingle

Marjorie Sheiman

Alayne Switzer

Christina Sjoblom

Allie Thompson

Jamie Smith

Sandra Weingarten

Irene Sogge

Anne Wythington

Heidi Von Brockdorff

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Alyssa Warnick-Hesse Ingrid Wendt

Bass David Bersch Jeffrey Boen John Bredesen Ben Brown Dylan Bunten Don Campbell Loren Crow Adam DeVries Jim Dotson John Henzie Jon Hofmeister Mark King John Kline Jim Kolstoe Matt Laubach Brad Litchfield Richard Litchfield Roger Ludeman Scott Manton Rod Morris David Paulson Marc Shapiro

EUGENE SYMPHONY

NOVEMBER 2019 – JANUARY 2020

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ALICE IN WONDERLAND

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FEB 8–9, 2020 Hult Center

TICKETS $25 – $60, College/ Youth $15 subject to availability | eugeneballet.org | 541-682-5000 | Hult Center Box Office PERFORMANCE SPONSORS/SUPPORT

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Nils and Jewel Hult Endowment – Arts Foundation of Western Oregon Fund of The Oregon Community Foundation

PERFORMANCE SPONSORS

EUGENE SYMPHONY

You are cordially invited to our 1st Annual FALL NON-EVENT Instead of going out, spend an evening at your leisure NOT getting dressed up, NOT being stuck in traffic, and NOT bidding on items you probably don’t need.

The Eugene Symphony Guild’s mission is to raise money for the Eugene Symphony and its outstanding concerts and youth education programs.

Our signature spring event Music in the Garden provides only a portion of our annual contribution.

Our NON-EVENT fundraising goal is $7,000.

Save the money you would have spent on an evening and donate to our NON-EVENT! All funds support Eugene Symphony, now in its 54th season.

GIVE YOURSELF A HAND! We applaud your support of your Eugene Symphony Guild.

Visit eugenesymphonyguild.org today! Questions? Call Ginger at 760-550-0515.

Eugene Symphony Guild is a 501(c)(3) tax exempt organization. Eugene Symphony Guild is a member of the Oregon Cultural Trust.

NOVEMBER 2019 – JANUARY 2020

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KEY OF E[DUCATION]

First Symphony Project & Composer Matt Browne’s Residency

By Katy Vizdal, Education & Community Engagement Director Composer Matt Browne is the Eugene Symphony’s first composer-in-residence as part of our “First Symphony” project, an ambitious four-year endeavor in partnership with the Santa Rosa Symphony that will support and celebrate brand new longform orchestral work by four modern American composers.

The first of its kind nationwide, the project is co-commissioned by the Eugene Symphony, the Santa Rosa Symphony, and nine patron households, including Francesco Lecce-Chong—who serves as Music Director & Conductor of both Eugene Symphony and Santa Rosa Symphony. Lecce-Chong’s goal of the project is to shift the commissioning paradigm to a process that is both collaborative and interactive between the commissioners, performers, composers, and their communities.

“The classical music art form relies on the creative vision of today’s composers,” says Lecce-Chong. “In the large-scale form of a symphony, these composers will be able to create a musical world that is both deeply personal and powerfully universal, all the while bringing new creations for classical music lovers to enjoy for generations to come.”

Composers will write their first symphony, each to be worldpremiered between the two symphony orchestras over the next four years. In addition to the symphonic length work, additional shorter compositions by each composer will also be included in the Eugene Symphony’s repertoire. Eugene Symphony will premiere the first of the four symphonies in March 2020. Browne’s Barnstorming Season was featured on the October 17 program.

Increasing the scope of the project, each of the composers will be Composer-in-Residence during the week of their performances, participating in community engagement and

music education outside the concert hall. Lecce-Chong believes “the importance and impact of these projects go far beyond the concert hall and each organization. The multiple residencies within our local communities will allow us to not only celebrate these new creations, but also bring us closer to their creators and the meaning behind their music.”

Browne states, “Often times composers are pushed off into the background only to emerge for their bow at the end of performances. What makes engagement with the community so important for us is to show that composers/artists are real people. We can lift that veil of mystery about the arts and engage with students who may be interested in composing themselves, or maybe even people who may not know that people are composing music still today. For me, it’s all about demystifying the career of a musician/composer, and showing students in particular the A-to-B path in simple terms, to show that anyone can do it with the right work ethic.”

Browne made a big impact during his first residency week in October. In the days leading up to the performance of Barnstorming Season, he had a whirlwind week connecting with our community through visits to local schools, the University of Oregon, and the Eugene-Springfield Youth Orchestras. At our monthly Symphony Happy Hour, he shared music he’s inspired by for a packed house and led a special Listening Party at Farmers Union Coffee Roasters in downtown Eugene.

During Browne’s first residency week, he was able to meet with our community partners and establish relationships that will develop over the year, culminating with projects and performances during his final residency week in March 2020.

We’re looking forward to several notable partnerships, including:

Composer-in-residence Matt Browne connects with University of Oregon Director of Bands Dennis Llinás (bottom left); Eugene-Springfield Youth Orchestras Youth Symphony (bottom center); Thurston High School School Band Director Tim Vian (bottom right); and Thurston High School Wind Ensemble (opposite page).

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EUGENE SYMPHONY

“ What makes engagement with the community so important for us is to show that composers/artists are real people. We can lift that veil of mystery about the arts and engage with students who may be interested in composing themselves, or maybe even people who may not know that people are composing music still today.”

— Matt Browne, Composer-in-Residence • Thurston High School’s Wind Ensemble will perform Browne’s work Eclipse in March 2020 as part of their concert band program and at district festivals. Browne spoke with 33 Thurston music students about his music and life as a professional composer.

• Academy of Arts and Academics students will write compositions inspired by Stravinsky’s L’Histoire du soldat (The Soldier’s Tale) with narration by Kurt Vonnegut, as part of a mentored composition project with Browne this school year.

Students’ pieces will be performed in a public setting during Browne’s residency week in March 2020.

• Seven University of Oregon Composition students* will write new pieces of music as part of a mentored composition project with Browne. Compositions will be performed in the spring in a public master class setting, receiving feedback directly from Browne at the event. During his first residency week, Browne gave a talk at the Oregon’s Composers Forum to 20 students.

• The University of Oregon’s Wind Ensemble* will perform Browne’s work Termite Terrace in March 2020 as part of their concert band program at Beall Hall. *These two engagements are made possible through a collaboration with the University of Oregon’s School of Music and Dance and the generous support of the Boekelheide Endowment Grant.

NOVEMBER 2019 – JANUARY 2020

When Browne reflected on what he is most excited about after his first residency week in Eugene, he shared, “It’s so hard to narrow down everything I’m excited for. Speaking to the Thurston High School students about composing and my piece Eclipse they are performing was a thrill, working with the UO composers will also be fantastic, and hearing the UO wind ensemble tackle Termite Terrace will be a hoot. If I have to choose, I’d say what I’m most excited for is the project we are working on with the Academy of Arts and Academics. Each student in the class will be taking a segment from Stravinsky’s L’Histoire du Soldat and recomposing it utilizing Kurt Vonnegut’s rewritten libretto. They will each be using whatever style they feel their segment calls for, and we will have a performance of this when I return in March.”

Browne reflected on his first residency week in Eugene fondly and commented on how warm and energetic the community here is. “Every time I was invited to speak there were great questions and interested people. It is clear that this town loves their symphony, and is hungry for new things. I’m very excited to bring my symphony back in a couple months.”

When asked if there was anything he wanted included in this article, he smiled and said, “Go Ducks!”

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EUGENE SYMPHONY

SHOP DINE PLAY STAY

SOCIETY Ensure your love and legacy of music for generations Join the Encore Society by including the Eugene Symphony in your estate plan.

“My wife and I love the Eugene Symphony and have been devoted fans and supporters since 1981. To ensure our support endures long after we are gone, we made sure the Symphony Endowment was in our estate plans.

We want the legacy of excellence, joy, and vibrancy that this orchestra provides to the region to play on!”

— DR. RAY AND LIBBY ENGLANDER, Encore Society members

For more information, visit EUGENESYMPHONY.ORG/ENCORE Or contact Lindsey McCarthy at 541-687-9487 x1104 or lindsey.mccarthy@eugenesymphony.org

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EUGENE SYMPHONY

SYMPHONIC IV — DEC 12

The “Organ” Symphony Eugene Symphony Jessica Cottis, conductor | Aristo Sham, piano Thursday, December 12, 2019 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Hector Berlioz (1803–1869)

Le Corsaire Overture, Op. 21

Sergie Prokofiev (1891–1953)

Piano Concerto No. 3 in C Major, Op. 26 I. Andante – Allegro II. Andantino III. Allegro ma non troppo Aristo Sham, piano

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

Camille Saint-Saëns (1835–1921)

Symphony No. 3 in C minor, Op. 78, “Organ” PART I Adagio – Allegro moderato Poco adagio PART II Allegro moderato – Presto Maestoso – Allegro

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Broadcasts underwritten in part by Kernutt Stokes.

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The “Organ” Symphony HECTOR BERLIOZ (1803–1869) Le Corsaire Overture, Op. 21 (1844, rev. 1852) Hector Berlioz lived life as a drama and cast himself as its tragic, poetic hero, one struggling toward truth and beauty amid a crude and uncomprehending society. That is, Berlioz was the quintessential Romantic.

What went on in that life at the time Berlioz composed Le Corsaire? For one, his marriage to actress Harriet Smithson had run aground. He had fallen madly in love with her upon seeing her play Ophelia in Hamlet. He composed the Symphonie fantastique with her in mind—before he’d even met her. His fevered pursuit of his idealized inamorata eventually resulted in marriage, with predictable results. Things go awry when Romantic fantasy meets everyday reality.

Berlioz retreated from Smithson and Paris to seaside Nice, in lodgings near a lookout tower high on Ponchettes Rock. The view inspired fantasies of piratical, Harriet-free life on the high seas.

These fantasies took musical form in the present concert overture.

The Tower of Nice, the first title, soon gave way to Le Corsaire Rouge, after the seafaring novel by James Fennimore Cooper.

After revising the overture in 1852, Berlioz installed the current title. It refers to Lord Byron’s 1814 epic poem about a Romantic hero who takes to piracy out of sheer existential alienation.

Guest conductor Jessica Cottis thinks Berlioz got it right with the last title: “From the two cracking opening chords and an immediate deluge of notes from the strings, this work bursts with restless energy. This is Byron in an overture. In one word: swashbuckling.”

The overture is a stand-alone concert piece with no ties to opera, ballet or theater, but it’s nonetheless dramatic.

Strings and woodwinds open running before the wind to an ardent, noble love theme. (Lord Byron’s pirate loves not one, but two women because, you know, Romanticism.) Pounding timpani put an end to love and bring us to Errol Flynn nautical adventure fraught with dizzying key changes, rolling waves in the basses, topgallant banners whipping in the woodwinds, not to mention a main theme charged with the derring-do of diving brass fanfares and wild, rising strings.

SCORED: For two flutes, piccolo, two oboes, two clarinets, four bassoons, four horns, four trumpets, three trombones, tuba, timpani, and strings.

HISTORY: First performed in November 2009 under the direction of David Amado.

DURATION: Approximately eight minutes.

SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 3 in C Major, Op. 26 (1917–1921) Prokofiev’s Piano Concerto No. 3 swings with reckless glee from pounding, mechanical futurism to exaggerated lyricism to sardonic comment to spectral, floating atmosphere. It makes extraordinary demands on the soloist, especially in speed and in interlocked octaves in each hand, among other challenges.

Prokofiev celebrates the Machine Age at the outset of the finale, when orchestra and piano together sound like an automated foundry at full tilt.

LISTEN for a series of five starkly contrasting variations, all based on the opening orchestral statement, in the second movement of Sergei Prokofiev’s Piano Concerto No. 3.

“The greatest technical challenge of the piece is not to sound technical—this is virtuosity under the guise of light-hearted wit,” said Aristo Sham, tonight’s soloist. “For me, Prokofiev Three is 26 minutes of partying, both for the performers and the audience, encompassing everything from dark satire to rhythmic intensity reminiscent of club beats. The piece is immense fun to play, and the energy and joy I get from the orchestral part is unparalleled in the repertoire.”

Prokofiev started the Third Concerto in St. Petersburg in 1913. He had arrived in the then capital in 1904, preceded by a reputation as a musical prodigy. At the urging of composer Alexander Glazunov, his mother agreed to allow her 14-year-old

”I am delighted to welcome two brilliant young musicians to our stage—conductor Jessica Cottis and pianist Aristo Sham. This is truly a program that will sparkle and burst from the seams with energy. One

40

Program Notes

by Tom Strini ©2019

of my favorite piano concertos (as pianist and conductor) is Prokofiev’s Third Concerto—the perfect mix of devilish humor, quiet thoughtfulness, and raw excitement.”

— Francesco Lecce-Chong

EUGENE SYMPHONY

PROGRAM NOTES — DEC 12

to enroll in the St. Petersburg Conservatory, where he quickly became known for his talent and his arrogance.

Within a few years, he became notorious/famous for performing his own daringly dissonant piano works in concerts beyond the conservatory. He became a leading figure of the capital’s musical avant-garde.

He graduated in 1914, but continued his studies on and off while leading a career that took him to the capitals of Western Europe and long tours of the U.S. He finally finished the Third Concerto in France between 1918 and 1921, the year he played the premiere with the Chicago Symphony.

The 30-minute concerto comprises three movements of roughly equal duration. Prokofiev couched his modernist harmonies and clamorous timbres in conventional forms in the first movement (in modified sonata from, with a crazed coda serving as a second development) and the second, a theme and variations. (The gorgeous first variation sounds like some halfremembered bit of Chopin at his dreamiest.)

Prokofiev described the Finale as an argument between the piano and the orchestra. Each has its own main allegro theme, expressed not so much as call-and-response as statement-andinterruption. They come together in a can’t-we-just-get-along slow theme in 3/4 time. The piano part loses patience and wanders off into its own key even as the violins sing that slow theme most ardently. The orchestra and piano relentlessly trade punches in a knock-down-drag-out coda that ends with no clear winner.

SCORED: In addition to the two pianos, this work is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion, and strings.

HISTORY: First performed by the Eugene Symphony in April 1983 under the direction of William McGlaughlin and with Christopher O’Riley as soloist, and last performed in November 2001 under the direction of Marc Taddei and with Antonio Pompa-Baldi as soloist.

(Continued on page 42)

An illustration in an edition of Lord Byron’s romantic poem Le Corsaire, said to be Hector Berlioz’s inspiration (right, top). Musical prodigy Sergei Prokofiev at age nine with his score for The Giant (right, middle). Camille Saint-Saëns (right, bottom) circa 1895, premiered his “Organ” Symphony in May of 1886 at St. James Hall in London.

NOVEMBER 2019 – JANUARY 2020

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PROGRAM NOTES — DEC 12

The “Organ” Symphony (Continued from page 41) DURATION: Approximately 27 minutes.

CAMILLE SAINT-SAËNS (1835–1921) Symphony No. 3 in C minor, Op. 78, “Organ” (1886) Around the turn of the 20th century, many in French musical circles, notably Debussy, regarded Saint-Saëns as too old-fashioned, too Establishment, too curmudgeonly, too German, and insufficiently French in his musical outlook.

Debussy famously remarked, “I have a horror of sentimentality and cannot forget that its name is Saint-Saëns.” Saint-Saëns called Debussy’s musical aesthetic “an atrocity,” and he blocked Debussy’s election to the Institut de France.

But even the most advanced, sophisticated and passionately French composers admired Saint-Saëns’ astounding talent and musicianship. Indeed, unease about his work rose largely from the fact that music came to him easily—too easily. He never seemed to struggle with any aspect of creation or performance.

Even in his prodigious youth, he was denied the Prix de Rome because the Paris Conservatoire faculty, while admiring his proficiency, felt that he might be facile and uninspired.

The Symphony No. 3, in a way, responds to such skepticism.

Saint-Saëns challenged himself here; it’s his idea of a proper avant-garde. He couched the 40-minute Third in two massive movements, which envelop the traditional four. He added organ more as an orchestral than a solo instrument, along with piano and piano four hands. He mined modal church music for his themes, with the Dies Irae as the most obvious. He employed cyclic structures (pioneered by his mentor, Liszt), in which material from prior movements recur in later ones.

True, Saint-Saëns’ Third sounds old-fashioned compared with Debussy, Ravel, or Milhaud. But they were essentially 20th-century men, and Saint-Saëns was of the 19th, though he lived to 1921.

But set aside Saint-Saëns’ place in music history. The Third offers so much on its own terms, starting with the master

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craftsmanship of its harmonies. Saint-Saëns moves from key to key so subtly that you find yourself transported as if by magic.

The same goes for his thematic transitions and transformations; one idea seems to melt into the next. The seams never show in this elegant music.

LOOK for the combination of keyboard instruments deployed by Camille SaintSaëns in his Symphony No. 3, including an organ and a grand piano played by two musicians (sometimes known as ‘piano four hands’).

It offers vigorous rapid themes, placid beauty in its adagio, grandeur in its famous Maestoso, and musical intelligence in its Bach-worthy counterpoint.

“Liszt declared Saint-Saëns to be the finest organist in the world,” Cottis, the guest conductor, said. “We really hear that in this symphony, not in terms of organ virtuosity, but very much in impact. The organ begins in the shadows; Saint-Saëns holds its full power in reserve until unleashing it in shattering C major chord near the end. It’s utterly breathtaking. The slow movement is equally extraordinary, a moment of exquisite contemplation, with the organ underpinning the beauty of the string melody.

This lush music brings to mind Seamus Heaney’s phrase: ‘Like a cure you didn’t notice happening.’”

SCORED: For three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, two sets of timpani, percussion, organ, piano four-hands, and strings.

HISTORY: First performed by the Eugene Symphony in May 1998 under the direction of Miguel Harth-Bedoya, and last performed in November 2009 under the direction of David Amado.

DURATION: Approximately 36 minutes.

2019–20 Cressman Lecture

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African American Studies, Princeton University; author of Race After Technology Tuesday, February 4, 2020 7:30 p.m.

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EUGENE SYMPHONY

GUEST CONDUCTOR — DEC 12

Jessica Cottis The “gifted” (The Times) Australian-born conductor Jessica Cottis has captured international attention for her intellect, innate musicality and easy authority. Hailed as “one to watch,” she is a charismatic figure on the podium who brings dynamism, intensity, and clarity of vision to all her performances.

Hailed as “one to watch,” Jessica Cottis is a charismatic figure on the podium who brings dynamism, intensity, and clarity of vision to all her performances.

Cottis made her BBC Proms debut at the Royal Albert Hall in 2016, returning in 2017 with the Royal Philharmonic Orchestra. This season she makes important debuts with the LA Philharmonic, London Symphony Orchestra, Singapore Symphony, and English Chamber Orchestra. Cottis will also return to the Royal Opera House to conduct the premiere of The Monstrous Child by Gavin Higgins and again for a new production by Gerald Barry for their 2019/20 season.

Frequently in demand as guest conductor, highlights of recent seasons include performances with the Sydney Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, Sinfonica di Milano Giuseppe Verdi, Orquestra Simfònica de Barcelona i Nacional de Catalunya, l’Orchestra Philharmonique de Monte Carlo, RTV Slovenia Symphony Orchestra, Gävle Symfoniorkester, Malmö Symfoniorkester, Bit20 Ensemble Bergen, and Malaysian Philharmonic, among others.

A dual British-Australian citizen, Cottis was awarded a first class honors degree in organ, piano and musicology from the Australian National University and continued her studies as an organist with Marie-Claire Alain in Paris, winning awards from the Royal Philharmonic Society and Royal College of Organists.

A wrist injury subsequently halted her playing career and after reading Law, she began conducting studies in 2006, studying with Colin Metters and Sir Colin Davis on the postgraduate conducting course at the Royal Academy of Music. Cottis was awarded the Royal Academy’s top conducting prizes and graduated with Distinction in July 2009.

Her international career was launched through close working relationships with mentors including Vladimir Ashkenazy and Donald Runnicles. From 2009 to 2011 she was Assistant Conductor at the BBC Scottish Symphony Orchestra and Fellow in Conducting at the Royal Conservatoire of Scotland, and from 2012 to 2014 Assistant Conductor of the Sydney Symphony Orchestra where she conducted more than 30 concerts per year with the orchestra, being lauded in the Australian press as “one of the big hopes for change.”

A gifted communicator, Cottis is already acting as an inspiration to the younger generation. She has filmed projects for Play School (ABC Australia), CBeebies (BBC) and the Royal NOVEMBER 2019 – JANUARY 2020

Opera House, has conducted projects with organizations such as the National Youth Orchestra of Great Britain, Aldeburgh Young Musicians, and Sistema Europe, and led courses for female conductors with London’s Royal Philharmonic Society. In recent years, she has become a frequent contributor to BBC radio programs, including Women’s Hour, the Today program, World Service; and for BBC television: Proms Extra and Maestro at the Opera. She works widely as an advocate for classical music.

She is Chair of the Music Board of the Tait Memorial Trust for Young Australians, a body that oversees the funding of young performing artists from Australia and New Zealand.

In 2014 Cottis took up the position of Principal Conductor of the Glasgow New Music Expedition, and in 2015 was appointed Associate Member of the Royal Academy of Music (ARAM), an honorary award for former students who have made a significant contribution to the music profession. Cottis makes her home in South London. She is an avid lepidopterist, and is learning to fly helicopters in her spare time.

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GUEST ARTIST — DEC 12

Aristo Sham Hailed by The Washington Post as a young artist with “boundless potential” who can “already hold his own with the best,” pianist Aristo Sham has dazzled audiences on five continents in countries ranging from Singapore and Argentina to Slovenia and Morocco.

In 2009 Sham was featured in the documentary The World’s Greatest Musical Prodigies, broadcast by Channel 4 in the U.K. The New York Concert Review remarked that he “showed tremendous command and involvement,” and “in addition to showing passion and pianism, [his performance of Scriabin] reflected logic and clarity.” Sham has also performed for royalty and dignitaries such as Prince Charles, the Queen of Belgium,

and ex-President Hu of China, and collaborated with orchestras such as the Hong Kong Philharmonic Orchestra, English Chamber Orchestra, Orchestre de Chambre de Lausanne, and the Minnesota Orchestra.

Sham first came under international recognition when he won First Prize and the Barenreiter Urtext Special Prize in the Ettlingen International Piano Competition in Germany in 2006, First Prize in the Gina Bachauer International Junior Piano Competition in 2008, and First Prize and two special prizes in the Minnesota Junior Piano-e-competition in 2011. More recently he was awarded First Prizes in the Wideman, PianoArts, and New York International Piano Competitions from 2015 to 2016. Since 2017 he has also won prizes in the Vendome Prize at Verbier Festival, Gina Bachauer, Dublin, Clara Haskil, Saint-Priest, and Viotti International Piano Competitions. In 2018 he won First Prize and all three special prizes in the inaugural Charles Wadsworth Piano Competition, and won First Prize in the 2018 Young Concert Artists International Auditions.

Aristo Sham has performed for royalty and dignitaries such as Prince Charles, the Queen of Belgium, and ex-President Hu of China.

Born in Hong Kong, Sham was first introduced to the piano at the age of three, and joined the Hong Kong Academy for Performing Arts when he was six. His principal teachers include Professors Eleanor Wong, Colin Stone, and Victor Rosenbaum.

He was a student at Harrow School in the U.K., and is currently pursuing a BA in Economics and French, and an MMus in Piano Performance as a joint program at Harvard University and New England Conservatory. In addition he travels to Sweden regularly for studies at the Ingesund School of Music with Julia MustonenDahlkvist. In his free time Sham enjoys traveling, languages, gastronomy, and oenology.

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EUGENE SYMPHONY

NOVEMBER 2019 – JANUARY 2020

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David Kammerer

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EUGENE SYMPHONY

SYMPHONIC V — JAN 23

Brahms and Sibelius Eugene Symphony Francesco Lecce-Chong, conductor | Elina Vähälä, violin Thursday, January 23, 2020 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Missy Mazzoli (b. 1980)

Sinfonia (for Orbiting Spheres)

Jean Sibelius (1865–1957)

Violin Concerto in D minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto Elina Vähälä, violin

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

Johannes Brahms (1833–1897)

Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi andantino) IV. Allegro con spirito

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Broadcasts underwritten in part by Kernutt Stokes.

NOVEMBER 2019 – JANUARY 2020

47

Brahms and Sibelius MISSY MAZZOLI (b. 1980) Sinfonia (for Orbiting Spheres) (2014) The Greek mathematician, music theorist, and philosopher Pythagoras (c. 570–495 BC) theorized that the sun, moon, and planets produce a pitch based on the length of their orbits, just as a harp produces various pitches based on string length.

Pythagoras’ theory of the Music of the Spheres, or Musica Universalis, persisted for centuries. Pioneering astronomer Johannes Kepler, for example, published a treatise arguing that musical intervals and harmonies echo the motions of the six (the count in 1619) planets in the solar system. Of course, neither Kepler nor anyone else heard the Music of the Spheres.

In the vacuum of space, no one can hear you scream.

LISTEN for the sound of eight harmonicas in Missy Mazzoli’s Sinfonia (for Orbiting Spheres) played by the bassoons, French horns, trumpets, and trombones—when they’re not playing their usual instruments, of course!

Missy Mazzoli is the latest composer to take inspiration from the planets and fill the sonic vacuum. The composer described her process thus: “Sinfonia is music in the shape of a solar system, a collection of rococo loops that twist around each other within a larger orbit. The word “sinfonia” refers to baroque works for chamber orchestra but also to the old Italian term for a hurdy-gurdy, a medieval stringed instrument with constant, wheezing drones that are cranked out under melodies played on an attached keyboard. It’s a piece that churns and roils, that inches close to the listener only to leap away at breakneck speed, in the process transforming the ensemble into a makeshift hurdy-gurdy, flung recklessly into space.”

The purely musical effect of this thinking is an enchanting, enveloping universe of harmony. It evolves gradually, starting from a comforting cushion of diatonic sound. Tension slowly

rises as subtle dissonances crackle around the edges. The 10-minute Sinfonia relaxes again toward the end, but never gets back to quite the same level of calm as in the beginning.

“Eight wind and brass players double on harmonicas in the Sinfonia,” said Francesco Lecce-Chong, the Eugene Symphony’s Music Director & Conductor, in a phone interview about the program. “The harmonica is the most diatonic of all instruments, and it creates this feel of a hurdy-gurdy within the orchestra.”

Lecce-Chong was thinking about harmony, especially lush, Romantic harmony, as the overall theme for this concert.

“Missy Mazzoli looks back to that,” he said. “This is Romanticism in the 21st century. She creates rich, unique, modern, but ultimately comforting harmonies.”

SCORED: For two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, tuba, timpani, percussion, piano, synthsesizer, and strings.

HISTORY: This is the first Eugene Symphony performance.

DURATION: Approximately nine minutes.

JEAN SIBELIUS (1865–1957) Violin Concerto in D minor, Op. 47 (1903–1904, rev. 1905) Sibelius lived a good part of his long life during the period when Schoenberg, Serialism, and atonality held the theoretical high ground in Western art music. Sibelius noted the modernist trends and went his own way—until the polemics against him undermined his confidence later in life.

“He was considered old-fashioned, but he was actually unique in his harmonies,” Francesco Lecce-Chong said. “He might leave the third—the defining interval of a chord—out entirely. He gives us the Romantic sound we expect, but with a twist.”

No other composer sounds like Sibelius. His main themes, such as the one in the first movement of the Violin Concerto, often emphasize resonant intervals, fifths and fourths, especially.

The main theme of the first movement, for example, opens assertively with G, A, and D. You need not know your musical intervals to feel the result of these melodic structures and widely spaced harmonies: A spacious resonance that conjures the

”Missy Mazzoli is one of the most important American composers working today and Sinfonia is one of my favorite works by her. It embraces an American Romanticism that is

48

Program Notes

by Tom Strini ©2020

reminiscent of the great Samuel Barber, but is rare to hear in today’s music. The rich harmonies in this work have a unique color with the addition of the harmonicas, but the music has

EUGENE SYMPHONY

PROGRAM NOTES — JAN 23

charged presence of the well of air in a cathedral vault or a misty old-growth forest. Sibelius wrapped his musical sophistication around a primal essence.

In some ways, the 15-minute first movement is a conventional sonata form. In other ways, it’s radical.

It begins with a sprawling violin declamation of the main theme. It has the feel of Shakespearean oratory. That leads to an extravagant solo cadenza extension of that theme. (By Classical or even Romantic practice, such a passage is way out of place so early in the movement.) A dance-like second theme in 6/4 time sneaks in orchestrally and bursts out in octaves in the solo violin. A warlike closing theme erupts and subsides. Another thrilling—and out-of-place—cadenza fills almost the entire development section.

Pensive woodwind duets introduce the noble melancholy violin theme of the nine-minute slow movement, which trembles with Tchaikovskian passion. Like the opening declamation, this melody unfurls endlessly and organically. It demands thoughtful phrase management from the soloist.

The steady pounding of timpani announces the fierce, eightminute finale. The momentum swings into 6/8 for the second theme, but this is no charming folk dance; its sinister, minor-mode cast lightens only briefly. The pounding timpani return to march the violin into a witch’s Sabbath of a development of both themes.

Sibelius wrote just this one concerto. The evidence of the music itself and contemporary accounts indicate that Sibelius, a very good violinist himself, gave it everything he had.

His wife, Aino, described Sibelius at work in a letter to Alex Carpalan, who suggested that Sibelius compose a violin concerto: “He has so many ideas forcing their way into his mind that he becomes literally dizzy. He’s awake night after night, plays wonderful things, and can’t tear himself from the marvelous music.”

SCORED: In addition to the solo violin, this work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

(Continued on page 50)

that same feel of a warm blanket that we expect and will receive in the second half of the program with Brahms Second Symphony.”

Missy Mazzoli found inspiration from the motion of the planets, which traces back to the musica universalis (at top), an ancient philosophical concept that regards proportions in the movements of celestial bodies as a form of music. Jean Sibelius (above left) drawn

by Albert Engström in 1904. Johannes Brahms (above right) in a photograph taken by Rudolf Krziwanek.

— Francesco Lecce-Chong

NOVEMBER 2019 – JANUARY 2020

49

PROGRAM NOTES — JAN 23

Brahms and Sibelius (Continued from page 49) HISTORY: First performed by the Eugene Symphony in February 1978 under the direction of Lawrence Maves and with G. Roy Mann, Jr. as soloist, and last performed in April 2012 under the direction of Danail Rachev and with Midori as soloist.

DURATION: Approximately 31 minutes.

JOHANNES BRAHMS (1833–1897) Symphony No. 2 in D Major, Op. 73 (1877) “It took Brahms 21 years to write his first symphony, and one year to write his second,” Lecce-Chong said. “In the Second, he has this quiet confidence. He doesn’t need to show off.

Everything about it is perfect. He carries you along like a parent taking a child on a beautiful hike.”

The conductor went on to list particular virtues of Brahms’s Second: The ingenious ways Brahms changes perception of speed and meter without changing either. The symphony’s way of flowing along naturally, effortlessly. Brahms’s way of gently surprising—rather than shocking—the ear at every turn.

I wish I could remember the writer who summed up Brahms succinctly in a sentence that goes something like this: “A man smiles; a passing cloud casts a shadow on his face.”

You hear that at the outset of the Symphony No. 2. The horns and winds play the sweetest, most comforting of undulating pastoral melodies. The melody gives way to a long, melancholy cadence. When this cadential cloud has passed, the tune stretches out and starts to sound rather like Brahms’s Lullaby.

Brahms is never one thing. Moods flicker and shift moment to moment, sometimes suddenly, but more often subtly and in layered fashion. Yes, we’re happy to be in the country and enjoy nature. But that happiness flickers like sunlight through the forest

canopy—intermittent, not constant. In the development of the first movement, those innocent ideas from the start strive toward grandeur and even fury. Such episodes sit side by side with bits of bucolic delight.

In the 10-minute slow movement, feelings well up to the very brim of spilling over. But in this consummately civilized example of Romanticism, restraint prevails. The same applies to structure; Brahms modifies the old sonata-form pattern of expositiondevelopment-recapitulation, but stops well short of blowing it up.

LOOK for Principal Timpani Ian Kerr as he unleashes great rolls of sound from his drums, which underpin the dramatic conclusion of Johannes Brahms’s Symphony No. 2.

Gentle and vigorous dances, in 3/4 and 2/4, contrast and sometimes cleverly overlap in the five-minute third movement.

The nine-minute finale opens with a blast of mass and momentum. As we might expect, it’s a bit of a feint. Brahms draws down the energy again and again, and saves complete release for the very end.

SCORED: For two flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

HISTORY: First performed by the Eugene Symphony in February 1967 under the direction of Lawrence Maves, and last performed in November 2010 under the direction of Marin Alsop.

DURATION: Approximately 43 minutes.

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EUGENE SYMPHONY

GUEST COMPOSER — JAN 23

Missy Mazzoli Grammy-nominated composer Missy Mazzoli was recently deemed “one of the more consistently inventive, surprising composers now working in New York” (The New York Times) and “Brooklyn’s post-millennial Mozart” (Time Out New York).

Mazzoli is the Mead Composer-in-Residence at the Chicago Symphony Orchestra, and her music has been performed all over the world by the Kronos Quartet, Eighth Blackbird, pianist Emanuel Ax, Opera Philadelphia, Scottish Opera, LA Opera, Cincinnati Opera, New York City Opera, Chicago Fringe Opera, the Detroit Symphony, the LA Philharmonic, the Minnesota Orchestra, the American Composers Orchestra, JACK Quartet, cellist Maya Beiser, violinist Jennifer Koh, pianist Kathleen Supové, Dublin’s Crash Ensemble, the Sydney Symphony and many others. In 2018 she made history when she became one of the two first women (along with composer Jeanine Tesori) to be commissioned by the Metropolitan Opera. That year she was also nominated for a Grammy in the category of “Best Classical Composition” for her work Vespers for Violin, recorded by violinist Olivia De Prato.

“One of the more consistently inventive, surprising composers now working in New York.” —The New York Times

Mazzoli is an active television and film composer, and recently wrote and performed music for the fictional character Thomas Pembridge on Amazon’s Mozart in the Jungle. She also contributed music to the documentaries Detropia and Book of Conrad and the film A Woman, A Part. Mazzoli’s music has been recorded and released on labels including New Amsterdam, Cedille, Bedroom Community, 4AD and Innova.

Mazzoli is the recipient of a 2019 GRAMMY® nomination, the 2017 Music Critics Association of America Inaugural Award for Best Opera, the 2018 Godard Lieberson Fellowship from the American Academy of Arts and Letters, a 2015 Foundation for Contemporary Arts Award, four ASCAP Young Composer Awards, a Fulbright Grant to The Netherlands, the Detroit Symphony’s Elaine Lebenbom Award, and grants from the Jerome Foundation, American Music Center, and the Barlow Endowment. She has been awarded fellowships from the MacDowell Colony, Yaddo, Ucross, VCCA, the Blue Mountain Center, and the Hermitage.

Mazzoli attended the Yale School of Music, the Royal Conservatory of the Hague, and Boston University. She has studied with David Lang, Louis Andriessen, Martin Bresnick, Aaron Jay Kernis, Martijn Padding, Richard Ayres, John Harbison, Charles Fussell, Martin Amlin, Marco Stroppa, Ladislav Kubik, Louis DeLise, and Richard Cornell.

Mazzoli is currently the Mead Composer-in-Residence at the Chicago Symphony Orchestra. From 2012–2015 she was Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music Theatre-Group, and in 2011/12 was Composer/Educator in residence with the Albany Symphony.

Mazzoli was a visiting professor of music at New York University in 2013, and later that year joined the composition faculty at the Mannes College of Music, a division of the New School. From 2007–2011 she was Executive Director of the MATA Festival in New York, and in 2016, along with composer Ellen Reid and in collaboration with the Kaufman Music Center, Mazzoli founded Luna Composition Lab, a mentorship program and support network for female-identifying composers ages 13–19.

This season includes performances of her second opera Breaking the Waves at the Edinburgh International Festival, Adelaide Festival, and Brooklyn Academy of Music, a performance of her opera Proving Up at the Aspen Music Festival, the world premiere of Orpheus Alive, a new ballet score commissioned and premiered by the National Ballet of Canada, the U.S. premiere of her double bass concerto Dark with Excessive Bright with the St. Paul Chamber Orchestra, and the world premiere of Orpheus Undone, an orchestral work commissioned by the Chicago Symphony.

NOVEMBER 2019 – JANUARY 2020

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GUEST ARTIST — JAN 23

Elina Vähälä Born in the U.S. and raised in Finland, Elina Vähälä made her orchestral debut with Sinfonia Lahti at the age of 12 and was later chosen by Osmo Vänskä as the orchestra’s “Young Master Soloist.” Since then her career continues to expand on the international stage, winning praise from audiences and musicians alike as “a fluent, stylish and gifted musician whose brilliant technique is matched by an abundant spirit, sensitivity and imagination” (Chicago Tribune).

Vähälä has appeared with orchestras including Helsinki Philharmonic, Finnish Radio Symphony Orchestra, Sinfonia Lahti, Turku Philharmonic as well as Oregon Symphony Orchestra, Minnesota Orchestra, Simon Bolivar Youth Orchestra, and Nashville Symphony Orchestra. She has worked with conductors Leonard Slatkin, Carlos Kalmar, Jukka-Pekka Saraste,

Okko Kamu, Jakub Hrůša, Thierry Fischer, Jeffrey Tate, Sakari Oramo, and Leif Sergerstam, and toured throughout the UK, Finland, Germany, China, Korea, and South America. In 2008 she was chosen to perform at the Nobel Peace Prize ceremony which was televised to a worldwide audience.

In the 2017/18 season she debuted with the Orchestre National de Lyon, Polish National Radio Orchestra, Singapore Symphony, and Royal Stockholm Philharmonic, and performanced with the Finnish Radio Symphony, Minnesota Orchestra, Lahti Symphony, Shenzhen and Quingdao Symphony Orchestras, Niederrheinische Symphony, and the Seoul International Music Festival. Recent appearances include highly successful debuts with RTÉ National Symphony, Yomiuri Nippon Symphony, Strasbourg Philharmonic, and Gävle Symphony, and performances with Helsinki Philharmonic, NorrlandsOperan Symphony, Detroit Symphony, Houston Symphony, and Buffalo Philharmonic orchestras.

“ A fluent, stylish and gifted musician whose brilliant technique is matched by an abundant spirit, sensitivity and imagination.”

—Chicago Tribune With a repertoire that ranges from baroque to contemporary, Vähälä has given world premieres of Aulis Sallinen’s Chamber Concerto and Curtis-Smith’s Double Concerto, both written for her and pianist-conductor Ralf Gothóni. In addition Vähälä gave the first Nordic performance of John Corigliano’s Violin Concerto The Red Violin and commissioned a new violin concerto from composer Jaakko Kuusisto. Both the Corgiliano and Kuusisto concertos were recorded for BIS in 2013.

Educational activities play an important role in her commitment to music. Funded by the Finnish Cultural Foundation in 2009, Vähälä launched the Violin Academy, a master class based educational project for selected, highly talented young Finnish violinists. She is a professor at the University of Music in Karlsruhe, Germany.

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EUGENE SYMPHONY

Scenes from Offstage

(Top, left to right) A young patron gets her ticket scanned for September’s Opening Night concert. An aspiring conductor tries out the baton at Conduct the Symphony, part of Eugene Sunday Streets in September.

(Above, left to right) Patrons Rebekah Lambert and Mike Fox tune in at Matt Browne’s Listening Party at Farmers Union Coffee Roasters in October. Composer-in-Residence Matt Browne keeps everyone laughing at Symphony Happy Hour, including Music Director & Conductor Francesco Lecce-Chong. Guest violinist Bella Hristova greets donors at the post-concert reception following Opening Night in September.

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

NOVEMBER 2019 – JANUARY 2020

(At left) Local music educators celebrate at a special preconcert reception as part of our inaugural Music Educator Appreciation Night that honored the invaluable work of music educators throughout Lane county.

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EUGENE SYMPHONY

BENEFITS

BECOME A SYMPHONY MEMBER

SYMPHONY MEMBER: $100–250 Season program magazine recognition Invitation to Annual Meeting Celebration

SUSTAINING MEMBER: $250–499 All of the above, plus: Access to Brunch with the Maestro Invitation to attend two open dress rehearsals

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

CONDUCTOR’S CIRCLE: $1,000–2,499 Music Director Francesco Lecce-Chong visits with Founders Society members Elaine Twigg-Cornett and Zane Cornett at a post-concert donor reception.

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 Eugene Symphony. As a member, your gift is an investment in the Symphony’s onstage, community engagement, and music education programs that bring live music to more than 40,000 people in our region each year.

MEMBERS Contact Tegan DeBolt, Development & Fundraising Manager 541.687.9487 x1110 | tegan.debolt@eugenesymphony.org

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

FOUNDERS SOCIETY: $2,500+ All of the above, plus: 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.

or visit eugenesymphony.org/support-us

NOVEMBER 2019 – JANUARY 2020

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

The Eugene Symphony Founders Society is a group of donors who have made an extraordinary and profound commitment to the Symphony with an annual contribution of $2,500 or more. We are proud to acknowledge our Founders Society members whose gifts have strengthened our onstage, community engagement, and music education programs.

For more information on the Founders Society, its benefits, and how to join, please contact Associate Executive Director Lindsey McCarthy at lindsey.mccarthy@eugenesymphony.org or 541-687-9487, x1104, or visit our website at eugenesymphony.org.

PLATINUM PATRONS | $25,000 + Anonymous Chambers Family Foundation

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 The Haugland Family Foundation Dave & Sherrie Kammerer

Trieber & Michelle Meador Meg Mitchell David & Paula Pottinger Jane Ratzlaff Paul Roth

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

SILVER PATRONS | $5,000 – $9,999 Gil & Roberta Achterhof Kevin & Irene Alltucker Family Fund of The Oregon Community Foundation Warren & Kathy Barnes Deb Carver & John Pegg Ashlee Cribb & Walter Woliver Elaine Twigg Cornett & Zane Cornett Marci Daneman Mike Fox & Rebekah Lambert

Bill & Judy Freck Verda M. Giustina Fund of The Oregon Community Foundation Pam Graves in memory of Glendora Burbank Matthew & Hollan McLaughlin Johan & Emel Mehlum Herb Merker & Marcy Hammock Murphy Plywood Arden Olson & Sharon Rudnick

Philip & Sandra Piele Otto & Joanna Radke Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Andrew & Julia Stiltner Andy Storment & Jaini Van Scholten Jack & Florence Vollstedt Barbara & James Walker

BRONZE PATRONS | $2,500 – $4,999 Anonymous (2) Friedl Bell Shawn & Melva Boles Jack & Dondeana Brinkman Anne & Terry Carter William & Karla Chambers Harriet Cherry & John Leavens Chvatal Orthodontics Jeff & Julie Collins Nancy Coons G. Burnette Dillon & Louise Di Tullio Dillon Ray & Libby Englander Ginger Fifield Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett Scott & Leslie Anderson Freck Susan K. Gilmore & Phyllis J. Brown

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Peter Gregg Galina Groza & Family in recognition of Eugene-Irkutsk Sister City Committee Donald Gudehus & GloriaPage Janet Harbour Erwin & Vicki Haussler Lin & Don Hirst Starly Hodges Hugh Johnston Steve & Cyndy Lane Diana G. Learner & Carolyn Simms Michael Lewis & Martha MacRitchie Sarah G Maggio Duncan & Jane Eyre McDonald James & Marilyn Murdock Laura Parrish & Richard Matteri in memory of Britta Putjenter

John F. Quilter Mike & Casey Roscoe Roger Saydack & Elaine Bernat Doneka R. Scott & Cedric Skillon Heinz & Susan Selig Sheppard Family Fund of The Oregon Community Foundation Ellis Sprick Inge Tarantola Sharon Ungerleider Michael Vergamini & Nicole Commissiong Alicia Voorhees Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker Harry & Connie Wonham 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 Symphony Guild Jonak Law Group

Oakmont Family Dental Nathan & Robin Philips, on behalf of Square One Villages

Roseburg Forest Products Wildish Companies

ADDITIONAL SUPPORT SPONSORS Eugene Airport Bigfoot Beverages Ferguson Wellman

Galina Groza & Family in recognition of the Eugene-Irkutsk Sister City Committee

The Gilmore Agency Kernutt Stokes Ward Insurance

IN-KIND SEASON SPONSORS Graduate Hotel

COMMUNITY SUPPORT SPONSORS Comfort Flow Heating Eugene Emeralds

Marché Rhythm & Blooms

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

JLN Design National Business Solutions Amanda Smith Photography Technaprint

FOUNDATION PARTNERS

The Silva Endowment

The Hult Endowment

Herbert A.Templeton Foundation

The Ann & Gordon Getty Foundation

Fund of The Oregon Community Foundation

Cow Creek Umpqua Indian Foundation NOVEMBER 2019 – JANUARY 2020

Fund of The Oregon Community Foundation

Support Hult Center Operations (SHO)

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Season Supporters The Eugene Symphony extends our heartfelt thanks to the individuals, corporations, and foundations that have made generous contributions this season. Your support and generosity help keep the arts flourishing in our community.

Conductor’s Circle ($1,000–$2,499) Anonymous (3) Joseph & Margaret Adelsberger The Alsop Family Foundation Virginia P. Anderson Ted & Marie Baker Roanne Bank Carl Bjerre & Andrea Coles-Bjerre Mary Breiter & Scott Pratt Ruby Brockett Beverly Buckley Delpha Camp Patric & Holly Campbell Robert & Kathleen Carolan Polly &Brian Caughey Roger Cox Jana & Mark Cox John & Linda Cummens Marilyn Deaton Tom Stevens & Flo Delaney Juanita & Dieter Engel Howard & Kathleen Epstein

Rory & Jeslyn Everitt John & Jo Fisher Violet Fraser Lynn Frohnmayer Dennis & Nancy Garboden Liz & Greg Gill Donald Gudehus & Gloria Page Elizabeth & Roger Hall Scott & Mary Halpert Brent & Monica Hample John & Claudia Hardwick Dr. Stephanie Harris Charles Henry Monica Careaga Houck Ellen Hyman John & Robin Jaqua Fund of the Oregon Community Foundation Emmy Jenson Jay & Cathrine Johns Ms. Chris K. Johnson Allan & Dorothy Kays

Jim & Janet Kissman Eunice Kjaer Gary J. LeClair & Janice R. Friend Melinda Lewis Lee & Mary Jean Michels Lois Long in memory of Dr. George M. Long Eileen Loritsch Gary P. Marcus Patrick & Sofia McManus J Anthony & Mary Mohr Mary Ann Moore John & Barbara Mundall Nancy Oft & Mike Rose Theodore & Laramie Palmer Judson Parsons & Diana Gardener Nathan & Robin Philips Gretchen Pierce John & Joanne Porter David & Jane Pubols Michelle Quinney Reed Family Foundation

Dr. John & Angie Rhee Dr. Candice Rohr Anthony Ruderman Jim & Paula Salerno Suzanne & Marc Shapiro John & Betty Siebs Ken & Kenda Singer Bill Starbuck & Joan Dunbar Designated Fund Marion Sweeney, Kate Laue, & Cama Evans Jason Tavakolian & Jennifer Lamberg Anice Thigpen & Andrea Halliday Cathye Tritten Ellen Tykeson Gayle Umenhofer Linda & John Van Peenen Pierre & Mary Lou Van Rysselberghe John & Sandy Watkinson Steve & Kim Wildish Marguerite Zolman

Nena Lovinger & Robert Emmons John Etter Jane & Latham Flanagan, MD Robert & Jill Foster Mary Gent Sylvia Giustina A.J. & Adriana Giustina Karen Artiaco & Jack Hart Lisa A. Hawley Ronald & Cecilia Head Bob & Debbie Heaton Lucille P. Heitz Jim & Judith Hendrickson Sara Hodges Brandon Julio & Haydn Zhang Toshiro & Irene Katsura Doreen Kilen Anita Klock & William Looney

Linda Ague & Kirk Kneeland Doris Kuehn Lynda Lanker David & Kathy Lees Andrew Lewinter Richard & Jacquie Litchfield Mark & Denise Lyon Bob & Brenda Macherione Robert & Colleen McKee Mary Mercier Bonita Merten Michael & Jaylynn Milstein Jack & Barbara Miner Boyd & Natalie Morgan Alexander Murphy & Susan Gary Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen

Sarah & David Nutter Carol Nylander Harold & Joyce Owen Libby Wadsworth & Paul Peppis Karen Seidel Kim & Tim Sheehan Roberta Singer Betty Lou Snyder Craig Starr & Sandra Scheetz Wendy Stefanie Gerry & Heidi Stolp Joe Terry Carol Thibeau Phyllis Villec Hilda H. Whipple Forrest & Anna Williams

Bill & Lynn Buskirk Leonard & Janet Calvert John Chalmers & Michele Gladieux Ernest Chizinski Suzanne Clark Scott Coltrane Hiett & Caron Cooper

Roger Coulter Kevin Cronin Nancy Cummings Edna P. DeHaven Dale Derby & Ingrid Horvath Mary Louise Douda Michael Drennan

Benefactors ($500–$999) Carolyn Abbott Raychel Kolen & Paul Allen Laura Avery Lauren Bird-Wiser & David E. Wiser John Blackburn Greg Brokaw Jack & Toni Brown Michael Burkhardt Melvin Carlson Jr. George & Fanny Carroll Edwin & June Cone Fund of the Oregon Community Foundation Erin Cunning Erin Cunningham Paul & Vivian Day James & Hannah Dean Wendy Dame & Don Doerr

Sustaining Members ($250–$499) Anonymous Lucille Allsen Howard Anderson & Susan Rutherford Tony Anthony & Christine Shirley Robert Baechtold Don Baldwin

Joan Bayliss & Irwin Noparstak Eugene Emeralds Laird & Ronnie Black Gerald & Patricia Bradley Jonathan & Sara Brandt Jim & Joanna Branvold Sue Burkholder

This listing is current as of September 30, 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.

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EUGENE SYMPHONY

Season Supporters Sustaining Members ($250–$499) Louise Bishop & James Earl Peter Edberg & Bryna Goodman Brian Erickson Gary Ferrington Jim & Darlene Fisher Mary Forestieri David Foulkes & Nancy Kerr Clayton Gautier & Gail Baker Julie Gemmell Pat Candeaux Gilberts Carole Gillett Scott Ricker & Mary Gleason-Ricker Roger Guthrie & Nancy Golden James Grimm & Jocelyn Bonner Robert & Sandra Harty Gale & Rosemary Hatleberg Christopher & Deborah Hiatt

Dr. Richard & Judith Hicks Margaret Holmes & Kenny Tibbets Robert H. Horner & Polly Ashworth Virginia Hurwitz in memory of Robert Hurwitz James & Helen Jackson Judith Johnson Dave & Sherrie Kammerer Sue Keene Tim & Linda King John & Muriel Kurtz Hope Lewis Jeffrey Librett Doug & Diane Livermore Robert Maurer Pamela McClure-Johnston Lucille McKenzie in memory of Dean McKenzie

Melvin and Carol Mead Fund Lawrence Miller Dr. Jeffrey Morey & Gail Harris Gerald Morgan Judith Mortimore Kathy Moulton Ruth Obadal & Charles Hammonds Lindsay Pearson James Pelley & Susan McConnell Dave & Linda Pompel Michael & Judy Ponichtera Amanda Powell & Dianne Dugaw Norm Purdy Michael Racine Marjory Ramey Dr. R Charles & Karen Ray Joe & Marian Richards Robert S. Russell

Christine Santoro Norman & Barbara Savage Richard & Karen Scheeland Catherine Siegmund Laura Littlejohn & Paul Leighton Rebecca Sprinson Bob & Dayna Steringer Tim & Ann Straub David Stuck & Janis Sellers-Stuck Susan Tate Susan & Bahram Tavakolian Jean Tuesday Gerald & Veronika Walton Craig & Amy Wanichek Pamela Whyte & Ron Saylor Robert & Patricia Wilson V. Gerald & Ann Woeste

Nancy Holloman Judith Horstmann & Howard Bonnett Blaine & Nancy Hoskins John & Lorna Hudson Robert Huffman & Mary Miller Tom Ing James & Helen Jackson Kraig & Mary Beth Jacobson Carol A. James Skip & Mari Jones Bob Keefer & Lisa Strycker Virginia G. Kelly Robert Kendall Charles & Reida Kimmel Margaret Knudsen Donald Landstrom & Zachary Ruhl Edward Lawry & Sandra Wu Joyce Leader Frederick & Cornelia Leser The Lillegard Family HJ Lindley Jan Lintz Dr. Mark & Marie Litchman Lisa Livoni & Robert Wilson Shaun Londahl Susan Macomson Winston Maxwell & Llew Wells Randall McGowen Gary & Jill McKenney Micheal & Tamara McLaughlin William P. & Maxine McWhorter Stephen & Marjorie Mealey Sara Brownmiller & Milo Mecham Sarah & Josh McCoy Ruth Miller Steen V. Mitchell & Sue Dockstader Rose Moffitt John & Cheryl Moore

John Moriarty Phyllis Helland & Raymond Morse Ken Murdoff Karen Murphy Beverly A. Murrow Diane Vandehey-Neale Bill & Lynn Neel Chris & Elise Noonan Dr. Susan K. Palmer Dorothy Parrott Jeffrey Pierce Dave & Mary Lynn Pierce Gene & Karen Pierson Jim Pilling Mary Jo Pitts Helmut Plant in memory of Carol Hamrick Plant and James RC Adams Guntis & Mara Plesums Daniel & Barbara Pope Joyce Pytkowicz Brittany & Erik Quick-Warner Richard & Patricia Rankin Lloyd & Marilyn Rawlings Blandon Ray & Kim Niles David Reinhard Hannah Riddle Jim & Sandy Ridlington James Ridlington Leah Riordan Edith C. Roberts Daniel & Kay Robinhold Gerald & Marcia Romick Michael Rudolph Michael & Wendy Russo Eva Safar Courtney Sams Eric Schabtach & Bonnie Murdock Michael Schaefer Douglas & Stephanie Sears

Symphony Members ($100–$249) Anonymous Mardi Abbott Sonja Abbott Florence Alvergue Dr. Don & Marianne Anderson Jim Angsten & Lynn Joseph Susan Archbald Vernon Arne Mary & David Scott Arnold Julie Aspinwall-Lamberts Gerry Aster Sandra & Fred Austin Roger & Lela Aydelott Scott E. Barkhurst David Baslaw George Bateman Lawrence & Linda Ann Beach Joyce Benjamin Richard & Betsy Berg Paul & Barbara Berger Sara Bergsund John & Lucy Bigelow David & Sheila Bong Joel Bradford Pamela Brills Willard Rodgers & Suzanne Brown Stephen Bryan Susan Burke & Clive Thomas Helen Callison June Hopkins & Don Campbell Frank & Nancy Carlton Daniel Chandler Dennis Chapman Elizabeth Charley Gary & Carole Chenkin Nikki Chery Jamie & Carrie Christopher Anthony J. Meyer & Joan Claffey Victor Congleton Clark Cox, Jr

NOVEMBER 2019 – JANUARY 2020

Lawrence Crumb Cassandra & Darryl Dare Brian & Nancy Davies Frank & Jennifer Diaz Cynthia Dickinson Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy Steve & Daryl Eccles John & Joanne Eggink Jennifer & Wayne Espinola Shira Fadeley Ben Farber & Adam Are John Faville Frank Feuille Martin Fitzpatrick & Hilary Egna Charles Fletcher Lamar & Jane Forvilly Jennifer & Dino Francois Dorothy Frear Gail Galbreath-Sheredy Charles & Barbara Ganzel John Garrett & Ruth Kaminski Eric Geyer Bentley Gilbert Jill Gillett & Timothy Johns Tim Gleason & Jenny Ulum Michelle Glenn Thomas Kreider & Paula Gordinier Don & MJ Gordon George & Susan Greenwald Michael & Grace Grose Sally Grosscup Larry Hacek Bryce & Sandy Halonen Barbara Hamilton Roger & Karen Hamilton Sandy Harland Andrew & Marilyn Hays Holly Helton & Peter Gallagher Harold & Martha Hockman

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Season Supporters Symphony Members ($100–$249) Carol Shininger George & Dionne Sjolund Sarah Smaw Hope Smith Marty & Mary Lou Smith Joanne & John Soper Dave & Dorothy Soper John & Julie Stacy

Roz Stein Walt & Barbara Stoeffler Maria & Delmar Storment Joan Stuart Patrick & Marjorie Sullivan John & Carol Sullivan Wayne, Leslie & Ari Taubenfeld Betty Taylor

Jeff & Linda Taylor Charitable Fund Edward Teague Mary Jo Templeman Gary Tepfer & Esther Jacobson-Tepfer Peter van de Graaff Addie Vandehey Lawrence & Marilyn Von Seeger

Mary Ellen West Barbara Wheatley Miriam Whiteley Windermere Jean Tate Real Estate William & Pat Wiswall Robin Yim JoAnn Zinniker Alex Zunterstein

Memorial Funds

Foundation Support

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

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

Laura Avery Gilbert Stiles Avery III Carolyn Chambers Marcia Baldwin Chandler Barkelew Phyllis Barkhurst Constance Mae Beckley Norma Jean Bennett Donald Bick Valentina Bilan Caroline Boekelheide Carol Rhodes Brummett 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 Alfie Kunz Melvin Lindley

American Federation of Musicians, Local 689 The Chambers Family Foundation Cow Creek Umpqua Indian 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 Oregon Arts Commission Oregon Cultural Trust Oregon Community Foundation The Silva Endowment Fund of The Oregon Community Foundation Support Hult Operations (S.H.O.) Tykeson Charitable Trust US Bank 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 Revera Poticha Britta Putjenter Jack Pyle Ellen B. Rice Richard Rintoul Peter W. Roberts Cece Romania John A. Schellman Jane Schmidt Helen R. Shapiro Dr. John A. Siebs John Sihler Benson Snyder Jan Stafl, MD Leonard Tarantola Mary Tibbetts Richard (Dick) G. Williams Barbara Wolfe

Supporting the Arts in Lane County

Musgroves.com

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Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

EUGENE SYMPHONY

The Eugene Symphony is profoundly grateful to our endowment donors for their vision and commitment to ensuring audiences will continue to enjoy the Symphony for generations to come.

Crescendo Society The Crescendo Society is composed of donors who have made gifts of cash, stocks, other cash equivalent gifts, or Charitable Trusts.

Anonymous Gil & Laura Avery Laura Maverick Graves Avery Harp Chair Laura Avery Visiting Masters Program Dr. John Bascom Joanne Berry Anne Boekelheide Caroline & Virgil Boekelheide Bill & Barbara Bowerman Nathan & Marilyn Cammack Carter & Carter Financial, Inc. Estate of Adeline Cassettari Carolyn S. Chambers The Phil Cass Memorial Fund Bruce Harlan Clark Crow Farm Foundation Dimmer Family Foundation Clyde & Mardell Quam Family Chair Anna Mae Esslinger The Eugene Symphony Guild The Bob Gray Family Bob Gray Chair Bob Gray Recognition Fund Estate of Lois J. Greenwood Peter Gregg Estate of Marguerite Grundig Niles & Mary Ann Hanson Miguel Harth-Bedoya Fund Rosaria P. Haugland Foundation James L. Hershner Memorial Fund Dr. & Mrs. George Hughes

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

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

Encore Society The Encore Society is composed of donors who have created their legacy of music and the arts by including the Eugene Symphony and/or the Eugene Symphony Endowment Fund in their wills, trusts, or other estate plans.

Anonymous (3) Barbara Aster Gilbert S. Avery, III Robert Baechtold John & Ruth Bascom Marjorie Beck Trust

Joanne Berry The Brockett Family 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 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 Lindsey McCarthy at lindsey.mccarthy@eugenesymphony.org or 541-687-9487, x1104 or visit our website at eugenesymphony.org.

NOVEMBER 2019 – JANUARY 2020

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Eugene Symphony

eugenesymphony.org Tel 541-687-9487, Fax 541-687-0527 115 West 8th Avenue, Suite 115, Eugene, OR 97401

EUGENE SYMPHONY BOARD OF DIRECTORS

EUGENE SYMPHONY STAFF

David Pottinger, President Deborah Carver, Vice President

Francesco Lecce-Chong, Music Director & Conductor Scott Freck, Executive Director Lindsey McCarthy, Associate Executive Director Sarah Smaw, Executive & Administrative Manager

Dr. Matthew McLaughlin, Secretary Zachary Blalack, Treasurer

DIRECTORS Warren Barnes Juliet Bender Marc Carlson Harriet Cherry Ashlee Cribb Erin Dickinson Judy England Dr. Raymond N. Englander John Holmes David Kammerer Sarah Maggio Jane Eyre McDonald Trieber Meador Arden Olson

Thomas Pettus-Czar Mike Roscoe Paul Roth Dr. Doneka Scott Dr. Matthew Shapiro Suzanne Shapiro Dunny Sorenson Andrew Stiltner Elizabeth Tippett Michael Vergamini Jack Viscardi Alicia Voorhees Sean Wagoner Connie Wonham

DIRECTORS EMERITUS Phil Cass, Jr. † Carolyn S. Chambers† Betty Soreng

David Ogden Stiers† Mary Ann Hanson

EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS

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

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

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers David Hawkins Varner J. Johns III, Chair

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ARTISTIC Lindsay Pearson, General Manager Andrew Mell, Artistic Operations Assistant Kristen Halay, Librarian Dr. Sharon Paul, Chorus Director ∞ Dr. Melissa Brunkan, Acting Chorus Director Bill Barnett, Recording Engineer Rick Carter, Piano Technician DEVELOPMENT & MARKETING Tegan DeBolt, Development & Fundraising Manager Alexis Koran, Marketing & Communications Manager Kathie Hsieh, Patron Engagement Coordinator EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director FINANCE Mary Scarpinato, Finance & Administrative Director Nancy Holloman & Caroline Manewal, Volunteer Coordinators Season Design: Cricket Design Works Program Magazine Design/Production: JLN Design, Jerril Nilson † in memoriam ∞ leave of absence The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.

Ann Marie Mehlum John Watkinson

EUGENE SYMPHONY

NOVEMBER 2019 – JANUARY 2020

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EST’D

1998

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EUGENE

OREGON

EUGENE SYMPHONY

Experience & Creativity are the Keys to Selling Your Home SWAN LAKE with Orchestra Next NOVEMBER 9–10, 2019 | Silva Concert Hall

THE NUTCRACKER with Orchestra Next DECEMBER 20–22, 2019 | Silva Concert Hall

ALICE IN WONDERLAND THE LARGE ROCK AND THE LITTLE YEW FEBRUARY 8–9, 2020 | Silva Concert Hall

INTERPLAY with UO School of Music and Dance FEBRUARY 22, 2020 | Soreng Theater

Adrienne St.Clair

The Area’s Most Experienced Team is Now Celebrating 20 Years in Lane County!

HEAVEN AND EARTH with Orchestra Next EDWAARD LIANG’S AGE OF INNOCENCE APRIL 4–5, 2020 | Silva Concert Hall

Call Today! (541) 953-6206 TheStClairs.com

Proud to support the

Eugene Symphony NOVEMBER 2019 – JANUARY 2020

TICKETS $25–$60, $15 Youth/College | eugeneballet.org | 541-682-5000

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2019/20 Season | Francesco Lecce-Chong, Music Director & Conductor

M O N DA Y

Join us during each Symphonic Series concert week to learn more about the upcoming concert and experience the music in interactive ways.

Symphony Happy Hour Join Francesco and fellow Symphony fans to discuss upcoming concert highlights through listening parties and a game of musical bingo.

Food and drink available for purchase.

5-6:30pm | FIRST NATIONAL TAPHOUSE, downtown Eugene OPEN TO THE PUBLIC | FREE

WEDNES DA Y

4-5:30pm | THE STUDIO, HULT CENTER unless otherwise noted OPEN TO THE PUBLIC | FREE

T U E S DA Y

Master Classes The Laura Avery Visiting Masters program provides student musicians with opportunities to develop their skills through master classes taught by distinguished guest artists.

Symphony Yoga Join Eugene Symphony horn player and certified yoga instructor Lydia Van Dreel for a classical music-themed yoga class, featuring music selected from upcoming concerts. Slow, gentle yoga suitable for all body types and all levels of experience.

8-9am | WILD LIGHT YOGA CENTER $8 FOR SUBSCRIBERS | $10 FOR PUBLIC

6:30-7pm | THE STUDIO, HULT CENTER unless otherwise noted OPEN TO THE PUBLIC | FREE

THURS DAY

Guild Concert Preview Enjoy engaging discussions with Francesco or guest conductor and the week’s featured guest artist.

Sponsored by the Eugene Symphony Guild.

MORE DETAILS AT EUGENESYMPHONY.ORG/CONNECT

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EUGENE SYMPHONY

Together we

transform generosity into exponential impact.

HERE’S HOW OCF WORKS WITH YOU

Meet with an OCF philanthropic advisor to create a fund that reflects your goals. Learn the

GIVE

most effective way to give all types of assets.

Recommend grants or scholarships from your fund with expert assistance from

GRANT

OCF and, if you wish, family members.

Watch your fund grow over time through a diversified investment strategy, adding to the efforts of fellow donors, creating

GROW

exponential impact across Oregon.

ART TRANSFORMS US. Y O U H AV E T H E P O W E R T O P R O T E C T A N D G R O W C R E AT I V I T Y I N O R E G O N .

B E G I N AT O R E G O N C F.O R G EUGENE OFFICE: 440 E BROADWAY SUITE 160 EUGENE, OR 97401 541.431.7099 OREGONCF.ORG

NOVEMBER 2019 – JANUARY 2020

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