CANDLELIGHT CONCERT with Kelly Kuo, harpsichord
January 30, 2021 | 7:30 PM Welcome to OMP's Virtual Concert Hall!
Our annual Candlelight Concert is near and dear to the hearts of our OMP Family. While we may not be in person for this beloved event, your contributions have made it possible for OMP to present our second virtual chamber orchestra performance in HD audio and video!
Thank you to our loyal donors and season subscribers for your continued support, and a warm welcome to those who are joining us in our "Virtual Concert Hall" for the first time.
We hope you enjoy the virtual edition of this popular Eugene tradition, featuring celebrated selections of Bach and Telemann performed under the warm glow of candlelight!
THANK YOU TO THESE GENEROUS GRANTING ORGANIZATIONS: Get the
PremiumExperience! Level A Subscription Seat Access to Virtual Premium Special Concerts and additional OMP content or concerts. Receive "Kelly's Recommendation" in headphones: Bose® SoundLink around-ear headphones II with contactless shipping Select a personally autographed CD or DVD of "A Virtual Recital", featuring 2015 Young Soloist Competition Winner John Fawcett, violin and Kelly Kuo, piano. Complimentary, contactless wine delivery upon virtual reception advanced reservation
Current 2020-21 Subscribers can use the amount of their tickets as a credit toward their purchase of an OMP Premium Experience Package!
Give the gift of with OMP and Bose at oregonmomzaurstipclayers.org/tickets In Memory of Jeffrey Eaton October 29, 1951 - January 29, 2015 "Executive Director of Oregon Mozart Players, cellist, and gardener extraordinaire. Jeff was one of the kindest, most dedicated and optimistic human beings I've had the pleasure of knowing. OMP was his baby and gave it as much love a parent could hope to give, including his beloved cello, his final gift to the ensemble. He will be missed by many. Rest in peace, my friend." - Kelly Kuo Orchestra Kelly Kuo, Artistic Director & Conductor
VIOLIN Jenny Estrin, acting concertmaster Yvonne Hsueh, principal 2nd violin Della Davies Sponsored by Nancy & Brian Davies Julia Frantz Sponsored by James & Paula Salerno Nathan Lowman Sophie Therrell Sponsored by W. Mark & Anne Dean VIOLA Arnaud Ghillebaert principal viola Lauren Elledge Dana Rokosny Leslie Straka* CELLO Noah Seitz acting principal cello Dale Bradley Sponsored by Larissa Ennis & Lindsay Braun BASS Nicholas Burton, principal bass HARPSICHORD/PIANO Thank you to our additional musician sponsors: Theodore W. & Laramie Palmer (Alice Blankenship, concertmaster) John Jantzi, Jeffrey Morey & Gail Harris (Claudia Miller, violin) principal keyboard Peter & Josephine von Hippel (Jill Pauls, principal flute) Sponsored by Linda Korth Charles & Leslie Wright (Alexis Evers, flute) *Substitute musician Sandy Whitaker (Cheryl Wefler, principal oboe & Kris Klavik, oboe)
BOARD OF DIRECTORS ADMINISTRATION Larissa Ennis, President Kelly Kuo, Artistic Director & Conductor Clarissa Parker, Vice President & Secretary Daren Fuster, Executive Director Craig Starr, Treasurer Darlene Mueller, Office & Marketing Manager Sarah Brown, Orchestra Representative Daniel Cho, Assistant Conductor Milton Fernández Nathan Lowman, Librarian David Guy Julia Frantz, Personnel Manager Hatsue Sato Rubi Yan, OMP Intern Paul Shang Interested in board service? Email [email protected] for more information. Oregon Mozart Players | 317 Goodpasture Island Rd, Ste A, Eugene, OR 97401 | 541-345-6648 | oregonmozartplayers.org Kelly Kuo Artistic Director & Conductor
Praised by the Cincinnati Enquirer as “a leader of exceptional musical gifts, who has a clear technique on the podium and an impressive rapport with audiences,” Maestro Kelly Kuo brings a dynamic versatility and nuance to a diverse repertoire, which includes over 90 operas and an expansive symphonic repertoire as well. Recent operatic engagements include Lyric Opera of Chicago, Seattle Opera, Cincinnati Opera, Indianapolis Opera, Kentucky Opera, Anchorage Opera, and the Janiec Opera Company of the Brevard Music Center. In 2008, Maestro Kuo became the first conductor of Asian descent to lead a performance at the Lyric Opera of Chicago, making his company debut with Porgy and Bess. He has since returned to lead the Chicago premiere of Charlie Parker’s Yardbird and performances featuring artists of the Ryan Opera Center.
Upcoming engagements include company debuts with Carmen for Opera Orlando, Don Giovanni for Opera Columbus, and concerts with the Reno Chamber Orchestra and Sunriver Music Festival. Regarding Maestro Kuo’s conducting of Charlie Parker’s Yardbird for the Lyric Opera of Chicago and Seattle Opera, the Chicago Sun Times stated, “Conductor Kelly Kuo and his small but superb orchestra are a seamless match for the singers,” and Bachtrack wrote, “Debuting conductor Kelly Kuo skillfully handled the well- selected 24-piece ensemble in the enormously complex score.” Of his production of Macbeth at Anchorage Opera, the Anchorage Daily news noted, “Top honors should probably go to conductor Kelly Kuo. The sound… was full and taut as Kuo brought out the drama and lyricism. The orchestra played with robust enthusiasm and accuracy.” And of his La traviata for Kentucky Opera, critics stated, “Conductor Kelly Kuo led the Louisville Orchestra Friday with considerable verve, and no shortage of idiomatic delicacy…the sound was balanced and quite full.” Maestro Kuo also led critically praised new productions of Philip Glass’ Galileo Galilei for both Madison Opera and Cincinnati Opera and has served as Music Director and Conductor of the Butler Opera Center at The University of Texas at Austin and on the conducting staff of Santa Fe Opera. World premieres conducted by Maestro Kuo include chamber orchestrations for Jake Heggie’s At the Statue of Venus and Daniel Catán’s La hija de Rappaccini, in addition to the premiere of Daron Hagen’s A Woman in Morocco.
As Artistic Director of Oregon Mozart Players, Maestro Kuo recently extended his contract through 2024, having “transformed this chamber group into...a band of professional, enthusiastic, and superior musicians, playing confidently as one unit” (The Register Guard). Recent symphonic engagements have included concerts with Memphis Symphony Orchestra, Malta Philharmonic Orchestra, Indianapolis Chamber Orchestra, Lexington Philharmonic, and Ballet Fantastique. Maestro Kuo also curated and conducted the Cincinnati Chamber Orchestra’s inaugural Summermusik festival as Interim Music Director. Maestro Kuo has collaborated with such soloists as Cho-Liang Lin, Mark Kosower, David Shifrin, Mary Dunleavy, Bion Tsang, Anton Nel, Bella Hristova, Inbal Segev, and Elizabeth Rowe.
An Oregon native and recipient of a Solti Foundation U.S. Career Assistant Award for young conductors, Kuo continues to concertize as a keyboardist as the only pianist to have studied with two pupils of the Russian virtuoso Vladimir Horowitz. He is the resident pianist for the Zenith Chamber Music Festival and regularly performs recitals with the Kasarah Trio. Maestro Kuo holds a master’s degree in piano performance from the Manhattan School of Music and is an alumnus of the Houston Grand Opera Studio. T H I S E V E N T is sponsored by
CONCERT SPONSORS DEBORAH & JEFFREY OGBURN In Memory of Paul & Nonnie Cole
SOLOIST SPONSOR RICHARD KOCH C A N D L E L I G H T C O N C E R T with Kelly Kuo, harpsichord
Saturday, January 30, 2021 7:30 PM | Central Presbyterian Church
Kelly Kuo, conductor Daniel Cho, assistant conductor
Don Quichotte suite, TWV 55:G10 Georg Philipp Telemann (1681-1767) Overture Don Quichottes Erwachen (The Awakening of Don Quixote) Seine Angriff auf die Windmühlen (His Attack on the Windmills) Die Liebesseufzer nach der Prinzessin Aline (Sighs of Love for Aline) Der geprellte Sancho Pansa (Sancho Pansa Swindled) Der Galopp der Rosinante (Rosinante Galloping) Don Quichottes Ruhe (Don Quixote at Rest)
Brandenburg Concerto No. 6, BWV 1051 Johann Sebastian Bach (1685-1750) I. Allegro moderato II. Adagio, ma non tanto III. Allegro
Selections from Overture in F# minor, Georg Philipp Telemann TWV:55:fis1 (1681-1767) Overture Angloise Le batelage Daniel Cho, conductor
Harpsichord Concerto No. 5 in F Minor, Johann Sebastian Bach BWV 1056 (1685-1750) I. Allegro moderato II. Largo III. Presto Kelly Kuo, harpsichord Program Notes
Georg Philipp Telemann (1681-1767) Don Quichotte Suite, TWV 55:G10 Program Notes by Gavin Borchert
ike Cal Ripken’s streak of 2,632 consecutive baseball games or Ken Jennings’ 74 L Jeopardy! wins, Telemann’s prolificacy set a record so far ahead of any other composer that it seems certain it will never be broken. His work list in Grove’s Dictionary lists 1,043 sacred cantatas, and many secular ones and other works of ceremonial and occasional music; 46 Passion settings (one each year, 1722-67) and other church music; oratorios and operas; concertos, sonatas, and chamber works by the dozens if not hundreds, and 135 surviving orchestral suites (likely a fraction of his actual output)—a rough total of 3,000 pieces. Renowned as one of Germany’s greatest organists, he was in demand as a composer and performer, spending most of his 60-year active musical career in Hamburg.
Often his suites include a fanciful programmatic element, in the French tradition of tone- painting harpsichord music. In various suites, Telemann musically depicted water gods, commedia dell’arte characters, natives of various lands, or, in this case, scenes from Cervantes’ Don Quixote. In the baroque era, the terms suite and overture were used interchangeably to designate multi-movement orchestral works—which adds a bit of confusion since the term “overture” can also refer specifically to a suite’s first movement. This overture’s overture opens and closes with a courtly Largo; the sudden downward- swooping scales may suggest Quixote’s coming pratfalls. The central fast section breaks in with a flurry and bustle which presage his dramatic adventures.
Quixote awakens to a gentle, soft minuet; “His Attack on the Windmills” is tempestuous and heroic. In “Sighs of Love for Princess Dulcinea,” Telemann builds the violin I part almost entirely out of two-note drooping figures; the melodramatic Quixote seems to be typically overdoing it with his protestations of love. In the comic “Sancho Panza Swindled,” do we hear the braying of the sidekick’s donkey, or his own anger? “The Gallop of Rosinante,” Quixote’s horse, is easy to hear; Panza’s mule steps lightly along at a slower pace. The title of the finale, “Don Quixote at Rest,” at first seems to make no sense considering the music’s frantic stamping—but a friend pointed out that Quixote must be dreaming of galloping off to do further battle.
Selections from Overture in F# minor, TWV 55:fis1 Program Notes by Gavin Borchert
elemann’s Suite in F sharp minor is not so overtly literary, but the movement titles T suggest an attempt to depict various international musical styles. One can only guess what, to Telemann’s ear, made the “Angloise” movement sound English or the “badinerie italienne” Italian. (“Badinerie” is the French term for “banter” or “jest”.) Or why he titled the zippy last movement “Le batelage”: “boating.” It must have been a boat trip on a slightly rough sea. Program Notes
Johann Sebastian Bach (1685-1750) Brandenburg Concerto no. 6 in B flat, BWV 1051 (1717-23?) Program Notes by Gavin Borchert To his Royal Highness My Lord Christian Louis Elector of Brandenburg &c. &c. &c. Your Royal Highness, As I had a couple of years ago the pleasure of appearing before Your Royal Highness, by virtue of Your Highness’ commands, and as I noticed then that Your Highness took some pleasure in the small talents which Heaven has given me for Music, and as in taking leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my Composition: I have then in accordance with Your Highness’ most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of the fine and delicate taste which the whole world knows Your Highness has for musical pieces; but rather to infer from them in benign Consideration the profound respect and the most humble obedience which I try to show Your Highness therewith. For the rest, Sire, I beg Your Royal Highness very humbly to have the goodness to continue Your Highness’ gracious favor toward me, and to be assured that nothing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and of Your Highness’ service—I, who without an equal in zeal am, Sire, Your Royal Highness’ most humble and obedient servant Jean Sebastian Bach
ost of Bach’s orchestral music seems to have been written with the musicians of the M Cöthen court in mind, where he served as Kapellmeister from 1717 to 1723. During this time, probably in 1718, Bach met the Margrave of Brandenburg, an enthusiastic amateur musician. The Margrave requested some pieces, but why Bach waited a couple years to fulfill the Margrave’s request is unknown. In March 1721 he finally got around to recopying six previously composed works (for six different instrumental combinations) and sending them off prefaced by the above effusion. It was probably not written by Bach himself but by one of his fellow courtiers, his French, the customary language of diplomacy, being unequal to the task.
The Margrave treated the music with inexplicable indifference; he apparently never bothered to have the concertos performed, and the manuscripts remained in private hands, unpublished until 1850. Perhaps the Margrave’s household musicians weren’t quite up to the challenges of these rather complex works. Or perhaps he simply didn’t have enough of them at his disposal: A complete performance of the full set of six requires a violino piccolo, two flutes (or recorders), three oboes, a bassoon, two horns, one trumpet, two violas da gamba, and a first-rate harpsichordist, plus the usual body of strings.
The sixth concerto is scored for the magically rich and mellow—and unique—combination of two violas, two violas da gamba (who sit out the dreamy slow movement), cello, and bass. Philip Glass and Steve Reich might have learned a thing or two from the first movement, in which for long stretches the second viola echoes the first very closely, playing the same thing half a beat behind while the other four strings throb underneath in relentlessly steady rhythm—a hypnotic effect. By contrast, the violas need to be alert like never before in the third movement, which presents virtuoso viola writing not to be equaled for difficulty in an orchestral context until well into the 19th century. Program Notes
Harpsichord Concerto No. 5 in F minor, BWV 1056 (1739?) Program Notes by Gavin Borchert ach wrote eight concertos for solo keyboard (BWV 1052-1059; the last one survives B only as a nine-bar fragment), plus three concertos for two keyboards, two for three, and one for four. At least 13 of these were arrangements of earlier works (one of the duo concertos may have been entirely original). Among the eight solo concertos, three come from works that have survived: Bach’s two violin concertos and the Brandenburg Concerto no. 4, with their violin solo parts reworked for keyboard. The other five came from violin or oboe concertos now lost—possibly by composers other than Bach. (The concerto for four harpsichords, we know, is a reworking of a Vivaldi concerto for four violins.) Bach had also used the slow movement of this F minor concerto—one of his most ravishing melodies ever, which is saying something—as an opening instrumental Sinfonia in his Cantata no. 156 from 1729, in an instrumentation for oboe and strings. Bach added quite a bit of embellishment to this oboe melody when he made the keyboard version, but only the most unobtrusive of left-hand parts.
All these arrangements were done in 1738-39, the first six solo concertos clearly intended as a batch and copied all together in one manuscript. It’s unproven why Bach needed a bunch of keyboard concertos in a relative hurry, but in October 1739, after a couple years off, Bach resumed the directorship of Leipzig’s Collegium Musicum. This was a group of musicians that met Friday nights at Zimmermann’s Coffee House, and the concertos were very likely performed in this informal atmosphere. (It’s a situation reminiscent of Mozart’s peak years as a concert pianist in Vienna, 1784-86, and the steady stream of piano concertos he turned out in that brief period.) Bach’s sons Wilhelm Friedemann and Carl Philipp Emanuel played with the Collegium, and went on to write their own keyboard concertos. Bach biographer Malcolm Boyd points out that though Bach’s Brandenburg Concerto no. 5 (from the late 1710s) is generally accepted as the first keyboard concerto ever written, this group is the true source of the genre; they lead from W.F. and C.P.E. through their younger brother Johann Christian Bach right to Mozart, whose earliest concertos are modeled on J.C.’s.
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Platinum Baton Associates ($10,000+) Artist's Circle ($250-$499) Partner (cont'd) David Guy Abbelone Vineyard & Winery Lynne Hellesvig The Oregon Community Foundation Karen Artiaco & Jack Hart Christoph Hergersberg William & Cheryl Baugh Donald & Linda Hirst Gold Baton Associates ($5,000-$9,999+) Sara & Jonathan Brandt Roger & Susan Irvin Eugene & Judy Kuo Jack & Toni Brown John Jantzi & Matthias Vogel Silver Baton Associates ($2,000-$4,999+) Barbara A. Cookson Hing Kim Anonymous Friend Lawrence & Ellen Crumb Anita Klock Diana Gardener Debra Dean Judith Knight Sylvia Giustina Dianne Dugaw & Amanda Powell Christine Kreger Deborah & Jeffrey Ogburn Faulk-Skellcerf Charitable Fund Hue Ping Lin Theodore W. & Laramie Palmer Lynn Frohnmayer Teresa Lin Peter Rodda Elizabeth & Roger Hall Lewis Luchs Cathie & Ray Staton Emma Hartman Dennis & Lerice Martin Sandy Whitaker Monica Careaga Houck Pamela McClure-Johnston Charles & Leslie Wright John Koenig & Deborah Toobert Bill & Maxine McWhorter Peter & Josephine von Hippel Dorothy E. Kujawa Sandy & Nancy Naishtat Kelly Kuo Gail Nichols Bronze Baton Associates ($1,000-$1,999+) Gary LeClair & Janice Friend Charlotte Phillips Peter & Nancy Carlson Larry Moran Lesley-Anne Pittard Polly & Brian Caughey Katherine Moyer Helmut Plant Edwin E. & June E. Cone Fund Jeff & Rosemarie Ostler Michael & Judy Ponichtera of Oregon Community Foundation Harold & Joyce Owen Milt & Carole Quam Richard Cone David & Paula Pottinger Mark Ratzlaff John & Linda Cummens Elizabeth & Klaus Putjenter Nancy Raymond Brian & Nancy Davies Bernard Robe & Diane Hawley Diane Retallack W. Mark & Anne Dean Sandy’s Bakeshop Kitchen Edie Roberts Larissa Ennis & Lindsay Braun Paul Shang & Laura Macagno-Shang Linda & Thomas Roe Karen & Tom Fincel Cari Lyn & Happy Stanton Hatsue Sato Daren Fuster Virginia Starling Margaret & Scott Savoian Virginia Hurwitz Linda & John van Peenen Ernst Schwintzer Richard Koch Janice & James Ward Charles Spray Larson Family Foundation Sandra Weingarten Neal & Angela Sundquist Jeffrey Morey & Gail Harris Ronald & Pamela Swisher Dick Romm & Norm Purdy James & Marilyn Tandrow James & Paula Salerno Partner ($100-$249) Marianne Taylor Glen Gibbons & Eliza Schmidkunz Alesong Brewing & Blending Jean Q. Tuesday Molly & Jonathan Stafford Dennis & Mary Arendt William Waddel Richard H. Tromel Sandra Austin Frank Wagner Lucy K. Vinis Barbara & Robert Blue Richard Weick Steve & Elaine Webster Howard Bonnett & Judith Horstmann Susan & Wayne Weidmann Marguerite Zolman Joanna Branvold Leonard & Janet Calvert Concertmaster's Circle ($500-$999) Gary & Carole Chenkin Patron (up to $100) Dorothy Anderson Janet Cho Deborah Ackley C. M. Burkhardt Robert & Laoni Davis Laura Akers Richard & Margaret Essenberg Hannah E. Dean Eric Alterman Virginia Fifield Laura Fallon-Burns Robert Ashens Anonymous Friend David & Ann Fidanque Susan Ashton Margaret Gontrum Noreen Franz-Hovis Robert Baechtold Joanne & Phil Hartwig Beate Galda Maya Balenz Robert & Deborah Heaton| Clayton Gautier & Gail Baker Robert Barber David Kolb & Anne Niemiec Paula Gordinier & Thomas Kreider Peter Bartel & Debbie Steinman Frederick Maurer Monica Haaland Jennifer Barwood Darlene Mueller & Gordon Adam John Hannah & Mary Brooner Erika Beernink Chris & Rosie Pryor Marcia Harlacher Amanda Bird Scott Ricker & Mary Gleason-Ricker Ron & Cecelia Head Sharon Blanchard Craig Starr & Sandy Scheetz Daphne Heater George Blankenship Sponsors/Contributors (continued)
Patron (cont'd) Patron (cont'd) Patron (cont'd) Janice Blumer Retta Harvey Linda Nordstrom Bernard & Ginger Bopp Bill Haynes BJ Novitski Thomas Boyd & Joan Rawlings-Boyd Marilyn & Andrew Hays Kimberly & Daniel O’Connor Katherine Bragg Catherine Heising Ahavah Oblak Katherine Bremser Carol Herman KM Osborn Gary Bricher Jennifer Hermann Patty Osborne Pamela Brills & Christina Wesely Richard & Julie Hess Jill Overley Dawn Brown Mary Holmes Elke Overstake Douglas Brown Kathie Hsieh Betsy Ovitt Sarah Brown Wally Hsueh Carole Page Andrew Brtis & Sarah Quigley Alicia Hui Clarissa Parker & Colin Reilly Ronald & Mary Carver Andrea & Frank Humpert Brett Parsons Kam Chan Amy Humphrey Betsy Patton Jeanne Clarke Meagan Iverson Catherine & Neil Patton Sally Claycomb Janis Jacobson Charles Patton Robin Cochran Barbara & Tim Jenkins Cora Payne Karen Comerford Connie Johanson Rebecca Peppas Douglas Cone Delaney Johnson Charlotte Peterson Daniel Conklin Richard Jordan Barbara Pietz Linn Cooper William Kennedy Ann Porterfield Larry Coxe Reida & Charles Kimmel Sharon Poticha Laurie Cracraft Fred Kinyon Justin Pressman Charles Cunningham Candice Kramer Rod Price Claire D’Antoni Deborah Lang Mathew Quilter Janice D’Emidio Janet Lichenstein Sonja Rasmussen Susan Daniell Eric & Kathy Lieberman Amy Raven Curtis Danielson Helen Liguori Lindley Ray Mark Davis Jan Lintz Richard & Janet Reed Emily Dayton Lynette Long Heidi Rigert Michelle DeKlyen Frederick & Norma Luebke Jill Robertson Jerry deLeon Yvonne Lyles Eva Safar Sarah Douglas & Marie Vitulli Gary Macy & Saralynn Ferrara Linda & Martin Sage Peter Dragovich Anne Mahler Arlen Salthouse Denise Driscoll Melita Marshall Millie Schwandt Ruth Duemler Robert Maurer Stephanie & Douglas Sears Chaz Dutoit Mary May Martina & Greg Shabram Karen Dye Ellsworth & Carolyn Mayer Georgette Silber Eugene & Barbara Emge Linda McCarthy Patricia & John Skipper Susan Evans Inman Lindsey McCarthy Donna Snyder MaryClare Feighan & Jude McKay Sarah McCoy Thelma Soderquist Merideth Ferrell Paul McHerman Dave & Dorothy Soper Karen Fiedler Murray McLeod Gabriella Soraci Thomas Fischer Brian & Patricia McMurray Franz St George Kelly Fitzpatrick Terry & Ellen McQuilkin Roger Staver David Fountain Ben Meigs Suzi Steffen Donald & Margaret Fowles Mary Miller Robert Stein Bob & Ruth Anne Fraley Nancy Mills Kathleen Stubbert Paul Frantz Jim & Kim Mitch Larry Sullivan & Marianne Oakes Richard Freund Kim Moore Fay Sunada Eric Fullar Margie Myska & Steve Christiansen Brenda Teel Tammy Goen Shirley Nebergall Anne Teeling Audrey A. Graham Gregory Nelson Stuart Thomas Cara Haakanson Shirley Nelson Darlene Thomasec Stan Hall Walter Nelson Clyde Thompson Ezma Hanschka Kate Noah Harold & Janet Titus Sponsors/Contributors (continued)
Patron (cont'd) IN MEMORIAM & RECOGNITION GIFTS Wyatt True In Honor of Alice Blankenship-Anderson | Faulk-Skellcerf Charitable Fund Elinor P. Tucker In Honor of Charley Wright’s Contributions to OMP | Sandy’s Bakeshop Kitchen Meg Voedisch In Honor of Rita Childs | Laura Akers Carl Watkins In Honor of Rick & Carolyn Gates | Patricia & John Skipper Cheryl Wefler In Honor of Kelly Kuo | Hue Ping Lin Robin Wellwood Denise Wendt In Honor of Theodore W. Palmer | Charlotte Phillips Ingrid Wendt In Honor of Theodore W. Palmer | Elinor P. Tucker Karen Wiant In Honor of Neil Patton | Robin Wellwood Linda Wirrick-Coad In Honor & In Memory of Robert Hurwitz | Harold Owen Connie & Harry Wonham In Memory of Robert I. Hurwitz | Virginia Hurwitz Carol Woodman In Memory of Ed & June Cone | Douglas Cone Elizabeth Yocom In Memory of Carolyn Connor | Suzi Steffen In Memory of Mary Fountain | Virginia Fifield In Memory of Jerry L. Inman | Susan Evans Inman IS YOUR ENTRY INCORRECT OR In Memory of Darrell McKee | Peter Dragovich MISSING? In Memory of Truman Moyer | Katherine Moyer Please email Darlene at In Memory of Peter W. Roberts | Edie Roberts [email protected] In Memory of William Starling | Virginia Starling or call the office at (541) 345-6648 In Memory of Maria Storment | Barbara & Robert Blue and we will update your In Memory of Charles S. Tuesday | Jean Q. Tuesday acknowledgement. In Memory of Jean Weick | Richard Weick
CREATING YOUR LEGACY: AN INSPIRATION TO GIVE TO THE FUTURE OF THE OREGON MOZART PLAYERS "When I was in the eighth grade at Yakima, WA, since I played the piano, I was tapped to play the bass drum and cymbals in the junior high school band. From there I progressed to the snare drum and glockenspiel. I was tickled to learn that many years later, Maestro Kelly Kuo was also a percussionist in the U. of O. marching band bass drum line. I minored in music in college at Northwest Christian College and University of Oregon. Obviously, I love music! And I particularly love the Oregon Mozart Players..." - Jo-Anne Flanders
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Oregon Mozart Players | 317 Goodpasture Island Rd, Ste A, Eugene, OR 97401 | 541-345-6648 | oregonmozartplayers.org RESPOND RECOVER REBUILD
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