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Featuring the Missoula Symphony Orchestra & Chorale
FEBRUARY 1 & 2, 2020
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Missoula Symphony Association
AN ANONYMOUS CHORALE MEMBER
The Missoula Symphony Association Presents paul Mcshee, Music Director Finalist Dean peteRson, Chorale Director Featuring: lisa WilliaMson, sopRano KiMBeRly GRatlanD JaMes, MeZZo sopRano DaViD coDy, tenoR chaRles RoBeRt stephens, BaRitone Saturday, February 1, 7:30 P.M. & Sunday, February 2, 3:00 P.M. 65th Season, 2019-2020
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Requiem in D minor, K. 626 I. Introitus: Requiem II. Kyrie III. Sequenz: No. 1 Dies irae No. 2 Tuba mirum No. 3 Rex tremendae No. 4 Recordare No. 5 Confutatis No. 6 Lacrimosa IV. Offertorio: No. 1 Domine Jesu No. 2 Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux Aeterna
Ms Williamson, Ms. James, Mr. Cody, Mr. Stephens
Intermission MenDelssohn Symphony No. 5 in D major, Op. 107, “Reformation” Andante – Allegro con fuoco Allegro vivace Andante Andante con moto – Allegro vivace – Allegro maestoso
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Paul McShee Music Director Finalist Described by the Baltimore Sun as a conductor who draws “subtle nuances from any score,” Paul McShee, Visiting Assistant Professor and Director of the University Symphony Orchestra, Binghamton University, is known for the “remarkable blend of warmth, energy, and driving rhythmic vitality” he evokes from any orchestra he conducts. Equally at home on the podium and in the opera pit, McShee is sought after as a conductor for concerts and opera productions in the US and Europe. He was guest music director of the Twin Cities Fringe Opera, staff conductor for the Baltimore Opera Project, guest conductor for La traviata and Madama Butterfly at Paul Hamlyn Hall in London, and founding music director of the PopUp Opera Program in Edinburgh, Scotland. A staunch advocate of new music, McShee has worked with contemporary composers such as Kevin Putts, Christopher Rouse, Anna Clyne, Avner Dorman, and Joseph Schwantner. He served as staff conductor for the composition department at the Peabody Institute, and conducted a number of premiere performances and recordings in this role. As a passionate educator and advocate for classical music, McShee has created numerous programs intended to encourage young people to open up to classical music, and participate in its performance. He has spearheaded the Edinburgh PopUp Opera School Outreach program, where students had a chance to rewrite famous operas from the perspective of children, and has worked with dozens of schools throughout Scotland and Northern England McShee has conducted the Baltimore Symphony Orchestra, the Baltimore Chamber Orchestra, the Boulder Chamber Orchestra, the London Sinfonietta, the Paradisal Players, L’Orchestre QuiPasseParLà, L’Orchestre Band-Son, the Philharmonie Mihail Jora, and the Bohuslav Martinu Philharmonic. He holds the doctor of musical arts degree in conducting from the Peabody Institute of the Johns Hopkins University. Dr. McShee studied under Marin Alsop, Gustav Meier, and Don Schleicher. His principal flute teachers were Emmanuel Pahud, Verena Bosshart, and Teresa Bowers.
Missoula Symphony Association
dean PeterSon Chorale Director Dean Peterson has been actively involved in the Montana music scene for many years. He has conducted the Missoula Symphony Chorale since 2006 and also serves as Musical Director and Conductor of the Missoula Mendelssohn Club. In 2011 he retired from his position as Director of Choirs at Hellgate High School and went on to serve as the interim Director of Choirs at the University of Montana. Prior to his years at Hellgate High School, he worked as an elementary general music teacher in the Missoula Public Schools. In addition to his conducting duties, he is an active choral clinician, adjudicator and instructor for the University of Montanaâ€™s Osher Lifelong Learning Institute. He received his Bachelor of Music Degrees with high honors from the University of Montana in Music Education and Piano Performance. Later he completed his Master of Music Education degree with Kodaly emphasis from Holy Names College, Oakland, CA. During his teaching career, Dean received the prestigious National Milken Educator award. Later, he was honored to be recognized by the National Federation of High Schools as the 2010-2011 Outstanding Music Educator for Montana and the Northwest region. In that same year, he was named Missoula Arts Educator of the Year by the Missoula Cultural Council and was also honored to receive the Distinguished Service Award from the Montana Music Educators Association. In the Fall of 2013 Dean was awarded the Lifetime Achievement Award by the Montana Choral Directors Association. In March of 2014, he was inducted into the University of Montana Fine Arts Hall of Fame at the annual Odyssey of the Stars. He is active professionally as a member and past president of the Montana Choral Directors Association, a member of the Artistic Committee for Missoulaâ€™s International Choral Festival and is a past member of the Montana High School Association Music Committee.
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liSa williaMSon Soprano Described by the Washington Post as “silvery of voice” and “a showstopper” for her recent performances with Washington National Opera as The Rose in The Little Prince and The Flamingo in the world premiere of Jeanine Tesori’s The Lion, the Unicorn and Me, soprano Lisa Williamson is a versatile singer who has forged a diverse career that has taken her around the world from Muscat, Oman to the Weill Recital Hall at Carnegie Hall to the Indianapolis Brickyard. In the dynamic 2018-19 season she creates the role of Bessie Coleman, the first black American female pilot, in the world-premiere production of Douglas Buchanan and Caitlin Vincent’s Sackler Prize-Winning opera Bessie and Ma, returns to the New Haven Symphony for the stratospheric soprano solos in Carmina Burana, and shows off her comedic timing as Amalia in She Loves Me at the Jorgensen Center for the Performing Arts with UConn Opera. In the 2017-18 season she joined the Hartford Symphony Orchestra for Barber’s Knoxville: Summer of 1915 and Carmina Burana, returned to The Glimmerglass Festival to sing The Rose in The Little Prince and sang title roles in Cendrillon and Suor Angelica at UConn Opera. Other recent highlights include her debut with Portland Opera in a double bill of David Lang’s the diﬃculty of crossing a ﬁeld and the little match girl passion, singing Virginia Creeper and the soprano soloist, Laurie in The Tender Land with Hartford Opera Theater in partnership with the American School for the Deaf in a production in she also communicated using American Sign Language, Eliza Doolittle in My Fair Lady with the New Haven Symphony Orchestra Pops, Die Fledermaus and La Bohème (Opera Theater of Connecticut), the little match girl passion (The Glimmerglass Festival), The Music Man (Royal Opera House, Muscat in Oman), and Wonderful Town (Orchestra Sinfonica di Milano Giuseppe Verdi in Milan, Italy). Ms. Williamson is a dedicated recitalist with a passion for American repertoire, from Songbook to art song, with a special emphasis on works by women and AfricanAmerican composers. She was a Marc and Eva Stern Fellow at the United States’ premiere art song festival, Songfest, where she worked with composers Jake Heggie, Libby Larsen, and John Musto, and presented the world premiere of James Primosh’s song “Shadow Memory.” In 2013 she performed in The Song Continues with Marilyn Horne, the Weill Music Institute’s Professional Training Program at Carnegie Hall and in 2017 she curated and presented a solo recital of art song with text by Harlem Renaissance writers at The Beinecke Rare Book and Manuscript Library at Yale in collaboration with the exhibit, Gather Out of Star-Dust. From 2005-2010, Ms. Williamson was the vocal soloist with The United States Coast Guard Band. In her more than two hundred performances with the Coast Guard Band she performed in thirty-four states in the U.S. and throughout Japan singing a variety of repertoire from opera arias to the American Songbook, and twice performing the National Anthem at the Indianapolis 500 for live audiences of over 400,000 and millions on television worldwide. Ms. Williamson holds a Master of Music in voice from the Yale School of Music, a Performer’s Certificate from UConn, a Bachelor of Music in voice performance from the Peabody Conservatory of Music at Johns Hopkins University, and is currently pursuing a Doctor of Musical Arts at UConn. The daughter of premiere military band musicians, Lisa is a native of Alexandria, Virginia. She now makes her home in Connecticut with her husband, Lieutenant Commander Adam Williamson, the director of the United States Coast Guard Band, and their son. 6 Missoula syMphony association
Kimberly Gratland James Mezzo-Soprano Dr. Kimberly Gratland James, Mezzo-Soprano, joined the UNLV School of Music faculty in 2017 as an Assistant Professor with more than 20 years of professional performance and teaching experience in vocal music. Previously, she was an Associate Professor of Music at the University of Montana, where she primarily taught applied voice, voice pedagogy, and diction for singers. Dr. James maintains an active performance career, particularly as a concert artist and recitalist. She has performed in concert with the London Sinfonietta, the New World Symphony, the Los Angeles Symphony, and on stage with New Orleans Opera, Chautauqua Opera, Opera Theatre of St. Louis, among other organizations. Her performance repertoire is quite diverse, encompassing oratorio works by Bach, operatic repertoire from Purcell to Adamo, and concert works by Verdi, Mahler, Ravel, and contemporary composers. She is passionate about culturally-situated art and looks forward to exploring Las Vegas and the U.S. Southwest, Mexico, and the Central & South Americas in performance venues and repertoire. Jamesâ€™s growing passion for bridging the gap between the hard sciences and singing began in 2008 when she completed a vocology certificate program at the National Center for Voice and Speech under Dr. Ingo Titze. Her work has been published in the Journal of Voice (multi-institutional research study) and Journal of Singing (book review). She presents posters and invited sessions regularly at regional, national, and international conferences. Dr. James is a member of the Pan American Vocology Association (PAVA) and has been an active leader in the National Association of Teachers of Singing (NATS) at the local, regional, and national levels, as well as the College Music Society (CMS). In addition to her vocology certificate, James also earned degrees from Texas Christian University (B.S.), Rice University (M.M.), and Indiana University (Performer Diploma, D.M.A).
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David Cody Tenor David Cody, is very active as a tenor soloist in opera, musical theatre, and concert repertore, and also as a musical director, stage director, and clinician. He has sung many leading and supporting operatic roles with such companies as The Opera Theater of St. Louis, The Ohio Light Opera, Intermountain Opera, Rimrock Opera, Nevada Opera Theater and Montana Lyric Opera. He is a frequent soloist in the region and has been featured with all of Montana’s civic orchestras, as well as the String Orchestra of the Rockies and the Idaho Baroque Festival. He also performs musical theatre roles; most recently Beadle Bamford in Sweeney Todd with the Helena Symphony, and Harry Bright in Mamma Mia with the Fort Peck Summer Theatre. He is also an accomplished recitalist, specializing in German Lieder. As a Professor of Music at The University of Montana, David Cody teaches voice, music theory, and lectures in Opera History and Musical Theatre History. He is also the music director for UM Opera Theater, which has won the Collegiate Opera Production competition of the National Opera Association in 2006 and 2014. His voice students have gone on to professional careers in opera, musical theatre, and music education. David Cody holds a Bachelor of Music Education degree from Truman State University and masters and doctorate degrees in Vocal Performance from the Indiana University School of Music, where he performed extensively with its noted opera theater. He was also a member of the Pro Arte Singers with the Early Music Institute, directed by Thomas Binkley, and was a soloist for their recording of Dufay’s Missa se la face ay pale (Focus label).
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CHARLES ROBERT STEPHENS Baritone Charles has enjoyed a career spanning a wide variety of roles and styles in opera and concert music. In his 20 years in New York City he sang leading roles with the New York City Opera and was hailed by the New York Times as a “baritone of smooth distinction.” He also appeared frequently in Carnegie Hall with the Opera Orchestra of New York and was active in regional opera throughout the US. On the international stage, he sang opera roles in Montevideo Uruguay, Taiwan, Santo Domingo and Mexico City. Recently, Charles has sung with the Seattle Symphony, Northwest Sinfonietta, Tacoma and Spokane Symphony, Spokane Opera, Portland Chamber Orchestra and many other orchestras and opera companies in the Pacific Northwest. Special collaborations with early music expert Stephen Stubbs include the role of Tiresias in the Boston Early Music Festival’s lavish production of Steffani’s Niobe, Queen of Thebes. A long association with Maestro Gary Thor Wedow has led to two performances with the Seattle Symphony: Messiah and “Opera Festival.” The 2018-19 season includes performances of Messiah, Haydn’s Creation, Beethoven’s Symphony # 9, Bach Christmas Oratorio, Scarpia in Tosca, Melchior in Amahl and the Night Visitors, the Father in Hansel and Gretel and baritone soloist in Britten’s War Requiem. Besides being an active recital and concert singer, he is also a highly sought-after voice teacher. He is on the voice faculty at Pacific Lutheran University and serves as soloist at St. Thomas Episcopal Church in Medina, WA.
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contents Presidentâ€™s Messageï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 12 Executive Directorâ€™s Messageï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 13 KUFM Broadcastï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 13 Missoula Symphony Orchestraï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 14 Missoula Symphony Choraleï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 15 Program Notesï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 16 Missoula Symphony Associationï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 25 Business Contributorsï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 30 Concert Sponsorsï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 31 Paul McShee Interviewï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 32 Scholarship Fundï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ 34
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president’s message Jim Valeo In my Holiday Pops program letter I raised some points that perhaps deserve an update. Our end of the year appeal letter resulted in a response from you that is most exciting. Total contributions were about 20% over budget and the total amount was a new high. In addition, we saw an increase of 25 donors for this season’s end of the year appeal. Your MSA board and staff thank you for this enthusiastic response. • The trip raffle matched the results of the first year. Long time MSA supporters Richard and Adele Allegra were the excited winners. Look for some exciting changes in the raffle for next year. • Finally, with 100% MSA board participation and a challenge of $4,000, the encore auction at the Holiday Pops concert again made its $12,000 budget. As I have said many times, the Missoula Symphony Orchestra and Chorale exist because of your involvement and support. The board and staff join in extending our sincere thanks. The orchestra and chorale have been excited to work with music director candidate Paul McShee on this concert. Enjoy the concert—the Mozart is considered one of the greatest works in the entire repertoire.
J i m Va l e o President, Missoula Symphony Association
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Missoula Symphony Association
Executive Director’s Message Jo May Salonen Hello and welcome to our first concert of 2020! Our third finalist, Paul McShee, has been with us for two weeks and as with all of our finalists – we have kept him busy working with our musicians and immersed in our community. We hope you’ll take the time to meet Maestro McShee, following the concerts and please remember to fill out the audience surveys. We again welcome our Chorale to the stage for Mozart’s Requiem, under the direction of Dean Peterson. This stunning work features four talented guest soloists and we extend to them a warm welcome to Missoula. Thank you for your generosity, as many of you gave to our organization at year end – we are very appreciative of your support! As I’ve said many times, there are so many places where you can spend your entertainment dollars and we are grateful you have chosen to spend your weekend with us.
Jo May Salonen Executive Director, Missoula Symphony Association
KUFM BROADCAST This concert will be broadcast over Montana Public Radio on Sunday evening, February 16, at 7 p.m.
KUFM Missoula, 89.1 KUFM N. Missoula, 91.5 KUFN Hamilton, 91.9 KUKL Kalispell, 90.1 KAPC Butte, 91.3 KUHM Helena 91.7, KUFL Libby, 90.5 KPJH Polson, 89.5 KGPR Great Falls, 89.9 Large-print copies of Program Notes are available upon request in advance of the event by calling 721-3194 or at www.missoulasymphony.org
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paul Mcshee, Music Director Finalist Music Directorâ€™s Chair sponsored by Rick & Diana Nash FIRST VIOLIN Margaret Nichols Baldridge, concertmaster Chair sponsored by Janet & Harry Haines. Loy Koch, associate concertmaster Chair sponsored in honor of M. Stephen Rasch and Lonye Rasch Madeleine McKelvey, acting assistant concertmaster Janet Allison Camas Allison-Bunnell Peter Dayton Wes Douglas Linda Lacey Nancy Lofgren Kohler Edwin Mellander Emily Rogers+ SECOND VIOLIN Kira Lee, acting principal Chair sponsored by Laura Patterson Pam Hillygus, associate principal Natalie Grieco, assistant principal Ken Ballinger Anneliese Broman Anna Elbon Patricia Forsberg Will Hunt Julie Lacey Maddi Ogle Patrick Shannon VIOLA Colleen Hunter, principal Chair sponsored by Mary Ann & Robert Moseley Martha Ballard Thayer, assistant principal Chair sponsored by Robert & Carol Seim Jodi Allison-Bunnell Shelby Blum Bayley Ginnaty+ Kathryn Mellander Lea Tonnere Christine Wallace Richard Wells Ryan Zoani+
CELLO Adam Collins, principal Chair sponsored by Dan & Sophia Lambros Christine Sopko, assistant principal Chair sponsored by Louisa & Paul Axelrod Melissa Armstrong Joan Chesebro Dawn Douglass David Harmsworth+ Sage Johns Tait Kuchenbrod DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey William James Dillon Johns Michael Johns Thomas Sciple Nicholas Timmerhoff
HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox Jason Barkley TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone Jens Jacobson TROMBONE Joshua Hungate, acting principal Chair sponsored by Frank & Maggie Allen Lexi Vine Chris Porter TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts
FLUTE Joanna Martin Berg, principal Chair sponsored by Laura & Mark Haythornthwaite Julia Vasquez
TIMPANI Robert LedBetter, principal Chair sponsored by Michael and Traci Punke
OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce Olivia Adams
HARP Peggy Young, principal Chair sponsored by Maria & Peter van Loben Sels
ENGLISH HORN Jennifer Gookin Cavanaugh, principal Chair sponsored by Jo May & Brian Salonen CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot Polly Huppert BASSOON Alicia L. McLean, principal Chair sponsored by Bill & Jean Woessner Logan Beskoon CONTRABASSOON JT Vineyard
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ORGAN Julian Jaszczak, acting principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams *Members of the string sections are listed alphabetically. Seating is rotated for each concert. +Missoula Symphony Scholarship Recipients
DEAN PETERSON, Chorale Director Chorale Director’s Chair sponsored by Doug & Caryl Klein Dorothy Beck Peterson, Accompanist SOPRANO Mary Ann Albee Erin Bray Lisa Buseman Lisa Corrigan Kristen Cottom Toni Evans Ellen Fiscus Theresa Floyd Jamie Frost Gina Hegg Ursula Holloway Julie McFarlane Megan McNamer Elizabeth Putnam Hannah Rostocki Lucy Ruediger Janet Seidel Ann Sharkey Laurie Simonson Cindy Spangler Kristie Speck Erika Sylvester Beth Taylor Wilson Blair Weinert Deborah Woody Mary Louise Zapp-Knapp ALTO Melissa Blunt Alicia Bullock Muth Karen Callan Rebecca Canfield-Perkowski Abigail Carey
Melanie Charlson Terri Daniels Sylvia Erickson Loreen Folsom Kate Gadbow Léonie Gooday Janet Haines Christiane Holmquist Susan Israel Robin Kendall Zona Lindemann Mary Ann Lorette Rust Tammie Newby Leslie Rieger Gay Rushmer Teresa Sobieszczyk Emma Spencer Anne Stewart Carol Stovall TENOR Tom Bensen Kyle Bocinsky Bruce Bowler Gary Bowman Craig Brown Chuck Bryson Daniel Cook Tyler Guidoni Erik Heuchert Lucas Mesenko Gerald Mueller Philip O’Connell John Patterson
Ira Robison Todd Scranton Phil Stauffer Kent Watson BASS Bob Albee Mike Bray Dan Cahalan Lance Collister Tom Cook Brad Elison Jon Ellingson Richard Erickson Donald Gisselbeck Harry Haines Peter Heyler Dick Hoskins Doug Klein Christopher Muste James Powers Keith Rieger Michael Rosbarsky Adam Sears Danny Smith David Tande Steve Thompson Ronald Wilcott Mark Woodward
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Program Notes By Joe Nickell Wolfgang Amadeus Mozart (1756 – 1791) — Requiem If you’ve seen the movie “Amadeus,” then you know the basic arc and circumstances of Wolfgang Amadeus Mozart’s life: A singular genius laboring in a world of petty aristocrats, not fully recognized for his talents, constantly struggling financially and inclined to impetuousness and mania — even as he churned out an enormous quantity of music that would someday be considered by many the most perfect distillation of the high Classical style. Dead before his 36th birthday, but in the end immortal. The film makes much drama out of Mozart’s final days: How the composer was approached by a mysterious commissioner (according to the film, it was the composer Salieri) to write a Requiem; how the composition of the piece so consumed Mozart that it became the death of him. It was a good ending for a movie. The facts, however, are even more tantalizingly elusive. It is known that the music was actually commissioned anonymously by the Austrian count Franz von Walsegg in memory of his wife, who had died at the age of 20. Overlaying that fact, however, is the first controversy; for some historians assert that Walsegg planned to later pawn off the composition as his own. Fortunately, the Requiem remains properly credited. Or does it? When Mozart died, his pupil, Franz Xaver Süssmayr, undertook completion of the score. When it was finished, Süssmayr claimed that the Sanctus, Benedictus, and Agnus Dei flowed entirely from his own pen. However, Mozart’s widow, Constanze, claimed that Süssmayr only polished up most of the sections, with the exception of the Sanctus, which she later wrote, “is entirely by the composer of the completion.” Settled? Not exactly; for some historians maintain that Süssmayr actually used material culled from Mozart’s peripheral notes for the Sanctus. To this day, noone knows the extent to which the pupil’s claims were true. Regardless of the work’s precise parentage, what we know is this: The Requiem stands as one of the most profound sacred works in the orchestral repertoire. Set for four soloists, chorus, boys’ choir, and orchestra, this six-movement composition contains some of Mozart’s most memorable music, beginning right out of the gate with the lumbering, almost dirge-like opening notes of the Introitus. Structured generally along the lines of the traditional Roman Catholic Requiem Mass for the dead (and sung entirely in Latin), Mozart’s Requiem ventures through a radiant and varied sonic world that ranges from prayerful to enraged. The Dies Irae (“Day of Wrath”) stands among the most breathtaking, fearsome passages of music in Mozart’s entire output; yet soon after that comes a Lacrymosa hymn that seems to float down from the very heavens.
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Mozart was not particularly known as a writer of sacred music; and even compared to his own previous church works, the Requiem is unusual in its focus on direct, unadorned vocal lines that often seem closer to the music of Bach than to Mozart’s own previous choral work. Its autumnal character is certainly owed, in part, to this approach; it is also a result of the music’s scoring, which lacks upper woodwind (clarinet, flute, and oboe) parts. While historians love to puzzle and argue over the Requiem, the rest of us can only marvel at the end result. This is, after all, a piece of music written partly by a very ill man and finished by a composer that almost nobody otherwise remembers. How could that possibly be the formula for a work that endures as one of the most profoundly moving, melodically rich musical compositions in history? If divine inspiration has any hand in music, it must be evident here. There is no logic to explain its existence otherwise.
Felix Mendelssohn (1809 – 1847) — Symphony No. 5 “Reformation” It is typically accepted that the numerical order of a composer’s symphonies is also a chronological order of their composition. That could hardly be farther from the truth in the case of Felix Mendelssohn. Chronologically, his symphonies should be ordered 1, 5, 4, 2, and lastly 3. For a perfectionist such as Mendelssohn, this confusing nomenclature might seem out of character. Truth be told, it was an obsession with order and clarity that created the mess in the first place. That perfectionism — and the talent that accompanied it — was evident from the composer’s earliest days. Born into a wealth and cultured family in 1809, Felix Mendelssohn was a youthful sensation. He gave his first solo concert at age nine. By 15, he had already penned 13 “petite symphonies” for string orchestra, as well as two concerti for two pianos, one violin concerto, three comic operas, and reams of smaller-scale works. The composer quickly became the most heralded musician in Germany, particularly after the premiere of his still-famous A Midsummer Night’s Dream — a composition completed at the age of 17. Prolific and precocious he was; but also endlessly self-critical. Over his lifetime, Mendelssohn obsessively revised his past scores, and sometimes simply withdrew them from performance. Such was the fate of the Symphony that we now know as his Fifth. In fact, this celebrated symphony nearly wasn’t ever heard at all. The original version was penned in 1830, on commission for a ceremony to be held on the 300th anniversary of Martin Luther’s famous Augsburg Confession. Mendelssohn was initially excited by the opportunity: A devout Protestant himself, he relished the challenge of creating a wordless symphony to celebrate the spiritual awakening of the Reformation. Moreover, he had become enamored with a new approach to symphonic construction known as “program music” — music with a narrative arc. Mendelssohn conceived of a work that would generally follow symphonic conventions perfected by his hero Beethoven: a four-movement piece with a hefty first movement in sonata style, a lively dance-style second movement, a slow and soulful third movement and an emotionally climactic finale. Over that he layered a loose narrative that plays on familiar music in an effort to depict what he viewed as the triumph of Protestantism over Catholicism. Pass the Baton
The first movement begins in the polyphonic style of Giovanni Palestrina, a 16th century Catholic composer of sacred music. The music builds to a prayerful climax on a cadence that would be familiar to churchgoers worldwide: the socalled “Dresden Amen,” a refrain penned for the Catholic royal chapel in Dresden. Mendelssohn treats this simple rising scale with reverent delicacy and returns to it again later in the movement; it may be that he viewed it as symbolic of the Protestant faith. Whatever the case, it makes for a remarkable effect and gives the movement its spiritual center. The middle movements of the symphony appear not to have any formal program to them; they are simply music that lends richness and diversity to the overall score. The second movement is an innocent, lively Scherzo built around a single rhythmic figure. The third movement takes the form of a plaintive, lovely song “sung” by the strings. The beautiful melody plays out in brief form, resolving with the first, solemn notes of the fourth movement, played on the flute. Those notes mark the resumption of the music’s program: The melody is “Ein feste Burg,” the well-known hymn by Martin Luther. This melody forms the backbone of the triumphal fourth movement, in which the trappings of old ways are traded for the new Romantic spirit and Protestant enlightenment. Mendelssohn seemed initially pleased and eager to share his new work. However, its planned festival premiere was canceled due to rising political tensions in Europe. A subsequently scheduled premiere in Paris was also canceled after the musicians proclaimed the score unplayable. This was a crushing blow to the sensitive composer. After significant revisions, the symphony was finally performed under Mendelssohn’s own baton in Berlin in November of 1832. Upon hearing it, the composer was not satisfied. He later proclaimed it “juvenile,” and refused to allow it to be published or performed again in his lifetime. Fortunately, after his death this and a number of other previously withdrawn works were published. (The confusing numbering owes to that sequence: This was the last of his symphonies to be published, even though it was the second written). The world has proven much more compassionate to this music than its own composer. Today Mendelssohn’s “Reformation” Symphony stands among his most performed works for orchestra.
Clef Notes Mozart — Requiem Mozart was still at work on his crowning work for chorus and orchestra when he died in 1791. Completed by his pupil Süssmayr, the sixmovement Requiem is nevertheless now widely considered one of the most powerfully unified expressions of loss, longing, faith and mystery in the musical repertoire. Mendelssohn — Symphony No. 5 “Reformation” Technically the second symphony that the early 19th century German composer penned, this ambitious symphony follows the traditional fourmovement structure of a symphony while also tracing a broad program that expresses Mendelssohn’s belief in the triumph of Protestantism. 18
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FEBRUARY 7, 2020 Friday 7PM | Dennison Theatre
Classical music made fun for the young and young at heart. www.Blackfoot.com Join the Missoula Symphony Orchestra and the Montana Natural History Center for “Sleepover at the Museum.”
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pResiDent Jim Valeo
patRon seRVices cooRDinatoR Kirsten McGlynn
Vice pResiDent Julie Tomasik
DeVelopMent cooRDinatoR Beth Woody
tReasuReR Ben Yonce
eDucation cooRDinatoR Sylvia Allen Oman
secRetaRy Bill Johnston
special eVents anD pRoJects Deborah Woody
past pResiDent Ed Wetherbee
inteRns Olivia Adams Rory Anderson
DiRectoRs Adam Collins, Andrew George, Mark Haythornthwaite, Theresa Johnson, Bill Johnston, Robin Kendall, Celeste Peterson, Deborah Stapley-Graham, Jeff Vandergrift eXecutiVe DiRectoR Jo May Salonen choRale DiRectoR Dean Peterson DiRectoR oF opeRations Peter McKenzie
eMeRitus BoaRD oF DiRectoRs Tom Boone Robert Homer Caryl Klein Sophie Lambros Mora Payne Carol Seim John Talbot Marci Valeo The Missoula Symphony Association is a member of the Montana Association of Symphony Orchestras and the League of American Orchestras.
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MONTANA SUZUKI INSTITUTE PRESENTED BY THE MISSOULA SYMPHONY ASSOCIATION
The Suzuki Method is based on the principle that all children possess ability that can be developed and enhanced through a nurturing environment. Though the Suzuki method enables children to play music to a high standard, and many Suzuki-trained students have become highly acclaimed professional musicians, the training of professionals is not the aim: the emphasis throughout is on the development of the whole child. The goal is to develop a supportive community around our children – one in which parents and teachers work together to ensure that the full potential of every child is developed. Mr. Suzuki’s vision was “education that inculcates, brings out, develops the human potential... that all children on this globe may become fine human beings, happy people of superior ability, for I am convinced that all children are born with this potential.” We are proud and honored to present the Montana Suzuki Institute; offering musical instruction of the highest quality to children of all ages in a nurturing environment that brings families together. Your support in any amount will make a meaningful impact on the Montana Suzuki Institute. Thank you!
MONTANA SUZUKI INSTITUTE SUPPORTERS The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of January 9, 2020. We apologize for any omissions or errors.
SHINICHI CIRCLE – ($5,000+) MINUET – ($150 - $299) SPONSOR – ($2,000 - $4,999) SUSTAINER – ($1,000 - $1,999) Max & Betty Swanson Foundation
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concert SPonSorS 2019-2020
SyMPhony in the ParK
S E PTEM B ER 2 8 & 2 9 , 2 0 1 9
AUGUS T 1 8 , 2 0 1 9
Bill & Phyllis Bouchee The Washington Companies | Anonymous (x4) | Doubletree By Hilton Hotel Garlington, Lohn & Robinson, PLLP | Kathy Ogren Republic Services of Montana | S.G. Long & Company | Langel & Associates Merrill Lynch
N OV E MBE R 2 & 3 , 2 0 1 9
D ECEM B ER 7 & 8 , 2 0 1 9
Dolores and George Bandow
Paul M C Shee
SleePover at the MuSeuM
FE BR UAR Y 1 & 2 , 2 0 2 0
F E B RU A RY 7 , 2 0 2 0
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FE BR UAR Y 29 , M A R C H 1 , 2 0 2 0
A PRIL 1 8 & 1 9 , 2 0 2 0
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An interview with Paul McShee By Joe Nickell, MSO percussionist & program notes author Joe: Talk to me about how you became aware of the MSO position, what sparked your interest, what you know about Missoula. Paul: What really attracted me to, not just the orchestra, but the town in general, is how much there is going on. And how many opportunities there are to collaborate and to do things a little bit differently. With so many things going on in the community, there’s so many opportunities to collaborate and to bring new energy and fresh life to what it is that we’re doing. Then the orchestra itself...It’s a mix of people with varying experiences but they’re people who do it because they love it. Because it’s part of who they are. And that is so exciting to me to work with people like that, and to bridge the gap between what can be perceived otherwise as a kind of an elitist or aloof art form and the people of the community. It can create a really genuinely exciting dynamic between the orchestra and its place. Coupled with that is sort of a personal kind of quirk of mine is that I love to ski. So having the mountains and the weather that leads to good snow is really very attractive. Joe: What inspired this particular program, and how would you approach a whole season if you were the MSO conductor? Paul: One of my absolute favorite choral works is the Mozart Requiem. There is something very moving about the Requiem, because it was Mozart’s last work. But there is also something kind of timeless about it. There’s this complexity in the counterpoint and the way that the orchestration hearkens back to Bach and the great masters. But Mozart’s use of harmony and other very modern-at-the-time elements throughout the piece is really quite novel looks forward to composers like Beethoven and even almost Berlioz — the way he paints and the way he presents all these new colors. Coupled with that, it’s a piece that I find to be very human. A lot of requiems are kind of aloof and metaphysical about what death is and they try to sort of philosophically bring you to a place where you can understand it; whereas Mozart’s, I think, is really seen from the perspective of the person who is left behind. So you have sort of the sadness in the introduction and the Kyrie followed by just the terror that you experience with the Dies irae. There’s so many contrasts within the piece that make it very approachable, and it makes death something we can kind of relate to. Most people have lost someone. It makes it a really timeless piece. And then the Mendelssohn symphony pairs with Mozart beautifully. They’re in the same key of D minor, and again there is something very human and very kind of tangible about what it is that Mendelssohn’s trying to do. He is looking at the Reformation and so he hearkens back to earlier composers with his complex counterpoint and fugues. But then there’s comedy in Mendelssohn’s music. The second movement is almost silly. It’s a peasant dance. There’s moments you could hear a beer hall and people clinking steins together. It’s taking something as complex as one of the greatest religious revolutions of the past several centuries and putting it into your daily life in a way that is really quite contemporary in some ways, and still quite relevant. In the bigger picture, programming is one of our biggest tools to making classical music more accessible, and also making sure we’re being diverse with our classical music. So for example I have a list of maybe 50 or 60 pieces by under-represented 32
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composers — female composers, African American composers, composers of color, composers from the LGBTQ community. Making sure that they’re represented and most importantly, making sure that they’re represented in a way that isn’t just tokenism. So perhaps making one of those pieces the centerpiece of the program. And whenever I program those pieces, I always make sure there’s a serious education effort that goes around it, so that the audience will know what to expect and that they don’t feel like they’re taking a risk by coming to hear our concert. So that we can do right by our audience to make sure there’s something for them, there’s something that they can latch onto and understand and appreciate about the music. I also think it’s important to have a healthy dose of new music, and then my academic research is on the late German Romantics. Brahms, Mahler, and Wagner. Brahms in particular is very close to my heart, and a big reason why I am a conductor. And Brahms I find to be a fabulous composer to get to know an orchestra with. Because it takes so much vulnerability, both from the orchestra and the conductor, to find the common language and the expressivity of the music without being over the top, which is often the problem when people perform Brahms. So, you know, those are a couple of my guiding lights. Then of course, making sure that when we recruit soloists who are going to bring the orchestra up. As a player, I always hated when I’d accompany a soloist and all I was playing was ‘boom-chick, boom-chick.’ It’s not fun for the orchestra, it makes for what I feel to be a little bit of lazy music-making, both from the part of a conductor and the orchestra. The idea is to build the orchestra and to allow them to really be a partner, not just a tool for something else. And then finally, the last prong of my programming is collaboration. So that’s about working with composers, working with other arts organizations, visual art and theater, to find new ways of connecting with each other and with different audiences, different ages, different demographics, different racial profiles, gender profiles, everything. The business is changing where we can’t be in our lane doing our own thing. We have to create opportunities. Creating opportunities for our partners in the area and other arts organizations and other even local businesses. And then ultimately, if it brings in more or different or new people into the concert hall, it was worth it.
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ScholarShiP Fund Continuing the grand tradition of the Missoula Symphony Guild, the Missoula Symphony Scholarship Fund is dedicated to providing scholarships for outstanding University of Montana music students who play in the Missoula Symphony Orchestra or sing in the Missoula Symphony Chorale. This year, the Missoula Symphony Association will award a total of $6,500 in scholarships to five talented young musicians. This commitment is possible thanks to the generosity of the individuals listed below. Every penny of their donations goes directly to scholarships. Our 2019-2020 scholarship recipients are noted on the Orchestra Roster with a “+” sign.
ScholarShiP Fund SuPPorterS The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of January 9, 2020. We apologize for any omissions or errors.
PRESTISSIMO ($500+) Janet Boyer PRESTO ($250 - $499) Anita Kurtz Magee Carol Word Mary & David Wesley VIVACE ($100 – $249) Tom & Ann Boone Cathy Capps & Tom Rickard Jane Dennison Donald & Shirley Hyndman Dan & Sophia Lambros Dorothea & George Lambros Karen & Jerry McConnell Karen A. Orzech Sara Alice Steubs
Linda Stoudt John & Sue Talbot Jim & Marci Valeo Dr. & Mrs. F. L. Whitsell Betsy & Warren Wilcox William & Jean Woessner ALLEGRO ($50 - $99) Brenda Bolton Betty Christian Karin Dague Jim & Kay Driscoll Marlene Koch William & Sarah Towle ANDANTE ($25 - $49) Jo May & Brian Salonen Carol Stovall
To be a part of the Missoula Symphony Scholarship Fund, contact the Symphony Office at 721-3194, or mail a check payable to Missoula Symphony Scholarship Fund to PO Box 8301, Missoula 59807. Donations are 100% tax-deductible.
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