Symphony at the Ranch

F R I DAY, S E P T E M B E R 18, 2020 7:30 P.M ST R EA M.M I S S OU L ASYM P H O N Y.O RG

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Missoula Symphony Association

The Missoula Symphony Association Presents

BRyan cuRt KostoRs, Guest Conductor Friday, September 18, 7:30 P.M. 66 th Season, 2020-2021

sympHony at tHe ranCH *Program order to be announced during internet stream*

coleRiDGe-tayloR

Novelletten, op.52 no.1, A major Missoula Symphony Chamber Orchestra

BoZZa

Trois Pieces Pour Une Musique de Nuit Andantino Allegro vivo Moderato Missoula Symphony Woodwind Quartet

BeRnstein arr. Jack Gale

West Side Story: Suite for Brass Quintet Tonight I Feel Pretty Somewhere Missoula Symphony Brass Quintet

Joplin arr. adam lesnick

The Ragtime Dance Missoula Symphony Woodwind Quartet

pollacK arr. Jim parcel

That’s A Plenty Missoula Symphony Brass Quintet

coplanD

Appalachian Spring: Suite for Orchestra Missoula Symphony Chamber Orchestra

This program is printed on recycled paper using recyclable inks.

Program produced by the Missoulian To advertise in our programs contact Jacque Walawander at: Phone: 406.523.5271 Email: jacque.walawander@lee.net syMphony at the Ranch

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Bryan Curt Kostors Guest Conductor Bryan Curt Kostors is a composer, conductor, educator, and multimedia creator, and is currently the chair of the composition and electronic music department at the University of Montana. He writes diverse and evocative music for orchestra, chamber groups, electronics, multimedia, dance, film, choir, and soloists, with the drastic and contrasting landscapes of the American West – desert, basin and range, high mountain peaks, ocean coast – playing a prominent role. A central element of Bryan’s work is the exploration of how place affects sound, visuals, and emotional interpretation, and how the history, landscape, or social aspects of a given geography can be used to create artwork that speaks to a wide and varied audience.

Bryan’s music has been performed by many ensembles, including NOW Ensemble, The Wuhan Philharmonic, the Lyris Quartet, the Mivos Quartet, Hocket, the USC Thornton Symphony Orchestra, and the Downey Symphony Orchestra. His collaborations with choreographer Laurie Sefton have been recently performed in New York, San Francisco, and in Los Angeles with premieres at Walt Disney Concert Hall and the Nate Holden Theatre. He has written scores for award-winning short films, working collaboratively with filmmaker Danny Corey on numerous projects. Their most recent piece, the documentary Las Vegas Bender, has received awards at film festivals throughout the country.

As a conductor, Bryan specializes in works of the 20th and 21st centuries. He has recently conducted his own works and other new compositions in Los Angeles, Las Vegas, and Missoula. Along with concert music, Bryan also conducts in the studio for film scoring projects.

Bryan is expanding and developing his work in music for electronics, multimedia and hybrid media. Recent works explore the combination of live visuals and music performance, as well as virtual reality filmmaking and music creation. The string orchestra piece To Dust, which combines live-edited film projections with an orchestral performance, along with online content and tangible artifacts, was created for the Downey Symphony Orchestra and premiered by that group. Bryan is currently creating a new multimedia work entitled Standing Dead, commissioned by the University of Montana Wind Band Association, that addresses climate change and forest fires. Bryan’s work with electronics include developing and scoring music for modular synthesizer, as well as programming electroacoustic music in a variety of formats. Percussionist Brandon Bell recently premiered the piece Flood in Houston, Texas, which uses real-time weather data to dynamically affect the electronics and the score during performance. He is currently developing his work with networking and live-streaming concert and audiovisual content, creating methods of conducting and leading ensembles over the internet and writing music specifically catered to virtual audiences.

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contents President’s Message ��������������������������������������������������������������������������������������� 9 Executive Director’s Message ����������������������������������������������������������������������� 9 Missoula Symphony Orchestra ������������������������������������������������������������������ 10 Missoula Symphony Chamber Orchestra ������������������������������������������������ 11 KUFM Broadcast ������������������������������������������������������������������������������������������� 11 Program Notes ���������������������������������������������������������������������������������������������� 12 Concert Sponsors ����������������������������������������������������������������������������������������� 18 Business Contributors ��������������������������������������������������������������������������������� 19 Montana Suzuki Institute ���������������������������������������������������������������������������� 20 Missoula Symphony Association ��������������������������������������������������������������� 21 Scholarship Fund ������������������������������������������������������������������������������������������ 26

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president’s message Jim Valeo Welcome to the 2020-2021 season of the Missoula Symphony Orchestra, our 66th season. This will be a season unlike any in our history and, we hope, unlike any in our future.

While so much is different this year, our mission is unchanged: “to assure cultural enrichment essential to the quality of life in the Missoula area by providing live symphonic music of the highest quality.” The delivery may be new, but the music is timeless.

As this Coronavirus pandemic continues, I am evermore convinced that we must support now those things we want to survive until this test of our stamina as a civilization is over. I hope you will join me in that effort.

J i m Va l e o President, Missoula Symphony Association

Executive Director’s Message Jo May Salonen Hello and welcome to our 2020-2021 concert season! For several months, we all wondered if there would be a concert season but we are thrilled that our musicians, staff, patrons and volunteers stuck together in order to make it happen.

While we will miss performing before live audiences until it’s safe to do so, we are delighted to bring highquality symphonic music to you through streaming and promise to offer a terrific at-home concert viewing experience.

We greatly appreciate your patience as we work out the details of the season in the coming months – stay tuned for more announcements, just as soon as we have things finalized.

You have inspired and humbled the Missoula Symphony Orchestra & Chorale with your steadfast support during the COVID craziness – THANK YOU! Enjoy the concert!

Jo May Salonen Executive Director, Missoula Symphony Association Symphony at the Ranch

Music Director’s Chair sponsored by Rick & Diana Nash

FIRST VIOLIN Margaret Nichols Baldridge, concertmaster Chair sponsored by Janet & Harry Haines.

Loy Koch, associate concertmaster Madeleine McKelvey, acting assistant concertmaster Janet Allison Camas Allison-Bunnell Peter Dayton Wes Douglas Tasha Fain Suzanne Hartzell Linda Lacey Nancy Lofgren Kohler Edwin Mellander Emily Rogers+ SECOND VIOLIN Kira Lee, acting principal Chair sponsored by Laura Patterson Pam Hillygus, associate principal Natalie Grieco, assistant principal Ken Ballinger Anneliese Broman Claudia Christensen Anna Elbon Patricia Forsberg Jeanne Hargett Will Hunt Julie Lacey Maddi Ogle Patrick Shannon VIOLA Colleen Hunter, principal Chair sponsored by Mary Ann & Robert Moseley Martha Ballard Thayer, assistant principal Chair sponsored by Robert & Carol Seim Jodi Allison-Bunnell Leslie Collins-Rose Bayley Ginnaty+ Kathryn Mellander Lea Tonnere+ Christine Wallace Richard Wells Ryan Zoanni+

CELLO Adam Collins, principal Chair sponsored by Dan & Sophia Lambros Christine Sopko, assistant principal Chair sponsored by Louisa & Paul Axelrod Susan Anderson Jessica Catron Joan Chesebro Dawn Douglass David Harmsworth+ Sage Johns Tait Kuchenbrod Jayla Mitchell+ DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey Martha Ilgenfritz William James Dillon Johns Michael Johns Thomas Sciple Nicholas Timmerhoff FLUTE Jennifer Cooper & Joanna Martin Berg, co-principals Chair sponsored by Laura & Mark Haythornthwaite Julia Vasquez PICCOLO Julia Vasquez OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce Olivia Adams ENGLISH HORN Jennifer Gookin Cavanaugh, principal Chair sponsored by Jo May & Brian Salonen CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot Polly Huppert BASSOON Alicia L. McLean, principal Chair sponsored by Bill & Jean Woessner Logan Beskoon

HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox Jason Barkley Daniel Lande Robert B. Green TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone James Smart TROMBONE Rob Tapper, principal Chair sponsored by Frank & Maggie Allen Tomi Kent Chris Porter TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts TIMPANI Robert LedBetter, principal Chair sponsored by Michael and Traci Punke PERCUSSION Samuel McKenzie, assistant principal Joe Nickell Rosie Cerquone HARP Peggy Young, principal Chair sponsored by Maria & Peter van Loben Sels PIANO Christopher Hahn, principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams *Members of the string sections are listed alphabetically. Seating is rotated for each concert. +Missoula Symphony Scholarship Recipients

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Chamber Orchestra Symphony at the Ranch

FIRST VIOLIN Margaret Nichols Baldridge, concertmaster Chair sponsored by Janet & Harry Haines.

Loy Koch, associate concertmaster SECOND VIOLIN Kira Lee, acting principal Chair sponsored by Laura Patterson Madeleine McKelvey, acting associate principal VIOLA Pam Hillygus, acting principal Chair sponsored by Mary Ann & Robert Moseley Martha Ballard Thayer, assistant principal Chair sponsored by Robert & Carol Seim CELLO Adam Collins, principal Chair sponsored by Dan & Sophia Lambros Christine Sopko, assistant principal Chair sponsored by Louisa & Paul Axelrod

BRyan cuRt KostoRs, Guest Conductor Music Director’s Chair sponsored by Rick & Diana Nash

DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey

Nick Barr TROMBONE Rob Tapper, principal Chair sponsored by Frank & Maggie Allen

FLUTE Joanna Martin Berg, principal Chair sponsored by Laura & Mark Haythornthwaite

TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts

OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce

PERCUSSION Samuel McKenzie, assistant principal

CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot BASSOON Alicia L. McLean, principal Chair sponsored by Bill & Jean Woessner HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone

PIANO Christopher Hahn, principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams *Members of the string sections are listed alphabetically. Seating is rotated for each concert. +Missoula Symphony Scholarship Recipients

KUFM BROADCAST

This concert will be broadcast over Montana Public Radio on a date to be announced.

KUFM Missoula, 89.1 KUFM North Missoula, 91.5 KUFN Hamilton, 91.9 KUKL Kalispell, 90.1 KAPC Butte, 91.3

KUHM Helena 91.7, KUFL Libby, 90.5 KPJH Polson, 89.5 KGPR Great Falls, 89.9

Large-print copies of Program Notes are available upon request in advance of the event by calling 721-3194 or at www.missoulasymphony.org syMphony at the Ranch

Program Notes

By Bryan Curt Kostors Samuel Coleridge-Taylor (1875-1912) - Novelletten I

Samuel Coleridge-Taylor was born in England in 1875. He was the son of a white English woman and a black father originally from Sierra Leone, whose family history spanned the Atlantic ocean: his lineage was that of a group of American slaves who remained loyal to the British crown throughout the American revolutionary war, and who were returned to West Africa after the United States gained its independence.

When Coleridge-Taylor was young, his father abandoned him and his mother and left for Africa after trying to become a physician and continually being met with imposed professional limitations due to his race. Not long after, the young Samuel began playing violin and started to write and compose music. Coleridge-Taylor would go on to develop a refined, lyrical and engaging style throughout a number of compositions that were very well received in Britain and overseas. His most well known works are a trilogy of pieces: Hiawatha’s Wedding Feast, The Death of Minnehaha, and Hiawatha’s Departure. Written in the last two years of the 19th century, these cantatas were programmatic works based on the epic poem of the same name by Henry Wadsworth Longfellow. These works brought the composer international fame, to the extend that the commission for the second work of the trilogy was given before the premiere of the first, solely due to the popularity of the printed score that had been available for sale.

Coleridge-Taylor, educated and practiced in England at the Royal College, was also deeply interested in what black musicians in America were playing and composing at the turn of the century. (His interest in American stories and themes, of course, is also present in the Hiawatha trilogy and its Native American story; Coleridge-Taylor would eventually name his own son Hiawatha.) He resonated with the music being written in black communities in America, a radical, political, and experimental component of American artistic culture that would give us such visionaries as Duke Ellington, Scott Joplin, Robert Johnson, and countless others.

Coleridge-Taylor’s interest in American music, combined with his own orchestral style, is perhaps one reason he was assigned the racist title of the “black Dvorak”, which fails to assess his musical skill on any terms other than the color of his skin. But as his teachers, peers, and fans were keenly aware, Coleridge-Taylor possessed a unique skill for orchestral writing, harmony, and melody. He toured at least three times in the United States at the beginning of the 20th Century, met with President Teddy Roosevelt due to his active role in politics and social justice issues, and was honored in the states with the formation of the Coleridge-Taylor society, a group of musicians dedicated to performing and promoting his music in America. He would later go on to teach at the Trinity College of Music and conduct leading choirs in England. Coleridge-Taylor’s music, equally inspired by his traditional musical education in England and his love for black spirituals and the music of black American artists, is full of surprising and exciting uses of color, harmony, and melody. He was an extremely talented orchestrator - as can be heard in the Hiawatha trilogy - using all the available sonic possibilities of the symphony and the voice to express his musical ideas. In his smaller scale works, such as the Novelletten, the same skill is evident and clearly heard even in the more homogenous timbral context of only strings. The 4 Novelletten (a term first used my Schumann to describe a collection of small works for the piano), the first of which is played on this program, was written midway through his career in 1902 and is a wonderful example of his 12

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skill writing for the traditional group of string instruments in a European style. The music is dance-like, quickly and elegantly moving through a compound 3/8 meter. The opening harmonies are clearly tonal, yet are made measurably more exciting with the addition of chromatic pitches and borrowed chords. The melodic phrases that soon follow are lyrical and singing, but have a slightly disjunct quality in their intervalic content. This combination of effortless tonal music-making combined with surprising and unexpected details permeates Coleridge-Taylor’s work. The first movement continues with impressive orchestration, moving the material throughout the registers of the ensemble in continually captivating ways.

Counterpoint and rhythm are used to highlight and direct our focus throughout the straightforward formal structure of the piece, and like all great musical works we find ourselves lost within the sound of his score, outside of time.

Tragically, Coleridge-Taylor died at the age of 37 without having seen essentially any of the large sums of money he should have received from the popularity of his printed music. We can only imagine, as is the case with so many great artists that leave us too early, what Coleridge Taylor would continue to create and accomplish had he lived a longer life. This doesn’t, however, diminish the importance of his existing work, and perhaps makes it even more rare and valuable. As a composer who loved and appreciated the music of marginalized people, and who gained notoriety by engaging with that love and social awareness, ColeridgeTaylor’s legacy is a fundamentally important part of our musical history.

Eugene Bozza (1905-1991) - Trois pièces pour une musique de nuit

Trois pièces pour une musique de nuit is a prime example of what the composer Eugene Bozza is most well known for: engaging, exciting, and masterfully written chamber music, especially for wind instruments. A French composer who studied both in Paris and for a time in Italy, Bozza was an accomplished conductor and educator as well. Along with hundreds of published scores, he wrote many etudes and books on music. He had a gift for composing idiomatically for each instrument used in any given score, so that the music is not only enjoyable for musicians to perform but also rehearse. His style of melody and harmony is accessible to a wide variety of audiences without being simplistic. All of these qualities make him a mainstay in chamber music performances and on chamber music recordings.

Bozza, born in 1905, wrote much of his music in the interwar years in France. The Neoclassical sounds of the day can be heard in his music, both in the pitch and harmonic content as well as the formal structures. While contemporaries such as Milhaud and Stravinsky are more well known for their large symphonic orchestrations in this style, Bozza remains a well known master of its application in chamber music. We can hear the impact of turn-of-the-century French compositional styles as well, with colorful chromaticism and impressionistic chord progressions used in captivating and playful ways. The quartet Trois pièces pour une musique de nuit, a small but demanding trio of movements for flute, oboe, clarinet, and bassoon, gives us a wonderful window into much of what makes Bozza’s chamber music so memorable. The andantino begins with a flute melody that weaves up and down across its register, with surprising chromaticism thrown in to keep us guessing. The other three winds establish a somewhat mysterious harmonic setting that would be at home with Ravel and early Debussy. As the movement progresses, melodic ideas a traded throughout the ensemble until we arrive at a comfortable, unambiguous G-major chord - the parallel major key of the g-minor tonality in which we began. As soon as we arrive at the final cadence of the first movement, we’re quickly off again with the second movement, an allegro vivo in 3/8 time.

Staccato repetitions and dancelike phrases, anchored by a well-written bass line in the bassoon, move quickly around the four instruments in a Symphony at the Ranch

minor mode, with chromatic interjections and unexpected harmonic shifts that keep us guessing as to where this playful and somewhat mischievous music is headed. A major key middle section that introduces us to a new character of the music uses syncopated accents to upend the rhythmic feel of the meter, before returning to the opening motives once again in the final third of the movement. The final movement, a moderato, opens with bassoon and clarinet in octaves playing a solemn modal melody. This is quickly harmonized in minor key music with exquisitely written counterpoint throughout the quartet. This movement is a clear example of the Neoclassical influence of the time on Bozza’s work: familiar harmonic cadences and contrapuntal writing are intertwined with engaging chromatic pitch content and unexpected voice-leading. Soon the modal melodic motives are played in higher registers by the flute and oboe over a drone on the pitch A supplied by clarinet and bassoon, taking us further back before the new classical and into a new renaissance sound. The movement culminates with each instrument arriving at a final a-minor cadence together.

Leonard Bernstein (1918-1990) - West Side Story, arr. for brass quintet by Jack Gale

West Side Story, and the music written for it, has become one of the most well known pieces to come out of Broadway in the history of American musical theatre. Speaking from a strictly musical standpoint, this is actually quite a remarkable thing, given Bernstein’s compositional approach. The combination of his score, however, with Sondheim’s lyrics, Jerome Robbins’ choreography, and the retelling of Shakespeare make for a wildly engaging work of art that continually speaks to a wide and varied audience. Leonard Bernstein was, and posthumously still is, one of the most famous conductors in America. He was iconoclastic, passionate, intimidating, and artistically adventurous in his work on the podium. His work as a composer has these same characteristics as well. He was a long-time fan of the theatre, and in his earlier days envisioned a kind of artistic synthesis that would include all aspects of American culture expressed in music, dance, and imagery.

West Side Story is not only the most popular realization of this idea, but it is also the most musically successful. Throughout the piece, Bernstein makes use of latin rhythms, jazz, popular styles, and classical idioms in continually impressive combinations. The cultural aspects of the stage play are reflected in these musical choices - a score that is emblematic of the diverse and complex society that Bernstein knew in New York. It was important to Bernstein that all of these parts of American music were present in the work, as he considered each to be equally valid. But Bernstein also employs complex harmonic and melodic ideas that would be home in the music of Wagner or Schoenberg. Thorny dissonances and disjunct melodic moves outline tritones and pitch class sets measurably removed from the standard harmonic structures of popular music styles. Melodically, motivic ideas become tied to characters and their motivations, and compositional tricks of restatement and reinterpretation are used to propel the musical content forward through its narrative structure. One of the most memorable melodies of the work, the theme from “Somewhere,” is a reinterpretation itself of the slow movement from Beethoven’s Emperor Concerto. This eclectic melting pot of musical ideas became an exciting characteristic of the work as a whole, but also reflects a social and cultural view of America that was important to the composer.

West Side Story is a thoroughly modern affair, full of challenging and exciting musical ideas that still sound fresh today. While Bernstein would later direct his professional focus mostly to his conducting work (perhaps leaving an unfulfilled compositional legacy behind), his contribution to American musical theatre is monumental. The arrangement played on this program contains much of the most popular music from the score, which is also present in Bernstein’s suite for orchestra. While most listeners will surely recognize and be familiar with at least some of this music, give yourself the 14

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opportunity to listen for the challenging and groundbreaking musical ideas that are woven into this score. While you may know the melodies and the words, here’s a change to revel in the complex harmonies, the risky rhythmic structures, and the musical adventurousness that Bernstein achieved in this important piece of American art.

Scott Joplin (1868-1917) - Ragtime Dance, arr. for wind quartet by Adam Lesnick

There are a handful of musicians that, without question, represent the founding of what would become the eclectic and groundbreaking sound of American music in the 20th century. Scott Joplin is one of those musicians, and in his ragtime music we can find evidence of nearly everything that would later become fundamental characteristics of popular music in the United States. That these musical ideas would go on to help define the artistic soul of a nation while the musicians that created them remained the victims of racism and institutionalized sidelining is a history with which we are still reckoning as a country; we can find some solace and hope in the music itself, as we celebrate innovators like Joplin with continued performances of this vital and important music. Scott Joplin, born in 1868, grew up actively participating in music in the south, learning about much of the folk traditions that were performed where he lived in Arkansas and Texas when he was young. He became an accomplished composer and performer, writing over 100 ragtime works. He also composed operas, although much of that work has unfortunately been lost. His major professional break came with a performance in Chicago that introduced his ragtime music to a larger audience. The ragtime sound of Joplin’s music is so ubiquitous now that even listeners who don’t know it by genre can likely identify it by sound. If listeners of a certain generation don’t know the piece on today’s program by name, they very well may know it from its use in the movie The Sting.

The bass line is one main identifying factor of how Joplin’s ragtime music operates, as well as the way syncopated rhythms are used throughout.

Specific compositional decisions about chromaticism are used within the voice-leading of the melodic material; these chromatic inflections - the “blue notes” of a blues scale - are still a fundamental aspect of how American popular music uses ambiguous tonal implications to help create a unique and engaging sound. In the second half of the Ragtime Dance, a stop-time feel is added, where specific stomping actions of the piano player are called for in the score. That this music is so inexorably tied to dance is itself an important aspect of its place in the history of American popular music - music for dancing is still one of the most popular ways many listeners experience music in American culture. The arrangement on this program for flute, oboe, clarinet, and bassoon, was written by Adam Lesnick.

Lew Pollack (1895-1946) – That’s a Plenty, arr. For brass quintet by Jim Parcel

While ragtime music is perhaps most often associated with the composer Scott Joplin, there were many who wrote in this popular style at the beginning of the 20th century. Among them was Lew Pollack. Pollack was born in New York and developed his songwriting skills among the vaudeville scene so prominent in that city. He wrote a number of well known songs for the stage, including At the Codfish Ball, which was used in the Shirley Temple film “Captain January.”

That’s a Plenty is a showcase of many of the stylistic characteristics that are used throughout ragtime music. There is, of course, the classic bass line figure of skipping octaves in eighth notes to outline the roots of chords and the accompanying harmony. The counterpoint in the melodic lines is at times highly chromatic, and uses bouncing rhythmic figures to move the musical content along. The piece begins in a minor tonality, and as is often the case in this style, the next section of the form is played in a major tonality to establish contrast. Repetition is used throughout, which gives the Symphony at the Ranch

listener a clear roadmap as the music progresses, an important component of popular songwriting and dance music styles.

The original song was written with lyrics by Ray Gilbert, but the piece has been arranged into many different forms over the years. Early recordings of the work make it into a foxtrot for jazz orchestra, while others present it in the style of Dixieland jazz. This amount of stylistic versatility speaks to the popularity of the song itself. The arrangement on this program was done by Jim Parcel for brass ensemble. Parcel, a trombonist with experience playing Dixieland jazz, uses that style to inform his arrangement, including sections for solos in the middle of the piece. As is common in Dixieland music, the melodic lines being played simultaneously by instruments in the ensemble vie for dominance within the counterpoint, but also, when heard together, create a more robust expression of the harmonic content of the music.

Aaron Copland (1900-1990) - Appalachian Spring

The music of Aaron Copland holds a special place in the collective sense memory of the American listening public. Perhaps no other composer of the 20th century is more closely associated with the mythic and romanticized idea of the West, of social and cultural hope, and of an American identity tied to landscape. Copland strived to create a music that expressed a sense of place and belonging - a harmonic, melodic, and rhythmic vocabulary that would bring listeners together. However the path Copland took in arriving at this compositional destination is often minimized in favor of the idealized notions his music evokes. The man himself might have seemed an unlikely candidate for becoming the composer who would create this aural landscape of America. Copland was a New Yorker, through and through, being born and raised in Brooklyn. He was a gay Jewish man, the son of Russian immigrants, and at a relatively young age he also became active in leftist politics, even speaking at a communist rally in Minnesota in 1934. His political and social views were evident in much of his early music: the ballet Hear Ye! Hear Ye! comments on corruption in the courts and legal system. His Fanfare for the Common Man, regularly used in very political and patriotic settings, took its title from a speech by Vice President Henry Wallace in which that politician celebrated the possibility of a people’s revolution in order to carry forward FDR’s New Deal with ideas modeled after the Soviet Union. A Lincoln Portrait used the words of that president in a narrative setting to evoke his contributions to our country’s history. While politics is an important aspect of Copland’s musical output, what most people remember is his approach to harmony and melody. But even this component of his work is sometimes misunderstood. Copland, like so many of the successful composers of the early 20th century, studied in Paris with the composer, theorist, and educator Nadia Boulanger. Her rigorous and detailed instruction informs all of Copland’s music to some extent. But living in Paris in the 1920’s also meant there was no escaping the influence of Igor Stravinsky. Even in parts of Appalachian Spring Stravinsky’s rhythmic and metric ideas can be heard, and certainly in Copland’s early modernist and non-tonal works the mark of both Boulanger and Stravinsky are prominent. It wasn’t until his return to America that Copland truly moved away from the modernist music that so many of his peers were writing. But it wasn’t a trip to Colorado, the Dakotas, or California that sparked the flame of ideas that would eventually become his trademark musical sound. It was, in fact, a visit to Mexico that began this journey. Here, while also meeting with composers Carlos Chavez, Diego Rivera, and Silvestre Revueltas, Copland began sketching ideas for his piece El Sálon México. In this work you can begin to hear many of the musical idioms that would later be crystalized in pieces such as Rodeo and Billy the Kid. Copland most certainly has a roster of “hits” that many American composers might envy, and Appalachian Spring, written in 1943-44, ranks among the most well known. The choreographer Martha Graham - another American artistic treasure herself - came to Copland with the idea. She hoped to evoke a mythic frontier story, and Copland’s established track 16

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record by that time made him a natural choice. The score provides some of the clearest examples of how Copland used harmony to establish a sonic landscape related to the idealized, romanticized American West. Quartal and quintal harmonies - those made up of notes that are spaced perfect fourths and fifths apart - have a broad, open sound that simultaneously speaks to stillness and potential energy, as well as the horizon lines of topographies advancing outward beyond our reach as audience members. (These intervals are also the sounds of open strings on violins, violas, cellos, and basses, the sounds of which are often heard in traditional folk music styles of the American west and south.) the entire opening section of the piece focuses on these harmonies, only rarely moving away from the chord of A major.

When quicker, more melodically-driven music arrives, open space is still a fundamental characteristic of the score, with instrumental lines jumping in octaves to outline thematic phrases. A turbulent middle section - music that shows its Stravinskian influence - hops and dances across mixed meter and complex rhythmic structures. Later we hear the mid-tempo gait of musical themes so often used in Copland’s music to represent the West, farm life, and romanticized cultural simplicity. Perhaps the most well-known part of the entire work arrives in the last third of the score. Here, a setting of the song Simple Gifts, a Shaker tune from the Pennsylvanian countryside where Graham envisioned her ballet, is the main musical idea that propels the work forward. The melody itself is stated as-is without change or manipulation, and Copland uses masterful compositional technique to harmonize and develop the material over a long period of time. We hear the melody in the form of a canon, with many instruments taking up the tune at a variety of speeds. This music culminates in a slow, grand, and moving statement of the melody harmonized over a descending scale. This combination of simple compositional ideas and nuanced, clear, and masterful technique is a calling card of the composer, and likely may be one reason his music resonates across such a wide variety of audiences. Like the history of our country itself, Copland’s music is often idealized. It is often taken out of context from the actual views and beliefs that helped bring it into existence in the first place. The reality is invariably more complex and nuanced than the myth, and sometimes the idealism we hear in these scores can obscure the difficult truths and histories that are built into the real story of America’s romance with the West. But Copland himself was, in the end, more pragmatic than radical, regardless of the radicalism that is such a core component of much of his work. He envisioned American ideals and placed them into his music, perhaps as way for us to see forward as much as look back. In our current time, while we reckon with so many misunderstood stories and rewritten histories, Copland’s music may offer a way of envisioning that landscape of possibility and community, however mythical and idealistic it may seem.

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Business ContriButors AUTOMOTIVE/TRANSPORTATION DeMarois Buick-GMC-Mercedes

2020-2021 RETAIL STORES Art Attic

BEVERAGES/FOOD Big Dipper Ice Cream Covered Wagon Hotdogs El Cazador Good Food Store Subway

Bitterroot Flower Shop

FINANCIAL & INVESTMENT D.A. Davidson & Company First Interstate Bank First Security Bank Merrill Lynch Park Side Credit Union RBC Wealth Management S.G. Long & Company Stockman Bank U.S. Bank

Blackfoot

PROFESSIONAL SERVICES Christian, Samson & Baskett, P.L.L.C. Garlington, Lohn & Robinson. P.L.L.P. Langel & Associates Missoula Bone & Joint NorthWestern Energy Payne West Insurance Polleys Square Submittable Wipfli LLP

Caras Nursery and Landscape Morgenroth Music Center Muralt’s Travel Plaza SPECIAL SERVICES Comfort Inn University Doubletree Hotel Missoula-Edgewater Missoula Broadcasting Company Missoula Community Foundation Missoulian Jonathan Qualben Photography Residence Inn by Marriott – The Mercantile Hotel Snow Bowl Sound Creations Washington Corporations Windfall Studio

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MONTANA SUZUKI INSTITUTE PRESENTED BY THE MISSOULA SYMPHONY ASSOCIATION

The Suzuki Method is based on the principle that all children possess ability that can be developed and enhanced through a nurturing environment. Though the Suzuki method enables children to play music to a high standard, and many Suzuki-trained students have become highly acclaimed professional musicians, the training of professionals is not the aim: the emphasis throughout is on the development of the whole child. The goal is to develop a supportive community around our children – one in which parents and teachers work together to ensure that the full potential of every child is developed.

Mr. Suzuki’s vision was “education that inculcates, brings out, develops the human potential... that all children on this globe may become fine human beings, happy people of superior ability, for I am convinced that all children are born with this potential.”

We are proud and honored to present the Montana Suzuki Institute; offering musical instruction of the highest quality to children of all ages in a nurturing environment that brings families together. Your support in any amount will make a meaningful impact on the Montana Suzuki Institute. Thank you!

MONTANA SUZUKI INSTITUTE SUPPORTERS The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of August 10, 2020. We apologize for any omissions or errors.

SHINICHI CIRCLE – ($5,000+) SPONSOR – ($2,000 - $4,999) SUSTAINER – ($1,000 - $1,999) Max & Betty Swanson Foundation Peter & Maria van Loben Sels CONCERTO – ($500 - $999) BOUREE – ($300 - $499)

MINUET – ($150 - $299) GAVOTTE – ($50 - $149) Mary Ann & Robert Albee in Honor of Jim & Marci Valeo Naomi Engle – in Honor of Margaret Nichols Baldridge Home ReSource TWINKLE – ($25 - $49) Jo May & Brian Salonen Traci Sylte

RBC Wealth Management is proud to sponsor the Missoula Symphony Gary Kiemele, Senior Vice President — Financial Advisor Consulting Group (406) 829-4611 | (866) 394-0672 www.garykiemele.com | gary.kiemele@rbc.com Managing wealth with integrity and purpose.

Investment and insurance products: • Not insured by the FDIC or any other federal government agency • Not a deposit of, or guaranteed by, the bank or an affiliate of the bank • May lose value © 2020 RBC Wealth Management, a division of RBC Capital Markets, LLC, Member NYSE/FINRA/SIPC.

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Missoula Symphony Association

pResiDent

DeVelopMent cooRDinatoR

Jim Valeo

Beth Woody

Vice pResiDent

eDucation cooRDinatoR

Bill Johnston tReasuReR Jim Valeo - interim secRetaRy Bill Johnston past pResiDent Ed Wetherbee DiRectoRs

Sylvia Allen Oman special eVents anD pRoJects Deborah Woody liBRaRian Suzanne Hartzell inteRn Olivia Adams

Adam Collins, Andrew George, Mark

eMeRitus BoaRD oF DiRectoRs

Haythornthwaite, Theresa Johnson,

Tom Boone

Bill Johnston, Robin Kendall, Celeste

Robert Homer

Peterson, Deborah Stapley-Graham,

Caryl Klein

Jeff Vandergrift

Sophie Lambros

eXecutiVe DiRectoR

Mora Payne

Jo May Salonen

Carol Seim

choRale DiRectoR

Marci Valeo

Dean Peterson DiRectoR oF opeRations Peter McKenzie patRon seRVices cooRDinatoR

John Talbot

The Missoula Symphony Association is a member of the Montana Association of Symphony Orchestras and the League of American Orchestras.

Kirsten McGlynn The MSA is grateful to the following patrons for their generous gifts.

Listed below are contributions of $50 or more within 12 months of August 10, 2020. We apologize for any omissions or errors.

SEASON SPONSOR Good Food Store

CONCERT SPONSORS Anonymous (4) George & Dolores Bandow Blackfoot Bill & Phyllis Bouchee Candice Boyer– In memory of Martin & Marion Boyer Christian, Samson & Baskett P.L.L.C. D.A. Davidson & Company DeMarois Buick-GMC-Mercedes Doubletree Hotel Missoula-Edgewater First Security Bank

Garlington, Lohn & Robinson, P.L.L.P. Langel & Associates P.C. Merrill Lynch Missoulian Muralt’s Travel Plaza NorthWestern Energy Kathy Ogren Payne West Insurance RBC Wealth Management S.G. Long & Company Stockman Bank Betty Thisted U.S. Bank Washington Corporations Dennis & Phyllis Washington Foundation

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MUSIC DIRECTOR’S CHAIR SPONSOR Rick & Diana Nash CHORALE CONDUCTOR’S CHAIR SPONSOR Doug & Caryl Klein Maestro ($25,000+) Will and Kay Cook CONDUCTOR ($5,000-$24,999) Anonymous George & Dolores Bandow Good Food Store John Sargent Patricia Forsberg & Stephen Speckart Windfall Studio Marci & Jim Valeo Twila Wolfe Principal Piano SPONSOR ($1,000-$4,999) Frank & Maggie Allen Principal Trombone Anonymous (4) Louisa & Paul Axelrod Assistant Principal Cello Deann Birnel Fred & Diane Bodholt Tom & Ann Boone Principal Trumpet Janet Boyer Caffe Dolce Joan Chesebro Richard & Alice Dailey Principal Bass Rae Lynn & Frank D’Angelo Pam Gardiner & Lyle Geurts Principal Tuba Bo & Karen Gardner Lyle & Gail Grimes Janet & Harry Haines Concertmaster Laura & Mark Haythornthwaite Principal Flute Ed & Donna Heilman In loving memory of Virginia Johnston from her family Dr. Llewellyn & Sandra Jones Janne Joy Charlotte Kasl Daniel Kemmis & Jean Larson Paul & Christine Kilzer Doug & Caryl Klein Keith & Wendy Kuhn Dan & Sophie Lambros Principal Cello George & Dorothea Lambros Jo-Ann & Ian Lange – in memory of Paol & Eric Bodholt In Honor of Donald L. McCammon In Memory of M/Sgt. Barbara L. McCammon In Memory of George McCammon Jeff & Sandra Miller

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Missoula Symphony Association

Missoula Broadcasting Company Missoula Downtown Association Montana Association of Symphony Orchestras Mary Anne & Robert F. Moseley Principal Viola Old Sawmill District Laura Patterson Principal Second Violin Brad & Celeste Peterson Michael and Traci Punke Principal Timpani Amber & Lans Richardson Jo May & Brian Salonen Principal English Horn Robert & Carol Seim Assistant Principal Viola Don & Sharon Snavely Stockman Bank Deirdre Swanson John & Sue Talbot Principal Clarinet Betty Thisted William & Sarah Towle Jeff & Aggie Vandergrift Maria & Peter van Loben Sels Principal Harp Edward & Leslie Wetherbee Janet Whaley & Phil Hamilton Betsy & Warren Wilcox Principal Horn Wipfli LLP Jean & William Woessner Principal Bassoon Jennifer & Ben Yonce Principal Oboe BENEFACTOR ($600-$999) Seve & Margie Grinnell Bill & Dori Johnston Missoula Community Foundation Donald & Charla Murray Walt & Peggy Peschel Gary Spetz Carol Vickstrom Clem & Alice Williams Peggy Young CONTRIBUTOR ($450-$599) Philip & Elaine Alman Anonymous Anne & Jon Bertsche Dr. James & Mary Ann Bigelow Barbara & Craig Burns James & Jeanne Clark Kathleen Evans & Dariusz Janczewski Michael & Louise Flanagan D. Gayle Gellerstedt Andrew George Ann C. Houston William James Terry & Deb Johnson Caroline Kurtz – in memory of

Sarah Lupfer Karen Lacey Betty Lohn Robin & Nick Nichols Sandra Roe Sandy Sheppard - In honor of Marci & Jim Valeo Jean & Jan Steele Diane & Bryon Whiteaker Bruce & Charlotte Whitehead Judith Williams PATRON ($250-$449) Anonymous Cynthia & Raymond Aten ATTICrrg Firman Brown Brent Campbell Tom & Sally Daer Debra Dawson Nancy Jean DeCou Brian & Kathy Derry James A. & Mary Kay Driscoll Deirdre Flaherty Victoria Fleischer - in memory of Alice Haynes Donald & Mary Gillespie Carolyn Goren Doosy Habbe Pete & Gingy Heyler Donald & Shirley Hyndman Catherine & Donald Jenni Paulette Jones Robin Kendall Tomi Kent Donna & James Koch Marlene Koch Everett & Marilyn Leitzke Scott & Patti McKenzie Michael & Joyce Nave Park Side Credit Union Chris & Addie Porter Kitte Robins Philip & Lisa Rae Roper Drs. George & Kathy Roth Nancie Schumacher Mary Lou Stergios Jim Strauss Nat & Margo Sturgis Herbert Swick Donna Lee Thompson Steve & Cheryl Thompson Julie Tomasik Kathy Turner Richard & Cristin Volinkaty Kathleen Whetzel Norman & Phyllis Wight Beth Woody ASSOCIATE ($100-$249) Roger & Judith Ahrens Richard & Adele Allegra

Brenda Allington Arlene & David Andrews Anonymous Susan H. Armstrong Geoffrey Badenoch Kenneth & Sharee Ballinger Patrick Beatty Jim & Gen Beery Barbara Bekken – in Memory of Charlotte and Arnold Bakken Richard & Patricia Blank Philip & Marcy Bornstein Rose-Marie Bowman – in memory of Tracy Jeanne Bowman Melissa Blunt Robert & Keolani Brewer Chris & Jenifer Caldwell Hope Campbell Ann Marie Carbin Steve & Lorraine Carlson Mary Carlson John & Karyn Collins Maggie Cook-Shimanek Steve and Janelle Corn Debbie & Brad Dantic Milt & Joan Datsopoulos Elaine Davis JoAnn G. Davison John DeBoer Lauren Descamps David V. Diggs Royce & Mary Engstrom Donna Erickson Georgia Fine Susan & Bill Fortner Lynda Frost Keith & Carol Glaes Carla Getz Anne Guest William Haffey Donna & Jules Haglund Overton & Jeanne Hargett Wendy Harmsworth Fern Hart Robert & Millicent Hawkins Bob & Sharon Hinshaw Elizabeth & Skip Horner Dick Hoskins Norm Jacobson David & Penny Jakes Susan & Charles Johnson Theresa Johnson Joan Johnston Jane Kapler Smith Anita Kurtz Magee Mary LaPorte Helen J. Lee Ann Libecap Janet & Mike Lilley Paul & Beth Loehnen Gerald & Sharon Marks Andrew Massie Symphony at the Ranch

Kathy McCaughey Donna & Donald McCammon Eileen McCarty Sue & Dave McCormack Nancy McCulloch Edith McNenny Leslie McShane Gerald & Caralee Mueller Christopher Muste and Karen Ruth Adams Marge Nordin Donna Oberhofer Shirley Oliver Faye & George Olsen Donald & Joan Olson John Duffield & Kathleen Ort Diana Pacini Chris & Janet Palmer Ed Parlier Judith & Joseph Perine Gary and Mary Pickens Sally Porter - In memory of Nick Porter Denis Prager Caren & Chuck Reaves Earl Reinsel William & Joanne Reynolds Susan & Richard Roberts Anne & Bruce Robertson Sharyn Rogers Sally Rosenkranz Del Hiesterman & Shawn Rosscup Gay Rushmer Jon & Kay Salmonson Robert Schurr Maxine Searles Pamela & Michael Shapiro Myra Shults Nancy Singleton Michael Silverglat Irene Smith Carolyn & John Snively Kathleen Snodgrass Kristen Sohlberg Jane Sparks Robert Stanchfield R.A. Sterling Sara Alice Steubs Nancy Stoverud Carol Thomas John Philip Garrity & Jean Marie Thorstenson Sally Tibbs Fran Tucker Robin Turner – in honor of

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Kathy Turner Becky Voisine George Votruba Sonja & John WaldmannBohn Stewart & Mysta Ward Jane Wells Mary Welti Dr. & Mrs F. L. Whitsell Carol Word Sharon Yould Patricia Zapp MEMBER ($50-$99) Mary Ann & Robert Albee – in Honor of Jim & Marci Valeo Anonymous Robert Acker and Martina Baum-Acker Mea Andrews Felix Bacon Paul Baumgartner Tony Beltramo In Memory of Marlene Barbara Blegen Brenda Bolton Ann & Jerome Brenner Brad Burklow Janene Caywood Jason Chow Bethany DiGiambatista Ruth Ann Duperron Lori Draper Jacqueline Elam Naomi Engle in Honor of Margaret Nichols Baldridge Frances & Michael Flaherty Maria Francis- In Memory of Margrit Syroid James & Dian Free Judy Frey & Russ Read Amy Gentry Beth Hart Ruth Hazelton Nancy & Doug Heyer Christine Jackson David Jackson Jane & Frank Kisselbach Linda & Richard Lacey Wendy Lambert Richard Legon Karla Long Lino Marsillo Kirsten & Brendan McGlynn

Missoula Symphony Association

Colleen & Chuck McHugh Peter & Ellen McKenzie Melanie L. Miller Kent Nelson Toni & Bob Ogg Al Ostrander Joni Packard Lorraine Pankratz Barb & Art Pencek Dean & Dorothy Peterson Kathleen Pierson Dick & Laela Shimer Beeb & Michelle Smith Nita Smith Laura & Douglas Snyder Katie & Steve Thompson Susie Wall Janet Weber Jacelyn Wedell Dennis & Karen Workman Michael Young MEMORIAL DONATIONS Loren & Virginia DeLand in memory of Charles & Dorothy Hayward Carolyn Dewey – in memory of Ernest Dewey Anne Frugoli – in memory of Don Shaughnessy Toni J. Johnson - in memory of Marylor Wilson Donald O. Johnston

in memory of Virginia Johnston Melvon Ankeny in memory of Firman Brown First Security Bank - in memory of Sonia Jarrett Lans & Amber Richardson – in memory of Virginia Vinal Linda J. Rockwell – in memory of John F. Tibbs Jon & Kay Salmonson

in memory of Marylor Wilson Jenni and Dan Santopietro in memory of Jean Campbell The Springs wine group – in memory of Mora Payne Judy Tobol – in memory of Dorothy & Hal Blegen Kathy Turner – in memory of Mac Baskett

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sCHoLarsHip Fund Continuing the grand tradition of the Missoula Symphony Guild, the Missoula Symphony Scholarship Fund is dedicated to providing scholarships for outstanding University of Montana music students who play in the Missoula Symphony Orchestra or sing in the Missoula Symphony Chorale.

This year, the Missoula Symphony Association will award a total of $6,500 in scholarships to five talented young musicians. This commitment is possible thanks to the generosity of the individuals listed below. Every penny of their donations goes directly to scholarships. Our 2019-2020 scholarship recipients are noted on the Orchestra Roster with a “+” sign.

sCHoLarsHip Fund supporters The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of August 10, 2020. We apologize for any omissions or errors.

PRESTISSIMO ($500+) Janet Boyer Will & Kay Cook Alice & Dick Dailey Celeste & Brad Peterson Sharon & Terry Phillips John Sargent Betty Thisted Mary & David Wesley PRESTO ($250 - $499) Anonymous Deirdre Flaherty Charlotte Kasl Caryl & Doug Klein Anita Kurtz Magee Patti & Scott McKenzie Dee and Jim Strauss Jeff & Aggie Vandergrift Carol Word VIVACE ($100 – 249) Tom & Ann Boone Cathy Capps & Tom Rickard Hope Campbell Nancy Jean DeCou Jane Dennison Donald & Shirley Hyndman

Dori & Bill Johnston Dan & Sophia Lambros Dorothea & George Lambros Karen & Jerry McConnell Charla & Donald Murray Karen A. Orzech Sharon & Don Snavely Sara Alice Steubs Linda Stoudt John & Sue Talbot William & Sarah Towle Jim & Marci Valeo Dr. & Mrs. F. L. Whitsell Betsy & Warren Wilcox William & Jean Woessner

ALLEGRO ($50 - $99) Brenda Bolton Betty Christian Karin Dague Jim & Kay Driscoll Marlene Koch Lech J. Szumera ANDANTE ($25 - $49) Jo May & Brian Salonen Carol Stovall

To be a part of the Missoula Symphony Scholarship Fund, contact the Symphony Office at 721-3194, or mail a check payable to Missoula Symphony Scholarship Fund to PO Box 8301, Missoula 59807. Donations are 100% tax-deductible

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Missoula syMphony association

CooK FamiLy sCHoLarsHip

New in 2020- 2021, this scholarship is named in honor of Will and Kay Cook.

“We are happy to partner with the University of Montana and The Missoula Symphony Association to support the growth of music education in Montana and the cultural enrichment of our city.”

Recipient: Jayla Mitchell, cello. performance major.

Jayla is from Great Falls, Montana and is a cello

tHe FLorenCe reynoLds sCHoLarsHip

Named for a woman who shared her musical talent, enthusiasm and endless energy with the MSA for many years.

Recipient: Ryan Zoanni, violin. Ryan is from Billings, Montana and is a music major.

tHe Women’s sympHony guiLd president sCHoLarsHip Named in honor of those women who have given their time and energy as Presidents of the Missoula Symphony Guild.

Recipient: Named in honor of those women who have given their time and energy as Presidents of the Missoula Symphony Guild.

tHe JosepH Henry sCHoLarsHip

Named in honor of our Music Director Emeritus, who retired in 2007 after 21 years as Music Director of the Missoula Symphony Orchestra.

Recipient: Lea Tonnerre, Viola. Lea is from Missoula, Montana and is a physics major, with a music minor.

tHe donaLd Carey sCHoLarsHip

Named in honor of our former Chorale Director who retired in 2006, after 18 years at his post.

Recipient: Bayley Ginnaty, Viola. Bayley is from Great Falls, Montana and is a viola performance major.

tHe virginia vinaL sCHoLarsHip

Named in honor of the longest-serving member of the orchestra, and her dedication to music and community.

Recipient: Emily Rogers, Violin. Emily is from Great Falls, Montana and is a music performance major.

tHe Lorraine andrie priZe

Not a scholarship but a cash award, this prize is presented at the final concert of each season to a U.M. graduating senior who is deemed a truly outstanding and dedicated orchestra member. Named in honor of the founding leader of the Guild.

Recipient: Oliva Adams, Oboe. Olivia is a 2020 school of music graduate.

“I used to say music was a form of expression, a way of conveying human feeling and emotion. While that is still well and fully true, real music is so much more. It is soul. It is life.” Jayla Mitchell

Thank You to our New Scholarship Fund Supporters.

John Sargent Bill & Dori Johnston Scott & Patricia McKenzie

Anonymous Dick & Alice Dailey Jim & Dee Strauss Lech Szumera

Charlotte Kasl Deirdre Flaherty Nancy Jean DeCou

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GREAT MUSIC BEGINS WITHYO GREAT MUSIC BEGINS WITH

PLANNED GIVING PLANNED GIVING CONSIDER THE MISSOULA SYMPHONY ASSOCIATION IN PLANNED YOUR PLANNED GIVING. PLEASEPLEASE CONSIDER THE MISSOULA SYMPHONY ASSOCIATION IN YOUR GIVING.

BEQUESTS BEQUESTS consider the Missoula Symphony Association your Will PleasePlease consider namingnaming the Missoula Symphony Association (MSA) (MSA) in yourinWill and/orand/or Trust. Trust.

RETIREMENT RETIREMENT FUNDFUND GIFT GIFT IRA contributions be directly made directly the MSA*, not taxable the donor IRA contributions can becan made to the to MSA*, are notare taxable to the to donor thereceives MSA receives full amount your gift. and theand MSA the fullthe amount of yourofgift.

ENDOWMENT TAX CREDIT ENDOWMENT TAX CREDIT The Missoula Symphony Association has a permanent endowment to provide The Missoula Symphony Association has a permanent endowment to provide financial stability for decades the future.

Montana financial stability for decades into theinto future.

Under Under Montana law, law, a contribution our endowment can benefit youa with very generous a contribution to our to endowment can benefit you with very agenerous tax credit.* tax credit.* to and federal and tax regulations *Subject*Subject to federal state taxstate regulations

more information on leaving a cultural Executive For moreForinformation on leaving a cultural legacy, legacy, contactcontact Interim Interim Executive DirectorDirector May Salonen (406) 721-3194 or jomay@missoulsymphony.org.

(Yourtax legal, and financial Jo May Jo Salonen at (406)at721-3194 or jomay@missoulsymphony.org.

(Your legal, andtax financial advisor(s) you accomplish your philanthropic estate planning advisor(s) can helpcan youhelp accomplish your philanthropic & estate& planning goals.) goals.)

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Missoula syMphony association

YOU, NOW AND FOREVER.

DONATIONS/SPONSORSHIPS I’VE ENCLOSED MY TAX-DEDUCTIBLE GIFT TO THE MISSOULA SYMPHONY ASSOCIATION. $

Maestro ($25,000)

$

Patron ($250–$449)

$

Conductor ($5,000–$24,999)

$

Associate ($100–$249)

$

Sponsor ($1,000–$4,999)

$

Member ($50–$99)

$

Benefactor ($600–$999)

$

Friend ($49 & under)

$

Contributor ($450–$599)

Visit WWW.MISSOULASYMPHONY.ORG and click the SUPPORT US button to find out more ways to give.

Name(s): ____________________________________________________________________________________________________________ Address: _____________________________________________________________________________________________________________ City: State: Zip: ____ Phone: Email address: ____________________________________________ ❑ Check enclosed ❑ Visa ❑ MasterCard ❑ Discover Credit Card #: _____________________________________________________________________________________ Exp. Date: Signature: Please return this form with your contribution to: MSA, P.O. Box 8301, Missoula, MT 59807 The Missoula Symphony Association is a non-profit 501(c)(3) organization, federal tax ID #81-0290730.

All donations are 100% tax-deductible.

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YOU HAVE ENOUGH CATS, ADOPT A MUSICIAN INSTEAD. When you Adopt-A-Musician you honor our individual musicians’ exceptional dedication and effort, while helping to sustain high standards of professional support for our named chair musicians.

The following chair sponsorships are available for the 2020 – 2021 season: Associate Concertmaster Associate Principal Second Violin Assistant Principal Second Violin

Chair sponsor benefits include: Recognition in each concert program book Invitation to Backstage Pass Luncheons, Sneak Peek Party and other special events Opportunity to meet and visit with your sponsored musician at concerts

PLEASE DON’T LEAVE THESE TALENTED MUSICIANS WITHOUT CHAIR SPONSORS! To inquire about adopting a musician please contact Executive Director Jo May Salonen | 406.721.3194 www.missoulasymphony.org