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Julia Tai

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SEPTEMBER 28 & 29, 2019

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Missoula Symphony Association

The Missoula Symphony Association Presents

Julia tai, Music Director Finalist Featuring JeFFRey BieGel, Pianist Saturday, September 28, 7:30 P.M. & Sunday, September 29, 3:00 P.M. 65th Season, 2019-2020

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Three Dance Episodes from On the Town The Great Lover Lonely Town: Pas de deux Times Square: 1944


Concerto in F for Piano and Orchestra Allegro Adagio – Andante con moto Allegro agitato Jeffrey Biegel, Piano



Symphony in E minor (Gaelic), Op. 32 Allegro con fuoco Alla siciliana – Allegro vivace – Andante Lento con molto espressione Allegro di molto

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Julia Tai Music Director Finalist Praised by the Seattle Times as poised yet passionate, Julia Tai is quickly becoming one of today’s most dynamic young conductors on the international stage. She has conducted orchestras around the world, including the American Youth Symphony, Bakersfield Symphony Orchestra, Bohuslav Martinu Philharmonic (Czech Republic), Brandenburger Symphoniker (Germany), Estonian National Youth Symphony (Estonia), New Symphony Orchestra (Bulgaria), Orquesta Filarmónica de la UNAM (Mexico), Orquesta Sinfónica Juvenil Charlos Chávez (Mexico), and the Seattle Symphony. As the Music Director of Philharmonia Northwest, Julia Tai has established a reputation for her creative programming and community partnerships. Under her direction, the orchestra has developed a robust outreach program, working with students from elementary to high school, as well as collaborating with dancers and visual artists. Tai is also the conductor and Co-Artistic Director of the Seattle Modern Orchestra, which champions the music of today, commissioning and premiering new works from an international lineup of composers. The orchestra operates at that exciting cusp between old and new, between tradition and innovation, (Vanguard Seattle) and is where the future is more likely to be found (Alex Ross, The New Yorker). Born in Taipei, Taiwan, Tai received her Bachelor and Master of Music degrees from the University of Southern California Thornton School of Music, where she was awarded “Outstanding Graduate.” She holds a Doctor of Musical Arts degree in orchestral conducting from the University of Washington.


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Jeffrey Biegel Piano Since 1999, Jeffrey Biegel has commissioned ten composers to bring new music for piano and orchestra to the repertoire. Considered the most prolific artist of his generation, Moravian College in Bethlehem, PA, conferred the Honorary Degree of Doctor of Humane Letters upon Mr. Biegel, for his achievements in performance, recordings, chamber music, champion of new music, composer, arranger and educator. Among his recent recordings and performances, Mr. Biegel performed the World Premiere of Giovanni Allevi’s ‘Concerto for Piano and Orchestra’ with Orchestra Kentucky and in Milan’s Teatro dal Vermes, recording with Orchestra Sinfonica Italiana. In 2019, Grammy winning composer, Dick Tunney unveils the new “Peanuts Concerto” for piano and orchestra based on music by Vince Guaraldi for its World Premiere with Orchestra Kentucky and Mr. Biegel. Equally championing pop music icons, Mr. Biegel has brought Jimmy Webb’s ‘Nocturne for Piano and Orchestra’ to the public and, PDQ Bach’s ‘Concerto for Simply Grand Piano and Orchestra’ by Peter Schickele with the Colorado Symphony Orchestra. The first solo digital recording on Mr. Biegel’s Naturally Sharp label will be released in 2019, and, in 2020, he will premiere Jim Stephenson’s first piano concerto, tentatively titled, “Water” - in both its life-sustaining and destructive forces. A leading pioneer of concerto projects joining multiple orchestras as a model for commissioning new music in the 21st century, Mr. Biegel created the first largest consortium of orchestras in 1998. Additionally, Mr. Biegel is an avid composer and his choral music is published by the Hal Leonard Corporation, Carl Fischer, Porfiri & Horvath and The LeDor Group. Leonard Bernstein said of pianist Jeffrey Biegel: “He played fantastic Liszt. He is a splendid musician and a brilliant performer.” These comments launched Mr. Biegel’s 1986 New York recital debut, as the third recipient of the Juilliard William Petschek Piano Debut Award in Lincoln Center’s Alice Tully Hall. He studied at The Juilliard School with Adele Marcus, herself a pupil of Josef Lhevinne and Artur Schnabel, and is currently on faculty at the Conservatory of Music at Brooklyn College, a City University of New York (CUNY).

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contents President’s Message��������������������������������������������������������������������������������������� 8 Executive Director������������������������������������������������������������������������������������������ 9 Missoula Symphony Orchestra������������������������������������������������������������������ 10 Program Notes���������������������������������������������������������������������������������������������� 13 KUFM Broadcast������������������������������������������������������������������������������������������� 16 Missoula Symphony Association��������������������������������������������������������������� 21 Business Contributors��������������������������������������������������������������������������������� 26 Concert Sponsors����������������������������������������������������������������������������������������� 27 Scholarship Fund������������������������������������������������������������������������������������������ 30

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president’s message Jim Valeo Welcome to the opening concert of the Missoula Symphony Orchestra and Chorale’s 2019-2020 season, the orchestra’s 65th. This is a history making season, one that will shape the future of the MSA for perhaps years to come. Tonight you will meet Julia Tai, the first of five candidates from whom one will be chosen the Music Director of the MSO. Your search committee has worked diligently, sorting through well over 100 applicants and has chosen these five candidates considering a myriad of criteria including experience, talent, personality, knowledge, compatibility, and, perhaps most important, fit with the Missoula community. Now it is up to you—our audience, community, and musicians--to assess the committee’s work and to help determine our next leader. As you will see starting with this concert, everyone will have a part in this process and please be aware that I am available to discuss your thoughts at any time. Enjoy the season.

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

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Executive Director Jo May Salonen Welcome to our season opener concert, featuring our first Music Director finalist, Julia Tai. We have spent the past two weeks with Julia and are thrilled you now get to meet and experience her leading the Missoula Symphony Orchestra. Ms. Tai has selected an intriguing and diverse program – under her direction our orchestra will perform selections from two “giant” composers of the 20th century, Bernstein and Gershwin, along with the Gaelic Symphony written by the first, successful American female composer, Amy Beach. I think you’ll be quite pleased! As our Board President Jim Valeo said, we want your feedback about each of our Music Director finalists and strongly encourage you to fill out the survey form. You really do have a say in selecting the next conductor for YOUR Missoula Symphony. Enjoy and thank you for joining us for this concert season. Jo May Salonen

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Julia tai, Music Director Finalist Music Director’s Chair sponsored by Rick & Diana Nash FIRST VIOLIN Margaret Nichols Baldridge, concertmaster Chair sponsored by Janet & Harry Haines. Loy Koch, associate concertmaster Chair sponsored in honor of M. Stephen Rasch and Lonye Rasch Janet Allison Camas Allison-Bunnell Sally Daer Wes Douglas Peter Dayton Tasha Fain Suzanne Hartzell Linda Lacey Nancy Lofgren Kohler Madeleine McKelvey Edwin Mellander SECOND VIOLIN Kira Lee, acting principal Chair sponsored by Laura Patterson Pam Hillygus, associate principal Natalie Grieco, assistant principal Ken Ballinger Anneliese Broman Patricia Forsberg Jeanne Hargett Will Hunt Julie Lacey Maddi Ogle Emily Rogers+ Patrick Shannon VIOLA Colleen Hunter, principal Chair sponsored by Mary Ann & Robert Moseley Martha Ballard Thayer, assistant principal Chair sponsored by Robert & Carol Seim Jodi Allison-Bunnell Leslie Collins Rose Bayley Ginnaty+ Kathryn Mellander Lea Tonnerre+ 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 Susan Anderson Melissa Armstrong Joan Chesebro Dawn Douglass David Harmsworth+ DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey Martha Ilgenfritz William James Dillon Johns Michael Johns Nicholas Timmerhoff FLUTE Jennifer Cooper, principal Chair sponsored by Laura & Mark Haythornthwaite Julia Vasquez Hugo Romero OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce Olivia Adams ENGLISH HORN Jennifer Gookin Cavanaugh, principal Chair sponsored by Jo May & Brian Salonen CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot Polly Huppert Daniel Sullivan BASSOON Alicia L. McLean, principal Logan Beskoon

TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone Jens Jacobsen James Smart TROMBONE Rob Tapper, principal Chair sponsored by Frank & Maggie Allen Tomi Kent Chris Porter TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts TIMPANI Robert LedBetter, principal Chair sponsored by Michael and Traci Punke PERCUSSION Samuel McKenzie, assistant principal Rosie Cerquone Jonathan Woods HARP Peggy Young, principal Chair sponsored by Maria & Peter van Loben Sels PIANO Christopher Hahn, principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams


*Members of the string sections are listed alphabetically. Seating is rotated for each concert.

HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox Clay Kellogg, assistant Jason Barkley Daniel Lande Robert B. Green

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Tickets available at the UMArts Box Office, by phone at 406-243-4581 or online at www.umt.edu/griztix This event is presented to help support the UM Keyboard Society and the pianos at the University of Montana

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Program Notes By Joe Nickell Leonard Bernstein (1918-1990) — Three Dance Episodes from On the Town For many Americans growing up in the 1950s, Leonard Bernstein was classical music. This young, vivacious musician—the first American-born maestro to ever hold a major conducting post in this country—took orchestra concerts out of the concert hall and put them on radio and television, bringing the glories of classical music into the living rooms of millions of Americans. Through his keen insight and contagious love of music, Bernstein schooled a generation in the subtleties and range of classical music. Bernstein was a particular advocate for American music, and particularly musical theatre. He once wrote that, “the whole development of musical comedy in this country is based on its ever-increasing alliance with American elements, American subject matter, American themes and American musical vernacular...” So it only made sense that he would eventually compose music for Broadway. In 1943, a young choreographer by the name of Jerome Robbins approached Bernstein with the idea of collaborating on a ballet about 24 hours in the life of three sailors on shore leave in New York. Bernstein soon produced the score for the ballet, Fancy Free, which premiered in April of 1944. The set designer for the ballet, Oliver Smith, suggested it would make an excellent musical as well. Within months, Bernstein and Robbins, along with lyricists Betty Comden and Adolph Green, produced On the Town. It was an instant hit; but more importantly, it introduced Broadway to the composer and choreographer, both of whom would soon become central figures in the world of musical theatre. Bernstein himself called the musical “a happy and moving show about wartime, in the lightest possible vein, but with a most serious esthetic means.” That summation shines through in the music that Bernstein later culled out for the suite of three dance episodes that we will hear in this concert. By turns jazzy, sentimental, frenetic, and pictorial, Bernstein’s music perfectly captures the spirit of its time and place. The first dance episode depicts Gabey, one of the musical’s central characters, as he excitedly searches the city for the poster-girl he has fallen in love with. In the wistful second dance, Gabey laments that, despite its constant hubbub, New York is a lonely town. In the third dance, the three sailors celebrate their exploits in Times Square.

George Gershwin (1898-1937) —Piano Concerto in F In 1924, George Gershwin had his first major breakthrough into the world of ‘serious’ music with the now-classic Rhapsody in Blue for piano and jazz orchestra. Despite the work’s immediate popularity with concert audiences, critics still viewed Gershwin as an interloper in the concert hall — a tin pan alley songspinner and nothing more. It didn’t help that Gershwin had called on composer/ Pass the Baton


conductor Ferde Grofé to orchestrate the Rhapsody. Word had it that Gershwin didn’t know how to score his own works. But he did have his fans in the establishment, among them Walter Damrosch, then-musical director of the New York Symphony Society. On April 17 of the following year, Damrosch engaged Gershwin for the production and seven performances of a piano concerto. After signing the contract, Gershwin laughed that he would have to read up on what, exactly, a concerto was. Underneath the music’s surface, it’s clear that the composer had more than a small chip on his shoulder. “Many persons had thought that the Rhapsody was only a happy accident,” he later told his biographer, Isaac Goldberg. “Well, I went out...to show them that there was plenty more where that had come from. I made up my mind to do a piece of absolute music.” For this last reason Gershwin soon abandoned the work’s original working title, New York Concerto; and for the other reasons, he chose this time to complete all of the orchestration of the Concerto in F himself. In the end, this is surely the more wide-ranging and ambitious work when compared to the Rhapsody. While it may come up a dime short of those soaring, can’t-get-it-outta-your-head melodies, its three-movement structure builds more variant moods, from the sublime Charleston that opens the work, to the captivating entry of the piano, the restless quietude of the second movement’s opening theme, the aggressive rondo of the third movement—this is a concerto

Clef Notes Bernstein — Three Dance Episodes from On the Town Culled from the American composer’s first musical, these exuberant miniatures capture the dazzling excitement of New York in the 1940s, as experienced by a trio of sailors on shore leave. Gershwin — Piano Concerto in F A follow-up to Gershwin’s immensely popular Rhapsody in Blue, this work more closely follows the typical structure of a concerto while still exhibiting the composer’s incomparable gifts as a jazz melodist. Beach — “Gaelic” Symphony The first major symphony by a woman composer, this four-movement work draws on the spirit of Gaelic music to create a symphony that is at once weighty and dramatic, while still rooted in innocent, simple melodies.


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proper, by any measure; and a concerto that has justifiably become a fixture of the American repertoire.

Amy Beach (1867-1944) — Symphony in E Minor, “Gaelic” Born in 1867, Amy Beach developed precocious talents that today seem inconceivable or, at best, exaggerated: before her second birthday she is said to have been able to sing 40 tunes, always in the same key; a year later she was improvising vocal harmonies to her mother’s singing; and she gave her first public piano recital at age seven, playing works by Handel, Beethoven, and Chopin. It’s thus hardly surprising that she was to later become the first great woman composer and one of the most influential figures in American music history. Her music was performed across America and Europe during her lifetime, and her “Gaelic” Symphony was the first symphony composed by a woman to be performed by a major American orchestra. At the time that she considered taking up the challenge of a full-scale symphony, Beach was unaware of any American or European woman who had successfully written and received performances of a symphony. The reasons seemed painfully obvious enough: symphonies required the services of a sympathetic conductor and orchestra to pull off — and all the leading conductors and musicians of the time were men. It was another outsider — a composer of foreign descent living in America — who cemented Beach’s resolve and inspired the symphony’s character. In May of 1893, Czech composer Antonín Dvorák made a widely publicized proclamation that Americans needed a true native music of their own, and that such music should be “founded upon what are called negro melodies.” A number of leading American composers responded to Dvorák’s call in a series of responses published in the Boston Herald, including Beach — who argued that African Americans were no more “native” than Italians, Swedes, or Russians. She ended her response by asserting: “we of the North should be far more likely to be influenced by the old English, Scotch, or Irish songs, inherited with our literature from our ancestors.” Dvorak’s declaration set the stage for the premiere of what would become his signature work, and the most important early “American” symphony in history: the “New World” Symphony. Within a month of the premiere of Dvorak’s masterpiece, Beach began composing her own symphony in earnest. She took her subject matter seriously, studying Irish history and transcriptions of folk tunes; some of those melodies ultimately appeared in the symphony, which she completed in 1896. The new work was premiered by the Boston Symphony and was instrumental in elevating Beach’s reputation. The symphony is structured in the traditional four movements, with hefty outer movements framing lighter middle movements. The first movement begins with a stormy rumble before introducing the first and second themes, both of them borrowed from Beach’s own folksong, “Dark is the Night.” The movement plays out in traditional sonata form, and features a third theme presented by the woodwinds in imitation of a bagpipe. Pass the Baton


The second movement is, by contrast, lilting and light, built again on a borrowed melody — in this case the tune, “The Little Field of Barley.” Beach’s skills as an orchestrator are here highlighted, with colorful textures and motoric rhythms carrying the movement forward. The third movement is intended to evoke, in Beach’s words, “the laments of a primitive people [the Irish], their romance and their dreams.” The music is built on two traditional melodies, “Cushlamachree” and “Which way did she go?,” which Beach stretches to encompass moods that range from quiet lyricism to passionate heroism. The finale, according to Beach, “tries to express the rough, primitive character of the Celtic people, their sturdy daily life, their passions and battles, and the elemental nature of their processes of thought and its resulting action.” Constructed entirely on original melodies, the movement richly evokes the spirit of traditional Irish music and the stark, open vistas of the north country before ultimately arriving at the music’s final coda — a rush of exuberance that comes in wave after wave, leading to a rousing ending.


This concert will be broadcast over Montana Public Radio on Sunday evening, October 13, at 8 p.m.

KUFM Missoula, 89.1

KUHM Helena 91.7,

KUFM North Missoula, 91.5

KUFL Libby, 90.5

KUFN Hamilton, 91.9

KPJH Polson, 89.5

KUKL Kalispell, 90.1

KGPR Great Falls, 89.9

KAPC Butte, 91.3

Large-print copies of Program Notes are available upon request in advance of the event by calling 721-3194 or at www.missoulasymphony.org 16

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Welcome to Missoula, Julia. We hope you’ve enjoyed your time in Missoula. We can’t wait to hear what you and the Missoula Symphony have stirred together for all of us.

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We invest in community Josh Gimpelson Senior Vice President – Branch Director Tom Hayes Vice President – Financial Advisor Kimberly Shappee Vice President – Financial Advisor

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Gary Kiemele Senior Vice President – Branch Director Missoula Office 125 Bank Street, Suite 700 Missoula, MT 59802 (406) 728-0035 Investment and insurance products: • Not insured by the FDIC or any other federal government agency • Not a deposit of, or guaranteed by, the bank or an affiliate of the bank • May lose value A division of RBC Capital Markets, LLC, Member NYSE/FINRA/SIPC.

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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 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.

The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $50 or more within 12 months of September 7, 2019. We apologize for any omissions or errors. SEASON SPONSOR Good Food Store CONCERT SPONSORS Anonymous (4) George & Dolores Bandow Blackfoot Bill & Phyllis Bouchee Candice Boyer– In memory of Martin & Marion Boyer Christian Samson, P.L.L.C. D.A. Davidson & Company DeMarois Buick-GMC-Mercedes Doubletree Hotel Missoula-Edgewater First Security Bank

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


MUSIC DIRECTOR’S CHAIR SPONSOR Rick & Diana Nash CHORALE CONDUCTOR’S CHAIR SPONSOR Doug & Caryl Klein Maestro ($25,000+) Will and Kay Cook CONDUCTOR ($5,000-$24,999) Anonymous George & Dolores Bandow Lee Ann Bradley in memory of Jim Clapp Good Food Store Doug & Caryl Klein Patricia Forsberg & Stephen Speckart Windfall Studio Twila Wolfe – Principal Piano SPONSOR ($1,000-$4,999) Frank & Maggie Allen – Principal Trombone Anonymous (4) Louisa & Paul Axelrod – Assistant Principal Cello Deann Birnel Fred & Diane Bodholt Tom & Ann Boone – Principal Trumpet Janet Boyer Caffe Dolce Cathy Capps & Tom Rickard Joan Chesebro Richard & Alice Dailey – Principal Bass Pam Gardiner & Lyle Geurts – Principal Tuba Bo & Karen Gardner Lyle & Gail Grimes Janet & Harry Haines - Concertmaster Laura & Mark Haythornthwaite– Principal Flute Ed & Donna Heilman In loving memory of Virginia Johnston from her family Dr. Llewellyn & Sandra Jones Janne Joy Charlotte Kasl Daniel Kemmis & Jean Larson Paul & Christine Kilzer Keith & Wendy Kuhn Dan & Sophie Lambros – Principal Cello George & Dorothea Lambros Jo-Ann & Ian Lange – in memory of Paol & Eric Bodholt Jeff & Sandra Miller Missoula Broadcasting Company Montana Association of Symphony Orchestras Mary Anne & Robert F. Moseley – Principal Viola Old Sawmill District Laura Patterson – Principal Second Violin Brad & Celeste Peterson Michael and Traci Punke – Principal Timpani In honor of M. Stephen and Lonye Rasch – Associate Concertmaster


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Amber & Lans Richardson Jo May & Brian Salonen – Principal English Horn Robert & Carol Seim – Assistant Principal Viola Don & Sharon Snavely Stockman Bank Deirdre Swanson John & Sue Talbot – Principal Clarinet Betty Thisted William & Sarah Towle Marci & Jim Valeo Jeff & Aggie Vandergrift Maria & Peter van Loben Sels– Principal Harp Edward & Leslie Wetherbee WGM Group INC Betsy & Warren Wilcox – Principal Horn Wipfli LLP Jennifer & Ben Yonce – Principal Oboe BENEFACTOR ($600-$999) Missoula Community Foundation Donald & Charla Murray Walt & Peggy Peschel Gary Spetz Carol Vickstrom Dr. & Mrs F. L. Whitsell Clem & Alice Williams William & Jean Woessner CONTRIBUTOR ($450-$599) Kathy Abarr Philip & Elaine Alman Anonymous Anne & Jon Bertsche Dr. James & Mary Ann Bigelow Barbara & Craig Burns Chris & Jenifer Caldwell James & Jeanne Clark Kathleen Evans & Dariusz Janczewski Michael & Louise Flanagan D. Gayle Gellerstedt Andrew George Ann C. Houston Donald & Shirley Hyndman Terry & Deb Johnson Anita Kurtz Magee Robin & Nick Nichols Sandra Roe John Sargent Sandy Sheppard - In honor of Marci & Jim Valeo Jean & Jan Steele Herbert Swick – In honor of Darko Butorac Judith Williams Peggy Young PATRON ($250-$449) Anonymous Richard & Adele Allegra Cynthia & Raymond Aten

ATTICrrg Will & Coco Ballew Firman Brown Tom & Sally Daer Debra Dawson Peter Dayton Nancy Jean DeCou Brian & Kathy Derry James A. & Mary Kay Driscoll Victoria Fleischer - in memory of Alice Haynes Carolyn Goren Doosy Habbe Pete & Gingy Heyler William James Bill & Dori Johnston Tomi Kent James & Donna Koch Marlene Koch Caroline Kurtz Everett & Marilyn Leitzke Betty Lohn John W. Larson & Helena S. Maclay in memory of Frances H. Maclay & Rae M. Dabbert Donna & Donald McCammon Michael & Joyce Nave Kent Nelson Sally Porter – in memory of Nick Porter Philip & Lisa Rae Roper Drs. George & Kathy Roth Nancie Schumacher John Snively Nat & Margo Sturgis Richard & Cristin Volinkaty Bruce & Charlotte Whitehead Norman & Phyllis Wight ASSOCIATE ($100-$249) Roger & Judith Ahrens Brenda Allington Audrie Allyn & Keith Hardin Arlene & David Andrews Mea Andrews Anonymous Susan H. Armstrong Kenneth & Sharee Ballinger Jim & Gen Beery Tony Beltramo – In Memory of Marlene Richard & Patricia Blank Brenda Bolton Philip & Marcy Bornstein Bruce & Molly Bowler Rose-Marie Bowman Hope Campbell Steve & Lorraine Carlson Mary Carlson John & Karyn Collins Steve and Janelle Corn Lisa Corrigan Milt & Joan Datsopoulos Elaine Davis

JoAnn G. Davison Jane Dennison David V. Diggs Royce & Mary Engstrom Donna Erickson Georgia Fine Deirdre Flaherty Susan & Bill Fortner Lynda Frost Donald & Mary Gillespie Keith & Carol Glaes Carla Getz Anne Guest William Haffey Donna & Jules Haglund Overton & Jeanne Hargett Fern Hart Robert & Millicent Hawkins Carol Hayes Bob & Sharon Hinshaw Andrij & Paulette Holian Norm Jacobson David & Penny Jakes Catherine & Donald Jenni Susan & Charles Johnson Theresa Johnson Joan Johnston Jane Kapler Smith Don & Donna Lee LaBar Sandra Lawler Chuck & Melissa Leonard Paul & Beth Loehnen Gerald & Sharon Marks Andrew Massie Eileen McCarty Scott & Patti McKenzie Edith McNenny Lynn Metcalf Gerald & Caralee Mueller Christopher Muste and Karen Ruth Adams Marge Nordin Donna Oberhofer Shirley Oliver Faye & George Olsen Donald & Joan Olson John Duffield & Kathleen Ort Diana Pacini Chris & Janet Palmer Judith & Joseph Perine Gary & Mary Pickens Lisa Plunkett Chris & Addie Porter Denis Prager Jonathan Qualben Heather Ready Earl Reinsel William & Joanne Reynolds Susan & Richard Roberts Sharyn Rogers Sally Rosenkranz Del Hiesterman & Shawn Rosscup Jon & Kay Salmonson Pass the Baton


Robert Schurr Maxine Searles Pamela & Michael Shapiro Don & Mary Shaughnessy Myra Shults Nancy Singleton Michael Silverglat Irene Smith Kathleen Snodgrass Robert Stanchfield Deborah Stapley-Graham Sara Alice Steubs Steve & Cheryl Thompson John Philip Garrity & Jean Marie Thorstenson Sally Tibbs Laura Timblo Fran Tucker Kathy Turner Robin Turner – in honor of Kathy Turner Becky Voisine Stewart & Mysta Ward Jane Wells Mary Welti Carol Word Patricia Zapp MEMBER ($50-$99) Robert Acker and Martina Baum-Acker Barbara Blegen Ann & Jerome Brenner Patti Canaris Janene Caywood Conflux Brewing Company Ruth Ann Duperron Jacqueline Elam Maria Francis- In Memory of Margrit Syroid James & Dian Free Elena Furrow Beth Hart Evelyn Henry John & Katharine Hunt Christine Jackson Jane & Frank Kisselbach Wendy Lambert Fran Lawrence Richard Legon


Karla Long In Honor of Donald L. McCammon In Memory of M/Sgt. Barbara L. McCammon Betty Miller Melanie L. Miller Toni & Bob Ogg Al Ostrander Lorraine Pankratz Barb & Art Pencek Terry Quinn Gay Rushmer Dick & Laela Shimer Beeb & Michelle Smith Nita Smith Kristen Sohlberg Traci Sylte Walter Wilde Dennis & Karen Workman MEMORIAL DONATIONS Banna Financial Advisors - In Memory of Ina Pearson Kurz Barbara Blegen – in memory of Dorothy & Hal Blegen Ann & Tom Boone – in memory of Don Habbe Anne Frugoli – in memory of Marie Boss Hal & June Gillet – in memory of Sonia Jarrett Dr. Dan Goodwin – in memory of Sonia Jarrett Janice & Darrell Haag – in memory of Sonia Jarrett Tim Edwards & Gayle Hudgins – in memory of Jim Clapp Glenn & Peggy Jarrett – in memory of Sonia Jarrett Donald O. Johnston – in memory of Virginia Johnston Robert J. Kelly – in memory of Sonia Jarrett Doug & Caryl Klein – in memory of Sonia Jarrett Everett & Marilyn Leitzke –

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in memory of Sonia Jarrett Betty Lohn – in memory of Sonia Jarrett Run Wild Missoula – in memory of Bob Hayes The Physicians of Missoula Bone & Joint – in memory of Sonia Jarrett Diana Pacini – in memory of Jim Clapp Rene & Barbara Pelletier – in memory of Sonia Jarrett Celeste Pogachar – in memory of Virginia Vinal Lans & Amber Richardson – in memory of Virginia Vinal Linda J. Rockwell – in memory of John F. Tibbs Jenni and Dan Santopietro in memory of Jean Campbell Thomas & Mary Ann Schimke – in memory of Sonia Jarrett Robert & Carol Seim – in memory of Sonia Jarrett Margaret & Katherine Smurr – in memory of Jim Clapp R.A. Sterling – in memory of Sonia Jarrett David Tepper – in memory of Jim Clapp Kathleen Turner – in memory of Cindy Hasquet Kathleen Turner - in memory of Bette Kirscher Robert & Susan Wefald – in memory of Sonia Jarrett Dr. & Mrs. F. L. Whitsell – in memory of Sonia Jarrett Betsy & Warren Wilcox – in memory of Sonia Jarrett Gary & Lynne Willstein – in memory of Sonia Jarrett Twila Wolfe -in memory of Sonia Jarrett


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 September 7, 2019. We apologize for any omissions or errors.


MINUET – ($150 - $299)

SPONSOR – ($2,000 - $4,999) George & Dolores Bandow

GAVOTTE – ($50 - $149) Bonnie Buckingham KD Dickinson Felix & Trish Petrilli

SUSTAINER – ($1,000 - $1,999) CONCERTO – ($500 - $999) Max & Betty Swanson Foundation

TWINKLE – ($25 - $49) Jon-Claud Nix Jo May & Brian Salonen

BOUREE – ($300 - $499) Russ & Jane Piazza Peter & Maria van Loben Sels

RBC Wealth Management is proud to sponsor the Missoula Symphony Gary Kiemele, Senior Vice President – Financial Advisor Consulting Group – Directors Council (406) 829-4611 | (866) 394-0672 www.garykiemele.com | gary.kiemele@rbc.com Managing wealth with integrity and purpose. Non-deposit investment products: • Not FDIC insured • Not bank guaranteed • May lose value ©  RBC Wealth Management, a division of RBC Capital Markets, LLC, Member NYSE/FINRA/SIPC.

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Business conTriBuTors 2019-2020

AUTOMOTIVE/TRANSPORTATION DeMarois Buick-GMC-Mercedes BEVERAGES/FOOD Big Dipper Ice Cream Bravo Catering Caffe Dolce Conflux Brewing Company Covered Wagon Hotdogs El Cazador Good Food Store Pita Pit Sweet Peaks Ice Cream

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

PROFESSIONAL SERVICES Allegiance Benefit Plan Management ATTICrrg

Christian Samson, P.L.L.C. Garlington, Lohn & Robinson. P.L.L.P. Langel & Associates Missoula Veterinary Clinic Peggy Peschel - Mountainwood Estates Payne West Insurance Polleys Square Submittable Wipfli LLP

RETAIL STORES Bitterroot Flower Shop Morgenroth Music Center Muralt’s Travel Plaza SPECIAL SERVICES Alter Enterprise Blackfoot Comfort Inn University Doubletree Hotel Missoula-Edgewater Missoula Broadcasting Company Missoula Community Foundation Missoulian Jonathan Qualben Photography Republic Services of Montana The Roxy Theater Sound Creations Washington Corporations Windfall Studio



Missoula syMphony association

concerT sponsors 2019-2020

Julia Tai

symphony in The parK

S E P T EM B E R 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

sTeven smiTh

holiday pops!

N OV E MBE R 2 & 3 , 2 0 1 9

D E CEM B ER 7 & 8 , 2 0 1 9

Dolores and George Bandow

paul m C shee

youTh/family F EB RU A RY 7 , 2 0 2 0

FE BR UAR Y 1 & 2 , 2 0 2 0

An Anonymous Chorale Member

scoTT seaTon

Zoe Zeniodi

FE BR UAR Y 29 , MAR C H 1 , 2 0 2 0

A P RIL 1 8 & 1 9 , 2 0 2 0

season sponsor 2019-2020

Buy tickets online at

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An interview with Julia Tai By Joe Nickell, MSO percussionist & program notes author Joe: Talk to me about your programming philosophy. What inspired the program for this concert, and then how would you see yourself approaching a whole season with the orchestra? Julia: I always look for ways to mix things up, the new and the old, and create a season or concert that has diversity. So, for example, with this concert I set out to do all American music. Of course Bernstein, Gershwin we know really well. These giants who we admire for their amazing, beautiful music. But then who else is out there that we’ve never heard of, who would add a different element? That’s how I came to Amy Beach. I have played her chamber music in the past, and she wrote beautiful songs as well. She also wrote a couple of symphonies, and her most famous one is the “Gaelic” Symphony. It was premiered by the Boston Symphony in 1896, and she was the first female composer that gained public attention. She was a child prodigy, a pianist, and she wrote this beautiful, luscious music. You could hear those Wagnerian chords, and really bold and luscious harmonies. The beautiful melody, she was answering a call from Dvořák saying, that Americans have to find the music that is distinctly their own, and so she went back to her Celtic roots and found a lot of great material that she incorporated into her symphony. It’s just a host of beautiful melodies that she was able to transform and connect from one to the other. It’s a beautiful piece, and I don’t know why it’s not in the mainstream of famous symphonies. Even the Seattle Symphony — I was talking to one of the players the other day and he said they’ve never done this symphony that he knows of. And yet this was such a formative part of American music. It’s part of a generation of Americans writing in this Romantic language that kind of was dominating Europe at the time. So that’s something I love to do is just make new discoveries and bring them to audiences. When you mix new things with familiar things, you can hear the familiar things with fresh ears. So, that’s always been a part of my philosophy. I don’t like concerts where the music is all from the same era, or all from the same family of musical language. In terms of a whole season, I have always thought about how much diversity I could put in a season. Diversity from different periods. From Baroque, Classical, Romantic to Contemporary; women and men composers; composers of different backgrounds and ethnicity. How can I create a season that is interesting? I often think of music the way you think of food. You can love Italian food, but you may not want pasta every day for the rest of your life. So you have Italian food one night, and you have Chinese food the other night, you have French food or Mexican food. So for a whole season of concerts, what flavors can you offer that is fresh to the audience while also making sure you give them a taste of their favorite things. People who love living 28

Missoula Symphony Association

composers and love talking to them, they find something in the season. People who are Romantic music fans or Baroque music fans, they have something in the season for them. That is always what I’m thinking of when I program. How do I mix all these different things up and create a wonderful dish that everybody will like. Let’s talk a little bit about your role off of the podium in the community and with your organization. How do you view that in a small community like this? What a conductor does off the podium is, in some ways, much more important than what the conductor does on the podium. The rehearsals and the concerts are only really 20 percent of the job. The other 80 percent is going out in the community to develop relationships — personal, organizational — and to really listen to the people about what they like, what they want, what they need. When we were going to start an outreach program at my chamber orchestra here in Seattle, I went to a lot of schools and talked to the music teacher. I asked them questions about what kind of programs are already offered and what can we do that they don’t have and wish you had. That kind of information and relationship is so important. As a conductor, I gain programming ideas by talking to people, and what kind of concerts they fancy. Every community is different, and the most important job for the conductor is really to go out there and talk to people to understand the community and how the symphony can be a part of it. What is your favorite music and/or composers of all time? Oh, it’s so hard to pick a favorite! But I’ve always loved Gustav Mahler because his music is so large in scale. Those masterpieces that when you listen to them, you’re listening to a piece that is bigger than life, bigger than time. And Mahler’s Sixth Symphony for sure. I think there was some difficult times in my life, and to hear Mahler’s Sixth it’s like: This is why we’re doing this. It’s so powerful. Every time, if I feel like I’m not quite sure why I do what I do, I’ll go back to that piece and be reminded: This is why. Of course I love many different composers and genres as well, but that piece has a very special place. To read more from the interview with Julia Tai, visit missoulasymphony.org Pass the Baton


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 September 7, 2019. We apologize for any omissions or errors.

PRESTISSIMO ($500+) Janet Boyer Betty Thisted PRESTO ($250 - $499) Tom & Ann Boone Doug & Caryl Klein Anita Kurtz Magee Carol Word Mary & David Wesley VIVACE ($100 – $249) Anonymous Phil & Dorleen Bakke Hope Campbell Patti Canaris Cathy Capps & Tom Rickard Tom & Pam Copley Jane Dennison Donald & Shirley Hyndman Corinne Kirscher Dan & Sophia Lambros Susan Lockner Karen & Jerry McConnell Donald & Charla Murray Karen A. Orzech Peggy Peschel – Mountainwood Estates Robert & Carol Seim

Sara Alice Steubs Linda Stoudt John & Sue Talbot Jim & Marci Valeo Dr. & Mrs. F. L. Whitsell Betsy & Warren Wilcox Twila Wolfe ALLEGRO ($50 - $99) Brenda Bolton Betty Christian Evelyn Henry Marlene Koch Lynn Metcalf Sharon Phillips William & Sarah Towle Kathy Turner William & Jean Woessner ANDANTE ($25 - $49) Anonymous Tim & Kathe Calcagno Betsy Doty Jim & Kay Driscoll 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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BEQUESTS BEQUESTS consider the Missoula Symphony Association your Will PleasePlease consider namingnaming the Missoula Symphony Association (MSA) (MSA) in yourinWill and/orand/or Trust. Trust.

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

ENDOWMENT TAX CREDIT ENDOWMENT TAX CREDIT The Missoula Symphony Association has a permanent endowment to provide The Missoula Symphony Association has a permanent endowment to provide financial stability for decades the future. Montana financial stability for decades into theinto future. Under Under Montana law, law, a contribution our endowment can benefit youa with very generous a contribution to our to endowment can benefit you with very agenerous tax credit.* tax credit.* to and federal and tax regulations *Subject*Subject to federal state taxstate regulations

more information on leaving a cultural Executive For moreForinformation on leaving a cultural legacy, legacy, contactcontact Interim Interim Executive DirectorDirector May Salonen (406) 721-3194 or jomay@missoulsymphony.org. (Yourtax legal, and financial Jo May Jo Salonen at (406)at721-3194 or jomay@missoulsymphony.org. (Your legal, andtax financial advisor(s) you accomplish your philanthropic estate planning advisor(s) can helpcan youhelp accomplish your philanthropic & estate& planning goals.) goals.)


Missoula syMphony association



Maestro ($25,000)


Patron ($250–$449)


Conductor ($5,000–$24,999)


Associate ($100–$249)


Sponsor ($1,000–$4,999)


Member ($50–$99)


Benefactor ($600–$999)


Friend ($49 & under)


Contributor ($450–$599)

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

Name(s): ____________________________________________________________________________________________________________ Address: _____________________________________________________________________________________________________________ City: State: Zip: ____ Phone: Email address: ____________________________________________ ❑ Check enclosed ❑ Visa ❑ MasterCard ❑ Discover Credit Card #: _____________________________________________________________________________________ Exp. Date: Signature: Please return this form with your contribution to: MSA, P.O. Box 8301, Missoula, MT 59807 The Missoula Symphony Association is a non-profit 501(c)(3) organization, federal tax ID #81-0290730. All donations are 100% tax-deductible.

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Music expresses that which cannot be put into words and that which cannot remain silent. Victor Hugo



Missoula syMphony association

The highest reaches of music come thrillingly close to the central core and essence of life itself. Leopold Stokowski

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