2020 2021 Francesco Lecce-Chong, Music Director & Conductor
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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 first Symphony 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
Laboratory and Light at Play, we brought to life Russian composer Alexander Scriabin’s vision to
anchors the thrilling multi-media production
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,
conceived of in theory more than a century before the technology existed. Read more in the program
featuring Light at Play’s eight-foot Radiance Orb.
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
people inside the concert hall and beyond in classrooms and the community. During the pandemic,
18 Founders Society 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, like Symphony 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
Scott Freck, Executive Director
accompanied The Color of Sound.
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
press has described him as a “fast rising talent in the music world” with the Milwaukee Symphony under Edo de Waart and the
Jennifer Estrin Forrest Moyer James Smock
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
called his conducting “first rate” praising the “vitality and brilliance Musicale Chigiana in Italy. He has had the privilege of being
Mitchell Drury PICCOLO Ian Kerr
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
audiences. The performances will be streamed worldwide and will take
Virginia Kaiser Michael Anderson Jeff Parsons
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
Kelsi McGlothin AUDIO ENGINEERING Lawrence Maves, Founding Conductor (1966–1981)
Ann Grabe
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 performed The 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
The Color of Sound Program Notes
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,
Moonlight. The French kind. The dreamy kind. he “heard” color. Most Scriabin experts discount that. Many
HISTORY: First performed by the Eugene Symphony in March
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,
DURATION: Approximately six minutes. bassoons, two horns, harp, and strings.
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. suspended over the front of the stage. Scriabin wanted a ‘light
Light at Play’s Radiance Orb. 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
Little Blue Devil, from Seven Studies on Themes of Paul Klee DURATION: Approximately 21 minutes. on unique stretch-fabric screens to illuminate the orchestra
into Scriabin’s directions.” shell during the shorter pieces, and innovative methods of
(1959) In 2016, Gramophone Magazine’s Geoffrey Norris found “We were energized by the opportunity to respond to
Alexander Scriabin’s Moscow apartment about as the composer bathing the audience in color. Jeremy Schropp, Harmonic Lab’s
Klee’s funny/scary painting of the same name inspired Alexander Scriabin’s visionary and technically unattainable
left it when he died in 1915: Two grand pianos, Art Nouveau resident musician, played the Radiance Orb via a keyboard with
Schuller to write this jazzy, wacky piece, which would also pair intentions to flood the concert hall with the colors from
furnishings, Orientalist trinkets, along with private notebooks programming developed by Yona Appletree of Light at Play.
well with a Looney Tunes cartoon. a tastiera per luce, or color organ,” said John Park, animator
that reflect his mystical beliefs. Lecce-Chong retained the composer’s color associations
SCORED: For three flutes, two piccolos, two oboes, English and digital artist of Eugene-based Harmonic Laboratory. “We but rewrote the color organ score with expressive color
horn, two clarinets, bass clarinet, two bassoons, contrabassoon, For us, the most significant apartment item would be a saw a unique opportunity to match Scriabin’s 1910 intentions
ring of colored light bulbs arranged on a custom-made circular transformations in mind. Lecce-Chong said that the score has
four horns, three trumpets, three trombones, tuba, timpani, 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
Scriabin’s prototype of the light organ.
think it would ever be possible. Even Scriabin’s ideas and imagine how to
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
(Continued from page 9)
Christopher Taylor
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
Miller Theater on Saturday night, Mr. Taylor, a lanky 31-year-
the part’s rhythmic figurations and textures, which align directly the inspiration behind this performance,“ said Lecce-Chong. virtuosity, his cerebral interpretations old pianist who graduated summa cum laude in mathematics
with the orchestral score.” “Many orchestras have used color when performing Scriabin,
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 complex and difficult music ever written for the piano. And he
advocacy of late-20th-century music.” played the 176-page score from memory.”
“The color is all-encompassing, but subtle,” he said. “This instrument of color as the ‘light organ’ that Scriabin envisioned,
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
has curated art festivals and developed works for stage, gallery,
creative practice includes installation art, projection mapping,
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
the human experience through the integration of media and Reflections: Water Shapes the West (High Desert Museum), and virtually this year, allowing us to continue fulfilling our mission
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
John Park. Sign up for a monthly or quarterly membership (or give
the interdisciplinary arts collective Harmonic Laboratory and a
Light at Play is a technology-focused group of artists, exploring media-arts technician for the Department of Art & Technology one annual gift) and access full benefits for your giving
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
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,
creative, and technical skills of young adults with a demonstrated
Institute of Art and Design’s Pre-College Summer Program in
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.
a condition which combines two senses. During each visit, Park concludes, “This experience offers these students one “To me this project has been a great experience to see what the
Months before rich tapestries of light filled Silva Concert Hall of the many unexpected ways that visual and digital media
students explored the connection between the senses of sound 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
and sight, and were asked to create abstract art inspired by the artists has opened my eyes to the collectiveness of art and pushed
students used their own imagination to explore the connection and galleries will always be an important space for fine art,
classical music they heard. 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 KASHI HUGHES
of Fire, the Eugene Symphony Association began two education The digital projections seen above and around the stage 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 Schuller: Little Blue Devil from Seven Studies
media performance for all to enjoy. community partnerships. In the six months leading up to the 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
Arts faculty member, led five students ages 16–24 through a “Filmmaking is my passion,
With their eyes tightly closed and paintbrushes in hand,
Music, Art & Technology mentorship. Participants—selected and I plan to study film at
hundreds of fourth graders experienced their own personal
competitively by a special application process—worked monthly Portland State University this fall.
interpretation of the connection between color and sound. In
one-on-one and in group sessions to gain insight and knowledge The Color of Sound Internship
the three months leading up to the concert, ESA’s Education
from their mentor, professional digital artist, Park. is an opportunity for me to
& Community Engagement department partnered with
Park said, “Working with the five student-artists has been an showcase noir film style into
Imagination International’s Artie the Art Bus to bring a series
absolute pleasure. The experience has been a repeated reminder a live contemporary musical
of mobile art workshops to three regional elementary schools:
that the talent, creative audacity and perseverance shown by this performance. Typically in noir
Howard (Eugene), Elizabeth Page (Springfield), and Fairfield
group is not bound by age or experience. The group of students style, the visuals flow along
(Bethel). The two-day music and art project was led by Teaching
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
unique, making me more open to a finessed outcome. Ultimately
artists to see their own work at a large scale (projected behind the symphony) and to 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.” Art, Music & Technology Mentorship student-artists work with John Park at
exploration inspired by both Paul Klee and Gunther Schuller.”
— 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.”
in a beautiful way. I feel strongly Originally from northern Washington state, Felix is now
a fourth-year University of Oregon student majoring in Art
The Haugland Family Foundation Marie Jones & Suzanne Penegor
that the art I create should have
a message that can help foster and Technology. In the coming weeks, she will apply for her
department’s Bachelor of Fine Arts degree and continue her
positive change. I hope that 2019/20 GUEST ARTIST SPONSORS
my animation can inspire the art education at UO next year. Within her program, she has a
viewer to give a little more love to particular interest in creative coding, although she comes from Eugene Safe Storage Dr. Ray Englander of Oregon Neurology Roseburg Forest Products
a painting background. In addition to her artistic endeavors, she Eugene Symphony Guild Nathan & Robin Philips, Wildish Companies
themselves and the world around them. Jonak Law Group on behalf of Square One Villages
My piece is completely hand-drawn and animated by me. is also minoring in Mandarin Chinese and has studied abroad
in China these past two summers on language immersion Oakmont Family Dental
This project gave me the opportunity to add motion to my
artwork, something I have never attempted before. I was able to programs. After graduation, Felix hopes to find a job that relates
to both of these fields of study.
combine my skill set in drawing and painting with animation 2019/20 ADDITIONAL SUPPORT SPONSORS
software that allowed me to bring it to life. Creating a video
that expressed the feeling and color of a piece of music was an KRISTA ORTIZ Bigfoot Beverages Ferguson Wellman Kernutt Stokes
Lane Community College Chvatal Orthodontics Galina Groza & Family in recognition of the Safeway
eye opening way to create art. I am so proud of the artwork I Eugene Airport Eugene-Irkutsk Sister City Committee US Bank
created because it allowed me to push the boundaries of what my Handel: La Rejouissance from Music for the Royal Fireworks
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
a musician for 10 years (and Marché
“I have always had a passion
for both visual art and music. counting!) and primarily plays
flute and electric bass guitar. She
I’ve more or less been drawing SPECIAL THANKS TO...
since I could hold a crayon, and is also a painter, using acrylic as
also have been trained on the her medium. She is eager to learn City of Eugene/Hult Center JLN Design Amanda Smith Photography
piano since I was very young. the world of digital art. for the Performing Arts National Business Solutions Technaprint
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 American Federation The Virgil and Caroline
to explore, until now. Early on in 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
and really trying to let my imagination wander and allow myself been a learning experience. Mostly, this project has pushed Local 689 Fund of the University of Oregon Foundation
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
Participating in this project with the Eugene Symphony has Krista has such a passion for visual arts and music, participation Fund of the Oregon Community
Foundation
provided me with such a unique opportunity to not only dive in this project has helped her gain a better understanding of
deeper into the relationship between color and sound, but also to time-based art. This project has also given her knowledge 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
generous contributions this season. Your support and generosity help keep the arts flourishing in our community.
F ou n d e rs S oc i ety
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 lindsey.mccarthy@eugenesymphony.org 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
Mark & Lynn Roosa Woodard Family Foundation
PLATINUM PATRONS | $25,000 +
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 19Season 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
Laird & Ronnie Black
Victoria Blackman
John Garrett & Ruth Kaminski
Jill Gelineau
Randy & Jennifer Geller
Nancy Laurence
Erika Leaf
Cornelia Leser
Lloyd & Marilyn Rawlings
John Ray
Dr. R Charles & Karen Ray
SOCIETY
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 To ensure our support endures
Greg Brokaw & Elaine Lawson Maradee & Barry Girt Brad & Paula Litchfield Bernard & Ginger Bopp Ensure your
long after we are gone, we made
Willard Rodgers & Suzanne Brown Courtney Sams Dr. Mark & Marie Litchman Byron & Judy Roberts love and legacy
Stephen Bryan Tim Gleason & Jenny Ulum Doug & Diane Livermore Rick Rodriguez
of music for 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 and vibrancy that this orchestra
Doug & Linda Carnine Bryce & Sandy Halonen Susan Macomson Norman & Barbara Savage Join the Encore Society
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 — DR. RAY AND
Gary & Carole Chenkin Marcia Harlacher Jim & Linda McCarthy Kamala & Richard Shugar in your estate plan. LIBBY ENGLANDER
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
Carrie Copeland & Jeff Parker Holly Helton & Peter Gallagher A. Dean McKenzie Jon & Roberta Sobotka More information at EUGENESYMPHONY.ORG/ENCORE
Roger Coulter Christopher & Deborah Hiatt Holly McRae Dave & Dorothy Soper Or contact Lindsey McCarthy at 541-687-9487 x1104 or lindsey.mccarthy@eugenesymphony.org
Clark Cox, Jr Dr. Richard & Judith Hicks Sara Brownmiller & Milo Mecham Joanne & John Soper
20 EUGENE SYMPHONY NOVEMBER 2020 21You can also read
