53rd Season PM2

Francesco Lecce-Chong, Music Director & Conductor

SEASON

PROGRAM MAGAZINE 2

DECEMBER 2018 – JANUARY 2019

STAR WARS: A NEW HOPE DEC 1

THE RED VIOLIN DEC 6

TCHAIKOVSKY PIANO CONCERTO JAN 24

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EUGENE SYMPHONY

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ROMEO & JULIET

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EUGENE SYMPHONY

Contents December 2018 – January 2019 CONCERTS 19 Star Wars Live

December 1

19

23 The Red Violin

December 6

Sponsored by

Skeie’s Jewelers

A long time ago in a galaxy far, far away, the Eugene Symphony performs John Williams’ epic film score live beneath a screening of Star Wars: A New Hope on December 1.

39 Tchaikovsky

Piano Concerto

January 24

Sponsored by

Comfort Flow Heating

FEATURES 15 On That Note 36 Key of E[ducation] 46 Donor Spotlight ON STAGE AND OFF 11 Welcome 13 Conductor 14 Orchestra Roster 16 Calendar 45 Scenes from Offstage 49 Support the Symphony 50 Founders Society 51 53rd Season Partners 52 Thank You to Our Supporters 55 Endowment Fund 56 Board of Directors

and Administrative Staff

28 English violinist

Chloë Hanslip plays a luscious Chaconne from John Corigliano’s Oscar-winning score from The Red Violin on December 6.

43 Tchaikovsky’s Piano Concerto No. 1 takes center stage on January 24, as performed by firebrand soloist Natasha Paremski.

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Orchestra Next plays Prokoviev live

February 9–10

THE NUTCRACKER

Performance Sponsors Michael Syman-Degler, CFP | Dustrud Architecture

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at the Hult Center

TICKETS $15–$60 eugeneballet.org 541-682-5000

ROMEO & JULIET

“...a no-miss holiday tradition for many, and as keepers of the torch, the Eugene Ballet’s sturdy production twinkles and delights as ever.” — Eugene Weekly

Orchestra Next plays Tchaikovsky live

December 21–23 Performance Sponsors Euphoria Chocolate Company | Umpqua Bank

“ One of my favorite ballets...with the challenging dancing, dramatic intensity and poignant story, Romeo & Juliet has it all.” — Toni Pimble, Choreographer/Artistic Director

EUGENE SYMPHONY

Welcome December 2018 – January 2019 Greetings all!

It is a pleasure to welcome you to this Eugene Symphony performance! As the weather gets colder, I love to choose music that warms us up, and we have a wonderful group of works to do just that. First, in December, we welcome guest conductor, Tito Muñoz—one of the brightest young conducting talents in the country. His program will both warm you up with passionate music from the film The Red Violin and have you relaxing in the sparkling Mediterranean countryside with Mendelssohn’s Italian Symphony. In January, I look forward to collaborating with one of my best friends, Natasha Paremski—who happens to be one of the most exciting young pianists today. With Tchaikovsky’s fiery piano concerto and Nielsen’s aptly named symphony, “The Inextinguishable,” it is safe to say that this will be the most high-octane program this season!

I want to thank you all always for creating an amazing concert experience during my time in Eugene. The musicians and I feel your engagement and enthusiasm on the stage and it drives us to ever greater artistic feats.

There are also many ways for you to stay engaged with us in between performances and also help us spread the word throughout our community. Check out our website for Symphony Happy Hour which I host on select Mondays throughout the season—it’s a chance to kick back with a beer, listen to some great music, and even win a prize! Or if yoga is more your thing, there’s also yoga classes being taught by one of our horn players, Lydia Van Dreel, paired with music selected from our season. And, of course, I encourage you to follow the Eugene Symphony and myself on Facebook, Twitter, and Instagram. Many people are surprised to find out how active we are in the community on a daily basis bringing music to schools, human service agencies, and community centers around town.

During this holiday season, I am always so grateful for time with family and that includes my “Symphony family!” I wish you and yours a beautiful holiday season and a very happy 2019!

Yours truly,

Francesco Lecce-Chong, Music Director & Conductor Dear Friends, As we continue our 53rd season, I continue to be amazed at the quality and professionalism of this orchestra— Music Director & Conductor Francesco Lecce-Chong has brought out the very best in our fine musicians. The programming that Francesco had selected for the Leonard Bernstein Centennial fit the bill, pairing his music alongside Bloch, Shostakovich, Beethoven, Mozart, Higdon, and Bach. November’s Eighth Blackbird Residency reached hundreds of people outside of the concert hall as members of the group gave a chamber music master class, visited a rural high school, spoke to community groups, and performed for thousands of elementary schoolchildren. Not bad for a week’s work.

Many of you reading this tonight are here for our thrilling presentation of Star Wars Live: A New Hope, conducted by our local superfan, Francesco. We hope you enjoy this opportunity to experience one of the cultural touchstones of the 20th century—not to mention perhaps the greatest film soundtrack ever written— as never before. What a night!

We also have thrilling programs on December 6 and January 24, as Francesco described above, and so much more to look forward to in this 53rd season—Gershwin’s Rhapsody in Blue, Verdi’s Requiem, and much more.

These concerts are not to be missed, so if you haven’t yet, there is still time to purchase a Compose-Your-Own (CYO) five-pack or three-pack of concerts. As always, renewing subscribers will have first access and lowest prices for tickets to our special concerts for the soon-to-be-announced 2019/20 season.

Thank you for your ongoing support. See you at the Hult Center!

David Pottinger, President of Eugene Symphony Board of Directors DECEMBER 2018 – JANUARY 2019

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Congratulations Francesco Lecce-Chong on your first anniversary of a ♍ noteworthy♍ year as Music Director & Conductor of the Eugene Symphony! Thank you for your enthusiastic support of the Instrument Petting Zoo and opportunities for youth and families to experience the power of music.

Instrument Petting Zoo Sponsor: Galina Groza and Family In Honor of Eugene-Irkutsk Sister City Committee

12

EUGENE SYMPHONY

MUSIC DIRECTOR & CONDUCTOR

Francesco Lecce-Chong American conductor Francesco Lecce-Chong has garnered acclaim for his dynamic performances, commitment to innovative programming and profound engagement in community outreach. In April 2017, Lecce-Chong was appointed Music Director & Conductor of the Eugene Symphony, following in the paths of renowned predecessors including Marin Alsop and Giancarlo Guerrero. In the same season, he became the winning Music Director candidate of the Santa Rosa Symphony, a post he assumes in 2018/19. In summer 2018, he concluded his three-year tenure as Associate Conductor of the Pittsburgh Symphony Orchestra and Principal Conductor of the Pittsburgh Youth Symphony Orchestra. His previous posts include Associate Conductor of the Milwaukee Symphony Orchestra and Grand Teton Music Festival.

Active as a guest conductor, he has appeared with orchestras around the world including the National Symphony, Atlanta Symphony, Toronto Symphony, Milwaukee Symphony, St. Louis Symphony, and Hong Kong Philharmonic while collaborating with renowned soloists such as Renée Fleming and Itzhak Perlman.

During the current and the coming seasons, Lecce-Chong makes his subscription debuts with the Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic, Xi’An Symphony Orchestra and returns to the Civic Orchestra and Milwaukee Symphony. He is equally at home with opera repertoire, having built his opera credentials as staff conductor with the Santa Fe Opera and conducted Madama Butterfly at the Florentine Opera with the Milwaukee Symphony.

Also trained as a pianist and composer, Lecce-Chong champions the work of new composers and the need for arts education. With the Milwaukee Symphony, he helped create their first Composer Institute, providing performance opportunities for young American composers. In his leadership positions, he has curated and presented the works of both active and lesser-known composers, presenting the premieres of commissions by the Milwaukee Symphony, Eugene Symphony, and the Pittsburgh Youth Symphony Orchestra. Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. For four seasons, he provided artistic leadership for the Milwaukee Symphony’s nationally lauded Arts in Community Education program—one of the largest arts integration programs in the country. In his first season in Eugene, he has devoted

EUGENE SYMPHONY MUSIC DIRECTORS Lawrence Maves, Founding Conductor (1966–1981) William McGlaughlin (1981–1985) Adrian Gnam (1985–1989) Marin Alsop, Conductor Laureate (1989–1996) Miguel Harth-Bedoya (1996–2002) Giancarlo Guerrero (2002–2009) Danail Rachev (2009–2017) Francesco Lecce-Chong (2017– ) DECEMBER 2018 – JANUARY 2019

his time to connecting the orchestra and community by launching a family concert series, creating a monthly Symphony Happy Hour and building collaborations with schools, human service agencies, and businesses.

Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. A native of Boulder, Colorado, he began conducting at the age of 16 and graduated from the Mannes College of Music and Curtis Institute of Music, where he studied with Otto-Werner Mueller. He has had the opportunity to work closely with many internationally celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, and Manfred Honeck.

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

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

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

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

14

Shauna Keyes Karlie Roberts Kim Uwate

CELLO Anne Ridlington, Principal Diana G. Learner & Carolyn J. Simms Eric Alterman, Assistant Principal Dale Bradley David Chinburg Marion Sweeney, Kate Laue & Cama Evans Joseph Eggleston* Ann Grabe James Pelley Nancy Sowdon Vacant

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

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

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

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

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

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

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

TROMBONE Henry Henniger, Principal Michael & Nancy Oft-Rose 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

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

EUGENE SYMPHONY

ON THAT NOTE

Matthew Fuller On That Note introduces a member of the orchestra. This issue features Principal Violin II Matthew Fuller.

Hometown? I currently live in Salem, but I’m originally from San Jose, CA. What year did you join the orchestra, and how long have you been playing music? I joined the Eugene Symphony in 2006 as a First Violin, and became Principal Violin II in 2008. I’ve been playing the violin for roughly 40 years.

What made you decide to play your instrument? My older brother played the violin (which was a compromise—he originally wanted to play the pipe organ), and so I went to all of his lessons and heard lots of violin playing from a very early age. My parents said that when I was around two, I began experimenting a lot with his old 1/16-size violin, so they enrolled me in lessons as well. I’ve been playing ever since.

When you’re not playing your instrument, what would we most likely find you doing? Probably playing with monster trucks. Our two boys, especially our oldest son, Emmett, love vehicles, and we spend a lot of time building elaborate racetracks and construction sites around the house.

If you weren’t a musician what would you be? I’m actually having my cake and eating it, too, in this regard—during daylight hours, I’m a software engineer, so I think if I hadn’t pursued a career in music, I’d be in a lab somewhere playing with robotics and machine learning algorithms.

What is your favorite piece of all time to play and why? The answer to this question changes frequently, but the one piece that always seems to move back to the top is Tchaikovsky’s Nutcracker. It’s so well-written and so satisfying to play that I never seem to tire of performing it. Each time brings back a lot of great memories from my childhood, and I always seem to discover something new in the music that I haven’t noticed before.

If you could meet one composer/musician, who would it be and why? Another tough question, but I’d probably pick Duke Ellington. His music was very much a part of my childhood, and I still listen to it frequently. As a kid, I loved the soundtrack to Anatomy of a Murder, and I can remember listening to The Duke Plays Ellington over and over.

It may be scandalous for a classical musician to admit this, but I’ve always loved his arrangements of Nutcracker and Peer Gynt as well.

DECEMBER 2018 – JANUARY 2019

Where is your favorite place in Oregon and why? I absolutely love the Oregon coast, but I think my favorite place so far is Silver Falls. The geography of the area is incredible, and I love how hidden some of the falls are. It created a real sense of discovery the first time we visited, as though we were the first humans to see them.

Red, white, stout, hoppy or none of the above? All of the above, but probably stout or an extremely hoppy IPA. Favorite book/movie you’ve read/seen recently? I’m a huge science fiction fan, so the book that immediately came to mind was Seveneves by Neal Stephenson. This is a tremendous oversimplification, but it’s essentially about the survival of our species after the Earth is rendered uninhabitable by an inexplicable cosmic event. It was a fascinating read, and I find myself thinking about it often.

What do you think some audience members might find surprising about you? I’m an avid video game player, and for several years, I held the first place high score on an arcade cabinet called “Splatterhouse” that was in the lobby of a hotel near my undergraduate school in Houston, TX. Not exactly a big claim to fame, but I defended that title until the day the cabinet was unplugged during a building remodel.

Any interesting pre-performance rituals? I always eat a peppermint before going onstage.

Tell us a fun fact about yourself. As a kid, for some reason I was really interested in talk show hosts, particularly Phil Donahue.

Before practicing my violin, I’d often insist on interviewing my mom with a big microphone and tape recorder, imitating Donahue’s mannerisms and style of questioning.

Calendar DEC 1

THE RED VIOLIN December 6

STAR WARS LIVE IN CONCERT (EPISODE IV: A NEW HOPE) Francesco Lecce-Chong, conductor

7:00 pm Special concert, Silva Concert Hall

DEC 3

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

DEC 4

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

DEC 6

THE RED VIOLIN

Tito Muñoz, guest conductor Chloë Hanslip, violin

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

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Skeie’s Jewelers

JAN 21

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

JAN 22

Master class with pianist Natasha Paremski, 4:00 pm Beall Hall, University of Oregon School of Music and Dance

JAN 24 TCHAIKOVSKY PIANO CONCERTO

Francesco Lecce-Chong, conductor Natasha Paremski, piano

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

7:30 pm Symphonic series concert, Silva Concert Hall Sponsored by Comfort Flow Heating

FEB 2

GALA 2019

5:30 pm Join our Maestro, Francesco Lecce-Chong, musicians, and friends to dine, drink, dance and delight in the power of music to connect our community. Celebrate our 2019 Advocate for the Arts recipients, the Hult family, represented by Gretchen Hult Pierce.

FEB 11

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

FEB 12

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

FEB 14

Teddy Abrams, guest conductor Pallavi Mahidhara, piano

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

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

MAR 18

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

MAR 19

Elementary School Youth Concerts: 10:30 am & The Orchestra Rocks 12:30 pm Sponsored by Marie Jones & Suzanne Penegor and US Bank

16

RHAPSODY IN BLUE

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

EUGENE SYMPHONY

TCHAIKOVSKY PIANO CONCERTO January 24

APR 18

THE COLOR OF SOUND

Francesco Lecce-Chong, conductor Christopher Taylor, piano

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

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

APR 28

FAMILY CONCERT: AN AFTERNOON WITH BEETHOVEN

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

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

MAY 6

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

MAY 9

MAR 21 DOCTOR ATOMIC & BRAHMS

Francesco Lecce-Chong, conductor Julian Rhee, violin

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

7:30 pm Symphonic series concert, Silva Concert Hall

APR 15

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

APR 16

Master class with pianist Christopher Taylor, 4:00 pm Beall Hall, University of Oregon School of Music and Dance

VERDI’S REQUIEM

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

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

7:30 pm Symphonic series concert, Silva Concert Hall

JUNE 1 SYMFEST

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

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

DECEMBER 2018 – JANUARY 2019

17

GALA 2019 SYMPHONY CELEBRATION

SAVE SATURDAY, FEBRUARY 2, 2019 EUGENE HILTON

Join our Maestro, Francesco Lecce-Chong, musicians, and friends to dine, drink, dance, and delight in the power of music to connect our community!

CELEBRATE OUR 2019

THE HULT FAMILY

REPRESENTED BY GRETCHEN HULT PIERCE

MORE INFO: EUGENESYMPHONY.ORG/GALA 18

EUGENE SYMPHONY

SPECIAL CONCERT — DEC 1

Star Wars: A New Hope In Concert Eugene Symphony Francesco Lecce-Chong, conductor Saturday, December 1, 2018 7:00 PM | Silva Concert Hall, Hult Center This performance will include one intermission Star Wars: A New Hope Starring Mark Hamill Harrison Ford Carrie Fisher Peter Cushing and Alec Guinness Written and Directed by George Lucas Produced by Gary Kurtz Music by John Williams Panavision | Prints by Deluxe | Technicolor MPAA PG Rating

Original Motion Picture Disneymusicemporium.com Star Wars Film Concert Series Production Credits President, Disney Music Group Ken Bunt SVP/GM, Disney Concerts Chip McLean

Film Preparation Ramiro Belgardt

Music Preparation Mark Graham, Matthew Voogt, Joann Kane Music Service

Non-Theatrical Sales, Twentieth Century Fox Julian Levin

Business Affairs, Disney Concerts Darryl Franklin, Meg Ross, Jesenia Gallegos

Business Affairs, Lucasfilm Rhonda Hjort Chris Holm

Supervising Technical Director Alex Levy – Epilogue Media

Operations, Disney Concerts Mae Crosby Royd Haston

Disney Music Library Business Affairs, Warner-Chappell Scott McDowell

Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. © All rights reserved.

DECEMBER 2018 – JANUARY 2019

19

Make a Difference!

Youth Concerts at the Hult Center

Young Artists Competition

Volunteer with the Eugene Symphony Guild MISSION Support the Eugene Symphony through fundraising, community education and volunteer services.

VISION Be an integral part of the promotion of symphonic music and music education in our community.

2018–2019 Officers

(Left to right) Susan Ashton, VP of Promotion; Corky Hughes, Treasurer; Juliet Bender, Secretary; Carolyn Abbott, Past President; Suzanne Shapiro, President; Ada Weeks, VP of Education/Social; Ginger Fifield, VP of Fundraising; (not pictured) Inga West, Executive Vice President.

JOIN US! Symphonic Concert Previews, Youth Concerts, Fall Harvest Festival, Music in the Garden, Young Artists Competition, Musical Chairs Events, Eugene Symphony Office Support, and more!

Membership Information Nancy Holloman | 541-228-1805 | nmholloman@gmail.com

Visit us at eugenesymphonyguild.org | Follow us on Facebook

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EUGENE SYMPHONY

2018–19 Robert D. Clark Lecture in the Humanities

Tapestry Thinking: Weaving the Threads of Humans and Nature

Oregon Humanities Center

Wednesday, January 30, 2019 7:30 p.m. • 156 Straub Hall live stream: ohc.uoregon.edu

ohc.uoregon.edu (541) 346-3934

Nalini Nadkarni Professor of Biology, University of Utah

Nadkarni will discuss how her experiences as a rainforest ecologist precipitated her explorations into novel ways to share knowledge with diverse public audiences.

2018–19 THE COMMON GOOD

EO/AA/ADA institution committed to cultural diversity

Supporting the Arts in Lane County

Musgroves.com

DECEMBER 2018 – JANUARY 2019

Let Our Family Help Your Family Celebrate Life

Eugene • Springfield • Junction City • Creswell

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EUGENE SYMPHONY

SYMPHONIC IV — DEC 6

The Red Violin Eugene Symphony Tito Muñoz, conductor | Chloë Hanslip, violin Thursday, December 6, 2018 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Dietrich Buxtehude/orch. Chavez (c. 1637–1707)

Chaconne in E minor

John Corigliano (b. 1938)

The Red Violin: Chaconne for Violin and Orchestra Chloë Hanslip, violin

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

Camille Saint-Saëns (1835–1921)

Havanaise, Op. 83 Chloë Hanslip, violin

Felix Mendelssohn (1809–1847)

Symphony No. 4 in A Major, Op. 90, “Italian” I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto

Concert Sponsor

This concert will be broadcast on KWAX-FM 91.1 on Tuesday, January 22 at 10 a.m.

Broadcasts underwritten in part by Kernutt Stokes.

DECEMBER 2018 – JANUARY 2019

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The Red Violin DIETRICH BUXTEHUDE (c.1637–1707) Chaconne in E minor, BuxWV160, arr. Carlos Chavez (1933) In 1705, Johann Sebastian Bach famously walked 250 miles from Arnstadt to Lübeck to hear Dietrich Buxtehude play the organ. Such was Buxtehude’s reputation as a composer and keyboard master. Bach might very well have heard the Chaconne in E minor.

By the time Buxtehude took up the Chaconne, it had evolved from a slow, triple-meter South American dance form transplanted to Spain into an intellectually rigorous musical structure of variations built on a repeating bass line and set of chords.

Bach based some of his own compositions on what he heard in Lübeck. Chavez, perhaps the most important Mexican composer of the 20th century, likewise felt compelled to do something with Buxtehude’s music.

On the organ, the Chaconne sounds intimate and introspective.

Chavez’s setting is more exuberant, lush and Romantic. He did not merely arrange the work; he transformed it.

“This is Chavez’s take on the piece,” said guest conductor Tito Muñoz. “I think the arrangement would not be served well if I attempted to force a ‘historically informed’ approach to it.

It is no different in that way than Leopold Stokowski’s [very Romantic] orchestral arrangements of Bach.”

SCORED: For two flutes, one oboe, one clarinet, two bassoons, two horns, two trumpets, two trombones, and strings.

HISTORY: First performed by the Eugene Symphony in May 2008 under the direction of Giancarlo Guerrero.

DURATION: Approximately seven minutes.

JOHN CORIGLIANO (b. 1938) The Red Violin: Chaconne for Violin and Orchestra (1997) François Girard’s 1998 film, The Red Violin, spins a yarn about the haunted life of a great Italian violin from 1681 to the late 20th century. The subject matter made the film score exceptionally important. Girard wisely assigned the task to John Corigliano, an American composer with a neo-Romantic outlook and vast technical command. His music drove the film and won an Academy Award for Best Original Score.

Program Notes

by Tom Strini ©2018

The fictional tale is Romantic verging on Gothic. A Cremona violin maker creates his masterpiece and shares his excitement with his wife, Anna. A Tarot reading predicts a long, fascinating life for the woman, but be careful what you wish for. Anna dies forthwith but lives on through the violin—an instrument reddened by her blood, which her grieving husband mixes into the varnish.

LOOK for violin soloist Chloë Hanslip’s left hand as she negotiates some gnarly double-, triple-, and even quadruplestops (playing two, three, or four notes simultaneously) in John Corigliano’s Chaconne from The Red Violin.

Hot enough for you? Corigliano turns up the heat further with yards of virtuosic and emotionally charged music, as the violin has adventure after globetrotting adventure. “Anna’s Theme,” representing the doomed wife, permeates the score.

“The Chaconne takes you into a dream world full of lyricism and drama,” said Chloë Hanslip, tonight’s violin soloist, who recorded the piece 13 years ago. “I love coming back to works over time. I enjoy exploring this one’s grittiness, its sorrow and tempestuousness, and its very diverse sound world.”

Corigliano extracted the Chaconne from the film score and adapted it for the concert hall. Joshua Bell played the premiere with the San Francisco Symphony in 1997, just before the film came out.

The composer describes the piece: “…diaphanous ascending string lines unveil the chaconne chords, voiced in incantatory dotted rhythms, in low winds and brass. Then solo violin and orchestra utter, and expand on, Anna’s theme. Virtuosic etudes quicken the pace, lead to a rushing climax; these yield to a stratospherically high, gravely slow melody, which remembers, against slowly shifting string sonorities, Anna’s romantic theme. The string chords louden, strengthen with winds and brass: then the soloist reclaims, in

”It is a joy to welcome the brilliant young conductor Tito Muñoz. I have always greatly admired Tito’s stellar musicianship as music director of the Phoenix Symphony and it will be fantastic to have him at the helm for Mendelssohn’s ‘Italian’ Symphony.

It is a work that sounds like a sunny, 24

delightful adventure, but is actually an exhaustingly virtuosic work for orchestra. John Corigliano’s score for The Red Violin won the Academy Award for Best Original Score in 1999 and I am still amazed by its originality.

Corigliano found a unique way to compose a modern score that paid EUGENE SYMPHONY

PROGRAM NOTES — DEC 6

determined accents this time, the diaphanous string line that opened the score. The orchestra halts to launch the soloist’s cadenza, impetuous and songful by turns: then the chaconne, in strings chords rendered brittle by sharp attacks with the wood of the bow, gradually climax in a grand tutti restatement of the incantatory opening and a whirlwind coda for all.”

SCORED: In addition to the solo violin, scored for three flutes, two piccolos, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, celesta, piano, and strings.

HISTORY: First performed by the Eugene Symphony in April 2004 under the direction of Giancarlo Guerrero with Fritz Gearhart as soloist.

DURATION: Approximately 17 minutes.

CAMILLE SAINT-SAËNS (1835–1921) Havanaise, Opus 83 (1887) Havanaise is French for the Spanish habañera, the tripleduple dance rhythm made famous in Bizet’s Carmen. The word literally means “from Havana.” The Spanish picked it up as a Cuban import, and so did Saint-Saëns.

Saint-Saëns composed it for the Cuban violinist Rafael Dìaz Albertini (1857–1928), a leading member of a flourishing Cuban school of violin. He met Saint-Saëns in the early 1870s, during his studies at the Paris Conservatory, where he won First Prize in Violin in 1875. The two embarked on several recital tours together. A piano/violin version remains a popular recital piece.

“The Havanaise really is sunshine captured in a bottle,” Hanslip said. “It is one of those works that seems simple, but, as is so often the case, that just makes it more complex. It’s a lot of fun playing around to find the natural rhythm and timing and searching for all of the different inflections.”

Saint-Saëns adhered to the European tradition of crafting genteel art music from popular sources. The 1-2-3/1-2 habañera rhythm sways gently in the sweet principal theme, in E Major.

(Continued on page 26)

homage to all the great composers and violinists in history, and which perfectly matched a storyline that covers three centuries. We are also delighted to welcome back violinist Chloë Hanslip to play it, and SaintSaëns’ charming Havanaise.”

Album artwork (at top) for the soundtrack to François Girard’s 1998 film The Red Violin. (Above) The Amalfi coastline in Italy, as painted by the multi-talented Felix Mendelssohn in 1839.

— Francesco Lecce-Chong DECEMBER 2018 – JANUARY 2019

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PROGRAM NOTES — DEC 6

The Red Violin (Continued from page 25) The solo violin scampers through rapid scales in the second theme, on the way to A Major. The two themes combine and abut in the development, which is mostly in B minor. Predictably, the music comes home to E Major and the opening material.

In that recap, the clever Saint-Saëns attached an intriguing array of new phrase endings to his habañera gesture. Also, an accompanied violin cadenza turns the already virtuosic second theme into a blazing display of multiple stops and wild string crossings before a polite tea-dance of a conclusion.

SCORED: In addition to the solo violin, scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two timpani, and strings.

HISTORY: This is the first Eugene Symphony performance DURATION: Approximately 11 minutes.

FELIX MENDELSSOHN (1809–1847) Symphony No. 4 in A Major, “Italian,” Op. 90 (1833) In 1786, Johann Wolfgang von Goethe (1749–1832)— philosopher, poet, dramatist, autobiographer, scientist, allaround genius and intellectual engine behind the European Romanticism—ran off to Italy. The object: “To discover myself in the objects I see.”

Soon, every ardent young artist/writer/intellectual, real or wannabe, felt the need to wander and gather life experience to be unleashed in The Great European Novel or Poem or Symphony or Painting or Opera or Drama. Or something.

Those with the means did so.

LISTEN for a quicksilver blur of notes from the winds and strings in the opening minute of the Saltarello finale of Mendelssohn’s “Italian” Symphony.

Felix Mendelssohn, an ardent admirer of Goethe, had the means. His Grand Tour encompassed first Britain and Scotland (resulting in The Hebrides), in 1829. In 1830, Mendelssohn arrived in Italy, music notebook and art sketchpad at the ready.

In February he wrote from Rome to his sister, Fanny: The Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples.

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“It certainly is a jolly work,” Muñoz said. “When Mendelssohn first arrived in Italy, he was disillusioned by the culture, politics and the people. He was more drawn to Italy’s natural beauty. He thought the people of Italy too nonchalant about life, but after a while spent there—particularly in Rome— he began to appreciate the carefree mindset, the abandon; very different from what he was used to in Germany. I imagine that this was the underlying motivation for the work, particularly the outer movements.”

The breakdown: 1. Allegro vivace, A Major: A bracing principal theme bursts out of the gate. Fleeting moods drift across it like white clouds across the summer sun. The second theme in this conventional sonata form is a gentle cousin to the opener.

2. Andante con moto, D minor: Various commentators suggest assorted Italian experiences as inspiring this relatively slow movement. The minor key, the hint of Gregorian chant and the steady tread of a Baroquestyle bass line point toward a religious procession Mendelssohn saw in Naples.

3. Minuet, A Major, Con moto moderato: Mendelssohn here reaches back to the out-of-vogue Minuet, comprising a stepping dance in two parts that precedes an alternately gliding and brusque trio introduced by the horns. In his one new wrinkle, Mendelssohn combines the two elements in an ingenious coda.

4. Presto and Finale, A minor: Mendelssohn mashes up the dance rhythms of two of Italy’s wilder dances, the Roman Saltarello and the Neapolitan Tarantella. The finale begins as a sonata, but the terpsichorean energy eventually blows up the form. It’s street dance, not ballet.

SCORED: For two flutes, two oboes, two clarinets, two bassoons, two horns, two timpani, and strings.

HISTORY: First performed in January 1985 under the direction of Adrian Gnam, and last performed in January 2012 under the direction of Andres Franco.

DURATION: Approximately 27 minutes.

By the way: The four pieces on the program tie together in sometimes obvious and sometimes subtle ways. My favorite: A Stradivarius violin dating to 1720 inspired The Red Violin movie. The name of that Strad? The Red Mendelssohn.

EUGENE SYMPHONY

GUEST CONDUCTOR — DEC 6

Tito Muñoz Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Now in his fifth season as Music Director of the Phoenix Symphony, Muñoz previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra and the Aspen Music Festival.

Now in his fifth season as Music Director of the Phoenix Symphony, Tito Muñoz was previously Assistant Conductor of the Cleveland Orchestra.

Muñoz has appeared with many of the most prominent orchestras in North America, including those of Atlanta, Baltimore, Boston, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, and Milwaukee, as well as the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, and the National Symphony Orchestra. He also maintains a strong international conducting presence, including recent engagements with the Frankfurt Radio Symphony, SWR Sinfonieorchester, Deutsche Radio Philharmonie Saarbrücken, Orchestre Philharmonique de Marseille, Sao Paolo State Symphony, Lausanne Chamber Orchestra, Danish National Chamber Orchestra, Luxembourg Philharmonic, Orchestre National de Lorraine, Opéra de Rennes, Auckland Philharmonia, and Sydney Symphony.

As a proponent of new music, Muñoz champions the composers of our time through expanded programming, commissions, premieres, and recordings. He has conducted important premieres of works by Christopher Cerrone, Kenneth Fuchs, Dai Fujikura, Michael Hersch, Adam Schoenberg, and Mauricio Sotelo. During his tenure as Music Director of the Opéra National de Lorraine, Muñoz led the critically-acclaimed staged premiere of Gerald Barry’s opera The Importance of Being Earnest.

Muñoz’s relationship with the Cleveland Orchestra since his tenure as Assistant Conductor has been consistently critically-acclaimed, most notably in 2012 when he was engaged to replace an ailing Pierre Boulez for subscription performances. Muñoz led joint performances with the Joffrey Ballet and the Cleveland Orchestra in the summer of 2009, marking the first collaboration between these two organizations in three decades.

DECEMBER 2018 – JANUARY 2019

This successful partnership led to further performances in the summer of 2010 as well as an invitation to tour with the Joffrey Ballet in the 2010/11 season. In the 2012/13 season, he conducted the Cleveland Orchestra’s first complete performances of Tchaikovsky’s Nutcracker, a program he repeated in 2014/15, and, in summer 2013, led the orchestra’s first staged performances of Stravinsky’s The Rite of Spring in the reconstructed original choreography of Vaslav Nijinsky, both with the Joffrey Ballet.

A passionate educator, Muñoz regularly visits North America’s top conservatories, universities, summer music festivals, and youth orchestras. He has led performances at the Aspen Music Festival, Boston University Tanglewood Institute, Cleveland Institute of Music, Indiana University, Kent/Blossom Music Festival, Music Academy of the West, New England Conservatory, New World Symphony, Oberlin Conservatory, Royal Conservatory of Music in Toronto, University of Texas at Austin, and National Repertory Orchestra, as well as a nine-city tour with the St. Olaf College Orchestra.

Born in Queens, New York, Muñoz began his musical training as a violinist in New York City public schools. He attended the LaGuardia High School of the Performing Arts, The Juilliard School’s Music Advancement Program, and the Manhattan School of Music Pre-College Division. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips. Muñoz received conducting training at the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize, returning to Aspen as the festival’s Assistant Conductor in the summer of 2007, and later as a guest conductor. Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited

by Leonard Slatkin as a participant of the National Conducting Institute. That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. He was awarded the 2009 Mendelssohn Scholarship sponsored by Kurt Masur and the Felix Mendelssohn-Bartholdy Foundation in Leipzig, and was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition in Frankfurt.

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GUEST ARTIST — DEC 6

Chloë Hanslip British violinist Chloë Hanslip has securely established herself on the international stage. Since her BBC Proms debut in 2002, she has performed regularly at major venues in the UK, Europe, the United States, and the Far East. With a special affinity for contemporary repertoire, she plays the concertos of John Adams, Benjamin Britten, John Corigliano, Peter Maxwell Davies, Philip Glass, Huw Watkins, Michael Nyman, and Brett Dean’s The Lost Art of Letter Writing.

In the U.S. this season, Hanslip will make her debut with the New Jersey Symphony under Xian Zhang, performing Korngold’s Violin Concerto. Other North American engagements have included the philharmonic orchestras of Buffalo, Oklahoma City, and Reno, the Sarasota Orchestra, and the symphonies of Alabama, Cincinnati, Detroit, Edmonton, Houston, Jacksonville, Phoenix, and Virginia.

Chloë Hanslip has performed worldwide, including in England, Sweden, Japan, Malaysia, the U.S., and more.

Worldwide, Hanslip has appeared with the Adelaide Symphony, BBC National Orchestra of Wales, BBC Northern Ireland Orchestra, Beethoven Orchester/Bonn, Czech Philharmonic, Lahti Symphony/ Finland, Malaysian Philharmonic, Moscow State Symphony, Norwegian Radio Symphony, Tokyo Metropolitan Symphony, Tonkünstlerorchester/Vienna, and the Umeå Symphony in Sweden.

Hanslip has collaborated with conductors Martyn Brabbins, Mei-Ann Chen, Sir Andrew Davis, JoAnn Falletta, Thierry Fischer, Miguel Harth-Bedoya, Mariss Jansons, Paavo Järvi, Susanna Mälkki, the late Sir Neville Marriner, Gianandrea Noseda, Leonard Slatkin, Christopher Warren-Green, and Barry Wordsworth, among others.

Active as a recording artist, Hanslip has received outstanding reviews for her two Naxos CDs: the John Adams Violin Concerto with the Royal Philharmonic Orchestra under Leonard Slatkin (2006), and the Violin Concertos of Benjamin Godard with the Slovak State Philharmonic under Kirk Trevor (2008). Two earlier CDs with the London Symphony Orchestra for Warner Classics won her, respectively, the German ECHO Classic Award for Best Newcomer (2002), and Young British Classical Performer at the Classical BRITS (2003).

Her recording catalogue continues to grow with a highly acclaimed recital disc of works by Bazzini (2007), as well as the Hubay Violin Concertos with the Bournemouth Symphony Orchestra (2008). Hanslip’s first release on the Hyperion label featured the Vieuxtemps Violin Concertos with the Royal

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Flemish Philharmonic under Martyn Brabbins (2012). Three other recordings were released the following year: Glazunov and Schoeck Concertos with the Lugano Symphony Orchestra under Alexander Vedernikov; Medtner Sonatas with pianist Igor Tchetuev; and York Bowen–The complete works for violin and piano with pianist Danny Driver, which received recommendations from Gramophone (Choice) and The Strad. For Rubicon Classics, her first release is one of a three-disc series featuring the complete Beethoven Violin Sonatas, also with pianist Danny Driver.

They are scheduled to complete the series this season at Turner Sims Concert Hall.

A committed chamber musician, Hanslip is a regular participant at music festivals across Europe, including Båstad/Sweden, Kuhmo/ Finland, Kutná Hora/Czech Republic, and West Cork/ Ireland. In 2012/13, she was curator of the Leeds International Chamber Season, where she devised a series of programs around American music. Hanslip is also an active recitalist both in the United States and the UK, performing regularly with recital partners including Danny Driver, Angela Hewitt, Charles Owen, Igor Tchetuev, and Ashley Wass.

Hanslip studied for 10 years with Russian pedagogue Zakhar Bron.

She has also worked with Robert Masters, Ida Haendel, Salvatore Accardo, and Gerhard Schulz. Hanslip plays a Guarneri del Gesu 1737.

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EUGENE SYMPHONY

2018/19 Season | Francesco Lecce-Chong, Music Director & Conductor

CONCERTS Experience the Symphony in new and interactive ways.

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EUGENE SYMPHONY

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

FRI. JAN. 18 | 7:30pm*

Tchaikovsky’s Symphony No. 4

Americana with Edgar Meyer

Carlos Kalmar, conductor • Jeffrey Kahane, piano

Norman Huynh, conductor • Edgar Meyer, double bass

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

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

FRI. NOV. 16 | 7:30pm*

FRI. FEB. 8 | 7:30pm*

Beethoven’s “Emperor”

Dvořák’s Eighth Symphony

Alexander Soddy, conductor • Ingrid Fliter, piano

Carlos Kalmar, conductor • Simone Lamsma, violin

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

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

FRI. NOV. 30 | 7:30pm*

FRI. MAY 10 | 7:30pm*

Rachmaninoff’s Symphonic Dances

Peer Gynt

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

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

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DECEMBER 2018 – JANUARY 2019

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KEY OF E[DUCATION]

Symphony musicians extend coaching to rural Lane County schools

By Katy Vizdal, Education & Community Engagement Director

farmlands, and the mountains typically have fewer opportunities to access cultural resources than their urban counterparts.

Through the EYMA Rural Expansion program, Eugene Symphony musicians have already visited schools 68 times and served more than 820 students, a number we aim to double in the upcoming season. Through this expansion, all told, we will collaborate with 24 schools in the Eugene/Springfield area and beyond in nine rural communities including Cottage Grove, Creswell, Elmira, Finn Rock, Florence, Junction City, Lowell, Oakridge, and Pleasant Hill. At no cost to participating schools, we work directly with music teachers to co-develop a series of five one-hour visits at each school, which may include sectionals, master classes, rehearsals, and discussions or college/career explorations. These sessions are provided during in-school time, requiring no travel or missed schedule school time, a priority stated by teachers when this program was initially developed.

Lane County, home of the Eugene Symphony, covers more than 4,600 square miles and is nearly the size of the state of Connecticut. Beyond the Eugene/Springfield metropolitan area, our county is filled with small, isolated towns stretching from the Pacific Ocean into the foothills of the coastal range, then nestling into farmlands of the Willamette Valley before reaching high into the Cascade Mountains. Everywhere the county extends, there are music classrooms, middle- and high- school bands and orchestras, and thousands of young students, practicing, learning instruments, and making music with their fellow students in schools.

For a number of years, Eugene Symphony offered youth concerts geared toward middle- and high-school students, but as attendance waned due to increasing state-mandated pressure on in-classroom time, the Symphony’s volunteer leaders and staff met with local music educators to brainstorm how to best meet their needs. Educators emphasized the need for a low-cost, flexible way to expose students to professional musicians that did not require travel and could take place at school. As a direct response to feedback from music educators, Eugene Symphony launched Encouraging Young Musicians to Achieve (EYMA) in 2014.

The program sends Teaching Artists drawn from the Symphony’s professional ensemble to work with middle- and high-school music students across the region. Recently, through generous funding from Bank of America, Cow Creek Foundation, and an “Arts Builds Communities” grant from the Oregon Arts Commission, we are deepening the impact of this program by providing specialized musician visits to rural Lane County schools and students. These students on the coast, in the foothills, the Briggs Middle School Cal Young Middle School Cascade Middle School Churchill High School Cottage Grove High School Creswell High School Elmira High School Fern Ridge Middle School Kelly Middle School Lowell High School McKenzie Middle/High School Oaklea Middle School Oakridge Junior/Senior High School Oakridge Middle School Pleasant Hill High School Shasta Middle School Sheldon High School Siuslaw High School Siuslaw Middle School South Eugene High School Springfield High School Thurston Middle School Thurston High School Willamette High School

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“This is a great program that connects local professionals with students who may never otherwise have the chance to interact with world-class musicians. Students not only hone their musical skills, but learn about the world of professional music in an engaging, personalized way.”

—Bethel School District Music Teacher

What is the impact?

The EYMA Rural Expansion program improves students’ musicianship through specialized music instruction and provides career insights to traditionally underserved students in rural districts. Through these master classes, individual and sectional instruction, and performances, teachers reflect that students are

Harrisburg

Florence

Springfield

Elmira Fern Ridge

Eugene

Pleasant Hill

Creswell

Lowell

Cottage Grove

Lane County Schools Served Through Rural Expansion Program in 2017/18 and 2018/19

Finn Rock

Oakridge

EUGENE SYMPHONY

Eugene Symphony trumpeter Dave Bender leads a class of band students during an EYMA session at Churchill High School.

“ In each and EVERY case, students came back from their session encouraged and excited. Even when younger, less confident players expressed doubt ahead of time, they ALL returned exclaiming ‘that was actually really cool’ and ‘I actually learned a ton; I’m really glad I did it.’” —Lowell School District Music Teacher learning more about their instruments, better practice techniques for playing at home on their own, and when new instruments might be needed. Students are also showing increased confidence and enthusiasm for their own school performances and upcoming solo and ensemble competitive performances.

inspired to play bassoon (traditionally, a less popular instrument than some) after a classroom performance!

The EYMA Rural Expansion program strengthens students’ musicianship and provides career insights to these young musicians through career exploration discussions.

“[Students] learned a lot and were inspired to practice more after working with the Symphony musicians.”

—Fern Ridge School District Music Teacher

“This program is a great way to make connections between an isolated band environment and the larger music world.

Students need to see firsthand that there is a larger music community, and see how far one can go with music.”

—Pleasant Hill School District Music Teacher

“EYMA inspired my percussion, brass and woodwind players to practice more, focus more during subsequent rehearsals, and most importantly, to understand what an active process listening is.”

—Steve Robare, Cal Young/Spencer Butte Middle Schools Band Director At some schools, Symphony musicians may also perform for the classrooms they work with.

“Students that got to hear the visiting musicians play were floored by the quality of their playing!”

—Eugene 4J School District Music Teacher As a result of these in-school performances, students are learning to listen to their own playing more actively and critically, and one teacher even mentioned three students are

DECEMBER 2018 – JANUARY 2019

EYMA is an “awesome opportunity for kids to work with professional musicians and be exposed to what opportunities might present themselves in time by hard work!”

—McKenzie School District Music Teacher Seeing, listening, and learning from professional musicians can connect students with a world of music that is inspiring and potentially a future college or career path. Students are learning what it takes to be a professional musician, connecting to something beyond their musicianship in a classroom, and connecting with musicians in their area. They are seeing a trajectory they can take with their interests and talents, and something they can aspire to. New possibilities exist: they may choose to go to music school…they may become a professional musician…they may even play in the Eugene Symphony!

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EUGENE SYMPHONY

SYMPHONIC V — JAN 24

Tchaikovsky Piano Concerto Eugene Symphony Francesco Lecce-Chong, conductor | Natasha Paremski, piano Thursday, January 24, 2019 7:30 PM | Silva Concert Hall, Hult Center Eugene Symphony Guild Concert Preview 6:30 PM | The Studio, Hult Center

Grażyna Bacewicz (1909–1969)

Overture for Orchestra

Piotr Ilyich Tchaikovsky (1840–1893)

Piano Concerto No. 1 in B-flat minor, Op. 23 I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco Natasha Paremski, piano

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

Carl Nielsen (1865–1931)

Symphony No. 4, Op. 29, “The Inextinguishable” I. Allegro II. Poco allegretto III. Poco adagio quasi andante IV. Allegro

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This concert will be broadcast on KWAX-FM 91.1 on Tuesday, February 12 at 10 a.m.

Broadcasts underwritten in part by Kernutt Stokes.

DECEMBER 2018 – JANUARY 2019

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Tchaikovsky Piano Concerto GRAŻYNA BACEWICZ (1909–1969) Overture for Orchestra (1943) This Polish composer appeared to be on her way to a charmed life. Her musical, sophisticated family respected and supported her career. She won a Paderewski stipend to study in Paris. She studied composition with the great Nadia Boulanger.

She was a very good pianist and a superb violinist. She became the principal violinist of the Polish Radio Orchestra in 1936.

And then the war happened. Death all around, putting on concerts in secret in basements. Fleeing Warsaw for Lublin.

After the war, she became a professor of violin and music theory at her hometown Lodz Conservatory. Like all East bloc artists during the Stalinist era, she was under considerable ideological pressure. She managed to survive it. A serious car accident ended her performing career in 1954.

Through all of this, she continued to compose and built a very substantial catalogue. Not only that, her music in general and this piece in particular are known for their high spirits.

“She wrote this in 1943, in the darkest days of the war,” said Francesco Lecce-Chong, the Eugene Symphony’s Music Director & Conductor. “And yet, the Overture is just one big box of fun.

It just drives. It got a resounding response when I did it with the Milwaukee Symphony. It’s becoming one of my calling cards.”

Booming timpani and a rush of perpetual-motion strings open the Overture. Just over a minute into the brief work, the mass and momentum dissolve into an enchanted forest of woodwinds. That’s just an interlude; that material never returns.

At 2:30, Bacewicz is again off to the races all the way to the breathless ending.

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

HISTORY: This is the first Eugene Symphony performance DURATION: Approximately six minutes.

PIOTR ILYICH TCHAIKOVSKY (1840–1893) Piano Concerto No. 1 in B-flat minor, Op. 23 (1875, revised 1879 and 1888) The proportions of Tchaikovsky’s Piano Concerto No. 1 are clearly out of whack. The first movement fills nearly 20 of its 35 or so minutes. The introduction—perhaps the most memorable part of the entire concerto—goes on forever and then disappears entirely. It’s also in the “wrong” key, D-flat. The concerto nominally is in B-flat minor, but it takes over four minutes to get to it. It’s all a little weird.

LISTEN for one of the most familiar and beautiful melodies in all of music in the opening moments of Tchaikovsky’s Piano Concerto No. 1.

Nikolay Rubinstein, the legendary Russian pianist dressed down the composer for it. In a letter to his patron, Nadezhda von Meck, the composer recounted Rubinstein’s brutal criticism and his own reaction: “I need and shall always need friendly criticism, but there was nothing resembling friendly criticism. It was indiscriminate, determined censure, delivered in such a way as to wound me to the quick. I left the room without a word and went upstairs.

In my agitation and rage I could not say a thing. Presently R. enjoined me, and seeing how upset I was he asked me into one of the distant rooms. There he repeated that my concerto was impossible, pointed out many places where it would have to be completely revised, and said that if within a limited time I reworked the concerto according to his demands, then he would do me the honor of playing my thing at his concert. ‘I shall not alter a single note,’ I answered, ‘I shall publish the work exactly as it is!’ This I did.”

Eventually, both parties relented. Tchaikovsky revised the concerto—twice. And Rubinstein became one of its biggest champions.

”I am delighted to welcome my dear friend Natasha Paremski to perform in Eugene for the first time. Natasha and I studied piano with the same teacher in New York City during my undergraduate years. She was already a renowned soloist by then and I was intimidated by the sounds of Rachmaninov piano concertos coming 40

from her practice room! I remember hearing her Tchaikovsky Piano Concerto and am so glad she agreed to bring it here. The other two works more than match its fiery passion: Grażyna Bacewicz was a sensational Polish violinist in the mid-20th century and I love the pure joy that permeates her music, which is truly amazing in light of EUGENE SYMPHONY

PROGRAM NOTES — JAN 24 Program Notes

by Tom Strini ©2018

“This might be the only work where the tune everyone knows never gets repeated,” said Lecce-Chong. “He doesn’t even hint at it. It’s just gone. And yet it all feels fine.”

Natasha Paremski, and dear friend of our conductor, disagrees on that point.

“I won’t bore you with all the details,”Paremski said, in an email interview, “but YES, the opening motif absolutely comes back. Not obviously, of course, but woven into passagework in the development and sneakily hidden in the second (or shall we say third) theme in the first movement.”

It is probably the world’s most popular piano concerto, in large part due to its tunefulness. The introductory theme became a pop hit in 1941, when crooner Tony Martin sang a jukebox version (Enjoy over-the-top corny? Look up “Tonight We Love” on YouTube.)

“This concerto is Russian sweeping grandeur at its finest,” Paremski said. “It echoes folk melodies, and there’s a Russian folk dance in the third movement. I love the nod to the RussianFrench love affair in the chanson in the second movement, and there’s even a bit of jazz in the fast section of that movement.

The first movement abounds with the drama of a Tolstoy novel.

Tchaikovsky gave us so much color and emotion, so much undeniable beauty, that over the years I have gravitated to simplifying my interpretation. I strive to enhance and not hinder the complexity and thrill of Tchaikovsky’s brilliant writing.”

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

HISTORY: First performed by the Eugene Symphony in October 1976 under the direction of Lawrence Maves with Mona Golabek as soloist, and last performed in October 2010 under the direction of Danail Rachev with Jon Kimura Parker as soloist.

DURATION: Approximately 35 minutes.

(Continued on page 42)

her harrowing life story as she barely survived the Nazi invasion of Poland.

We close with Danish composer Carl Nielsen’s Fourth Symphony—a celebration of the human spirit and creativity. Its title ‘The Inextinguishable’ says it all.”

Polish composer and violinist Grażyna Bacewicz (at top), from the program for the 1935 Henryk Wieniawski Violin Competition.

(Above) A young Carl Nielsen in full military band regalia, from Odense, Denmark in 1879.

— Francesco Lecce-Chong DECEMBER 2018 – JANUARY 2019

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PROGRAM NOTES — JAN 24

Tchaikovsky Piano Concerto (Continued from page 41) CARL NIELSEN (1865–1931) Symphony No. 4 (“The Inextinguishable”) (1916) Grieg embodied the national spirit of Norway. Sibelius, an acknowledged national treasure of Finland, wrote Finlandia.

Likewise, Carl Nielsen represents Denmark—up to a point. His songs in the folk style heard in his rural youth came to stand for nationhood for the Danes, especially during the years leading up to World War II. But he was an ambivalent, if not reluctant, national hero.

LOOK at the back of the stage during Nielsen’s Fourth Symphony for one of the most remarkable sights you’ll ever see: dueling timpani!

“Nothing destroys music more than nationalism does...and it is impossible to deliver national music on request,” he wrote, in 1925. In response to a flood of 60th birthday congratulations, he wrote that if he had it all to do over again, he would “be apprenticed to a merchant or pursue some other useful trade the results of which could be visible in the end.”

Yes, Nielsen was a little different.

He grew up on the island of Funen. He was the seventh of 12 children, the son of a house painter who played local folk music on violin and cornet at local affairs. Mom sang. They taught Carl to play. He was a quick study. He composed a lullaby and a polka before at age nine. At age 14, he joined the Danish army as a bugler and trombonist in the band of the hometown garrison.

He played violin at barn dances with his father. Not your usual musical genius training routine.

He eventually gained entry to the Royal Academy of Music, Copenhagen. He made decent progress at the academy and, more important, contacts among Copenhagen’s cultured elite. He landed a job as a second violinist in the Royal Danish Orchestra and developed patrons to subsidize his composing.

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Scholarships and travel grants sent him on long tours of Europe, during which he absorbed not only music, but all the visual and performing arts. In Paris, he met the sculptor Anne Marie Brodersen, who was also traveling on scholarship. They married, and a long, stormy relationship, involving three children of their own and two from his extramarital affairs, ensued.

This unconventional life led to unconventional music.

“The Inextinguishable,” for example, runs through all four movements without a break and has no real home key. Nielsen had this idea of “progressive tonality,” in which the harmonies roam freely and never return home. The Symphony No. 4, for example, starts in D minor and ends in E Major. Not even Beethoven was that cheeky.

“Nielsen’s symphonies are always journeys,” Lecce-Chong said. “He’s always going somewhere.”

That wandering key plan, the probing melodies, a strategy of organic growth rather than fixed forms, and the wave-andtrough dynamics account for the ubiquitous restless surge that is this music’s most salient characteristic—and the sound of “the inextinguishable.”

Nielsen himself put it this way, in the start of his own substantial note for this symphony, composed in neutral, nervous Denmark as World War 1 raged almost within earshot: “Music is Life. As soon as even a single note sounds in the air or through space, it is result of life and movement; that is why music (and the dance) are the more immediate expressions of the will to life. The symphony evokes the most primal sources of life and the wellspring of the life-feeling; that is, what lies behind all human, animal and plant life, as we perceive or live it.”

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

HISTORY: This is the first Eugene Symphony performance DURATION: Approximately 36 minutes.

EUGENE SYMPHONY

GUEST ARTIST — JAN 24

Natasha Paremski With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and flawless technique. Born in Moscow, Paremski moved to the United States. at the age of eight and became a U.S. citizen shortly thereafter. She is now based in New York.

“Comparisons with [Martha] Argerich should not be given lightly, but Paremski is so clearly of the same temperament and technique that it is unavoidable here.” — American Record Guide Paremski was awarded several very prestigious artist prizes at a very young age, including the Gilmore Young Artists prize in 2006 at the age of 18, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland. In September 2010, she was awarded the Classical Recording Foundation’s Young Artist of the Year. Her first recital album was released in 2011 and it debuted

at No. 9 on the Billboard Traditional Classical chart. In 2012 she recorded Tchaikovsky’s first concerto and Rachmaninoff ’s Paganini Rhapsody with the Royal Philharmonic Orchestra and Fabien Gabel on the orchestra’s label distributed by Naxos.

Paremski has performed with major orchestras in North America including Dallas Symphony, Los Angeles Philharmonic Orchestra, San Francisco Symphony, Toronto Symphony, Baltimore Symphony, Houston Symphony, Nashville Symphony, Virginia Symphony, Oregon Symphony, Colorado Symphony, and Minnesota Orchestra. She tours extensively in Europe with such orchestras as the Royal Philharmonic Orchestra, Bournemouth Symphony Orchestra, Vienna’s Tonkünstler Orchester, Royal Scottish National Orchestra, Orchestre de Bretagne, the Orchestre de Nancy, Royal Liverpool Philharmonic Orchestra, Tonhalle Orchester in Zurich, Moscow Philharmonic, under the direction of conductors including Peter Oundjian, Andres Orozco-Estrada, Jeffrey Kahane, James Gaffigan, JoAnn Falletta, Fabien Gabel, and Andrew Litton. With a strong focus on new music, Paremski’s growing repertoire reflects an artistic maturity beyond her years. In the 2010/11 season, she played the world premiere of a sonata written for her by Gabriel Kahane, which was also included in her solo album. At the suggestion of John Corigliano, Natasha brought her insight and depth to his Piano Concerto with the Colorado Symphony. In recital, she has played several pieces by noted composer and pianist Fred Hersch.

Paremski continues to extend her performance activity and range beyond the traditional concert hall. She was featured in a major two-part film for BBC Television on the life and work of Tchaikovsky, shot on location in St. Petersburg, performing excerpts from Tchaikovsky’s First Piano Concerto and other works.

In the winter of 2007, Paremski participated along with Simon Keenlyside and Maxim Vengerov in the filming of Twin Spirits, a project starring Sting and Trudie Styler that explores the music and writing of Robert and Clara Schumann, which was released on DVD. She has performed in the project live several times with the co-creators in New York and the UK, directed by John Caird, the original director/adaptor of the musical Les Misérables.

Paremski began her piano studies at the age of four with Nina Malikova at Moscow’s Andreyev School of Music. She then studied at San Francisco Conservatory of Music before moving to New York to study with Pavlina Dokovska at Mannes College of Music, from which she graduated in 2007. Paremski made her professional debut at age nine with the El Camino Youth Symphony in California. At the age of 15 she debuted with Los Angeles Philharmonic and recorded two discs with Moscow Philharmonic Orchestra under Dmitry Yablonsky, the first featuring Anton Rubinstein’s Piano Concerto No. 4 coupled with Rachmaninov’s Rhapsody on a Theme of Paganini and the second featuring all of Chopin’s shorter works for piano and orchestra.

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Scenes from Offstage

(Top, left) Cello soloist Julie Albers shares a smile with Symphony patrons Sandra Weingarten and Ryan Darwish following her performance of Bloch’s Schelomo on Opening Night. (Top, right) Music Director & Conductor Francesco Lecce-Chong performs a movement of Antonin Dvořák’s “Dumky” Piano Trio with Avery and Adrian Hsieh, first- and second-prize winners of the 2018 Eugene Symphony Guild Young Artists Competition (junior division), at Eugene Symphony Association’s Annual Meeting on September 20.

(Above, left to right) Francesco chats with former ESA Board member Mike Fox and Rebekah Lambert, who was Executive Director from 1996 to 2003, at a post-concert reception on September 27. In October, Francesco gives a young student his first lesson in conducting at a visit to Mount Vernon Elementary School in Springfield. Francesco visits a group of third-grade students at Gilham Elementary School in Eugene on September 24, talking about music and the role of a conductor with an orchestra.

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

APRIL – MAY2018 DECEMBER 2018– JANUARY 2019

(At left) Also at the Annual Meeting, five new members were elected to ESA’s Board of Directors: Ashlee Cribb, Liz Tippett, Harriet Cherry, Alicia Voorhees, and Connie Wonham.

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DONOR SPOTLIGHT

Kevin & Irene Alltucker are all in with Symphony Connect What inspired your interest in Symphony Connect?

What has made the onsite Symphony Connect performances so memorable for you?

There were several things The thing that stood out most that affected our interest in from the onsite Symphony Connect Symphony Connect. About performance was the comfortable 10 years ago when our atmosphere created by the youngest son Ezra was a musicians and the music therapist, Suzuki violin student, he Danielle. Kids could come and played for a group of young go, sit on the floor, draw pictures. kids who were attending Teenagers with magenta hair and a therapeutic preschool. dark eyeliner eased in, balancing As he was preparing to between wanting to look cool and play, the children weren’t being drawn to the music. Parents very interested, and many took a few minutes out of their were running around busy days to sit, relax, and listen. being normal active Afterwards, the musicians answered preschoolers. When Ezra questions from the audience, which started playing, the room seemed to surprise everyone when fell silent and kids locked they discovered that the musicians on to the sounds of the appreciated the opportunity to play violin. They quickly melted in that space. into a circle and listened What is the value of music intently. Afterwards, they and live performance to these had many questions about communities?

Ezra’s violin, how many We think it has to do with breaking strings there were, what the Eugene Symphony Music Director & Conductor Francesco Lecce-Chong down stereotypes—the thought that bow was made out of, how with Kevin and Irene Alltucker at a Relief Nursery fundraiser in April 2018. classical music is only for the rich and to hold the instrument, and famous, or that it is difficult and dense.

Although there probably such. This was an example of the connective power of live music isn’t any way to know the long-term effects of playing classical and the common bond we all have with melody and harmony. music to kids and families, it’s not unreasonable to believe that Our professions also affected our interests in Symphony Connect.

Symphony Connect has positive effects—if it’s only just creating a For a time, Irene was Executive Director of the Relief Nursery few pleasant minutes in someone’s day. There’s another benefit as and experienced first-hand the challenges that many families well, and that’s to the musicians, who are reminded why they have in our community were facing every day. She knew that many dedicated their lives to their art when they see a kid’s eyes go big families were struggling with basic food and shelter issues and after hearing a violin or a cello for the first time. would probably never have a chance to hear live classical music How do you think this performance engages and impacts unless the musicians came to them. Kevin was a professor groups? in Family and Human Services at UO and taught classes on the importance of healthy families. Symphony Connect is a We strongly believe that Symphony Connect has a positive deceivingly simple concept that moves music out of the concert effect on our community by creating unique spaces for shared hall and in to the community so that folks can hear, see, and experiences that transcend the digital online world that is a large touch live classical music. part of everyone’s life today. Live music is like a cleanse from

“ We strongly believe that Symphony Connect has a positive effect on our community by creating unique spaces for shared experiences that transcend the digital online world that is a large part of everyone’s life today.” —Kevin & Irene Alltucker 46

EUGENE SYMPHONY

Violist Lauren Elledge answers a question from a young listener following a Symphony Connect performance at Cornerstone Community Housing’s West Town community center.

technology that allows folks to pause and enjoy the moment.

When a seven-year-old kid draws a picture of how the music made her feel “purple and swirly,” that’s a good thing. We believe there is value in breaking down barriers and creating sweet moments for kids and families.

Why is it important that it this program happens onsite in community centers and/or human service agencies?

How does location, environment impact audience? The name Symphony Connect says it all—you can’t connect if you’re not there. Going into the community and creating space for enjoying live classical music is what the program is all about. Meeting people where they are and initiating a comfortable and accessible performance is an important component of ensuring equity and inclusion in our community.

What do you want people to most know and understand about Symphony Connect and your experience observing the program and the audiences?

We want people to know that Symphony Connect is an innovative and creative program that puts live classical music in community places so that kids and families can enjoy the moment, take a break from technology, and connect with music and people in a safe place. Symphony Connect breaks through barriers of economics, transportation, and time for kids and families in our community—which we think is a good thing in the long run.

DECEMBER 2018 – JANUARY 2019

What would you say to someone who wanted to know why this matters? Why this is important.

We believe Symphony Connect matters because it takes the music to the community instead of expecting the community to come to the music, and that’s a pretty good way of breaking down barriers for kids and families. We’ve seen first-hand how faces light up with wonder and amazement at the sound of a cello, how the music is enjoyed by preschoolers and parents, teenagers and grandparents, and moms and dads. If you believe in breaking down barriers and stereotypes, increasing equity and inclusion, and generally just doing a pretty cool thing, then we hope you will join us in supporting Symphony Connect.

Kevin and Irene have pledged significant support to ensure that Symphony Connect will continue to have a positive impact, and call on others in the community to join them on a matching basis—for each dollar raised for this program for the next three years, they will meet it up to $15,500.

For more information, please visit eugenesymphony.org/education/community/ symphony-connect or call Sara Mason at 541-687-9487 ext 1104.

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Award Winning Arborists

541-461-1737

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

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

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EUGENE SYMPHONY

BENEFITS

BECOME A SYMPHONY MEMBER

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

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

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

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

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

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

DECEMBER 2018 – JANUARY 2019

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

FOUNDERS SOCIETY: $2,500+ All of the above, plus: Donors receive exclusive benefits, such as an invitation to all Meet Francesco & Musicians post-concert receptions, special recitals by Symphony musicians, and access to Founders Club receptions at all performances.

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

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

For more information on the Founders Society, its benefits, and how to join, please contact Development Director Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x1104, or visit our website at eugenesymphony.org.

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

Niles & Mary Ann Hanson Marie Jones & Suzanne Penegor

Terry West & Jack Viscardi

GOLD PATRONS | $10,000 – $24,999 Keyhan & Lauren Aryah Dennis & Janet Beetham Natalie & Zack Blalack Dave & Sherrie Kammerer

Meg Mitchell David & Paula Pottinger James & Jane Ratzlaff Paul Roth

Dr. Matthew Shapiro & Maylian Pak Betty L. Soreng Fund of The Oregon Community Foundation Ray & Cathie Staton Barbara & James Walker

SILVER PATRONS | $5,000 – $9,999 Anonymous Warren & Kathy Barnes Deb Carver & John Pegg Chvatal Orthodontics Elaine Twigg Cornett & Zane J Cornett Marci Daneman Mike Fox & Rebekah Lambert Bill & Judy Freck

Pam Graves in memory of Glendora Burbank George & Kay Hanson Starly Hodges Jenny Jonak & Mike Bragg Sarah G Maggio Matthew McLaughlin Trieber & Michelle Meador Herb Merker & Marcy Hammock Philip & Sandra Piele

Otto & Joanna Radke Martha B. Russell Subfund of the Arts Foundation of Western Oregon Fund of The Oregon Community Foundation Dunny & Debbie Sorensen Andy Storment Sharon Ungerleider Paul & Lory Utz Jack & Florence Vollstedt

BRONZE PATRONS | $2,500 – $4,999 Anonymous (2) Joseph & Margaret Adelsberger Kevin & Irene Alltucker Family Fund of The Oregon Community Foundation Robert & Friedl Bell Mary Joanne Berry Shawn & Melva Boles Jack & Dondeana Brinkman Anne & Terry Carter William & Karla Chambers The Chambers Family Foundation Brad Chvatal & Erin Dickinson Harriet Cherry & John Leavens Jeff & Julie Collins Allan & Nancy Coons Ashlee Crib & Walt Woliver Edna P. DeHaven G. Burnette Dillon & Louise Di Tullio Dillon Ed & Molly Emberlin Ray & Libby Englander Ginger Fifield

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Susan & Greg Fitz-Gerald Kevin Forsythe & Elizabeth Tippett Scott & Leslie Anderson Freck Susan K. Gilmore & Phyllis J. Brown Verda M. Giustina Fund of The Oregon Community Foundation The Gray Family Peter Gregg Galina Groza Donald Gudehus & Gloria Page Elizabeth & Roger Hall Michael & Janet Harbour Erwin & Vicki Haussler Lin & Don Hirst Hugh Johnston Marilyn & Michael Kelley Phillip Kimmel & Stephanie Pearl-Kimmel Deborah Lewis Larson Diana G. Learner & Carolyn Simms Michael Lewis & Martha MacRitchie Duncan & Jane Eyre McDonald

Andy & Elizabeth McWilliams James & Marilyn Murdock John & Andrea Murphy Arden Olson & Sharon Rudnick Laura Parrish & Richard Matteri Blandon Ray & Kim Nies John F. Quilter Mike & Casey Roscoe Roger Saydack & Elaine Bernat Doneka R. Scott & Cedric Skillon Heinz & Susan Selig Sheppard Family Fund of The Oregon Community Foundation Ellis & Lucille Sprick Inge Tarantola Michael Vergamini Chris Walton & Elizabeth Sheehan Dr. James & Jan Ward Sandra Weingarten & Ryan Darwish Bruce & Carol Whitaker John & Emilie York EUGENE SYMPHONY

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

CONCERT SPONSORS

The Haugland Family Foundation

Marie Jones & Suzanne Penegor

GUEST ARTIST SPONSORS Chvatal Orthodontics Eugene-Irkutsk Sister City Committee Jonak Law Group

Oakmont Family Dental Summit Bank

Slocum Center for Orthopedics and Sports Medicine Wildish Companies

ADDITIONAL SUPPORT SPONSORS Eugene Airport Ferguson Wellman

George Rode Repair Shops Grain Millers, Inc. The Gilmore Agency

Kernutt Stokes Oregon Community Credit Union

IN-KIND SEASON SPONSORS Elizabeth Chambers Cellar Hilton Eugene

COMMUNITY SUPPORT SPONSORS Comfort Flow Heating

Marché Rhythm & Blooms

Silvan Ridge Winery Technology Association of Oregon

SPECIAL THANKS TO...

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

JLN Design Partnered Solutions IT Amanda Smith Photography Technaprint

FOUNDATION PARTNERS

The Silva Endowment Fund of The Oregon Community Foundation

The Ann & Gordon Getty Foundation DECEMBER 2018 – JANUARY 2019

Herbert A.Templeton Foundation Support Hult Center Operations (SHO)

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

Conductor’s Circle ($1,000–$2,499) Anonymous (2) Gil & Roberta Achterhof The Alsop Family Foundation Virginia P. Anderson Laura Avery Ted & Marie Baker Allan & Caitlin Benavides Louise Bishop & James Earl Carl Bjerre & Andrea Coles-Bjerre Ruby Brockett John & Christa Brombaugh Jim & Bev Buckley Susan Bulkeley Butler Delpha Camp Robert & Kathleen Carolan Curtis Chong Norma F. Cole Edwin & June Cone Fund of the Oregon Community Foundation Jana & Mark Cox John & Linda Cummens Wendy Dame & Don Doerr

Bill Starbuck & Joan Dunbar Designated Fund Stephen & Francoise Durrant Dieter & Juanita Engel James & Susan Finney John & Jo Fisher Brad Foley Eric & Kristin Forrest Violet Fraser Lynn Frohnmayer Liz & Greg Gill Ron & Marge Hamilton Dr. Stephanie Harris Lucille P. Heitz Dr. Larry & Sharon Hirons Monica Careaga Houck Ellen Hyman John & Robin Jaqua Fund of the Oregon Community Foundation Ms. Chris K. Johnson Allan & Dorothy Kays Doreen Kilen

Jim & Janet Kissman Eunice Kjaer Steve & Cyndy Lane Lynda Lanker Gary J. LeClair & Janice R. Friend Kaye LeFrancq Bob & Brenda Macherione Gary P. Marcus Lee & Mary Jean Michels J Anthony & Mary Mohr Darian & Karen Morray John & Barbara Mundall Alexander Murphy & Susan Gary Nancy Oft & Mike Rose Theodore & Laramie Palmer Judson Parsons & Diana Gardener Stan & Julie Pickett John & Joanne Porter Hope Hughes Pressman Fund of The Oregon Community Foundation In memory of Britta Putjenter

Dr. Candice Rohr Jim & Paula Salerno Nathan & Robin Phillips Royce & Phyllis Saltzman John & Betty Siebs Ken & Kenda Singer Ginny Starr Martha J. Steward Marion Sweeney, Kate Laue, & Cama Evans Sing & David Tam Jeff & Linda Taylor Charitable Fund Cathye Tritten Ellen Tykeson Gayle Umenhofer Jim & Cathy Walker John & Sandy Watkinson Jim & Sally Weston Steve & Kim Wildish Harry & Connie Wonham Woodard Family Foundation Marguerite Zolman

David Guy Mary Louise Douda Howard & Kathleen Epstein Jane & Latham Flanagan, MD Mark & Carey Garber Lisa A. Hawley Ronald & Cecilia Head Bob & Debbie Heaton Kenneth Helphand David & Marcia Hilton Donald Holst Cynthia Hostetter Emmy Jenson Stephen Jones & Kay Hayford Brandon Julio & Haydn Zhang Toshiro & Irene Katsura Doris Kuehn Dana O’Leary-Parrish Andrew Lewinter Richard & Jacquie Litchfield

Lois Long in memory of Dr. George M. Long Nena Lovinger & Robert Emmons Mark & Denise Lyon John & Ethel MacKinnon Robert & Colleen McKee Mary Mercier Bonita Merten Mary Ann Moore Boyd & Natalie Morgan Andrew Nelson & Ann Carney Nelson Christian & Betsy Nielsen David & Anne O’Brien Douglas Park & Beth Stormshak C Bennett & Ilene Pascal Linda & John Van Peenen David & Jane Pubols Michelle Quinney

Marjory Ramey Reed Family Foundation Ellen Rentz Richard Romm Karen Seidel Roberta Singer Jerry & Sandi South Craig Starr & Sandra Scheetz Jim Steinberger & Joyce Gardner Steinberger Mike & Catheryn Stickel Jason Tavakolian & Jennifer Lamberg Carol Thibeau Mandi Tribble & Steve Engel Pierre & Mary Lou Van Rysselberghe Phyllis Villec Peter & Josephine Von Hippel Forrest & Anna Williams

Loren C. Barlow John & Sylvia Barry David Baslaw & Ginny Burkey Janine Benner & Greg Dotson

Ron & Janet Bertucci Laird & Ronnie Black David & Sheila Bong Lynn & Ben Bonner

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

Sustaining Members ($250–$499) Anonymous Carolyn Abbott Lucille Allsen Tony Anthony & Christine Shirley

Vernon Arne Karen Artiaco & Jack Hart Ronald & Julia Babcock Robert Baechtold

This listing is current as of September 30, 2018. Every effort has been made to ensure its accuracy.

If your name has been inadvertently omitted or incorrectly listed, please accept our apologies and contact the Eugene Symphony Development Department at 541-687-9487 ext. 1110. Thank you for your generosity.

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Season Supporters Sustaining Members ($250–$499) Jim & Joanna Branvold Jack & Toni Brown Sara Brownmiller & Milo Mecham Sue Burkholder Leonard & Janet Calvert Julia Carver & Brooks Tull Chris & Judy Chavez Ernest Chizinski Suzanne Clark Hiett & Caron Cooper Roger Coulter Nancy Cummings Brian & Nancy Davies Tom Stevens & Flo Delaney Tomi Douglas Peter Edberg & Bryna Goodman John Etter Gary Ferrington Robert & Jill Foster David Foulkes & Nancy Kerr Barbara Gates Mary Gent Pat Candeaux Gilberts Sylvia Giustina

Scott Ricker & Mary Gleason-Ricker Jeff & Susan Gusinow Grayson & Esther Haclerode Desiree Hansen & Breon Price John & Claudia Hardwick Jamie Harper & Roxie Thoren David & Donna Hawkins Robert & Deborah Heaton Jim & Judith Hendrickson Richard Herskowitz & Jill Hartz Richard & Judith Hicks Ken Higgins Sara Hodges Lewis & Sandra Horne Robert H. Horner & Polly Ashworth Judith Johnson Pamela McClure-Johnston & Roy Johnston Peter & Jane Kay Sue Keene Dorothy Kemp Tim & Linda King

John & Muriel Kurtz Martin Jones & Gayle Landt Doug & Diane Livermore Bert Lund Gerald MacLean Charles & Leslie Martinez Sara & David Mason Robert & Barbara Maurer Jo Ann McCabe Michael McCarthy Lucille McKenzie in memory of Dean McKenzie Michael Milstein Jack & Barbara Miner Dr. Jeffrey Morey & Gail Harris Mary Anne Morrison Judith Mortimore Kenneth & Jackie Murdoff Chris Murray Jill Overley Harold & Joyce Owen James Pelley & Susan McConnell Ashley Petsch William & Cheryl Pickerd

Dave & Linda Pompel Dr. R Charles & Karen Ray Joe & Marian Richards Norman & Barbara Savage Eric Schabtach & Bonnie Murdock Sarah Schram Dr. Susan Rieke-Smith & Jeffry Smith Betty Lou Snyder Richard D. Spurlin Jane Stephens Gerald & Heidi Stolp Tim & Ann Straub David Stuck & Janis Sellers-Stuck John & Carol Sullivan Wayne & Leslie Taubenfeld Jean Tuesday Jerome & Judy Vergamini Gerald & Veronika Walton Hilda H. Whipple Terry & Lucy White Illona Wilken Robert & Patricia Wilson Kelly B. Wolf

Anita Klock Margaret Knudsen John & Judith Kraft Donald Landstrom & Zachary Ruhl William Langdon John & Karen Lawrence Edward Lawry & Sandra Wu Joyce Leader Hope Lewis The Lillegard Family Janet Logan & William Oakley Eileen Loritsch Margaret Malsch Greg & Lynne McCutcheon Gary & Jill McKenney Suzanne Gilbrt McRae Sarah & Josh McCoy Mike Shippey & Mary Minniti Rose Marie Moffitt John & Shanna Molitor Judith Moomaw Beth Moore & Lorne Bigley John & Cheryl Moore Kathy Moulton Karen Murphy Duncan & Saundra Murray Madeline Malsch Beverly A. Murrow Diane Vandehey-Neale Marilyn Nelson Melvin Nygaard & Mary Sykes Carol Nylander Ruth Obadal Jeffrey & Deborah Ogburn

Joy Olgyay & William Taliaferro Dorothy Parrott Lindsay Pearson Michele Piastro & Allen Jablonski Douglas W. Pierce & Cynthia L. Secrest Jim Pilling Guntis & Mara Plesums Michael & Judy Ponichtera Sharon & Michael Posner Andrzej Wieckowski & Teresa Prussak-Wieckowska Richard & Patricia Rankin Lloyd & Marilyn Rawlings Jim & Sandy Ridlington Edith C. Roberts Daniel & Kay Robinhold Gerald & Marcia Romick Sally Ann Ross Robert S. Russell Michael & Wendy Russo Eva Safar Richard & Karen Scheeland Gregory Schultz Suzanne & Marc Shapiro Marty & Mary Lou Smith Betty Lou Snyder Joanne & John Soper Dave & Dorothy Soper Howard & Sharon Speer John & Julie Stacy Phoebe Staples Barry & Marilyn Stenberg Maria & Delmar Storment Patrick & Marjorie Sullivan

Symphony Members ($125–$249) Anonymous (3) Mardi Abbott Dr. Don & Marianne Anderson Howard Anderson & Susan Rutherford Susan Archbald Jo Anne Arnold Gerry Aster Roger & Lela Aydelott Avon Lee & Robin Babb Sue Bach Don Baldwin George Bateman Diane Baxter Joan Bayliss & Irwin Noparstak Lawrence & Linda Ann Beach William & Alice Beckett Joyce Benjamin David & Judith Berg Richard & Betsy Berg Sara Bergsund John & Lucy Bigelow Robert & Patricia Brasch The Kiva Grocers – Booksellers Norma Bryan Susan Burke & Clive Thomas June Hopkins & Don Campbell Frank & Nancy Carlton Elizabeth Charley Linda Cheney & Fred Felter Gary & Carole Chenkin Anthony J. Meyer & Joan Claffey Victor Congleton Alan Contreras Mark & Anne Dean

DECEMBER 2018 – JANUARY 2019

Dale Derby & Ingrid Horvath Cynthia Dickinson Donald & Jenna Diment Alex Dracobly & Julie Hessler Dr. John & Virginia Dunphy John Faville Margot Fetz Lamar & Jane Forvilly Carl J. Frank Dorothy Frear Carole Gillett Tony & Courtney Glausi Elizabeth G. Glover Warren & Susan Griffith James Grimm & Jocelyn Bonner Mary Grinage Sally Grosscup David Gusset Haissam Haidar Scott & Mary Halpert Roger & Karen Hamilton Gale & Rosemary Hatleberg Bernard Robe & Diane Hawley Andrew & Marilyn Hays Phyllis Helland & Raymond Morse Leslie Hildreth Harold & Martha Hockman Judith Horstmann & Howard Bonnett James & Helen Jackson Carol A. James Benton Johnson Robert Kendall Alan & Martha Kimball Charles & Reida Kimmel

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Season Supporters Symphony Members ($125–$249) Fay Sunada & Patrick Wagner Susan & Bahram Tavakolian Edward Teague Gary Tepfer & Esther Jacobson-Tepfer

John & Renate Tilson Liz Tritz Addie Vandehey William Waddel Carol Myree Welch

Mary Ellen West Donald Wisely William & Pat Wiswall V. Gerald & Ann Woeste

Thomas & Mariol Wogaman Susannah Wielesek & Bob Wright JoAnn Zinniker Alex Zunterstein

Memorial Funds

Foundation Support

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

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

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

American Federation of Musicians, Local 689 The Chambers Family Foundation The Haugland Family Foundation Herbert A. Templeton Foundation James F. & Marion L Miller Foundation Juan Young Trust National Endowment for the Arts New Music USA Nils & Jewel Hult Endowment - Arts Fund of The Oregon Community Foundation Oregon Arts Commission Oregon Cultural Trust Oregon Community Foundation The Silva Endowment Fund of The Oregon Community Foundation Supporting Hult Operations (S.H.O) US Bank Woodard Family Foundation

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

EUGENE SYMPHONY

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

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

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

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

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

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

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

Joanne Berry The Brockett Family Ann & Terry Carter Dr. & Mrs. John Cockrell (Irrevocable Trust) Julie Collis

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

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

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

Leave a legacy that provides the joy of music for future generations.

Please remember the Eugene Symphony in your will or trust.

For information about planned gifts or gifts to the Endowment Fund, contact Sara Mason at sara.mason@eugenesymphony.org or 541-687-9487, x104 or visit our website at eugenesymphony.org.

DECEMBER 2018 – JANUARY 2019

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Eugene Symphony

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

EUGENE SYMPHONY BOARD OF DIRECTORS

EUGENE SYMPHONY STAFF

David Pottinger, President Deborah Carver, Vice President Dr. Matthew McLaughlin, Secretary Warren Barnes, Treasurer

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

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

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

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

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

Betty Soreng David Ogden Stiers

EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS

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

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

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

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES

Silva Chambers David Hawkins, Chair Varner J. Johns III

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Ann Marie Mehlum John Watkinson

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

EUGENE SYMPHONY

DECEMBER 2018 – JANUARY 2019

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

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

— DR. RAY AND LIBBY ENGLANDER, Encore Society members

For more information, visit EUGENESYMPHONY.ORG/ENCORE Or contact Sara Mason at 541-687-9487 x1104 or sara.mason@eugenesymphony.org

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DECEMBER 2018 – JANUARY 2019

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EUGENE SYMPHONY

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EUGENE SYMPHONY

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