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Featuring the Missoula Symphony Orchestra & Chorale
NOVEMBER 2 & 3, 2019
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Missoula Symphony Association
The Missoula Symphony Association Presents
steVen sMith, Music Director Finalist Dean peteRson, Chorale Director Saturday, November 2, 7:30 P.M. & Sunday, November 3, 3:00 P.M. 65th Season, 2019-2020
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Roman Carnival Overture, Op. 9
Selections from Old American Songs “Long Time Ago” “Zion’s Walls” “At the River” “Ching-a-Ring Chaw”
Selection from Prince Igor (Polovtsian Dance, No. 17) Intermission
Symphony No. 2 in D major, Op. 73 Allegro non troppo Adagio non troppo Allegretto con grazioso (Quasi andantino), Presto ma non assai Allegro con spirito
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STEVEN SMITH Music Director Finalist Steven Smith served as Music Director of Virginia’s Richmond Symphony from 2010, launching his tenure with a gala concert featuring violinist Gil Shaham, to 2019 with a finale of “Carmen” in concert starring Denyce Graves. During that time the Richmond Symphony performed a significantly wider repertoire representative of our global community, embracing music by living composers, with particular focus on cultural and gender diversity and commissioning new works. August 2019 also brings the release of the Richmond Symphony’s first commercial recording, on the highly respected Reference Recordings label. The recording pairs the world premiere of Mason Bates’s Children of Adam (commissioned by the Richmond Symphony for its 60th anniversary) and Vaughan Williams’s Dona NobisPacem. Both works utilize poetry of Walt Whitman (among others), appropriate in this bicentennial of his birth, and also feature the Richmond Symphony Chorus. In 2013, Steven Smith completed a 14-year tenure as Music Director of the Santa Fe Symphony & Chorus, a period during which the orchestra achieved numerous goals: recognized artistic growth, financial stability and enthusiastic community support. He continues as Music Director of the Grammy Award-winning Cleveland Chamber Symphony, an ensemble devoted to the performance of contemporary music. As Assistant Conductor of the Cleveland Orchestra (1997 to 2003) Steven Smith appeared on the subscription series and summer concerts at the Blossom Music Festival. Particularly interested in the role of orchestras in arts education, he assisted in the planning and conducting of TCO’s educational and family concerts, and hosted the orchestra’s annual broadcast videoconference, which won an Emmy Award in 2001. Steven Smith’s guest-conducting activities include his debut with the Virginia Opera, conducting their production of Mozart’s The Marriage of Figaro, and the 30th anniversary celebration of the Richmond Ballet featuring a triple bill of Balanchine’s Serenata (to Tchaikovsky’s Serenade for Strings), Bernstein’s Fancy Free and Stravinsky’s Le Sacre du printemps. He has also appeared with the symphonies of San Francisco, Detroit, Houston, New Mexico, Puerto Rico and Jacksonville, Colorado, Dayton, Hartford, Long Beach, Long Island, Memphis, Sacramento, Santa Rosa and Toledo, Taiwan’s National Symphony Orchestra, the Hong Kong Philharmonic, and repeated returns to Mexico’s Orquesta Sinfónica de Xalapa and New Zealand’s Auckland Philharmonia. During summers he has performed at the Aspen Music Festival, and with the National Repertory Orchestra, Summer Music at Harkness, Chicago’s Grant Park Symphony and New York’s Chautauqua Symphony. Steven Smith is also an active ASCAP award-winning composer and was named Ohio Composer of the Year in 2008. Most recently his Rondeau for solo cello was premiered in September, 2018, by Gary Hoffman in Kronberg, Germany.
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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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contents President’s Message��������������������������������������������������������������������������������������� 8 Executive Director’s Message����������������������������������������������������������������������� 9 Missoula Symphony Orchestra������������������������������������������������������������������ 10 Missoula Symphony Chorale���������������������������������������������������������������������� 11 Borodin - Polovtsian Dance, No. 17 - English Translation�������������������� 12 Program Notes���������������������������������������������������������������������������������������������� 13 KUFM Broadcast������������������������������������������������������������������������������������������� 16 Missoula Symphony Association��������������������������������������������������������������� 21 Business Contributors��������������������������������������������������������������������������������� 26 Concert Sponsors����������������������������������������������������������������������������������������� 27 Steven Smith Interview������������������������������������������������������������������������������� 28 Scholarship Fund������������������������������������������������������������������������������������������ 30
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president’s message Jim Valeo Round one of our near one year search for a new Music Director is complete. Julia Tai spent a busy two weeks in Missoula covering the full range of community, civic, educational, and, of course, Missoula Symphony activities. While the Chorale was not on her concert schedule, she also conducted a full evening rehearsal with the Chorale. She was well received by the Missoula community and the orchestra family. If you have not yet returned your comment sheets on Julia, please do so. Now we are completing two weeks with Steven Smith, who comes from a background you will find to be quite in contrast to Julia’s. Meanwhile, please don’t forget our trip raffle, the biggest fund raiser of the year. Last year’s winners are just back from an exciting trip to Italy and will, I am sure, have an opportunity to tell you about it. The drawing for this year’s raffle will be during Holiday Pops weekend. Tickets are selling in the rotunda right now. Remember, only a limited number will be sold. Enjoy Steven Smith’s concert and be sure to send in your comments.
J i m Va l e o President, Missoula Symphony Association
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Executive Director’s Message Jo May Salonen Hello and welcome to the second concert of this exciting season. Steven Smith has been entrenched in our community these past two weeks and we have enjoyed having him in Missoula! I’d like to take this time to thank you all for your interest and involvement in the search process for our new conductor. So many of you have filled out and turned in the surveys following our first concert and we encourage you to continue to do so, throughout this season. Your comments have been very helpful to us and your opinions do matter as we search for our permanent Music Director. Please enjoy the concerts this weekend and join us in welcoming Steven Smith as he conducts YOUR Missoula Symphony, with our Chorale. And don’t forget to purchase your Holiday Pops tickets – ticket sales are brisk and we don’t want you to miss out on this holiday tradition! Thank you so much, as always, for your support – we appreciate you taking the time to spend your weekend with us! Jo May Salonen Jo May Salonen Executive Director, Missoula Symphony Association
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STEVEN SMITH, 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 Sally Daer Peter Dayton Tasha Fain Suzanne Hartzell Linda Lacey Nancy Lofgren Kohler 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 Claudia Christensen 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 Joan Chesebro Dawn Douglass David Harmsworth+ Sage Johns DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey William James Michael Johns Thomas Sciple Nicholas Timmerhoff FLUTE Jennifer Cooper, principal Chair sponsored by Laura & Mark Haythornthwaite Lauren Reineking PICCOLO Julia Vasquez OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce Olivia Adams ENGLISH HORN Jennifer Gookin Cavanaugh, principal Chair sponsored by Jo May & Brian Salonen CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot Polly Huppert BASSOON Alicia L. McLean, principal Logan Beskoon HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox Clay Kellogg, assistant Jason Barkley Daniel Lande Robert B. Green
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TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone Jarom Hein Skyler Genazzi Jenni Long TROMBONE Rob Tapper, principal Chair sponsored by Frank & Maggie Allen Tomi Kent Chris Porter TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts TIMPANI Robert LedBetter, principal Chair sponsored by Michael and Traci Punke PERCUSSION Samuel McKenzie, assistant principal Joe Nickell Jonathan Woods Tyler Schenck Tyler Ulrich HARP Peggy Young, principal Chair sponsored by Maria & Peter van Loben Sels PIANO Christopher Hahn, principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams *Members of the string sections are listed alphabetically. Seating is rotated for each concert. +Missoula Symphony Scholarship Recipients
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 Jamie Frost Gina Hegg Ursula Holloway Elizabeth Licitra Allison Matye Julie McFarlane Megan McNamer Janet Palmer 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 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 Kathy Young TENOR Tom Bensen Kyle Bocinsky Bruce Bowler Gary Bowman Chuck Bryson Daniel Cook Tyler Guidoni Leasi Mana Don McCammon 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 Jon Ellingson Richard Erickson Donald Gisselbeck Harry Haines Peter Heyler Dick Hoskins Hank Jennings Doug Klein Nathan Lundin Christopher Muste James Powers Keith Rieger Michael Rosbarsky Adam Sears Danny Smith David Tande Steve Thompson Ronald Wilcott Walter Wilde Mark Woodward Phil Yasenak
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Borodin - Polovtsian Dance, No. 17 English Translation Slave Women Fly on the wings of the wind To our native land, dear song of ours, There, where we have sung you at liberty, Where we felt so free in singing you. There, under the hot sky, The air is full of bliss, There to the sound of the sea The mountains doze in the clouds; There the sun shines so brightly, Bathing the native mountains in light, Splendid roses blossom in the valleys, And nightingales sing in the green forests. And sweet grapes grow. You are free there, song, Fly home,
Polovtsians Sing songs of praise to the Khan! (Ruler) Sing! Praise the power and valor of the Khan! Praise the glorious Khan! He is glorious, our Khan! In the brilliance of his glory, The Khan is equal to the sun! There is none equal to the Khan in glory, none! The Khan female slaves praise the Khan, Their Khan!
Khan (Ruler) Do you see the captives From the distant sea; Do you see the beauty From beyond the Caspian Sea? Oh, tell me, friend, just one word And gifts I will bestow you.
Polovtsians Sing songs of praise to the Khan! Sing! Praised be his generosity, praised be his mercy! Praise him! 12
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To his enemies the Khan is merciless He, our Khan! Who may equal the Khan in glory, who? In the brilliance of his glory, He is equal to the sun! Our Khan, Khan Konchak, is equal In glory to his forefathers! The terrible Khan Konchak is equal In glory to his forefathers! Glorious is our Khan Konchak! Glory, glory!
All the Slaves Fly on the wings of the wind To our native land, dear song of ours, There, where we have sung you at liberty, Where we felt so free in singing you. There, under the hot sky, The air is full of bliss, There to the sound of the sea The mountains doze in the clouds; There the sun shines so brightly, Bathing the native mountains in light, Splendid roses blossom in the valleys, And nightingales sing in the green forests. And sweet grapes grow. You are free there, song, Fly home,
Polovtsians Our Khan, Khan Konchak, is equal In glory to his forefathers! The grim Khan Konchak is equal In glory to his forefathers! Glory, glory to Khan Konchak! Khan Konchak! With your dancing entertain the Khan, Dance to entertain the Khan, slaves! Your Khan! Dance to entertain the Khan, slaves! Your Khan! With your dancing entertain the Khan! Entertain with dancing! Our Khan Konchak!
Program Notes By Joe Nickell Hector Berlioz (1803-1869)—Le carnaval romain Louis-Hector Berlioz’s first major splash came in 1830 when his cantata, La Mort de Sardanapale, won the prestigious Prix de Rome. The prize included two years of studies at the French Academy in Rome. Alas, Berlioz’s studies in Rome ended almost as soon as they began: after three weeks he left the academy upon learning that his fiancé, Marie Moke, had broken off their engagement. Perhaps this experience colored his experience of Rome, which he would later recall as “the most stupid and prosaic city I know; it is no place for anyone with head or heart.” In 1838, back in Paris and recovered from his heartbreak, Berlioz penned his first opera, Benvenuto Cellini, inspired by the memoirs of the Florentine sculptor of the same name. The opera, set in Rome, was poorly received at its premiere. The composer later reworked some of the opera’s music, including its carnival scene, into a standalone concert piece that has become a staple of the orchestral repertoire: Le carnaval romain (The Roman Carnival). The joyful and pictorial overture begins with a hint of a dance, followed by a famous solo for English horn that is based on a melody drawn from a first-act love scene in the opera. This sumptuous section leads into the main body of the overture, which is built in the lively form of a saltarello—a triple-meter Italian dance named for its quick, leaping steps. The music swirls and gallops ever forward, leading to an exciting climax and conclusion.
Aaron Copland (1900-1990)—Old American Songs (excerpts) Aaron Copland was born in Brooklyn in 1900. As a young composer, he was anxious to write in a style “that would immediately be recognized as American in character.” At the same time, he was troubled by what he termed “an increasing dissatisfaction with the relations of the music-loving public and the living composers…It seemed to me that we composers were in danger of working in a vacuum.” Copland therefore endeavored to write music which would appeal to a broad audience, and to reach listeners through new means. His worldwide success bore out the rightness of his vision: through works such as Rodeo and Appalachian Spring he became America’s best-known composer of the 20th century. In 1950, Copland was asked by the famous English composer Benjamin Britten to arrange some folk songs for performance at the Music and Art Festival in Aldeburgh, England. Copland responded with a set of five songs, each based on a traditional American tune. They were so well-received that Copland wrote another set of five songs two years later. We will hear four of the songs, of which at least one will be familiar to any churchgoer: “At the River,” also known as “Shall We Gather at the River,” an old hymn tune originally written by the American composer Robert Lowry. In “Long Time Ago,” Copland plumbs the nostalgic depths of a lyrical ballad that he found Pass the Baton
in a collection of old songs at Brown University. “Zion’s Walls” is a revivalist tune originally by the 19th century Georgia farmer John G. McCurry. “Ching-A-Ring Chaw” comes from the old minstrel blackface tradition; however, for his setting Copland rewrote the lyrics to remove its racist implications.
Alexander Borodin (1833-1887)—Polovtsian Dances Alexander Borodin’s first major work was titled, “On the Analogy between Arsenic Acid and Phosphoric Acid in Chemical and Toxological Behavior.” Like Berlioz, Borodin started his adulthood as a medical student—in his case, at the Saint Petersburg Academy of Medicine and Surgery in Russia. But unlike his French predecessor, Borodin carried that training on to a distinguished career as a professor and research chemist. In Borodin’s case, music was always purely a side passion. In his non-working hours he played the cello in chamber ensembles, conducted various groups, and composed a small number of works. Nevertheless, he is now heralded as one of the towering figures of Russian classical music. In 1869, Borodin began work on an opera, titled Prince Igor. Ambitious in scale and scope, the opera was built on the tale of a 12th century prince and his disastrous military campaigns against the Polovtsians, a Tatar tribe. After Borodin’s sudden death in 1887, the opera was completed by fellow composers Nicolai RimskyKorsakov and Alexander Glazunov. It has since become a staple of the opera repertoire in Russia, though it is staged much less often in other parts of the world.
Clef Notes Berlioz—Le carnaval romain In this richly pictorial music drawn from his debut opera, the early 19th century French composer sought to depict the colors and excitement of the Roman carnival. Copland—Old American Songs America’s first internationally celebrated composer, Copland made his name through music like this: simple, unforgettable melodies and harmonies rooted in the folk music of his native country. Borodin—Polovtsian Dances These scenes from the 19th century Russian composer’s grand opera Prince Igor depict the sensuality and patriotism of the Polovtsian people as they entertain the opera’s titular character. Brahms—Symphony No. 2 One of the most beloved works of the German Romantic-era repertoire, Brahms’ symphony captures the pastoral beauty and warmth of the Austrian mountain resort where it was penned during the summer of 1877.
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One part of the opera is widely known, however: the ballet scenes known as the Polovtsian Dances. These scenes come from a section of the opera in which the Polovtsians entertain Prince Igor with music and dance while he is held captive in the camp of Khan Kontchak, the Polovtsian leader. Exotic and sensual, the music vividly depicts the seductions of the Khan’s slave girls and the passionate patriotism of the heathen horde.
Johannes Brahms (1833-1897)—Symphony No. 2 in D Major It took Johannes Brahms two decades to write his First Symphony. Along the way, he sometimes expressed doubt that he would ever complete it. Despite (or perhaps because of) his reputation as the most important German composer of his time, Brahms worried that his symphony could never measure up to the standard of his nation’s greatest symphonist. “You have no idea how it feels for someone like me always to hear such a giant as Beethoven marching along behind me,” he complained. So the composer was more than heartened by the enthusiastic reception when he finally premiered his First Symphony in 1876. “Even the layman will immediately recognize it as one of the most distinctive and magnificent works of the symphonic literature,” wrote the influential critic Eduard Hanslick. Perhaps even more poignantly for Brahms, the conductor Hans von Bülow proclaimed the new work “Beethoven’s Tenth.” With the pressure off, Brahms went on a tear of large-scale compositions. His Second Symphony was finished less than a year after the premiere of his First; his Third and Fourth, as well as the Violin Concerto and several other major works, were completed within the next decade. Brahms’ raised spirits are everywhere evident in the Second Symphony, composed during a summer holiday on Lake Wörth in southern Austria. Whereas the First Symphony was composed on an epic scale, the Second Symphony is lyrical and pastoral. Built in four movements, the work progresses through a classical structure, with a unique and pervading warmth. Like the First Symphony, the Second Symphony enjoyed immediate success, with critics comparing it favorably to the great works of Schubert and Haydn. The first movement begins softly, with strings, horns and woodwinds passing a tune back and forth. The music winds its way to a climax, then quickly makes way
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for the introduction of the second theme — a lilting, tender tune reminiscent of the composer’s famous lullaby, “Good Evening Good Night.” The theme is first stated by the cellos, then repeated by the woodwinds; it will return several times, interspersed between sections that explore varying moods and textures. The melody that began the movement also returns in diverse guises — here tortured, there lilting. The interplay between these melodies forms the core of this sunny movement, which ends with pizzicato strings strumming softly against a final restatement of the introductory theme. The second movement is markedly more solemn than the first, with passing moments of melancholic disquiet. Two stormy passages threaten the peace; but both fade and the movement ends tranquilly. The third movement moves into sunnier territory, with a marked thinning of Brahms’ characteristically dense orchestration. The music skips along at the breezy pace of a serenade, rising in energy in the central section but never shifting far from the cheerful mood. Brahms’ playfulness is evident in the opening bars of the finale. Strings and woodwinds play a sing-songy passage at barely a whisper, resolving with a quiet cadence that seems to be headed nowhere fast. Instead, the orchestra bursts out with an exuberant theme. As this excitement fades, a new theme is introduced by the violins. It is repeated by the winds, leading to another exciting climax. This episodic, cascading structure continues for the rest of the movement, increasing in vigor and leading ultimately to a triumphant climax.
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KUFM BROADCAST This concert will be broadcast over Montana Public Radio on Sunday evening,
November 17, 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
Welcome to Missoula, Mr. Smith. And thanks for bringing Masters Brahms, Copeland, Borodin and Berlioz along. Weâ€™re really looking forward to spending some time with all of you.
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pResiDent Jim Valeo
patRon seRVices cooRDinatoR Kirsten McGlynn
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DeVelopMent cooRDinatoR Beth Woody
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The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $50 or more within 12 months of October 11, 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 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 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 Amber & Lans Richardson
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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 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 Betty Lohn 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 Diane & Bryon Whiteaker Bruce & Charlotte Whitehead 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 Nancy Jean DeCou Brian & Kathy Derry James A. & Mary Kay Driscoll Victoria Fleischer - in memory of Alice Haynes Carolyn Goren Doosy Habbe William James Bill & Dori Johnston Tomi Kent Marlene Koch Caroline Kurtz Everett & Marilyn Leitzke 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 â€“ in memory of Nick Porter Philip & Lisa Rae Roper Drs. George & Kathy Roth Nancie Schumacher John Snively Nat & Margo Sturgis Julie Tomasik Richard & Cristin Volinkaty 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 Richard & Patricia Blank Brenda Bolton Philip & Marcy Bornstein 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 Jane & Frank Kisselbach 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 Heather Ready Earl Reinsel William & Joanne Reynolds Susan & Richard Roberts Sharyn Rogers Sally Rosenkranz Del Hiesterman & Shawn Rosscup Jon & Kay Salmonson Robert Schurr Maxine Searles Pamela & Michael Shapiro Don & Mary Shaughnessy Myra Shults Nancy Singleton Michael Silverglat Pass the Baton
Irene Smith Kathleen Snodgrass Robert Stanchfield 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 George Votruba Stewart & Mysta Ward Jane Wells Mary Welti Carol Word Sharon Yould Patricia Zapp MEMBER ($50-$99) Robert Acker and Martina Baum-Acker Tony Beltramo – In Memory of Marlene 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 Christine Jackson Wendy Lambert Fran Lawrence Richard Legon Karla Long In Honor of Donald L. Mc-
Cammon 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
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memory of Sonia Jarrett Everett & Marilyn Leitzke – in memory of Sonia Jarrett Betty Lohn – in memory of Sonia Jarrett 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 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
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Missoula Symphony Association
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 October 11, 2019. We apologize for any omissions or errors.
SHINICHI CIRCLE – ($5,000+)
MINUET – ($150 - $299)
SPONSOR – ($2,000 - $4,999)
GAVOTTE – ($50 - $149) KD Dickinson Home ReSource Felix & Trish Petrilli
SUSTAINER – ($1,000 - $1,999) CONCERTO – ($500 - $999) Max & Betty Swanson Foundation
TWINKLE – ($25 - $49) Jo May & Brian Salonen
BOUREE – ($300 - $499) Russ & Jane Piazza Peter & Maria van Loben Sels
PARK WITH VIGILANTE PARKING ON THE FLY THE NEXT TIME YOU FLY AND SAVE $$$$ OFF-SITE AIRPORT PARKING FOR ONLY $5/DAY
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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.
Missoula syMphony association
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 Residence Inn by Marriott – The Mercantile Hotel The Roxy Theater Sound Creations Washington Corporations Windfall Studio
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
An Anonymous Chorale Member
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
SEaSoN SpoNSor 2019-2020
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An interview with Steven Smith By Joe Nickell, MSO percussionist & program notes author Joe: You’ve worked with some big orchestras—they hardly get much bigger than Cleveland Orchestra of course. Talk to me about working with a community orchestra, how you see that relationship differing? Steven: I think that there is a real personal and emotional connection in a lot of smaller, community orchestras to the music that we’re performing. Because many of the people playing in the orchestra have other networks of friends and associates in the community, that actually leads to a more powerful connection between the orchestra as a performing organization and its audience. I think that’s incredibly healthy because I think it enriches the entire aspect of musical performance, making it a kind of communal experience. It’s all of us together. In my experience, I’ve had those kinds of experiences most powerfully in what are perceived as smaller orchestras. It does seem like a balancing act, though, how to go about getting the best out of people. Do you think that there’s a different approach when you’re talking to musicians who haven’t played Brahms’ Second Symphony before and who are only able to practice in the evenings and aren’t generally getting paid enough to justify it as “work” per se? Absolutely. The way that I approach that is maybe with a little bit more of an educator hat on, in the sense that there’s a lot of background knowledge about Brahms or about style or about the political or the natural world of the time—all the different things that inform how you should understand and approach the music. Then, of course, there’s nuts and bolts stuff about technique and balance and so-on. Conducting the Cleveland Orchestra, I really didn’t have to say much to them. So that’s fun in its own way. It’s like driving a Maserati. But all these different levels of experience are enriching in different ways. In my life, I’ve found that this variety of experience is what makes life more interesting. Talk to me about your programming philosophy, both in terms of what inspired the program for this concert and how you imagine or generally try to approach a whole season. If I had to sum it up, I believe in a season’s program there has to be enough variety that there is something for everybody. I think that it’s important to have a breadth of styles, a breadth of time periods, a breadth of who the composers are. To be able to play more female composers, composers of color, I think is a really, really important thing. Not only present-day composers, but those in the past who’ve been ignored for whatever reason. It gives different audience members the opportunity to hear things that they naturally gravitate towards while also being immersed in new experiences. I’m personally fascinated by the juxtaposition of lots of different kinds of pieces. I think it’s important from the standpoint of current audience members as well as new members, and also the orchestra—having all of these different varieties of music to play. 28
Missoula Symphony Association
So specifically about this concert’s program, it exemplifies that kind of variety that I’m talking about. We have four different nationalities among the composers, and a couple of different eras. It’s essentially Romantic and Modern. Borodin representing the Russian tradition brings something that’s coloristically very, very different from the other composers. If I had a thematic device in mind, it was the idea of these composers all creating a sense of place. The big piece, of course, the Brahms Second Symphony, is very much a piece about nature. It’s maybe one of the sunniest and most idyllic of all Brahms’ works. That’s something I’ve always loved about it. It was written over a summer holiday in the mountains in Austria, and it seemed to be an appropriate thing to play in the mountains of Montana. For me, music is very connected to the natural world. I find them inextricably connected in terms of spirit, in terms of color, imagination, and I think that this particular symphony of Brahms is very, very true in that regard. The Berlioz piece is a great concert opener. So that was certainly one consideration. But it’s very much a depiction of Berlioz’s own experience of carnival in Rome when he was a young man—so again, very reminiscent of a time and place. Similarly, Borodin’s music connects very much to the folk music and dance of his native land. And the Copland songs are rooted in folk song history and popular songs and religious songs. So, you knew it was coming: tell me your favorite composer or piece of music. It’s so hard. It’s so hard. I can just never come up with one. It’s almost impossible. So I will say that two of my favorite composers are represented on this concert, which are Berlioz and Brahms. They’re by far two of my most favorites; but I would also put in that category Beethoven, who is very important to me. I love Haydn, Mahler, Ives, Debussy. But once I start going down the list I can’t stop coming up with other favorites. Two of my favorite operas are probably two of the most popular, which are The Marriage of Figaro and Carmen, which I think are just absolutely perfect in so many different ways. But then one of the greatest pieces ever written is Bach’s Chaconne for solo violin, which is just an astounding piece of music. So it’s just almost impossible to narrow it down. 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 October 11, 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 William & Jean Woessner Twila Wolfe ALLEGRO ($50 - $99) Brenda Bolton Betty Christian Karin Dague Jim & Kay Driscoll Evelyn Henry Marlene Koch Lynn Metcalf Sharon Phillips William & Sarah Towle Kathy Turner 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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PLANNED GIVING PLANNED GIVING CONSIDER THE MISSOULA SYMPHONY ASSOCIATION IN PLANNED YOUR PLANNED GIVING. PLEASEPLEASE CONSIDER THE MISSOULA SYMPHONY ASSOCIATION IN YOUR GIVING.
BEQUESTS BEQUESTS consider the Missoula Symphony Association your Will PleasePlease consider namingnaming the Missoula Symphony Association (MSA) (MSA) in yourinWill and/orand/or Trust. Trust.
RETIREMENT RETIREMENT FUNDFUND GIFT GIFT
IRA contributions be directly made directly the MSA*, not taxable the donor IRA contributions can becan made to the to MSA*, are notare taxable to the to donor thereceives MSA receives full amount your gift. and theand MSA the fullthe amount of yourofgift.
ENDOWMENT TAX CREDIT ENDOWMENT TAX CREDIT The Missoula Symphony Association has a permanent endowment to provide The Missoula Symphony Association has a permanent endowment to provide financial stability for decades the future. Montana financial stability for decades into theinto future. Under Under Montana law, law, a contribution our endowment can benefit youa with very generous a contribution to our to endowment can benefit you with very agenerous tax credit.* tax credit.* to and federal and tax regulations *Subject*Subject to federal state taxstate regulations
more information on leaving a cultural Executive For moreForinformation on leaving a cultural legacy, legacy, contactcontact Interim Interim Executive DirectorDirector May Salonen (406) 721-3194 or firstname.lastname@example.org. (Yourtax legal, and financial Jo May Jo Salonen at (406)at721-3194 or email@example.com. (Your legal, andtax financial advisor(s) you accomplish your philanthropic estate planning advisor(s) can helpcan youhelp accomplish your philanthropic & estate& planning goals.) goals.)
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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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