37TH CONCERT SEASON - 2019.2020

BRINGING MUSIC TO LIFE! MAGIC MOUNTAIN

OCT 19TH & OCT 20TH KALISPELL 2 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG ADMINISTRATIVE STAFF John Zoltek – Music Director and Conductor Ron Osterbauer – Director of Development and Operations Susan Estes – Office/Box Office Manager Teresa Connell – Reception/Box Office Laura Welch– Patron Services Manager ARTISTIC STAFF John Zoltek – Music Director and Conductor Dr. Micah Hunter – Chorale Conductor Griffin Browne – Orchestra Personnel/Librarian Heather Catlett – Chorale Personnel Manager Barb Walden – Chorale Librarian STAFF BOARD/ SYMPHONY GLACIER Alma Ramlow – Chorale Accompanist Roger Blair – Stage Manager BOARD OF DIRECTORS 2019/2020 Jon Johnson – President Mark Holston – Vice President Dan Chisholm – Treasurer Lucy Smith – Secretary Mona Charles Jim Coolidge Ginnie Cronk Heidi Escalante Joanna Galbraith Laurie Miller Julie Moffitt Marylou Patterson Tamara Williams HONOREES Rebecca duBois – Founding Director Shaun Garner – Founding Chorale Conductor

A MEMBER OF THE MONTANA ASSOCIATION OF SYMPHONY ORCHESTRAS PO Box 2491 • Kalispell MT 59903 • 406-407-7000 • www.glaciersymphony.org

ALL GSC VENUES HAVE LARGE PRINT PROGRAM HANDICAP ACCESSIBLE SEATING AVAILABLE ON REQUEST

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 3 JOHN ZOLTEK MUSIC DIRECTOR & CONDUCTOR Founding Music Director and Conductor – Festival Amadeus John Zoltek, Music Director and Founding Artistic Director of Festival Amadeus, is currently entering his 23rd season as the artistic leader of the Glacier Symphony, orchestra and chorale. He earned degrees from the University of British Columbia (M.M. composition) and Berklee College of Music,(B.M. composition), where he studied both classical and jazz, graduating with honors.

At Berklee he was awarded the prestigious Youth Concerts at Symphony prize for classical composition for his Sonata for Cello and Piano. He studied conducting privately with Attilio Poto, a legendary conducting mentor at the Boston Conservatory. He was also selected to attend the Pierre Boulez Carnegie Hall Foundation program in New York. He later studied conducting abroad in the Czech Republic. Notable teachers include Zdenek Bilek, Tsung Yeh, Jorma Panula, Kirk Trevor, John Bavicchi, George Monseur and Elliot Weisgarber.

A native of Rhode Island, Zoltek began studying guitar at the age of seven with traditional jazz master Alvin Pulley. After playing in various rock and jazz groups and getting to know classical music during his high school years, Zoltek auditioned and was accepted into the renowned Berklee College of Music in Boston. This began his academic life and serious career path in music.

As a composer, Zoltek has written a wide range of music in many genres from symphonic scores to instrumental and choral works. Many have been performed by the Glacier Symphony as well as orchestras in Canada, South America and Europe. Orchestras conducted include the National Latvian Symphony Orchestra (Riga, LV), Philharmonic Bohuslav Martinu (CZK), Vancouver CBC Orchestra, Orchestra Now, Vancouver Inter-Cultural Orchestra, Vancouver Pro Musica Orchestra and the Altoona Symphony (PA).

Internationally, Zoltek made his European conducting debut with the Philharmonic Bohuslav Martinu in Luhachovice, Czech Republic. He has worked with notable composers Alan Hovhaness, Sofia Gubaidulina, R. Murray Schafer, Stephen Chatman and Mark Armanini. In 2009 he was invited to South America to lead the MUSIC DIRECTOR BIO Orquesta Sinfonica de Guayaquil in Ecuador. Recent activities include conducting the Vancouver Inter-Cultural Orchestra during their Global Soundscapes Festival in Canada (6/18 and 6/19). In August 2018 Maestro Zoltek traveled to Amsterdam (NL) and later Winnipeg, Manitoba, to conduct the recently formed AU Ensemble in a concert of new music by Canadian composers Rita Ueda and Mark Armanini.

Zoltek is enthusiastically looking forward to an exciting musical future as he and the Glacier Symphony work with Flathead Valley Community College to build a new concert hall on the college campus in Kalispell, establishing what will become the permanent performance home of the Glacier Symphony.

4 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG GLACIER SYMPHONY John Zoltek, Music Director and Conductor * Denotes section principal

VIOLIN I Adam Collins HORN Sally Jerde, Concertmaster Melinda Morison Paul Rossi* Lynn Andenoro Melinda Payne-Sanders Chip Davis Sarah Fazendin Diane Sine Bob Green Ian Nicklin Amy Zoltek Laurie Miller Trevor Ostenson Will Shackelton Amelia Thornton BASS TRUMPET Ella Wilkinson Michelle Tanberg* Martin Weimer* Virginia Bowland BJ Lupton VIOLIN II Paul Faessel Anita Ho* TROMBONE Marilyn Anderson FLUTE Hank Handford* Lindsey Groves Beth Pirrie* Dave Lawrence Linda Kuntz Betsy Finch Jim Lehner Jan Lord Kate Fraser TUBA Connie Rudie SYMPHONY GLACIER Phyllis Snow OBOE Brian Hawken* Reid Merley* VIOLA Mary Notess TIMPANI Jenny Smith* Jeremy Reinbolt* Jodi Allison-Bunnell CLARINET Tamara Farr Dinah Weimer* PERCUSSION Aimee Zupicich Joe Valenti Jane Copper Nic Hannah CELLO BASSOON Griffin Browne* Alicia McLean* Jessica Catron Dylan Myers

THANK YOU TO OUR SEASON BENEFACTOR

AND TO OUR SUSTAINING SUPPORTER

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 5 ANDREW TYSON FEATURED ARTIST, PIANO Hailed by BBC Radio 3 as “a real poet of the piano,” American pianist Andrew Tyson is emerging as a distinctive and important new musical voice. In summer 2015, he was awarded First Prize at the Géza Anda Competition in Zürich, as well as the Mozart and Audience Prizes. These victories have resulted in numerous performances throughout Europe under the auspices of the Géza Anda Foundation.

Tyson is also a laureate of the Leeds International Piano Competition where he won the new Terence Judd- Hallé Orchestra Prize, awarded by the orchestra and conductor Sir Mark Elder with whom he enjoys an ongoing relationship. With concerto performances taking him across North America, Europe and further afield, Tyson has performed with orchestras from the North Carolina Symphony, the Colorado Symphony, the Kansas City Symphony and the Orchestra of St. Luke’s at Alice Tully Hall, to the Osaka Symphony, SWR Symphony Orchestra Stuttgart, Musikkollegium Winterthur and the National Orchestra of Belgium. High- lights this season include a return to the Hallé and Bournemouth Symphony Orchestras as well as his debut with the Flanders Symphony Orchestra.

Recital appearances include major cities across the US and Europe at venues such as Brussels’ Palais des Beaux-Arts, New York’s Carnegie Hall and the Zürich Tonhalle. Following last season’s recitals in Shanghai, Vancouver, St Petersburg, Tokyo and a return to London’s Wigmore Hall, this season sees Tyson giving recitals in Taiwan for the first time as well as a tour in Switzerland. No stranger to the festival scene, Tyson’s previous performances include Caramoor Centre for the Music and the Arts, the Lincoln Center’s Mostly Mozart Festival, the Lucerne Piano Festival, the Pacific Music Festival in Japan and the Musica Viva festival in Sydney for a mixture of solo and chamber performances. An active chamber musician, Tyson regularly ap- pears in recital with violinist Benjamin Beilman; this season they join up again for performances in the USA.

FEATURED ARTIST Tyson’s three recital discs have been issued on the Alpha Classics label. His debut disc comprises the complete Chopin Preludes whilst his second album released in March 2017 features works by Scriabin and Ravel. His latest disc, Landscapes, released in September 2019, features works by Mompou, Albéniz, Scarlatti and Schubert and is described by Tyson as a programme which “synthesizes my love of Spanish music, my love of nature and my fascination with the coloristic aspects of piano playing.” The album title takes its name from Federico Mompou’s Paisajes, which are “landscapes of the mind as much as intimate, yet vivid depictions of Spain”.

As winner of the Young Concert Artists International Auditions in 2011, Tyson was awarded YCA’s Paul A. Fish Memorial Prize and the John Browning Memorial Prize and following that he received an Avery Fisher Career Grant. After early studies with Thomas Otten he attended the Curtis Institute of Music where he worked with Claude Frank. Tyson later studied with Robert McDonald earning his Master’s degree and Artist Diploma at The Juilliard School, winning the Gina Bachauer Piano Competition and receiving the Arthur Rubinstein Prize in Piano.

THANK YOU

for shuttling people from Whitefish to our concert

6 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG came to fruition. In later life, his failure to see ideas PROGRAM NOTES through to conclusion was sadly due to his alcohol- ism; in his youth it was mere exuberance and naive MODEST MUSSORGSKY (1839-1881) optimism, which could never quite be translated NIGHT ON BALD MOUNTAIN (COMPOSED 1867) into reality. One work that did survive this particular Modest Mussorgsky was an influential Russian grand plan, though, was the orchestral poem Night composer whose legacy is based on only a handful on Bald Mountain. It wasn’t completed until nine of works, some of them completed by fellow com- years after his initial inspiration for St. John’s Eve poser and friend Rimsky-Korsakov and in the 20th and, despite its great popularity today, Mussorgsky century, Shostakovich. Like many Russian compos- really struggled to convince anyone to perform it. ers of the era, Mussorgsky was not a professional musician. He was born into a wealthy land-owning The work was begun in 1866 but completed during family and began studying piano at the age of 6. He one stormy St. John’s Night in 1867 while he was was guided at a young age towards military service visiting a relative’s estate outside of Kiev, staying in and eventually posts as a civil servant. He did, how- a room with a view towards the Bald Mountain. Rus- ever, maintain his musical pursuits and after meet- sian legend suggests that witches gathered on the ing Borodin began to pursue composition seriously. top of this particular mountain during St. John’s Eve. Throughout his life Mussorgsky drank heavily. His The informal title of Mussorgsky’s piece was The predilection for this behavior was partly aesthetic Witches. The composer himself sketched a narra- and partly a conscious revolt against established tive program of the work describing witches gath- upper-class norms and respectability. This behav- ering, Satan on a throne, etc. As he stated: “So this ior paralleled his struggles with the artistic life and is what I’ve done. At the head of my score I’ve put creativity and eventually led to his demise at the its content: 1. Assembly of the witches, their talk age of 42. and gossip; 2. Satan’s journey; 3. Obscene praises NOTES PROGRAM of Satan; and 4. Sabbath ... The form and character He is largely known for his concert works Night on of the composition are Russian and original.” Bald Mountain (orchestrated by Korsakov) and the programmatic orchestral showpiece Pictures at an After initial performances he went back to the work Exhibition, originally composed as a piano piece and several times, revising and refining it – to the point later orchestrated by Tushmalov, and later more no- of adding a full choir – in an attempt to make it more tably, by French composer Maurice Ravel. His major performance-friendly. Sadly, the work never gained opus, however, was the nationalist opera Boris Go- any semblance of a following in Mussorgsky’s life- dinov composed in his 30th year which, although time. It was only when Rimsky-Korsakov produced not immediately successful, was later considered his own re-orchestrated version (five years after one of the first important operas to be considered Mussorgsky’s death) that the piece began to re- “Russian” in both its musical treatment and subject ceive an appreciative audience. It’s this version that matter. This was at a time when some Russian com- we enjoy today. Disney’s Fantasia also boosted the posers were exploring a distinct style and sound; a work’s popularity considerably in 1940’s America. conscious break with the then dominant German/ Austrian Romantic tradition. EDVARD GRIEG (1843-1907) He was a member of the group known as “The PIANO CONCERTO IN A MINOR, OP 16 Norwegian composer and pianist Edvard Grieg is Mighty Five” (“Kuchka”) which also included Balaki- considered one of the most important composers rev, Borodin, Cui, and Rimsky-Korsakov, all innova- of the Romantic period. He is considered a music tors of Russian music in the Romantic period. This nationalist due to his conscious incorporation of group strove to achieve a uniquely Russian musical Norwegian folk music and folk lore into his compo- identity, often in deliberate defiance of the estab- sitions. His successful fusion of this folk idiom and lished conventions of Western music. serious music brought the music and culture of Nor- way to 19th century European continental recogni- The initial spark for Night on Bald Mountain may tion. Born in Bergen and raised in a musical family, have begun when Mussorgsky, as an ambitious Edvard began piano at age 6 with his mother. The young man, had dreams to compose a full-scale famous Norwegian violinist Ole Bull, a family friend, opera called St. John’s Eve, that would include the recognized the 15 year old’s talent and persuaded scene of a witches’ Sabbath. Like so many of Mus- his parents to send him to the Leipzig Conservatory sorgsky’s musical plans, though, this one never fully

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 7 in Germany. Following his years of study Grieg began voice emerging from 19th Century Scandinavia. Grieg performing concerts as a pianist, and subsequently now holds a historic place as the composer who cap- taking on conducting. He began composing and even- tured the essence of his native land and molded it tually met various composers through his travels in around a personal musical style. The Concerto in A Sweden and Denmark. Grieg’s Piano Concerto dates minor was the first piano concerto ever to be record- from 1868 when the composer was 24. After various ed as was done so in 1909, two years after the com- connections he gained the support of the interna- posers death, with pianist William Backhaus. Howev- tionally famous Franz Liszt who helped him travel to er, it was severely edited down to only 6 minutes due Italy where they eventually met. In Italy, Liszt played to the technology limitations of the time. through Grieg’s piano concerto on sight and was im- pressed. Grieg later became the Music Director of JOHANNES BRAHMS (1833-1897) the Bergen Philharmonic. At the height of his fame SYMPHONY NO. 1 IN C MINOR OP. 61 he met Tchaikovsky in Leipzig and performed with his German composer pianist and conductor Johannes wife for Queen Victoria and her court in 1897. The Brahms is considered as one of the most important Norwegian government awarded Grieg a pension at composers from the 19th century and perhaps one of his retirement age in recognition of his contribution the greatest of all time. He if often named along with to Norwegian and world musical culture. When he Bach and Beethoven as one of the three B’s signifying died in 1907 at age 64 of heart failure the funeral the most elite group of German composers. Brahms drew up to 40,000 people. reputation as a master composer is substantiated by the proliferation of works composed at the highest Grieg’s compositional output focused primarily on level of craftmanship. He was a life-long dedicated piano music and song. His chamber pieces are few as student of compositional techniques from the Renais- are his orchestral works that include the well-known sance, Baroque and Classical eras. Brahms’ music has music from Peer Gynt composed as incidental music been in the chamber and orchestra repertoire solidly to Ibsen’s play by the same name, the Holberg Suite since his lifetime and his music has been performed for strings, the Lyric Suite, Symphonic Dances; Nor- all over the planet by countless musicians over time wegian Dances and the ultra-famous Piano Concerto for appreciative audiences. in A minor. Grieg composed no symphonies or other concertos. Brahms was born in the port town of Hamburg in 1833 but spent most of his adult life living in the mu- PROGRAM NOTES The Piano Concerto in A minor, Op 16 composed in sical capitol of Europe of the time, Vienna. He was a 1868 is a legendary work that exudes the natural virtuoso pianist but by the age of 12 he had already atmosphere and folkloric poetry of mountainous composed his first piano sonata. His pianistic abilities Norway. Grieg’s concerto was inspired and is often were largely placed in the service of his composition. compared to Robert Schumann’s and is indeed in His first public appearances came in 1847-49. In the same key and share similarities. But if this is 1853 Brahms went on a concert tour with famed so, Grieg’s work departs from the Classical formula Hungarian violinist Reményi and was exposed to gyp- into Grieg’s personal world of the late 19th century sy-style music and more dance style salon music. It rhapsodic. The three-movement work quickly brings was during this time when Brahms met violinist Jo- the listener into Grieg’s fresh exotic world of rich seph Joachim who became the dedicatee of Brahms’ harmonic progressions, memorable melodies and at Violin Concerto. During his travels Brahms met other times powerful and driving rhythms. The concertos musicians of notoriety including Raff Liszt. In 1853 opening movement, introduced by timpani roll and he met Schumann and played for him. Schumann, an orchestral fortissimo releasing a solo piano flourish, important music journalist was so impressed by the revolves around a slow march motive in A minor (ala 20 year-old that he soon praised him profusely in Schumann) and a hesitantly expansive lyrical counter his publication, essentially citing Brahms as the new theme. The development drama then ensues, building torch bearer of the lineage of the great Beethoven. towards a virtuosic piano cadenza and rushing finale This led to the publication of his first set of piano that reiterates the opening introduction theme. The sonatas. The Schumanns, Robert and Clara, became slow second movement is a Nordic pastoral dream life-long friends with Brahms. introduced by muted misty strings followed by the stomping rustic dance of the third and final move- Through his long and esteemed career Brahms be- ment. This concerto, the only one he composed, came widely known throughout Europe as a composer helped established Grieg as the first major musical par-excellence. His impressive output of music and

8 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG many publications made Brahms a rather wealthy and horn textures. The middle section in 6/8 adds a man. He also held various conducting posts over time rustic lilting quality to the music with a touch of nos- with orchestras and choirs. talgia. This lively section culminates in a full orches- tra statement before returning to the opening theme His music was often compared as the antithesis to played by clarinet. The final movement begins with that of Richard Wagner. Brahms was the tradition- a tentative adagio evolving dramatically into a solo alist in the manner of Bach and Beethoven (Classi- horn motive that has become iconic in music history. cal-Romantic) and Wagner, for some, came to rep- resent the music of the future. This composer rivalry Brahms played and loved the French Horn and his was very much part of any music lovers’ attention treatment of these instruments in his orchestral writ- during the last decades of the 19th century. ing is unique, impactful and always challenging. This signature horn call is representative of an alphorn Brahms took well over a decade to finish his first calling forth the sonic imagery of a mountain scape. symphony in 1876. Although the Symphony No. 1 in This theme is molded into a hymn-like statement that C minor was a bold work and now considered the is played by the trombones and other brass. (Brahms foundational anchor of his four symphonies, Brahms added the trombones only in the 4th movement just was cautious and typically self-deprecating about the as Beethoven had done in his 5th symphony). This symphony during its creation, writing to his friends hymn-theme is later recalled at the end of the sym- that it was “long and difficult”, “not exactly charming” phony. The Allegro proper of this final movement is and, significantly “long and in C minor”. The work was also reminiscent of Beethoven’s 9th symphony. But warmly received and was immediately followed by Brahms’ theme is solid, beat oriented as a march and the light-filled Symphony No. 2 in D Major. Brahms forward looking. This music is then treated to a series composed only four symphonies like his friend of variations with orchestral textures harkening back

Schumann, a small number when compared to other to Mozart (Jupitar Symphony?) and Beethoven. The NOTES PROGRAM German/Austrian composers (Beethoven 9, Haydn massive symphony concludes with a triumphant coda 104, Mozart 41, Bruckner 9, Mahler 9) But Brahms’ motivated by a new rhythmic vigor that drives the four symphonies occupy an almost reverential place music to its conclusion. in the symphonic repertoire and are considered, along with his various concertos and other orchestral The Symphony No. 1, cast in the traditional four works, masterpieces of the mid-late 19th century movements, is a powerful towering statement of the Classical-Romantic style. composer’s mastery of the orchestra and allegiance to the classical traditions that came before him from The Symphony No. 1 in C minor begins with an im- Bach through Beethoven. The thunderous opening pressively powerful Adagio introduction featuring statement, like an anxious heartbeat is like no other an emphatic timpani-driven pulse in 6/8 meter. This in the repertoire and was clearly meant to be noticed. leads into the faster Exposition marked Allegro with The entire work, like all of Brahms 4 symphonies, an intense, rhythmic and somewhat foreboding first is a masterpiece of compositional virtuosity as only theme. The second theme is more lyrical and lilting Brahms could have conceived it. The first movement’s featuring solitary woodwind figures. The themes are weightiness is dispelled by the “intermezzo” quality then subject to a dramatic Development until the of the middle two contrasting movements. The epic Exposition. There are elements of Beethoven here finale features the signature horn call replicating an in this music including strong motivic impressions alphorn’s call in the mountains. Brahms was an avid from Beethoven’s fate motive from the first move- hiker in his younger years and this poetic nod to an ment of the 5th Symphony. The second movement is imagined scene eloquently captures the spirit of an a gracious and gentle music based in the tonality of inspiring mountain scape. The finale then begins with E Major. Oboe and clarinet solos float almost Baroque an almost “hiking” strident theme that slowly builds style over a syncopated string rhythm. The violin solo musical momentum towards the exciting conclusion. also contributes to the chamber music atmosphere It can be likened to walking through a verdant valley embellishing the themes as they are portrayed by and ascending gradually but confidently towards a sections of the orchestra. It is a welcomed reprieve beautiful mountain summit. Brahms indeed loved from the intense drama of the first movement. The nature! third movement in Ab-Major is set in gentle colors with an almost pastoral quality initiated by solo clar- inet and featuring the beautiful blend of woodwind

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 9 John Zoltek, Music Director and Conductor Presents “MAGIC MOUNTAIN” With special guest pianist, Andrew Tyson Saturday, October 19, 2019 7:30 pm and Sunday, October 20, 2019 3:00 pm Flathead High School Performance Hall, Kalispell, Montana

Modest Mussorgsky Night On Bald Mountain (1839-1881)

Edvard Grieg Piano Concerto in A minor, Op. 16 (1843-1907) 1. Allegro molto moderato 2. Adagio 3. Allegro moderato molto e marcato Quasi presto – Andante maestoso CONCERT PROGRAM Andrew Tyson, piano

INTERMISSION

Johannes Brahms Symphony No. 1 in C minor, Op. 61 (1833-1897) 1. Un poco sostenuto – Allegro – meno Allegro 2. Andante sostenuto 3. Un poco Allegretto e grazioso 4. Adagio – Più Andante – Allegro non troppo, ma con brio

ATTENTION AUDIENCE: Please refrain from applauding until the conductor turns to face the audience.

10 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 11 LAURIE MILLER BOARD OF DIRECTORS MEMBER I grew up in Appleton, Wisconsin, where I started playing the horn in 7th grade. I continued to play through high school and sporadically in college. After graduating from UC Santa Barbara with BA degrees in Sociology and Spanish in 1982, and a law degree from Drake University in 1986, my husband, Marty, and I moved to Whitefish in October of that year. Our daughters started playing piano and it wasn’t long before I got the bug to make music again. I returned to playing the horn after a 16-year hiatus and in 1998 began playing in the symphony.

As a full-time practicing attorney, I’ve found playing in the symphony to be cathartic. After long, stressful days at work, I look forward to practicing where I can focus my attention on a singular task to the exclusion of everything else. I enjoy the challenge of trying to improve my skills and the satisfaction when I achieve success. Playing in the symphony has allowed me to become intimately familiar with much of the great classical music repertoire that had previously eluded my attention. From the fiery passages of Scheherazade to the lush notes of Dvorak’s New World Symphony, it’s hard to pick a favorite. I’m thankful for all the support I’ve received over the years from my colleagues in the symphony. From the beginning, not only have I been awestruck by their musical expertise, but by their generosity and encouragement. I feel lucky to still be playing in the symphony after 20 years and hope to continue to do so for many years to come.

I recently took on a new role in the GSC, that of being a member of the Board of Directors. I was elected as the symphony musician liaison member three years ago. Like playing in a symphony, being on the Board is also a first for me. I enjoy the collaborative process of group decision-making, especially with people of such varied skills and experiences. My board experience has given me a new appreciation of the work it takes to keep a symphony of this size and quality on solid financial A NOTE THE FROM BOARD OF DIRECTORS footing. The phrase, “It takes a village,” aptly applies in this case. Thank you for your support of the GSC over the years. Each of our lives has been enriched beyond measure by the giving and receiving of such great classical music.

12 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG DIRECTOR OF OPERATIONS BIO OF OPERATIONS DIRECTOR RON OSTERBAUER DIRECTOR OF OPERATIONS Ron Osterbauer began as the Director of Operations and Development for the Glacier Symphony on February 27th, relocating from Minnesota to Montana. He brings over 40 years of non-profit experience which has included positions as CEO, Executive Director and Development Director for various nonprofit organizations in Minnesota. He started with nonprofits in the environmental education area and actually launched the nonprofit River Bend Nature Center as its first Executive Director in Faribault Minnesota on a 500 acre parcel of land. He then worked at The Raptor Center at the University of Minnesota where he led the efforts to launch national education programs with birds of prey through a partnership with Target as well as a national program to use satellite telemetry to track migrational patterns of osprey through the support of Canon USA. The Raptor Center was the first organization to have a live bald eagle ride in the Rosebowl Parade along with Amy Grant on the 2000 Target float with Ron handling the eagle.

He has also worked for nonprofits in human services, restorative justice, integrative health and medicine as well as nonprofits providing legal services to low income families. Ron has also been an adjunct professor for two Minnesota Universities teaching course on Minnesota Wildflowers and Budgets and Finance.

Ron and his wife Peggy are relocated to Columbia Falls to be near to their daughter Maggie, son-in- law Cooper and granddaughter Emma. In his spare time Ron enjoys spending time in the outdoors fishing, hiking and doing bird banding as he is a federally licensed Master Bird Bander.

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 13 $10,000+ Beethoven Gerry and R. Frank Leftwich Anonymous (2) Deanne and Jim Lehner Broussard Charitable Foundation Mary and B.J. Lupton Flathead Community Foundation: Lois and Wayne Marshall Anonymous(1) Lou McGuire Franklin Schroeter $5000+ Bach Tamarack Foundation: Anonymous (1) Marie and Michael Shaw Ledjie and Phillip Ballard Whitefish Community Foundation: Virginia Cronk Carol Bibler and Jim Watson Mary and Hi Gibson Sharon and Harry Vonk Adele Goldberg and Dennis Allison Amy and John Zoltek Nancy and Jonathan Goodson Donna and Kenn Hintzsche $1000+ Mahler Wanda and Jim Hollensteiner Anonymous (1) Julie Moffitt and Jim Strainer Susanne and William Beck Lucy Smith Kay and Bill Burg Anna and Ernie Steiner Kaye Callard and Bruce Woodmansee Whitefish Community Foundation: Mona Charles Janice and James Case Jane Corwin and Dennis Spain Jes and John Hagale Marvilla and Chip Davis Herbert Kameon Charitable Lead Trust Terry and Randal DeMarco Teresa and Tom Quinn Mary and Bill Eisenlohr Catherine and Jay Flynn

OUR GENEROUS DONORS $2500+ Tchaikovsky Brian Frank Flathead Community Foundation: Rhonda Friedman and James Rafferty Anonymous (2) Linda and David Green Kathy and Marshall Friedman Maureen Hathaway Jean and James Hagan Paul Hewson Willie and Alex Hunt Charlotte and Wilson Higgs Diane and Jon Johnson, MD Seanne and Harvey Klingensmith Claire and Mark Kaneta Carol and Kurt Larson Nancy and Walter Kuhn Amy Marmer and John Ataman Marylou and Tony Patterson Janet Mayo Ann Schroeder Peggy Morris and Ken Ripple Selah Charitable Trust Barb and Doug Nelson Whitefish Community Foundation: Bonnie and Matt Rigg Rhona and Jerry Meislik Margaret Satchell Linda and Bill Sauer $1756+ Mozart Deb and John Ward Anonymous (1) Whitefish Community Foundation: Linda Cornutt Charlene and Stephen Barasch Maggie Davis and Bruce Ennis Ila B. Dousman Fund

14 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG Shannon and Brian Haycox $360+ Vivaldi Ann and Bill Payne Joaquenia and Klaus Heinrich Karen and Nick Chickering Victoria Reich Ann and Paul Jeremiassen Christine Dye Frances and Tom Towle Mignon and Jay Latimer Betsy and Daniel Kohnstamm Whitefish Community Foundation: Mary Alice and Michael Moffitt Cathryn McDevitt Anonymous (1) Mary VanBuskirk and Roger Barber Katherine Pedersen Nan and Turner Askew Ardy and Steve Whisler Shirley and Ron Zook Betsy and William Bayne Cameron Blake $500+ Mendelssohn $175+ Wolfgang and Alexander W. Gray Anonymous (1) Anonymous (1) Heidi Escalante Marilyn and Alton Anderson Sue and Vern Anderson David Gordon Sandy and David Berman Maxine Arnold Sarah and Fred Jones Margene and Alexander Berry Jill and Frank Ashley Patrice LaTourelle Rebecca Blickenstaff Marlene Barnes Connie and Fred Leistiko Judy Rosenfeld-Cox and Bill Cox Mary Ellen and John Barr Christine Stanley Flathead Community Foundation: Jacqueline Bissonnette Cheryl Watkins and Richard Gordon Rolfing Family Fund Tracie and Marty Bullis Sherry and Loren Vranish Judy and Bill Halama Mary and John Clark Tamara and Chuck Williams Marcy and Mark Holston Erica Coffman Kalispell Regional Medical Center Heidi and Roger Diegel Laurie and Marty Miller Larry Duncan Nancy and Tom Moran Susan Estes Mark Norley and Jim Udick Mary and Don Garner DONORS OUR GENEROUS Ann Page Carrie Gilbert Melinda Payne and Jeff Sanders Bryan Green Alma and Jim Ramlow Sharon Hecker Joan Ridell and Percy Laube Vickie and Lorin Hicks Lisa and Gregory Iddings Ticket sales Susan and Brad Seaman account for less Heidi Tate Eulalie Johnson than 1/3 of what Doreen and Gregory Thigpen Sharon and Tom Kennett it costs to Whitefish Community Foundation: Barb and Bill Klein present our concerts and AGL Foundation Jennifer Li educational Anonymous (1) Jayne McManus programming. Jane and Dick Solberg Martha and David Maurer Rebecca and Larry Williams Cas and Chris Moritz Peggy and Jeff Young John ODonnell Gini and Randy Ogle Cyndi and Greg Olson

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 15 GLACIER SYMPHONY YOUTH MUSIC EXPERIENCE Outreach & Education Program “Enhancing Excellence and Understanding in Music”

YME • YOUTH MUSIC EXPERIENCE We believe exposure to classical music is an integral component to youth development and consider this part of our responsibility as an arts and music leader in the Flathead Valley. Our YME programs bring the orchestra and our guest artists into schools for both a performance and education component along with interaction with kids in the middle and high school grades. In addition, we’ll provide free tickets to over 1,000 youth in our 2019/2020 Masterworks concert series as part of this program. We want to thank our generous YME program sponsors for allowing us to both continue and expand these programs:

16 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG AN EVENING WITH SHENG CAI

We warmly welcome you to join us for a fireside soiree! This intimate gathering features pianist Sheng Cai, who will be performing with the Glacier Symphony during the following weekend’s “Danubia” concerts. Enjoy this exclusive evening of gourmet appetizers, desserts, cocktails, and great music.

NOVEMBER 21 PROGRAM • SCHOLARSHIP TICKETS YOUTH 7:30 pm Buffalo Hill Golf Club Lodge

For tickets call (406) 407-7000 or visit glaciersymphony.org

YOUTH TICKETS & SCHOLARSHIP PROGRAM We provide free youth tickets to our 2019/2020 Mastworks concert series, plus scholarships to accomplished music students to further their music education. Thank you to these businesses that help us grow our outreach to youth, and expand our scholarship program:

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 17 THANK YOU TO THOSE WHO DONATED TO THE 2019 GREAT FISH COMMUNITY CHALLENGE! From all of our musicians, singers and patrons, thank you for your support of classical music through the Great Fish Challenge.

AGL Foundation Jonathan and Nancy Goodson Janine McClurg Anonymous Miles and Jan Gordon Abe and Shelley McCoy Turner and Nan Askew Richard Gordon Jerry and Rhona Meislik Jerry Baracker Jennifer Graham Michael and Mary Alice Moffitt Stephen and Charlene Barasch Alexander Gray and Cameron Blake David and Sally Murdock Bill and Betsy Bayne John and Kathi Hartlieb Naomi Barnes, OD Michael Bennett and MerryLynn Melissa Hartman Ron and Peggy Osterbauer Southers Brian and ShannonHaycox Gwyn Palchak James and Virginia Bowland Klaus and Joaquenia Heinrich Victoria Reich William and Margaret Burg Ila B. Dousman Fund Inc. Scott and Julie Sanderude Judge and Mrs. James R Case Paul and Ann Jeremiassen Alan Satterlee Janet Collins Fred and Sarah Jones Brenna Sellars Thomas Colman Thomas and Sharon Kennett Will and Bonnie Smith Tim and Deidre Corson Kramer Family Fund Richard and Jane Solberg Don DuBeau and Jeanne Tallman Jay and Mignon Latimer Christine Stanley Jennie Eckstrom Patrice LaTourelle Donald and Linda Stolte Leif and Carole Erickson Jim and Deann Lehner Tamarack Foundation Inc. Heidi Escalante Constance Leistiko Loren Taylor Susan Estes Leonard and Carol Lewensohn The Bibler Foundation, Inc. Patrick Foley and Margaret Askew Norma Linsky Virginia Cronk Allen and Miriam Foster Dallas Long and Suzanne Royer-Long Steve and Ardy Whisler

18 MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG LEGACY SOCIETY The Legacy Society includes donors who have made bequests or other Planned Gifts to the Glacier Symphony and Chorale, either in the past, or in the future. If you have included the GSC in your will, made a Planned Gift, or named the GSC as a beneficiary in a life insurance policy or retirement plan, please let us know so that we can recognize you! Legacy Society members will be invited annually to a recognition event in their honor. We have a network of Financial Planners, Tax Lawyers, or CPAs that will offer 1 free hour of consultation if you are interested in setting up a will, or learning more about estate planning and philanthropy. Call the GSC office at 407-7000 to learn more.

Robin & John Bailey Mary & Hi Gibson Julie Moffitt & Jim Strainer Margaret & Will Baird Maureen Hathaway William G. Myers, Jr. Margene & Alex Berry Whitefish Community Foundation: Gini & Randy Ogle James Bonnet Joaquenia & Klaus Heinrich Diane & John Pearson Jo & Jim Borowski Charlotte & Wilson Higgs Vida Poling Mona Charles Lindy James Alan Satterlee

Anne & John Collins Eric Kaplan Sheryl & Wayne Saverud SPONSORS • IN-KIND LEGACY SOCIETY Judy Rosenfeld Cox & Bill Cox John Kramer Lucy Smith Sue & Steve Cummings Valeri & Allan McGarvey Joyce & William Sullivan Rick Dunlap Mary Alice & Michael Moffitt Jackie Wildgen

406 WOMAN GLACIER BANK MONTANA COFFEE TRADERS BUFFALO HILL GOLF CLUB INSTY PRINTS MONTANA PUBLIC RADIO CAMAS FLATS KALISPELL TOYOTA SPRINGHILL SUITES FLATHEAD BEACON KGEZ MARRIOT FIREBRAND HOTEL KOFI TOBY SCOTT, CABIN 6

MAGIC MOUNTAIN | GLACIER SYMPHONY & CHORALE 406.407.7000 | GSCMUSIC.ORG 19