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DINA GILBERT M USIC DIRECTOR & CONDUCTOR

PATHWAYS Follow the music, see where it leads.

2026-2027 SEASON | 120th YEAR SEPTEMBER - DECEMBER

DINA GILBERT M USIC DIRECTOR & CONDUCTOR

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Welcome to the 120th Season of the Walla Walla Symphony! 509.529.8020 wwsymphony.org 13½ East Main, Suite 201

We appreciate your continued support and hope you enjoy the season!

September 29, 2026

October 16, 2026

Paving the Way

November 5, 2026

8 Vienna Boys

Choir

December 1, 2026

18 New Worlds SymphoniCon 26

A Letter from the Music Director Dear friends, Welcome to the 120th season of the Walla Walla Symphony! This season, I invite you to join us on a series of journeys. Some will take us across centuries and continents, some into imaginary worlds, and others into deeply personal and human experiences. Along the way, we will encounter music we know and love, music that may be new to us, and incredible artists who bring their own unique voices to our stage. Together, these different journeys form the pathways of our 2026–27 season: pathways through music, imagination, history, community, and the many experiences that connect us as human beings. Our first journey is through musical history and tradition. Paving the Way brings together Mozart, Mendelssohn, and Farrenc, inviting us to listen across generations and rediscover voices that deserve to be heard. We continue into the world of Viennese music with the Vienna Boys Choir, whose tradition spans more than five centuries, in a program filled with elegance, colour, and the irresistible spirit of the waltz. We can’t wait to share our first SymphoniCon, exploring the music behind the stories and characters that have captured our imaginations. With a special connection to Walla Walla’s own Batman, Adam West, it will be a playful journey into fandom and the power of an orchestra to bring these worlds to life. Our exploration continues with A Hero’s Journey, where we explore heroism through Beethoven’s Eroica and Anna Clyne’s Dance, with music and movement that come together through the artistry of dancers Phyllis Rothwell and Peter de Grasse and cellist Sally Singer Tuttle. There are also journeys that bring us closer to home. Our collaboration with the Whitman College Orchestra on Dvořák’s New World Symphony connects musicians of different generations and celebrates

Walla Walla’s remarkable musical community. Later in the season, Seraph Brass will bring their energy and virtuosity to the stage, offering another perspective on what a brass ensemble can be. Some journeys are more inward. Brahms’s Requiem, performed with the MidColumbia Mastersingers, takes us into questions of loss, comfort, grief, and hope—a reminder that we share many of the same fundamental human experiences across cultures and generations. Finally, Soundscapes takes us on a journey through place, memory, and community. We will premiere a new work by Geneviève Gros-Louis (Huron-Wendat) and Dr. Phillip Cash Cash (Nez Perce, Cayuse), alongside Mussorgsky’s Pictures at an Exhibition in Ravel’s vivid orchestration. It will be an opportunity to listen not only to music, but to the stories and places that give it meaning. What I love about this season is that no two journeys are alike. There is celebration, imagination, discovery, movement, reflection, and connection. There are masterpieces from the past, music being created today, artists from around the world, and stories deeply rooted in our own community. And, as with any good journey, we don’t always know exactly what we will discover along the way. We simply need to follow the music and see where it leads. Whether you are a longtime friend of the Symphony or joining us for the first time, I hope you will find something that surprises you, moves you, makes you smile, or simply makes you want to hear what comes next. We can’t wait to share these experiences with you! See you at the Symphony!

Dina Gilbert Music Director & Conductor

Dina Gilbert French-Canadian conductor Dina Gilbert is recognized for her infectious energy, the expressive depth of her interpretations, and her innovative programming. She is regularly invited to conduct orchestras across Canada and internationally. In recent years, she has conducted many of Canada’s leading orchestras, including the Toronto Symphony Orchestra, the National Arts Centre Orchestra in Ottawa, the Hamilton Philharmonic Orchestra, the Orchestre Métropolitain, and the Orchestre symphonique de Québec. In Europe, Dina has appeared as a guest conductor with several orchestras, including the Orchestre Philharmonique de Radio France, the Orchestre National de Lyon, the Orchestre National de Metz, the Orchestre National des Pays de la Loire, the Orchestre Victor Hugo Franche-Comté, the Gran Teatre del Liceu Symphony Orchestra, and the Sinfonia Varsovia. Her wide-ranging repertoire spans the great symphonic masterworks, contemporary music, multidisciplinary collaborations, and innovative programming that crosses musical genres. Deeply committed to cultural outreach, Dina has engaged thousands of children across Canada through her interactive Conducting 101 educational workshops. In Walla Walla, she partnered with Rodney Outlaw to create Symphonic Cypher, a collaboration between the Walla Walla Symphony and Walla Walla Community College that brings together orchestral arrangements and live hip-hop performances. Dina’s recent highlights include a tour with the Orchestre national d’Île-deFrance and trumpeter Pacho Flores, culminating in a performance at the Philharmonie de Paris; conducting ten performances of Don Quixote (Martinez/ Minkus) with the Orchestre National Bordeaux Aquitaine; and the release of three symphonic recordings with the Orchestre symphonique de Montréal and

the Orchestre symphonique de Québec. The upcoming 2026–2027 season features several performances with the Walla Walla Symphony and the Orchestre symphonique de Montréal, where she will share the stage with pianist Alexandre Tharaud, producer and DJ Apashe, and the ensemble Le Vent du Nord. She will also make her debuts with the Winnipeg Symphony Orchestra, the Edmonton Symphony Orchestra, and the Vancouver Island Symphony Orchestra, in addition to collaborating on a production with Théâtre Duceppe in Montréal. Dina Gilbert earned her doctorate from the Université de Montréal and furthered her training through masterclasses with Kenneth Kiesler, Pinchas Zukerman, Neeme Järvi, and the musicians of the Kritische Orchester in Berlin. Her artistic development was further shaped through mentorship with Maestro Kent Nagano and the Orchestre symphonique de Montréal, where she served as Assistant Conductor in Residence from 2013 to 2016. She also had the opportunity to assist internationally renowned conductors Zubin Mehta and Sir Roger Norrington. Awarded the 2017 Prix Opus for Discovery of the Year, Dina has received support from the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Père-Lindsay Foundation. Dina Gilbert’s work with the Walla Walla Symphony is supported in part by the Katherine and Walter Weingart Guest Artist Endowment.

2026-2027 Walla Walla Symphony Board of Directors Jackie Wood, President Chris Otis, Vice-President Jack Iverson, Treasurer Cynthia Westerbeck, Secretary Jonathan Braid Andrew Dankel-Ibañez Jeanine Gordon Helen Kim Albert Marshall Pedrito Maynard-Reid Richard Middleton-Kaplan Lori Parnicky Lacey Perry Tricia Rice Levi Waggoner Anne-Marie Zell Schwerin Dina Gilbert, Music Director & Conductor (ex-officio)

2026-2027 Walla Walla Symphony Staff Executive Director

Stephanie Helleckson

Music Director & Conductor Dina Gilbert

General Manager Leah Davis

Patron Relations Manager Rachel Condie

Program Manager Emily James

Production Coordinator Sara Pinkerton

Volunteer Coordinator Susan Greene

Walla Walla Symphony Endowed Chairs Maestro Chair

Richard, Helene, Jay and Bryan Jaffe Robert, Carol, Jonathon and Eric Jaffe

Violin I

Concertmaster: Henrietta Baker Kennedy Memorial Chair Mary Ann Ringgold Memorial Chair Carroll N. Baker Memorial Chair Dayl B. Graves Memorial Chair Frances E. Casper Memorial Chair Beulah K. Scheece Memorial Chair

Violin II

Principal: Robert C. and Iris Myers and Agnes V. Little Memorial Chair

Viola

Principal: Walter and Elizabeth Egg Memorial Chair Dorothy and James Swayne Memorial Chair

Cello

Principal: Grace Lazerson Memorial Chair Harold E. Crawford Family Chair Mary Hooper Meeker Memorial Chair

Bass

Principal: Don and Claudia Tucker Chair

Flute

Principal: Louis B. Perry Family Chair

Oboe

Principal: Emma Jane Brattain Memorial Chair

Clarinet

Principal: William Tugman Memorial Chair

Bassoon

Principal: Helen Shepherd Trust Memorial Chair

French Horn

Principal: Coffey Communications Chair

Trumpet

Principal: Father Joseph Da Lio Memorial Chair

Youth Orchestra Conductor

Trombone

Program Directors

Timpani

Bruce Walker

Rodney Outlaw, Rock Camp Kristin Vining, SPARK! Bruce Walker, Youth Orchestra

Teaching Artists

Rebecca Fuquay, JJC Lead Dylan Loney, TIPZ Lead Logan Petty

Principal: Dr. Philip and Leona Siegel Memorial Chair Principal: Jack Williams Memorial Chair

Percussion

Principal: Mike and Sue Gillespie Chair

Piano

Perla Hill Simon Chair

Harp

Principal: Edward Foster Memorial Chair

Walla Walla Symphony Personnel 2026-2027 Dina Gilbert, Music Director & Conductor Violin

Việt Block*, assistant concertmaster Liubov Brunton* Caleb Condie* Taylor DeCastro* Amy Dodds*, principal second Levi Golan* Genevive Gros-Louis Dalene Johnson* Sooyean Kim* Emily Knudsen* Chantell Lopez* Heather Morado Vanessa Moss*, concertmaster Craig Nelsen* Grace Palmer Dostal Reynaldo Patiño Tricia Rice Samuel Schafer* Kendalia Spencer* Alyssa Stremcha* Maya Takemoto Becky Wiessner*

Viola

Athena Fritz Jessica Jasper Caleb King Hans Klein* Emily Kurlinski Haun* Soren Laack Lyn Ritz*, assistant principal Angie Schauer* Daniel Wing

Cello

Edward Dixon*, principal Lauren Edmondson* Benjamin K. Gish*, assistant principal Olga Grigoryan Amy Hanson Annie Harkey-Power Sally Singer Tuttle Bruce Walker*

Bass

Dianna Lysgaard Marella McGreal Josh Skinner*, principal Julie Woods*, assistant principal

Flute

Ayça Çetin Leonard Garrison*, principal Lori Parnicky* Sophia Tegart

Oboe

Pablo Izquierdo*, principal Lori Lydeen Karen Strand Ryan Zwahlen

Clarinet

Katie Rice Shannon Scott*, principal James Sullivan Katsuya Yuasa*

Bassoon

Kirsten Boldt-Neurohr* Mark Eubanks Amy Gillick Ryan M. Hare*, principal

Horn

Cassidy Fairchild Martin King*, principal Rebekah Schaub* Kim Snow* Kyli White

Trumpet

William Berry*, principal Kate Jackson James Smock*

Trombone

Dick Counsell* Bill Gilbert* Dave Glenn*, principal Andrew Ueckert

Tuba

Torrey Lawrence*, principal

Timpani

Andrew Spencer Christopher Wilson*, principal

Percussion

Joshua Gianola*, principal Marybeth Norby Andrew Spencer

Piano

Karlyn Bond Feng Kang

Harp

Chelsea Spence-Crane*, principal *Denotes core orchestra membership

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About the Walla Walla Symphony OUR MISSION The Walla Walla Symphony delights and challenges our community by providing live orchestral performances and opportunities for learning about music.

OUR VISION We will cultivate a growing appreciation for symphonic music in Walla Walla by attracting enthusiastic audiences to programs of the highest artistic quality and by providing wonderful experiences and deep and rich education programs for the benefit of the Walla Walla community. We strive for inclusion, diversity, and equity as we support and promote orchestral music, artistry, and music education in our community. We bring these values into our planning, dialogue, decision-making, programming, outreach, staffing, assessments, and study of emerging new practices.

OUR COMMITMENT TO DIVERSITY, EQUITY, INCLUSION, AND BELONGING The Walla Walla Symphony is committed to centering relationships with our communities as we work to build connections through music. We envision creating welcoming spaces that offer a sense of belonging where all are valued regardless of age, race, gender, religion, sexual orientation, ability, economic status, political affiliation, or education. We believe that orchestral music is more relevant and alive when it honors tradition while embracing new ideas. We strive to work towards unraveling a history of exclusivity prevalent in classical music and we will continue our pursuit of diversity, equity, inclusion, and belonging through learning, listening, and engaging. We recognize that, at present, neither the musicians, the audience, the board, nor the staff of the Walla Walla Symphony fully reflect the diversity that is present in our valley. We actively seek to transform our relevance to the diverse communities we serve.

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PAVING THE WAY

Tuesday, September 29, 2026 | 7 p.m. Cordiner Hall

Made possible in part by the WW Symphony Guest Composer/Artist Fund Underrepresented Voices

Walla Walla Symphony conducted by Dina Gilbert Adrian Anantawan, violin Wolfgang Amadeus Mozart

Overture to Don Giovanni

Felix Mendelssohn

Violin Concerto in E minor, Op. 64

I. II. III.

Allegro molto appassionato Andante Allegretto non troppo — Allegro molto vivace

INTERMISSION Louise Farrenc

Symphony No. 3 in G minor, Op. 36

I. Adagio — Allegro II. Adagio cantabile III. Scherzo: Vivace IV. Finale: Allegro

Program is subject to change

WOLFGANG AMADEUS MOZART

Overture

Born January 27, 1756, in Salzburg, Austria

An introduction to a large dramatic work, such as a ballet or opera, that demands listeners’ ears and sets the tone of the evening. Alternatively, these can be standalone concert works written on a subject or theme.

Died December 5, 1791, in Vienna, Austria “Creativity is the firing of my soul.”

Overture to Don Giovanni, K. 527 (1787) Approximate Length: 7 minutes Premiered: October 29, 1787, in Prague Last WWS Performance: July 13, 2012

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

Program Notes The Austrian composer Wolfgang Amadeus Mozart’s ability to procrastinate is the stuff of legends. A full performance of his famous opera Don Giovanni lasts around three hours. And yet, Mozart waited until the night before the opera was to premiere (already delayed by two weeks) to pen the opening overture and complete the work.

The following tale is anecdotal and probably embellished, but the story goes as follows. Mozart’s wife, Constanze, made a deal with her dithering husband: If she made him punch and told him stories to keep him alert, he’d work on the overture until he finished it. Constanze, the angel, held up her side of the bargain. Mozart,

Mozart adapted music from the dramatic finale for the opening of the overture, which begins with thunderous chords punctuated by great, deafening silences. Soon, strings begin to slither with a slow, portentous melody. Before long, however, the mood lightens and quickens to a bright, cheery allegro, the opera itself blends both melodrama and comedy throughout the production. There are shadows in the music, flashes of jealousy, and near-escapes by the Don in the opera. The original overture transitions into the first act more directly, and Mozart later wrote a concert version of the ending that resolves more cleanly. who sometimes composed in his head and is said to have found the process of actually writing notes on the page quite tedious, did not. He promptly fell asleep on the sofa. The story ends happily, however, as Mozart awoke and wrote out the overture, perhaps already complete in his head, at breakneck speed in time for the premiere. In the opera, Don Giovanni is an arrogant, philandering nobleman. He murders a man after attempting to seduce his daughter. Later, the father’s spirit returns to drag an unrepentant Giovanni to hell, usually in the form of a large stone statue in the graveyard. To illustrate the horror of this moment, Mozart uses a special kind of dissonant chord played loudly, slowly, and rhythmically. For the music theory buffs in the room: Mozart used diminished seventh chords here, long associated with terror and the supernatural.

Don Giovanni is now one of the most frequently performed operas in the repertoire. It followed the success of Le Nozze di Figaro (The Marriage of Figaro) and preceded the satirical opera Così fan tutte (Women are like that), all three of which Mozart wrote with librettist Lorenzo Da Ponte.

Keep Listening Recommended Recording Mozart: Overtures Sir Neville Marriner, conductor; Academy of St. Martin in the Fields; 1982 More Music by Mozart to Explore

• Don Giovanni (complete opera) • Kyrie in D minor • Violin Sonata No. 35 in A Major, K. 526 • Eine kleine Nachtmusik, K. 525

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Adrian Anantawan Adrian Anantawan is a violinist, educator, disability advocate, and cultural leader whose work bridges artistic excellence, accessibility, and social impact. Born without a right hand, he has built an international career as a performer and speaker, appearing at the White House, the United Nations, and the opening ceremonies of the Athens and Vancouver Olympic Games, as well as performing for Pope John Paul II and the Dalai Lama. He holds degrees from the Curtis Institute of Music, Yale University, and the Harvard Graduate School of Education, and has studied with Itzhak Perlman, Pinchas Zukerman, and Anne-Sophie Mutter. Anantawan is Associate Professor of Strings at Berklee College of Music and Artistic Director of Shelter Music Boston, with teaching appointments at Harvard University and Milton Academy. He helped create the Virtual Chamber Music Initiative at Holland Bloorview Kids Rehabilitation Hospital and founded the Music Inclusion Program, expanding adaptive music-making opportunities for young people with disabilities. At the

center of his work is a belief that disability is not a limitation, but a vital source of creativity, identity, and artistic leadership. In recent years, Anantawan has gained national attention for his leadership in disability arts and music inclusion, including his work with Berklee’s Music Inclusion Ensemble, a groundbreaking community of disabled musicians and allies supported by a Newbury Fellowship. His recent honors include The Kennedy Center Next 50, the Marylou Speaker Churchill Award from New England Conservatory, the 2025 Johnson Fellowship for Artists Transforming Communities from Americans for the Arts, selection as a 2025 Brother Thomas Fellow by the Boston Foundation and Pucker Gallery, and an Honorary Fellowship from The Royal Conservatory of Music. A Juno Award nominee, Terry Fox Hall of Fame inductee, and Queen Elizabeth II Diamond Jubilee Medal recipient, Anantawan continues to perform, teach, and speak internationally as a leading voice for disability, artistry, and inclusion in music.

FELIX MENDELSSOHN

Cadenza

Born February 3, 1809, in Hamburg, Germany

A virtuoso passage in a concerto movement or aria, typically near the end and often played without strict adherence to meter or time. Before Mendelssohn, performers often wrote their own cadenzas or improvised them on the spot.

Died November 4, 1847, in Leipzig, Germany “The essence of beauty is unity in variety.”

Violin Concerto in E minor, Op. 64 (1844) Approximate Length: 28 minutes Premiered: March 13, 1845, in Leipzig Last WWS Performance: October 3, 2017

Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings, and solo violin

Program Notes What some concertgoers believe to be an unbreakable rule, “Thou shalt not clap between movements at the symphony,” is actually a tradition that emerged around the turn of the 20th century. Like the practice or hate it, it’s a convention, not a rule. In reality, composers in previous centuries often expected applause during movement breaks, and some were even disappointed if they didn’t think the applause was loud enough. Sometimes applause would last so long that performers would repeat entire movements on the spot. Composers who didn’t want applause between movements had an easy option to prevent it. Take Felix Mendelssohn, an often-cheerful, precocious man. He wrote his Violin Concerto to be played without breaks, inserting orchestral transitions between movements.

This is hardly his only innovation in the concerto. A wunderkind pianist and violinist, Mendelssohn wrote his first serious piano concertos in G minor and D minor with the soloist entering almost immediately rather than after the

customary long orchestral introduction. The violin concerto is no different, with the soloist entering at the start with a passionate song. After this initial presentation of the theme, the orchestra leaps in to confirm this longing with its brawnier exploration of the same tune before pivoting to a contrasting, sweet secondary melody. In another unusual move at the time, Mendelssohn wrote out the cadenza near the end of the first movement, using it to build back into the recapitulation, or the return of the opening theme. A simple transition introduces an achingly sweet, lyrical second movement reminiscent of his Songs Without Words, vocal-style music for instrumentalists. The finale begins after another bridge, a mock-serious lamentation that contrasts with the sparkling wit to come. Mendelssohn is perhaps best remembered for his incidental music to Shakespeare’s A Midsummer Night’s Dream, a project

he started at the tender age of 17, a nearperfect musical representation of the Bard’s lighthearted fairies and their fleetfooted scurrying. The concerto’s finale contains more than a hint of that lightness. It’s a brilliant, zippy test of the soloist’s technical skill with engaging orchestral countermelodies and an utterly electrifying close.

Keep Listening Recommended Recording Mendelssohn and Shostakovich: Violin Concertos Oslo Philharmonic; Hugo Wolff, conductor; Hilary Hahn, violin; 2002 More Music by Mendelssohn to Explore

• Overture to The Hebrides • Symphony No. 3 in A minor, “Scottish” • Piano Concerto in G minor

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LOUISE FARRENC

Symphony

Born May 31, 1804, in Paris, France

An elaborate orchestral composition typically broken into contrasting movements.

Died September 15, 1875, in Paris, France

“I once believed that I had creative talent, but I have given up on this idea; a woman must not wish to compose – there never was one able to do it. Am I intended to be the only one? It would be arrogant to believe that.”

Symphony No. 3 in G minor, Op. 36 (1847) Approximate Length: 33 minutes Premiered: April 22, 1849, in Paris Last WWS Performance: First performance at tonight’s concert Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, timpani, and strings

Program Notes The French composer Louise Farrenc had two things working against her. The obvious one is that she was a woman at a time when women faced formidable obstacles in building a professional career in music. The second is that she was French. In Farrenc’s time (the early 1800s) opera dominated the French musical scene, and composers of concert music were not as esteemed. Farrenc was more than a concert music composer; she was a symphonist, and an excellent one at that. Her musical output, which included a trio of symphonies, two concert overtures, and numerous chamber works and piano works, was considered more “Germanic” because she used musical forms like sonata form and theme and variations associated with composers like Mozart, Haydn, and Beethoven. Today, orchestras are combing through music neglected by the establishment, and Farrenc’s music is having something of a renaissance, with performances by major orchestras around the country. Born in Paris to a successful sculptor, Farrenc began studying piano at an early

age and demonstrated a remarkable aptitude for the instrument. She wasn’t allowed to enroll in the Paris Conservatory’s traditional composition classes, but this didn’t stop her from studying privately with the composition teacher at the conservatory. Farrenc made a name for herself as a concert pianist and teacher, and her initial compositional offerings were for solo piano. She taught piano at the Paris Conservatory for 30 years, earning a reputation for being serious, dignified, and rather intimidating, characteristics that no doubt helped her when she pushed successfully to be paid the same as her male colleagues.

The Symphony No. 3 in G minor is a masterpiece. It begins with a brief, mournful introduction, with the oboe introducing the tune before passing it to the strings, which then pass it to the clarinet. Then, the music takes off at a quicker speed, with strings churning with an unsettled, serious theme. This stormy opening contrasts with a second theme introduced in the winds, more graceful and lighthearted, like a slice of sun through the clouds. Throughout this movement, Farrenc alternates and deconstructs and recombines these two primary themes in traditional sonata form.

scherzo that recalls some of the fury of the opening movement. It also includes a contrasting middle section (are you seeing the pattern?) and the finale maintains this stern sensibility. While many of her contemporaries would have finished the symphony in a more optimistic major key, Farrenc maintains the severity of her music straight to the finish with a series of intense, descending G minor scales and chords in the entire orchestra.

The second movement begins with a melody that could be described as operatic, a song without words, first played by the clarinet and then echoed by the violins. Like the first movement, there is a contrasting melody that occurs halfway through, with more drama and flair in its snappy dotted rhythms (dah-ta-dah!), before the music of the opening returns.

Farrenc: Les 3 symphonies Orchestre National de Bretagne; Stefan Sanderling, conductor; 2001

Keep Listening Recommended Recording

More Music by Farrenc to Explore

• Symphony No. 2 in D Major, Op. 35 • Nonet in E-flat Major, Op. 38 • Violin Sonata No. 2 in A Major, Op. 39

The third movement is a quick-witted

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VIENNA BOYS CHOIR Friday, October 16, 2026 | 7 p.m. Cordiner Hall

About the Guest Ensemble The Vienna Boys Choir is one of the most famous choirs in the world, and one of its oldest; boys have been singing at Vienna’s Imperial Chapel at least since 1296. Two hundred years later, on July 7, 1498, Holy Roman Emperor Maximilian I. established a Court Chapel in Vienna. He gave specific instructions that there were to be boys among the singers, thus laying the foundation for the Vienna Boys Choir. Like their modern successors, the Early modern boys spent much time on the road, following their imperial employer to sing at the Holy Roman Empire’s parliamentary meetings, imperial coronations, weddings, state processions, and feasts. Over the centuries, the Viennese court attracted musical geniuses like Heinrich Isaac, Johann Joseph Fux, and Wolfgang Amadeus Mozart. Composers Joseph Haydn, Michael Haydn, and Franz Schubert

sang as boys with the choir; Anton Bruckner gave them singing and piano lessons. Today, the former imperial ensemble has grown into an entire campus; the modern Vienna Boys Choir is a private, non-profit organization which funds itself chiefly through income generated from concerts and touring, as well as donations and sponsorship deals. The Vienna Boys Choir maintains a primary school and a grammar school whose syllabi focus on choral music and singing. 330 boys and girls between the ages of six and nineteen attend the schools on campus. All students have individual voice lessons, and all sing in one of the choirs. In addition to the four famous boys’ choirs, there is a female counterpart—the Vienna Girls Choir (Wiener Chormädchen) for girls aged 10 to 14, as well as the Chorus Primus, a mixed

children’s chorus comprised of all boys and girls enrolled in the 4th grade of the choir’s primary school, and the Chorus Juventus, the mixed youth choir of the Senior High School. The Vienna Boys Choir’s education, listed by UNESCO as cultural heritage, is open to all, regardless of origin, gender, nationality, or religion. There are currently 90 active boy choristers, divided into four boys’ choirs, which all perform as “Vienna Boys Choir”— Brucknerchor (Choirmaster Manolo Cagnin), Haydnchor (Choirmaster Jimmy Chiang), Mozartchor (Choirmaster Manuel Huber), and Schubertchor (Choirmaster Niccolò Morello). The four choirs share concerts, tours, sound recordings and filming equally. Between them, they perform almost 300 concerts per year, with almost half a million people attending. Since 1924, the choirs have completed more than 1000 tours in 100 different countries, clocking up a staggering 29,000 concerts. On Sundays, the choirs take turns singing mass in Vienna’s Imperial Chapel, joining forces with members of the Vienna Philharmonic Orchestra and the men’s chorus of the Vienna State Opera. They frequently participate in largescale symphonic concerts, performing under conductors like Joana Mallwitz, Zubin Mehta, Riccardo Muti, Christian Thielemann, Simone Young, Franz WelserMöst. Other highlights in the choirs’ calendars are appearances at the Salzburg Festival and at the New Year’s Concert of the Vienna Philharmonic. The Vienna Boys Choir cooperates with several other charities, such as UNICEF,

“Licht ins Dunkel” (Light into Darkness, an Austrian charity), and die moewe Child protection agency. Together with Caritas and the Vienna Konzerthaus, the Choir founded “superar”, an outreach program offering children access to free music education. In addition, the Vienna Boys Choir runs Chorus amabilis, a choir for adult singing enthusiasts, aimed particularly at pensioners. In 2023, the Choir celebrated its 525th anniversary. To mark the occasion, Deutsche Grammophon released a live album of the anniversary concert in Vienna’s Musikverein, Decca Classics released a box set of 21 CDs featuring the Choir’s landmark recordings, and academic publishing house Böhlau released a book on the Choir’s rich history. In 2024, the Vienna Boys Choir and the Vienna Girls Choir jointly received the European Culture Award. Erasmus Baumgartner was appointed Artistic Director of the Vienna Boys Choir in the fall of 2023.

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SYMPHONICON

Thursday, November 5, 2026 | 7 p.m. Cordiner Hall

Walla Walla Symphony conducted by Dina Gilbert “I used to call them my ‘python pants’ because they nearly strangled you to death. Man was not built for tights.” — Adam West (Born September 19, 1928, in Walla Walla; died June 9, 2017, in Los Angeles) Instrumentation: Two flutes and one piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, and strings

Leitmotif A recurring musical theme associated with a particular character, idea, object, or emotion in a dramatic work.

Main Title Theme from Batman Suite

Danny Elfman

Batman TV Theme

Neal Hefti (Arr. Cerulli)

SPARK! PREMIERES SPARK! Premieres: In Ashmere: Mines of Gratük SPARK! Premieres: Song of Persephone

Cormac Irons (Arr. Kristin Vining) Gideon Jenkins (Arr. Kristin Vining)

Concert Selections from the Motion Picture Superman Returns

John Williams/ John Ottman (Arr. Lopez)

Music from Spider-Man

Danny Elfman (Arr. Wasson)

Captain Marvel

Pinar Toprak (arr. Vik)

Suite from Video Games Live Halo Theme (from “Halo Suite”)

• • “Coronation” and “Baba Yetu” from Civilization IV • Kingdom Hearts

INTERMISSION

(Arr. Ralph Ford) Marty O’Donnell and Michael Salvatori Christopher Tin Yoko Shimomura

From the Motion Picture How to Train Your Dragon Featuring the Walla Walla Symphony Youth Orchestra Bruce Walker, conductor “Golden” from KPop Demon Hunters Symphonic Suite from The Fellowship of the Ring Star Trek Through the Years

John Powell (Arr. O’Loughlin)

Ejae et al, (Arr. Murtha) Howard Shore (Arr. Whitney) (Arr. Custer)

Star Wars, Suite for Orchestra I. Main Title II. Princess Leia’s Theme III. The Imperial March (Darth Vader’s Theme)

John Williams

Kristin Vining SPARK! PROGRAM DIRECTOR Kristin Vining is a composer, pianist, teacher, and poet with roots in the Pacific Northwest. A graduate of Whitman College, she has composed and performed for dancers, singers, instrumentalists, theater productions, and other artists. She directs the Walla Walla Symphony’s SPARK! Composition Course, teaching young composers and helping them develop original music for performance.

Bruce Walker

YOUTH ORCHESTRA PROGRAM DIRECTOR Bruce Walker is Associate Professor of Music at Columbia Basin College and Music Director of the Walla Walla Symphony Youth Orchestra. Named the 2021 Music Educator of the Year by the Washington Music Educators Association, he has conducted and taught throughout the United States and internationally, including work with young musicians in Iraq, Syria, Lebanon, and Jordan. He holds degrees in music education, cello performance, and orchestral conducting. Outside of music, he enjoys hiking, barbecue, and shopping for and admiring argyle socks.

About the SPARK! Composition Course

techniques. By the end of the course, each student has at least one original piece of music to share.

SPARK! Composition Course is a free online program offered by the Walla Walla Symphony for young composers of all experience levels in grades 3–12. It is designed to help students discover their own creative voice through music composition while providing a supportive space to explore their ideas.

Since launching during the pandemic, SPARK! has grown to include opportunities for students to connect their compositions with Symphony performances. SPARK! Premieres showcases the work of these young composers, allowing their music to be performed by Symphony musicians. To learn more, visit www.wwsymphony.org/ education-community or scan the QR code.

Throughout the program, students receive private lessons with professional composer Kristin Vining and participate in group sessions where they learn about improvisation and composition

CORMAC IRONS 7th grade, age 12

In Ashmere: Mines of Gratük (2026) Approximate length: 3 minutes Premiered: November 5, 2026, in Walla Walla Last WWS performance: First performance at tonight’s concert Bio: Cormac is a 7th grader who enjoys playing the double bass and guitar. Outside of music, he loves mountain biking, skiing, backpacking and karate. Inspiration: This piece was inspired by a great tunnel system in an active volcano with thousands of Dwarven miners.

Our goal is to be tuned into one thing: Strengthening our community by helping families, individuals and businesses succeed.

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GIDEON JENKINS 11th grade, age 16

Song of Persephone (2026) Approximate length: 3 minutes Premiered: November 5, 2026, in Walla Walla Last WWS performance: First performance at tonight’s concert Bio: As the second piece of music he has composed, Gideon is proud and excited to have his music performed. He has been playing the same piano since he was 5 years old and enjoys singing as he plays. Inspiration: This piece was inspired by the novel Red Rising by Pierce Brown, which tells the story of oppressed people rising through society. The melody was built around a song in the book that rallies troops to rebel against the forces keeping them down.

Philanthropy in Harmony with Our Community Like music, philanthropy begins with a single note, a single act of generosity that, when joined with others, creates something greater. For more than 40 years, Blue Mountain Community Foundation has partnered with donors to compose legacies that enrich Walla Walla, Umatilla, Columbia, and Garfield counties. Today, with more than $140 million in charitable assets, BMCF builds a crescendo of impact through millions in scholarships and grants each year. Some of these funds are permanently dedicated to supporting the Walla Walla Symphony, helping ensure its excellence for decades to come. Your gift—today or through your estate—can join this symphony of generosity and keep the music alive for generations. To learn more, contact Sara Archer at sara@bluemountainfoundation.org or 509-529-4371.

Program Notes Here’s the thing to know about orchestral film music: It’s closer to opera than many people realize. Great film composers like John Williams, Danny Elfman, and Howard Shore all use musical devices in their scores called “leitmotifs.” These are fragments of music that come to represent a particular character, location, emotion, or idea in a film. As the plot progresses, the leitmotif might change, but the core melody or idea remains recognizable. Leitmotifs come straight from the operatic tradition. They’ve been around for hundreds of years, but the larger-than-life composer Richard Wagner — whose Ring operas draw on some of the same myths as J.R.R. Tolkien’s The Lord of the Rings — used them consistently and systematically decades before the advent of sound in film. This framework of repeated, evolving themes allows composers to shape the music to fit the emotion of particular scenes, intensifying their drama and impact immensely, like when “Hedwig’s Theme” from Harry Potter darkens and sounds more menacing with each successive film as the world grows more serious as the characters age. There’s a reason many film directors continue to work with an orchestral composer on their films — the power of an orchestra is still unmatched. The other thing to know about film music is that it’s difficult music. Most of it wasn’t

written to be performed in concert but rather to be recorded in bite-sized chunks called “cues” that are then synced directly with the film. For a trumpet player to play through long sections of Star Wars without a break is quite difficult, thrilling as it can be for listeners. When it comes to the music for the various Batman films, there’s an unwritten rule: Low notes, lots of brass. Danny Elfman’s theme for the 1989 film directed by Tim Burton is noble and chaotic and dark, with furious brass raining down. Later, composers Hans Zimmer and James Newton Howard use booming, heavy timpani strikes in Christopher Nolan’s Batman films. And in Matt Reeves’s The Batman, composer Michael Giacchino weaves a creepy adaptation of the melody of the Schubert song “Ave Maria” above a deep, sinister, rumbling accompaniment as the villain’s leitmotif. There is one exception that proves the rule. When a brightly colored iteration of the caped crusader played by Walla Walla’s own Adam West arrived on television in 1966, trading delightfully terrible quips with his boy wonder, the jazz trumpeter and arranger Neal Hefti decided that the music needed to capture some of the camp of the show. He composed a 12-bar blues with a twangy electric guitar riff, with brass and an eight-voice chorus interjecting with shouts of “Bat-maaan!” to punctuate the tune. It’s harmonically simple and has gone on to inspire numerous covers in the 60 years

Thank you, Walla Walla Symphony, for sharing your artistry with our community!

Walla Walla University

Department of Music Love what you do. Share what you love. Visit music.wallawalla.edu to learn more about our music program or call (509) 527-2561.

since it premiered. The series was adapted to the silver screen later that year, where Batman punches a shark in the nose. The Walla Walla connection continues as the orchestra plays a pair of works composed by students in the Walla Walla Symphony’s free online composition program, SPARK!, serving students in grades 3–12. Working with professional composer Kristin Vining, the students workshopped their pieces, and Vining arranged two, In Ashmere: Mines of Gratük and Song of Persephone, for this celebration of local talent. Next, the composer John Williams’ original score for the 1978 Superman is another iconic blast for brass, and composer John Ottman brought back this theme for the 2006 film Superman Returns. While this music bears some resemblance to Batman’s music, it’s scored in a bright major key that conjures hope and optimism rather than grit and grime. Danny Elfman’s music for SpiderMan, however, uses skittering strings and light percussion for a creeping sensation, while Pinar Toprak’s Captain Marvel returns to the Superman formula, now with retrosounding ’80s electronics woven in.

Berk, with thrilling, soaring music for the flight sequences thundering in the brass. It’s becoming a favorite option for live-with-film orchestral performances around the country. The arrangement of the 2025 song “Golden” from the animated movie KPop Demon Hunters, meanwhile, brings svelte strings to the global hit. Howard Shore’s scores for The Lord of the Rings films are filled with leitmotifs, like the airy wind melody for the Shire sequences, the heroic tune that accompanies the fellowship of the ring as the companions depart on their quest, and a darker, more turbulent theme for the villains of Isengard set in an unusual, asymmetrical time signature. Finally, to close, is a pair of suites from the two biggest sci-fi franchises in cinema: Star Trek, with its opening theme of wonder and exploration, and Star Wars, with its iconic trumpet blast in the opening theme, the tender strings of “Princess Leia’s Theme,” and the sharp rhythms and snarling melodies of “The Imperial March.”

The Suite from Video Games Live adapts music from several famous franchises including the first-person sci-fi shooter Halo, the strategy game Civilization IV, the thirdperson sci-fi shooter game Advent Rising, and the action role-playing game Kingdom Hearts, which blends anime-style versions of characters from Disney, Pixar, and the Final Fantasy franchise. John Powell’s music for the How to Train Your Dragon series for children adopts Scottish, Celtic, Nordic, and Irish folk influences to nod to the fictional island of

NEW WORLDS

Tuesday, December 1, 2026 | 7 p.m. Cordiner Hall

Made possible in part by the WW Symphony Guest Composer/Artist Fund Underrepresented Voices

Walla Walla Symphony conducted by Dina Gilbert Whitman Orchestra conducted by Paul Luongo Caroline Shaw

Entr’acte

Nokuthula Ngwenyama

Primal Message for String Orchestra

Missy Mazzoli

These Worlds in Us INTERMISSION

Antonín Dvořák Symphony No. 9 in E minor, Op. 95 (“From the New World”) Performed in collaboration with the I. Adagio. Allegro molto Whitman Orchestra II. Largo

III. Molto vivace IV. Allegro con fuoco

Program is subject to change

CAROLINE SHAW

Entr’acte

Born August 1, 1982, in Greenville, North Carolina

Typically a piece of music performed between the acts of a play, opera or ballet.

“At its best, music writing feels like that. It feels like a gift for those who are close to you, rather than reaching for something far away.”

ENTR’ACTE (2011) Approximate Length: 11 minutes Premiered: March 21, 2011, at Princeton University Last WWS Performance: First performance at tonight’s concert Instrumentation: Strings

Program Notes The American composer Caroline Shaw is most famous in classical circles for winning the Pulitzer Prize in Music in 2013 for her Partita for 8 Voices for the ensemble she

also sings in, Roomful of Teeth. But she’s also had some brushes with pop culture that have introduced her music to the wider public.

She composed an original score for the Ken Burns documentary Leonardo da Vinci, creating an airy, mathematically driven tapestry. She’s worked with Beyoncé on Homecoming and Kanye West on The Life of Pablo. Her music can be heard in the film Tár (about a classical conductor), the series Fleishman Is in Trouble, and Netflix’s Dark. Plus, she cameoed as herself in the Amazon show Mozart in the Jungle, dropping a composition out a window for the show’s characters to premiere. Her music is generally airy and light, with transparent textures and melodic fragments. Entr’acte is no exception, but there’s a hint of worry in the work’s opening minor-key chords. This work began its life as a string quartet inspired by the German composer Franz Joseph Haydn’s String Quartet in F Major, Op. 77, No. 2, which Shaw said includes a “spare and soulful shift to the D-flat major trio in the minuet.” She continues: “It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.” Classical minuet-and-trio movements have an overarching ternary design: The minuet gives way to a contrasting trio before the minuet returns. In this work, after the initial section of repeated chords and shifting shadows, Shaw changes the mood significantly for the middle section, which is more experimental and distorted. To

close, she returns to the music that began the piece, now slightly changed. Shaw is a sought-after composer, violinist, and singer, having studied the violin since the tender age of two, although she prefers the term “musician” to composer. As a child, she phoned her local classical music station to request specific pieces and called them back if they didn’t play the right ones. Shaw is based in New York City.

Keep Listening Recommended Recording Renewal United Strings of Europe; Julian Azkoul, director; 2022 More Music by Shaw to Explore

• Partita for 8 Voices • Punctum • Jacques Duran

Art for All 25

NOKUTHULA NGWENYAMA

Polyrhythm

Born June 16, 1976, in Los Angeles

In music, the simultaneous use of two or more contrasting rhythms or meters.

“I thought, ‘What should we put in a message that we're sending 25,000 light years away? What would I imagine putting in there, if it could be a musical message?’”

PRIMAL MESSAGE FOR STRING ORCHESTRA (2020) Approximate Length: 11 minutes Premiered: November 5, 2020, in Detroit Last WWS Performance: First performance at tonight’s concert Instrumentation: Strings

Program Notes How would you introduce humanity to an intelligent alien life form? In 1974, the astronomer Frank Drake worked with Carl Sagan and others to encode information in a powerful radio signal, including the numbers 1-10, atomic numbers of elements essential to DNA, information about DNA, a simplified human figure and the human population, a diagram of the solar system, and a representation of the Arecibo telescope. They aimed the signal at a cluster 25,000 light-years away. It may take a while to hear back. Composer Nokuthula “Thula” Ngwenyama took inspiration from that message to compose her Primal Message, an 11-minute work of beautiful simplicity, built from mathematical harmonic relationships. The result is a luminous work of gentle textures, and long, pleasant melodies that avoid dissonance and uplift the spirit. Ngwenyama, born in Los Angeles to a Zimbabwean father and Japanese mother, studied piano, violin, and viola before studying theology at Harvard. An accomplished performer, she emerged as a professional composer a little later in life, primarily writing works for strings. In interviews, she comes across as curious and earnest — she’s fascinated by humanity’s relationship to nature and by music’s ability to express ideas larger than the self. She describes the music herself as follows:

It’s 1974. What should we put in humanity’s first message in a bottle sent 25,000 light years away? Astronomers Frank Drake (Drake equation), Carl Sagan (Contact), and others created the historic Arecibo message, in which 186 seconds of interstellar radio waves sent a friendly map, our then-understood DNA structure, and transmitting technology in binary anthropomorphic organization to globular M13 in our galaxy’s Hercules cluster. The ideas conveyed by Steven Johnson’s New York Times Magazine article “Greetings E. T. (Please Don’t Murder Us.)” from June 28, 2017, encouragement from the Phoenix Chamber Music

DINA GILBERT M USIC DIRECTOR & CONDUCTOR

Get tickets for 2027 performances! ● Walla Walla Symphony ● Brahms Requiem Presents: Valentine’s with Thursday, April 1, 2027 | 7 PM Seraph Brass ● Soundscapes Sunday, Feb 14, 2027 | 3 PM ● A Hero’s Journey

Tuesday, March 9, 2027 | 7 PM

Tuesday, May 11, 2027 | 7 PM

Go to wwsymphony.org 27

Society and Chamber Music Northwest, and early days with partner John Clements awakened imaginings about what a “primal message” might sound like. This assumes other possible life forms hear and feel sound like we do. Opening off-world communication through transverse waves explores existential conveyance under a frayed veil of decorum through form, melody, and numbers. Primal Message is a fantasia that relies upon primal relationships — duo vs. trio textures, modulations through the ii with conventional homage to the V, one voice as the outlier in primal 2 vs. 3 vs. 5 rhythmic layering, melodic structure descending in seconds and thirds, centering around the fifth, then leaps and the occasional septuplet. It invites examination of our collective evolution

through a drive to express, tying us in concert with universal celebration. Primal Message received its orchestral world premiere on November 5, 2020, with Xian Zhang leading the Detroit Symphony Orchestra.

Keep Listening Recommended Recording YouTube: Nokuthula Ngwenyama: Primal Message for String Orchestra (Northwest Sinfonietta) More Music from Ngwenyama to Explore

• Elegy • Down • Cars Talk

MISSY MAZZOLI Born October 27, 1980, in Lansdale, Pennsylvania “I really think of my motives, my melodies, my harmonies, as being these things that are very much alive.”

Text Painting A technique in which music mirrors the literal meaning or imagery of the words being sung.

These Worlds in Us (2006) Approximate Length: 9 minutes Premiered: April 1, 2006, in New Haven Last WWS Performance: First performance at tonight’s concert Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, tuba, percussion, and strings

Program Notes The American composer Missy Mazzoli is having a moment. This year alone, she has had two major world premieres: In August, her opera The Galloping Cure, which centers on the opioid epidemic, had its first performance at the Edinburgh International Festival in Scotland. In October, her opera Lincoln in the Bardo premiered at the Metropolitan Opera in New York City; Mazzoli is one of the first women to have been commissioned by that company.

Long before her music reached the Met stage, one of the largest in the classical music world, Mazzoli composed for friends and peers. She wrote These Worlds in Us as a student at Yale University just before graduating, and the university’s orchestra premiered the work.

intense memory within us, and that grief is often not far from joy. I like the idea that music can reflect painful and blissful sentiments in a single note or gesture, and sought to create a sound palette that I hope is at once completely new and strangely familiar to the listener.

Mazzoli’s operatic and instrumental styles alike are fluid and draw on a variety of influences; there are melodies and fragments of melodies, but the real draw for the ear comes from the textures she creates and the way she transitions between them. These Worlds in Us opens with a burst of sound before beginning to wind its way through a series of harmonic progressions.

The theme of this work, a mournful line first played by the violins, collapses into glissandos almost immediately after it appears, giving the impression that the piece has been submerged under water or played on a turntable that is grinding to a halt. The melodicas (mouth organs) played by the percussionists in the opening and final gestures mimic the wheeze of a broken accordion, lending a particular vulnerability to the bookends of the work. The rhythmic structures and cyclical nature of the piece are inspired by the unique tension and logic of Balinese music, and the marchlike figures in the percussion bring to mind the militaristic inspiration for the work as well as the relentless energy of electronica drum beats.

She describes the work herself as follows: The title These Worlds In Us comes from James Tate's poem The Lost Pilot, a meditation on his father's death in World War II: (excerpt) My head cocked towards the sky, I cannot get off the ground, and you, passing over again, fast, perfect and unwilling to tell me that you are doing well, or that it was a mistake that placed you in that world, and me in this; or that misfortune placed these worlds in us. This piece is dedicated to my father, who was a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate worlds of

Keep Listening Recommended Recording Missy Mazzoli: Dark with Excessive Bright Various Artists, 2023 More Music by Mazzoli to Explore

• Shy Girl Shouting Music • In Spite of All This • Magic with Everyday Objects

ANTONÍN DVOŘÁK

Symphony

Born September 8, 1841, in Nelahozeves, Czech Republic

An elaborate orchestral composition typically broken into contrasting movements, at least one of which is in sonata form.

Died May 1, 1904, in Prague, Czech Republic

“I called this symphony ‘From the New World’ because it was the very first work I wrote in America. As to my opinion I think that the influence of this country (it means the folk songs as are Negro, Indian, Irish etc.) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in couleur as in character, but I will not criticize myself.”

Symphony No. 9, Op. 95 (“From the New World,” 1893) Approximate Length: 42 minutes Premiered: December 16, 1893, in New York City Last WWS Performance: October 4, 2016 Instrumentation: Two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, cymbals, and strings

Program Notes Despite not having an American bone in his body, the Czech composer Antonín Dvořák wrote one of the most famously “American” symphonies in the classical repertoire. Dvořák’s Symphony No. 9, commonly called the “New World” symphony, draws on the style of African American spirituals so well that many assume he borrowed the tune from the song “Goin’ Home” for the famous English horn solo in the second movement (actually, the symphony came first). The third movement is original as well, and though it doesn’t directly quote any particular Native American folk songs, it aims to capture their style with honest appreciation. And all this after only a few months of living in the States. Dvořák was a “late bloomer” compared to classical music’s famous prodigies like Mozart and Beethoven. It took him until his mid-30s to make his mark in Europe as one of the great composers of his day, weaving Bohemian folk tunes and Western classical idioms in inventive, thrilling

fashion in the concert hall. And when the recently established National Conservatory of Music in New York City needed a new music director, founder Jeannette M. Thurber, who was the wife of a millionaire greengrocer, decided that Mr. Dvořák was the man for the job. Dvořák, who loved his home dearly, balked at the idea until Thurber offered him 25 times his current salary to move to New York. (The exact figure was equivalent to more than half a million in today’s dollars.)

Whitman Orchestra Orchestral activity has taken place on Whitman College’s campus for over a century. As far back as 1898, a string orchestra at Whitman performed the music of Handel and Mendelssohn for audiences of the Walla Walla community. Today’s Whitman Orchestra offers students an opportunity to perform music from some of the greatest artists of the orchestral tradition. Over the course of each school year, the orchestra performs music that ranges from baroque suites to modern symphonies. It explores famous masterworks as

So he moved. It was during his tenure as director that Dvořák wrote his Ninth Symphony, his famous Cello Concerto, and his “American” string quartet, three of his best-loved works. Dvořák’s compositional idiom already involved blending Western traditions with folk music, and he threw himself into American folk idioms with abandon on his arrival: “In the Negro melodies of America I discover all that is needed for a great and noble school of music,” he wrote at the time. The symphony’s first movement kicks off with a mournful but powerful dirge. Soon, it accelerates into the main tune of the movement, a simple, fierce melody in the French horns that rips up and down an

well as neglected treasures with instrumentation that range from pieces for string orchestra to those for a full symphonic orchestra. The orchestra is composed of both music majors and students majoring in other fields, a reflection of the varied interests among typical Whitman students. In recent years, the Whitman Orchestra has performed as a juried and selected ensemble at the Washington Music Educators Association, State Conference (2018) and the College Orchestra Directors Association, National Conference (2019).

arpeggio. This main tune contrasts with a musical nod to the song “Swing Low, Sweet Chariot” in the flute (scholars aren’t sure whether it was deliberate) and these and other themes alternate and blend throughout the movement. The second movement begins with a brass chorale, or a hymn-like progression, that settles gently into a bed of string sound. And then, plaintively, nostalgically, an English horn, a lower-voiced cousin of the oboe, begins to sing the symphony’s most famous tune, with the orchestra cutting in at times with dramatic chorales and commentary. In addition to spirituals, Dvořák wrote after composing the symphony, “I carefully

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studied a certain number of Indian melodies which a friend gave me and was truly intrigued by their characteristic traits – imbued with their spirit, in fact.” This is evident in the third movement, thought to have been partly inspired by the epic poem The Song of Hiawatha by American poet Henry Wadsworth Longfellow, which Dvořák would have read in translated form in Czechia. This movement is a traditional scherzo in form, with a fiery first section, a

milder, lilting middle section, and then a reprisal of the opening material. The finale is a raucous, dramatic affair that quotes from previous movements in a cyclic, “summing up” manner before building to an epic conclusion that celebrates Dvořák’s first months in America.

Keep Listening Recommended Recording Dvořák: Symphony No. 9 in E Minor, Op. 95, B. 178 “From the New Yorld” – Simon: Four Black American Dances Pittsburgh Symphony Orchestra; Manfred Honeck, conductor; 2026 More Music by Dvořák to Explore

• Cello Concerto in B Minor • String Quartet in F Major, Op. 96 (“American”)

Every Note

Tells a Story.

Like every great composition, your financial journey is made up of meaningful moments.

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Paul Luongo On the podium, conductor and musicologist Paul Luongo looks for harmonious combinations of his two areas of expertise. His interpretations breathe life into the past, blending a historically informed perspective with passionate and rousing performances. Luongo’s explorations into the archives have revived numerous under-regarded gems that have captivated audiences and deepened the orchestra repertoire. Luongo delights in contemporary compositions and commissions as much as he enjoys dusty scores and crumbling pages. Whether exploring music of the past or music that looks to future possibilities, Luongo treasures music’s ability to transport its listener to another time, place, or state of mind. His concerts encourage the audience to join with the orchestra as they embark on that journey. At Whitman College, Paul Luongo is the Catherine G. Chism Chair of Music and Professor of Music, directing the Whitman Orchestra and teaching courses in music history and film music. Under his direction, the Whitman Orchestra was chosen as a featured orchestra at the National Conference of the College Orchestra Directors Association (2019). From 2018-2025, Luongo was a Paul Garrett Fellow at Whitman College and in 2025 was a Visiting Faculty Fellow at Doshisha University (Kyoto, Japan). In Walla Walla, he has served as the principal guest conductor for the Walla Walla Symphony for the past decade, leading concerts that include their annual Youth and Family Concerts. Through the years, these concerts have reached thousands of children throughout the Walla Walla Valley. A passionate believer in musical education, Luongo previously directed the Walla Walla Symphony Youth Orchestra and led the Washington Jr. All-State Orchestra (2019). Luongo is an active guest conductor across the country, having worked with various orchestras including the Issaquah

Philharmonic, the University of Idaho, Florida State University, Messiah College, Carthage College, and Anne Arundel Community College. As a musicologist, Luongo is happiest when lost in the stacks at a library. His primary scholarly interests consider the development of the American orchestra in the nineteenth century. He has presented nationally and internationally on his research and contributed to Haydn and His Contemporaries (Steglein Publishing, 2011) and The New Grove Dictionary of American Music, 2nd edition. His music editions of orchestral arrangements by Chicago Symphony Orchestra founder Theodore Thomas have been published by A-R Editions in their Recent Researches in American Music and Special Publications series. Through his work with A-R Editions, Luongo reintroduced music that was exceedingly popular with nineteenthcentury audiences, yet had not been heard in over a century. Paul Luongo received his undergraduate education at Stetson University (B.M.E.). At the Florida State University, he received advanced degrees in orchestral conducting (M.M.) and musicology (M.M. and Ph.D.). At one point in college, he learned to play the sackbut but no one has ever asked him to play it since. His membership in the College Orchestra Directors Association includes leadership roles (President, 2016, 2027) for the Western Division. When not on the podium, Paul can be found with a good book (sometimes even an awful one) or hiking in the Blue Mountains with his wife, Erin Dorso, and their kids, Beatrice and Cormac.

Did you know? The Walla Walla Symphony proudly welcomes youth to all our concerts and events by providing free and low-cost tickets. This initiative is made possible through the generosity of local businesses in our community. Thank you for your support! If you are interested in supporting this initiative, please contact Patron Relations Manager Rachel Condie at rachel@wwsymphony.org.

2025-2026 Season

Contributions to the Symphony’s Annual and Endowment Funds The Walla Walla Symphony acknowledges and thanks all who have contributed to the Symphony’s Annual and Endowment Funds. Acknowledgements below reflect gifts supporting the 2025-26 Season received through June 30, 2026. If your name is listed incorrectly, please accept our sincere apologies and call the Symphony office at 509-529-8020 so we can make the correction. *Denotes contribution to the Endowment Fund ^Denotes gifts made in part or in whole through the Blue Mountain Community Foundation’s Valley Giving Guide.

Platinum Circle $20,000+

Cape Flattery Foundation

Platinum Circle $20,000+

Blue Mountain Community Foundation Valley Giving Guide Cape Flattery Foundation Monahan Brucks Foundation of the Blue Mountain Community Foundation

Silver Circle $5,000-9,999

Allen Family Foundation via ArtsFund John Jamison and Katherine Wildermuth^ David Meeker^ Heather Morado and Ahmed Shihab^ Sherwood Trust Richard and Deberah Simon^

Bronze Circle $2,500-4,999

Myrna and Myles Anderson^ Creative West Mike and Sue Gillespie The Jensen Family Fund^ Albert Marshall and Robert Warren^ Susan Monahan and Mark Brucks^ Brenda Ramirez Kelly Reynolds Ellen L. Wolf^

Benefactor $1,000-2,499

Anonymous Clara and Art Bald Trust^ Tim and Kris Barry^ Jonathan and Wendy Braid Greg and Linda Brown Family Fund^ Joel and Hilary Dickerson

Mary Garner Esary Trust^ Bob and Maryjo Fontenot^ Jan Kennedy Foster Darcie Furlan Joel and Hilary Dickerson Lynn Glesne Bob and Linda Hanson Jim Johnson Ted and Katherine Lucia^ Tom and Sandi Madsen^ Milton-Freewater Area Foundation Dr. Philip and Carol Morgan The National Orchestral Association Chris Otis and Jon Ulsh^ Michael and Lori Parnicky Susan Pickett and Robert Arnold Johnson Wendy and Dick Rahm* Douglas and Malinda Saturno Margo and Tom Scribner Kent and Eileen Settle Harold and Helen Shepherd Foundation Jason and Breana Smith Nancy Smithson Sandra Lynn Travis Margaret Tyson George T. Welch Testamentary Trust Richard and Celia Weller Cynthia Westerbeck and Roy Benton^

Patron $500-999

Anonymous (3) Eric and Candace Ball Anitra and Thomas Breit^ Squire Broel Gary and Helen Brownell Michael and Gretchen de Grasse Drs. Elaine Eaker and Katherine Nordal Ross and Cynthia Elder Scott and Teresa Harrington^ Jack Iverson and Sarah Hurlburt Dr. Eric and Susan Jauhiainen

Ann M. Johnson Julie and Dwelley Jones Sherrie Kamara and Steve Rapp Sharon and Timothy Kaufman-Osborn Michael Kelcy Hans and Elizabeth Matschukat^ Richard Middleton-Kaplan MidSummer Musical Retreat Pamela Mittelstadt and Karl Eckhardt Michael and Terri Norwood Ryan and Madeline Pennington Lacey Perry Hollibert and Carmella Phillips Ken and Kristin Reali Jan Rolfe La Dessa Smelcer Frits Vosman Marilyn Winter Jackie S. Wood^ Robert and Jill Zagelow

Friend $200-499

Anonymous (5) Earl and Sandi Blackaby Marilyn Burns Stuart and Sheryl Byerly Sandra and Heather Cannon^ Charles and Jan Crouter Lance and Jet Doyle Bill Eyestone^ Dina Gilbert Terri and Bill Gilbert Dave Glenn and Laura Curtis Sergio and Wendy Hernandez^ William Manierre Michael and Erienne Matthewson Pedrito Maynard-Reid Joyce E. Muzzall Genta Ohgushi Trudy and Howard Ostby John F. Patterson^ Molly Reid and Greg Nelson^ David and Katie Rosenthal Margaret Roser

Kathleen Ruggeri^ St. Paul’s Episcopal Church Leah and Tor Sandven Manford and Betty Simcock David and Cindy Simon* Brad and Abby Sorensen Karen Summers and Bill Hickey^ Walter and Danielle Swan-Froese^ Julie and Dick Swenson Ron and Maya Takemoto Charles and Ellen Thiel^ Jess Thompson^ Mr. and Mrs. Jordan Tigani Roger and Terri Trick

Donor $75-199

Anonymous (2) Tom and Jane Baffney* Chris Baird^ Delwyn Baker The Banderas Family^ Jack and Mary Barga Joan Behrens Bergman Brian and Anne Berry^ Robert and Mary Betz Darold and Barbara Bigger Fr. Michael Brzezowski Ruth Buchtel Cathy Carkner Fergus Coffman Colville Street Patisserie Liz Conover Ann Berner Counsell and Dick Counsell^ John and Pam Cress Mike and Sherry Danielson Nina Dillon Brian A. Dohe Deborah Doyle and John Wakeman^ Gwyn Frasco^ Roger and Barbara Gehrke Nona Gibbard Earl and Sonja Gooding^ Mark and Margaret Graves Karen Hart Stephanie Helleckson^ Yvonne Jackson Christopher and Mardra Jay^ Jack and Kathy Jensen Doug and Jill Juers^ Paul Knight Terri and Terry Koch^ Rosemary Lloyd Todd and Teri Lesmeister Penelope Linterman and James Conca BJ McAdie^ Jayne and Jim McCarthy Judith McClellan Sterling McConnell John and Jane McKern

Janet and Bob Miller Phil and Debbie Muthersbaugh Chris Nulph Dr. and Mrs. Franklin Ordelheide Terence Rogers Audney Somerville^ John and Jenny Stratton^ Karen Szall and Christopher Nelson^ Chuck and Pat Templeton Stephen and Suzanne Towery^ Stephen Wilen Paula Williams^ Susan and Don Zimmerman

Contributor Up to $74

Anonymous (3) Angela Aldrich Bruce and Kay Barga Doug and Karen Bayne^ Chelanne Brown Clark Colahan and Barbara Coddington Michelle Conner Katie Donlin Nancy Driver^ David Elmendorf Alan and Amy Faden Jacqueline Frishman Rich and Patty Grandy Gregory Greenhoe Stacey Haefele Ray Isely Jill Johnson Karlton Keller Tomas King David Koenig Alicia Malara Paul Mantz-Powers^ Christine Meeker Aaron McAdie and Elena Velkov Casey and Vicky McClellan Renée and Bill McMahon Stacy McPherson^ Rogers and Jenny Miles Dottie Monahan Dr. & Mrs. Peter Mondelli Marilyn Morgan Barry Murphy David Obershaw Kimberly Rolfe Rick and Mary Schaeffer Neel and Family Barbara Taylor^ Jessica Taylor Al Van Cleave Heidi Veldhuis Eric W. Hui Wan Don and Val Weaver Whitman College Admissions Kirk Williamson

Leah Wilson-Velasco and Michael Simon Julie Woods Janice Zimmerman

Instrument Lending Library

Karen Summers and Bill Hickey

Memorial Gifts In Memory of: John Bond Jan Rolfe Peter Burns Marilyn Burns Maurice Coats Brenda Ramirez Alex DeMambro Earl and Sonja Gooding Julie and Dick Swenson Don and Val Weaver Edward Foster Jan Kennedy Foster Doris Graves Mark and Margaret Graves Jack H. Jackson Yvonne Jackson Barbara Kaplan Richard Middleton-Kaplan W.A. “Bill” Lloyd” Rosemary Lloyd Marcia Middleton-Kaplan Walter and Danielle Swan-Froese Joanne and Robert Schaeffer Rick and Mary Schaeffer Neel and Family Dale Smelcer Jan Rolfe Margo and Tom Scribner La Dessa Smelcer Sharon L. Thompson Joan Behrens Bergman Sandra and Heather Cannon Clark Colahan and Barbara Coddington Mike and Sherry Danielson Brian A. Dohe Gwyn Frasco Roger and Barbara Gehrke Terri and Bill Gilbert Jack Iverson and Sarah Hurlburt Sharon and Timothy Kaufman-Osborn Terri and Terry Koch Penelope Linterman and James Conca Albert Marshall and

Robert Warren Richard Middleton-Kaplan Dottie Monahan Dr. & Mrs. Peter Mondelli Trudy and Howard Ostby Susan Pickett and Robert Arnold Johnson

Ron and Maya Takemoto Al Van Cleave Eric W. Leah Wilson-Velasco and Michael Simon Jackie S. Wood Julie Woods

Dr. Borislav Velkov BJ McAdie In Honor of: Urben Gratz Stephanie Helleckson

2026-2027 Season

Contributions to the Symphony’s Annual and Endowment Funds The Walla Walla Symphony acknowledges and thanks all who have contributed to the Symphony’s Annual and Endowment Funds. Acknowledgements below reflect gifts supporting the 2026-27 Season received through September 11, 2026. If your name is listed incorrectly, please accept our sincere apologies and call the Symphony office at 509-529-8020 so we can make the correction.

Benefactor $1,000-2,499

Jonathan and Wendy Braid E. Hope Mena Perennial Foundation Jason and Breana Smith Sandra Lynn Travis David and Julie Womack

Patron $500-999

Anonymous (2) Deborah Holmes and Craig Gunsul Julie and Dwelley Jones Albert Marshall and Robert Warren Connie and Steve Mayo Richard Middleton-Kaplan MidSummer Musical Retreat

Friend $200-499

Robert and Mary Betz Earl and Sandi Blackaby Marilyn Burns Charles and Jan Crouter Bob and Maryjo Fontenot

Yvonne Jackson Jolie and Christopher Jenkins Michael and Erienne Matthewson MOD Pizza Joyce E. Muzzall Hollibert and Carmella Phillips Jan Rolfe Margaret Roser Roger and Terri Trick

David Elmendorf Gregory Greenhoe Shane Morlan Dan Nechodom Chris Parsons Terence Rogers Debi Toews

Donor $75-199

Peter Burns Marilyn Burns

Skip and Ali Bell Liz Conover Barlow and Dalia Corkrum John and Pam Cress Nonda Gibbard Dr. and Mrs. John McKinnon Melissa Queen and Andy Steele Kathleen Ruggeri Don and Anne-Marie Schwerin Richard and Deberah Simon Chuck and Pat Templeton

Contributor Up to $74

Memorial Gifts In Memory of:

Lou Ann Casper Barlow and Dalia Corkrum Jack H. Jackson Yvonne Jackson Myrtle O’Connell Sandra Lynn Travis In Honor of: Mary Louise Nelson Connie and Steve Mayo The SPARK! Program Dr. and Mrs. John McKinnon

Richard Alan Nina Dillon

Heritage Society The Heritage Society is a special group that honors and recognizes donors who have included the Walla Walla Symphony in their legacy plans. There is no minimum amount to be a member, as all gifts are welcome and important to us. For more information, please contact us at 509-529-8020 or stephanie@wwsymphony.org. Mike and Sue Gillespie Marian Hoare John Jamison and Katherine Wildermuth John T. Saul

Tom and Margo Scribner Richard D. and Deberah Simon Donald and Valerie Weaver Jill J. Zagelow

Wine Sponsors Sept. 29, 2026

Paving the Way Oct. 16, 2026

Vienna Boys Choir Nov. 5, 2026

SymphoniCon Dec. 1, 2026

New Worlds Feb. 14, 2027

Valentine’s with Seraph Brass March 9, 2027

A Hero’s Journey April 1, 2027

Brahms Requiem May 11, 2027

Soundscapes Wine purchases at each concert support the Walla Walla Symphony.

Housing Hosts Housing hosts provide out-of-town Symphony musicians with a place to stay while they are in Walla Walla for rehearsals and performances. If you would like to support the Symphony by becoming a housing host, contact General Manager Leah Davis at gm@wwsymphony.org or call the office, 509-529-8020. John and Liubov Brunton Jon and Mary Campbell Jerry and Shelley Humphreys John Jamison and Katherine Wildermuth

Linnea and Robert Keatts Missy Newcom Barbara and Keith Noel

9/18 Gina Chavez

10/31 Karen Rontowski

11/6 Nite Wave

12/04 Rock The Holidays

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Did you know?

The Walla W (TIPZ) bring This free pro see instrum some sound

You can ﬁnd other gathe also partner Justice Cen and teens.

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The Walla Walla Symphony’s Traveling Instrument Petting wwsympho events, sign Thehands-on Walla Walla Symphony’s Traveling Instrument Petting Zoo (TIPZ) brings music experiences into the Zoo Symphony (TIPZ) brings hands-on music experiences into the community. community. ThisThis free program gives children and families free program gives children and families the chance to the chance to see instruments uplearn close, learn how they see instruments up close, how they work, and try making some sounds of their own. work, and try making some sounds of their own. Youat canlibraries, ﬁnd TIPZ at libraries, festivals, community events, and You can find TIPZ festivals, community events, other gathering places throughout the Walla Walla Valley. We and other gathering places throughout Walla also partner with local organizations,the including the Walla Juvenile Justice Center, to provide music experiences for kids Valley. We also partner with localongoing organizations, including and teens. the Juvenile Justice Center, to provide ongoing music experiences for To kids learnand more teens. about TIPZ, visit wwsymphony.org/education-community. For upcoming

sign upafor our emails or follow the Walla To learn more orevents, request TIPZ appearance, visitWalla Symphony on Facebook and Instagram. wwsymphony.org/education-community. To find upcoming events, sign up for our emails or follow the Walla Walla Symphony on Facebook and Instagram.

Did you know?

The Walla Walla Symphony’s Traveling Instrument Petting Zo (TIPZ) brings hands-on music experiences into the communi This free program gives children and families the chance to see instruments up close, learn how they work, and try makin some sounds of their own.

You can ﬁnd TIPZ at libraries, festivals, community events, an other gathering places throughout the Walla Walla Valley. W also partner with local organizations, including the Juvenile Justice Center, to provide ongoing music experiences for kid and teens. To learn more about TIPZ, visit wwsymphony.org/education-community. For upcoming events, sign up for our emails or follow the Walla Walla Symphony on Facebook and Instagram.

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The Walla Walla Symphony has free and low-cost music programs for learning, playing, and connecting in our community and schools. ● Walla Walla Symphony Youth Orchestra (WWSYO) Grades 6-12

Through weekly rehearsals and seasonal concerts, young musicians grow their skills, connect with peers, and share their music with the community.

● SPARK! Composition Course Grades 3-12

Students explore their creativity through composition, receive oneon-one guidance from a professional composer, and share their original music in a supportive online community.

● Instrument Lending Library

Students can borrow instruments at no cost, making it possible to begin or continue their music journey. Community donations of unused instruments keep the library stocked for the next generation of musicians.

● Traveling Instrument Petting Zoo The Traveling Instrument Petting Zoo lets children try out real instruments in familiar community spaces, igniting curiosity and opening the door to future music-making.

● Family Concerts

Family Concerts create welcoming spaces where young listeners and their families can explore the joy of live music in a relaxed and engaging setting.

● Rock Camp Grades 7-12

In partnership with the Walla Walla Music Organization, young musicians spend a week developing their skills, collaborating with peers, learning from professionals, and performing in a live concert for the community.

● Link Up

Carnegie Hall’s Link Up program invites 3rd–5th graders to make music in the classroom, then join the Symphony in a live concert, which is often their very first symphony experience.

Together, these programs make music accessible to young people of all ages, nurturing creativity, building confidence, and strengthening our community through music. Learn more and get involved at wwsymphony.org/education-community or scan the QR code.