2 0 1 6 / 1 7 S E A SON
Danail Rachev, Music Director & Conductor
PROGRAM MAGAZINE FEBRUARY 4 â€” MARCH 16, 2017
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Contents February – March 2017 CONCERTS 19 Pink Martini February 4 Sponsored by Zachary Blalack
– Ameriprise Financial
25 Youth Concert: The Orchestra Moves February 14 Sponsored by Marie Jones & Suzanne Penegor
and US Bank
Pictures at an Exhibition February 16 Sponsored by Imagination International
Bartók Piano Concerto March 16
19 On February 4, groove to the genre-
hopping band Pink Martini with China Forbes on lead vocals.
Sponsored by Roaring Rapids Pizza Company
FEATURES 23 In the Key of E[ducation] 47 Beyond the Podium: Interview with Francesco Lecce-Chong 52 Donor Spotlight 55 On That Note ON STAGE AND OFF 11 Welcome 12 Calendar 14 Orchestra Roster 15 Conductor 56 Scenes from Offstage 57 Support the Symphony 58 Founders Society 59 51st Season Partners 60 Thank You to Our Supporters 63 Endowment Fund 64 Board of Directors and Administrative Staff
25 Our second pair of Youth Concerts
explores how music moves not only our bodies, but also our emotions.
45 Our third Music
Director Finalist, Francesco LecceChong, conducts an energetic and passionate concert featuring Bartók’s Piano Concerto No. 3 on March 16.
KLCC NPR news. Local & regional news. Compelling stories. Intelligent ideas. Driveway moments. For the curious, the discerning, the interested.
Welcome February – March 2017 Dear friends, I am so grateful to each of you for helping us sustain our mission: Enriching lives though the power of music. Without your support, we could not be here, together, celebrating this amazing music. It takes all of us—musicians, staff, Board members, our Music Director, volunteers, and, of course, all of you—to make this happen. At about the halfway point of our 51st season, we look forward to fantastic programs led by Music Director Danail Rachev, full of classical gems like Mussorgsky’s Pictures at an Exhibition on February 16. Then on March 16, we present the third of our Music Director Finalists’ concerts, with conductor Francesco Lecce-Chong at the helm. In the spirit of transition, there has been much discussion nationally about the future of classical music. Audiences are growing older, and are traditionally not ethnically or racially diverse. It is an ongoing challenge to increase concert accessibility to younger people and people from different social and economic backgrounds. Orchestras all over the US are working hard to expand their audiences, and the Eugene Symphony is no different. We perform concerts annually for more than 7,000 elementary school students, many who qualify for free or reduced school lunch. We sell more than 4,000 reduced-price tickets each year for students of all ages. It is essential to bring music to these young people, the arts lovers of today and tomorrow. We interact regularly with students and professors at the University of Oregon and Lane Community College and produce numerous Master Classes for young local musicians. With our new Symphony Connect chamber music programs, we are partnering with human service agencies to bring the healing power of music to new and different audiences throughout our community. Many concerts, like the sold-out evening of music with our orchestra performing alongside the worldrenowned band Pink Martini, attract hundreds of people who have never been to the Symphony before. These energetic and exciting events help expose people to symphonic music and turn first-time concertgoers into long-time Symphony patrons. If you have ideas about how we can further fulfill our mission with new and diverse audience members, please let us know! It is truly our goal and our duty to play more music, in more places, for more people than ever before. As a final note, I want to express my deep gratitude for all that Maestro Rachev has done for our orchestra and our community in his eight years as our Music Director. It has been such an awesome experience to watch the Eugene Symphony grow under Danail’s leadership. So many people tell me the orchestra has never sounded better. Not only has he added talented musicians to the ensemble, he has chosen brilliant and challenging programs—including some new and fascinating pieces—that have entertained and enlightened us all. I hope you join me in wishing him all the best in his future endeavors. And as we look to our own future, we must acknowledge his central role in solidifying a foundation that will propel us forward. We are glad you are here to experience the universal language of music together. Warmly,
Matt Shapiro, President of Eugene Symphony Association Board of Directors
FEBRUARY – MARCH 2017
Calendar FEB 4
PINK MARTINI – SPECIAL CONCERT
5:00 pm – Special Concert featuring Pink Martini with vocalist China Forbes, Silva Concert Hall Sponsored by Zachary Blalack — Ameriprise Financial
PINK MARTINI February 4
51ST SEASON GALA
Immediately following Pink Martini Concert – Celebrate with dinner, music, dancing, and a live auction at Eugene Symphony’s biggest benefit event of the year, at Hilton Eugene.
FEB 13 – FEB 17 FEB 14
PICTURES AT AN EXHIBITION
Residency with guitarist Sharon Isbin and composer Christopher Rouse. For full residency details, visit eugenesymphony. org/education/artist-residencies
7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Danail Rachev, guitarist Sharon Isbin, and composer Christopher Rouse in The Studio, lower level of the Hult Center
10:30 am & 12:30 pm – Elementary School Youth Concerts: The Orchestra Moves Sponsored by Marie Jones & Suzanne Penegor and US Bank
8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev and featuring Sharon Isbin, guitar, and composer Christopher Rouse, Silva Concert Hall Sponsored by Imagination International
PICTURES AT AN EXHIBITION February 16
4:00–5:30 pm – Master Class with pianist Soyeon Kate Lee in The Studio, lower level of The Hult Center
MAR 16 BARTÓK PIANO CONCERTO
7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Finalist Francesco Lecce-Chong and piano soloist Soyeon Kate Lee, in The Studio, lower level of the Hult Center
8:00 pm – Symphonic series concert conducted by Music Director Finalist Francesco Lecce-Chong and featuring Soyeon Kate Lee, piano, Silva Concert Hall Sponsored by Roaring Rapids Pizza Company
THE DAMNATION OF FAUST
7:00–7:30 pm – Eugene Symphony Guild Concert Preview with Music Director Danail Rachev in The Studio, lower level of the Hult Center
8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev, featuring Eugene Symphony Chorus and digital projections by Harmonic Laboratory, Silva Concert Hall
BARTÓK PIANO CONCERTO March 16
MAY 11 ALPINE SYMPHONY
7:00–7:30 pm – Guild Concert Preview with Music Director Danail Rachev and violin soloist Ryu Goto in The Studio, lower level of the Hult Center
8:00 pm – Symphonic series concert conducted by Music Director Danail Rachev and featuring Ryu Goto, violin, Silva Concert Hall Sponsored by Slocum Center for Orthopedics and Sports Medicine
ALPINE SYMPHONY May 11
4:00–5:30pm – Master class with violinist Ryu Goto, The Studio, lower level of the Hult Center
2:30 pm – Play it Again! Adult Chamber Music performance at First Christian Church in Eugene
All Master Classes, Residency Activities, Guild Concert Previews, and the Play it Again! performance are free and open to the public.
FEBRUARY – MARCH 2017
Eugene Symphony VIOLIN I Searmi Park, Concertmaster Caroline Boekelheide Lisa McWhorter, Assistant Concertmaster Ray & Cathie Staton Stephen Chong Joanne Berry Della Davies Sandra Weingarten & Ryan Darwish Anthony Dyer Rosemary Erb John & Emilie York Jennifer Estrin Yvonne Hsueh Debra & Dunny Sorensen Nelly Kovalev Valerie Nelson* Sophie Therrell Matthew, Aaron & Alex Shapiro Vacant
VIOLIN II Matthew Fuller, Principal Ray & Libby Englander Sasha Chandler, Assistant Principal Dan Athearn Bob Gray Memorial Chair Alice Blankenship Theodore W. & Laramie Palmer David Burham Julia Frantz Bob & Friedl Bell Virginia Kaiser Bashar Matti* Claudia Miller Marilyn Tyler Herb Merker & Marcy Hammock Jannie Wei Carol Crumlish Vacant
VIOLA Holland Phillips, Principal Don & Lin Hirst Miriam English Ward, Assistant Principal Lauren Culver* Lauren Elledge Marilyn Kays Anamaria Ghitea Adam Hoornstra† Shauna Keyes
Kimberlee Uwate** Matt Shapiro & Maylian Pak Vacant
CELLO Anne Ridlington, Principal Diana G. Learner & Carolyn J. Simms Vacant, Assistant Principal Eric Alterman Carol Crumlish Dale Bradley Kathryn Brunhaver* David Chinburg Marion Sweeney, Kate & Cama Laue Ann Grabe James Pelley Nancy Sowdon
BASS Richard Meyn, Principal Ellis & Lucille Sprick Forrest Moyer, Assistant Principal Tyler Abbott Charles & Reida Kimmel Rick Carter Milo Fultz Greg Nathan† Nathan Waddell†
FLUTE Kristen Halay, Principal George & Kay Hanson Wendy Bamonte Jill Pauls (Piccolo)
OBOE Kelly Gronli, Principal† Anonymous Cheryl Denice John & Ethel MacKinnon Annalisa Morton (English Horn)
CLARINET Michael Anderson, Principal Hugh & Janet Johnston Louis DeMartino (E-flat Clarinet) Carol Robe (Bass Clarinet) Anonymous
ORCHESTRA PERSONNEL 2016/17 Danail Rachev, Music Director and Conductor Music Director and Conductor Chair is sponsored by Betty Soreng
HORN David Kruse, Principal David & Paula Pottinger Jennifer Harrison Lydia Van Dreel Duncan & Jane Eyre McDonald Scott King Jonathan Kuhns (Assistant Horn)
TRUMPET Sarah Viens, Principal Joshua Silva David Bender G. Burnette Dillon & Louise Di Tullio Dillon
TROMBONE Henry Henniger, Principal Michael & Nancy Oft-Rose Vacant James Meyer Stephen & Cyndy Lane
TUBA Michael Grose, Principal
TIMPANI Ian Kerr, Principal Jim & Janet Kissman
PERCUSSION Tim Cogswell, Principal Susan Gilmore & Phyllis Brown Brian Scott Charles & Georgiann Beaudet Randal Larson Sean Wagoner
KEYBOARD Christine Mirabella, Principal Garr & Joan Cutler
HARP Jane Allen, Principal Laura Maverick Graves Avery Chair
CHORUS DIRECTOR Sharon J. Paul
BASSOON Vacant, Principal Mike Curtis Peter Gregg Steve Vacchi (Contrabassoon) Ted & Marie Baker
* denotes University of Oregon Graduate Teaching Fellow ** denotes one-year appointment † denotes leave of absence
Danail Rachev Heralded as “a musician of real depth, sensitivity, and authority” Danail Rachev is Music Director & Conductor of Eugene Symphony. Since beginning his tenure in 2009, Rachev’s visionary leadership has built on the Symphony’s 50year tradition of artistic excellence in the core repertory while increasing its commitment to music of today. He is credited with commissioning four works over the last six years, and led the Northwest premiere of a fifth work jointly commissioned by a consortium of orchestras. Rachev is recognized for broadening the orchestra’s audiences through creative and innovative programming, as well as for increasing community engagement and education opportunities for the region. Under Rachev, the Eugene Symphony launched its first-ever free summer concert in 2009 reaching a capacity crowd of more than 5,000, including many Symphony newcomers. Now in its eighth year, Eugene Symphony in the Park has become a beloved summer tradition in Eugene, highlighting emerging local talent. For the Eugene Symphony’s 50th Anniversary Season in 2015/16, Rachev envisioned a global cultural journey onstage and off, including three world premieres as well as collaborations with Yo-Yo Ma and André Watts. Rachev’s recent guest conducting engagements have included returns to the London Philharmonic, England’s Bournemouth Symphony, Scottish Chamber Orchestra, and the symphony orchestras of Dallas and Alabama; touring Holland with Het Gelders Orkest; and debuts with the symphonies of Richmond, Spokane, Tuscon, Edmonton, and Turkey’s Presidential Symphony, as well as the Las Vegas Philharmonic and Florida Orchestra. Worldwide, Rachev has returned to conduct the Philharmonia Orchestra and Scottish Chamber Orchestra, and appeared with the Royal Scottish National Orchestra, SWR Stuttgart Radio Symphony, Yomiuri Nippon Symphony Orchestra, Auckland Philharmonia, Orquesta Sinfónica del Principado de Asturias, Orquesta Nacional do Porto, and the New Zealand Symphony Orchestra, which he led on tour in Summer 2013. A champion of new music, Rachev has been dedicated to developing Eugene audiences—and the Eugene Symphony— through commissioning, collaborating with, and programming leading composers of today including John Adams, Mason Bates, Avner Dorman, Steven Stucky, Osvaldo Golijov, John Harbison, Robert Kyr, Roberto Sierra, and Tomas Svoboda.
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–) FEBRUARY – MARCH 2017
MUSIC DIRECTOR & CONDUCTOR Rachev launched his professional career as Assistant Conductor of the Philadelphia Orchestra (2008–2010) and the Dallas Symphony (2005–2008), leading and programming numerous public concerts and educational programs. Rachev has often enjoyed working with young musicians, serving as conductor of the Juilliard Pre-College Symphony from 2002 to 2005 and guest conducting the Brevard Music Center Orchestra and Sinfonia and Colorado’s National Repertory Orchestra. Rachev was born in Shumen, Bulgaria and trained at the State Musical Academy in Sofia, where he received degrees in orchestral and choral conducting. Granted a full scholarship, he moved to the United States to continue his studies at the Peabody Conservatory of Music. Rachev was a conducting fellow at the American Academy of Conducting in Aspen and a participant in the League of American Orchestras’ National Conducting Institute, which led to his debut with the National Symphony in Washington, D.C. The first-ever conducting fellow of the New World Symphony, he studied with Michael Tilson Thomas and worked alongside him on many occasions. Other mentors have included Gustav Meier, Vassil Kazandjiev, David Zinman, and Leonard Slatkin. When not in Eugene, Rachev and his wife, arts administrator and soprano Elizabeth Racheva, reside in the Washington D.C. area with their two young daughters, Kalina Louise and Neviana Jean.
The Eugene-Irkutsk Sister City Committee sends its warmest congratulations to the Eugene Symphony for such a glorious 50th Anniversary Celebration. May beautiful notes ring for another 50 years!
In the name of the Eugene-Irkutsk Sister City Committee and in memory of the Groza-Gorbatenko Family.
EETPEHRFEECT SWTH E
A Midsummer NIGHT’S DREAM
BALLETS FROM TONI PIMBLE, STEPHANIE MARTINEZ AND SUZANNE HAAG
YOUTH TICKETS AVAILABLE
The Snow Queen ORCHESTRA NEXT PLAYS THE WORLD PREMIERE OF KENJI BUNCH’S SCORE
@Hult Center | Tickets 541-682-5000 | eugeneballet.org | Hult Center Box Office | UO Ticket Office
FEBRUARY – MARCH 2017
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Pink Martini Eugene Symphony Jeffrey Peyton, conductor Saturday, February 4, 2017 5 PM | Silva Concert Hall, Hult Center
Pink Martini Thomas M. Lauderdale, piano China Forbes, vocals Katie Harman, guest vocals Gavin Bondy, trumpet Philip Emilio Baker, upright bass Dan Faehnle, guitar Nicholas Crosa, violin Timothy Nishimoto, vocals and percussion Miguel Bernal, congas and percussion Reinhardt Melz, drums and percussion Hunter Noack, piano Tonight’s program will be announced from the stage, and will include one intermission.
Eugene Symphony thanks our PINK Table sponsors for their support of GALA 2017.
The Mehlum Family Their sponsorship helps support Eugene Symphony’s onstage, community engagement, and education programs. FEBRUARY – MARCH 2017
Pink Martini Guest Conductor Jeffrey Peyton Hailed as a performer of “brilliant artistry and dazzling virtuosity,” Jeffrey Peyton possesses extensive experience and passion in his diverse roles as a percussionist, conductor, composer, and educator. A graduate of The Juilliard School in New York City, Peyton was a full scholarship student of Roland Kohloff and Elden
“Buster” Bailey of the New York Philharmonic. Additional studies with such masters as Saul Goodman, Cloyd Duff, Chris Lamb, Doug Howard, Mike Crusoe, and Jonathan Haas contribute to Peyton’s passionate commitment to the highest standards in percussion performance and education. Peyton currently serves as principal timpanist of the Oregon Ballet Theatre orchestra, percussionist with the Portland Opera, and a regular guest percussionist and timpanist with the Oregon Symphony. During the course of his nearly 30-year career, Peyton has held the positions of principal percussionist of the Eugene Symphony, Oregon Bach Festival, and Peter Britt Festival orchestras, and principal timpanist of the Portland Opera, Cascade Festival, West Coast Chamber and Oregon Coast Festival orchestras.
Hailed as a performer of “brilliant artistry and dazzling virtuosity,” Jeffrey Peyton possesses extensive experience and passion in his diverse roles as a percussionist, conductor, composer, and educator. While in New York, Peyton was principal timpanist of The Juilliard Orchestra and section percussionist with the American Symphony and 92nd Street Y Chamber Orchestras. Additional appearances include guest timpanist with the San Diego Symphony and Eugene Opera Orchestras, and guest percussionist with the Honolulu Symphony Orchestra. An active conductor of orchestra, bands and chamber ensembles, Peyton currently directs the Metropolitan Youth Symphony Concert Orchestra, and the Concert Band at Portland State University. He has recently served as Acting Director of Orchestra Studies, Acting Director of Bands, and Acting Director of Percussion Studies at Portland State University, and has held academic and conducting posts at Lewis and Clark College, University of Oregon, Pacific University and George Fox University. From 1995–2000 Peyton served as Music Director and conductor of the Third Angle New Music Ensemble, raising the artistic and national reputation of the ensemble to critical acclaim. The regular guest conductor of the Oregon Ballet Theatre Orchestra since 1996, Peyton has appeared as guest conductor of the Eugene Symphony, Anchorage Symphony, Eugene Youth Symphony, Portland Youth Philharmonic, the Peter Britt Festival, the Oregon Bach Festival, Cascade Music Festival, and the Oregon Festival of American Music.
Pink Martini Guest Artist Pink Martini In 1994 in his hometown of Portland, Oregon, Thomas the Cannes Film Festival in 1997 and its orchestral debut with Lauderdale was working in politics, thinking that one day he the Oregon Symphony in 1998 under the direction of Norman would run for mayor. Like other eager politicians-in-training, Leyden. Since then, the band has gone on to play with more than he went to every political fundraiser under the sun, but was 50 orchestras around the world, including multiple engagements dismayed to find the music at these events underwhelming, with the Los Angeles Philharmonic at the Hollywood Bowl, the lackluster, loud and un-neighborly. Drawing inspiration from Boston Pops, the National Symphony at the Kennedy Center, the music from all over the world—crossing genres of classical, jazz San Francisco Symphony, the Cleveland Orchestra, and the BBC and old-fashioned pop—he founded the “little orchestra” Pink Concert Orchestra at Royal Albert Hall in London. Martini in 1994 to provide more beautiful and inclusive musical soundtracks for political fundraisers for causes Featuring a dozen musicians, Pink Martini such as civil rights, affordable housing, the environment, performs its multilingual repertoire on concert libraries, public broadcasting, education, and parks. stages and with symphony orchestras throughout One year later, Lauderdale called China Forbes, a Harvard classmate who was living in New York City, Europe, Asia, Greece, Turkey, the Middle East, and asked her to join Pink Martini. They began to write Northern Africa, Australia, New Zealand, South songs together. Their first song “Sympathique” became an overnight sensation in France, was nominated for American, and North America. Song of the Year at France’s Victoires de la Musique Awards, and to this day remains a mantra (“Je ne veux pas Other appearances include the grand opening of the Los travailler” or “I don’t want to work”) for striking French workers. Angeles Philharmonic’s Frank Gehry-designed Walt Disney Says Lauderdale, “We’re very much an American band, but we Concert Hall, with return sold-out engagements for New spend a lot of time abroad and therefore have the incredible Year’s Eve 2003, 2004, 2008 and 2011; four sold-out concerts diplomatic opportunity to represent a broader, more inclusive at Carnegie Hall; the opening party of the remodeled Museum America: the America that remains the most heterogeneously of Modern Art in New York City; the Governor’s Ball at the populated country in the world, composed of people of every 80th Annual Academy Awards in 2008; the opening of the 2008 country, every language, every religion.” Sydney Festival in Australia; multiple sold-out appearances, and Featuring a dozen musicians, Pink Martini performs its a festival opening, at the Montreal Jazz Festival, two sold-out multilingual repertoire on concert stages and with symphony concerts at Paris’ legendary L’Olympia Theatre in 2011; and orchestras throughout Europe, Asia, Greece, Turkey, the Middle Paris fashion house Lanvin’s 10-year anniversary celebration for East, Northern Africa, Australia, New Zealand, South America, designer Alber Elbaz in 2012. In its twentieth year, Pink Martini and North America. Pink Martini made its European debut at was inducted into both the Hollywood Bowl Hall of Fame and the Oregon Music Hall of Fame.
Pink Martini Guest Artists China Forbes and Thomas Lauderdale China Forbes was born and raised in Cambridge, Massachusetts where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for acting. She appeared in New York regional theatre and off-off Broadway productions, earning her Equity card alongside future stars of stage and screen such as Norm Lewis, Peter Jacobson, and Rainn Wilson. In 1994 she put her first band together and played regularly at New York City clubs CBGB’s Gallery, Mercury Lounge, and Brownies. Her first solo album Love Handle was released in 1995 and she was chosen to sing “Ordinary Girl,” the theme song to the TV show Clueless.
China Forbes has helped write many of Pink Martini’s most beloved songs. At that same time she was plucked from New York City by Harvard classmate Thomas Lauderdale to sing with Pink Martini, and has since written many of Pink Martini’s most beloved songs with Lauderdale, including “Sympathique,” “Lilly,” “Clementine,” “Let’s Never Stop Falling in Love,” and “Over the Valley.” Her original song “Hey Eugene” is the title track of Pink Martini’s third album and many of her songs can also be heard on television and film. She sang“Qué Será Será” over the opening and closing credits of Jane Campion’s film In the Cut and her original song “The Northern Line” appears at the end of sister Maya Forbes’ directorial debut Infinitely Polar Bear released by Sony Pictures Classics. With Pink Martini, China has appeared on The Late Show with David Letterman, Late Night with Conan O’Brien, The Tonight Show with Jay Leno, and Later with Jools Holland. She has performed songs in more than 12 languages and has sung duets with Michael Feinstein, Jimmy Scott, Georges Moustaki, Henri Salvador, Saori Yuki, Faith Prince, Carol Channing, and Rufus Wainwright. She has performed in venues from Carnegie Hall to the Hollywood Bowl to the Grand Rex in Paris. She released her second solo album ’78 on Heinz Records in 2008, a collection of autobiographical folk-rock songs.
Thomas Lauderdale was raised in rural Indiana and began piano lessons at age six. When his family moved to Portland in 1982, he began studying with Sylvia Killman, who remains his coach and mentor today. At the age of 14, he made his first appearance with the Oregon Symphony under the direction of Norman Leyden.
At the age of 14, he made his first appearance with the Oregon Symphony under the direction of Norman Leyden. Active in Oregon politics since he was student body president at Grant High School, Lauderdale served under Portland Mayor Bud Clark and Oregon Governor Neil Goldschmidt. In 1991, he worked under Portland City Commissioner Gretchen Kafoury on the drafting and passage of the city’s civil rights ordinance. He graduated with honors from Harvard with a degree in History and Literature in 1992. He spent most of his collegiate years, however, in cocktail dresses, taking on the role of “cruise director,” throwing waltzes with live orchestras and ice sculptures, disco masquerades, and operating a Tuesday night coffeehouse called Café Mardi. Instead of running for political office, Lauderdale founded Pink Martini in 1994 to play political fundraisers for progressive causes such as civil rights, the environment and affordable housing. Now in its 21st year, Pink Martini and Lauderdale are Oregon’s “musical ambassadors to the world,” performing a multilingual repertoire on concert stages from Carnegie Hall to the Hollywood Bowl to Royal Albert Hall, and with more than 50 symphony orchestras throughout Europe, Asia, the Middle East, Africa, Australia, New Zealand and the Americas. The band has released nine albums on its own label Heinz Records, most recently “Dream a Little Dream,” a collaboration with The von Trapps. Lauderdale currently serves on the boards of the Oregon Symphony and Pioneer Courthouse Square in Portland, Oregon.
In the Key of E[ducation] Encouraging Young Musicians to Achieve In 2014, Eugene Symphony asked local music educators how we could best help enhance music education in middle and high schools. In response, educators emphasized the need for a low-cost, flexible way to expose students to professional musicians that could take place at their school. As a result, we launched Encouraging Young Musicians to Achieve (EYMA). Today, EYMA offers students in public middle and high school music programs in Eugene 4J, Bethel, Springfield, Creswell, Junction City, and South Lane school districts the opportunity to hear, learn from, perform for, and connect with a Symphony musician through in-school workshops designed to meet each school’s needs. The Symphony musicians and music are provided to schools at no cost. Educators can select either of the two options: Classroom Visits: Teachers and Symphony musicians co-design the structure and content of master classes, sectional rehearsals, performances, or career counseling. Chamber Ensemble Coachings: Small chamber groups—either quartets or quintets and open to both string and band performers—receive eight weekly coaching sessions by a Symphony musician during or after school. The coachings culminate in a performance for peers, and some ensembles also have opportunities to perform in the lobby prior to Eugene Symphony concerts at the Hult Center for the Performing Arts. Students participating in pre-concert lobby activities can also attend that evening’s Symphony performance at no charge.
Goals of Encouraging Young Musicians to Achieve include: • Expose aspiring music students to professional artists in a way that does not require travel or missing scheduled school time; • Strengthen young artists’ professional development by providing exposure to and career consultation from professional musicians; and • Improve students’ musicianship through master-classes, individual and sectional instruction, and performance. Interested in bringing a Eugene Symphony musician to your school? Please contact Katy Vizdal, Education & Community Engagement Director firstname.lastname@example.org 541-687-9487 x116.
Interested in funding this program? Please contact Sara Mason, Development Director email@example.com 541-687-9487x104.
tend our chestras, I want to ex Or ol ho Sc h ig H eld gfi g On behalf of the Sprin mphony for prov idin Sy ne ge Eu e th to de gratitu to profound thanks and nts. I have been able de stu tra es ch or r ou d work with nics. musicians to come an students’ playing tech r ou in t en em ov pr im see some immediate lture” at to call an “orchestra cu e lik I t ha w p lo ve de and g It is my goal to build riety of music on strin va a g in ay pl t ou ab e excited prov ide an SHS where our kids ar e Eugene Symphony th by d re fe of s ce ur so instruments. The re efforts. sm for our orchestra ni ha ec m t or pp su t importan r f and donors for thei af st ur yo to on ti ia prec citizens. Please extend our ap tter musicians and be e m co be ts en ud g our st investment in helpin Sincerely, chestras gfield High School Or rin Sp , or ct ire D , er yl Jim Hallw
FEBRUARY – MARCH 2017
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Volunteer with the Eugene Symphony Guild
(Front, center) Carolyn Abbott, President (middle, left to right) Jan Sanetel, Treasurer; Susan Ashton, VP of Promotion; Darian Fadeley, VP of Fundraising (back) Betsy Patton, Secretary; Susan Greenwald, Past President. (Not pictured) Francee Hillyer, VP of Education and Social.
The Eugene Symphony Guild’s mission is to support the Eugene Symphony through fundraising, community education and volunteer services. In accomplishing our mission , we value promoting music for adults and youth in our community, working together to raise money for the Eugene Symphony, impacting lives through music, and providing a welcoming and supportive environment for members to make friends and form connections.
Guild Fundraising Projects June 11, 2017 Music in the Garden April–October 2017 Musical Chairs Parties Membership Information: Nancy Holloman | 541-228-1805 | firstname.lastname@example.org
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Youth Concerts: The Orchestra Moves Eugene Symphony Danail Rachev, conductor | William Hulings, narrator Tuesday, February 14, 2017 10:30 AM & 12:30 PM | Silva Concert Hall, Hult Center Thomas Cabaniss (b. 1962)
“Come to Play”
Jacques Offenbach (1819–1880)
Can-Can from Orpheus in the Underworld
Johann Strauss, Jr. (1825–1899)
On the Beautiful Blue Danube
Felix Mendelssohn (1809–1847) arr. Thomas Cabaniss
W. A. Mozart (1756–1791)
Overture to The Marriage of Figaro
Georges Bizet (1838–1875)
“Toreador Song” from Carmen
Ludwig van Beethoven (1770–1827)
Symphony No. 5 in C minor, Op. 67 Mvt. I: Allegro con brio
Jim Papoulis (b. 1961)
André Filho “Cidade Maravilhosa” (1906–1974) arr. Thomas Cabaniss & David Rosenmeyer
Youth Concert Season Sponsors
Marie Jones and Suzanne Penegor
Education Program Support
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Cow Creek Foundation Carnegie Hall Weill Music Institute SHO (Support Hult Center Operations)
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Proud sponsors of: Eugene Symphony, Imagination Mural Project, and the River Road Park Imagination Bus.
Pictures at an Exhibition Eugene Symphony Danail Rachev, conductor | Sharon Isbin, guitar Christopher Rouse, composer-in-residence Thursday, February 16, 2017 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, February 16, 2017 7 PM | The Studio, Hult Center Christopher Rouse (b. 1949)
Concert de Gaudí I. Allegro II. Largo sereno III. Svollazante Sharon Isbin, guitar INTERMISSION
Modest Mussorgsky (1839–1881) orch. Maurice Ravel (1875–1937)
Pictures at an Exhibition I. Promenade – The Gnome II. Promenade – The Old Castle III. Promenade – Tuileries IV. Cattle V. Promenade – Ballet of the Chicks in their Shells VI. Samuel Goldenberg and Schmuÿle VII. The Marketplace at Limoges VIII. Catacombs, Roman Tombs – With the Dead in a Dead Language IX. The Hut on Fowl’s Legs (Baba Yaga) X. The Great Gate of Kiev
Residency and Concert Sponsor Nils and Jewel Hult Endowment — Arts Foundation of Western Oregon Fund of The Oregon Community Foundation This concert will be broadcast on KWAX-FM 91.1 on Tuesday, March 14 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.
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Pictures at an Exhibition
CHRISTOPHER ROUSE (1949 –) Rapture  Scored for three flutes, three oboes, three clarinets, three bassoons, four horns, four trumpets, four trombones, tuba, two sets of timpani, percussion, harp, and strings. This is the first performance by the Eugene Symphony, and performance time is approximately 13 minutes. The American composer Christopher Rouse has created some of the most celebrated orchestral music of recent decades, including the Trombone Concerto that won the Pulitzer Prize in 1993. He is currently the Eugene Symphony Composer-in-Residence, a position he has previously held with the New York Philharmonic and Baltimore Symphony. He composed Rapture in 2000 for the Pittsburgh Symphony, dedicating the score to music director Mariss Jansons. Rouse provided the following program note: It should be noted that the title of this score is not The Rapture; the piece is not connected to any specific religious source. Rather, I used the word “rapture” to convey a sense of spiritual bliss, religious or otherwise.
The entire work inhabits a world devoid of darkness—hence the almost complete lack of sustained dissonance.
February 16, 2017 Program Notes
With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever more blinding ecstasy, but the entire work inhabits a world devoid of darkness—hence the almost complete lack of sustained dissonance. Rapture is also an exercise in gradually increasing tempos; it begins quite slowly, but throughout its eleven-minute duration it proceeds to speed up incrementally until the breakneck tempo of the final moments is reached. Although much of my music is associated with grief and despair, Rapture is one of a series of more recent scores to look “towards the light.” —Christopher Rouse
by Aaron Grad ©2017
Concert de Gaudí  In addition to the solo guitar, this work is scored for flute, piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, percussion, harp, celesta, and strings. This is the first performance by the Eugene Symphony, and performance time is approximately 28 minutes. Rouse created his guitar concerto, Concert de Gaudí, for Sharon Isbin, a winner of several Grammy awards and the inspiration behind some of the greatest modern repertoire for the classical guitar, including works by John Corigliano and Joan Tower. Isbin’s recording of Concert de Gaudí led to Rouse’s own Grammy win in 2002 for best contemporary classical competition. He provided the following program note: In conceiving a guitar concerto, my thoughts went immediately to the great Spanish tradition of music for this instrument, and it seemed logical for me to exhibit my admiration for this tradition in my own composition. This in turn led me to reflect upon the work of the extraordinary Catalan architect Antoni Gaudí, hence the Catalanlanguage title for the concerto. What has always struck me particularly strongly about Gaudí is his quintessentially Spanish combination of surrealism and mysticism, and I strove to include these elements in this score. Towards this end, I used that music which most might well recognize as archetypically Spanish— flamenco—as a foundation for the score. I then proceeded to melt, bend, and otherwise transform this material into something I hoped would be musically akin to the way in which Gaudí would take a traditional design and add fanciful, phantasmagoric touches to make it unlike the work of any other architect. As a result, there is an intentionally “unfocused” quality to the musical language of my piece, which ranges from clear, traditional tonality to music of substantive chromaticism. The structure of the concerto, on the other hand, does follow tradition, using the standard three-movement, fast-slow-fast outline. For the most part, I was not attempting to equate given sections of my work with specific buildings of Gaudí, but an exception comes in the early moments of the second movement, where I did visualize Gaudí’s Cathedral of the Sagrada Familia while I was conceiving the music.
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As much of my music has come to be associated with what might be called the darker aspects of human existence, I wanted in the Concert de Gaudí to compose music that looked more towards the light, and it is therefore a score I intend to be more amiable and genial in nature. —Christopher Rouse
KEEP AN EYE ON... ...Guitar soloist Sharon Isbin’s right hand during Christopher Rouse’s Concert de Gaudí, as she uses a wide variety of strumming and picking techniques, and moves it toward and away from the guitar’s bridge to create different qualities of sound—some round and mellow, some sharp and metallic. KEEP AN EAR OUT FOR... ...Mussorgsky’s Promenade theme, first heard at the beginning of Pictures at an Exhibition played by a single trumpet, as it evolves throughout the piece until its final glorious appearance in ‘The Great Gate of Kiev.’
MODEST MUSSORGSKY (1839–1881) Pictures at an Exhibition  Scored for three flutes, two piccolos, three oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, alto saxophone, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, celesta, and strings. First performed by the Eugene Symphony in April 1972 under the direction of Lawrence Maves, and last performed in September 2010 under the direction of James Paul. Performance time is approximately 35 minutes. Modest Mussorgsky was a military cadet with a knack for the piano when, at age 19, he dedicated himself to composition and took his first serious lessons. The highpoint of his short career (Continued on page 22)
Pictures at an Exhibition Program Notes (Continued from page 21) came in 1874, with the successful premiere of his opera Boris Godunov. That same year, a memorial retrospective of paintings by Viktor Hartmann, who had recently died from an aneurysm at age 39, inspired his good friend Mussorgsky to compose Pictures at an Exhibition. The suite for solo piano adopted a novel form in which a recurring promenade represents the composer strolling through the exhibit, linking the movements inspired by specific images. Five years after Mussorgsky’s alcohol-fueled death at the age of 41, his friend and fellow composer Nikolai Rimsky-Korsakov arranged for a posthumous publication of the original piano version of Pictures at an Exhibition, and soon thereafter one of his students made the first symphonic adaptation. The music is best known through the orchestral version heard here, created in 1922 by Maurice Ravel. The iconic Promenade struts to an irregular gait, grouped into five- and six-beat segments. This theme represents the ambling composer, and the slightly imbalanced heft of the music seems a good match for the outsized Mussorgsky. The next movement, Gnomus (The Gnome), celebrates Hartmann’s design for a gnome-shamed nutcracker, depicted with halting phrases and brittle ensemble effects. A gentle restatement of the promenade prepares The Old Castle, evoking an image of a troubadour singing before a medieval castle, represented by the dreamy buzz of a solo alto saxophone. Another fragment of promenade ushers in Tuileries (Dispute between Children at Play), based on Hartmann’s painting of children in the Tuileries Garden in Paris. The recurring motive of a descending minor third captures the universal musical gesture with which children tease and call each other. Bydlo (Cattle) recalls a painting of an ox-drawn cart, casting the tuba’s sullen melody over plodding accompaniment. An interlude of promenade material links into the Ballet of the Chicks in Their Shells, inspired by Hartmann’s sketch for a costume in which only the dancer’s head, arms
and legs emerge from an eggshell. The music uses flitting grace notes and bright treble instruments to maximize the chirping playfulness. Samuel Goldenberg and Schmuÿle represents two separate portraits of Jewish men, one rich and one poor. The first theme in octaves rings with Semitic intervals and inflections, while a second chorale-like passage, peppered with muted trumpet, offsets the initial incantation. The Marketplace at Limoges transports the animated chatter of female shoppers engaged in
The suite for solo piano adopted a novel form in which a recurring promenade represents the composer strolling through the exhibit, linking the movements inspired by specific images. frenetic crosstalk. At the climax, it breaks off into the deep, slow resonance of Catacombs, drawn from a self-portrait of Hartmann in the depths of Paris. The next section, With the Dead in a Dead Language, brings the composer into the picture through a spectral recollection of the promenade theme. As Mussorgsky wrote in the margin of his score, “The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly from within.” From that most hallowed place, the exhibition proceeds to the most outlandish movement, The Hut on Fowl’s Legs (Baba Yaga). Hartmann’s design for a clock modeled after the bird-legged house of the witch Baba Yaga inspired Mussorgsky to depict another component of the folk tale, where the witch flies around in the mortar she uses to grind up the human bones she eats. That whirlwind music pivots in an instant to the most grand and majestic passage in the piece, The Great Gate of Kiev, capturing Hartmann’s winning design for a ceremonial gate for the Ukrainian capital. The theme has the same regal flavor of the promenade, but with the irregular rhythms smoothed out, bringing the eventful tour to rest.
Pictures at an Exhibition Guest Artist Sharon Isbin Acclaimed for her extraordinary lyricism, technique and versatility, multiple Grammy Award-winner Sharon Isbin has been hailed as “the pre-eminent guitarist of our time.” She is the winner of Guitar Player magazine’s “Best Classical Guitarist” award, and the Toronto and Madrid Queen Sofia competitions, and was the first guitarist ever to win the Munich Competition. She has appeared as soloist with more than 170 orchestras and has given sold-out performances in the world’s finest venues, including New York’s Carnegie and Avery Fisher Halls, Boston’s Symphony Hall, Washington DC’s Kennedy Center, London’s Barbican and Wigmore Halls, Amsterdam’s Concertgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real and many others. She has served as Artistic Director/Soloist of festivals she created for Carnegie Hall, the Ordway Music Theatre (St. Paul), New York’s 92nd Street Y, and the acclaimed national radio series Guitarjam.
Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. A frequent guest on NPR’s All Things Considered and Garrison Keillor’s A Prairie Home Companion, she has been profiled on television throughout the world, including CBS Sunday Morning and A&E. She was a featured guest on Showtime’s hit series The L Word, and a soloist on the Grammy nominated soundtrack of Martin Scorsese’s Academy Award-winning The Departed. On September 11, 2002, Isbin performed at Ground Zero for the internationally televised memorial. Among other career highlights, she performed in concert at the White House for President and Mrs. Obama in November 2009, and was the only classical artist to perform in the 2010 Grammy Awards. Her 2015 national television performances on PBS include the Billy Joel Gershwin Prize, Tavis Smiley, and American Public Television’s presentation of the acclaimed one-hour documentary on her life and work produced by Susan Dangel titled Sharon Isbin: Troubadour, seen by millions on nearly 200 PBS stations across the U.S., and the winner of the 2015 ASCAP Television Broadcast Award. The film was released with bonus performances on DVD/Blu-ray by Video Artists International. Watch the trailer at sharonisbintroubadour.com Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more
Sharon Isbin is an Artist in Residence February 13–17. Visit eugenesymphony.org/ Education/Artist-Residencies for more information about free, public events. FEBRUARY – MARCH 2017
concerti than any other guitarist, as well as numerous solo and chamber works. Her American Landscapes is the first-ever recording of American guitar concerti and features works written for her by John Corigliano, Joseph Schwantner, and Lukas Foss. In November 1995, it was launched in the space shuttle Atlantis and presented to Russian cosmonauts during a rendezvous with Mir. In January 2000, she premiered the ninth concerto written for her: Concert de Gaudí by Christopher Rouse with Christoph Eschenbach and the NDR Symphony, followed by the US premiere with the Dallas Symphony. Born in Minneapolis, Isbin began her guitar studies at age nine in Italy, and later studied with Andrès Segovia and Oscar Ghiglia. A former student of Rosalyn Tureck, Isbin collaborated with the noted keyboardist in publishing and recording landmark first performance editions of the Bach lute suites for guitar (Warner Classics/G. Schirmer). She received a B.A. cum laude from Yale University and a Master of Music from the Yale School of Music. She is the author of the Classical Guitar Answer Book, and is Director of guitar departments at the Aspen Music Festival and The Juilliard School, which she created in 1989 becoming the first and only guitar instructor in the institution’s 100-year history.
Pictures at an Exhibition Composer In Residence Christopher Rouse Christopher Rouse is one of America’s most prominent composers of orchestral music. His works have won a Pulitzer Prize (for his Trombone Concerto) and a Grammy Award (for Concert de Gaudí), as well as election to the prestigious American Academy of Arts and Letters. Rouse has created a body of work perhaps unequalled in its emotional intensity. The New York Times has called it “some of the most anguished, most memorable music around.” The Baltimore Sun has written: “When the music history of the late 20th century is written, I suspect the explosive and passionate music of Rouse will loom large.”
Rouse has created a body of work perhaps unequalled in its emotional intensity. Born in Baltimore in 1949, Rouse developed an early interest in both classical and popular music. He graduated from Oberlin Conservatory and Cornell University, numbering among his principal teachers George Crumb and Karel Husa. Rouse maintained a steady interest in popular music: at the Eastman School of Music, where he was Professor of Composition until 2002, he taught a course in the history of rock for many years. Rouse is currently a member of the composition faculty at The Juilliard School. In 2012, he began his two-year tenure as Composer-in-Residence with the New York Philharmonic.
While the Rouse catalog includes a number of acclaimed chamber and ensemble works, he is best known for his mastery of orchestral writing. His music has been played by every major orchestra in the U.S., and numerous ensembles overseas including the Berlin Philharmonic, the City of Birmingham Symphony Orchestra, the Sydney and Melbourne Symphonies, the London Symphony, the Philharmonia Orchestra, the Royal Concertgebouw Orchestra, the Stockholm Philharmonic, the Zurich Tonhalle Orchestra, the Orchestre de Paris, the Gulbenkian Orchestra of Lisbon, the Toronto Symphony, the Vienna Symphony, the Orchestre National de France, the Moscow Symphony, the Royal Scottish National Orchestra, the Bamberg Symphony, the Bournemouth Symphony, and the Orchestre Symphonique du Montreal, as well as the BBC Symphony Orchestra and the radio orchestras of Helsinki, Frankfurt, Hamburg, Leipzig, Tokyo, Austria, and Berlin. Concert de Gaudí, a guitar concerto for soloist Sharon Isbin, won a 2002 Grammy Award for Best Classical Contemporary Composition. The concerto was commissioned jointly by the NDR Symphony Orchestra (Hamburg) and the Dallas Symphony. Concert de Gaudí drew inspiration from the exotic and fanciful designs of Spanish architect Antoni Gaudí. Isbin has recorded the work on the Teldec label. A new orchestral work is Rapture, which depicts “a state of spiritual bliss, religious or otherwise.” Rapture was commissioned and premiered by the Pittsburgh Symphony Orchestra under Mariss Jansons. It was recorded by Leif Segerstam and the Helsinki Philharmonic on an Ondine disc that also included Der gerettete Alberich and the Violin Concerto with soloists Evelyn Glennie and Cho-Liang Lin.
Christopher Rouse is Composer in Residence February 13–17. Visit eugenesymphony.org/ Education/Artist-Residencies for more information about free, public events.
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photos by Tim Giraudier
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Bartók Piano Concerto Eugene Symphony Francesco Lecce-Chong, conductor | Soyeon Kate Lee, piano Thursday, March 16, 2017 8 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview, Thursday, March 16, 2017 7 PM | The Studio, Hult Center Franz Liszt (1811–1886)
Mephisto Waltz No. 1 from Episodes from Lenau’s Faust
Béla Bartók Piano Concerto No. 3 in E Major (1881–1945) I. Allegretto II. Adagio religioso – Poco piu mosso – Tempo I III. Allegro vivace Soyeon Kate Lee, piano I N T E R M I S S I O N Wolfgang Amadeus Mozart (1756–1791)
Overture to The Abduction from the Seraglio, K.384
Richard Strauss (1864–1949)
Suite from Der Rosenkavalier
Following the performance, please come to the front of the stage for a question-and-answer session with Music Director Finalist Francesco Lecce-Chong, facilitated by Executive Director Scott Freck.
The Eugene Symphony Association is grateful to the members of the Conductor’s Cabinet for their support of the Music Director Search. These generous donors are denoted with an asterisk in their listings found on page 46. This concert will be broadcast on KWAX-FM 91.1 on Friday, April 7 at 10 a.m. Broadcasts underwritten in part by Kernutt Stokes.
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Bartók Piano Concerto
FRANZ LISZT (1811–1886) Mephisto Waltz No. 1 [1857–1861] Scored for three flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings. This is the first performance by the Eugene Symphony, and performance time is approximately 11 minutes. Franz Liszt, the greatest pianist of his generation, was just 35 when he retired from the life of a touring virtuoso to focus on conducting, teaching, and above all composing. He developed an adventurous, groundbreaking approach to harmony and chromaticism, and he left an indelible mark on the art of programmatic music (i.e. instrumental works that reference stories or images), in formats ranging from grand symphonic poems to intimate piano albums. One subject of ongoing fascination for Liszt was the legend of Faust. Liszt completed a symphony based on Goethe’s telling of Faust in 1857, and he continued in 1861 with music inspired by another Faust rendition, that of the Austrian poet Nikolaus Lenau (1802–1850). The second of two episodes drawn from Lenau’s Faust, the Mephisto Waltz No. 1, originally appeared under the title The Dance in the Village Inn. Liszt created parallel versions of the work, one for piano and another for orchestra, each equally vivid and idiomatic in its use of tone colors. He later added two more Mephisto Waltzes and even a Mephisto Polka to his Faust collection. Liszt’s scene begins with Mephistopheles leading Faust into a wedding party. Mephistopheles grabs a fiddle, tunes it up (represented by the open fifths in the opening passage), and launches into a giddy dance. Faust woos one of the village girls—their romance depicted in a tender contrasting theme—until they dance right out of the banquet and into the woods, where a nightingale, portrayed by a flute, serenades them.
March 16, 2017 Program Notes by Aaron Grad ©2017
BÉLA BARTÓK (1881–1945) Piano Concerto No. 3  In addition to the solo piano, this work is scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons,contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. First performed by the Eugene Symphony in October 1984 under the direction of William McGlaughlin with Victor Steinhardt as soloist, and last performed in September 1998 under the direction of Miguel HarthBedoya with Stefan Arnold as soloist. Performance time is approximately 24 minutes. Béla Bartók was at the height of his musical powers and working his dream job as an ethnomusicologist when the chaos of World War II overtook his native Hungary. He left in 1940 for New York, where his career and his health soon deteriorated, until he found himself hospitalized and unable to pay for his medical care in 1943. Through the support of the American Society of Composers, Authors and Publishers (ASCAP), Bartók spent the next three summers recuperating in Saranac Lake, New York, a spa town in the Adirondacks. He also returned to composing, buoyed by commissions from Serge Koussevitzky (sparking the Concerto for Orchestra in 1943) and Yehudi Menuhin (for whom Bartók wrote the Sonata for Solo Violin in 1944).
Bartók’s Piano Concerto No. 3 is a light and refreshing testament to the sweet relationship he maintained with his wife. Despite a diagnosis of Leukemia in 1944, Bartók returned to Saranac Lake in 1945 and worked simultaneously on two large compositions. One was his Piano Concerto No. 3, intended as a surprise present for his wife; the other was a Viola Concerto for the Scottish violist William Primrose. Upon returning to his Manhattan apartment in September, Bartók finished orchestrating all but the final 17 measures of the piano concerto. He died on September 26, and his Hungarian colleague Tibor Serly soon finalized the work. As far as swan songs go, Bartók’s Piano Concerto No. 3 is quite light and refreshing, a testament to the sweet relationship he maintained
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KEEP AN EAR OUT FOR... ...Bartók’s orchestration of bird calls and insect noises, which he heard outside his window while convalescing in Asheville, North Carolina, played by the woodwinds and strings in the slow second movement of the Piano Concerto No. 3. KEEP AN EYE ON... ...the Eugene Symphony’s French horn section, which will have an extraordinarily active night of lyrical and heroic playing during Strauss’s Suite from Der Rosenkavalier.
with his wife and frequent recital partner, Ditta Pásztory-Bartók. The opening Allegretto movement has a Classical bearing, and the crisp solo part often limits itself to bare octaves or even single lines. The most profound music comes in the second movement, marked Adagio religioso. Bartók’s opening harmonies reference the “Holy Song of Thanksgiving of a Convalescent to the Deity” movement of Beethoven’s String Quartet No. 15 Op. 132, composed after a period of grave illness. With the Beethoven reference and the “religious” indication of the tempo heading, Bartók made his most direct musical commentary on his own physical and spiritual ordeal in his final months. It is fitting that a central episode shifts to a twinkling, mysterious type of “night music” that echoes the fantastical escapades in so many of his earlier scores. One of the main musical ideas quotes a birdcall that Bartók had transcribed in North Carolina, reinforcing a sense of flight and freedom. A fast and lively finale incorporates flashes of fugue, honoring Bartók’s other great musical forebear, J.S. Bach. It is a boisterous and muscular statement, one that defies the physical state of its irrepressible creator.
(Continued on page 32)
Bartók Piano Concerto Program Notes (Continued from page 31) WOLFGANG AMADEUS MOZART (1756–1791) Overture to The Abduction from the Seraglio, K. 384 [1781–1782] Scored for flute, piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, percussion, and strings. First performed in May 1997 under the direction of Miguel Harth-Bedoya and last performed in September 2004 under the direction of Giancarlo Guerrero. Performance time is approximately six minutes. Not long after the 25-year-old Mozart moved to Vienna to strike out on his own as a freelancer, he began work on a Singspiel that helped cement his reputation as not just the top keyboard virtuoso in town but also a first-rate theater composer. The Abduction from the Seraglio combined songs and spoken banter in German, a popular format akin to today’s Broadway musicals, and it played on the topical theme of conflict with the Ottoman Empire, at a time when Austria’s Habsburg Monarchy was locked in a series of conflicts with its powerful Eastern rival.
The Abduction from the Seraglio combined songs and spoken banter in German, a popular format akin to today’s Broadway musicals. With a flimsy plot centered on the rescue of Christian hostages from a Turkish harem, and comic moments leaning on cringe-worthy Muslim stereotypes, The Abduction from the Seraglio suffers from the unfortunate fate of having music that has outlived its theatrical shelf-life. Luckily we can enjoy the essential flavor of Mozart’s first Viennese opera through its rousing overture, complete with a “Turkish” percussion complement of triangle, cymbals, and bass drum, approximating the sound associated with the elite Janissary corps of the Ottoman army.
RICHARD STRAUSS (1864–1949) Der Rosenkavalier Suite [1911, arranged 1945] Scored for three flutes, piccolo, three oboes, English horn, three clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, celesta, and strings. First performed by the Eugene Symphony in January 1986 under the direction of Adrian Gnam, and performance time is approximately 22 minutes. Richard Strauss, already a successful conductor and composer of orchestral tone poems, established himself as Germany’s greatest opera composer with the shocking debut of Salome in 1905. He followed up with Elektra, based on an existing play by Hugo von Hofmannsthal, and then Der Rosenkavalier (The Knight of the Rose), which Strauss and Hofmannsthal conceived together from scratch, loosely following an 18th-century story. The opera was an immediate success, rivaling even Salome; after debuting in Dresden in 1911, it reached Milan’s La Scala and Vienna’s Hofoper by the end of the year, and opened in London’s Royal Opera House and New York’s Metropolitan Opera in 1913. The Rosenkavalier Suite heard on this program was assembled in 1944 with the help of the Polish conductor Artur Rodziński, then the music director of the New York Philharmonic. The suite, in one interconnected movement, draws excerpts from various parts of the opera. The opening music of the suite, taken from the opera’s prelude, peaks with a salacious braying figure from the French horns, setting up the first scene—a bedroom tryst. In another scene, Octavian (the young knight involved in that bedroom encounter) arrives dressed in silver and bearing a symbolic rose, as represented by a sparkling theme played by flutes, celesta, harp and violins; this music reappears in the suite as a leitmotif, suggesting otherworldly beauty and Octavian’s love. The rude interruption and ensuing waltz, with its tendency to wander off-key, are hallmarks of another character, Ochs, the bumbling philanderer who eventually gets his comeuppance after a series of comic mishaps and deceits. After the waltz, a romantic passage takes music from the opera’s final love duet, and then the suite concludes with another big waltz number adapted from the third act.
Bartók Piano Concerto Music Director Finalist Francesco Lecce-Chong American conductor Francesco Lecce-Chong has worked with orchestras around the world including engagements with the National Symphony, Atlanta Symphony, Toronto Symphony Orchestra, St. Louis Symphony, Indianapolis Symphony Orchestra, San Diego Symphony, and Hong Kong Philharmonic Orchestra. He currently holds the positions of Assistant Conductor of the Pittsburgh Symphony Orchestra and Music Director of the Pittsburgh Youth Symphony Orchestra. Previously, Lecce-Chong served as Associate Conductor of the Milwaukee Symphony Orchestra and Grand Teton Music Festival.
He is a graduate of the Mannes College of Music, where he received his Bachelor of Music degree with honors in piano and orchestral conducting. Lecce-Chong also holds a diploma from the Curtis Institute of Music, where he studied as a Martin and Sarah Taylor Fellow with Otto-Werner Mueller.
As a trained pianist and composer, Lecce-Chong embraces innovative programming, champions the work of new composers, and supports arts education. Lecce-Chong has earned a growing reputation and critical acclaim for dynamic, forceful performances, garnering national distinction, including the Solti Foundation Career Assistance Award and The Presser Foundation Music Award. He has also been featured in international master classes with Bernard Haitink, David Zinman, David Robertson, and Christopher Seaman. As a trained pianist and composer, Lecce-Chong embraces innovative programming, champions the work of new composers, and supports arts education. While working with the Milwaukee Symphony Orchestra (MSO) from 2011–2015, he curated and presented the works of both active and lesserknown composers, including two works commissioned by the orchestra, as well as two U.S. premieres. He also helped create the first MSO Composer Institute, providing performance opportunities for young American composers. LecceChong has complemented his programming with a strong commitment to arts education for all ages. In Milwaukee, he provided artistic leadership for the MSO’s nationally lauded Arts in Community Education program—one of the largest arts integration programs in the country— and he continues to be a frequent guest speaker for arts organizations around the country. Lecce-Chong is a native of Boulder, Colorado, where he began conducting at the age of 16.
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Bartók Piano Concerto Guest Artist Soyeon Kate Lee First prize winner of the 2010 Naumburg International Piano Competition and the 2004 Concert Artist Guild International Competition, Korean-American pianist Soyeon Kate Lee has been lauded by the New York Times as a pianist with “a huge, richly varied sound, a lively imagination and a firm sense of style,” and by the Washington Post for her “stunning command of the keyboard.” She has performed as soloist with numerous orchestras, including The Cleveland Orchestra and the London Symphony Orchestra, as well as the Orquesta Sinfónica Nacional in the Dominican Republic, Orquesta de Valencia, Louisiana Philharmonic Orchestra, Juilliard Orchestra, San Diego Symphony, and Naples Philharmonic. In recent seasons, she has given recitals at New York’s Zankel, Alice Tully, and Merkin halls, Kennedy Center, Ravinia Festival, Madrid’s National Auditorium, and San Francisco’s Herbst Theatre.
Soyeon Kate Lee has a huge, richly varied sound, a lively imagination and firm sense of style. A Naxos recording artist, she has released albums of Scarlatti and Liszt and will record a double CD of Scriabin piano works this season. A second prize and Mozart Prize winner of the Cleveland International Piano Competition and a laureate of the Santander International Piano Competition in Spain, she has worked extensively with Richard Goode, Robert McDonald, Ursula Oppens, and Jerome Lowenthal. Lee is the cofounder and artistic director of Music by the Glass, a concert series dedicated to bringing together young professionals in New York City. As a Yamaha Artist, Lee is an Assistant Professor of Piano at the Cincinnati-College Conservatory of Music, and lives in Cincinnati with her husband, pianist Ran Dank, and their one-year-old son, Noah.
Beyond the Podium Interview with Francesco Lecce-Chong Eugene Symphony’s Executive Director Scott Freck spoke by phone with Franesco LecceChong, the third of three Music Director Finalists to visit Eugene. In addition to leading the orchestra in a Symphonic series concert on Thursday, March 16, Lecce-Chong will participate in interviews, meetings, public events, and private receptions during his week-long stay.
Scott Freck: Tell us about when you were first introduced to music. Francesco Lecce-Chong: There are no musicians in my extended family, but my mother was an artist and my dad was an architect so I definitely had a creative background and I learned the importance of the arts right away. I learned how to fool around on piano from a babysitter and really took to that, so my parents thought it would be fun to give me piano lessons. Of course the moment that started it was kind of [like] a train—then I wanted to learn violin, then I wanted to compose. There was a point in high school when I was playing piano, violin, viola, and clarinet. I was taking composition lessons, and I was already studying conducting. So there was a crazy couple of years there where I was trying to do everything I possibly could. Probably the hardest part for me was deciding which part of music I wanted to do when I first went to college. [I chose] piano and composition as my initial majors for undergrad, and after one year I switched to piano and conducting, and then for grad school it was just conducting. I feel really lucky that I had parents who were excited for me and really supportive to help me get to where I am now. SF: Of all those options, what made you want to go down the conducting path? FLC: I think I was always a people-person. I loved talking to people about music and I loved chamber music. Right away it was obvious that even on piano, I had way more fun when I was playing in a piano trio. I [had] a group all through high school. It was always a process of [bringing] more and more people together. I didn’t know if conducting was going to be a bug that I was going to catch, but I distinctly remember [conducting a middle-school orchestra in] this silly little arrangement of the
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Trepak from Nutcracker. That was the first time I ever conducted, and I’ll never forget it because I was [thinking], “This is fantastic, this is bringing people together, this is making music with my friends, there are so many things going on, there is so much I can do with this!” And that was the moment that I knew… I was lucky that [I was] 16. SF: What’s the best part of being a conductor at your level now that you work with great orchestras? What’s really fun about it? FLC: I would say it’s the same thing as I experienced when I was 16—it’s the musicians, and being with them. I try not to think about it too much because it’s kind of like magic. You don’t want to know too much about how [it’s] possible for 80 people to connect musically…as the conductor, to bring that together and facilitate it so it can be even greater is an amazingly difficult task, but [it is] also incredibly fulfilling. To connect with each of those musicians, the high you get from that is just unbelievable. SF: What made you interested in the Eugene Symphony and specifically this Music Director position? FLC: The Eugene Symphony has a very special place among orchestras of [its] size. Every young conductor, we all know about it. In undergrad I was working with Miguel Harth-Bedoya, and then I met Giancarlo Guerrero a little bit later. When these guest conductors come in, your question is always, “What do I do as a young conductor—what is my path going to be?” And immediately both of them [spoke of] the Eugene Symphony being their first music directorship and everything it offered them—a chance to grow and find themselves as a music director. It made such a big difference for them. So always in the back of my head it was like, “Oh, Eugene Symphony—that’s one of (Continued on page 36)
(Continued from page 35) the really important ones.” I think what they were [saying] is that the Eugene Symphony is an organization that has shown a commitment to young conductors, to giving them a chance to assert themselves in a way to be taken seriously and to really build something as music director. I think it’s quite clear from the track record [there] that it’s really the perfect place to do it, probably the best place in the US right now.
I look for ways to present music in more informal situations, small chamber groups getting out and playing...[It] makes me most optimistic about where classic music is headed. SF: If you were selected for this position, what would you hope to add to this story? FLC: There is so much more to get to know about the orchestra and about the community. I hesitate to say that I have a plan because of course you shouldn’t really have a plan until you get to know an organization, but I can say things that matter to me [that] I can hopefully find the best way to incorporate them. [First] would be a strong sense of new music and in particular young American composers. It’s not just playing their music, [but] finding a way to make sure that people are connecting with it. As a composer I always knew how important it was to do new music, to get people used to hearing it and understanding it, but it never quite occurred to me that you can’t just keep putting it out there. It has to be in a way that people want to connect with. I know that’s going to be an important part of my programming, to make sure that audiences understand that this is something we are creating, [that it’s] live and happening and changing in our lives right now. That’s something that is very important to me. Strangely enough, on the opposite end of the spectrum, sometimes orchestras don’t quite give enough importance to earlier music. We don’t get a lot of Bach or Handel, or early Mozart or Haydn. These composers get scattered in, but we don’t always give them the weight that they need. One of the things I do a lot of is ‘play/conducts’ [ed.: perform a piano concerto as both soloist and conductor] and it’s something I would want to do in Eugene as well. When audiences experience a Haydn symphony it won’t be with a conductor, it would be with me playing a keyboard. That’s how Haydn’s premiered these
works—he thought of them as these large-scale chamber works where there is a lot of playfulness between the instruments, and sometimes you need to remove the conductor so that the audience sees everything that’s happening. So I would hope to kind of reinvigorate some of my programming with a little bit of Mozart, early Beethoven, a little Haydn in there just to get a taste of the other end of the spectrum. The basis for Western classical music is in all of that. Beyond that, the majority of my work being assistant conductor in Milwaukee and now in Pittsburgh is finding ways to reach out to audiences. It’s something I’m incredibly passionate about. [I look for] ways to present music in more informal situations, small chamber groups getting out and playing for people. Just finding ways to break down the barriers, and surprise people with what we do because sometimes [with] the formality of going to a concert hall, we lose that intimacy. I think it’s a wonderful thing that orchestras [and especially] young conductors are embracing, and it’s probably the thing that makes me most optimistic about where classical music is headed. We need to bring our music out to everyone and can enrich the whole community with what we do. That will be something that immediately I’ll be excited to have a chance to [do] as Music Director. SF: Outside of music, what do you enjoy doing with your spare time if there is any? FLC: The problem is I have spare time, but it’s usually spent on airplanes and airports, on trains, buses, some form of transportation. Probably the easiest thing for that is reading—I’m a really avid reader. I’m going through a phase of David Foster Wallace novels, [and] recently finished [with] all of the Virginia Woolf novels. Anything I can find that’s really kind of thoughtprovoking and interesting. [Also] I love the outdoors [so] I suppose maybe that’s [one] attraction to Eugene—if I can spend more time there I would probably be outdoors more than I currently am. SF: Tell us about the music we’re going to hear at the concert on March 16. FLC: Knowing that there [was] Mozart and Bartók on this program, being able to construct a program around that has been really fun and interesting. The first half is a Hungarian feature. The program overall I think of as [exploring] cultural insights [with] composers who were fascinated by the music of [other] cultures and [who found] ways to spin it into their music while having a deep reverence for tradition.
We start off with Liszt’s Mephisto Waltz, a piece that is probably much more famous on piano. It’s a scene from Faust where Mephistopheles is seducing the villagers with his violin playing. It’s a big country dance scene [which starts with] open strings, so it sounds like a bunch of fiddlers tuning their instruments. Then, Bartók’s Third Piano Concerto, a piece that I am really excited to conduct because I performed it [as a pianist] at Alice Tully Hall [in New York] as an undergrad. The music is just incredible—it’s fun, but also very deep and very philosophical. Bartók was at the end of his life and encompasses so much in this piece. His first two piano concertos are very youthful and almost kind of vulgar in the way he treats the piano. They’re incredible pieces, but with this Third Concerto he kind of takes a step back and kind of looks at the bigger picture. It has this lighter, almost neoclassical side to this piece in the second movement he has this wonderful homage to a chorale from a Beethoven string quartet. But at the end of the day it also is Bartók the Hungarian with all of those folk themes, and it really has that deep sense of where his roots are. [It’s] very accessible to audiences while still sounding very fresh. Then the second half is [about] Viennese culture. We’ll open with Mozart’s overture to his opera The Abduction from the Seraglio. There were all of these wars happening back and forth [between the Ottoman and Austrian empires], and Mozart was trying to make light of it [with] these comic operas. So in this very short overture he’s just trying to have some fun and he [includes] what he thinks [is a] Turkish military band, [so] that’s why you have the triangles and the bass drum and this clanging going on during this entire overture. And then [we have the Suite from Richard] Strauss’s Opera Der Rosenkavalier. I think this is perhaps the greatest example of lovingly making fun of the culture that you live in. He is commenting on Viennese society, but he creates a fictional society where there are all of these traditions and hierarchies. Throughout this opera he’s making fun of the class systems that were in Vienna, the way people treat each other and all of these pompous rituals. Most important is the presentation of the rose—in order to propose marriage someone has to deliver a silver rose on your behalf, hence the plotline for the whole opera. The audience will experience this magnificent music that Strauss wrote that’s absolutely the most loving way you can encompass Viennese music. Strauss [had] just finished Elektra and Salome, these operas that are so dark, these thrillers if you will…. The music was getting so edgy and Strauss was considered the ‘bad boy’ in music because he was causing riots and his works were being censored. Then suddenly he comes out with Rosenkavalier
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(Above left) Lecce-Chong conducts an outreach concert with the Pittsburgh Symphony Orchestra that raises awareness and funding for music programs in the school district of its neighboring community Wilkinsburg. (Above) Lecce-Chong rehearses with the Pittsburgh Youth Symphony Orchestra, and with Itzhak Perlman and the Milwaukee Symphony Orchestra.
and it’s almost saying goodbye to the golden age of Vienna. So in this beautiful suite, about 25 minutes or so, it’s just all Viennese waltzes. If you just imagine Johann Strauss Jr. but kind of through a hazy dream, that’s kind of what you get throughout this piece. There’s always a waltz hidden through the background. I’m sure you can tell as I talk, it’s by far my favorite opera. When I think about my favorite symphonies I can never really decide, but for operas this one always comes closest to me. SF: Looking forward to it! Thanks, Francesco.
Award Winning Arborists
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Donor SPOTLIGHT Business benefits of partnering with the Eugene Symphony Imagination International Inc. has returned for a second season of sponsoring the Eugene Symphony. We spoke with Hillary Darland, Director of Philanthropy at Imagination International, about why the company supports the Symphony and how it benefits their employees.
our Imagination International Inc. community discover and participate in the simple pleasure of art and musicâ€”something that we hold as central to our vision. Our employees get to experience the product of creativity and feel proud to participate in a business that promotes the arts.
What first inspired you to consider attending and supporting the Eugene Symphony?
What has most surprised and inspired you and your employees about your partnership with the Eugene Symphony?
Hillary Darland: We were inspired to attend and support the Eugene Symphony because we believe that creativity and artistic expression are a foundational aspect of the human condition, and we want to encourage organizations committed to sharing this gift.
HD: What has surprised us the most in providing this opportunity for our employees is how many of our staff had never been to the Eugene Symphony before we offered them tickets. What is so amazing now is that people in every department, from the creative team to the manufacturing department to the warehouse crew, have found a love of music as well as made new connections in the community as a result of attending concerts.
Why do you invest in and advocate for the Symphony and the arts in our community? HD: We want to invest in and advocate for the symphony and arts here in Eugene because we believe that the arts inspire people on an individual and communal level, attracting creative minds and people willing to participate in a culture of creativity. Music, in particular, remindsus all how to be better listeners in a world full of white noise. How does your support for the Eugene Symphony impact your employees and company culture? HD: Providing this opportunity for our employees to attend the symphony is a joy for our company because we get to see
What would you say to other business leaders in our community about why they should join you in supporting the arts in the community? HD: We would encourage other business leaders in our community to support the local arts because having a solid arts community attracts new people and businesses to our city. Promoting art in our staff â€™s lives enriches their sense of creativity, makes them more productive in their work, and develops their loyalty and trust in our business. Business aside, we truly do believe that art is simply a good thing for the world.
Imagination International leaders join Symphony and University conductors at sponsor lunch in November 2016. (From left) Julie Bushnell, II Creative Director; David Jacobs, Assistant Professor of Orchestral Studies and Conductor Director, University of Oregon Symphony Orchestra; Maestro Danail Rachev; Tucker Teague, II General Manager; Hillary Darland, II Director of Philanthropy.
The team at Imagination International Inc.
What Imagination International employees are saying about attending Eugene Symphony: “ In our small community, I believe the Symphony to be a unique and indispensable cultural experience. It serves to gather, to entertain, to incite our imaginations, to inspire; it helps us explore the human condition in a way that only music can; it is a communal experience that provokes awe, wonderment, and conversations about the beauty and the tragedy in creation; it preserves history and its music for future generations; it makes one feel small and yet a part of something more grand. I always anticipate the opportunity to attend the Symphony and consider it a privilege. It is always wonderful to experience the talent we have living here in our community and those especially gifted musicians that come and join us. As a musician myself I leave every performance wanting to sit down with my guitar to create and improve. I very much appreciate that our company partners in such an impactful cultural event. The occasional ticket from my company has been a fantastic benefit that has not only afforded me the opportunity to attend and enjoy what the symphony offers, but has also afforded me the opportunity to invite and accompany many friends in their very first orchestral experience. What a great joy it has been for me to share with them a cultural and artistic experience that is like no other in our community!” — Mark McKay, Trade Show and Special Project Fabrication “ Attending the Symphony today gives me something to look forward to. I value it because it is something I never could have as a child. I value the skill and passion each player gives to perform. I leave a Symphony concert feeling renewed and enlightened. I love feeling the influences the musicians have on each other and hearing the pre-symphony lectures where I discover tidbits about the pieces that make them that much more relevant. Attending the symphony rejuvenates my creative soul and brightens my work and my attitudes with coworkers. I look forward eagerly, every chance I get, to attending the symphony.” — Marianne Walker, Product Director
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Supporting the Arts in Lane County
Eugene • Springfield • Junction City • Creswell
Oregon Humanities Center
Let Our Family Help Your Family Celebrate Life
2016–17 Tzedek Lecture in the Humanities
2016–17 Clark Lecture in the Humanities
Violinist Vijay Gupta in a Lecture
“The Fault Lies Not in Our Stars: Why Natural Disasters Become Human Catastrophes”
“The Citizen-Artist as Healer” Vijay Gupta, LA Philharmonic violinist, and founder of Street Symphony—engaging distinguished musicians in performance and dialogue with marginalized communities
Lucy Jones, former U.S.G.S. seismologist and public voice for earthquake safety
Thursday, March 9, 2017 7:30 p.m. • 156 Straub Hall
Thursday, February 9, 2017 7:30 p.m. • 156 Straub Hall
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On That Note
...with Alice Blankenship
On That Note introduces a member of the orchestra. This issue features violinist Alice Blankenship.
players, but this piece had a lot of emotion and beauty and did not ultimately feel merely cerebral.
What year did you join the orchestra, and how long have you been playing music? I joined Eugene Symphony as a regular member in 2011. I had also played with the Symphony as a graduate student at the UO from 1995–1998, then I played as a substitute from 2001–2003 when I returned from Europe, and once in a while after my son was born. But mostly, from 2004– 2010, my son Francis and I would go to Symphony rehearsals, and I learned a lot about what the orchestra sounded like from out in the hall of the Hult Center.
Where is your favorite place on the planet and why? Aneroid Lake, in the Wallowa Whitman National Forest. You can only get there by hiking eight miles in or going by horseback; there is no motorized traffic whatsoever. The water is so pristine you can drink directly from the snow-melt streams, and the landscape is indescribably beautiful.
Why did you decide to play the violin? I sang around the house all the time as a small child. We had a whole repertory of four-part Christmas carols and my sister and I were expected to hold down our own parts by the time we were three and four years old. Mom was our first music teacher. When my dad had a year’s sabbatical in Reno, Mom heard that the violin professor at the University of Nevada was going to accept a few very small children as students. Professor Rusty Goddard had recently heard of Shinichi Suzuki (this was 1970), and he decided to give it a try. It was only a few months with Rusty, and after that my training was pretty spotty until high school when I started lessons with now retired Eugene Symphony member Sharron Smith! When you’re not playing your violin, what would we most likely find you doing? Teaching the violin, driving my 12-year-old son Francis to myriad activities, walking, dancing, hiking in wilderness with husband Mike and Francis whenever possible, feeding and watering my backyard flock of ducks, caring for my still singing and wonderful elderly parents, gardening, studying upcoming concert music on YouTube, following NPR on my many commutes, dreaming of travel, and trying to scheme ways to fulfill Francis’s wish of visiting the Galapagos Islands someday. What are/were you most looking forward to playing in the 51st season and why? Everything! But if I have to nail down just one thing it would have to be the Brahms symphonies, because they are the kind of repertoire that allows us to greet old friends and timeless moments in music, like Kristen’s beautiful flute solo. I also appreciated the stretch of having to work up the Webern Passacaglia, because 12-tone music is very difficult for string
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Musician or composer you wish you had known personally— and why? Haydn, because not only did he come from humble roots and grow as a musician through his entire life, achieving total genius as an older person (he did not have the financial opportunity or parentage to be a child prodigy) but he advocated for his players in a time when there were no unions, and every decision was made by the monarch-employers at their whim. He helped mediate disputes, and persuaded the Duke to release his players to go home for Christmas one year. Not only do I love his music, I would love to have played in his orchestra, under his leadership and personality. Red, white, stout, hoppy or none of the above? Stout, for sure. Favorite book/movie you’ve read/seen recently? Children’s book: Rooftoppers, by Katherine Rundell. I gave a copy of this to Yo-Yo Ma when he last played with the Eugene Symphony and he graciously accepted! Thinking Like a Watershed, by Jack Loeffler is what I am currently reading. It is good for all Oregonians to read, even though it is about the arid parts of our country. As It Is In Heaven is a brilliant Swedish film about a retired orchestra conductor/violinist who finds his muse and meaning in a tiny village where a church choir leader is needed. A great one for our Symphony patrons! What do you think some audience members might find surprising about you? I’ve studied four languages, lived in three countries besides the US, always thought I would be the mother of four to six children, and realized rather late in life (age 27) that I actually wanted to be a violinist! Do you have any other exciting life endeavors you’d like to share? I am both honored and excited to have been asked, in the past four months to do three very exciting things: Record Tom Manoff ’s beautiful Violin Sonata, extracted from the his opera, The Trials of Katherina Keppler; perform the Mozart Concerto No. 5 in A Major in the fall of 2017 with an orchestra in Salem, and the Lalo Symphonie espagnole with the Willamette Valley Symphony in June of 2018!
Scenes from Offstage
(Clockwise from top) Music Director Danail Rachev, Narrator William Hulings, and the Eugene Symphony Guild pose after the Youth Concerts in November 2016. Music Director Finalist Dina Gilbert chats with Music Director Search Committee Chair Roger Saydack and his wife Elaine Bernat at a Conductorâ€™s Cabinet reception. A brass quartet of Eugene Symphony musicians play at the Fifth Street Public Market Christmas tree lighting event. Symphony musicians enjoy waffles, courtesy of Off the Waffle, during a break at a rehearsal for Amadeus. Elena Urioste, who performed Korngoldâ€™s Violin Concerto on December 8, with high school students Grace Rosier and John Fawcett at the Laura Avery Visiting Masters class on December 6. For more photos, like the Eugene Symphony Association on Facebook: facebook.com/EugeneSymphony and follow us on Instagram at eugene.symphony
MAKE THE DIFFERENCE
ASSOCIATE MEMBER: $60–124 Invitation to Association Annual Meeting
OUR PROGRAMS AND PERFORMANCES ARE NOT ONLY FOR YOU, THEY ARE POSSIBLE BECAUSE OF YOU.
Ticket sales cover less than 50% of the operating costs to support our musicians and performances. Whether you are able to give $10, $100, $1,000, or $10,000, every gift makes a difference and ensures our symphony can keep playing for you, your neighbor, and the next generation. Your gift also supports Eugene Symphony’s community engagement and music education programs, extending our reach to allow more than 20,000 children and adults experience the joy of music. MAKE A GIFT
Contact Sara Mason, Development Director 541-687-9487 x104 | email@example.com
Annual season brochure Notice of special events
SYMPHONY MEMBER: $125–249 All of the above, plus: Season program magazine recognition
SUSTAINING MEMBER: $250–499 All of the above, plus: Invitation to a dress rehearsal event
BENEFACTOR: $500–999 All of the above, plus:
Invitation to one post-concert reception Voucher redeemable for two regular Symphonic series concert tickets
CONDUCTOR’S CIRCLE: $1,000–2,499 All of the above, plus: Invitation to two dress rehearsals Access to Conductor’s Circle priority subscription seating Opportunity to sponsor a section musician for a season ($1,500 and above)
FOUNDERS SOCIETY: $2,500+ THE ENCORE SOCIETY Leave a Legacy The Encore Society recognizes loyal Symphony patrons who have chosen to include the Eugene Symphony and/or Eugene Symphony Endowment in their bequests or other charitable giving plans. Encore Society members receive special benefits and invitations. For more information, contact Sara Mason, Development Director.
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All of the above, plus: Donors receive exclusive benefits, such as an invitation to a reception with Maestro Rachev and special recitals by Symphony musicians, and access to Founders Club receptions at all performances.
F ou n d e rs S ociety of the Eugene Symphony
The Eugene Symphony Founders Society is a group of donors who have made an extraordinary and profound commitment to the Symphony with an annual contribution of $2,500 or more. We are proud to acknowledge our Founders Society members whose gifts have strengthened our onstage, community engagement, and music education programs. For more information on the Founders Society, its benefits, and how to join, please contact Development Director Sara Mason at firstname.lastname@example.org or 541-687-9487, x104, or visit our website at eugenesymphony.org. *Denotes a gift to the Conductor’s Cabinet Campaign
PLATINUM PATRONS | $25,000 + Anonymous Nathan & Marilyn Cammack Mira Frohnmayer & The Estate of Marcia Baldwin
Eugene Symphony Guild Niles & Mary Ann Hanson* Marie Jones & Suzanne Penegor
Betty L. Soreng Fund of The Oregon Community Foundation*
GOLD PATRONS | $10,000 – $24,999 Lauren & Keyhan Aryah Dennis & Janet Beetham Natalie & Zack Blalack Caroline Boekelheide* Elaine Twigg Cornett & Zane J Cornett
The Haugland Family Foundation Dave & Sherrie Kammerer* David & Paula Pottinger* James & Jane Ratzlaff
Paul Roth* Dr. Matthew Shapiro & Maylian Pak* Ray & Cathie Staton* Barbara & James Walker* Terry West & Jack Viscardi*
SILVER PATRONS | $5,000 – $9,999 Anonymous (2) Phoebe Atwood Warren & Kathy Barnes Robert & Friedl Bell Jack & Dondeana Brinkman* Marci Daneman G. Burnette Dillon & Louise Di Tullio Dillon Ray & Libby Englander Pamela Graves
Peter Gregg* Galina Groza* Donald Gudehus & Gloria Page George & Kay Hanson* Ms. Chris K. Johnson Marilyn Kays Diana G. Learner & Carolyn Simms* Matthew McLaughlin* Herb Merker & Marcy Hammock*
Meg Mitchell Otto & Joanna Radke* Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Chris Walton & Elizabeth Sheehan Dunny & Debbie Sorensen Leonard & Inge Tarantola* Charles Zachem
BRONZE PATRONS | $2,500 – $4,999 Anonymous* (3) Joseph & Margaret Adelsberger Marin Alsop Laura Avery* Kent Barkhurst Joanne Berry Anne & Terry Carter* Deb Carver & John Pegg Elizabeth Chambers William & Karla Chambers Jeff & Julie Collins Jana & Mark Cox Carol Crumlish Edna P. DeHaven Virginia Fifield* Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett
Mike Fox & Rebekah Lambert* Bill & Judy Freck Scott & Leslie Anderson Freck Lynn Frohnmayer Dennis & Nancy Garboden Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of The Oregon Community Foundation Giancarlo Guerrero Elizabeth & Roger Hall Miguel Harth-Bedoya & Maritza Caceres de Harth-Bedoya Lin & Don Hirst Starly Hodges Hugh & Janet Johnston Jeannette Kimball Jim & Janet Kissman Deborah Lewis Larson
Michael Lewis & Martha MacRitchie Sarah Maggio Duncan & Jane Eyre McDonald Thomas & Loren Mohler James & Marilyn Murdock Arden Olson & Sharon Rudnick Laura Parrish & Richard Matteri Philip & Sandra Piele* Danail Rachev & Elizabeth Racheva Roger Saydack & Elaine Bernat* Heinz & Susan Selig Ellis & Lucille Sprick Michael Vergamini Dr. James & Jan Ward* Sandra Weingarten & Ryan Darwish Jim & Sally Weston Bruce & Carol Whitaker John & Emilie York
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.
The Haugland Family Foundation
GUEST ARTIST SPONSORS Skeie’s Jewelers
Chvatal Orthodontics Eugene-Irkutsk Sister City Committee
ADDITIONAL SUPPORT SPONSORS Kernutt Stokes Ferguson Wellman The Gilmore Agency
Oakmont Family Dental Euro-Asian Automotive M. Jacobs Fine Furniture, Inc.
Eugene Airport The Office of John E. Villano, DDS Sports Car Shop
IN-KIND SEASON SPONSORS Dot Dotsons Hilton Eugene
The Broadway Wine Merchants Marché
Oregon Electric Station
SPECIAL THANKS TO... City of Eugene/Hult Center for the Performing Arts Framin’ Artworks
Partnered Solutions IT Kesey Interprises JLN Design
George Relles Sound, Inc. Amanda Smith Photography Technaprint
FOUNDATION PARTNERS The Ann & Gordon Getty Foundation
Herbert A.Templeton Foundation
The Silva Endowment Fund of The Oregon Community Foundation
FEBRUARY – MARCH 2017
Season Supporters The Eugene Symphony extends our heartfelt thanks to the individuals, corporations, and foundations that have made generous contributions this season. Your support and generosity help keep the arts flourishing in our community. Conductor’s Circle ($1,000–$2,499) Anonymous (2) Kevin & Irene Alltucker Frank & Dorothy Anderson Virginia P. Anderson Ted & Marie Baker Lauren Bird-Wiser Louise Bishop & James Earl Carl Bjerre & Andrea Coles-Bjerre Karl & Linda Anonymous Shawn & Melva Boles Ruby Brockett John & Christa Brombaugh Delpha Camp Harriet Cherry & John Leavens Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation J. Glenn & Ellen A. Cougill Fund of The Oregon Community
Foundation John & Linda Cummens Paul & Vivian Day Joan Dunbar & William Starbuck Dieter & Juanita Engel John & Jo Fisher McClure Associates Robert & Violet Fraser Sam Fryefield Michael & Janet Harbour Shirley J. Hawkins Lisa A. Hawley William & Barbara Hemphill Monica Careaga Houck Ellen Hyman John & Robin Jaqua Fund of the Oregon Community Foundation Joanne Johnson Allan & Dorothy Kays Charles & Reida Kimmel
Eunice Kjaer Steve & Cyndy Lane Gary J. LeClair & Janice R. Friend Nena Lovinger Bob & Brenda Macherione John & Ethel MacKinnon Gary P. Marcus Sara & David Mason Darian & Karen Morray John & Barbara Mundall Charlotte Oien Searmi Park Judson Parsons & Diana Gardener Suzanne Penegor Hope Hughes Pressman Fund of The Oregon Community Foundation David & Jane Pubols In memory of Britta Putjenter John F. Quilter
Fred Ramsey James & Connie Regali Diane & Greg Retallack Nancy Oft & Mike Rose Jim & Paula Salerno John & Linda Sheppard John & Betty Siebs Ken & Kenda Singer Marion Sweeney, Kate & Cama Laue Martha J. Steward Bradley Stewart Andy Storment Cathye Tritten Phyllis Villec Jack & Mary Lee Ward John & Sandy Watkinson Jim & Yvonne Wildish Louise Wiprud Woodard Family Foundation Marguerite Zolman
John Etter Jane & Latham Flanagan, MD Mary Gent James Harper David Hattenhauer Ronald & Cecilia Head Lucille P. Heitz Donald Holst & Kathy Locurto Judith Horstmann & Howard Bonnett Joseph Hudzikiewicz Ty Huling Ronald & Donna Ivanoff Mandy Jones Brandon Julio & Haydn Zhang Toshiro & Irene Katsura Carolyn Kortge Doris Kuehn
Jason Tavakolian & Jennifer Lamberg Linda Lanker John & Patricia Lorimer Mark & Denise Lyon Robert & Barbara Maurer Robert & Colleen McKee Bonita Merten Lee & Mary Jean Michels Dan & Linda Montgomery Mary Ann Moore Boyd & Natalie Morgan Christian & Betsy Nielsen PeaceHealth Medical Group Oregon Region Dr. Richard & Kristina Padgett Theodore & Laramie Palmer Jane Scheidecker
Marjory Ramey Reed Family Foundation Thomas Ripp Pamela Whyte & Ron Saylor Craig Starr & Sandra Scheetz Annie Schmidt Roberta Singer Brad & Colleen Stangeland Jim Steinberger & Joyce Gardner Steinberger Jeff & Linda Taylor Charitable Fund John & Renate Tilson Jean Tuesday Pierre & Mary Lou Van Rysselberghe Peter & Josephine Von Hippel Hilda H. Whipple Harry & Connie Wonham Candice Woyak
Daniel & Nicole Claric James & Hannah Dean Marilyn Deaton Mary Louise Douda Michael Drennan Gary Ferrington Pat Flake Ninkasi Brewing
Robert & Jill Foster Dorothy Frear David & Deena Frosaker Barbara Gates George & Lynn Gibson Robert Gilberts & Pat Candeaux Gilberts Sylvia Giustina
Benefactors ($500–$999) Gil & Roberta Achterhof Dave Veldhuizen & Roanne Bank Jeff & Nancy Beckwith Joyce Benjamin Ron & Janet Bertucci Jim & Joanna Branvold Mary Breiter & Scott Pratt Bill & Lynn Buskirk Ellen Campbell Robert & Kathleen Carolan George & Fanny Carroll Mary Clayton Allan & Nancy Coons Hiett & Caron Cooper Roger Coulter David & Priscilla Croft Robert & Laoni Davis Wendy Dame & Don Doerr Stephen & Francoise Durrant
Sustaining Members ($250–$499) Mardi Abbott Jim St. Clair & Liz Alcott St. Clair Raychel Kolen & Paul Allen Brian & Laurel Allender Howard Anderson & Susan Rutherford Vernon Arne Robert H. Horner & Polly Ashworth
Robert Baechtold Don Baldwin Sara Bergsund Laird & Ronnie Black Jack & Toni Brown Susan Butler Leonard & Janet Calvert Frank & Nancy Carlton
This listing is current as of January 9, 2017. Every effort has been made to ensure its accuracy. If your name has been inadvertently omitted or incorrectly listed, please accept our apologies and contact Ashley Petsch at email@example.com. Thank you for your generosity.
Season Supporters Sustaining Members ($250–$499) Roger Guthrie & Nancy Golden Peter Edberg & Bryna Goodman Ann & Ed Gordon John & Claudia Hardwick Dr. Jeffrey Morey & Gail Harris Mary Globus & Gary Harris Erwin & Vicki Haussler David & Donna Hawkins Web & Belinda Hayward Jim & Judith Hendrickson Ken Higgins David & Marcia Hilton Harold & Martha Hockman Sara Hodges Lewis & Sandra Horne Carmen Bayley James & Helen Jackson Benton Johnson Judith Johnson Kaye Johnston
Peter & Jane Kay David Foulkes & Nancy Kerr John & Muriel Kurtz Richard & Jacquie Litchfield Doug & Diane Livermore Stephen & Clari McDermott A. Dean & Lucille McKenzie Joseph & Xandra McKeown Robert Huffman & Mary Miller Michael Milstein Jack & Barbara Miner Jon & Barb Morgan Gerald Morgan George & Cheryl Morris Kenneth & Jackie Murdoff Jane Murphy Diane Vandehey-Neale Heather Nolle Joan Bayliss & Irwin Noparstak Harold & Joyce Owen
Ashley Petsch William Pfeffer Nathan & Robin Phillips Guntis & Mara Plesums Dave & Linda Pompel Camilla Pratt Joyce Pytkowicz Nancy Reed Dwyane & Bette Rice Keith & Carol Richard Joe & Marian Richards Scott Ricker & Mary Gleason-Ricker Linda & Tom Roe Gerald & Marcia Romick Royce & Phyllis Saltzman Norman & Barbara Savage Ginny Starr Karen Seidel David Stuck & Janis Sellers-Stuck Tony Anthony & Christine Shirley
Lynn Soderberg Jane Stephens Tim & Ann Straub Susan & Bahram Tavakolian John & Margaret Thomas Barry Cooper & Beth Valentine Anonymous Janet Van Nada Hubert John & Linda Kay Van Peenen John Attig & Marilyn Warner Dusty & Sam Wellborn Debbie Wetle Oakshire Brewing Terry & Lucy White Forrest & Anna Williams Tina & Tom Williams Robert & Patricia Wilson Kelly B. Wolf JoAnn Zinniker Alex Zunterstein
Gerald & Lynda Green Bert Lund Barbara J. McCarty Glenn Meares & Marty McGee David & Doris McKee Gary & Jill McKenney Anthony J. Meyer & Joan Claffey Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor John & Cheryl Moore Duncan & Saundra Murray William & Margaret Nagel Carol Nylander Janet Logan & William Oakley Richard J. O’Brien Dr. Jay & Mary C. O’Leary Catherine Page & David Johnson Dorothy Parrott James & Susan Pelley Randy Prince Michael Racine Tyler Radke Richard & Patricia Rankin Lloyd & Marilyn Rawlings Troy & Kathryn Richey Daniel & Kay Robinhold Ron Wallace & Elizabeth Rogers-Wallace Sally Ann Ross
Dick Ruf Michael & Wendy Russo Madeline Santoyo Richard & Karen Scheeland Gregory Schultz Jeffrey & Rena Segebartt Donald Seiveno Kim & Tim Sheehan Judy Sobba Joanne & John Soper Dave & Dorothy Soper Phoebe Staples Barry & Marilyn Stenberg Charles & Yvonne Stephens Gerald & Heidi Stolp Maria & Delmar Storment Wayne & Leslie Taubenfeld Betty Taylor Edward Teague Addie Vandehey John DeWenter & Dorothy Velasco Kent & Gail Waggoner Jerry & Janet Walsh Barrie & Lois Wells Mary Ellen West Ted & Leslie West Donald Wisely Thomas & Mariol Wogaman Ness Zolan & Emily Levy
Symphony Members ($125–$249) Anonymous (3) Lucille Allsen Don & Marianne Anderson Susan Archbald Gerry Aster Roger & Lela Aydelott Sue Bach George Bateman William & Alice Beckett Lawrence & Margaret Bellinger Richard & Betsy Berg David & Judith Berg John & Lucy Bigelow Beth Moore & Lorne Bigley Jack Birky Bernard & Ginger Bopp Gerald & Patricia Bradley Bill Brandt Robert & Patricia Brasch The Kiva Grocers - Booksellers Sara Brownmiller & Milo Mecham Norma & Stanley Bryan Susan Burke & Clive Thomas Amy Jo Butler Windermere Jean Tate Real Estate Gary & Carole Chenkin Vicki Ingram & Patti Cook David Correll Mark & Anne Dean Dale Derby & Ingrid Horvath
FEBRUARY – MARCH 2017
Lisa Dodd Phillip Duchemin Dr. John & Virginia Dunphy Bob & JoAnn Ellis Darian & Edward Fadeley David & Jean Fenton Margot Fetz Paul & Jean Frantz Liz & Greg Gill Carole Gillett Elizabeth G. Glover David & Lois Hagen Sandy Harland Gale & Rosemary Hatleberg Carmen Hayes Ralph & Anne Haynes Andrew & Marilyn Hays Morley Hegstrom Phyllis Helland & Raymond Morse Alex Dracobly & Julie Hessler Stephen Jones Ronald & Sylvia Kaufman Lilliane & Edward Kemp Robert Kendall Alan & Martha Kimball Tim King Marion Diermayer & Peter Kosek William Langdon Dr. Mark & Marie Litchman
Season Supporters Memorial Funds
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.
Marcia Baldwin Chandler Barkelew Phyllis Barkhurst Constance Mae Beckley Norma Jean Bennett Donald Bick Valentina Bilan Bert Evans Laurel Fisher Diane Foley Dave Frohnmayer Jean Glausi Marilyn Graham Ilene Hershner Gorgie Hofma Gilbert Stiles Avery III
Bruce Kilen Melvin Lindley Donald Lytle Milton Madden Ardice Mick Billie Newman Jin Pak Reverend William Pfeffer Jack Pyle John A. Schellman Jane Schmidt Dr. John A. Siebs John Siebs Jan Stafl, MD Leonard Tarantola Mary Tibbetts Richard (Dick) G. Williams Barbara Wolfe
American Federation of Musicians, Local 689 The Chambers Family Foundation The Collins Foundation The Ann & Gordon Getty Foundation National Endowment for the Arts The Haugland Family Foundation Nils & Jewel Hult Endowment - Arts Fund of The Oregon Community Foundation The Silva Endowment Fund of The Oregon Community Foundation James F. & Marion L Miller Foundation Oregon Arts Commission Oregon Cultural Trust Oregon Community Foundation Supporting Hult Operations (S.H.O) Irene Gerlinger Swindells Fund of The Oregon Community Foundation Herbert A. Templeton Foundation
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Supporting the Eugene Symphony since 1997 541.484.0651 | firstname.lastname@example.org
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 John & Ruth Bascom Marjorie Beck Trust
Joanne Berry The Brockett Family Dr. & Mrs. John Cockrell (Irrevocable Trust) Julie Collis
Ray Englander Starly Kathryn Friar (Irrevocable Trust) Jo-Anne Flanders Ed & Ann Gordon
Ms. Chris K. Johnson Dan & Gloria Lagalo Theodore & Monica Nicholas Wally Prawicki Sandra Weingarten Harry Wolcott Estate
Steinway Maintenance Society The Eugene Symphony extends sincere thanks to those who have joined the Steinway Maintenance Society to create an endowed fund to ensure that the “Pavillard” Steinway D Concert Grand is properly insured, stored, and maintained.
Leave a legacy that provides the joy of music for future generations. Please remember the Eugene Symphony in your will or trust. For information about planned gifts or gifts to the Endowment Fund, contact Sara Mason at email@example.com or 541-687-9487, x104 or visit our website at eugenesymphony.org.
FEBRUARY – MARCH 2017
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
Matthew Shapiro, President David Pottinger, Vice President & President Elect
Danail Rachev, Music Director & Conductor Scott Freck, Executive Director Courtney Glausi, Executive Operations Assistant
Cathie Staton, Secretary Warren Barnes, Treasurer Dunny Sorensen, Past President
DIRECTORS Carolyn Abbott Zachary Blalack Deborah Carver Julie Collins Mike Curtis Raymond N. Englander Mary Ann Hanson David Kammerer Sylvia Kaufman Stephanie Pearl Kimmel Sarah Maggio Jane Eyre McDonald
Matthew McLaughlin Trieber Meador Meg Mitchell Arden Olson Laura Parrish Joanna Radke Paul Roth Michael Vergamini Jack Viscardi Sean Wagoner Barbara Walker Sandra Weingarten
DIRECTORS EMERITUS Phil Cass, Jr. Carolyn S. Chambers
Betty Soreng David Ogden Stiers
EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS
1965–1972 Orval Etter 1972–1973 Charles Williams 1973–1975 Thad Elvigion 1975–1977 Nancy Coons 1977–1978 Oscar S. Strauss 1978–1980 Nancy Coons 1980–1981 Janet Johnston 1981–1982 Judy Hicks 1982–1984 Janet Johnston 1984–1986 George “Duffy” Hughes 1986–1988 Ruby Brockett
1988–1991 James Forbes 1991–1993 John Watkinson 1993–1995 Georgiann Beaudet 1995–1997 Clark Compton 1997–1999 Gary Grinage 1999–2002 John Watkinson 2002–2003 Gil Achterhof 2003–2006 David Kammerer 2006–2012 Mary Ann Hanson 2012–2015 Dunny Sorensen
ARTISTIC Lindsay Pearson, General Manager Hanya Etter, Librarian Sharon Paul, Chorus Director Amy Adams, Chorus Manager Bill Barnett, Recording Engineer Rick Carter, Piano Technician DEVELOPMENT Sara Mason, Development Director Ashley Petsch, Donor Relations Manager Susanna Brown, Gala Intern EDUCATION & COMMUNITY ENGAGEMENT Katy Vizdal, Education & Community Engagement Director FINANCE Lisa Raffin, Finance & Administrative Director Kaye Johnston & Heather Nolle, Volunteer Coordinators MARKETING Lindsey K. McCarthy, Marketing Director Josh Francis, Marketing Coordinator and Program Magazine Advertising Sales Manager Season Design: Cricket Design Works Program Magazine Design/Production: JLN Design, Jerril Nilson Advertising: firstname.lastname@example.org, 541.687.9487, ext.115
ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES
Silva Chambers David Hawkins, Chair Varner J. Johns III
Suzanne Penegor John Watkinson
The Eugene Symphony is a resident company of the Hult Center for the Performing Arts. Support provided by the City of Eugene.
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