Francesco Lecce-Chong, Music Director & Conductor

2020 2021 SEASON Contents Welcome Symphony Soundwaves — The Color of Sound Dear Symphony fans, 3 Welcome Welcome to our firstSymphony Soundwaves program! We miss coming together in person to experience the energy and irreplaceable experience of 4 Orchestra Roster live performance, but we are happy to be able to share virtual experiences together, while apart. Our commitment to Eugene Symphony’s mission—enriching lives through the power of music—is unwavering despite the challenges we face during the COVID-19 pandemic. 5 Conductor While this season is far from traditional, we are continuing to bring music to the community, safely. You can now connect with the Eugene Symphony online and through the airwaves to experience 7 The Color of Sound meaningful and inspiring moments. We are still employing our wonderful musicians and making music, even if it’s from our living rooms to yours. Sponsored by Imagination International For our first Symphony Soundwaves program, we are pleased to present a video recording of The Color of Sound, which was a perfect example of Eugene Symphony’s innovation, community collaboration, 8 Program Notes 7 Alexander Scriabin’s Prometheus: Poem of Fire and robust music education programs. Through partnerships with local creatives from Harmonic anchors the thrilling multi-media production Laboratory and Light at Play, we brought to life Russian composer Alexander Scriabin’s vision to fully envelop an audience in color and sound through an expressive and nuanced “light organ” he 11 Guest Artists The Color of Sound recorded on April 18, 2019, featuring Light at Play’s eight-foot Radiance Orb. conceived of in theory more than a century before the technology existed. Read more in the program notes on page 8 of this virtual program. 14 Key of E[ducation] In addition to a mentorship program for high-school and college student animators whose visual art was incorporated into the concert, we also brought a mobile art workshop to elementary school students. They envisioned the connection between sound and sight and illustrated that connection in 17 Season Partners their own abstract art. Read more about this project in the Key of E[ducation] article on page 14. During a typical season, we share the inspiring and healing power of music with more than 50,000 18 Founders Society people inside the concert hall and beyond in classrooms and the community. During the pandemic, we are not able to serve our community in the same ways we usually do, but we have actually reached more people through the digital engagements we began in March than we typically do during the 19 Thank You to Our Supporters same timeframe! Delivering music through the airwaves and online allows us to share the orchestra’s artistry with even more people than is possible within the concert hall—perhaps a silver lining to what has otherwise been a challenging year. 22 Endowment Fund We are able to offer these virtual events, likeSymphony Soundwaves, for free to the community because of support from foundations, corporate partners, and generous donors who love this 23 Board of Directors 11 An advocate of late 20th-century music, pianist orchestra and want to make sure it’s here to stay. We invite you to continue supporting the Christopher Taylor plays Alexander Scriabin’s Eugene Symphony this season and beyond by becoming a Member. Learn more on page 13 of and Administrative Staff Prometheus: Poem of Fire in The Color of Sound. this program or at eugenesymphony.org/donate. Thank you for joining us on this new journey. Your generous support of Eugene Symphony has made us the organization it is today, providing our region with world-class performances and music education opportunities for all ages and backgrounds. Stay well, stay optimistic, and stay connected!

David Pottinger, President, Board of Directors

Francesco Lecce-Chong, Music Director & Conductor

14 Harmonic Laboratory co-founder John Park mentored the students whose digital imagery accompanied The Color of Sound. Scott Freck, Executive Director

2 EUGENE SYMPHONY NOVEMBER 2020 3 MUSIC DIRECTOR & CONDUCTOR Eugene Symphony Francesco Lecce-Chong MUSIC DIRECTOR Joseph Eggleston TRUMPET & CONDUCTOR David Straka Sarah Viens Conductor Francesco Lecce-Chong is the Music Director of projects such as an original multimedia performance of Francesco Lecce-Chong Joseph Klause the Eugene Symphony in Oregon, and the Santa Rosa Symphony, Scriabin’s compositions engaging light and color. BASS David Bender performing at the Green Music Center in Northern California. The During his successful tenures as Associate Conductor VIOLIN I Kevin Brown John Davison Jennifer Estrin Forrest Moyer James Smock press has described him as a “fast rising talent in the music world” with the Milwaukee Symphony under Edo de Waart and the Della Davies Tyler Abbott Logan Brown with “the real gift” and recognized his dynamic performances, fresh Pittsburgh Symphony under Manfred Honeck, Lecce-Chong Yvonne Hsueh Rick Carter programming, deep commitment to commissioning and performing also dedicated his time to opera, building his credentials Clara Fuhrman Richard Meyn TROMBONE new music as well as to community outreach. Lecce-Chong has as staff conductor with the Santa Fe Opera and conducted Anthony Dyer Nathan Waddell Henry Henniger appeared with orchestras around the world including the San Madama Butterfly at the Florentine Opera with the Jamie Chimchirian Greg Nathan Carson Keeble Francisco Symphony, New York Philharmonic, National Symphony, Milwaukee Symphony. Stephen Chong James Meyer Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Lecce-Chong is the recipient of several distinctions, Cauis Oprea FLUTE Symphony, and Hong Kong Philharmonic and collaborated with top including the prestigious Solti Foundation Award. Trained Sigrun Oprea Kristen Halay TUBA soloists including Renée Fleming and Itzhak Perlman. also as a pianist and composer, he completed his studies Nic Price Amelia Lukas Michael Grose In spring 2019, Lecce-Chong debuted in subscription concerts at the Curtis Institute of Music with Otto-Werner Mueller Keiko Ota Jill Pauls with the San Francisco Symphony. The San Francisco Chronicle after attending the Mannes College of Music and Accademia Chris Ives TIMPANI Mitchell Drury PICCOLO Ian Kerr called his conducting “first rate” praising the “vitality and brilliance Musicale Chigiana in Italy. He has had the privilege of being Holly Roberts Heather Johnson of the music-making he drew from members of the San Francisco mentored and supported by celebrated conductors including PERCUSSION Symphony.” Other recent subscription debuts included the Colorado Bernard Haitink, David Zinman, Edo de Waart, Manfred VIOLIN II OBOE Tim Cogswell Symphony, Louisville Orchestra, Louisiana Philharmonic and Xi’An Honeck, Donald Runnicles and Michael Tilson Thomas. Matthew Fuller Kelly Gronli Brian Scott Symphony Orchestra. Lecce-Chong has also returned to conduct the Julia Frantz Cheryl Wefler Sean Wagoner Civic Orchestra of Chicago, Milwaukee and San Diego Symphony. The Claudia Miller Alan Juza Will Reno 19/20 season marked his debut with the New York Philharmonic as Alice Blankenship Paul Owen part of the legendary Young People’s Concert Series. Dan Athearn ENGLISH HORN Bob Brudvig In the 20/21 season, an unprecedented one for live orchestral Marilyn Tyler Annalisa Morton music, Lecce-Chong will conduct virtual concerts with both the Jannie Wei HARP Santa Rosa and the Eugene Symphony, specifically created for online David Burham CLARINET Jane Allen Virginia Kaiser Michael Anderson Jeff Parsons audiences. The performances will be streamed worldwide and will take Elyse Walters Wonkak Kim a unique form of a cohesive musical journey complete with interviews Bashar Matti Sarah Brown LIGHT ORGAN with musicians. The programs will include music by living composers Karen Doerfert Jeremy Schropp Jessie Montgomery, Gabriella Lena Frank and Chen Yi. Santa Rosa BASS CLARINET Symphony will also celebrate Beethoven’s 250th with performances of VIOLA Carol Robe CELESTA his first three symphonies. Miriam English Ward Christine Mirabella Following the paths of renowned Music Directors of the Eugene Lauren Elledge BASSOON and the Santa Rosa Symphonies including Marin Alsop, Giancarlo Anamaria Ghitea Steve Vacchi ORGAN Guerrero and Jeffrey Kahane, Lecce-Chong has made his mark Shauna Keyes Mike Curtis Debra Huddleston with the two orchestras introducing a series of new music and Karlie Roberts David Hattenhauer community initiatives. In 2019, the orchestras announced Kim Uwate Lecce-Chong’s “First Symphony Project” commissioning four Devin Burgess CONTRABASSOON LIBRARIAN Pamela Burovac Bronson York Christine Mirabella major orchestral works by young composers—Matt Browne, Leslie Straka Gabriella Smith, Angélica Negrón and Michael Djupstrom—to HORN VIDEO PRODUCTION be performed over several seasons accompanied by multiple CELLO David Kruse Attic Media, Inc. composer residencies and community events. In Eugene, he has Anne Ridlington Jonathan Kuhns-Obana Ryan Postma reinitiated family concerts and presented a number of innovative Eric Alterman Lydia Van Dreel Jessica Mitchell James Pelley Scott King Mckenzie Baldwin EUGENE SYMPHONY MUSIC DIRECTORS Dale Bradley Mike Hettwer Lawrence Maves, Founding Conductor (1966–1981) Ann Grabe Kelsi McGlothin AUDIO ENGINEERING Nancy Sowdon Jennifer Harrison Bill Barnett, Gung Ho Studios William McGlaughlin (1981–1985) David Chinburg Justin Stanley Adrian Gnam (1985–1989) Rebecca Olason Marin Alsop, Conductor Laureate (1989–1996) Miguel Harth-Bedoya (1996–2002) Giancarlo Guerrero (2002–2009) This roster includes all orchestra members, substitutes, and extra musicians who performedThe Color of Sound on April 18, 2019. Danail Rachev (2009–2017) For the current Eugene Symphony orchestra roster, please visit eugenesymphony.org/about-us. Francesco Lecce-Chong (2017– )

4 EUGENE SYMPHONY NOVEMBER 2020 SYMPHONY SOUNDWAVES —I

The Color of Sound

Eugene Symphony Francesco Lecce-Chong, conductor | Christopher Taylor, piano in partnership with Harmonic Laboratory and Light at Play Recorded Thursday, April 18, 2019 Silva Concert Hall, Hult Center for the Performing Arts | Eugene, Oregon

Arvo Pärt Cantus in Memory of Benjamin Britten (b. 1935) Digital Projections by John Park

Georg Frideric Handel La Rejouissance from Music for the Royal Fireworks (1685–1759) Digital Projections by Krista Ortiz

Gunther Schuller Little Blue Devil from Seven Studies on Themes of Paul Klee (1925–2015) Digital Projections by Kashi Hughes

Claude Debussy/orch. Caplet Clair de lune (1862–1918) Digital Projections by Rimona Livie

Alexander Scriabin Prometheus: Poem of Fire (Symphony No. 5), Op. 60 (1872–1915) Christopher Taylor, piano Jeremy Schropp, light organ Radiance Orb by Light at Play Digital Projections by Harmonic Laboratory University of Oregon Chamber Choir, Dr. Sharon J. Paul, conductor and Cera Babb, assistant conductor

The original concert on April 18, 2019 also included music by Edvard Grieg and Felix Mendelssohn, with digital projections by Elliette Phillips and Felix Neeleman, and Eugene Symphony wishes to acknowledge their contributions to The Color of Sound.

Concert Sponsor Guest Artist Sponsor

Additional Support

This project was made possible with grant support from the Nils and Jewel Hult Endowment – Arts Fund of The Oregon Community Foundation

NOVEMBER 2020 7 PROGRAM NOTES

Program Notes The Color of Sound by Tom Strini ©2019

ARVO PÄRT (b. 1935) HISTORY: First performed by the Eugene Symphony in April the musical note C = red, D = yellow, A = green, and so on. Cantus in Memoriam Benjamin Britten (1977) 1982 under the direction of William McGlaughlin. Prometheus: Poem of Fire, ends on an F-sharp triad, and thus The sustained chimes toll for the celebrated British DURATION: Approximately three minutes. calls for a blaze of glorious blue. composer as the basses drone and the higher strings turn a Some commentators have suggested that Scriabin was minimal theme over and over in heaving canons. CLAUDE DEBUSSY (1862–1918)/orch. by André Caplet a synesthete, a person in whom stimulation of one sensory SCORED: For percussion and strings. Clair de Lune (1890/1905) pathway triggers involuntary experience in a second. That is, he “heard” color. Most Scriabin experts discount that. Many HISTORY: First performed by the Eugene Symphony in March Moonlight. The French kind. The dreamy kind. composers ascribe color to pitch on theoretical or intuitive 2004 under the direction of Giancarlo Guerrero. SCORED: For two flutes, two oboes, two clarinets, two grounds—Scriabin’s friend Rimsky-Korsakov, for example, bassoons, two horns, harp, and strings. DURATION: Approximately six minutes. argued with him over blue. Rimsky-Korsakov thought it HISTORY: First performed by the Eugene Symphony in January matched E-flat. GEORG FRIDERIC HANDEL (1685–1759) 2009 under the direction of Giancarlo Guerrero. When Scriabin played the Poem of Fire in his apartment, La Réjouissance, from Music for the Royal Fireworks (1749) DURATION: Approximately five minutes. his second wife, Tatyana Schloezer, would press the buttons and Handel wrote this brilliant, extended fanfare to entertain at light the lights as designated in the score. The effect, surely, fell the London fireworks celebrating the end of the War of Austrian ALEXANDER SCRIABIN (1872–1915) far short of the auditorium-bathing light Scriabin imagined. Succession. Prometheus: Poem of Fire (Symphony No. 5), Op. 60, for He came closest in New York in 1915, when lighting designer SCORED: For three oboes, two bassoons, contrabassoon, three orchestra, piano, and color organ (1910) Preston S. Miller shone the colors onto a screen. We can do horns, three trumpets, timpani, and strings. SCORED: For solo piano, three flutes, piccolo, three oboes, much better these days. English horn, three clarinets, bass clarinet, three bassoons, “In our April 2019 production, we were after enveloping HISTORY: First performed by the Eugene Symphony in contrabassoon, eight horns, five trumpets, three trombones, visual effects,” said Music Director & Conductor Francesco December 1973 under the direction of Lawrence Maves, and last tuba, timpani, percussion, two harps, celesta, organ, and strings, Lecce-Chong. “Harmonic Lab suggested we use the eight-foot performed in March 2010 under the direction of Danail Rachev. along with a ‘tastiera per luce’ or ‘color organ,’ here realized by Radiance Orb [invented by Eugene’s Light at Play] that was DURATION: Approximately three minutes. Light at Play’s Radiance Orb. suspended over the front of the stage. Scriabin wanted a ‘light Harmonic Lab’s Brad Garner set up the stage lighting, HISTORY: This was the first Eugene Symphony performance. organ,’ something to be played expressively, like an instrument, along with wireless light for choristers, projection-mapping GUNTHER SCHULLER (1925–2015) and that was our goal. All this got crazier the more we looked DURATION: Approximately 21 minutes. on unique stretch-fabric screens to illuminate the orchestra Little Blue Devil, from Seven Studies on Themes of Paul Klee into Scriabin’s directions.” (1959) In 2016, Gramophone Magazine’s Geoffrey Norris found shell during the shorter pieces, and innovative methods of “We were energized by the opportunity to respond to bathing the audience in color. Jeremy Schropp, Harmonic Lab’s Klee’s funny/scary painting of the same name inspired Alexander Scriabin’s Moscow apartment about as the composer Alexander Scriabin’s visionary and technically unattainable resident musician, played the Radiance Orb via a keyboard with Schuller to write this jazzy, wacky piece, which would also pair left it when he died in 1915: Two grand pianos, Art Nouveau intentions to flood the concert hall with the colors from programming developed by Yona Appletree of Light at Play. well with a Looney Tunes cartoon. furnishings, Orientalist trinkets, along with private notebooks a tastiera per luce, or color organ,” said John Park, animator Lecce-Chong retained the composer’s color associations SCORED: For three flutes, two piccolos, two oboes, English that reflect his mystical beliefs. and digital artist of Eugene-based Harmonic Laboratory. “We For us, the most significant apartment item would be a but rewrote the color organ score with expressive color horn, two clarinets, bass clarinet, two bassoons, contrabassoon, saw a unique opportunity to match Scriabin’s 1910 intentions transformations in mind. Lecce-Chong said that the score has four horns, three trumpets, three trombones, tuba, timpani, ring of colored light bulbs arranged on a custom-made circular with 21st-century technologies, such as digital lighting, multi- percussion, harp, piano, and strings. board. Doorbell pushbuttons link to and control the 12 bulbs channel projection, and interactive wireless lighting.” (Continued on page 10) —one for each tone of the chromatic scale. In Scriabin’s mind,

”This concert started as a dream long had the essential mix of skills in both Alexander Scriabin’s Circle of Fifths (above), which correlates musical notes with colors. Scriabin and his before I came to Eugene and I did not music and technology to understand second wife Tatyana Schloezer (at left), who played think it would ever be possible. Even Scriabin’s ideas and imagine how to Scriabin’s prototype of the light organ. the largest orchestras in the biggest make it come alive. Light at Play has cities have been unable to recreate been programming their one-of-a-kind Scriabin’s grandiose vision of a color/ light orbs that travel all around the sound performance in this way. country—and it has been amazing to It truly is a testament to the unique watch them turn a giant, glowing orb talent in Eugene that this project into an expressive instrument. Truly, came together. Harmonic Laboratory this was a night to remember!” — Francesco Lecce-Chong

8 9 PROGRAM NOTES GUEST ARTIST The Color of Sound Christopher Taylor (Continued from page 9) two parts, a slow-moving “cantus firmus” that changes just That final F-sharp chord is the one and only F-sharp in the “Those who know the pianist Christopher Taylor tend to Colorado Symphony. About the Ullman, The Denver Post wrote: seven times during the 21-minute work, along with steps from piece. The idea of returning to the home key? Gone. speak of him in the hushed, reverent tones typically reserved for “Taylor, a versatile, ready-for-anything soloist, delivered a one bass drone to another. The other part is “dense and tricky.” “Yet he was acutely aware of long-term connections of natural wonders if not the otherworldly. Colleagues trip over brilliant, intense performance, adroitly handling the pounding, “With Francesco and Jeremy, we derived a color palette harmony and had a keen eye for structure,” Lecce-Chong said. words like ‘innocence,’ ‘fervor,’ ‘beauty’ and ‘vision’ in an attempt sometimes repetitive passagework of the opening movement. He based upon color indications in the 1913 Parisian score,” “The music is like a roller-coaster ride, with so many climaxes, to capture his elusive personality. Critics praise his virtuosity, then showed a totally different side, bringing a suave elegance to continued Park. wave after wave. The crescendos become more and more his cerebral interpretations tempered by an aching tenderness, Wladyslaw Szpilman’s surprisingly upbeat Concertino for Piano “[The keyboard] allows me to manipulate the color, intensity epic—he knows what he’s doing. Scriabin breaks the constraints his unconventional programming and his advocacy of late-20th- and Orchestra, a kind of Polish Rhapsody in Blue.” and motion of light around the LED orb in an intuitively of traditional progressions of harmony without sacrificing century music.” So goes the opening of the recent New York While Taylor has a well-earned reputation for his exquisite musical manner,” Schropp said. “Francesco and I also updated the richness of traditional harmony. He fused the sonority Times preview article about this remarkable young American performances of Bach and his exciting performances of romantic the original light organ part to include articulations, dynamics of the French Impressionists with the fervor of the Russian pianist, an artist pursuing a varied and truly acclaimed career. piano concertos, he has captured the attention of the music world and phrasing. We ascribed to Scriabin’s 1913 Parisian score Romantics.” with his recent tour de force programming of Olivier Messiaen’s color indications for all 12 chromatic pitches, and we observed “Scriabin’s belief that every note has a correlating hue was “Critics praise Christopher Taylor’s Vingt Regards sur l’Enfant-Jésus. “Before a rapt audience at the the part’s rhythmic figurations and textures, which align directly the inspiration behind this performance,“ said Lecce-Chong. virtuosity, his cerebral interpretations Miller Theater on Saturday night, Mr. Taylor, a lanky 31-year- with the orchestral score.” “Many orchestras have used color when performing Scriabin, old pianist who graduated summa cum laude in mathematics Lecce-Chong emphasized the idea of “feeling” the light, including the famous 2011 Yale University performance that tempered by an aching tenderness, his from Harvard, gave an astonishing performance of Messiaen’s rather than watching it as you would a fireworks display or a also filled the hall with color using modern LED technology. unconventional programming and his complete work, more than two hours of some of the most Pink Floyd Laser Show. The difference for us was actually creating an expressive advocacy of late-20th-century music.” complex and difficult music ever written for the piano. And he “The color is all-encompassing, but subtle,” he said. “This instrument of color as the ‘light organ’ that Scriabin envisioned, played the 176-page score from memory.” isn’t like something you find at Disney World. It’s art.” which brought to life his dream of allowing the colors to be as —The New York Times Christopher Taylor was honored with an Avery Fisher Career The Poem of Fire is fantastical quite apart from the lighting varied, subtle, and spontaneous as the sounds of the instruments Grant, he is the winner of the Kapell Competition, the Gilmore effects. Scriabin, especially in his later years, drifted further and in performance.” Taylor’s expansive concerto repertoire which runs from Bach Young Artist Award, and the Bronze Medal at the Van Cliburn further from Classical harmonies and structures. For example: to Vaughan Williams, includes the Lutosławski Concerto which Competition. He is Paul Collins Professor of Piano Performance he recently performed with the Milwaukee Symphony to very at the University of Wisconsin, Madison. His many recordings strong press: “precise playing and interpretive conviction .Taylor’s include those on the JonathanDigital label. performance was commanding, fiercely punctuated and full of physical power.” —Milwaukee Journal Sentinel Following his thoughtful programming compass, Christopher Taylor is involved in several other fascinating projects—from the Bach Goldberg Variations performed on a unique dual-manual Steinway, to the complete Messiaen Vingt Regards sur L’Enfant Jesus from memory, currently in DVD release. Engagements in recent seasons include performances for such distinguished venues and series as Carnegie Hall, the Kennedy Center, the Cleveland Museum of Art, the Detroit Chamber Music Society, Spivey Hall, the Krannert Center at the University of Illinois, the Ravinia Festival, Caramoor Festival, and the University of California at Berkeley. In addition he is frequently tapped for concerto repertoire from Liszt and Beethoven to Gershwin and Ullman. At home in the U.S. he has appeared with such orchestras as the New York Philharmonic, Los Angeles Philharmonic, and the Symphonies of Colorado, Detroit, St. Louis, Atlanta, Houston, Indianapolis, the Boston Pops. Taylor has toured North America with the Polish Chamber Philharmonic. And with Orpheus, he has toured the premiere performances of Sir Peter Maxwell Davies’ Sea Orpheus, including an appearance at Carnegie Hall about which the New York Times wrote “Christopher Taylor gave a brilliant, energetic account.” During the recent “Hope From Despair” project Taylor gave two performances of the Viktor Ullman Piano Concerto and the Concertino by Wladyslaw Szpilman with the

10 EUGENE SYMPHONY NOVEMBER 2020 GUEST ARTISTS

Digital Media Artists

Harmonic Laboratory is an award-winning art collective that creative practice includes installation art, projection mapping, has curated art festivals and developed works for stage, gallery, animation, and visual computer programming. Community- Become a Member today! and common spaces since 2010. The group is a collective of based collaborations include Winter Light (with Eugene Cultural Your gift supports all of Eugene Symphony’s programs happening artists, thinkers, educators and innovators that investigate Services), Culture Caravan (with U.S. Ignite Foundation), Desert virtually this year, allowing us to continue fulfilling our mission the human experience through the integration of media and Reflections: Water Shapes the West (High Desert Museum), and common theme. Based in Eugene, OR, Harmonic Laboratory board membership on the Lane Arts Council. of enriching lives through the power of music. is comprised of Brad Garner, Jon Bellona, Jeremy Schropp, and Jeremy Schropp is a composer, performer and producer for Sign up for a monthly or quarterly membership (or give John Park. the interdisciplinary arts collective Harmonic Laboratory and a one annual gift) and access full benefits for your giving Light at Play is a technology-focused group of artists, exploring media-arts technician for the Department of Art & Technology interactive sculpture inspired by sacred geometry and scientific at the University of Oregon. His creative endeavors explore the level right away. data visualization. intersection of classical and contemporary music, science and John Park is an artist and educator, known as a co-founder of the emerging technology. He is currently the principal producer for interdisciplinary arts collective Harmonic Laboratory and a Senior the Artistic Encounters summer programming series presented by Instructor of Art & Technology at the University of Oregon. Park’s Harmonic Laboratory and City of Eugene Cultural Services and a MEMBER BENEFITS board member of the Arts and Business Alliance of Eugene.

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12 EUGENE SYMPHONY NOVEMBER 2020 13 KEY OF E[DUCATION] KEY OF E[DUCATION]

Students Learn About the Connection Between Color and Sound

involved was selected by a juried panel and the majority of the learning process has been an exploration of bringing still visual Meet the Student Artists Biographies compiled in 2019 artworks to life through the medium of animation.” During the mentorship, students learned new technologies ELLIETTE PHILLIPS and gained a deeper understanding of classical music through Marist High School the perspective of a performing arts organization. Each of the five Grieg: Morning Mood from Peer Gynt high-school or college-level students was asked to create their Elliette is a Junior at Marist culminating work, a digital projection that would be used during High School. She has been The Color of Sound concert inspired by a different musical piece involved in many forms of art on the program. throughout her life. She started Park adds, “It is one thing to feel creatively empowered to ballet at age six, as well as many express an idea to the point of seeing it realized, but another other types of dance, but stopped thing altogether to find an audience and context to have that after a knee surgery when she expression shown. The Color of Sound concert is a grand was 16. Since then, she has platform for these young artists to see their own work at a large focused her efforts on theatre and scale (projected behind the symphony) and to share it in front of art. Though all mediums of art more than 2,000 patrons of the Eugene Symphony.” interest her, Elliette has always The Music, Art & Technology Mentorship was created by wanted to be a comic book artist. Her goal is to attend Pratt Artie the Art Bus and the Music, Art & Technology Mentorship the Eugene Symphony in the fall of 2018 to advance the critical, Institute of Art and Design’s Pre-College Summer Program in creative, and technical skills of young adults with a demonstrated Brooklyn, New York, where she hopes to focus on developing her By Katy Vizdal, Education & Community Engagement Director Artist Melanie Pearson, who taught students about synesthesia, interest and proficiency in the visual arts. portfolio for college admissions. Park concludes, “This experience offers these students one Months before rich tapestries of light filled Silva Concert Hall a condition which combines two senses. During each visit, “To me this project has been a great experience to see what the students explored the connection between the senses of sound of the many unexpected ways that visual and digital media art world is really like. Collaborating with other amazing young at The Color of Sound concert on April 18, 2019, dozens of area is produced and appreciated in our culture today. Museums students used their own imagination to explore the connection and sight, and were asked to create abstract art inspired by the artists has opened my eyes to the collectiveness of art and pushed classical music they heard. and galleries will always be an important space for fine art, me to experiment with things I wouldn’t have thought of.” between color and sound. In anticipation of the performance but experiential and time-based arts are finding new homes in featuring Alexander Scriabin’s blazingly vivid Prometheus: Poem The Music, Art & Technology Mentorship unexpected places, from pop-up shows in urban alleys, to the most of Fire, the Eugene Symphony Association began two education The digital projections seen above and around the stage KASHI HUGHES revered of performance halls. It is my hope that by engaging in Academy of Arts and Academics projects that would assist in the colorful and illuminating multi- during The Color of Sound concert were also a creation of new media performance, these young artists will feel emboldened media performance for all to enjoy. community partnerships. In the six months leading up to the Schuller: Little Blue Devil from Seven Studies to imagine new venues for their future creative endeavors.” on Themes of Paul Klee The Color of Sound Project with Artie the Art Bus concert, John Park, of Harmonic Laboratory and UO Digital With their eyes tightly closed and paintbrushes in hand, Arts faculty member, led five students ages 16–24 through a “Filmmaking is my passion, hundreds of fourth graders experienced their own personal Music, Art & Technology mentorship. Participants—selected and I plan to study film at interpretation of the connection between color and sound. In competitively by a special application process—worked monthly Portland State University this fall. the three months leading up to the concert, ESA’s Education one-on-one and in group sessions to gain insight and knowledge The Color of Sound Internship & Community Engagement department partnered with from their mentor, professional digital artist, Park. is an opportunity for me to Imagination International’s Artie the Art Bus to bring a series Park said, “Working with the five student-artists has been an showcase noir film style into of mobile art workshops to three regional elementary schools: absolute pleasure. The experience has been a repeated reminder a live contemporary musical Howard (Eugene), Elizabeth Page (Springfield), and Fairfield that the talent, creative audacity and perseverance shown by this performance. Typically in noir (Bethel). The two-day music and art project was led by Teaching group is not bound by age or experience. The group of students style, the visuals flow along with the pace of the music. I am hopeful that having two visuals “ It is one thing to feel creatively empowered to express an idea to the point of seeing will strengthen the performance tremendously for the audience. This project allows me to use the medium of film cohesively with it realized, but another thing altogether to find an audience and context to have that live music. I am eager to see how the performers impact the visuals expression shown.The Color of Sound concert is a grand platform for these young and vice versa. That being said, I am aware that this project is artists to see their own work at a large scale (projected behind the symphony) and to unique, making me more open to a finessed outcome. Ultimately I hope to capture the classic jazzy noir style through a character share it in front of more than 2,000 patrons of the Eugene Symphony.” exploration inspired by both Paul Klee and Gunther Schuller.” Art, Music & Technology Mentorship student-artists work with John Park at — John Park, Harmonic Laboratory UO’s Fusion Lab. (Continued on page 16)

14 EUGENE SYMPHONY NOVEMBER 2020 15 KEY OF E[DUCATION]

Meet the Student Artists Season Partners

(Continued from page 15) The Eugene Symphony extends a special thanks to the individual, corporate, and foundation partners whose generosity and commitment to the arts in our community keep the music playing.

2019/20 CONCERT SPONSORS RIMONA LIVIE work collaboratively with other young artists in my field to put North Eugene High School on a production of this scale has been an absolutely invaluable

Debussy: Clair de Lune experience for me, and one that I’m sure has provided me with Zachary A. Blalack “Visual art has been a part skills that will come into play even more as I get further into Financial Advisor of my life since day one, it gives my career. Lastly, I’m so grateful as a student artist to have been me incredible joy. Creating art is given so much freedom to imagine and create throughout this an opportunity for me to express process, especially while collaborating on a project that engages the concerns I have for the world the community in such a tangible way.” Originally from northern Washington state, Felix is now in a beautiful way. I feel strongly The Haugland Family Foundation Marie Jones & Suzanne Penegor that the art I create should have a fourth-year University of Oregon student majoring in Art a message that can help foster and Technology. In the coming weeks, she will apply for her positive change. I hope that department’s Bachelor of Fine Arts degree and continue her 2019/20 GUEST ARTIST SPONSORS my animation can inspire the art education at UO next year. Within her program, she has a particular interest in creative coding, although she comes from Eugene Safe Storage Dr. Ray Englander of Oregon Neurology Roseburg Forest Products viewer to give a little more love to Eugene Symphony Guild Nathan & Robin Philips, Wildish Companies themselves and the world around them. a painting background. In addition to her artistic endeavors, she is also minoring in Mandarin Chinese and has studied abroad Jonak Law Group on behalf of Square One Villages My piece is completely hand-drawn and animated by me. Oakmont Family Dental This project gave me the opportunity to add motion to my in China these past two summers on language immersion artwork, something I have never attempted before. I was able to programs. After graduation, Felix hopes to find a job that relates combine my skill set in drawing and painting with animation to both of these fields of study. 2019/20 ADDITIONAL SUPPORT SPONSORS software that allowed me to bring it to life. Creating a video KRISTA ORTIZ Bigfoot Beverages Ferguson Wellman Kernutt Stokes that expressed the feeling and color of a piece of music was an Chvatal Orthodontics Galina Groza & Family in recognition of the Safeway eye opening way to create art. I am so proud of the artwork I Lane Community College Handel: La Rejouissance from Music for the Royal Fireworks Eugene Airport Eugene-Irkutsk Sister City Committee US Bank created because it allowed me to push the boundaries of what my Farmers Union Coffee Roasters The Gilmore Agency Ward Insurance creativity is capable of.” Krista is a 20-year-old multimedia arts student at Lane FELIX NEELEMAN Community College. She has 2019/20 IN-KIND SEASON SPONSORS University of Oregon always had a passion for visual Mendelssohn: Scherzo from A Midsummer Night’s Dream arts and music. Krista has been Graduate Hotel King Estate Winery Silvan Ridge Winery Marché “I have always had a passion a musician for 10 years (and for both visual art and music. counting!) and primarily plays I’ve more or less been drawing flute and electric bass guitar. She SPECIAL THANKS TO... since I could hold a crayon, and is also a painter, using acrylic as City of Eugene/Hult Center also have been trained on the her medium. She is eager to learn JLN Design Amanda Smith Photography for the Performing Arts National Business Solutions Technaprint piano since I was very young. the world of digital art. The two for me have always been Since starting at Lane Community College, Krista has related to one another, although immersed herself into the realm of digital art. Getting the this connection has never been opportunity to be a part of this production is one step closer FOUNDATION PARTNERS something I deliberately set out to achieving her dreams of becoming a visual artist for live performances and creating visual art for producers. This to explore, until now. Early on in American Federation The Virgil and Caroline The Haugland the process, I spent a lot of time just listening to the Mendelssohn project has definitely had its challenges, but nonetheless, it has of Musicans, Boekelheide Endowment Family Foundation Fund of the University of Oregon Foundation and really trying to let my imagination wander and allow myself been a learning experience. Mostly, this project has pushed Local 689 to find those connections between color and sound organically. I her to learn digital art programs like Adobe After Effects and found myself surprised by how many associations already existed Adobe Illustrator. She has always been an analog artist so being Nils and Jewel Hult there, but that just needed to be consciously acknowledged. introduced to digital art has had an impact on her skill set. Since Endowment Krista has such a passion for visual arts and music, participation Fund of the Oregon Community Participating in this project with the Eugene Symphony has Foundation provided me with such a unique opportunity to not only dive in this project has helped her gain a better understanding of time-based art. This project has also given her knowledge to deeper into the relationship between color and sound, but also to The Silva Endowment Support Hult Center analyze how being more aware of this relationship can enhance better her skill set and advance her future career. Fund of the Oregon Community Foundation Operations (SHO) my own work as a visual artist. Additionally, the chance to

16 EUGENE SYMPHONY NOVEMBER 2020 17 Season Supporters

The Eugene Symphony extends our heartfelt thanks to the individuals, corporations, and foundations that have made Founders Society generous contributions this season. Your support and generosity help keep the arts flourishing in our community. of the Eugene Symphony Conductor’s Circle ($1,200–$2,499) Barry Ames Anderson Monica Careaga Houck Darian & Karen Morray Ellis Sprick Eugene Symphony Founders Society members have made an extraordinary and profound commitment to the Symphony with an annual John Blackburn Marilyn & Michael Kelley John & Barbara Mundall Bill Starbuck & Joan Dunbar contribution of $2,500 or more. Their gifts have strengthened our onstage, community engagement, and music education programs. Delpha J. Camp Francesco Lecce-Chong Leslie Odom Jr. Designated Fund Edwin & June Cone Fund of the & Chloe Tula Nancy Oft Rose & Mike Rose Craig Starr & Sandra Scheetz For more information on the Founders Society, its benefits, and how to join, please contact Associate Executive Director Oregon Community Foundation Melvin and Carol Mead Fund Theodore & Laramie Palmer Jason Tavakolian Lindsey McCarthy at [email protected] or 541-687-9487, x1104, or visit our website at eugenesymphony.org. Marilyn Deaton J Anthony & Mary Mohr John & Joanne Porter & Jennifer Lamberg Ginger Fifield Mary Ann Moore Brian Price & Elizabeth Radke Jim & Sally Weston PLATINUM PATRONS | $25,000 + Mark & Lynn Roosa Woodard Family Foundation Anonymous Eugene Symphony Guild Marie Jones & Suzanne Penegor Chambers Family Foundation Fred W. Fields Fund Terry West & Jack Viscardi Friend of the Symphony ($600–$1,199) of the Oregon Community Foundation Anonymous (2) Howard & Kathleen Epstein Em Jenson Michael & Marjorie Rear The Alsop Family Foundation Andrene & David Everson Ms. Chris K. Johnson Reed Family Foundation GOLD PATRONS | $10,000 – $24,999 Virginia P. Anderson Erin Fennerty & Erik Peterson M. Allan & Dorothy Kays Jim & Sandy Ridlington Britt & Carol Anderson John & Jo Fisher In Memory of Doreen Kilen Dr. Candice Rohr Gil & Roberta Achterhof Niles & Mary Ann Hanson Paul Roth Ted & Marie Baker My Father: Dr. John A. Siebs Eunice Kjaer Stephanie Harris Kevin & Irene Alltucker Family Fund The Haugland Family Foundation Dr. Matthew Shapiro & Maylian Pak Roanne Bank Violet M. Fraser Lynda Lanker Jim & Paula Salerno of the Oregon Community Foundation Dave & Sherrie Kammerer Betty L. Soreng Fund Slocum Center for Orthopedics Scott & Leslie Anderson Freck Gary J. LeClair & Janice R. Friend Sheppard Family Fund of the Natalie & Zack Blalack Trieber & Michelle Meador of the Oregon Community Foundation and Sports Medicine Mark & Carey Garber Deborah Lee Oregon Community Foundation Elaine Twigg-Cornett & Zane Cornett Meg Mitchell Dunny & Debbie Sorensen Beverly Buckley Sylvia Giustina Patrick & Sofia McManus Ken & Kenda Singer David & Patricia Giuliani Family Foundation David & Paula Pottinger Ray & Cathie Staton Patric & Holly Campbell Elizabeth & Roger Hall Lee & Mary Jean Michels Timber Products Co. Jane Ratzlaff Jack & Florence Vollstedt Melvin Carlson Jr. Scott & Mary Halpert Lois Long in memory of Ellen Tykeson & Ken Hiday Robert & Kathleen Carolan John & Claudia Hardwick Dr. George M. Long Gayle Umenhofer SILVER PATRONS | $5,000 – $9,999 Jana & Mark Cox Lucille P. Heitz Mark & Denise Lyon Sharon Ungerleider Wendy Dame & Don Doerr Charles Henry Gary P. Marcus Linda & John Van Peenen Keyhan & Lauren Aryah Bill & Judy Freck Otto & Joanna Radke Peter & Heidi Davidson Virginia Hurwitz in memory of Michael & Jaylynn Milstein Pierre & Mary Lou Van Rysselberghe Warren & Kathy Barnes Pam Graves in memory of Glendora Burbank Martha B. Russell Subfund of the Arts Anne & Mark Dean Robert Hurwitz Boyd & Natalie Morgan Anita & Tony Vuksich Deb Carver & John Pegg Hugh Johnston Foundation of Western Oregon Fund Juanita & Dieter Engel Ellen Hyman Judson Parsons & Diana Gardener John & Sandy Watkinson Chvatal Orthodontics Jenny Jonak & Mike Bragg of the Oregon Community Foundation Nancy Coons Timothy & Kathryn Mahaffy Sarah Schram & Tim Sweet Ashlee Cribb & Walt Woliver Matthew & Hollan McLaughlin Barbara & James Walker Marci Daneman Herb Merker & Marcy Hammock Bruce & Carol Whitaker Friend of the Symphony ($300–$599) Ray & Libby Englander Nathan & Robin Philips Wildish Companies Carolyn Abbott Dorothy Frear Linda Ague & Kirk Kneeland David & Jane Pubols Andy Storment & Jaini Van Scholten Philip & Sandra Piele Jeya Aerenson Lynn Frohnmayer Doris Kuehn Richard & Sally Robinson Patricia Ahlen Mary Gent John & Muriel Kurtz Gerald & Marcia Romick BRONZE PATRONS | $2,500 – $4,999 Don Baldwin Scott Ricker Richard & Jacquie Litchfield Robert S. Russell David & Ami Bear & Mary Gleason-Ricker Bob & Brenda Macherione Royce & Phyllis Saltzman Anonymous (2) Janet Harbour Arden Olson & Sharon Rudnick Friedl Bell Juliet Bender & Charles Goldsmith Jack Cannon Brian & Laura Scott Warren Barnes Alex & Amanda Haugland Donald Gudehus & Gloria Page Rowell Brokaw Architects George Hanson & Sabrina Madison-Cannon Roberta Singer Shawn & Melva Boles Erwin & Vicki Haussler Neil & Linda Peterson Michael Burkhardt Karen Artiaco & Jack Hart Robert Maurer Rebecca Sprinson & Ben Shaprio Jack & Dondeana Brinkman Lin & Don Hirst In memory of Britta Putjenter George & Fanny Carroll Lisa A. Hawley Cheshire Mayrsohn Greg & Judy Tatman Anne & Terry Carter Starly Hodges John F. Quilter Rick & Camilla Carter Ronald & Cecilia Head & Ernest Chizinski Susan & Bahram Tavakolian William & Karla Chambers Christine Santoro & John Holmes Mike & Casey Roscoe Hiett & Caron Cooper Bob & Debbie Heaton Robert & Colleen McKee Marina Barros & Mario Ruiz Susan & Greg Fitz-Gerald Laura Parrish Roger Saydack & Elaine Bernat Brian & Nancy Davies David & Marcia Hilton Judith Mortimore Michael Vergamini Kevin Forsythe & Elizabeth Tippett Marc Carlson & Katie Koping Doneka R. Scott & Cedric Skillon Paul & Vivian Day Robert H. Horner & Polly Ashworth Alexander Murphy & Susan Gary & Nicole Commissiong in memory of Jack Forsythe Steve & Cyndy Lane Heinz & Susan Selig James & Hannah Dean Judith Horstmann Andrew Nelson Alicia Voorhees & Jesse Howes Mike Fox & Rebekah Lambert Harriet Cherry & John Leavens Robert Gleeson & Mike Sullivan Tom Stevens & Flo Delaney & Howard Bonnett & Ann Carney Nelson Hilda Whipple Susan Gilmore & Phyllis Brown Michael Lewis & Martha MacRitchie Marion Sweeney, Kate Laue, & Cama Evans Nena Lovinger & Robert Emmons John & Lorna Hudson Christian & Betsy Nielsen Robert & Patricia Wilson Verda M. Giustina Fund Sarah G Maggio Dr. James & Jan Ward John Etter James & Helen Jackson Dave & Linda Pompel Lauren Bird-Wiser of the Oregon Community Foundation Duncan & Jane Eyre McDonald Sandra Weingarten & Ryan Darwish Brad Foley Judith Johnson Camilla Pratt & David E. Wiser Peter Gregg Johan & Emel Mehlum Harry & Connie Wonham Gregory & Heather Fortner Anita Klock & William Looney Mary Breiter & Scott Pratt Galina Groza & Family in Recognition James & Marilyn Murdock John & Emilie York of Eugene-Irkutsk Sister City Committee Jim Ruderman & Kate Nelson

This listing reflects Founders Society gifts received between July 1, 2019 and June 30, 2020 for the 2019/20 Season. This listing reflects donations received between July 1, 2019 and October 31, 2020. Every effort has been made to ensure its accuracy. If your name has been inadvertently omitted or incorrectly listed, please accept Every effort has been made to ensure its accuracy. If your name has been inadvertently omitted or incorrectly listed, please accept our apologies and contact the Eugene Symphony Development team at 541-687-9487 ext. 1110. Thank you for your generosity. our apologies and contact the Eugene Symphony Development team at 541-687-9487 ext. 1110. Thank you for your generosity.

18 EUGENE SYMPHONY NOVEMBER 2020 19 Season Supporters Season Supporters

Friend of the Symphony ($100–$299) Friend of the Symphony ($100–$299) Anonymous (4) Kevin Cronin Harold & Martha Hockman Paul Medaille Howard & Sharon Speer Gary Tepfer David Sprung & Karalyn Walker Terry & Lucy White Steve & Judy Abbott Lawrence N. Crumb Laura Hofer Joe & Tiffany Mellow Isis Sroka & Esther Jacobson-Tepfer Gerald & Veronika Walton Miriam & Edmond Whiteley Mardi Abbott Cassandra & Darryl Dare Lauren S. Holland Ruth E. Miller Phoebe Staples Susan Burke & Clive Thomas Craig & Amy Wanichek Pamela Whyte & Ron Saylor Jenne & Josh Adams Charles Deer Jack & Mary Holley Steen V. Mitchell & Sue Dockstader Verner Steigleder John & Renate Tilson Roger & Carol Welch Carol Williams Rajeev Alexander Edna P. DeHaven Nancy Holloman Rose Marie Moffitt Tim & Ann Straub Rob Tobias & Janice Medvin Leighton Wells Rich & Daneen Wolf Brian & Laurel Allender Alicia Derby Dr. Terri Homer John & Cheryl Moore Patrick & Marjorie Sullivan Barry Cooper & Beth Valentine Randall & Deborah Wells Robin Yim Lucille Allsen Dale Derby & Ingrid Horvath Carol Horn Gerald Morgan Inge Tarantola Phyllis Villec Barbara Wheatley JoAnn Zinniker Florence Alvergue Adam DeVries Lewis & Sandra Horne Phyllis Helland & Raymond Morse Wayne, Leslie & Ari Taubenfeld Katy Vizdal James & Phideaux Whetstine Saylor & Karen Smith Dr. Don & Marianne Anderson Cynthia Dickinson William Griffths & Jill Hubbard Kathy Moulton Betty Taylor Lawrence & Marilyn Von Seeger Cindy Whipple Alex Zunterstein Howard Anderson James & Dorothy Dougher Amy Humphrey Eric Schabtach & Bonnie Murdock Jeff & Linda Taylor Charitable Fund Robert Voss & Patricia Braunlich Jeffrey Allen & Karen Louise White & Susan Rutherford Jim & Susan Douglas Trey Imfeld & Barbara Davis Kenneth & Jackie Murdoff Susan Archbald Alex Dracobly & Julie Hessler Mary Jeanne Jacobsen Chris Murray Vernon Arne Ritta’s Burritos Carol A. James Dorland Neale Memorial Funds Mary & David Scott Arnold Michael Drennan Dave & Karen Jewett & Diane Vandehey-Neale Jo Anne Arnold Dr. John & Virginia Dunphy Margaret Hadaway Debi Noel The Eugene Symphony would like to express our appreciation to those who have given, in the spirit of remembrance, to the following memorial funds. David Ashley Louise Bishop & James Earl & George Jobanek Ruth Obadal & Charles Hammonds Susan Ashton Peter Edberg & Bryna Goodman Eric Johnson David & Anne O’Brien Laura Avery Zeppo Kemp Bernice Mobley Maria Storment Gerry Aster John & Joanne Eggink Skip & Mari Jones Joy Olgyay & William Taliaferro Gilbert Stiles Avery III Bruce Kilen Monique O’Neal Leonard Tarantola Nancy Atkins Paul Calandrino & Cai Emmons Richard E. Jones Jeff & Rosemarie Ostler Virginia Barrett Doris Kuehn Carol Hamrick Plant Mary Tibbetts Robert Baechtold John & Joella Ewing Virginia G. Kelly Dr. Susan K. Palmer John Blonigen Warren & Shirley Mack Britta Putjenter Mary Torrence Scott & Marlene Barkhurst Shira Fadeley Dorothy Kemp Dorothy Parrott Mary Louise Douda Dr. Richard Matteri Martin Sage Barbara Tower Tom & Patti Barkin John Faville Robert Kendall Caroline Morgan Passerotti Robert Hurwitz Dean McKenzie Dr. John A. Siebs Zdenka Tripp Loyal Bassett Gary Ferrington Phillip Kimmel Lindsay Pearson John Sihler Ruth Usher Wisner George Bateman Larry Filosi & Stephanie Pearl-Kimmel Walter Petty Joan Bayliss & Irwin Noparstak Martin Fitzpatrick & Hilary Egna Bruce Klepinger Dave & Mary Lynn Pierce Lawrence & Linda Ann Beach Jo-Anne Flanders Margaret Knudsen Gene & Karen Pierson William Beckett Dana Fleming Stacy & Mike Koos Jim Pilling Richard & Betsy Berg Charles Fletcher Rebecca & Peter Kovach Mary Jo Pitts Sara Bergsund David Fountain Kenneth & Elizabeth Krans Guntis & Mara Plesums Tracy Berry Jennifer & Dino Francois Thomas Kreider & Paula Gordinier Michael & Judy Ponichtera Marty Beyer Charles Fuller & Rebecca Mikesell Gayle Landt & Martin Jones Daniel & Barbara Pope John & Lucy Bigelow Lisa Gardner Aaron Shonk & Beth Landy Richard & Patricia Rankin Andy & Debbie Bissonnette John Garrett & Ruth Kaminski Nancy Laurence Lloyd & Marilyn Rawlings Laird & Ronnie Black Jill Gelineau Erika Leaf John Ray C Victoria Blackman Randy & Jennifer Geller Cornelia Leser Dr. R Charles & Karen Ray David & Sheila Bong Eric & Nancy Geyer Iyana Christine Leveque Kathleen Lindlan Benjamin Bonne George Gibson & Karen Heilesen Hope Lewis & Michael G. Raymer Adrienne Borg Bentley Gilbert Robert & Audrey Lewis Sharon Reed & Mark Horney “ My wife and I have been devoted Joel Bradford Pat Candeaux Gilberts The Lillegard Family Diane & Greg Retallack Eugene Symphony fans since 1981. Gerald & Patricia Bradley Carole Gillett Richard & Marylin Linton Joe & Marian Richards Pamela Brills Brenda Gilmer Jan Lintz Bernard Robe & Diane Hawley nsre or To ensure our support endures Greg Brokaw & Elaine Lawson Maradee & Barry Girt Brad & Paula Litchfield Bernard & Ginger Bopp long after we are gone, we made Willard Rodgers & Suzanne Brown Courtney Sams Dr. Mark & Marie Litchman Byron & Judy Roberts oe and egac Stephen Bryan Tim Gleason & Jenny Ulum Doug & Diane Livermore Rick Rodriguez o msic or sure the Symphony Endowment Robert & Robin Burk Elizabeth Glover Lisa Livoni & Robert Wilson Donald Landstrom Bill & Lynn Buskirk Don & MJ Gordon John Loomis & Zachary Ruhl generations was in our estate plans. We want John & Denise Callahan Michael & Grace Grose Jay Moseley Michael & Wendy Russo the legacy of excellence, joy, Donna Nagy & Len Campbell Monica Haaland Ann Baker-Mack C. Pat Ryan Frank & Nancy Carlton Larry Hacek & Donovan Mack Eva Safar Join the Encore Society and vibrancy that this orchestra Doug & Linda Carnine Bryce & Sandy Halonen Susan Macomson Norman & Barbara Savage provides to the region to play on!” Faris & Sydney Cassell Roger & Karen Hamilton John & Norine Madden Richard & Karen Scheeland by including the Karen Chaix Brent & Monica Hample Richard May David Stuck & Janis Sellers-Stuck John Chalmers & Michele Gladieux John & Barbara Hargrove Michael & Jo Ann McCabe Carol Shininger Eugene Symphony R. RAY AN

Gary & Carole Chenkin Marcia Harlacher Jim & Linda McCarthy Kamala & Richard Shugar in your estate plan. IBBY ENGANER Bailey Cheshire Jamie Harper & Roxie Thoren Carrie & Mike McCarthy George & Dionne Sjolund David Chinburg Barb Harris Pamela McClure-Johnston Karen Smaw Dr. and Mrs. James Christon Gale & Rosemary Hatleberg Greg & Lynne McCutcheon Ann & Rob Smith Barbara Clauson Andrew & Marilyn Hays Margot McDonnell Marty & Mary Lou Smith The Englanders meet Leslie Odom, Jr. (left) after his performance with Eugene Symphony in February 2020. Victor Congleton Morley Hegstrom Bill McGuire Hope Smith Hernando Convers John Heintz Lucille McKenzie in memory of Betty Lou Snyder More information at C Carrie Copeland & Jeff Parker Holly Helton & Peter Gallagher A. Dean McKenzie Jon & Roberta Sobotka Roger Coulter Christopher & Deborah Hiatt Holly McRae Dave & Dorothy Soper Or contact indsey McCarthy at 541-687-9487 x1104 or [email protected] Clark Cox, Jr Dr. Richard & Judith Hicks Sara Brownmiller & Milo Mecham Joanne & John Soper

20 EUGENE SYMPHONY NOVEMBER 2020 21 eugenesymphony.org The Eugene Symphony is profoundly grateful to our endowment Tel 541-687-9487, Fax 541-687-0527 donors for their vision and commitment to ensuring audiences will Eugene Symphony 115 West 8th Avenue, Suite 115, Eugene, OR 97401 continue to enjoy the Symphony for generations to come. EUGENE SYMPHONY BOARD OF DIRECTORS EUGENE SYMPHONY STAFF

Crescendo Society David Pottinger, President Dr. Matthew McLaughlin, Secretary Francesco Lecce-Chong, Music Director & Conductor The Crescendo Society is composed of donors who have made gifts of cash, stocks, other cash equivalent gifts, or Charitable Trusts. Deborah Carver, Vice President Zachary Blalack, Treasurer Scott Freck, Executive Director Anonymous Gina Ing Estate of Margaret Willard and President-Elect Lindsey McCarthy, Associate Executive Director Gil & Laura Avery David & Sherrie Kammerer Tom & Carol Williams Stella Ji, Executive & Administrative Coordinator Laura Maverick Graves Avery Harp Chair Edward W. Kammerer Memorial Fund Lolette Willis Memorial Fund DIRECTORS Laura Avery Visiting Masters Program Marilyn Kays Harry Wolcott ARTISTIC Dr. John Bascom James & Janet Kissman Dena Gregg Memorial Fund Warren Barnes Arden Olson Joanne Berry Estate of Hervey E. Klusmire Lindsay Pearson, General Manager Christine Barreto Marc Carlson Thomas Pettus-Czar Anne Boekelheide Esther Klusmire Bob & Frield Bell Harriet Cherry Paul Roth Kristen Halay, Librarian Caroline & Virgil Boekelheide Estate of Amelia Krieg Gunhild Bertheau Ashlee Cribb Jim Ruderman Dr. Sharon Paul, Chorus Director Bill & Barbara Bowerman Estate of Clarice Krieg Caitriona Bolster Bill Barnett, Recording Engineer Nathan & Marilyn Cammack Liberty Bank Robert E. Christiansen Dr. Raymond N. Englander Dr. Doneka Scott Carter & Carter Financial, Inc. Estate of Helen Elizabeth Lilja Mike Curtis & Annalisa Morton Robert Gleeson Dr. Matthew Shapiro Rick Carter, Piano Technician Estate of Adeline Cassettari Lorry I. Lokey Donor Fund Carol & John Dinges Henry Henniger Suzanne Shapiro DEVELOPMENT & MARKETING Carolyn S. Chambers Silicon Valley Community Foundation Annalisa Hiler The Phil Cass Memorial Fund Trish & Keith McGillivary Margaret Knudsen John Holmes Karalyn Walker Sprung Tegan DeBolt, Development & Fundraising Manager Bruce Harlan Clark Dory Lea McGillivary Memorial Fund Josephine Markland Corky Hughes Andrew Stiltner Crow Farm Foundation Mel & Carol Mead Fund of The Kathie Hsieh, Patron Engagement Manager Mary McCarty Ashley Jorgenson Elizabeth Tippett Dimmer Family Foundation Oregon Community Foundation Geraldine Ota & Hal Finkelstein Clyde & Mardell Quam Family Chair Anne Marie Mehlum David Kammerer Sarah Viens EDUCATION & COMMUNITY Gary Purpura ENGAGEMENT Anna Mae Esslinger National Endowment for the Arts John & Ruth Talbot Sarah Maggio Michael Vergamini Katy Vizdal, Education & Community The Eugene Symphony Guild Estate of Dan Pavillard Paul Winberg & Bruce Czuchna Jane Eyre McDonald Jack Viscardi Engagement Director The Bob Gray Family Stuart & Joan Rich Alan Yordy Bob Gray Chair Roger Saydack & Elaine Bernat Trieber Meador Connie Wonham Bob Gray Recognition Fund The Phil Cass Memorial Fund Marin Alsop Fund FINANCE Estate of Lois J. Greenwood Georgianne & Ken Singer for Artistic and Administrative Excellence DIRECTORS EMERITUS Mckenzie James, Finance & Administrative Director Anonymous Peter Gregg Mrs. Ray Siegenthaler Nancy Holloman & Caroline Manewal, Estate of Marguerite Grundig Dunny & Debbie Sorensen Jerry & Mary Blakely Phil Cass, Jr. † David Ogden Stiers† Volunteer Coordinators Niles & Mary Ann Hanson Ray & Cathie Staton Helen & Kenneth Ghent Carolyn S. Chambers† Mary Ann Hanson Miguel Harth-Bedoya Fund Gordon & Zdenka Tripp Helmuth & Marguerite Grundig Betty Soreng Rosaria P. Haugland Foundation James & Sally Weston Dan Pavillard James L. Hershner Memorial Fund Wildish Family Wally Prawicki Dr. & Mrs. George Hughes Mr. & Mrs. Douglas Walwyn Betty & John Soreng EUGENE SYMPHONY ASSOCIATION PAST BOARD PRESIDENTS Gina Ing Spirit Fund Gerald W. Webking 1965–1972 Orval Etter 1988–1991 James Forbes 1972–1973 Charles Williams 1991–1993 John Watkinson Encore Society The Encore Society is composed of donors who have created their legacy of music and the arts by including the Eugene Symphony 1973–1975 Thad Elvigion 1993–1995 Georgiann Beaudet and/or the Eugene Symphony Endowment Fund in their wills, trusts, or other estate plans. 1975–1977 Nancy Coons 1995–1997 Clark Compton Anonymous (3) The Brockett Family Starly Kathryn Friar Theodore & Monica Nicholas 1977–1978 Oscar S. Strauss 1997–1999 Gary Grinage Barbara Aster Ann & Terry Carter (Irrevocable Trust) David & Paula Pottinger Season Design: Gilbert S. Avery, III Dr. & Mrs. John Cockrell Jo-Anne Flanders Wally Prawicki 1978–1980 Nancy Coons 1999–2002 John Watkinson Cricket Design Works Robert Baechtold (Irrevocable Trust) Ed & Ann Gordon Marilyn Scheidecker John & Ruth Bascom Julie Collis Ms. Chris K. Johnson Barbara & Jim Walker 1980–1981 Janet Johnston 2002–2003 Gil Achterhof Program Magazine Design/Production: Marjorie Beck Trust Ray Englander Dan & Gloria Lagalo Sandra Weingarten 1981–1982 Judy Hicks 2003–2006 David Kammerer JLN Design, Jerril Nilson Joanne Berry Harry Wolcott Estate 1982–1984 Janet Johnston 2006–2012 Mary Ann Hanson Steinway Maintenance Society 1984–1986 George “Duffy” Hughes 2012–2015 Dunny Sorensen † in memoriam The Eugene Symphony extends sincere thanks to those who have joined the Steinway Maintenance Society to create an 1986–1988 Ruby Brockett 2015–2017 Dr. Matthew Shapiro endowed fund to ensure that the “Pavillard” Steinway D Concert Grand is properly insured, stored, and maintained.

ENDOWMENT FUND OF THE EUGENE SYMPHONY TRUSTEES The Eugene Symphony is a resident company of Leave a legacy that provides the joy of music for future generations. the Hult Center for the Performing Arts. Support Silva Chambers Ann Marie Mehlum provided by the City of Eugene. Please remember the Eugene Symphony in your will or trust. Varner J. Johns III, Chair John Watkinson For information about planned gifts or gifts to the Endowment Fund, contact Lindsey McCarthy at [email protected] or 541-687-9487, x1104 or visit our website at eugenesymphony.org.

22 EUGENE SYMPHONY NOVEMBER 2020 23 RESPOND RECOVER REBUILD 

The show must go on. And it will, despite all the hardship our communities across Oregon have faced this year. We’ve seen unprecedented generosity from donors and we’re getting those funds out to nonpro ts at record speed. But we’ve still got a long ways to go. We’re all in this together, Oregon. Let’s continue to take care of each other.

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